All language subtitles for (2015)Jaco[ING]

[JAZZ MUSIC PLAYING]

MAN 1: You gotta understand
that this was 1976.

James Brown, Stravinsky,

Jimi Hendrix, Elvis Presley,
Frank Sinatra,

all of these people
were making music
at the same time.

Everybody wore it as a badge,

it was a war crime
to be different,

musicians owned
the music business,

MAN 2: This guy approaches me.

Then he said, "By the way,
I want to introduce myself."

"My name is
John Francis Pastorius III.

I'm the greatest bass player
in the world."

And I said,
"Get the fuck out of here."

MAN 3: I'm saying to myself,
"Well, I'm might be selling
this little white kid.

I'm gonna have to show him
what to play and everything.

I have to tell him that,
you know.

I... The only thing
I wanted to say was,
"Slow down, man."

[LAUGHS]

MAN 4: He could play Fields.

Blues Fields, that people
hadn't played in 30 years.

MAN 5: Good Lord,
no one was fucking with
John Francis Pastorius III.

You kidding me?

You know, many come
and few are chosen.
He just had that.

WOMAN: He had a mystical face.

You know, contact
with the great mind,
the divine mind,

that permeates us all.

MAN 6: We were all like,
"Man, Jaco!"

And you know, it was like
going to a game

and you're rootin' for,
you know, Michael Jordan.

MAN 7: There were people
who broke the bones
in their thumbs

so that they could bend
their thumbs back
like Jaco could.

MAN 1: Oh, it's just
the sound of it.

MAN 2: The sound? I said,
"What the fuck is that?"

MAN 8: That's a bass player
doing that.

MAN 5: And not in your lifetime
are you gonna find
another one like that.

[JAZZ MUSIC CONTINUES]

MAN 3: Good evening.
Welcome to Oakland Park,
Florida, where I grew up.

I had the fortunate experience
of growing up with everybody
that played music.

I know where I stole
every note.

And I was raised
by the best musicians
in the world.

Thank you, Jesus and God.

[WHISTLE BLOWS]

MAN: Had to be '83 or '84...

How do you feel
today, Jaco?

- Okay, Jerry.
- All right.

You know, a lot has
been said about you.

But the main thing
is that people recognize
the fact

that you're able to play
with real sincerity,

every style of music.

Not only every style,
but you can play
all parts of a given piece

at the same time,
on this one instrument,
the bass.

Now, because of this,
a lot of people
have gone crazy

trying to duplicate
what you do.

People who have
become great fans
of the bass

and given it
quite a bit of attention.

How do you, uh,
feel about that?

- Give me a gig, you know.
- [BOTH LAUGH]

[PLAYS A CHORD]

He said, "Well, heck,
you know, give me a gig."

And ironically,
at that particular point,

he couldn't get...
He couldn't get a gig.

What drove you
to this point?

It was all over him.
You could see it,

that he was a man
who had trouble.

But getting it out
was, was very important.

Even, you know,
in the shape that he was in.

[BASS GUITAR PLAYING]

It wasn't just notes.

It had feeling,
it had meaning to it,
it had character.

You can't really
teach that,

This is stuff that he
learned to play
when he was in his heart.

[THUNDER RUMBLING]

[BASS GUITAR PLAYING]

[CROWD CHEERING
AND APPLAUDING]

ROBERT: Jaco, four letters.
Who is this guy?

And once you actually
heard him play,

you know, it was like
getting slapped in the face,

you know, just bam!
Wow!

FLEA: Everything changed
when he started playing,

it was never
the same again,

he shredded everything
that came before him

and it will never
be done again.

He just changed the rules

of what's possible
on the bass
and what can be done.

That, that dude
was the greatest, you know.

I mean, we all say
that he's our Hendrix.

[AUDIENCE CHEERING]

[CONTINUE CHEERING]

[SOMBER MUSIC PLAYING]

JERRY: Remarkable talent.

The delivery system was that,
yeah, the chops were there,

but the support he needed
was pulled away.

For whatever reason.

He was already an artist,
you see,

and being an artist,
it's hard to, you know,

it's hard to go back.

[ELECTRONIC MUSIC PLAYING]

JACO: I grew up in Florida,
where there was no
real musical prejudice.

There was all sorts of music.
Everything from Cuban music

to symphonic music,
everything.

Like, everything
you wanted to hear,
you could hear it.

And everything was here.

I really wasn't influenced
that much by bass players.

To tell you the truth,

I didn't even know
who the bass players were
most of the time.

The main thing
was just the music itself.

Whatever was like hip then,
that's what I was checking out.

Mostly, like, all 45s.

[PLEASE DON'T LOVE ME PLAYING]

* Please don't love me

* And please don't step on toes

* It's not too smart
To walk on hearts

* So, baby, please go slow...

We moved to Florida
in around '58, '59.

There was never
a bad record in our house.

Nat King Cole, Tony Bennett,
all the big bands.

That was all I would listen to.

* But, baby, please go slow

* And don't be so dark
I'm serious

* You could learn to fly...

Jaco used to come up
and watch us.

Believe it or not,
we're working in
Charlie Johnson's Crab House

and his mother
brought him in for dinner.

And I got Jaco
up on the bandstand

sat him on the piano.

He sang the whole
Come Fly With Me album.

Sinatra album.

That is the first time
that I ever thought,

"Man, like, this guy
is gonna be something else."

He just sat there like nothing
and sang the whole album.

- [BASS GUITAR PLAYING]
- [APPLAUSE]

Jaco used to go to bed at night
with little transistor radios.

He would listen to Cuba.

He would get Cuba
on that radio.

- [CUBAN MUSIC PLAYING]
- [PEOPLE CHATTERING]

He was obsessed
with good music.

He served papers.

He had 250 papers a day.
In the off season.

He was a worker.
He was a worker.

So one day he went out
and bought
a full set of drums.

All the money he saved.

[CUBAN MUSIC CONTINUES]

Jaco was born
John Francis Pastorius III,

but my mom didn't
want to call him John

'cause that was,
you know, my grandfather.

And it wasn't
going to be Jack.

And she says she came up
with Jaco.

My mom had a really
horrific childhood.

Her mother took everything
that was wrong in her life,
out on my mom.

She was the middle
of nine children.

My mom wanted to be
the homemaker, you know,

She wanted to take care
of somebody.

My dad did not want
to be taken care of.

They would go out
to dinner

and everybody wanted
to buy Jack a drink.

He was an entertainer.

And so, it became
pretty evident

when we moved
to South Florida

that we were gonna live
with my mom

and my dad was gonna
float around.

[ENGINE REVVING]

My dad, you know,
sent money.

A couple of times
where it lapsed.

Clothes got passed down

and you know, I can remember,
you know, pancakes
and Kool-Aid for dinner.

You know, it was
life with mom.

[DRUMSTICKS CLACKING]

[UPBEAT MUSIC PLAYING]

[INDISTINCT CHATTER]

Las Olas Brass
was based on, you know,
the Tijuana Brass,

Herb Alpert's thing.

Soul tunes
and anything Motown.

But back then,
Florida was,

South Florida was
a cracker town, man.

You got the nice white side
over here, on the east,

and to the west was
what you now call the hood.

We would go ride our bicycles
over into, you know, the hood.

And I remember,
we used to sit on sacks.

[MUSIC CONTINUES]

[DOG BARKING]

BOB: In the neighborhood
there was this club...
There it is.

You know, it was like,
two houses put together.
And a fence around it.

And everyone's howling
in the street.
[HOWLS]

You know, they got
a couple of neon signs.

It's like a makeshift
night club in the middle
of this neighborhood.

It was wild, you know.

And I'm thinkin', "Okay,
you know, I don't wanna"

act like I'm frightened
or concerned about this."

We're kids, you know.

But he says, "Park there."
He directs me to park

over weeds, in this field.

And he goes, "Listen, man,
I'm gonna get ready to play
and be cool."

[JAZZ MUSIC PLAYING]

This place was wild.

It's a total black club,
of course, and he's already
got this like, jive thing,

"Hey, baby,
what's happening?"

And you know, it's,
"Oh, hey, Jaco."

It's like he practiced
with the band, you know.

I mean, he knew the tunes.

Jaco was looking for
the best musicians,

searching out the hottest cats.

He loved guys
like Little Beaver,

Frank Williams
and The Rocketeers.

