Market town or market right is a legal term, originating in the medieval period, for a European settlement that has the right to host markets, distinguishing it from a village and city. A town may be correctly described as a "market town" or as having "market rights", even if it no longer holds a market, provided the legal right to do so still exists.

England[link]

In pre-19th century England, the majority of the population made their living through agriculture and livestock farming. Most lived where they worked, with relatively few in towns. Therefore, farmers and their wives brought their produce to informal markets held on the grounds of their church after worship. Market towns grew up at centres of local activity and were an important feature of rural life, as some place names remind us: Market Drayton, Market Harborough, Chipping Norton and Chipping Sodbury — chipping was derived from a Saxon verb meaning "to buy".

Market towns often grew up close to fortified places such as castles, to enjoy their protection. Framlingham in Suffolk is a notable example. Markets were located where transport was easiest, such as at a crossroads or close to a river ford. When local railway lines were first built, market towns were given priority to ease the transport of goods. In Calderdale, West Yorkshire, several market towns close together were designated to take advantage of the new trains. The designation of Halifax, Sowerby Bridge, Hebden Bridge and Todmorden illustrate such an example.

The English monarchy created a system by which a new market town could not be established within a certain travelling distance of an existing one. This limit was usually a day's worth of travelling to and from the market, and buying or selling goods. If the travel time exceeded this standard, a new market town could be established in that locale. As a result of the limit, market towns often petitioned the Monarch to close down illegal markets in other towns. These distances are still law in England today. Other markets can be held provided that they are licensed by the holder of the Royal Charter, which tends currently to be the local Town Council. Failing that, the Crown can grant a license.

As traditional market towns developed, they had a wide main street or central market square. These provided room for people to set up stalls and booths on market days. Often the town erected a market cross in the centre of the town, to obtain God's blessing on the trade. The cross was also a reminder "not to defraud by cheapening". Some take this warning to suggest that market traders were dishonest. Instead, it was a warning to townsfolk not to haggle the traders so low as to discourage their returning.

Notable examples of market crosses in England are at Chichester and Malmesbury. Market towns often featured a market hall, with administrative quarters at the first-floor level, above the covered market. Market towns with smaller status include Minchinhampton, Nailsworth and Painswick near Stroud, Gloucestershire.

Colchester claims to be England's oldest recorded market town.

A "market town" may or may not have rights concerning self-government that are usually the legal basis for defining a "town". Newport, Shropshire is in the borough of Telford and Wrekin, but is separate from Telford. In England, towns with such rights are usually distinguished with the additional status of Borough. It is generally accepted that, in these such cases, when a Town was granted a Market, it gained the additional autonomy conferred to separate towns.

The National Market Traders Federation (NMTF), situated in Barnsley, South Yorkshire, has around 32,000 members^[1] and close links with market traders' federations throughout Europe.

German-language area[link]

The medieval right to hold markets (German: Marktrecht) is reflected in the prefix Markt of the names of many towns in Germany and Austria, for example, Markt Berolzheim or Marktbergel. Other terms used for market towns were Flecken in northern Germany, or Wigbold and Freiheit in Westphalia.

Market rights were designated as long ago as in the Carolingian Empire: in 800 Charlemagne granted the title of a market town to Esslingen am Neckar. The conferment was one of the regalia in the Holy Roman Empire, as mentioned in the Constitutio by Frederick I Barbarossa at the 1158 Diet of Roncaglia. With the rise of the territories, the ability to designate market towns was passed to the princes and dukes, as the basis of German town law.

The local ordinance status of a market town (Marktgemeinde or Markt) is perpetuated through the law of the German state of Bavaria, Austria and the Italian province of South Tyrol. Nevertheless the title has no further legal significance, as it does not grant any privileges.

Norway[link]

In Norway the medieval market town (Norwegian kjøpstad from the old Norse kaupstaðr) was a town which had been granted commerce privileges by the king or other authorities. The citizens in the town had a monopoly over the purchase and sale of wares and operation of other businesses, both in the town and in the surrounding district.

