Jaco Pastorius at the MI Remastered audio and video

i got i got a couple of few bands  i worked with out in new york city   um i play in a couple myself i play with the  gil evans orchestra once in a while and uh i   have my band called you know word of mouth  with various members you know whoever's in town   that i also use you know you know  in the new york area and i have a   steel drum band that i play with it out  of florida i got a something you know   we've already recorded i'm trying to get  that you know some label to pick that up   so that's about and basically you know some new  music all the time some rhythm and blues basically Q: do you have any particular radio anything on  the radio any any form of music at all you know   just whatever you know you  turn on the radio that was it   i like mainly rhythm and blues that's why that's  my forte you know like funk and all that you know   sam and dave that er that was my big influence in  any pop music too anything that was on pop radio Q: ? uh cello studies i studied lots of cello stuff  because it's it's very difficult because it's   tuned and fifth and they they go like this you  know we just you know going across the fourth   and super melodic and um excellent for your chops  it just keeps it keeps you busy base books from   for me were a little it was not that  much against the mantle book that was   it there's so many baseball caps so i just  wanted i wouldn't found anything i could   get a violin book or listen to listen to piano  players i was mainly listening to other things   yeah i like the way jerry played he played  on a lot of the muscle shoals stuff and   part of the atlantic stuff it  was a big influence on that   you know that's basically where i'm from you  know with the base you know the R&B thing i mainly got them out of books this time god i  remember Dotzauer i was like the main guy that's   our 113 cellos buddies they're pretty amazing  you know just basically finding most stuff   like that violin studies are good too you know  get the old Bach stuff all that you know the uh   how you say the inventions all those  things they're very good for the hands Q: ? well joe and wayne i think just broke up now  you know so i don't know what they're up to   they're they're for the first time in what since  1970 71 you know they're doing their own things   i really haven't left Weather Report you  know i'm just not with the band right now   you know because it's just that's that's that's  sort of a ban you know lots of things happen in   people's lives you know we never broke up i just  had to do other things they had other things to   do you know family things there's lots of stuff  that happened so right now Weathe Report is totally   on hold so i don't know what what will happen  next with that but i would i would definitely   play with him again i probably will play with  him again we'll probably get together sometime   but i know john wayne just broke up so in fact  wayne's going out on tour in a couple days let's talk to you Q: you said you had all those projects going in NY   Do you like the playing atmosphere  they're better is it just like new york   well the good thing about new york is it's  concentrated you could fall at your front   door man and do everything in the world within  10 minutes you know so you know i mean you know   so you don't need nothing then you can walk  everywhere you can walk to 300 clubs and see   everybody in the world in 15 minutes so you know  that's good about new york i mean there's a lot   it's you know you can't complain about really  i mean you complain about being out at work   works cutthroat you know it's it's very cut  though you know but most all the players are there   you know i mean you ain't got nothing to do  you can walk down the street you see somebody   you know i mean you can't walk 10 blocks  without but not see at least 300 guys you know   that that's what i like about new  york cutthroat about it is you know   it's it's rough it's just you've got to be  ready for it California is a lot big what well why is it spread out you gotta have a car  in new york you don't need a car you just walk   you walk everywhere a couple  minutes you know it's a lot easier Q. ?a little bit not much i don't do that however we  thought i mean a little bit no i don't do it very   good do you just do these major projects or do  you get called to do like chrysler commercials   and that kind of stuff i don't do that they're  they're a line of guys in new york to do all   that stuff you know they've had it sewn up  for years and they make all sorts of big money   and they don't let anybody get into it because  they don't they don't want to lose their gig   because they're they're good gigs you know it's  tough to get in those things you know it's a it's   a big quick i mean i'll do anything that comes  along basically i just like to i like to come up   with new stuff you know like innovative stuff that  nobody's got you know it's just dangerous stuff   and everybody's afraid to try  that's what i do i'm scout Q: ? do i yeah you know with me  in a musical taste you know   i don't like to overdo it but  they're there you know i use them Q:? i'm pretty new that's tough i could  try it but i know i've not played it °°°°°°°°°°Portrait of Tracy°°°°°°°°°°° i haven't played that literally since i put down on record Q : ? it's all there just tuning up you know just  tuning up the bass one take and i was just   tuning it up and i just heard it sounded  you know musical to me so you know they're all there so i just figured out what  they were note wise one across all the strings   you can just about play a legit chromatic  scale with just just with these four strings   you know it's tough i forget it i figured it  out once almost i think you're missing one note   so that they're all in there it's just a matter  of uh that the main thing to make that stuff   musical i mean