These guys aren't on records
on the stores,

they're been played
on black stations only.

Like on WRBD Radio,
it was a black station.

By the way, Jaco got
three dollars that night.

Three dollars.

[SOMBER MUSIC PLAYING]

JACO: That was it.
I just started that simple.

I just went and bought a bass
and I was working at night,

just making like
I could play it, you know.

R&B or maybe
some rock 'n' roll
or whatever.

Just to get some work,
you know.

Have some fun.

And I had no ambition
whatsoever in life, at all,

except for just,
um, play tonight.

That's it. I'm gonna go
play tonight over at this club,
you know.

[ROCK 'N' ROLL MUSIC PLAYING]

[ENGINE REVVING]

* Can't Turn You Loose...

I love, rot gut, stomp, kick,
blues, rhythmic blues.

Over the years,
I was know as
the king of Blue Eyed Soul.

See, up to then people toured,
that's what you did,
you toured year round.

I toured 48 to 50 weeks
a year for 25 years.

And if you walk off
with any energy left
then you didn't give your all.

I mean, you had to be the best
amongst the most exciting,
the baddest that ever lived.

It was hell on any musician.

They just didn't believe
when you come into band
that you could cut it.

Because they believed
they were the baddest
kickers in the world.

They could chew
a little kid like Jaco up.

And he comes in
to audition, of course,

the band put charts
in front of him

from what I gather,
he didn't read much at all.

All that mattered to me
was can he play a field.

I just give him a chord and say
"I'm gonna count to four,
we're gonna play a blues."

Play some lead blues right now.

* 'Cause the old folks

* The old folks
Keep on dying, yeah... *

He was straight,
he could play fields,
blues fields,

that people hadn't played
in thirty years.

If he heard it one time,
he could play it
authentically,

but not only
where the notes right,
the field was right.

And that was the one thing
that impressed me.

I knew it, I knew
somebody in the band
gonna teach him to read.

RANDY: Jaco had two pairs
of corduroy jeans
and three t-shirts

and everything he owned fit
in his Fender bass case.

The tux was way to big for Jaco
so he left all his clothes on

and put the tux on
over it so he's got

two layers of clothes
to make his tux fit

[LAUGHING]

He kept all his money
and cash and put it in his sock

and he put it in his
Fender bass case.

And uh,

he spent very little money.

If we ate in a restaurant,
he ordered the cheapest thing
on the menu.

Usually a hot dog.
That's what he ate.

Put the rest of the money
in his sock, kept it,
and sent it home.

He was, he was
a great road father.

[BIRDS CHIRPING]

[MELLOW MUSIC PLAYING]

I was instantly
comfortable with him.

You know, he had
that kinda power over people.

Instant charm.

He was a junior,
I was a sophomore.

And he and I just sat
on a beach bench

and just talked
for a couple of hours.

Both our fathers
were Jazz musicians,

both our families
had broken up,
the fathers drank to much,

you know, I, I didn't have
to put on any errors.

He had it figured out
mathematically.

That when I was a senior
in high school,

"You know what,
I think it's time for us
to have a baby."

He had places to go.

GREGORY: When Mary was born.

The day she was born,
Joc and I went to the hospital

and where looking at her
through the glass.

She's in there
in a bassinet.

Jaco looks at me
and goes, "Gregory",

I got to do something
on that electric bass
that's never been done before."

And he pointed at Mary.

I was like, "Well,
okay I get it."

You know, he's got
to support this kid and...

I mean, you know,
he was a working musician.

But, working musician
around town, that's,
that's tough.

And so, it just,
the way he said it,

I got to do something
that's never been done before.

Well, he did.

[PLAYING BASS GUITAR]

That voice,

was the voice of music,
it was the singer
and the horn.

It's not the rhythm section.
The rhythm section is there
doing the work to support it.

We're the, we're the
setting of that ring.

We made that diamond
shine brilliantly.

In the right setting
the gem is beautiful,

in the wrong setting,
you can't see
the brilliance of it.

So, our job is primarily
to support that stone,

but he was able
to become the stone also.

First thing, was to learn
to melody to every tune.

- Um-hmm.
- Which I feel is like
ultra important.

- Uh-huh.
- The melody
is always designated

let's say to a horn player
the piano or the guitar.

- Um-hm.
- But it's nice to play
it on the bass, too.

Certainly.
And a fretless bass.

The fretless, I, I took
the frets out of my bass

after I was, you know,
getting into jazz a lot
and to have that,

that upright sound, you know,
so I had an upright.

Took me years and years
to get enough bread to get it.

One morning when I woke up,

in the corner the base
is in, like, a hundred pieces,

you know, 'cause the humidity
is so bad, I mean,
the upright just blew up.

I said, "Forget it,
I can't afford this any more,
so I went out",

got a knife,

and took all of, you know,
frets out of my Fender.
That was it.

And the rest
is history.

[BOTH CHUCKLE]

Careful, don't cut yourself.

Don't cut me.

Yeah.

It's closer to the the,
the sound of a voice,
the flexibility of a voice.

The inflections.
This, this adds to,
to sort of a

metallic tone to the,
to the quality to the sound.

That's right,
it's less metallic.

[LAUGHING]

Using a fretless bass

gave the instrument
a resonance

not to similar to a cello.

That resonant rich warm tone
that sounds like a cello.

I think, every bass player
in the world having heard that

was... their world
was suddenly re-calibrated.

What about harmonics?

That's something that you,
like you pioneered.

I mean, this must have
had harmonics on them forever,
but you have like,

almost like you
went to a mine

and you know, gotten gold
out of something
that wasn't there before.

Well, when I was first playing

a friend of mine

I saw him just tuning his guitar
with harmonics
which everybody does and uh,

so I was just doing this,

it sounded like music to me
so I just kept,
kept exploring it.

That's all
there was to it.

He explored the harmonic range
of, of the instrument by,
by playing harmonics

that uh, gave the bass
suddenly a symphonic range.

Which again
was ming blowing.

[PLAYING BASS GUITAR]

I think they gave me
a cassette of Jaco playing.

And I'm listening
to this wondering
who in the heck is this?

Nobody plays like this.

I was hard to describe.

Jaco, married to Tracy
with his two kids
John and Mary.

Definitely a family man,
almost like uh, like uh
like a farmer.

His own personality
is so in much what he does.

You're not even aware
of the influences.

You're hearing something new.

What I heard was him.

And that's one of
the most important elements
that a musician must have.

Jaco had developed
his own sound.

[UPBEAT MUSIC PLAYING]

[MAN VOCALIZING]

* There's days in my life
When I drift through my mind

* Thinking about the good times
The kind I left behind

* Next, I'm aware...

This was I think, 1974.

My band was
Blood, Sweat and Tears.

He was doing
a residency down there,

a Bachelors III
in Fort Lauderdale.

[CHATTERING]

The softball team
for Bachelors III
asked me to play

and center field was a blond
woman and she had her mid
on and her hands on her knees.

She went, "Badder, badder,
hey, badder, badder!"

I just said, "Who are you?"
And she said, "Oh, I'm Tracy."

I said, "Well, how are you
affiliated with this group?"

She said, "Well, I work at
the club." I said, "I never
saw you at the club."

She said, "I don't hang out
much, I just kinda go home."

And she was really cute,
really, really sweet girl.

I said, "Are you married?"
And she said, "Yes."

Uh... Pause.
"To the greatest bass
player in the world!"

This fellow shows up,
thin guy with kind of
plastic glasses.

And he said, "I'm
Tracy's husband, Jaco."

I said, "Oh. I understand
you're the greatest bass
player in the world."

He said, "I am."
And I went, "Okay."

And then of course,
the arrogant New York
side of me came out.

And I said, "Well, why
don't you get your bass
and just play a little bit?"

Just play."

[BASS GUITAR MUSIC PLAYING]

He played Donna Lee,
that's a Charlie Parker
song with a solo.

[PLAYING THE SAXOPHONE]

[PLAYING THE DRUMS]

[PLAYING THE SAXOPHONE]

He played it with the facility
and the phrasing

and nuance as
a saxophone player.

He wouldn't go...
[VOCALIZING]

He'd go...
[VOCALIZING]

Which I had never heard
before in that instrument.

And I said, "You know,
look, I'm gonna try
and get you a record deal."

[JAZZ MUSIC PLAYING]

I brought Jaco to New York

and he lived there
with me while we
were doing this album.