Market towns were first created in Norway in the 12th century to encourage businesses to be concentrated around specific towns. Import and export was to be conducted only through market towns to allow oversight on commerce and to simplify imposition of excise taxes and customs duties. It served to encourage growth in areas which had strategic significance, providing a local economic base for construction of fortifications and population for defense of the area. It also served to restrict Hanseatic League merchants from trading in areas other than those designated.

Norway included a subordinate category to the market town, the "small seaport" (Norwegian lossested or ladested), which was a port or harbor with a monopoly to import and export goods and materials in both the port and for a surrounding outlying district. Typically these were locations for exporting timber and importing grain and goods. Local farm goods and timber sales were all required to pass through merchants at either a small seaport or a market town prior to export. This encouraged local merchants to ensure trading went through them, which was so effective in limiting unsupervised sales (smuggling) that customs revenues increased from less than 30% of the total tax revenues in 1600 to more than 50% of the total taxes by 1700.

Norwegian “market towns” died out and were replaced by free markets in the 1800s. After 1952 both the “small seaport” and the “market town” have simple town status.

References and sources[link]

References

Sources

• A Revolution from Above; The Power State of 16th and 17th Century Scandinavia; Editor: Leon Jesperson; Odense University Press; Denmark; 2000

Further reading[link]

• Hogg, Garry. Market Towns of England. Newton Abbot, Devon: David & Charles, 1974. ISBN 0-7153-6798-6

External links[link]

• Cheshire Market Towns - council maintained guide to Cheshire's Market Towns

Peter Daryl "Pete" Evans (born 1973 in Melbourne) is an Australian chef, author and television personality.

Career[link]

Restaurateur / chef[link]

Evans opened his first restaurant, The Pantry, in 1993 with his brother Dave. They went on to open the Hugos Group, which includes a chain of restaurants and catering and events divisions.^[2] Evans also opened a pizzeria six years ago called Hugo's Bar Pizza and won "Best Pizza in the World" in 2005 during a New York competition.

Television host[link]

Evans has appeared in or hosted a range of television cooking programs, including Fresh with the Australian Women's Weekly (2007 - 2009), Home, Fish and Cooking For Our Princess Mary.^[2]

Since 2010, he has been the co-host and judge on My Kitchen Rules.^[3] along with Manu Feildel.

Author[link]

Evans has written the following books:

• Fish (2007) ISBN 978-1-921208-58-4
• My Table (2008) ISBN 978-1-74196-240-6
• My Grill (2009) ISBN 978-1-74196-543-8
• My Pantry (2010) ISBN 978-1-74196-816-3
• My Kitchen (2011) ISBN 978-1-74196-828-6

References[link]

Jaco Pastorius
Pastorius in concert at Naples, Italy in 1986
Background information
Birth name	John Francis Anthony Pastorius, III
Born	(1951-12-01)December 1, 1951 Norristown, Pennsylvania
Died	September 21, 1987(1987-09-21) (aged 35) Fort Lauderdale, Florida
Genres	Jazz, jazz fusion, big band
Occupations	Musician, songwriter, producer, educator
Instruments	Bass, drums, piano, backing vocals, mandocello, steel drums
Years active	1964–1987
Labels	Epic, Warner Bros., Columbia, ECM, CBS, Elektra
Associated acts	Weather Report, Herbie Hancock, Pat Metheny, Joni Mitchell, Trio of Doom, Blood, Sweat & Tears, Word of Mouth,
Website	www.jacopastorius.com
Notable instruments
Fender Jazz Bass

John Francis Anthony Pastorius III (December 1, 1951 – September 21, 1987), known as Jaco Pastorius, was an American jazz musician, composer, and electric bass player.

His playing style was noteworthy for containing intricate solos in the higher register and for the "singing" quality he achieved on the fretless bass. His innovations also included the use of harmonics. Pastorius suffered from mental illness including a substance-related disorder, and was diagnosed with bipolar disorder in 1982. He died in 1987 at age 35 following a violent altercation at a Fort Lauderdale bar.

Pastorius was inducted into the Down Beat Jazz Hall of Fame in 1988, one of only six bassists to be so honored (and the only electric bass guitarist). He is one of the most influential electric bass players of all time.