you always hear everybody on  records these little chords which anybody can   do that's corny you know i mean anybody can do  that the thing is to figure out where all the   notes are and what they are and then use them you  know i combine them into little chords you know   there's not all that much you can do because  it's open you can do like you know fake one you know like that what i do with my thumb guitar  players than with their fingers you do that or   the thing with the open harmonics there's  only so many of them is just to know   you know and the other thing is like  you know you use this like a capo   and you know and then pick them in half you know  it's very basic the main thing is just learning   what all the notes are so that just so that you  can use them i mean there's only so many notes up   there but when you know where they're at it's  you know it's very effective to throw them in uh he tried Q: ? i can't hear you i just heard a little bit  yesterday or the day before it sounded pretty good   it's really nice that sounded real good LOOOONG QUESTION : you know it's funny because i never happened to  across a weather report concert just you know   whatever never saw jocko live except on the  records so the other day when he first met we   i said that i had never seen you play and  i said you know i haven't seen you play   and it was just an interesting thing to for  the first time seeing somebody you know who   you know for so long and uh i think it's like  really good for everybody here just to see   uh what a musician like this can do what  he has to say outside of the studio because   you know a studio thing is obviously prepared to  showcase the very best for everyone to listen to   and there's a lot of facets and a lot of sides to  a player so i think it's really good that you can   check out all the facets other than just the  preparedness of the musician you know what   i'm saying that a lot of musicians are deeper than  merely continuing out so like maybe your questions   can be directed to that in terms of writing  i mean the guy writes full orchestral stuff   uh i i think that there's a lot of real personal  information if you want to proceed with everything Q: ? yeah do you uh basically write everything you  do or sometimes you go in on the studio and   you have a song you just basically say jam it  in a sense it's basically written more   or less i mean under this stuff from the weather  report we had sometimes we'd have the most   amazing music and it would sound totally as if we  had we'd even comment to ourselves let's see this   stuff was written notes for note and this stuff  would sound to free us and then we would play   some free shift and it would be you know it would  sound real technical because we were so tight so   it's um but we we always have some sort of  a format definitely you know always you know   as far as like approaching something it depends  on the studio how much time you have to deal with   you know if you have some time up front you  know you come up with some some newer   things i like to look at stuff before i have  to go in and play personally first i'm ready   for it you know just so you don't walk in and  you fumble around and make a fool of yourself   i like to know basically what's going on first  and then but then i don't like to overdo it   so it's still fresh you know i  don't want to go in and sound practice ever good but definitely we have is  it's usually planned out you know Q: on a solo like uh used to be a cha ca-ha how much  time did you spend on that before going to the   studio how spontaneous was that solo [ __ ] it was  pretty spontaneous but i remember that first album   those souls were pretty ridiculous i practiced  a lot a lot of different things to throw in   definitely because i mean it was my debut and i  came out you know i was 23 years old and i just   said you know i got to come out with something  powerful and so i was i was practicing that   stuff because that stuff was hard they  were all one takes you know everyone so   you know i was i was pretty nervous but i  had practiced a lot of stuff i had a lot of   planned things for all those terms you know  what i was going to put i mean this stuff   is too good you can't just make all that  stuff outside i mean i'll make them myself Q: on your album Word of mouth is that  all written out too all that obscure   stuff that you did on that what part the whole album could really lay out well there's  two's two partners two teams on side one are   totally the one tends towards the la symphony you  know that can't be filled obscure i mean it's a   ballad you know that that's not obscure and then  two after that liberty says is all you know most   everything except for the first term is written  out and what was that written about liberty city   liberty city florida miami  florida when they did the literacy   when they had liberty city riots that's where  i grew up that's where i wrote that stuff yeah in fact it was funny because i named it  liberty city and i didn't really have a name   for i'd call it highlight for something  because it was sort of like a reggae and i finally i said wait i'm going to call it liberty  city and i woke up the next day it was liberty   city riots it was really strange they didn't  they had not had the liberty city riots which   of course were the biggest racial riots of you  know the 70s so they were strange when i saw that Q; you play mostly with two fingers or three  two i use these these fingers i used to   try to mute my thumb and these fingers i use like  to you know when you're playing you know so is not   to make so much noise which is actually harder  than playing really that's the hardest stuff   it's really going is to not make  noise with the other strings Q: i never have i never have  i use my thumb quite a bit   you know just like stopping  and picking you like quick Q; ? how do you feel about