Luckily the head of A&R
was a bass player.

And I thought, you know,
there is no one that's
gonna hear this who plays

a stringed instrument
that isn't gonna go,

"All right. Let's just start
all over and figure out
what's going on."

And Jaco had a tremendous
sense of loyalty.

His friends in Florida
meant a lot to him.

And he wanted to keep them
involved as much as possible.

He comes to my house
and he says, "We got signed!"

As soon as he said "we"
like we was like Simon
and Garfunkel or something.

He said, "Come on, you gotta
fly up here to New York."

And he says, "Do not come
up if you're not gonna deliver."

He didn't tell me a lot of
what we were walking into.

My first day there, I walk
into Columbia Studios,

Hubert Laws is
the first one I see

and then I turn
and there's Lenny White
sitting by the drums,

and Jaco's eyes have
lit up 'cause he knows
he's found home.

This is the level
that he belongs on.

[JAZZ MUSIC PLAYING]

Word got out really fast
around the New York scene.

Jaco was able to handpick
whoever he wanted.

If you look at the pictures,
from that recording,

my hair was all over my head
and you know, it was wild.

And basically, what would
happen is, we would go
play, take a take,

and go outside
and play basketball.

I mean, we could have
done this on bicycles

with microphones and he
would have played it perfectly.

I don't think there were
a lot of takes on anything.
And there were no expectations.

This wasn't a hit record,
pop radio, sort of thing.

My goal was to bring
Jaco to as many people
as humanely possible.

To just have them listen
and recognize this genius.

And then from there, whatever
happens, happens but that's
the goal of a first record.

And that's what
I wanted to happen

and I'm absolutely confident
that's exactly what happened.

[BASS GUITAR MUSIC PLAYING]

Everybody was interested
in working for Jaco.

I went over there
with Ronson.

"We've got to see
this guy, you know."

And Jaco just sat us up there
in Bobby's house playing...

Kind of like a performing
seal or something.

Enormous ego, but innocent.

He was 21 years old
at that point.

He knew about dope,
he knew about all that stuff.
He was too clever for that.

He would sit on top
of a hill and meditate.

He had it all down, you know.

I'm just about to do
All American Alien Boy
so he said, "I'll do that."

He was totally immersed
in whatever he did.

In my case, it was the record
I was doing.

But like three months later,
he was totally immersed
in something else.

* Well I was born
On the line

* And I was raised
On the line

* Oh, I was schooled
On the line

* And I was fazed
On the line

* And I was used
On the line

* And I was dazed
On the line

* Just had to split
Off the line

* 'Cause I was crazed
Off the line

* But I remember
All the good times

* Me 'n Miller enjoyed

* Up and down the M1
In some luminous yo-yo toy

* But the future has to change

* And to change
I've got to destroy

* Oh look out Lennon
Here I come

* Land ahoy-hoy-hoy

* All American Alien Boy
All American Alien Boy

* All American Alien Boy
All American Alien Boy

* All American Alien Boy
All American Alien Boy *

Hello. Tonight's South Bank
Shows are filled with American
jazz band, Weather Report.

[JAZZ MUSIC PLAYING]

NARRATOR: Josef Zawinul
was born in 1932.

And he grew up
in a village in Vienna woods.

His music still draws on
his memories in Austria.

There was a guy,
he played the piano and
he played something, uh...

I never heard even
the name... Jazz.

But there was something
about the name jazz...

And I was kind of ego
tripping on this.

You know, I said, J-A-Z-Z,

somehow I saw,
I saw my name in there.

NARRATOR: Zawinul began
with Wayne Shorter

in Miles Davis' great
band of 1969.

At that time, Davis was
gathering a number

of the most talented
young musicians around him.

Men like John McLaughlin,
Herbie Hancock, Tony Williams
and Chick Corea.

Together, they were forging
a completely new kind
of electronic jazz.

In getting into the 1970s,

and we knew there was
a hell of a change happening,

and that we would be
somehow responsible for it.

When we went to Florida,
we were leaving a theater
and walking down a street.

Someone from Florida
walking with us said,

"The guy Jaco is right behind
you, he's right behind you."

Jaco brought his album

and he'll throw it
as a Frisbee to Joe...

And say, "Hey Joe,
check this out! Ba!"

You know, throw it like that.
And Joe, um, got it.

Then he said, "By the way,
I wanna introduced myself",

"My name is
John Francis Pastorius III,

I'm the greatest bass
player in the world."

And I said,
"Get the fuck outta here."

I mean, that's the way
I said it.

That evening after
we finished playing,

I can hear music coming
out of a room,

I kinda stop,
and it's Joe's room.

You know, I peep in
and I... I didn't see Jaco,

I saw his back, his back
was to the door, but I could
hear this recording and I go,

"Wow, who's that?" you know?
So Joe said,

"Come in, come in.
I want you to meet this guy.
He's a bad motherfucker."

So he introduced me to Jaco
and listened to the record.
It was incredible.

I started putting two
and two together, you know?
[LAUGHING]

Here's this phenomenal
bass player Joe's interested in,

what are my chances of
my being around much longer?

So I just kind of went for
the other gig and just
worked out perfect.

All of a sudden, here come
the news, Alphonse Johnson,

gonna quit the band
because he's gonna make

George Duke and
Billy Cobham, a band.

It was July, 1975 exactly.

We just came back from Boston,
Cannonball Adderley had died.

It was a very hard thing
for me.

And I wrote a song which
is called, Cannonball.

I had this little melody
in the beginning,

which I thought this guy's
tone would be perfect for
this kind of thing, you know?

So we started writing
this particular tune.

And in the beginning,
he was busy, you know?

So I just stopped the band
for a minute

and I said, "You know what?
We already know you can play."

"Forget about that.
You are here with us now,
you know better now.

You have a beautiful tone,
use that tone."

And what happened at that
point is on the record.

[JAZZ MUSIC PLAYING]

Joe told me he wanted that
Florida sound on Cannonball.

- That Florida sound.
- Yeah.

[BASS GUITAR MUSIC PLAYING]

For Wayne and me,
he was the third.

You know if
you have a triangle,

this was three
forceful personalities.

Totally different
and nobody giving an inch.

Joe, when we finished
that tune, he called his wife.

"Maxine, Maxine, please
tell so and so to cook tonight,

"blah, blah, bring
a lot of food and wine
and this and that.

"We're having
a banquet tonight because
we're gonna celebrate.

A new guy has come, a genius."

And Jaco right there told
Joe, "I need to talk to the
managers of Weather Report."

And Jaco talked to them,

"Okay, I wanna know if I can
put one song in the album?"

And they laugh at him.

They guys were telling
him on the phone, they said,

"Hey Weather Report
out of recording...

Those are the best writers
in the whole world!"

I said, "That's right
but I want to put
a tune in there."

And that's uh...
[VOCALIZING]

[BASS GUITAR MUSIC PLAYING]

He knew how serious it is

to leave a piece of your soul

in a recording 'cause
it's gonna stay there forever.

It's not about bass playing.
He was being a storyteller.

We said we played music
with hills and valleys

and streams
and confrontations.

People think that playing
jazz is just a couple
of chords, you know.

They call
Earth, Wind and Fire jazz,

and they call Kenny,
cheap jazz.

It's not, it's deeper
than that.

Jazz is a challenge to
improvise and be in the moment.

That one moment
equals eternity.

The sound of the music
that is produced

is really the greatness
of the human being.

[BASS MUSIC PLAYING]

[APPLAUDING]

[CLAPPING AND WHISTLING]

We were just new, it was fresh,
there was nothing like it.

You know, and we were
all like, "Man, Jaco, man!
It was like..."

It's like going to a game
and you're rooting for,
you know, Michael Jordan.

You know, it's impossible
or difficult not to like
someone who

uh, we all identify
with at that point.

You know, we're all
rooting for him.

It pushed the envelope.
It pushed you to do your best.

And I think, uh, in doing that,
it helped push that whole era

in reaching and there
was no boundaries.

It was like, "Wow, if
he could do that, then
maybe I can do this."

I'm gonna take you
there, baby. Got ya!

[BASS GUITAR MUSIC PLAYING]

There was a musical
movement going on.
And we were in it.

So google it, baby.
[GIGGLES]

[BASS PIANO MUSIC PLAYING]

A lot of promotion,
sold out shows
across the country.