Early life and education[link]

John Francis Pastorius III was born December 1, 1951 in Norristown, Pennsylvania^[1] to Jack Pastorius (big band singer and drummer) and Stephanie Katherine Haapala Pastorius,^[2] the first of their three children, Jaco Pastorius was of Finnish, German, Swedish and Irish ancestry.^[3]

Shortly after his birth, his family moved to Oakland Park, Florida, (near Fort Lauderdale). Pastorius went to elementary and middle school at St. Clement's Catholic School in Wilton Manors, and he was an altar boy at the adjoining church.^[4] In his years at St. Clement's, the art he was most known for was drawing.^{[citation needed]}

Pastorius formed his first band named The Sonics along with John Caputo and Dean Noel. He went to high school at Northeast High in Oakland Park, Florida.^[5] He was a talented athlete with skills in football, basketball, and baseball, and he picked up music at an early age. He took the name "Anthony" at his confirmation.^[5]

He loved baseball and often watched it with his father. Pastorius' nickname was influenced by his love of sports and also by the umpire Jocko Conlan.^[5] He changed the spelling from "Jocko" to "Jaco" after the pianist Alex Darqui sent him a note. Darqui, who was French, assumed the name was spelled "Jaco"; Pastorius liked the new spelling.^[5] Jaco Pastorius had a second nickname, given to him by his younger brother Gregory: "Mowgli", after the wild young boy in Rudyard Kipling's children's classic, The Jungle Book. Gregory gave him the nickname in reference to his seemingly endless energy as a child.^[5] Jaco Pastorius would later establish his music publishing company as Mowgli Music. In 1973, he was an instructor at the University of Miami's Frost School of Music.^{[citation needed]}

Music career[link]

Pastorius November 27, 1977

Jaco Pastorius started out following in the footsteps of his father Jack, playing the drums,^[6] however he injured his wrist playing football at age 13. The damage to his wrist was severe enough to warrant corrective surgery and ultimately inhibited his ability to play drums.^[5] At the time, he had been playing with a local band, Las Olas Brass, and since the bass player, David Neubauer, had decided to quit the band, he picked up an electric bass guitar from a local pawn shop for $15, and began to learn to play,^[7] with drummer Rich Franks assuming his former position in the band.^[8]

By 1968–1969, Pastorius had begun to appreciate jazz and had scraped up enough money to buy an upright bass. Its deep, mellow tone appealed to him even if its cost was prohibitive. Pastorius discovered the difficulties in maintaining the instrument, which he attributed to the humidity of his Florida home, coupled with his shift in focus to R&B music. Following the development of a crack in the body of the instrument, he finally traded it in for a 1960 Fender Jazz Bass.^[9]

Pastorius' first real break came when he secured the bass chair with Wayne Cochran and The C.C. Riders^[6] He also played on various local R&B and jazz records during that time such as Little Beaver, Ira Sullivan's Quintet, and Woodchuck. In 1974, he began playing with his friend and future famous jazz guitarist, Pat Metheny. They recorded together, first with Paul Bley as leader and Bruce Ditmas on drums, then with drummer Bob Moses. Metheny and Pastorius recorded a trio album with Bob Moses on the ECM label, entitled Bright Size Life.

Debut album[link]

In 1975, Pastorius was introduced to Blood, Sweat & Tears drummer Bobby Colomby, who had been given the green light by CBS Records to find "new talent" for their jazz division.^[10] Pastorius' first album, produced by Colomby was the eponymous Jaco Pastorius (1976), a breakthrough album for the electric bass.^[1] Many consider this to be the finest bass album ever recorded;^[1] when it exploded onto the jazz scene it was widely praised by critics. The album also boasted a lineup of heavyweights in the jazz community at the time—essentially a stellar backup band—including Herbie Hancock, Wayne Shorter, David Sanborn, Lenny White, Don Alias, and Michael Brecker among others. Even legendary R&B singers Sam & Dave reunited to appear on the track "Come On, Come Over".^[11]

Weather Report[link]