working on that build  that up i'll tell you it's tough it's very   tough because in fact when people ask me  about right-hand technique i really don't   consider i even have any and i know it's tougher  than the left hand it's i just don't think about   it i mean that's a really rotten answer right  now but i just don't think about it you know   you just have to it's totally by feeling just  you know i mean you'll be playing you'll have to   you're making a lot of noise so try to  get your hand over there that's about   the best i can explain get over there  and then then you have the problem not   you know muting the notes that you're playing  you know you know it's it's just a little tough   i see i seen some guy here today was just playing  all over the place which was very impressive like   he had his arm like he had his arm near anything i  couldn't believe that it's tough though maybe what   you do is just you just let them fall really  light just like barely touching the instrument Q: Do you rest your fingers on string or pick up ? i rest on the E string and the pick up Q : you always play with a light touch even  if the sound is kind of really forceful   i play usually with a real hard hard touch  all the time that's what it sounds like   yeah i played with a hard touch and you know when  i'm playing the fretless for the tone i'm usually   playing pretty hard too to get it to you know  dig into the neck you know to get that growl   you know but i usually pick pick pretty hard i broke a string when i was a kid  when my left eye and tore it off so i   made a habit not a breaking stream i mean i've  played very hard you know i throw my bass around   breaking i do all sorts of stuff i i don't  break strings well when i'm working real hard   i try to change them every night you know  and you know when you can afford it you know yeah can you talk about your uh rolling  Joni mitchells and then just like what was   asked of you or if you were  getting more of a freehand   i came in on that day in fact we did it  right down the street over at 08 am  i called up Herbie to do it because her she  didn't know she had some english piano player   really couldn't play he'd transcribe the  music so i got Herbie Hancock from come down   and i was more or less sort of a co-leader  i did some arranging on it and stuff and uh no i was i like i said this guy had transparency  this guy from england had transcribed uh   all of these [ __ ] tunes but she had wanted  to do she wrote words to to like the saxophone   melodies or you know whatever and we went at  it like that i mean we had to play the tunes   but she definitely you know which  was strange because i'm playing   like fender bay sometime bass guitar for an  upright eulogy album more or less you know   and uh we had electric piano and stuff and it was  hit i like i like the way it was done you know   i i didn't want that old sound personally so i  know i had a lot to do with that you know get an   electric piano on it and stuff came out very good  but that you know we had to play we had to play   the music the music was it was down we uh you know  getting wayne and you know then we call up winning   wayne and herman we just took it out you know  from peter i think yeah Erskine was on drums so   it was fun but it was straight ahead you know  they they knew what they wanted there wasn't all   that much freedom outside of just when they asked  you to play something you know they just told you   from des moines we're credited with the  horn arrangements yeah i wrote all that   i wrote that in about five minutes just  coming in just coming into the session all right really traditionally °°°°°°°°The Chicken°°°°°° i've played with him a few times  i've never done any recognition um probably because he's more he lives on the  west coast i live on the east coast sort   of hard to get in contract i've sat in with  them several times good friend of mine but   we worked concerts together you know  you know the same venue where i was on   in fact i did a solo based concert in berlin  once and him and uh gary burton we were the   same we were on the same building never  worked with him i'd like to good player this family's great good friend  of mine we just did a duet out yes uh usually just uh form and melody is basically  it dynamics i like to play dynamically which i   feel lots of people don't do you know which is  an aspect of music i think people don't really   use too much but you know you know well you must  pretty much pretty much play what you're hearing   in your head oh yeah yeah well it's like like  something will just start happening like a flow   you know you gotta know patterns your hands got  to know certain patterns you know you know certain   things certain licks like you said a lick book i  don't know about that on stage just pull it out how are your kids doing okay they're all in Florida   um i i try to mainly you know concentrate  on melody and form you know keep the form   by all means you can't you know  i mean let's just go forever melody i'm always no matter whatever i'm playing  i'm i always have the melody going in my head   probably joe probably agree on that always have  the melody going i mean i could be playing the   most outside stuff not even playing the right  changes but i'm still thinking the melody   yeah and that's that's the basic thing right joe   that's it melody is the whole thing so you stay on  that keep that in your mind you need to be singing   that to yourself while you're playing this other  stuff that's basically what i do and if you listen   to the stuff i've recorded it it stands pretty  true i usually keep to it because you always hear   you know i'll jump in and i'll quote the melody  whatever you play it upside down whatever you do   keep that going that's the the main thing of  course in the melody is the form and basically   you know form being you know chords and stuff  and