Uh, people going crazy.
It was really exciting.

'Cause prior to that,
that didn't exist.

You know, rock was rock
and jazz was jazz, there
wasn't a lot of fusion going on.

[BASS GUITAR MUSIC PLAYING]

Back then, you went
to see Van Halen

and then you would
go see Jaco Pastorius

with the Weather Report
or Stanley Clark with
Weather Returned Forever.

It was the outrageous
virtuosity.

[BASS GUITAR MUSIC PLAYING]

[VOCALIZING]
You know, like playing
all this crazy shit.

And I was a kid
and I was just like,

"This guy is the coolest
motherfucker that ever lived!"

[BASS GUITAR MUSIC PLAYING]

The so called jazz police
were having fits.

These same people that were
going to Ozzy Osbourne
concerts,

were now coming to see
Returned Forever and
Weather Report.

And you go out there
and you play everything
at 99 miles an hour,

as loud and as fast
as you can.

[BASS GUITAR MUSIC PLAYING]

[BASS DRUMS MUSIC PLAYING]

[BASS PIANO MUSIC PLAYING]

[BASS SAXOPHONE MUSIC PLAYING]

The band hired me pretty much,
just purely on the strength
of Jaco's recommendation.

Jaco and I were half
the age of Joe and Wayne.

We were the kids
and we were the elders.

And yet Joe and Jaco
would compete like brothers.

He could go toe to toe with
Zawinul where anyone
else would fear to tread.

[BASS GUITAR MUSIC PLAYING]

[APPLAUDING]

- Thank you.
- [CHEERING]

- How you doing?
- [CHEERING]

- That's Peter Erskine!
- [APPLAUDING]

- Jaco Pastorius!
- [APPLAUDING]

- Joseph Zawinul!
- [APPLAUDING]

Joe Zawinul would
come and say,

"Oh man, we are
the greatest band in
the world, man, you know.

"I mean, like please,
everybody's playing this stuff,

but we play it the real deal,
we play good stuff."

And Jaco considered
himself the greatest
bass player in the world.

So he had the greatest bass
player in the world getting
the greatest band in the world.

Oh man, those two...

were like two cobras.

Two cobras in
a very small cage,

with no where to go
but they have to make
this relationship work.

That's what it was like
watching them on stage.

And I can remember,
Zawinul with his speed

and in between the cracks,
there would be Jaco
with something sick.

- [PLAYING THE PIANO]
- [PLAYING THE BASS GUITAR]

And I remember sitting
there, hearing this
conversation come in and out,

that's when I realized,
"Man, this is like
a boxing match."

It would always
surprise me when
I'd hear him criticize Jaco.

"You know, Jaco sounds
like a trombone sometimes.

You know, teen talents,
this is not really a
Weather Report song."

Jaco hated that.

He didn't want to hang
around for any of that
so he would disappear.

Jaco respected his jazz elders.

And yet, he wasn't above
ruffling their feathers.

In these photos, you can see
Wayne in the background.

He was drinking,
had his cigarette,
he's just watching,

Wayne never said anything,
Joe was doing all the talking.

Jaco used to say,
me and Frank Sinatra,
we're Sagittarians.

I'm a Sag, he's a Sag.
[CHUCKLING]

He met my mother
and said, "You're a Sag!"

My mother said,
"I'm a Sag, too!"

And she always talked about
courage and guts to get through
the damn day and everything.

And, um, she would say
this about Jaco, "That child",
she'll call him "that child".

"That child", she said,
"that child, he knows
what he's talking about."

Then she'll say, "He's mighty
wild though, ain't he?"

His identity in music
and theater was coming out.

That's what Jaco had,
a history, not just a library
but a history,

of being open and not
shutting out many
kinds of music.

The bass almost
became incidental.

[BASS GUITAR MUSIC PLAYING]

[BASS GUITAR MUSIC PLAYING]

[APPLAUDING]

[BASS TEMPO INCREASES]

[THUD]

[APPLAUDING AND CLAPPING]

[CHEERING AND WHISTLING]

For this next song, I have
to go into a rather funny tune.

This is a song about
a daydreamer.

And daydreaming can
get you into a lot of
difficulties sometimes,

if not used properly.

[GUITAR MUSIC PLAYING]

[JOAN SINGING]

It took me a long time
to find a rhythm section
that could play my music.

So I went through
a lot of players,

I'll put them on the record
and take them off.

So it was until
my sixth album,

that one of the guys
in this section, Ruskunkel,
the drummer said to me,

"Joannie, you know,
you're gonna have to
play with jazz musicians."

I heard this guy, he played
what he was gonna play

and I said, "Well, could
you play this note?"

And he went, "I'm not
playing that. That's not
the route of the chord."

I said, "Well, it will be
when you play it. I mean..."

And he rebelled on another
issue and finally he said,

"There's this really weird
bass player in Florida

you'd probably like him."

I said, "Well, would
he play these things
I'm asking you?"

"He's already doing
that weird stuff." Right?

So I sent for Jaco,
excited on seeing him.

[SERENE INSTRUMENTAL
MUSIC PLAYING]

* I'm traveling in some vehicle

* I'm sitting in some cafe

* A defector
From the petty wars

* That shell shock love away...

[BASS GUITAR PLAYING]

I'd set up
this architecture in me,

he just kind of instinctively,
played figuratively...

You know, you're inviting
another painter to join
you on your canvas.

It's very conversational.

* It's just as natural

* As the weather
in this moody sky today

* In our possessive coupling

* So much could
not be expressed *

Jaco came into work one night
and he said, "Look at my neck."

And I looked at it and on
this side, there was
a bruise and a redness

and a hollow like that...
It looked like it had
been made by a pipe.

And he was driving
home the night before
from the studio,

straight up Sunset Boulevard

to this motel
where he was staying.

And the cops
pulled him over.

And I don't know what
he said to that cop,
but the next thing he knew,

the cop had his pistol
shoved into his throat.

You know, deeply because
the impression of it was
still there 24 hours later.

Or 20 hours later.

And while the cop had
that pistol at his throat,

he said I said to myself,
"It's not my time to die."

And he apparently seemed to
know when his time to die was.

I mean, this was side to him
that not many people
knew about.

I remember he took me
up to the bar in Keio Plaza
to have a drink.

And so we get the Sake
and we have a drink
and he starts crying.

And I said, "Well, what's wrong?
What's wrong, man?"

And he says, "Well, listen,
I'm gonna die when I turn 34."

"And I would like you
to look after my babies."

So I said,
"You got it. You got it."

Sometimes you see things
you don't wanna know.

Especially about yourself.
And this was one of
those times for Jaco.

[JAZZ MUSIC PLAYING]

[CHILDREN LAUGHING]

MARY: My vision of my dad
in my mind's eye always
goes to that period.

He has no shirt on,
he's in corduroy
cut-off Levi shorts

and he's barefoot
and his hair's long
and he's tan.

He was so young
when I was born
and he wasn't famous yet.

If he had gigs, you know,
outside Calypso bars,
whatever, we weren't so...

I had him there every day.

- He would point out,
you know, bird sounds...
-[BIRDS CHIRPING]

- Wind blowing through
leaves or chimes.
-[CHIMES TINKLING]

He heard music in everything.

[SEAGULLS SQUAWKING]

It's a gift and I mean,
it's a burden, too.

My father was my hero.
And still is my hero.

You know, every dad
should be their son's hero.

He bought like a Yamaha,
what was it? 750?

-[ENGINE REVVING]
- And we'll just jump on and
ride all the way up the coast.

[ENGINE REVVING]

I would never tell him,
I'm scared.

And I'll be holding on,
terrified,

but holding on,
that's what I miss the most.

[ENGINE REVVING]

I mean,
he was a great dad, man.

I mean, but I know
he wanted to be there more.

[JAZZ MUSIC PLAYING]

You know, I remember
postcards he'll always
send to John and Mary.

Every postcard, he'll either
point out the historical fact,

or he'll post a question,
get the kids thinking.

Almost every morning,
without fail.

He knows his important
part of the routine

when we travel,
to find postcards

to get stamps
for those postcards.

Any city we went to,
no matter how tired we were,

we were gonna hit the streets,
we were gonna see

the best that Florence
or Rome or Milan had to offer.

Venice... "Come on,
let's ride in the gondolas."