Pastorius playing in Convocation Hall in Toronto Canada on November 27, 1977

Around the time of his solo album, he ran into keyboardist Josef Zawinul in Miami, where Zawinul's band, Weather Report, was playing. According to Zawinul, Pastorius walked up to him after a concert one night and talked about the performance and said that it was all right but that he had expected more.^[12] He then went on to introduce himself to Zawinul, adding that he was the greatest bass player in the world. An unamused Zawinul told him to "get the fuck outta here."^[13] According to Milkowski's book, on that same evening, Pastorius persisted and, according to Zawinul, reminded Zawinul of himself when he was a "brash young man" in Cannonball Adderley's band, which made Zawinul admire the young bassist. Zawinul asked for a demo tape from Pastorius, and thus began a correspondence between the two.

Pastorius joined Weather Report during the recording sessions for Black Market, and he became a vital part of the band by virtue of the unique qualities of his bass playing, his skills as a composer and his exuberant showmanship on stage.

Guest appearances on albums[link]

Pastorius seated with his bass guitar, in Amsterdam 1980

Pastorius guested on many albums by other artists, as for example in 1976 with Ian Hunter of Mott the Hoople fame, on All American Alien Boy, which again featured David Sanborn as well as Aynsley Dunbar. Other recordings included Joni Mitchell's Hejira album, and a solo album by Al Di Meola which were also standouts, both released in 1976. Soon after that, Weather Report bass player Alphonso Johnson gave notice that he would be leaving to start his own band. Zawinul invited Pastorius to join the band, where he played alongside Joe and Wayne Shorter until 1983. During his time with Weather Report, Pastorius made his indelible mark on jazz music, notably by being featured on one of the most popular jazz albums of all time, the Grammy Award-nominated Heavy Weather. Not only did this album showcase Pastorius's bass playing and songwriting, but he also received a co-producing credit with Joe Zawinul and even played drums on his self-composed "Teen Town."

During the course of his musical career, Pastorius played on dozens of recording sessions for other musicians, both in and out of jazz circles. Some of his most notable are four highly regarded albums with acclaimed singer-songwriter Joni Mitchell: Hejira (1976), Don Juan's Reckless Daughter (1977), Mingus (1979) and the live album Shadows and Light (1980). His influence was most dominant on Don Juan's Reckless Daughter, and many of the songs on that album seem to be composed using the bass as a melodic source of inspiration. Also worthy of mention is his collaboration with important jazz figures Flora Purim and Airto Moreira. Pastorius can be heard on Moreira's 1977 release I'm Fine, How Are You? His signature sound is prominent on Purim's 1978 release Everyday Everynight, on which he played the bass melody for a Michel Colombier composition entitled "The Hope", and performed bass and vocals on one of his own compositions entitled "Las Olas".

Near the end of his career, he guested on low-key releases by jazz artists such as guitarist Mike Stern, guitarist Biréli Lagrène, and drummer Brian Melvin. In 1985, he recorded an instructional video, Modern Electric Bass, hosted by acclaimed bassist Jerry Jemmott.

Projects[link]

He and Weather Report parted ways in early 1981, and Jaco began pursuing his interest in creating a big band solo project named Word of Mouth, one that found its debut aurally on his second solo release, Word of Mouth. This 1981 album also boasted guest appearances by several distinguished jazz musicians: Herbie Hancock, Weather Report's Wayne Shorter and Peter Erskine, harmonica player Toots Thielemans and Hubert Laws. The album evinced Pastorius's composing talent alongside the focus on his instrumental performance. It also demonstrated his skills in production and his ability to deal with the logistics of a project that was recorded not only on both coasts of the United States, but also overseas: he recorded Thielemans' contributions in Belgium.

On his 30th birthday, December 1, 1981, he threw a party at a club in Fort Lauderdale, flew in some of the artists from his Word of Mouth project, and other noteworthy musicians that included Don Alias, and Michael Brecker. The event was recorded by his friend and engineer Peter Yianilos, who intended it as a birthday gift. The concert remained unreleased until 1995.

