NEW RELEASE from MOONJUNE RECORDS
SHort audio clips of each of 11 songs available on the website: http://moonjunerecords.com
For more info:
Promo copies available for reviews and radio playing, worldwide.
Featuring jazz and fusion legends, band mates and colleagues of the legendary electric bass virtuoso and innovator Jaco Pastorius, among others: Alex Acuña, Carles Benavent, Charles Blenzig, Delmar Brown, Hiram Bullock, Kenwood Dennard, Hugo Fattoruso, Michael Gerber, Gil Goldstein, Danny Gottlieb, Billy Hart, Toninho Horta, Bireli Lagrene, Armando Marçal, Marcus Miller, Bob Mintzer Othello Molineaux, Jorge Pardo, Felix Pastorius Jaco’s son, John Patitucci, Mike Stern and more.
This uplifting proclamation of Jaco Pastorius' musical doctrine features a modernized viewpoint consisting of Bop induced piano jazz; thrusting, bass-heavy funk and jazz-fusion spiced up with a taste of the Caribbean and South America and much more. With this release, Jaco's Gospel is preached by over 60 world class musicians resulting in a truly, globalized perspective of his existing legacy. More importantly, the various artists' extract the bassist's inherent compositional attributes, only to reshape rhythms and melodies into a nouveau perspective. Hence, a prudent tribute that stands on its own... definitely the best Jaco tribute heard to date. - GLEN ASTARITA - Contributor to Downbeat Magazine, Allaboutjazz.com and Jazzreview.com
As a musician, John Francis Pastorius III (Jaco) brought change. He boldly took his instrument, the electric bass guitar, to uncharted waters, and an instrument that is commonly placed behind the music, to the front. As a musician, Jaco's talent was not confined to the bass, more than a musician, Jaco was music.The focus of this project, Gospel For J.F.P. III, is on Jaco, the composer, a man with an extraordinary ability to create music. The body of material that he himself composed is not enormous, further proof that less is more, as these compositions rightfully fall into the status of contemporary standards, and sure to pass the test of time. Involved here are many of the musicians that were part of his life, as well as others his music has touched. Needless to say, Jaco's own renditions of his wonderful compositions could never be surpassed, only interpreted, and serve as an inspiration to all those who love his music.
Three Views Of A Secret
Hiram Bullock - electric guitar Bireli Lagrene - acoustic guitar Contrafarsa - chorus
Gospel For J.F.P. III begins with what is considered by many to be Jaco's most beautiful composition, a tune that first appeared on Jaco's Word of Mouth orchestral project. This rendition of Three Views begins with the 14 voices of Contrafarsa, under the direction of Eduardo “Pitufo" Lombardo. From Montevideo, Uruguay, Contrafarsa has been singing together for over 20 years in a particular voicing style, “Murga", that is unique to Uruguay. Following their exquisite introduction comes the dynamic guitar duet by two world-class guitarists, Hiram Bullock on electric, and French gypsy Bireli Lagrene on acoustic. Both Hiram (1985) and Bireli (1986) have toured with Jaco, and here pay tribute to Jaco, who has touched their lives in a most special way. After trading melodies and solos the guitarists are joined by Contrafarsa for the grand finale.
Las Olas
Michael Gerber - piano Toninho Horta - acoustic & electric guitars Kenny Davis - acoustic bass Danny Gottlieb - drums Armando Marçal - percussion
Las Olas, a boulevard in Ft. Lauderdale, Florida, is one of Jaco's more obscure compositions, as it hadn't appeared on any of Jaco's own records, though it did appear on the album 'I'm Fine, How are You?' by Airto & Flora Purim, with Jaco on bass. On Gospel For J.F.P. III, this Brazilian-flavored rendition of Las Olas features Jaco's friend Michael Gerber on piano. From Florida, Michael Gerber (referred to by his many friends as “Gerbs") has been blind since birth. This inability is more than compensated by Michael's extra-ordinary ability on the piano, whereby his sense of melody and harmony is matched by his phenomenal dexterity. Co-produced by maestro Gil Goldstein, here “Gerbs" is joined by Toninho Horta on guitars and voice. Considered the rhythm ambassador of Brazil, Toninho's interpretation of this Jaco masterpiece is breathtaking, as his acoustic guitar and vocal introduction sets the pace, joined by the moving rhythm section of Armando Marçal, Danny Gottlieb and Kenny Davis. Both “Gerbs" and Horta take beautiful solos, fully respecting the beautiful melody that Jaco created for what can be considered a Brazilian Classic.