"Let's go on the canals."
When are we gonna get
a chance to do that?

Um, we had fun.

I never saw him on
those first tours

act high or drunk,
it was all good times.

Um, but it was present.

He was like a kid, you know,
he would do things,

like hide on the bus
while it's moving.

And Zawinul will be looking
for him for 30 minutes
and nobody could find him.

And then he would give
up and then Jaco would
come out laughing.

And these are the kind
of things he would do,
just very playful.

Going on stage,
"No prisoners!"

was the last thing you would
hear him say. "No prisoners!"

[BASS GUITAR MUSIC PLAYING]

[ENGINE WHIRRING]

KRIS KRISTOFFERSON:
March, 1979, 200 singers,

musicians and technicians
and 70 tonnes of equipment

to arrive at
Jose Marti airport,
Havana for the Havana jam.

Okay, Havana here we are.

It's really happening for
the first time ever.

Looking out the window
of this car,

I'm feeling more like
Christopher Columbus
than Kris Kristofferson.

The Havana Jam,
Kris Kristofferson,

Rita Coolidge, Stephen Stills,
Billy Joel... It was odd.

Billy Joel and Jaco giving
each other attitude.

With all the bands kind of
there to support each other,
yet were dissing each other.

It's gonna be a face
to face confrontation
between people who

had best only heard
of each other over 90
miles of Caribbean water.

For three nights, the stage
of the Karl Marx Theater

here in Havana, Cuba
will be shared by American

and Cuban musicians
in a unique cultural exchange.

First of its kind
since political, economic

and philosophical
differences separated
our country 20 years ago.

[APPLAUDING]

That distinctive pulse at
the heart of Cuban music
is an African heartbeat.

I think you'll hear
it in the work of
the astonishing Tata Guines.

[CHEERING AND WHISTLING]

[TAPPING ON
THE PERCUSSION DRUMS]

[TAPPING ON
THE PERCUSSION DRUMS]

Jaco was like a kid
getting the autograph
of Tata Guines.

Many of the patterns that
Jaco played on the bass
were really Congo patterns.

You know, Jaco's whole
Florida beat, his whole
Caribbean thing, it's that.

[TAPPING ON
THE PERCUSSION DRUMS]

Coincidentally, I mean,
the Havana Jam was the first
sign of things going wrong.

Jaco got into a thing

with one of the musicians
who was the Fania All-Stars.

I think these guys were
also from Puerto Rico.

And I don't know
if there was some Cuban,
Puerto Rican musical dynamic,

but the guy definitely was
giving Jaco short shrift.

I mean, Jaco almost got
into a fist fight. I think Joe
had to break it up.

And then Jaco lost face
and I think, uh,

part of that mechanism
of his losing face and this
whole humiliation thing,

and it played out
and This Trio of Doom,

which had tremendously
successful rehearsals
in New York.

[BASS MUSIC PLAYING]

It was the buzz talk
of the whole trip,
The Trio of Doom.

The Jazz, rock, whatever
you want to call it were
equivalent to the three tenors.

[CHEERING]

Tonight, we have visiting
Tropicana of a group of
American artists...

It could have been great.

But once Jaco kind of
went into his little
self-destruct mode,

which unfortunately
occurred during their set.

The concert was pretty
much considered a disaster.

I mean, Jaco
was just not himself.

Playing Portrait of Tracy,

and turning the bass
up really loud, just
not playing the tunes.

Tony never forgave him.

And it was an odd pattern.
I mean, whenever Jaco
would lose face somehow,

there would be this
odd acting out.

I don't know what
the dynamics are, you know.

My dad was psychiatrist
and he tried to help Jaco.

Maybe my father didn't
pass along too much

of that wisdom to me but...

You know, there was some
complicated stuff going on.

[APPLAUDING]

[DRUMS BEATING]

[JAZZ MUSIC PLAYING]

* Watching the dry cleaner
Do it

* Like Midas
In a polyester suit

* It's all luck!
It's just luck!

* You get a little lucky
And you make a little money! *

[BASS GUITAR PLAYING]

He played in Santa Barbara.
Jaco came out on tour.
He came late for rehearsals,

shoved my mike off the center,
widened his space,
powdered the floor,

and you know, took long solos
where he danced around a lot.

[BASS DRUMS MUSIC PLAYING]

[BASS SAXOPHONE PLAYING]

[BASS GUITAR MUSIC PLAYING]

[APPLAUDING]

[LAUGHING]

On bass, Jaco Pastorius!

[CLAPPING AND CHEERING]

In Santa Barbara where
we filmed, his wife and
his mother showed up.

I don't know what those women
did to him in the back room...
[LAUGHING]

But it was a good thing
because when he came out
that night and took his solo,

he opened up by quoting,
I was High and Mighty.

[JAZZ MUSIC PLAYING]

It was starting
to fall apart.

Jaco and the kids and Tracy
and fame, and all that.

It was just you know,
some things changing.

[BASS GUITAR MUSIC PLAYING]

[APPLAUDING AND CLAPPING]

Jaco took the fame hit.

I can't imagine
walking, you know,
out or doing something,

then all of a sudden,
all these people
congregate around you,

and wanna know you
and talk to you

and be part of you know,
what's going on.

I just... It frightens me.

Suddenly, he was entering
some kind of challenges
that didn't exist before.

Certainly, Tracy's relationship
was home for him.

And it pained him
and it saddened him that

that relationship ended,
you know.

I think that was
a huge loss for him.

You know, failure in the life
of a guy who had experienced
so much triumph.

[DRUMS BEATING]

[BASS GUITAR PLAYING]

He was conveying his inner
self on his canvas.

Everything came out
on the instrument

as if he was
on the psychiatrist couch

and revealed everything
about who he was.

[INCREASED THE TEMPO
OF THE BEAT]

[LOUD CHEERING]

[BASS GUITAR MUSIC PLAYING]

[BASS GUITAR MUSIC PLAYING]

[MUSIC STOPS]

[APPLAUDING AND CLAPPING]

[CHEERING AND WHISTLING]

- [CHILDREN CHATTERING]
- [SEAGULLS SQUAWKING]

CONRAD: So tell me, what
happened with that little tour
with Johnny in the summer?

Did it open up any
new things for you?

JACO: No. No, I'm just doing
my own thing, you know.

CONRAD: No, I mean... But have
you got a project happening?

JACO: I don't know, you know,
'cause, I mean, I'm still
just the side man, you know?

CONRAD: Right.

CONRAD: So is Epic, are you
hanging it up with Epic

or are you gonna try
to renegotiate with them?

JACO: Oh, they're
such assholes,
man, you know, like uh...

CONRAD: Do have a contract
where they've got an option
on your next record?

JACO: Yeah, but that don't
matter to me, you know?
[LAUGHING]

All this legal shit
in the record business

has got to change because
it's 100 percent rip off.

I will never put up
with any of that shit.

I will never get
ripped off like that.

Because I don't care.
I'll just come home
and play baseball all day.

-[LAUGHING]
- Which I do when I'm home,
you know what I mean?

And play basketball
and Frisbee and just
have fun, you know?

The key issues in his life
then were family upheaval.

Big changes in family.

And also,

dissatisfaction with
his established work.

What was on record
so far for him,
left him dissatisfied.

He had married Ingrid and
moved up to Deerfield beach.

We would get
together at 4:00 a.m.

And he wanted to be
recording every morning
when the sun came up.

He obviously had compositional
ideas that were...

There's a lot of hints
of those on the first record.

Okonkole y Trompa,
it's just a masterpiece.

It's almost classical music.

He had things to show people
that they'd never heard before.

They were in his head
for quite a while.

People realized that this is...

We don't know what this is.

Show us.

[JAZZ MUSIC PLAYING]

I mean, there was
a buzz on Jaco, of course.

Here's a guy that could
write, that could arrange,
that could play.

He was a collaborator.

It was apparent to some
of us that this guy was
really something special.

And in addition to being
something special

had the potential really,
you know, to break
through and cross over.

We set out on, really kind
of a quest to get Jaco to
come to Warner Brothers.

It was a start level deal,
make no mistake about it.

And because the record
business is a business,

expectations, you know,
tend to follow the deal.

If you sign an act for
$75,000, your expectations,
you know, are at one level,

if you sign an act
for four times that...

[JAZZ MUSIC PLAYING]

He said,
"You know what dub is?"