He toured in 1982; a swing through Japan was the highlight, and it was at this time that bizarre tales of Pastorius' deteriorating behavior first surfaced. He shaved his head, painted his face black and threw his bass into Hiroshima Bay at one point.^[14] That tour was released in Japan as Twins I and Twins II and was condensed for an American release which was known as Invitation.

In 1982, he recorded a third solo album, which made it as far as some unpolished demo tapes, a steelpans-tinged release entitled Holiday for Pans, which once again showcased him as a composer and producer rather than a performer. Jaco Pastorius did not play any of the bass parts on this album. He could not find a distributor for the album and the album was never released; however, it has since been widely bootlegged. In 2003, a cut from Holiday for Pans, entitled "Good Morning Anya", was included on Rhino Records' anthology Punk Jazz.

Behavior and health problems[link]

Pastorius performing in New York City (with Jorma Kaukonen in the back, left); March 1986

Pastorius was diagnosed with bipolar disorder, formerly known as manic depression.^[15] Pastorius showed numerous features of the condition long before his initial diagnosis, although they were insufficiently extreme to have been diagnosed at the time as mental illness, being regarded instead as eccentricities or character flaws.^[16] The condition in its earlier stages is likely to have contributed to his success as a musician. Hypomania, the cyclical peaks in mood that distinguish bipolar disorder from unipolar depression, have been associated with enhanced creativity.^[17] It was recognized (retrospectively) by friends and family that these peaks played an essential role in his urge to create music.^[18]

In his early career, Pastorius avoided both alcohol and drugs, but he became increasingly involved in alcohol and other drugs during his time with Weather Report.^[19] Alcohol abuse ultimately exacerbated Pastorius' condition, leading to increasingly erratic and sometimes anti-social behavior.^[20]

Pastorius was diagnosed with bipolar disorder in late 1982 following the Word of Mouth tour of Japan in which his erratic behavior became an increasing source of concern for his band members. Drummer Peter Erskine's father, Dr. Fred Erskine, suggested that Pastorius was showing signs of the condition and, on his return from the tour, his wife, Ingrid, had Pastorius committed to Holy Cross hospital under the Florida Mental Health Act, where he received the diagnosis and was prescribed lithium to stabilize his moods.^[21]

By 1986, Pastorius' health had further deteriorated. He had been evicted from his New York apartment and had begun living on the streets.^[22] In July 1986, following intervention by his then ex-wife Ingrid with the help of his brother Gregory, he was admitted to Bellevue Hospital in New York, where he was prescribed Tegretol in preference to lithium.^[21] He moved back to Fort Lauderdale in December of that year, again living on the streets for weeks at a time.^[22]

Death[link]

After sneaking onstage at a Carlos Santana concert on September 11, 1987, and being ejected from the premises, Pastorius made his way to the Midnight Bottle Club in Wilton Manors, Florida.^[23] After reportedly kicking in a glass door after being refused entrance to the club, he was engaged in a violent confrontation with the club bouncer, Luc Havan.^[24] Pastorius was hospitalized for multiple facial fractures and injuries to his right eye and left arm. He fell into a coma and was put on life support.^{[citation needed]}

There were initially encouraging signs that he would come out of his coma and recover, but a massive brain hemorrhage a few days later pointed to brain death. Pastorius died on September 21, 1987, aged 35, at Broward General Medical Center in Fort Lauderdale and was buried at Our Lady Queen of Heaven Cemetery in North Lauderdale.^[25]

In the wake of Pastorius' death, Havan was charged with second degree murder but later pleaded guilty to manslaughter. Because he had no prior convictions, and accounting for time served while waiting for the verdict, he was sentenced to 22 months in jail and five years probation. He was released after four months in jail for good behavior.^[26]

Honors and tributes[link]