Havona
Othello Molineaux - steel pans Bob Mintzer - tenor saxophone Abel Pabon - keyboard Pete Sebastian - electric bass Johnathan Joseph - drums Robert Thomas Jr. - percussion
Havona, one of the masterpieces that Jaco brought to the Weather Report repertoire, appeared on the ground-breaking album Heavy Weather. On Gospel For J.F.P. III Trinidadian Othello Molineaux takes the lead role on this rendition of Havona, transforming the steel pans into a fluid wind-instrument, supported by some of the finest talent Florida has to offer. Including 2 long-time collaborators of Jaco, Robert Thomas Jr. (Weather Report / Word of Mouth) on percussion, and Bobby Mintzer (World Of Mouth) on saxophone, here stunning solos are offered by Molineaux, Pabon, Sebastian, Mintzer and Joseph. Othello Molineaux is a master of the steel drums, and probably most responsible for bringing the steel drums of Trinidad into modern-jazz. It should be noted that Jaco, a pioneer, had the remarkable vision to feature this instrument on his Word Of Mouth orchestral project, giving rise to this unique instrument.
Continuum
Michael Gerber - acoustic piano Gil Goldstein - electric keyboard Romero Lubambo - acoustic guitar Mike Stern - electric guitar Armando Marçal - percussion
Most Jaco fans would agree that Continuum is one of Jaco's most beautiful compositions, appearing on his debut album, Jaco Pastorius (Epic), and where Jaco's bass played the captivating melody throughout, only interupted by his ellaborate bass solo. Such a stunning performance, it's rather difficult to invision covering this composition utilizing a bass player without sounding pretentious. For that reason there is no bass on this rendition of Continuum, as two keyboards, Michael Gerber on acoustic and Gil Goldstein on electric, and two guitars, Romero Lubambo on acoustic and Mike Stern on electric, four masters weaving and implying the melody throughout. Supported by the airy mood that Armando Marçal summons from his assorted percussion instruments, again Michael Gerber displays his sensitivity, feelings for a friend and inspirational figure in his life, Jaco.
I Can Dig It Baby
Ines Bergara - lead vocal Hugo Fattoruso - piano, keyboards, voice Felix Pastorius - electric bass
percussionists Fernando “Lobo" Nuñez, Gustavo Oviedo, Walter “Nego" Haedo, Jorge “Foque" Gomez, Washington Pintos, Noe Nuñez, Mariano Barroso, Pablo “Piraña" Silva
chorus Urbano Moraes, Gustavo Montemurro, Carlos Quintana, Cesar Martinez, Mariana Garcia Vigil, Silvana Lombardini, Gabriela Gomez, Norma Galfetti
I Can Dig It Baby was not composed by Jaco, though there is a great story behind this wonderful song composed by Willie “Little Beaver" Hale, Betty Wright, and Willie Clarke. “Little Beaver" was a sensational guitarist and singer during the 1970s, playing as a sessionman on many of the soul hits of that era. In the year 1974 he recorded for the Cat label the album Party Down. Of the seven tunes on the LP, the bass playing is credited to four, George “Chocolate" Perry, Ron Gordon, “Little Beaver", and Nelson “Jocko" Padron. One track in particular, track number one on the B Side of this LP, has gained much attention through the years, that tune being “I Can Dig It Baby". The reason, is quite simple to understand. The bass player, credited as Nelson “Jocko" Padron, called in to lay down the bass on this track, was mistakenly credited. The fact is his name was actually John Francis Pastorius III “Jaco", who laid down that unmistakable groove. “I Can Dig It Baby" was, to the best of anyone's knowledge, at about 23 years of age Jaco's debut commercial release as a studio sessionman.
New York producer Neil Weiss has been working with music in Montevideo, Uruguay during the past several years, and very involved in a dynamic Afro-Uruguayan rhythm called Candombe.
On Gospel For J.F.P. III, I Can Dig It Baby is performed by Grupo Del Cuareim, under the musical direction of maestro Hugo Fattoruso (arranger, acoustic piano, keyboards, voice). Produced by Neil Weiss in Montevideo, Uruguay, this new rendition of I Can Dig It Baby features Ines Bergara on lead vocal, Felix Pastorius on electric bass (debut release as a studio sessionman, 17 years old at the time of this recording), 8 percussionists playing the Candombe rhythm, and a chorus consisting of 4 male and 4 female vocalists.
The Afro-Uruguayan rhythm Candombe, which is unique to Uruguay, has played a significant role in Uruguayan culture for over 200 years. The rhythm is created by the use of three drums (tambores), tambor piano, tambor chico and tambor repique. A drum is hung from the shoulder, and each played with an open hand and a stick in the other. The piano is the largest in size, and lowest in pitch of the three drums, holding the rhythmic base of candombe. Its rhythmic function is similar to the upright or electric bass. The chico (small) name given because of its size and thinner drumhead, is the highest in pitch of the three drums, and the rhythmic pendulum. The repique's (ricochet) name tells us this drum embellishes candombe's rhythm with improvised phrases.
Dania
Michael Gerber - piano Kenny Davis – acoustic bass Billy Hart - drums
Another Jaco composition that did not appear on any of Jaco's earlier albums, the tune did eventually find it's way onto the album Nightfood (Global Pacific) and Pastorius Live in N.Y.C., Volume One (Big World). As did the titles of several of Jaco's compositions, the title “Dania" (Dania Beach, Florida) suggests Jaco's love for the tropical areas of Florida, where he had spent most of his life.