you know jump for someone as famous like   you are others still some musician left you  wish to play with or even dream play with um several musicians musicians i've already  played with you know and play again just like   asking if i would play weather report  again i'd love to get back with you but   you know i haven't played with miles still  i've never been having all the guys in all   my bands miles is using now i still have never  played with miles ever i'd like to play with   my house you know get back together play with  joe you know i've played with Joe 10 years old i enjoy playing with good players you  know like my father said once he says   joplin you surround yourself with great musicians   and that's uh what i like to do i don't  like to play by myself at all it's boring i've recorded that would be tough i haven't played in  a long time i might try a little later   you know that's that's that's a hard  one it's hard i can play it slow maybe   that first line is impossible this is the hardest step because when i first  learned it i'm showing it to you as well because   it's harder to play slow than fast you know once  you get it in the pattern i mean i gotta think   playing it slow i'm actually  putting myself on the spot tough tune we used to do it you know what i we  used to play it so fast you couldn't even hear   it and we we would hit every note too you know  but it's it's easy the pattern is easy it's   harder like i never practice things fast ever i  mean everything i practice slow you know i just   wait till i get on a band stand like to like to  start hitting you know but uh it's tougher than   to concentrate it's better too it's it's tougher  and it's better to practice slow and think of all   the notes it's because it's tough to get all  that information in your head i mean you know   because you can just play with i mean Donna Lee  for instance is basically it sounds like a solo   it could be a solo charlie parker playing on back  home in indiana who knows but it's bad so um when   you stop and think about it then it gives you  some real insight into really plan on the stuff um you mean like when you're not  with your instrument or something   that's where i do most my practicing i i very  rarely practice you know like right now i'm   practicing right now i mean i shouldn't be  saying that to y'all you should practice   but uh but i mean i i work so much you know like  right now i've sort of been taking some time off   but when i'm working i work so much i really  don't need to physically practice i do all   virtually all my practicing just in my head and  i do it usually usually when i'm traveling like   like you said in a car or the people who always  think i'm spaced out you know that i'm that i'm   going out on them but but i'll just be like  you know exactly what you're talking about   i do practice without an instrument i do it  a lot like just before i go to bed i'll just   be laying down before i fall asleep i'll just be  laying down and think and you can think real well   i mean i can actually practice and physically  it feels as if my hands are practicing and i'm   not i'm just sitting there thinking in fact i was  just doing that yesterday i mean you actually you   can feel your fingers actually doing it i don't  know if it makes any sense but it does happen well when i did this album word of mouth  i worked on it so hard that the music   started like haunting me i mean i would go to  sleep i had this tuned crisis which is so out   and it's it's just like a loony bin music and  and and i would go to bed that stuff i could not   it would not leave me so but no i don't usually  dream about music now i might dream about being   on the road or something you know having some  fun with the guys but i i don't dream about music you played with a lot of great romance what  are some of the things that make you enjoy   playing with one drummer over another tunnel  time remember what else that's the only thing   guys got good time that's that's a basic that's  the only thing there isn't music man's time   guys got bad time forget great journalists like  you it all the great drummers got really good times   why would you have a better time playing with one  all the great drummers don't have a great time   i'm telling you man time is it once they got time  you know it's just a matter of preference of you   know dynamics is next from the time dynamics  that form you know how they how they treat   treat tunes knowing what they're  doing with the tune you know there's   i mean there's a million different ways to  approach a tune from a drum standpoint you know   and then melodically playing you know melodically  i would say comes last for a drummer i mean he's   got to be aware of the melody but i mean  melody within the sound of the instrument   but well yeah yeah and the melodic content of  the sound even that basic of sound but basically   time is it and you know if you  if you ain't got time forget it   you should quit playing drums get another  gig that's all there is you know and time is   very important so who would you say your favorite  drummer i don't have any favorites i told you that   earlier but there's a bunch of them you know Elvin  jones uh max roach uh tony you know Tony williams   teaching that there's a man there's a  bunch of them out there they're all great that's the only music i ever really hear just  just whatever i hear on the street walking down   the street you know it'll be stores open radios on  i don't i don't even have a record player anymore   you know i just just listen to whatever i hear  you know i like i like the you know commercial   stuff what's going on it's nice as long as  it's got a beat you think you'll ever record   like a say a commercial tune or say something  like a michael jackson sort of thing i have   i've played on several of them you just don't  know that i'm on them but uh i i have i have   