Miles Davis honored the late bassist on his album Amandla with the Marcus Miller composition "Mr. Pastorius", as Jaco Pastorius was an inspiration for Marcus Miller.^[27] Victor Wooten also honored Jaco Pastorius on his album Soul Circus on the track "Bass Tribute", thanking Pastorius several times. Wooten and Steve Bailey's Bass Extremes includes the tracks "Glorius Pastorius", "Portrait of Tracy," and also a tribute to Pastorius' interpretation of Charlie Parker's "Donna Lee" titled "Madonna Lee". The Pat Metheny Group also honored Pastorius on their album Pat Metheny Group with the track "Jaco". This song was not specifically written for Pastorius. Metheny wrote the song and then realized that the main melody sounded a lot like Pastorius' "Come On, Come Over", and subsequently decided to name the tune for Pastorius.^[28] Bass player Brian Bromberg recorded a Pastorius tribute album entitled Jaco, which includes his interpretations of "Come On, Come Over", "The Chicken", "Portrait of Tracy", and more.^[29]

John McLaughlin also honored Pastorius on his album Industrial Zen with the song "For Jaco". English keyboard player Rod Argent includes a track titled "Pastorius Mentioned" on his 1979 Album Moving Home. The song "Big Country", by Bela Fleck and the Flecktones, contains the opening lick from Pastorius' "Continuum". Stuart Zender, the original bass player and founding member of Jamiroquai, cites Pastorius as one of his main influences.

Since 1997, an annual birthday event takes place around December 1 in South Florida, hosted by his sons Julius and Felix Pastorius.

On December 2, 2007, the day after what would have been Pastorius' 56th birthday, a concert called "20th Anniversary (of his death) Tribute to Jaco Pastorius" was held at The Broward Center for the Performing Arts in Fort Lauderdale, Florida, featuring performances by the award-winning Jaco Pastorius Big Band with special guest appearances by Peter Erskine, Randy Brecker, Bob Mintzer, David Bargeron, Jimmy Haslip, Gerald Veasley, Pastorius' sons John and Julius Pastorius, Pastorius' daughter Mary Pastorius, Ira Sullivan, Bobby Thomas, Jr., and Dana Paul. Also shown were exclusive home movies and rare concert footage as well as video appearances by Pat Metheny, Joni Mitchell, and other luminaries from Pastorius' life. Almost 20 years after his death, Fender released the Jaco Pastorius Jazz Bass, a fretless instrument from its Artist Series.

On December 1, 2008, on what would have been Pastorius' 57th birthday, the park in Oakland Park's new downtown redevelopment was formally named 'Jaco Pastorius Park' in honor of its former resident.^[30]

In 2010, recording artist The Flashbulb released a song titled "Pastorial Whiskers" on the album Love as a Dark Hallway. Nearly all of the bass tracks on the album are played with a Roland Jaco replica and are a homage to Pastorius' technique.

Playing style[link]

Technique[link]

	Jaco Pastorius, "Portrait of Tracy" from Jaco Pastorius (1976) noicon Sample from "Portrait of Tracy" with extensive use of harmonics.
Problems listening to this file? See media help.

The "Jaco growl", often used for lyrical and melodic effect during solos, can be obtained by plucking the strings at the base of the fingerboard. The more punchy sound of Jaco's bass lines are achieved by using the bridge pickup exclusively, and plucking the strings right above the bridge pickup. Pastorius used natural and false harmonics to extend the range of the bass (exemplified in the bass solo composition "Portrait of Tracy" from his eponymous album) and could achieve his signature horn-like tone by utilizing his fretless neck (covered in polyurethane marine varnish). His playing techniques earned him accolades both from the critics and his audiences. He used finger-style playing exclusively, and was not seen using the slap and pop method that dominated the R&B charts.^{[citation needed]}

Jaco obtaining special effects with his bass guitar, performing with Weather Report in 1980

Equipment[link]

Basses[link]

Pastorius was most identified by his use of two well-worn Fender Jazz Basses from the early 1960s: a 1960 fretted, and a 1962 fretless. The fretless, known by Jaco Pastorius as the "Bass of Doom", was originally a fretted bass that had the frets removed. Pastorius claimed to have removed the frets himself^[31] but later said he had bought it with the frets already removed.^[6] Pastorius finished the fretboard with marine epoxy (Pettit's PolyPoxy) to protect the wood from the roundwound Rotosound Swing 66 strings he was using.^[6][31] Even though he played both the fretted and the fretless basses frequently, he preferred the fretless, because he felt frets were a hindrance, once calling them "speed bumps". However, he said in the instructional video that he never practiced with the fretless because the strings "eat the neck up." Both of his Fender basses were stolen shortly before he entered Bellevue hospital in 1986. In 1993, one of the basses resurfaced in a New York City music shop, with the distinctive letter P written between the two pickups. In 2008, the 1962 fretless "Bass of Doom" also turned up in good condition in New York.^[32] It was subsequently acquired by Robert Trujillo, bassist with Metallica. Although Trujillo currently owns the instrument, the Metallica bassist agreed in writing to relinquish the instrument to the family at any time for the same purchase price.^[33]

