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Invitation Three Views Of A Secret Son Of Creeper (22.10) – Ode To Billy Joe Continuum Dolphin Dance (18.30)
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Pastorius (elb) Hiram Bullock (elg) Kenwood Dennard (d) Alex Foster, Butch Thomas (s) Delmar Brown (syn) Michael Gerber (p) Jerry Gonzalez (t/cgas). Groove # 1 Punk Jazz Liberty City (70.33) The DIW should be in the shops.ĭonna Lee Dania Teen Town The Chicken Invitation N. PO Box 128, 315 Empire Boulevard, Brooklyn, New York 11225, USA. Live In New York Volume One is available mail order from Big World Music Inc. Jaco’s solos on both sets seem curiously inconsequential, partly perhaps because they are often low in the mix, partly perhaps because by this time he was less able to marshal his once considerable forces. The funky revision of Bobbie Gentry’s Billie Joe, Bullock’s Son Of Creeper (which sounds like a tribute to Jimi Hendrix), the beautiful Continuum and the straightahead workout on Dolphin Dance all have a grace and charm which is missing from the more strident New York session. It’s frequently upbeat but never hysterical, the atmosphere is more relaxed, the sound better balanced, the arrangements more considered. His quotation from Clair De Lune is a fitting prelude to his own dreamily impressionistic tune, and the lonely electric piano chords, wobbling uncertainly because of tape flutter, are also a pathetic, poignant reminder of his early death in 1987. Jaco also flexes his pianistic muscles on PDB’s Three Views Of A Secret. The evening is rounded off with a solo organ rendition by Pastorius of his Liberty City. Punk Jazz lasts for over 17 minutes thanks to a lengthy coda based on The Star-Spangled Banner and includes some announcements which suggest the set is from 1985. Groove # 1 is more than eight minutes of funky F7 with a dash of reggae and sounds like it was jammed up on stage Bullock as ever leaves no table unturned, quoting conspicuously from the Brecker Brothers’ Skunk Funk, but as with many an undirected jam, this groove gets stuck and is faded. The trio Invitation is dominated by Bullock’s careering guitar and ends with two bass solos, one grotesquely distorted, the other clean. Jaco’s funky Motown lick on Alfred Ellis’s The Chicken is as irresistible as ever, though low in the mix and soon obliterated by Bullock’s chuck-a-chucking guitar. The piece ends with a protracted, largely unvarying groove it seems even giants run out of ideas at jam sessions. Teen Town is a trio by Pastorius, Dennard and Bullock, with Bullock’s guitar supplying the haunting saxophone chords before stretching out on a blistering solo. This is swiftly followed by Dania, a brisk swinger which is reminiscent of Eric Dolphy and has solos from all the horns. The New York set opens with the breakneck Donna Lee theme played by the ensemble. Much of the repertoire will be familiar to those who know Jaco’s work in Weather Report and his own Word of Mouth big band, though these readings are rather cruder than the originals. These issues capture him jamming in New York and Boston clubs in the mid-1980s, and both have Walkman-like fidelity, although the New York set has the better level. Jaco’s discoveries have become a commonplace, his innovations standard elements in the electric bass vocabulary, but any new evidence of his genius is valuable.