JACO PASTORIUS, Tribute To

Music:

Member Since: 06/03/2007
Band Website: http://moonjune.com
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Featuring over 60 musicians, jazz and fusion legends, band mates and colleagues of the legendary electric bass virtuoso and innovator Jaco Pastorius, among others: Alex Acuña, Carles Benavent, Charles Blenzig, Delmar Brown, Hiram Bullock, Kenwood Dennard, Hugo Fattoruso, Michael Gerber, Gil Goldstein, Danny Gottlieb, Billy Hart, Toninho Horta, Bireli Lagrene, Armando Marçal, Marcus Miller, Bob Mintzer, Othello Molineaux, Jorge Pardo, Felix Pastorius (Jaco’s son), John Patitucci, Mike Stern and more.

REVIEWS
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JAZZWISE MAGAZINE (UK) by Tom Barlow
Not another all-star rehash of Jaco’s fretless pyrotechnics, Gospel for J. F.P. instead targets the writing talents of the late, great genius of electric bass. It’s easy to forget how good a songwriter Jaco Pastorius was, as this savy record reminds us via interpretations of some of his better and less known pieces. Its wide-screen approach is clear in the opener, ‘ThreeViews of a Secret’ – a delightful meeting between gypsy guitarist Bireli Lagrène, fusioneer Hiram Bullock and Uruguayan vocal ensemble Contrafarsa. Elsewhere, ‘Las Olas’, is a lilting Brazilian ballad with pianist Michael Gerber, while ‘Havona’ is a more direct treatment of the Weather Report classic with steel pans and Bob Mintzer’s soaring tenor sax. Likewise Gil Goldstein’s ‘PunkJazz.’ As if to emphasise that the record aims to capture the spirit of Jaco rather than his bass chops, several tracks are bass-less, diversely mining the composer’s acoustic, Latin and Caribbean lair. Felix Pastorius, by the way, is a chip off the old block, grooving like his old man gloriously on ‘I Can Dig it Baby.’

E-JAZZ NEWS (UK/USA) by Paul Donnelly
Rather than celebrating, or even attempting to emulate Pastorius’ bass playing skills this cd sets out to foreground his work as a composer, utilising a cast of more than 60 musicians. Inevitably each artist or band has its own approach, varying from jazz funk to straightforward piano jazz with many other influences in between. Of course some efforts refresh the tunes better than others. What they clearly have in common is a love of J.F.P.’s music. One of my all-time favourites has to be ‘Three Views Of A Secret’, a composition that has many of the hallmarks of a classic. My enjoyment was heightened by the inclusion, on the opening and closing sections, of the 14 voices of Contrafarsa, a group of vocalists from Uruguay who, quite literally, provide the sound of surprise and lift the track to a new level for me. If that’s not sufficient, the twin improvisations of guitarists, Hiram Bullock (electric) and Birelli Lagrene (acoustic), coax out the endless melodic nuances inherent in the writing. Their playing is a source of joy from beginning to end. The equally familiar ‘Teen Town’ is given a swaggering funk workout with Marcus Miller and Kenwood Dennard’s bass and drums constructing an energetic foundation for more of that singing Bullock guitar. What is especially gratifying is the fact that however virtuoso the individual playing may be, the tunes are given prime focus for re-shaping and re-vitalising. Which is as it ought to be. Shifting away from the electrified soundscapes, ‘Microcosm’ is a lesser known piece presented by the acoustic trio of Rich Franks (drums), Alex Darqui ( piano) and John Patitucci (bass). Ensemble and solo playing are impeccable throughout, displaying all the elegance and finesse you would expect from a trio such as this, given the appropriate material. There are a couple of tracks that don’t work for me. ‘Las Olas’, a more obscure composition, rendered by pianist Michael Gerber and friends, is simply bland and could have come from any Latin-ish fusion album. On the other hand Gil Goldstein’s idiosyncratic re-working of ‘Punk Jazz’ may just take some getting used to. He employs multiple accordions, fed through effects pedals and the result may be a piece of genuine innovation or simply a garish novelty. I’m not certain. Overall, this is a varied and sincere response to the work of a man who has made a lasting musical impression and whose reputation as a writer can only be consolidated by cds such as this.