Amplification, effects, and strings[link]

Jaco Pastorius used the "Variamp" EQ (equalization) controls on his two Acoustic 360 amplifiers^[34] (made by the Acoustic Control Corporation of Van Nuys, California) to boost the midrange frequencies, thus accentuating the natural growling tone of his fretless passive Fender Jazz Bass and roundwound string combination. His tone was also colored by the use of a rackmount MXR digital delay unit that fed a second Acoustic amp rig.

He often used Hartke cabinets during the final three years of his life because of their characteristic aluminum speaker cones (as opposed to paper speaker cones). These gave his tone a bright, clear sound. He typically used the delay in a chorus-like mode, providing a shimmering stereo doubling effect. He would often use the fuzz control built in on the Acoustic 361. For the bass solo "Slang" on the 8:30 album, Pastorius used the MXR digital delay to layer and loop a chordal figure and then he soloed over it.

Awards[link]

Apart from his career in the jazz fusion band Weather Report, Jaco Pastorius had two Grammy Award nominations for his self-titled debut album.^[1] He won the readers' poll for induction into the Down Beat Jazz Hall of Fame in 1988, one of only four bassists to be so honored (the others being Charles Mingus, Milt Hinton, and Ray Brown), and the only electric bassist to receive this distinction.

Biography controversy[link]

In 1995, jazz author Bill Milkowski wrote Jaco: The Extraordinary And Tragic Life of Jaco Pastorius.^[35] Published by Miller-Freeman, the book incorporated Milkowski's firsthand experiences with Jaco when he lived in New York between 1982 and 1986, when Pastorius's health had deteriorated.^[36] This was supplemented by extensive interviews with friends, family and colleagues of Pastorius, as well as musicians and industry insiders.^[37]

Pastorius's second wife Ingrid has complained that the book treated Jaco Pastorius with a lack of sensitivity,^[36] and has listed a number of contextual inaccuracies on her website.^[6] Guitarist Pat Metheny, who was a close friend before Pastorius joined Weather Report,^[38] wrote in the liner notes of the reissue of Pastorius's first album that Milkowski's book was "a horribly inaccurate, botched biography".^[39] Meanwhile, John Corbett of Downbeat wrote: “With insight, care and plenty of musical detail, Milkowski charts the bassist’s trip from Florida beach and cruise-ship gigs and a year in Wayne Cochran’s C.C. Riders to fame with Weather Report and misfortune in his drug-and-drink ridden ‘dark years.’” Michael Point of the Austin American-Statesman wrote: “To his great literary credit, Milkowski tells the bassist’s story with enlightening candor, allowing his sympathy to be palpable without obscuring the hard, cold facts.” Rick Anderson of Library Journal called it “A clean, carefully written, biography that tells Jaco’s story without lurid drama but also without flinching from the tragic details.”

A 10th anniversary edition, published in 2005 by Backbeat Books, was a greatly expanded and updated version that included a 40-minute CD of spoken word testimonies from key figures in Jaco's life along with examples of his early bands before joining Weather Report in 1976.

Influence[link]

Jaco has been cited as an influence by such great bass players of both jazz and rock as Marcus Miller, Victor Wooten, Steve Bailey, Neil Stubenhaus, Jimmy Haslip, Oteil Burbridge, Linley Marthe, Richard Bona, Hadrien Feraud, Robert Trujillo, Neil Murray,^[40] Tony Franklin^[41], Pedro Aznar^[42] and Juan Alderete among many others.

Selected discography[link]

Notes[link]

References[link]