And I said, "I believe
I do. Yeah, I know,
it's like the old reggae",

the guy dropping
the fader, talking over you..."

He goes, "Yeah, it's gonna be
a little different than that."

He said, "We're not
gonna let anybody hear
anyone else's parts."

Whatever happens,
let's see if it fits."

It had a life of it's own.
It really grew powerfully.

[JAZZ MUSIC PLAYING]

It's very rare that any record
has a piece on it like this.

Pablo Picasso Guernica,
Jaco Pastorius' Crisis.

I mean, they are
of the same cloth.

[BASS GUITAR MUSIC PLAYING]

He wanted to open
the record with this.

I mean, there are a lot of
people at the company,

if they'd heard this
track, they'll just pull
their hair out and said,

"Wait a minute,
we can't even have this.

"This is crazy.
It's a cacophony.

It's a atonal. Nobody
can follow it. It's scary."

I'm shaking right now
as I think about it.

I was kind of scared
of the idea of it
opening the record.

They pleaded with him.

They said, "Any of it
to him about that."

"We can't get this
album onto radio

if that's the first track."

I think it really
made him very happy

to think of this
going on a record.

[JAZZ MUSIC PLAYING]

I would say that
he was venting.

He was venting little bit
of personal frustration.

And then he realizes

that it's the only way
to start a record like this.

You know,
it's to make people

wonder what's coming.

And then what comes
is so different.

[PIANO MUSIC PLAYING]

The Word of Mouth album

was so revealing
of Jaco as a person.

It was almost

embarrassing to listen to it,
it was so intimidate at times.

And it was
the most courageous

things ever done,
it was the most
daring thing he's done.

It's Jaco's
internal thing,

to real cure
with euphorias.

[JOHN AND MARY PLAYING]

There were some people
that were less than

thrilled about this, they
thought, "Aw, wait a minute."

"This is like
the switch arrow.

"He signed this guy
to make these

big hit fusion records
and now he's doing
this thing over here."

Um...

I know how comfortable
he was with the concept.

How good he felt about
what he was doing,
that it was right.

Label had never
quite really acknowledged

the master work it was.

And it hurt Jaco
deeply to tears.

It really did hurt him.

I remember Jaco,
really needing
Joe's approval.

And we would
call him on the phone.

And play the tape,
with the phone held up.

All the time.

And it was often,

the end of the day session.

Because Joe will be
cruelly dismissive.

I kind of wanted
to say to Jaco,
"Let's not call Joe today."

Joe had a fighters instinct
or a boxers instinct.

He had a Myles instinct
that through his,

you know, glass chin
or a soft spot in the belly.

They knew how to
find it pretty quick.

The final tour
began with Joe,

listening to
the Word Of Mouth album.

He wanted to wait
for that perfect moment,

to play the music for Joe.
And he thought

after lunch flying to Tokyo,
will be the perfect moment.

Joe takes off the headphone
and I hear him say,

"Nah, that just sounds like
some typical high school
big bam bullshit."

That's what Joe said about
Liberty City.

And I couldn't believe it.

That was Joe's way of

slapping down the son,
who's like

threatening his reign.

In a sense.

That fucking music
was on the highest level.

John and Mary, that...

Joe would love to write
something like that.

I think there was
a point of

fear by Joe in

feeling like the son
had taken over.

[LAUGHING]

Where do you
wanna go from here?

I got it, I got it,
I got it, I got it.

[CYMBALS CRASHING]

*Ti ri ta ta ta ta
Ta ta ta *

JACO: In 1982, our men took off
from Weather report.

We've been together
a long time,

just like anything else,
you gotta have space, too.

Playing in Weather report
didn't allow me
any time to do anything

- on my own.
- Uhm...

So I said to myself,
"Forget it, Jaco.
You gotta get to work."

And I don't care
what Joe thinks about.

'Cause I know,
I can get the job done, man.

And that's it.

[HORN TOOTING]

Jaco would come up and just
stay with us, crash with us.

We were just
playing in a club.

And right down where I lived,

from where I lived
called 55 Grand Street.

The problem for me,

at that point was
that I was totally out.

You know I was
really high a lot.

So much so that Myles,
actually tried to put
me in a rehab.

And when Myles tries
to put you in a rehab,

you know, you got
a little bit of a Joan.

And the nick name
of 55 Grand,
was 55 gram.

[LAUGHS]

Is it that what
you're talking about?

Yeah, so you know,
you know what, there was,

there was lot of condiments
flowing through, you know.

People were doing what they
wanted to do. I mean,
there was nothing really

out in the open, but you know,
if you're there late enough
probably there was.

I mean, Jaco would hang
for a day, go straight

through days and days,
never stops hanging.

[LAUGHS]
It was like dumb asses
just hanging down the street.

I said,
"Create the Hang Dynasty club."

So if you hang
for three days,

you'll be a member
of this club.

You know, if you didn't hang
for three days straight,

you aren't in the club.

So, everybody
passed the test.

[LAUGHS]

So we had a band.

You know, at that point,
that was normal.

It wasn't that far out
for the musicians.

But Jaco's playing, became
an extension almost
of his behavior off stage.

Sort of John Belushi
kind of man.

People almost felt
cheated if they didn't,

you know, well,
Jaco really acted
like Jaco tonight.

They got their money's
worth out of him.
But meanwhile, now he's gotta

be wreck the next day.

And so I think,
there was some pressure.

It didn't occur to me,
not to be with him.
We were just kinda like

brothers in a way,
you know we just, we well...

We were in the same boat.

[JAZZ MUSIC PLAYING]

[JAZZ MUSIC CONTINUES]

[AUDIENCE CHEERING]

He was a cult figure
of sorts, I mean,

what stuck me
at one point was...

"Man we're playing
like an old Bebop tune
from the '40s,"

for these young people
and they're freaking out

going crazy and I thought
isn't it fantastic.

The frustrating thing
to me was,

this thing was
up and running
from note one.

We sold out,
wherever we played.

And all the luminary
musicians came

to see what was going on,
you know, it was working.

It made everybody feel
like a rock star,
playing a jazz tour.

The Japanese adored him,
I mean, we're talking

20,000 seats.

There were people, who broke
the bones in their thumbs

so that they bend
the last digit

of their
thumb back
like Jaco could.

I've seen
unbelievable things.

But the things I saw early,

were the same things
I saw later that knock me up.

It's his ability

to communicate music
to everyone including
the average person.

He had tribes of people
waiting for him,
in every city that he went to.

Even if they didn't know
anything about his facility,

but at the same time
he was leaving Weather Report,

starting his own career path

with his album
The Word of Mouth band.

He was essentially
leaving a family.

Ingrid gave Jaco,
these magical twins,

that he was amazed by.

The concept of twins
was spiritual
and incredible to him.

And pondering their birth
was astounding to him.

Unfortunately, that was
happening at the time
when he was

sort of run raveling
and Ingrid, uh,

being so,
after they're born
being so

protected of, his children
didn't watch Jaco around them

and so he didn't have

much of a relationship
with them.

'Cause at the time
he was not in a place to

be responsible parent,

and that caused
some amount of pain.

I said, "What's happening, man?
What's wrong?"

And he said,
"You've ever been married?"

I said, "No."
He said,
"You have any kids?"

I said, "No."
He said, "I can't tell you
what's wrong.

'Cause you wouldn't
understand it."

I guess that was his way
of let me know that
there were problems.

Before the Japan trip,
I go to the airport.

I turn a corner
and here is Jaco.

And it was the moment which
was driving is that moment

in the film Taxi Driver,

when the camera pans

and then begins to pan up.

You see the body of De Niro,
you know it's De Niro,

but then, when you see
the shaved head with a Mohawk...

I had that same...

creepy, frightening feeling.

And I went,
"Hi, Jaco."

He's got pieces
of electrical tape
on his face,

with the crew cut.

At some point,
he changed into this

blue Seminole dress.

And he's walking
around the plane

like he was
Sun Ra or something,
one of these mystical elders.

A lot of musicians
were kind of amused.

They're not quite sure
about the make of it,

those of us who've
known him longer
are alarmed.

Um, and so, there's a balance
of this emperor's new clothing

and nobody saying anything.

And we were whispering,
"What do we do?"

Something definitely
is wrong.

[STRING INSTRUMENT PLAYING]

Hello,
I'm an electric
bass player.