ALLABOUTJAZZ, COM (USA) by Alain Londes
This tribute to the late Jaco Pastorius is like a musical kaleidoscope that makes the inquisitive listener wonder what color will come next. The large number of musicians featured includes some who had the chance to play with Pastorius, as well as others who were influenced by him. Most tunes were written by the great bassist, with a few exceptions. The popular Pastorius composition “Three Views Of A Secret” starts off with a wakeup call by the fourteen voices of the Contrafarsa chorus singing in unison through murga, a unique Uruguayan voicing style. Hiram Bullock and Bireli Lagrene then engage in a quiet electric and acoustic guitar conversation before Contrafarsa returns to close the piece. “Las Olas” eases the listener into an easygoing Brazilian mood featuring Michael Gerber on piano and Toninho Horta on guitar. The sound of Weather Report distinguishes the classic “Havona,” which originally made its mark on Heavy Weather. Othello Molineaux, a steel pan master, provides a weaving feel while saxophonist Bob Mintzer grounds the tune melodically. Later, drummer Kenwood Dennard enlists electric bassist Marcus Miller to recreate “Teen Town,” also from Heavy Weather, in the same fusiony vein yet at a somewhat slower tempo than the original. The recording quiets down into an evocative “Continuum” that could easily be used as a comfortable new-agey musical accompaniment for visitors at an aquarium. Within the first notes, one might assume incorrectly that “I Can Dig It Baby” is a singing interlude. In reality, the song quickly takes the shape of a groovy line with Felix Pastorius holding the structure on electric bass with the assistance of a uniquely and engaging percussive Afro-Uruguayan rhythm called candombe. An example of Pastorius' straightahead jazz side is “Dania,” named after a beach in Florida and played by the Michael Gerber trio. Long-time Pastorius friend Gil Goldstein borrows “Punk Jazz” from Weather Report’s Mr. Gone and transforms it into a fascinating sound experiment using several accordions. Two of Pastorius' oldest friends, Richard Franks on drums and Alex Darqui on acoustic piano, are joined by acoustic bassist John Patitucci on the never-recorded “Microcosm.” In its rendition of “Good Morning Anya,” the Zebra Coast Band, a quartet led by Gil Goldstein, showcases its world-fusion sound by playing over an easy reggae-sounding rhythm. Jorge Pardo leads the melody on saxophone with Goldstein providing textured clips on accordion. Jaco Pastorius imprinted his mark on funk, R&B, modern jazz, and Afro-Cuban settings. This tribute covers all the bases. Such a representative collection should satisfy fans as well as introduce the unfamiliar to a very influential musician who left us eighteen years ago.

BASS PLAYER MAGAZINE (USA) by Chris Jisi
Bass revolutionary Jaco Pastorius wrote with such depth and bravura that his compositions continue to invite interesting reinterpretations, and that’s the focus here. First, the less-than-good news: Six of the 11 tracks are from previously released CDs, most dating back to the early ’90s. They range from pleasant piano trio covers with Kenny Davis or John Patitucci on upright, to a not-quite-happening 1992 take on “Teen Town” by Kenwood Dennard, despite the presence of Marcus Miller. Better news is found in the “fresh” material. The vocal Grupo Del Cuareim shouts out Little Beaver’s “I Can Dig It, Baby” (Jaco played on the 1974 original), while Jaco’s son Felix Pastorius throws down a fretted Fender Jazz Bass groove rich in feel. Elsewhere, a live-at-the-Village-Vanguard version of “Good Morning Anya,” by Gil Goldstein’s Zebra Coast, features Carles Benavent’s blurring, picked flamenco fills on his custom Gibson EB-2-style semi-hollow 5-string (with a high C). In the end, it’s Goldstein’s solo overdubbed accordion version of “Punk Jazz” that most impresses—fitting for a disc that focuses more on Jaco’s music than on his bass muse.

GUARDIAN (UK) by John L. Walters
Gospel for JFP III is a tribute album that foregrounds Pastorius the composer - it's not bristling with guest star bassists in the manner of the Jaco Pastorius Big Band's 2003 album Word of Mouth Revisited, though Marcus Miller pops up on Kenwood Dennard's version of Teen Town. Here's a chance to hear the Pastorius legacy as world jazz, with sounds and performers from the Caribbean, South America and Spain alongside the usual downtown suspects and Pastorius's teenage son Felix playing with Grupo del Cuareim. It is fascinating to hear how versatile Pastorius's compositions are: the opening track is a long, sublime version of Three Views of a Secret performed by Uruguayan choir Contrafarsa with guitarists Hiram Bullock and Biréli Lagrène. Three tracks are by blind pianist Michael Gerber, including the little-known Las Olas, sung by Brazilian guitarist Toninho Horta, and a version of Continuum featuring no bass at all. Gil Goldstein performs Pastorius's Punk Jazz on multi-tracked accordions. It's preposterous and fun, but Punk Jazz on accordions demonstrates how difficult it is to make complex music with a single instrument and electronics.