On Gospel For J.F.P. III this rendition of Dania, performed by The Michael Gerber Trio, featuring jazz drummer extraordinaire Billy Hart, and the beautiful sounding acoustic bass of Kenny Davis, this trio displays how Jaco's wonderful compositional skills make it possible for his musical works to travel across the wide spectrum of musical styles. Here the track kicks off with Michael Gerber's count, “1, 2, 3", and from that point on it's “full steam straight-ahead".Once again “Gerbs" never loses sight of the melody, as this powerful trio runs down the tune, a hot day on Dania Beach.
Punk Jazz
Gil Goldstein - accordions
Punk Jazz, another masterpiece that Jaco brought to the Weather Report repertoire, appeared on the ground-breaking album Mr. Gone. On Gospel For J.F.P. III this rendition of Punk Jazz is performed by Gil Goldstein, friends with Jaco since his early days at University of Miami.
Gil Goldstein began playing accordion at age 5, switched to piano at age 10, and rediscovered the accordion in 1987. An early milestone in his career was his tenure as pianist for drummer Billy Cobham. As an arranger and/or producer Gil has collarborated with a wide variety of stellar artists, including Pat Martino, Michael & Randy Brecker, Pat Metheny, Jim Hall, Quincy Jones, Miles Davis, Ryuichi Sakamoto, and many others... He served as a member of Gil Evans' “Monday Night Orchestra," sharing keyboard responsibilities with the master arranger. Gil Goldstein is a leading interpreter of the works of Gil Evans and Jaco Pastorius, and has published a book, “The Jazz Composer's Companion", including some of his original compositions, and dozens of tunes by Jaco Pastorius, Bill Evans, Jim Hall, Ralph Towner, Steve Swallow, Pat Metheny, Michael Gibbs, illustrating specific compositional techniques.
On this rendition Gil re-contructs Punk Jazz using only accordions. One night producer Neil Weiss invited Gil to go hear a friend ("The Electric Mermaid") play flute, the reason was because she played her flute through guitar affects, and Weiss thought this might be something they could explore with the accordion. The following day Gil went out and purchased a rack of guitar affects, and ran his accordion through them. As you can hear, it worked. The combination of Gil's orchestration skills, several accordions (including a bass accordion), a distorted idea from an Electric Mermaid, and his love for Jaco, no doubt, Gil Goldstein is a “Punk".
Teen Town
Kenwood Dennard - drums Marcus Miller - electric bass Hiram Bullock - guitar Delmar Brown - keyboards Charles Blenzig - keyboards
Teen Town, one of the masterpieces that Jaco brought to the Weather Report repertoire, appeared on the ground-breaking album Heavy Weather.
During 1985-87 Kenwood Dennard was one third of the power trio that included Jaco Pastorius on bass, and Hiram Bullock on guitar. Known by his friends as “Woody", he was invited as the featured drummer on the Jaco Pastorius instructional video, “Modern Electric Bass". On Gospel For J.F.P. III drummer-extraordinaire Kenwood Dennard leads a stunning cast of musicians to re-visit Teen Town.
Kenwood began playing piano at age 3, and drums at age 8. He began his professional career at age 11 as drummer for the gospel-soul group 'Listen My Brother', which also included Luther Vandross, Nat Adderly Jr. and Carlos Alomar, all teenagers at the time. They appeared at The Apollo Theatre, Avery Fisher Hall and The Fillmore East, openning for Sly & The Family Stone. Kenwood attended Berklee, and after graduating joined The Pat Martino Group, recording the album 'Joyous Lake'. One year later he performed world-wide and recorded the album 'Livestock' with the British fusion group Brand-X.
On this rendition of Teen Town Kenwood's infectious rhythmic groove joined by bassist-extraordinaire Marcus Miller's heavy thumb, sets the pace for 5 friends “jamming", and having fun doing it. Solos by Bullock, Miller and Brown, the power and fury of rock, “fusion" in the best sense of the word. No doubt drumming on Teen Town has special meaning for “Woody", as his friend Jaco was actually the “drummer" (in addition to being the bassist) on the original Weather Report version of the tune.
Microcosm
Rich Franks - drums Alex Darqui - acoustic piano John Patitucci - acoustic bass
A Jaco composition that did not appear on any of Jaco's albums, here Microcosm is performed by two of Jaco's oldest friends, Rich Franks and Alex Darqui, joined by John Patitucci on acoustic bass. There are not many who can actually tell the factual story of the when? why? who? and how?, in regards to Jaco's beginnings as a bass player. There are distorted versions of these FAQs (frequently asked questions), finally the “truth".from a man who knows, Rich Franks.
Prior to playing the bass, Jaco Pastorius was a drummer, as was his father and grandfather before him.