[LAUGHS]

Jaco was not doing
so well at that time.

How's that going?
You got another one?

Things are not going well.

What's up
in the future
for you?

Well, more records.

It's champagne,
but looks like beer.

- More records, I'm sure.
- What kinda records?

Well, we're working
on a new studio album.

Which album? We are done,
bro. What we gotta do
is get it and mix it.

[CYMBALS CRASHING]

There definitely
was a feeling

of uncertainty.

That never reared
its ugly head,
during Word of Mouth.

Label has zero interest
in the record.

And I didn't know,
what options he had.

Do you ever see tapping
of the commercial market.

We are.

- I'm commercial.
- Not commercial yet.

Jaco is very aware, that
he could have easily
just gone pop

making some
records and "Bam".

I'm not selling out man.
Hey, man.

I'm not selling out.

[LAUGHS]

You know, we're tapping
the commercial market.

I mean, are you're
referring to the pop music,
top 40 market?

Well yeah, If they ever
come around
and get smart, sure.

Like Chuck Mangione.

Impossible, he plays
out of tune.

Chuck Manicoti, I don't
dig him at all. You know.

Yeah, that's the man, he's
a very nice cat, he does
way too much coke,

and a mother fucker.

He eats too much pasta
and fuck him,
he wears a hat.

[LAUGHING]

When he was in the
midst of recording
for Holiday for Pans.

The Warner Brothers
decided to

rip up, literally rip up,
Jaco's contract.

It was like
a huge rejection.

He knew that he
was on to something
really special.

He just continue
this downward spiral.

People didn't understand

there were forces
and conditions
and beyond his control,

that were grabbing hold.

And it was too easy to just
describe to substances.

[SIREN WAILING]

[BEEP]
Hey dad.
It's Jaco.

You there?

Hey.

- Daddy!
- Yeah.

So nice.

I don't know,
I haven't heard from you.

Where you at?

- New York City.
- Where at?

Well, we're here.
Jame's house.

Well, I called there last week.

Daddy!

- Sorry... [MUFFLED]
- Nobody answered.

- Can I tell you one thing.
- What's that?

Who loves you?

Who loves you, kid?

[JAZZ MUSIC PLAYING]

Look, things happen whether
people are good or bad.

It's always the convergence
of many elements or components

coming up together.

You know, it takes
fore fingers to the thumb

to make that solid.

But you need
to make impact.

Or to make stranglehold.

He's like at this video,
they want me to do this video.

I told them I wasn't gonna
do this with out you.
But we gonna do this.

And he was in bad shape.

But he was so real and then
he wanted to leave some thing.

I don't know if somethings
gonna happen to him,

but it was
in the forefront

of his mind to help
other musicians.

To help leave
something for kiddies.

Um, that's what
he wanted to do.

[BASS GUITAR PLAYING]

Be p-ba-be-bop-boo.
What you do?

Yeah.

- Okay.
- Way better something like that.

That's better than I do.

Any advice to musicians.

Young and old.
New, beginners.

Just your minds open.

Keep an open head about music.

When I first came
to New York, everybody
just wanted to play Jazz.

They didn't know
about rock and roll.

They didn't know about funk.
They didn't know about nothing.

All they wanted
to do is Jazz.

Now New York is cool.
They're playing everything.

Where I grew up, in Florida,
everything was here.

So I was fortunate enough to be
exposed and be able to play all
different types of musicians.

I played in a country band
for an year, I had a ball.

I love country, western, too,
if it's was good. I dig it.

Whatever it is, just keep
an open mind about everything.

That's my own advice.

- And keep listening.
- Beautiful.

Keep your ears open.

You have to support your music
or your art with your life.

And how they intertwine...

If your life doesn't
have enough stability,

then your
art is gonna suffer.

You're not gonna be able to get
those tomatoes to the market.

If you have a flat tire,
you're gonna be on
the side of the highway.

Um, so he was in that kind of...

Stage where
this was going on.

[JAZZ MUSIC PLAYING]

[HORN TOOTING]

[BEEP]

Hi, Jack, I'm sorry for calling
so early, but this is Carey.

And I just saw
Jaco on the street.

And he's doing
some crazy things.

I don't want to tell
you this, but he needs
some sort of help again.

He almost got himself killed
by somebody a little while ago.

So I just don't know
what to tell you, you know.

I hope you could help.

Between the street door

and our security
door inside, there was
a little six foot space.

Some mornings he'll
be there waiting for us.

Obviously he's been up
from the night before,

and he knew
it was a safe place.

[DRUMS BEATING]

He was comfortable
here because

he was around musicians.

Saying, "Hey, let me show
you something on my drums"

or, "Let me show you something
I'm working on the piano."

Come here check this out."

Here's something I wrote,
you know, Weather Report
never recorded.

He would kind of jolt
and say, "Man, you know why",

"why is this or how could
this be for this guy that was

"on top of the world

"and reinvented
the instrument

and left such
a strong mark on music."

[SIREN WAILING]

[BASS GUITAR PLAYING]

The senior in my band, Anthony,

they were walking down
a street in New York,

and they saw Jaco,
sitting on the sidewalk.

And they were like,
"It's Jaco Pastorius,

sitting on the sidewalk drunk,
playing Louie Louie
for change."

* When Charlie
Speaks of lustre

* You know someone...

I went to an art
opening in Soho.

And when we came out there
was a little club across
the street with a cardboard

signed magic marker said,
"Jaco Pastorius tonight."

So I went in and I
found him at the bar.

He sure cheated me,
he asked me to jam with him,

but he trailed the cord
of the microphone

over the keyboard
so that it got in my way.

And I flip it off
while I'm playing,

and he would
flip it back on.

And he was playing
way out the chord.

You know, it was,

not good, nothing was
good about it at all, it was,

you know...

You know, when he was
kind of praising me too much...

You know what I mean, like,

and then, sure cheating me
too much, it was very

skitsy behavior, you know.

And that's the last
I saw of him.

DR. KENNETH: In July of 1986,
I committed him to Bellevue.

Jaco was in the hospital
for seven weeks.

He was admitted in late July
and discharged in about
mid September.

This is almost
exactly 25 years ago.

When he came in,

there was this
grandiosity and kind of
oppositional behavior.

And he was certainly
in danger of provoking

somebody that could
be dangerous to him.

And this sort of
scaled down over weeks.

While he was on the unit,

he was very engaged

with other patients. He could
reach other patients in ways
that other people couldn't.

I recall, there was
this woman there,
very psychotic patient,

who had cut herself,

all over the body
in response to some delusion.

And she was very withdrawn
and very inaccessible,

and Jaco really reached her,

in terms of making some kind
of connection, some kind
of contact with her.

Jaco had that capability.

[PIANO MUSIC PLAYING]

His diagnosis
was bipolar disorder.

The classical form
of bipolar disorder,

is weeks to months
of depression.

And days to weeks of mania.

Jaco, had what you'd call
either rapid cycling
or mixed state.

Where the features
of mania and depression

alternated rapidly
or mixed with one another.

That interacted with
the exposure to alcohol.

He was not at the point where
he looked like just another
drug using musician.

It was not like that.

Who is to say that
the chemical imbalance

is a fault of nature?

It could be that
the chemical imbalance ushers

in action, that would not
have been taken

if you're living without it.

He was an explorer.

I see him in an image of Jaco,

like Johnny Parker,
Coltrane, Myles.

It's the same thing
I saw in the comic books.

Superheros.

[WAVES SPLASHING]

OPERATOR: Hallo, collect
to Jack from Jaco.

Hey dad, it's Jaco.

Yeah.

Live and loud, in Florida.

Love you.

[WIND BLOWING]

Jaco, returned to Florida,

after he was treated.

He was intermittently
compiled with the medication
that's not unusual.

He was going through a phase

that a lot of bipolar
patients go through.

And that's why they're
ambivalent about
their treatment.

And struggling with
accepting the illness.

And that's what was going on
in the year after he was
discharged from Bellevue.

One day,

I look up and it's daddy.

And,

he doesn't have a base,
I don't think he had
a shirt on.

And he's hanging out
with some fellows.

I assume they were hanging out
here, too, to whatever degree.

He had an acoustic guitar.

He had some albums,
you know, some of his albums.

And I realize that,
"Man, he's hanging out here."

I mean, he could have
stayed anywhere.

The thought of,
my dad, Jaco Pastorius,

sleeping in a park is absurd.