HIGH BIAS UK) by Michael Toland
Most literature on and/or tributes to the late Jaco Pastorius focus on his innovations as a bass guitarist. Which is fine—he's not considered the Jimi Hendrix of the bass for nothing. Gospel For J.F.P. III takes a refreshingly different tack, however, concentrating on Pastorius' compositional skill. So while there's plenty of bass (both acoustic and electric, from stars and unknowns), the main thrust of these tracks is on Pastorious' often Latin-influenced melodies. The Michael Gerber Trio's "Dania" and "Microcosm," from the threesome Rich Franks, Alex Darqui and John Patitucci, prove that the bassist's tunes hold up as traditional jazz, while Gerber's "Continuum" (featuring guitarist Mike Stern) and Kenwood Dennard's "Teen Town" emphasize the fusion side for which Pastorius is best known. The best cuts here, though, are the most radical. Guitarists Hiram Bullock and Bireli Lagrene ditch the rhythm section and team up with vocal ensemble Contrafarsa for a regal "Three Views of a Secret," while Gil Goldstein daringly reinterprets "Punk Jazz" using nothing but his own overdubbed accordions. It's that kind of risk-taking Pastorius would have appreciated.

ZEITGEIST (Scotland) by Philip Jackson
I must confess to not having heard much, if any, Pastorius original music. However, listening to the 9 minute interpretation of ‘Three Views of a Secret’ with its choral introduction by Contrafarsa sounding like the wonderful form of world music created by the likes of Karl Jenkins Adiemus project, I was intrigued. Even more so because what immediately follows is a duet between Hiram Bullock on electric and Bireli Lagrene on acoustic guitar that has at first a nursery rhyme infectiousness before the players’ virtuosity takes the music into a different dimension- superb! This is one of many tracks that have been done specifically for the compilation, a true labour of love. Others are from existing albums like two contributions from ‘This is Michael Gerber’, the first ‘Las Olas’ a swinging Brazilian- flavoured piece distinguished by fine solos by Gerber and Toninho Horta on guitar, the second a gorgeous piano based piece originally on Jaco’s first album, ‘Continuum’, ironically performed by a 5 piece band with no bass! Another irony is the appearance of a non Jaco composition, the funky ‘I Can Dig It Baby’ featuring Jaco’s son Felix Pastorius and an army of percussionists as the rhythm section. Its inclusion is, of course, justified as this number was Jaco’s first recording as a session man. Steel pans player Othello Molineaux’s version of the Weather Report number ‘Havona’ is more jazz rock fusion. The bass player must have an unenviable job on these sessions but Pete Sebastian does a sterling job (including a solo) while Abel Pabon’s fluent piano runs and Bob Mintzer’s explosive tenor sax solo also contribute greatly to the piece. There are lots of surprises to come including a 7 minute version of Weather Report’s ‘Punk Jazz’ played solo by Gil Goldstein, the keyboard player with Michael Gerber on accordions. Gil contributes piano also to ‘Good Morning Anya’, only previously available in unfinished version, this track has a terrific sax solo by Jorge Pardo and fretless bass solo by Carles Benavent. The drummer Alex Acuna used to be in Weather Report. Some readers may remember Kenwood Dennard from Brand X’s ‘Livestock’ album, whose band appear here with ‘Teen Town’ from Weather Report’s ‘Heavy Weather’ LP, a furious jazz rock fusion replete with solos. I could write an essay on this album- the breadth of styles, the multiplexity of instruments, the breathtaking musicianship but suffice to say that everything about this CD smacks of quality, a fitting tribute indeed to a prodigious talent. Essential for lovers of Jaco’s music and all serious jazz and rock heads.

ABOUT.COM (USA) by John Matouk
During his short life, Jaco Pastorius was a major player on the contemporary jazz scene. Probably best known for his work with the band Weather Report, he became a legend before his untimely death in 1987 at the age of 35. He was a brilliant electric bass player and a talented composer as well. It is his compositional skill that is celebrated on the new album, Gospel for J.F.P. III, Tribute to Jaco Pastorius. Jaco's most famous pieces are represented on the album along with less obvious work. The opening track is the beautiful "Three Views of a Secret" - an interesting arrangement performed by electric guitarist Hiram Bullock, French gypsy guitarist Bireli Lagrene, and Uruguayan vocal ensemble Contrafarsa. There is also a heavy, grooving version of the Weather Report classic "Teen Town." It features Marcus Miller on electric bass and Kenwood Dennard on drums and is probably the track that is closest in feel to Jaco's original recordings. My favorite track is Gil Goldstein's interpretation of "Punk Jazz." Another Weather Report feature, Goldstein rearranges it for multiple accordions treated with guitar effects. It is revealing and somewhat haunting. There is a wide range of jazz on Gospel for J.F.P. III. Several tracks have acoustic, Latin and Caribbean elements. Gospel should not only appeal to fans who miss Jaco and Weather Report, but also to listeners who enjoy intelligent music arranged and performed creatively.