Brothers Rick Kaydes (trumpet) and Gary Kaydes (trumpet) were the co-founders of Fort Lauderdale, Florida's Las Olas Brass, and a “16 year old Jaco, the drummer" (1966). Rick Kaydes asked drummer Rich Franks to join the band, as Rich was a jazz drummer, and as Jaco explained, Rich was much better than him, especially in jazz. Jaco was an R&B drummer and Rick wanted the band to play more jazz. At the same time Rick also knew that the bass player was going to be leaving the group, and so he suggested to Jaco that he would like him to be bass player of Las Olas Brass. At rehearsal the bass player informed the group he would be leaving, and Jaco informed them that he was going to begin to play the bass. Rich Franks recalls, “I remember we played a few tunes with Jaco on bass that day, Jaco asked the bass player, “just show me where to put my fingers", and Jaco began playing immediately". Jaco had one week to learn all of the material. That is when he bought his first Fender Jazz Bass and Sunn amplifier. Within one week Jaco had learned every tune in the repertoire, and shortly after began writing arrangements for the horns. Jaco had told his new friend Rich Franks, “the moment I picked up the bass I knew it was my instrument." In conclussion, Rich Franks replacing Jaco as the drummer for Las Olas Brass can be viewed as the impetus for a young Jaco to become a bass player. The rest is history.
Drummer Rich Franks first met keyboardist Alex Darqui in 1968, when Rich found Alex performing in a Florida jazz club. Following that meeting Rich introduced Jaco to Alex, and the 3 became playmates. Many years later Jaco had expressed interest to go into the studio to record with Rich and Alex, something that unfortunately never happened. It should also be noted that originally Jaco spelled his name as Jacko, Alex had written a note to him spelling his name Jaco, the young Pastorius liked it and kept the spelling.
The composition Microcosom was written by Jaco in 1972, 21 years old at the time, and never appeared on any of Jaco's recorded works. Jaco had gifted the chart to Alex Darqui, saying that this was the first jazz waltz he had composed. The chart used to create this rendition of Microcosm was the same chart given to Alex Darqui by Jaco 32 years ago, and here performed by these 2 old friends, and the extraordinary John Patitucci on acoustic bass. Both Rich and Alex have come a long way, but never leaving behind their love for their friend, John Francis Pastorius III (Jacko / Jaco). That is The Gospel (The Truth).
Good Morning Anya
ZEBRA COAST BAND Gil Goldstein - piano & accordion Jorge Pardo - saxophone Carles Benavent - electric fretless bass Alex Acuña - drums
A Jaco composition that did not appear on any of Jaco's albums, an unfinished version of it did appear on the controversial “Holiday For Pans". Jaco was producing this album with Othello Molineaux, with the thought that it would be released on Warner Bros.. Unfortunately the label lacked vision and understanding, Jaco found himself without a home for what would have been another Pastorius masterpiece. The unfinished tapes found their way into the hands of an unscrupulous engineer, who somehow found justification (in his mind) to run off with the master tapes, with the hope to turn them into money. He found a man with the money, but did not find a man with the principles required to take this unfinished project to an artistic level that would have brought some form of justice to this unfinished piece of work.
Jaco Pastorius married Ingrid, they had twin boys, Julius & Felix. Julius and Felix have a cousin, and her name is “Anya", the daughter of Ingrid's brother Paul. As you'll here on this rendition of Good Morning Anya, it's a happy tune, with a melody reflective of the love that Jaco had for family.
Zebra Coast is a quartet that can best be described as World-fusion. Founded by Gil Goldstein, and including Spain's Carles Benavent and Jorge Pardo (both long-time members of Paco DeLucia's band), and Peru's Alejandro “Alex" Acuña (Weather Report / Black Market, Heavy Weather). This particular version of Good Morning Anya was culled from 20 hours of digital recordings made during a week long engagement, “Live At The Village Vangaurd",
Gospel For J.F.P. III
TRIO FATTORUSO Hugo Fattoruso - keyboard & voice Francisco Fattoruso - electric bass Jorge Osvaldo Fattoruso - drums Gospel For J.F.P. III was not composed by Jaco, the Tribute ends with a dedication.
Uruguay's Fattoruso Brothers (Hugo & Jorge) were co-founders of the World-fusion group Opa, and during the early-to-mid-1970's spent a significant amount of time living and performing in the U.S.A., mostly in Florida and New York City. Opa was an underground sensation. The group recorded two albums, “Golden Wings" and “Magic Time"(Milestone), as well as serving as the core band on the Airto Moreira album “Fingers" (for which Hugo Fattoruso composed 3 of the 7 tunes) .It was in 1979 when The Fattoruso Brothers appeared on the Manolo Badrena album “Manolo". On one of the tunes, “The One Thing", two bassists were used, Abraham Laboriel and Jaco Pastorius.
The Fattoruso Brothers have formed a new trio, Trio Fattoruso, Hugo, Jorge, and Hugo's son Francisco on electric bass.