several things i mean my first album i had  a tune come on come over with sam and dave   and that was very commercial you know they were  supposed to do something with them they never did   um i i that's what i want to do now you know like  basically having an r b band that's my favorite   type of music that they just they keep calling  me jazz player well i mean i can play jazz but   i consider myself a music you know a musician i  don't really consider myself a jazz player and   he gets in a lot of trouble being you know you  know work-wise because of you know jazz people   that we don't have the best reputation maybe  say he's a jazz player and then then you don't   get gigs playing rock rock gigs and front  gigs which which is my major thing i play   rock and roll better than i play jazz but you  know you just don't get in it because you know   you're a jazz player and they think you're going  to come and play donna lee for the first tune everybody's hiring 3d yeah i'm  self-taught formally self-taught it was tough because i i've played  my in fact my reading isn't all   that good right now i mean i'd have to  practice two or three days it would be   right back back up the car i just  haven't read in a couple of years well we could do that too when you're when you're writing music you have  a do you write do you write a melody first if   you have a groove in mind then you put melody  to that or how do you go about writing that's   tough question because music just it comes out and  usually what i do melody is usually the main thing   groove is always the toughest to find a good  rhythm for something it's always tough melody   usually is what comes out for some form and then  then you gotta come up with some sort of a groove   um but i what i used to do i used to write like  every day i used to write a tune really write   a tune i mean this was this is something i mean  like for a year you got 365 tunes you know just   sit down and make yourself write something  that you think you haven't heard before   and uh but of course you know my concentration  level i did that for about a week   but i kept that that sort of attitude and and  i came up with writing like really incredible   amounts of stuff lots of music and uh what  what i finally started doing was i would just   i come up with some new with some new music  and then go to sleep on it don't write it down   and then if i remembered it the next  day then i would write it down and   that's when i knew i had something good that's  about it that wasn't like where i cut it do you remember like a real  nightmare again that you played   for everything was pretty critical several you usually bail them out somehow i've  i've had some some bad gigs not too many   not too many fortunately but you know  there's lots of times where you know   sometimes there's nothing you can do about it  there'll be weather against you especially without   outdoor concerts are tough there's that's times  where lots of things can go wrong uh sometimes   you be in a funny club things can go wrong easy  club owner don't dig you you know you go on   and fight with the guy for you on and something's  gonna go wrong but uh yeah i've had a few she got a way back here yeah when you  played with ian hunter a number of years   ago was that like session work or did you  know each other beforehand i just met him   the guy that had set up my first record  deal was also working with with ian hunter   was his boy and uh he thought it would be good  seeing and i was coming out basically as a jazz   jazz sort of guy which they were pushing me ass  come out immediately and i did you know rock and   roll album which was a very good album and they  didn't push that either that was a very good album yeah people talk about that that's that's fun yeah   and uh that was a good album i  don't know what happened to it   should have pushed it same old thing but that  was just the that was management the guy that had   signed me to to epic records also was managing  ian hunter that's that's how we got together how have you done management like were  there early times early in your career   when you kind of got the shot from people or i  get the shaft today what are you talking about   yeah man management and music don't just don't mix  period that's the end of that you have somebody   who takes care of all of you well i've i've  had like one person that worked with me that   you know he was a rhodey of mine and i just got  him to start doing a business for me you know   i've never had a real real manager you know  i would weather report we had one you know   but you know of course we split from them too  i mean that's that's a that's a weird thing   to get into managers are managers that's what  they do you know we're playing and they don't   really don't think about us too much there's  only a couple of really good ones out there is not that low as a matter of fact it's sort  of hard not real high but but high enough to   get good tone you know my my real instruments  are over in new york right now so it's not   not that easy to really show you all that much you  know but uh this is just medium you know average   it's not real low i can't play with the  action real low because i played very hard exactly where these guys actually could play you got your bass too huh  

Channel: Realcut

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Keywords: Jaco, Pastorius, ジャコ・パストリアス, ХАКО ПАСТОРИУС, Documentaire, Documentary, ドキュメンタリー, Документальный, Weather report, Jazz, джаз, ジャズ, Losttapes, テープを紛失した, потерянные ленты, Bass, бас-гитара, ベースギター, 天才, гений, сказка, 物語, ピーター・アースキン, Питер Эрскин, Йозеф Завинул, ジョセフ・ザヴィヌル, マーカスミラー, Маркус Миллер, Marcus Miller, Josef Zawinul, Peter Erskine, Paco Sery, Пако Сери, hommage, tribute, 賛辞, дань уважения, 記錄, 雅可·帕斯托瑞斯, 紀錄片, 馬庫斯·米勒, 蒂埃里·埃利茲, Тьерри Элиес

Id: qoEvtPjWiCU

Length: 46min 12sec (2772 seconds)

Published: Mon Dec 20 2021