And I don't think we'll
ever know exactly why.

He was in a constant state
of motion, at all times.

He was like trying to grab
a cloud or a wind.

One day he would've choosed
to get better.

But that choice was
taken away from him.

He didn't die on the streets,

from a blown out liver,

or a heart attack or anything.
He was killed.

The song is called
Mr. Pastorius, it's on your

last album
Amandla, right?

[MR. PASTORIUS PLAYING]

I remember, he came to a gig,
I had in Fort Lauderdale.

And the owner ran out,

and said, "I'm gonna call
the cops, right now."

And Jaco hadn't done anything.
All he did was he just walk
into the restaurant.

And so I told the band leader,
I said, "Look,
that's my brother."

"I have to take him home.
I can't let him go to jail."

I put his sticks down.
Got up, got my car keys,

I got Jaco, and I said,
"Come on man, let's go."

So we get in my car.

I said,
"Okay, where do you live?"

and he says, "In the park."

And I said,
"what? In the Park?"

"Yeah, I live in the park.
Just take me to the park."

So we're driving in the park,

then he grabs my hand,
he starts crying.

Then I said,"What's wrong man."
He goes, "I don't wanna
be here any more."

And I said, "What do you
mean by that, Jaco?"

"I don't wanna
be here man, I've had it."

[TRUMPET PLAYING]

[THUNDER RUMBLING]

[BEEP]

[THUNDER RUMBLING]

That night he went
to see his hero,

Carlos Santana.

And the incident happened.

I found about it very quick
because my ex-girlfriend,

dated one of those assholes
that beat him to coma.

And this was
pretty tough,
very tough

for me to hear.

And, it was very sad.
I remember,

at the funeral.

The boys.

Ingrid, looked at me
and she just walked away.
She couldn't take it.

Everybody was walking
away at the end

of the funeral, man.

Julius and Felix,
they are looking at me.

They said, "Uncle Bobby",

when daddy Jaco's gonna
jump out of the box?"

And man, I remember,
it took like 20 minutes,

talking to them
to let them know that,

"Daddy Jaco's is with
the angels now, he's not
gonna jump out of the box."

Just thinking about
what he has said,

and then watching
his life unfold after that.

Everything he said,
came to pass.

Not too long, afterwards
I was flying in Italy,

after the concert,

you know, got on
to the front of the stage.

Meet some fans. I went to
the stage right where there's

a stairway that's
lead off the stage,

and I started to go
halfway down, to say
hello to someone, I think,

this fan came up to me.

Very emotional.

Just said,
"How could you do this?

How could all of you
let this happen?"

I said,
"Well, we all tried
to help and..."

There wasn't good enough
answer for him.

You know.

[BASS GUITAR PLAYING]

JONAS:
We're influenced by life.

Whether we like it or not.
It's not necessarily music.

That makes us
play a certain way.

It's the life we live.
It's our experiences.

It's our upbringing.
It's what we

experienced as kids
before we were even

really conscious about
our own personality,

or what we are or what
we wanna do with life.

That's the stuff,
that torment that
go inside us.

That is what
comes out in music.

Everybody gets
their own burden, man.

Everyone gets their own
special beating in life,

you know what I mean?

He just took this energy
and he turned it into,
what he turned it into.

You feel it in every note,
you feel his nervous system.

You feel his joy,
you feel his neurosis,

you feel his suffering,
you feel it all.

Where do you go after Jaco.

It's not too much more

soul and feeling,
and vibe.

You know, that are
original stuff.

There's not too much
you can do with that.

[JAZZ MUSIC PLAYING]

Where's he at?

Usually right next to
Johnny Parker.

How do you spell
Pastorius again?

Capital "P" as in...

That is, uh... Ha...

The Music's just
a byproduct of his life, man.

And you can hear
his sound every day.

Be it, Sting for the Police
or Flea from
the Chili Peppers.

It's amazing,
how many people

are so close to his music.

And are so,
appreciative of what he gave.

In a short amount of time.

[AUDIENCE CHEERING]

It is an honor to play here,
in the Yankee stadium,
New York City.

Thank you, for coming here
and supporting heavy music.

[FOR WHOM THE BELL TOLLS
PLAYING]

I had the good fortune
of seeing, Jaco play
four times.

It was an amazing
moment for me.

Jaco, to me,
was punk rock, you know.

He was fearless.

You know, you can try and
label him as your own and say,
"Jaco is pure Jazz."

But there are some
Jazz musicians
that are punk rock.

All of us stand
on Jaco's shoulders.

No one could have missed
that section of DNA out.

You know, you needed Jaco,
to get to this point.

[BASS GUITAR PLAYING]

The things that I know that
he's written blow my mind.

And no small part
has influenced me,

in a way, especially
the way, I put together
the instrumental songs.

Whatever the genre can take,
the genre can take.

So stretch it, pull it,
bend it, it won't break it.

I just remember him
being amazing,
I remember the back flip,

I remember the great
bass playing,
I remember just thinking,

this is what it's all about.
This is what I aspire to.

[BY THE WAY PLAYING]

He's the greatest
electric bass player
to ever play.

There's nothing else like it.

I mean, I'm thinking,
am I missing anyone
as if I'm missing something.

Is there anything close
to it on the note, on the bass.

Not to me, man.

[JAZZ MUSIC PLAYING]

MAN: Come on, Jaco.

One, two, three, four.

One, two, three, four.

Right.

[LAUGHS]

MAN: Jaco has no idea.

Ooh, bad...

Two in a row,
not bad. Very good.

You won't believe this,

Jaco is playing in this club,

he walked down the stage
balancing his bass

in one hand.

And everybody
was holla and screaming.

He's balanced it
all the way up to the stage,

as the other guy played,
took the cord out
and started playing.

I said, "No." He was
like a Roman God.

He has these boots, man,
these boots up to here.

And then he put a lot
of talcum powder in it.

I mean a lot.

He walks up to the stage
and borrowed the bass

from Rocco.
He just played his ass off.

And after he finished,
he started building,
building, building...

Then he jumps and when he jumps
all the talcum powder went
[BLOWS RASPBERRIES] like that.

So it was like a magic trick.

We were cracking...
I said, "This guy
is out of his mind."

They ask me,
what is it like
to play with Jaco.

I came up with
a description one time.

Kind of like jumping out
of an airplane, naked at
night on an LSD.

Something like that.

It was exiting, you know
it's like "Wow!" It's a ride.

With a parachute.

I would wake up and go,
"What's going on?"

And he said this is not
a normal thing,
please, it's just...

You just back off
or let us be.

'Cause it's gonna
happen every day.

This is like Charlie Parker
walked in the house.

This is terrible,
'cause this is very heavy.

Even now, I can't play
the bass a little bit.

I still cannot articulate
like he does.

Every single note.

Everything is so
perfectly executed.

When Jaco plays,
it sounds like he knows

every single note
he's playing.
There's no way

that he can play
a wrong note.
And it's fretless.

So fuck that guy.
Big time.

We were playing at his house
one time, and he was playing
drums. Tk-tss... Tk-tss...

You know, he starts
playing the Teen Town beat.

And he says,
"Let's play Teen Town.

And I said, "Jaco",

I don't know Teen Town."

He looked at me and said,
"You don't know Teen Town?"

And I said, "No, I don't know
any of your songs."

And there was
this pregnant pause.
And he

loomed up out
of the drum stool.

And he was so much taller
than me and I'm standing up.
And he's like, I'm thinking,

Oh, my God. I'm about to get
my ass whipped because
I don't know Teen Town.

A lot of us bass players,
can't get beyond the bass.

We're playing the music
that's on the bass.

He was playing music
that was in the air.

The music that was
in his body.

I found it was love.

This one's for Jaco.

* Oh, yeah

* I feel you JP
Let's go!

* Been at the bottom but then
I got back up to this ring

* And I beat 'em up 'cause
I never been an average

* Of flicking and I need to
Get up and pin this thing

* With all the fault and
I don't know what the matter is

* I'm packing my bag
To see whose fault

* I'm harass and blast
The people trying bury my class
And grass the Bebop

* But I'm the last
To see dope

* But I'm a bit weak and low
The people who back like
A freak show when he

* Shows magazine troll
By all means souls so we grow

* Just pass the lead yo

* After all my angel
Bet to pay to

* Love but I woke up quick