SHort audio clips of each of 11 songs available on the website: http://moonjunerecords.com
For more info:
Promo copies available for reviews and radio playing, worldwide.
Featuring jazz and fusion legends, band mates and colleagues of the legendary electric bass virtuoso and innovator Jaco Pastorius, among others: Alex Acuña, Carles Benavent, Charles Blenzig, Delmar Brown, Hiram Bullock, Kenwood Dennard, Hugo Fattoruso, Michael Gerber, Gil Goldstein, Danny Gottlieb, Billy Hart, Toninho Horta, Bireli Lagrene, Armando Marçal, Marcus Miller, Bob Mintzer Othello Molineaux, Jorge Pardo, Felix Pastorius Jaco’s son, John Patitucci, Mike Stern and more.
This uplifting proclamation of Jaco Pastorius' musical doctrine features a modernized viewpoint consisting of Bop induced piano jazz; thrusting, bass-heavy funk and jazz-fusion spiced up with a taste of the Caribbean and South America and much more. With this release, Jaco's Gospel is preached by over 60 world class musicians resulting in a truly, globalized perspective of his existing legacy. More importantly, the various artists' extract the bassist's inherent compositional attributes, only to reshape rhythms and melodies into a nouveau perspective. Hence, a prudent tribute that stands on its own... definitely the best Jaco tribute heard to date. - GLEN ASTARITA - Contributor to Downbeat Magazine, Allaboutjazz.com and Jazzreview.com
As a musician, John Francis Pastorius III (Jaco) brought change. He boldly took his instrument, the electric bass guitar, to uncharted waters, and an instrument that is commonly placed behind the music, to the front. As a musician, Jaco's talent was not confined to the bass, more than a musician, Jaco was music.The focus of this project, Gospel For J.F.P. III, is on Jaco, the composer, a man with an extraordinary ability to create music. The body of material that he himself composed is not enormous, further proof that less is more, as these compositions rightfully fall into the status of contemporary standards, and sure to pass the test of time. Involved here are many of the musicians that were part of his life, as well as others his music has touched. Needless to say, Jaco's own renditions of his wonderful compositions could never be surpassed, only interpreted, and serve as an inspiration to all those who love his music.
Three Views Of A Secret
Hiram Bullock - electric guitar Bireli Lagrene - acoustic guitar Contrafarsa - chorus
Gospel For J.F.P. III begins with what is considered by many to be Jaco's most beautiful composition, a tune that first appeared on Jaco's Word of Mouth orchestral project. This rendition of Three Views begins with the 14 voices of Contrafarsa, under the direction of Eduardo “Pitufo" Lombardo. From Montevideo, Uruguay, Contrafarsa has been singing together for over 20 years in a particular voicing style, “Murga", that is unique to Uruguay. Following their exquisite introduction comes the dynamic guitar duet by two world-class guitarists, Hiram Bullock on electric, and French gypsy Bireli Lagrene on acoustic. Both Hiram (1985) and Bireli (1986) have toured with Jaco, and here pay tribute to Jaco, who has touched their lives in a most special way. After trading melodies and solos the guitarists are joined by Contrafarsa for the grand finale.
Las Olas
Michael Gerber - piano Toninho Horta - acoustic & electric guitars Kenny Davis - acoustic bass Danny Gottlieb - drums Armando Marçal - percussion
Las Olas, a boulevard in Ft. Lauderdale, Florida, is one of Jaco's more obscure compositions, as it hadn't appeared on any of Jaco's own records, though it did appear on the album 'I'm Fine, How are You?' by Airto & Flora Purim, with Jaco on bass. On Gospel For J.F.P. III, this Brazilian-flavored rendition of Las Olas features Jaco's friend Michael Gerber on piano. From Florida, Michael Gerber (referred to by his many friends as “Gerbs") has been blind since birth. This inability is more than compensated by Michael's extra-ordinary ability on the piano, whereby his sense of melody and harmony is matched by his phenomenal dexterity. Co-produced by maestro Gil Goldstein, here “Gerbs" is joined by Toninho Horta on guitars and voice. Considered the rhythm ambassador of Brazil, Toninho's interpretation of this Jaco masterpiece is breathtaking, as his acoustic guitar and vocal introduction sets the pace, joined by the moving rhythm section of Armando Marçal, Danny Gottlieb and Kenny Davis. Both “Gerbs" and Horta take beautiful solos, fully respecting the beautiful melody that Jaco created for what can be considered a Brazilian Classic.
Havona
Othello Molineaux - steel pans Bob Mintzer - tenor saxophone Abel Pabon - keyboard Pete Sebastian - electric bass Johnathan Joseph - drums Robert Thomas Jr. - percussion
Havona, one of the masterpieces that Jaco brought to the Weather Report repertoire, appeared on the ground-breaking album Heavy Weather. On Gospel For J.F.P. III Trinidadian Othello Molineaux takes the lead role on this rendition of Havona, transforming the steel pans into a fluid wind-instrument, supported by some of the finest talent Florida has to offer. Including 2 long-time collaborators of Jaco, Robert Thomas Jr. (Weather Report / Word of Mouth) on percussion, and Bobby Mintzer (World Of Mouth) on saxophone, here stunning solos are offered by Molineaux, Pabon, Sebastian, Mintzer and Joseph. Othello Molineaux is a master of the steel drums, and probably most responsible for bringing the steel drums of Trinidad into modern-jazz. It should be noted that Jaco, a pioneer, had the remarkable vision to feature this instrument on his Word Of Mouth orchestral project, giving rise to this unique instrument.
Continuum
Michael Gerber - acoustic piano Gil Goldstein - electric keyboard Romero Lubambo - acoustic guitar Mike Stern - electric guitar Armando Marçal - percussion
Most Jaco fans would agree that Continuum is one of Jaco's most beautiful compositions, appearing on his debut album, Jaco Pastorius (Epic), and where Jaco's bass played the captivating melody throughout, only interupted by his ellaborate bass solo. Such a stunning performance, it's rather difficult to invision covering this composition utilizing a bass player without sounding pretentious. For that reason there is no bass on this rendition of Continuum, as two keyboards, Michael Gerber on acoustic and Gil Goldstein on electric, and two guitars, Romero Lubambo on acoustic and Mike Stern on electric, four masters weaving and implying the melody throughout. Supported by the airy mood that Armando Marçal summons from his assorted percussion instruments, again Michael Gerber displays his sensitivity, feelings for a friend and inspirational figure in his life, Jaco.
I Can Dig It Baby
Ines Bergara - lead vocal Hugo Fattoruso - piano, keyboards, voice Felix Pastorius - electric bass
percussionists Fernando “Lobo" Nuñez, Gustavo Oviedo, Walter “Nego" Haedo, Jorge “Foque" Gomez, Washington Pintos, Noe Nuñez, Mariano Barroso, Pablo “Piraña" Silva
chorus Urbano Moraes, Gustavo Montemurro, Carlos Quintana, Cesar Martinez, Mariana Garcia Vigil, Silvana Lombardini, Gabriela Gomez, Norma Galfetti
I Can Dig It Baby was not composed by Jaco, though there is a great story behind this wonderful song composed by Willie “Little Beaver" Hale, Betty Wright, and Willie Clarke. “Little Beaver" was a sensational guitarist and singer during the 1970s, playing as a sessionman on many of the soul hits of that era. In the year 1974 he recorded for the Cat label the album Party Down. Of the seven tunes on the LP, the bass playing is credited to four, George “Chocolate" Perry, Ron Gordon, “Little Beaver", and Nelson “Jocko" Padron. One track in particular, track number one on the B Side of this LP, has gained much attention through the years, that tune being “I Can Dig It Baby". The reason, is quite simple to understand. The bass player, credited as Nelson “Jocko" Padron, called in to lay down the bass on this track, was mistakenly credited. The fact is his name was actually John Francis Pastorius III “Jaco", who laid down that unmistakable groove. “I Can Dig It Baby" was, to the best of anyone's knowledge, at about 23 years of age Jaco's debut commercial release as a studio sessionman.
New York producer Neil Weiss has been working with music in Montevideo, Uruguay during the past several years, and very involved in a dynamic Afro-Uruguayan rhythm called Candombe.
On Gospel For J.F.P. III, I Can Dig It Baby is performed by Grupo Del Cuareim, under the musical direction of maestro Hugo Fattoruso (arranger, acoustic piano, keyboards, voice). Produced by Neil Weiss in Montevideo, Uruguay, this new rendition of I Can Dig It Baby features Ines Bergara on lead vocal, Felix Pastorius on electric bass (debut release as a studio sessionman, 17 years old at the time of this recording), 8 percussionists playing the Candombe rhythm, and a chorus consisting of 4 male and 4 female vocalists.
The Afro-Uruguayan rhythm Candombe, which is unique to Uruguay, has played a significant role in Uruguayan culture for over 200 years. The rhythm is created by the use of three drums (tambores), tambor piano, tambor chico and tambor repique. A drum is hung from the shoulder, and each played with an open hand and a stick in the other. The piano is the largest in size, and lowest in pitch of the three drums, holding the rhythmic base of candombe. Its rhythmic function is similar to the upright or electric bass. The chico (small) name given because of its size and thinner drumhead, is the highest in pitch of the three drums, and the rhythmic pendulum. The repique's (ricochet) name tells us this drum embellishes candombe's rhythm with improvised phrases.
Dania
Michael Gerber - piano Kenny Davis – acoustic bass Billy Hart - drums
Another Jaco composition that did not appear on any of Jaco's earlier albums, the tune did eventually find it's way onto the album Nightfood (Global Pacific) and Pastorius Live in N.Y.C., Volume One (Big World). As did the titles of several of Jaco's compositions, the title “Dania" (Dania Beach, Florida) suggests Jaco's love for the tropical areas of Florida, where he had spent most of his life.
On Gospel For J.F.P. III this rendition of Dania, performed by The Michael Gerber Trio, featuring jazz drummer extraordinaire Billy Hart, and the beautiful sounding acoustic bass of Kenny Davis, this trio displays how Jaco's wonderful compositional skills make it possible for his musical works to travel across the wide spectrum of musical styles. Here the track kicks off with Michael Gerber's count, “1, 2, 3", and from that point on it's “full steam straight-ahead".Once again “Gerbs" never loses sight of the melody, as this powerful trio runs down the tune, a hot day on Dania Beach.
Punk Jazz
Gil Goldstein - accordions
Punk Jazz, another masterpiece that Jaco brought to the Weather Report repertoire, appeared on the ground-breaking album Mr. Gone. On Gospel For J.F.P. III this rendition of Punk Jazz is performed by Gil Goldstein, friends with Jaco since his early days at University of Miami.
Gil Goldstein began playing accordion at age 5, switched to piano at age 10, and rediscovered the accordion in 1987. An early milestone in his career was his tenure as pianist for drummer Billy Cobham. As an arranger and/or producer Gil has collarborated with a wide variety of stellar artists, including Pat Martino, Michael & Randy Brecker, Pat Metheny, Jim Hall, Quincy Jones, Miles Davis, Ryuichi Sakamoto, and many others... He served as a member of Gil Evans' “Monday Night Orchestra," sharing keyboard responsibilities with the master arranger. Gil Goldstein is a leading interpreter of the works of Gil Evans and Jaco Pastorius, and has published a book, “The Jazz Composer's Companion", including some of his original compositions, and dozens of tunes by Jaco Pastorius, Bill Evans, Jim Hall, Ralph Towner, Steve Swallow, Pat Metheny, Michael Gibbs, illustrating specific compositional techniques.
On this rendition Gil re-contructs Punk Jazz using only accordions. One night producer Neil Weiss invited Gil to go hear a friend ("The Electric Mermaid") play flute, the reason was because she played her flute through guitar affects, and Weiss thought this might be something they could explore with the accordion. The following day Gil went out and purchased a rack of guitar affects, and ran his accordion through them. As you can hear, it worked. The combination of Gil's orchestration skills, several accordions (including a bass accordion), a distorted idea from an Electric Mermaid, and his love for Jaco, no doubt, Gil Goldstein is a “Punk".
Teen Town
Kenwood Dennard - drums Marcus Miller - electric bass Hiram Bullock - guitar Delmar Brown - keyboards Charles Blenzig - keyboards
Teen Town, one of the masterpieces that Jaco brought to the Weather Report repertoire, appeared on the ground-breaking album Heavy Weather.
During 1985-87 Kenwood Dennard was one third of the power trio that included Jaco Pastorius on bass, and Hiram Bullock on guitar. Known by his friends as “Woody", he was invited as the featured drummer on the Jaco Pastorius instructional video, “Modern Electric Bass". On Gospel For J.F.P. III drummer-extraordinaire Kenwood Dennard leads a stunning cast of musicians to re-visit Teen Town.
Kenwood began playing piano at age 3, and drums at age 8. He began his professional career at age 11 as drummer for the gospel-soul group 'Listen My Brother', which also included Luther Vandross, Nat Adderly Jr. and Carlos Alomar, all teenagers at the time. They appeared at The Apollo Theatre, Avery Fisher Hall and The Fillmore East, openning for Sly & The Family Stone. Kenwood attended Berklee, and after graduating joined The Pat Martino Group, recording the album 'Joyous Lake'. One year later he performed world-wide and recorded the album 'Livestock' with the British fusion group Brand-X.
On this rendition of Teen Town Kenwood's infectious rhythmic groove joined by bassist-extraordinaire Marcus Miller's heavy thumb, sets the pace for 5 friends “jamming", and having fun doing it. Solos by Bullock, Miller and Brown, the power and fury of rock, “fusion" in the best sense of the word. No doubt drumming on Teen Town has special meaning for “Woody", as his friend Jaco was actually the “drummer" (in addition to being the bassist) on the original Weather Report version of the tune.
Microcosm
Rich Franks - drums Alex Darqui - acoustic piano John Patitucci - acoustic bass
A Jaco composition that did not appear on any of Jaco's albums, here Microcosm is performed by two of Jaco's oldest friends, Rich Franks and Alex Darqui, joined by John Patitucci on acoustic bass. There are not many who can actually tell the factual story of the when? why? who? and how?, in regards to Jaco's beginnings as a bass player. There are distorted versions of these FAQs (frequently asked questions), finally the “truth".from a man who knows, Rich Franks.
Prior to playing the bass, Jaco Pastorius was a drummer, as was his father and grandfather before him.
Brothers Rick Kaydes (trumpet) and Gary Kaydes (trumpet) were the co-founders of Fort Lauderdale, Florida's Las Olas Brass, and a “16 year old Jaco, the drummer" (1966). Rick Kaydes asked drummer Rich Franks to join the band, as Rich was a jazz drummer, and as Jaco explained, Rich was much better than him, especially in jazz. Jaco was an R&B drummer and Rick wanted the band to play more jazz. At the same time Rick also knew that the bass player was going to be leaving the group, and so he suggested to Jaco that he would like him to be bass player of Las Olas Brass. At rehearsal the bass player informed the group he would be leaving, and Jaco informed them that he was going to begin to play the bass. Rich Franks recalls, “I remember we played a few tunes with Jaco on bass that day, Jaco asked the bass player, “just show me where to put my fingers", and Jaco began playing immediately". Jaco had one week to learn all of the material. That is when he bought his first Fender Jazz Bass and Sunn amplifier. Within one week Jaco had learned every tune in the repertoire, and shortly after began writing arrangements for the horns. Jaco had told his new friend Rich Franks, “the moment I picked up the bass I knew it was my instrument." In conclussion, Rich Franks replacing Jaco as the drummer for Las Olas Brass can be viewed as the impetus for a young Jaco to become a bass player. The rest is history.
Drummer Rich Franks first met keyboardist Alex Darqui in 1968, when Rich found Alex performing in a Florida jazz club. Following that meeting Rich introduced Jaco to Alex, and the 3 became playmates. Many years later Jaco had expressed interest to go into the studio to record with Rich and Alex, something that unfortunately never happened. It should also be noted that originally Jaco spelled his name as Jacko, Alex had written a note to him spelling his name Jaco, the young Pastorius liked it and kept the spelling.
The composition Microcosom was written by Jaco in 1972, 21 years old at the time, and never appeared on any of Jaco's recorded works. Jaco had gifted the chart to Alex Darqui, saying that this was the first jazz waltz he had composed. The chart used to create this rendition of Microcosm was the same chart given to Alex Darqui by Jaco 32 years ago, and here performed by these 2 old friends, and the extraordinary John Patitucci on acoustic bass. Both Rich and Alex have come a long way, but never leaving behind their love for their friend, John Francis Pastorius III (Jacko / Jaco). That is The Gospel (The Truth).
Good Morning Anya
ZEBRA COAST BAND Gil Goldstein - piano & accordion Jorge Pardo - saxophone Carles Benavent - electric fretless bass Alex Acuña - drums
A Jaco composition that did not appear on any of Jaco's albums, an unfinished version of it did appear on the controversial “Holiday For Pans". Jaco was producing this album with Othello Molineaux, with the thought that it would be released on Warner Bros.. Unfortunately the label lacked vision and understanding, Jaco found himself without a home for what would have been another Pastorius masterpiece. The unfinished tapes found their way into the hands of an unscrupulous engineer, who somehow found justification (in his mind) to run off with the master tapes, with the hope to turn them into money. He found a man with the money, but did not find a man with the principles required to take this unfinished project to an artistic level that would have brought some form of justice to this unfinished piece of work.
Jaco Pastorius married Ingrid, they had twin boys, Julius & Felix. Julius and Felix have a cousin, and her name is “Anya", the daughter of Ingrid's brother Paul. As you'll here on this rendition of Good Morning Anya, it's a happy tune, with a melody reflective of the love that Jaco had for family.
Zebra Coast is a quartet that can best be described as World-fusion. Founded by Gil Goldstein, and including Spain's Carles Benavent and Jorge Pardo (both long-time members of Paco DeLucia's band), and Peru's Alejandro “Alex" Acuña (Weather Report / Black Market, Heavy Weather). This particular version of Good Morning Anya was culled from 20 hours of digital recordings made during a week long engagement, “Live At The Village Vangaurd",
Gospel For J.F.P. III
TRIO FATTORUSO Hugo Fattoruso - keyboard & voice Francisco Fattoruso - electric bass Jorge Osvaldo Fattoruso - drums Gospel For J.F.P. III was not composed by Jaco, the Tribute ends with a dedication.
Uruguay's Fattoruso Brothers (Hugo & Jorge) were co-founders of the World-fusion group Opa, and during the early-to-mid-1970's spent a significant amount of time living and performing in the U.S.A., mostly in Florida and New York City. Opa was an underground sensation. The group recorded two albums, “Golden Wings" and “Magic Time"(Milestone), as well as serving as the core band on the Airto Moreira album “Fingers" (for which Hugo Fattoruso composed 3 of the 7 tunes) .It was in 1979 when The Fattoruso Brothers appeared on the Manolo Badrena album “Manolo". On one of the tunes, “The One Thing", two bassists were used, Abraham Laboriel and Jaco Pastorius.
The Fattoruso Brothers have formed a new trio, Trio Fattoruso, Hugo, Jorge, and Hugo's son Francisco on electric bass.
For more information contact All About Jazz.