ALLABOUTJAZZ, COM (USA) by David Miller
As a neophyte to Jaco Pastorius’ music, I did not know what to expect from Gospel for JFP III. I didn’t know if I would feel right reviewing the disc having nothing to compare it to. However, after giving the album a spin, I realized this would be easy. First of all, this is great jazz, and that in and of itself bears mentioning. Second of all, this is such a good tribute record because, while bass isn't even present on a few tracks, the music is arranged is such a way as to make it easy to envision exactly what Pastorius’ part would have been. The album is eclectic, covering everything from funk to fusion to bop. And yet it weaves seamlessly between styles, representative of one man’s body of work. “Three Views of a Secret” commences the proceedings with a spiritual introduction by the Contrafarsa chorus. Then Bireli Lagrene and Hiram Bullock enter on acoustic and electric guitar, respectively, and proceed to make you feel like you are listening to an entire quartet. Lagrene’s strumming gives the feel of both bass and drums, and his beautiful statement of the melody and subsequent solo conveys the true beauty of the tune. A great composition. Next comes the soft, meandering “Las Olas,” performed by Michael Gerber on piano, Toninho Horta on guitars and voice, Kenny Davis on bass, Danny Gottlieb on drums, and Armando Marcal on percussion. Of all the great players on this album, Gerber is the most pervasive, and throughout he conveys a complete knowledge of the music. This piece is no exception, as his quiet fills add decoration to Horta’s voice and his solo simply floats over the rhythm. “Havona” is eerily similar to some of Chick Corea’s best fusion work with his Elektric Band, specifically Eye of the Beholder. Othello Molineaux’s steel pans have a unique sound, and his virtuostic solo is followed by Abel Pabon’s lightning quick piano work. Pete Sebastian’s bass holds down the groove until it’s his turn to shine, and he performs admirably. The tune is given a Weather Report-type treatment, ending in a flourish. Michael Gerber is joined by Gil Goldstein, Romero Lubambo, Mike Stern, and Armando Marcal for Pastorius’ elegiac “Continuum.” Here again there is no bass, but the listener can feel where Pastorius would have played. Stern’s guitar moans, but Goldstein’s keyboard creates a triumphant heir that the band plays off of, and the melody is interspersed at perfect intervals. This tune shows the simplistic, vulnerable side of Pastorius. And the rest of the album continues along the same vein. Each tune is completely different from its predecessor, and the musicians do an admirable job of invoking their respective styles while simultaneously paying tribute to their friend and bandmate. More than anything, Pastorius’ spirit and eclecticism are present on this album, which luckily serves as a potent introduction to his music for this reviewer.

LOUSIVILLE MUSIC NEWS (USA) ny Martin Z. Kasdam Jr.
Gospel for J.F.P. III: "Tribute to Jaco Pastorius" (MoonJune Records, MJR005USA; moonjunerecords.com) is an intriguing release, featuring for the most part the compositions of the late bassist extraordinaire. A little over half of the material was previously released, but on relatively obscure recordings, so fans of Jaco will likely not find much duplication here. The CD opens with one of his best known compositions, "Three Views Of A Secret," featuring former Pastorius bandmates Hiram Bullock on electric guitar and Bireli Lagrene on acoustic guitar, with the addition of a chorus by the Latin American vocal group Contrafarsa. "Continuum," a Pastorius showpiece in concert, is reinterpreted by Michael Gerber, acoustic piano, Gil Goldstein, electric keyboard, Romero Lubambo, acoustic guitar, Mike Stern, electric guitar and Armando Marçal, percussion; virtually forcing the listener to come to terms with the piece as a composition, not just as a launching pad for bass improvisation. Another classic, "Punk Jazz," is a solo outing for Gil Goldstein's accordions(!). "Teen Town" captures much of the feel of some of the gray market live releases with Kenwood Dennard on drums, Marcus Miller on electric bass, Hiram Bullock on guitar and Delmar Brown and Charles Blenzig on keyboards. If you have all the official Jaco Pastorius material and want more, this is a good CD to add to your collection.

LET IT ROCK (Israel) by Dmitri Epstein
A glorious attempt of getting the music from behind the icon of a musician. No rambling, only ambling.Namechecking John Francis Pastorius III as the most influencial bassist in the world has cast such a long shadow that it covers not only the real man but his music - which is a shame for a musician of any caliber. As great a player as Pastorius was in terms of amazing technique, his talent as a composer never was a cause for a celebration, and, as such, this record is long overdue. Taking J.F.P.'s old friends in its vortex shapes his acclaimed universe into something intimately smaller, embodied in "Microcosm": a jazz waltz was given to pianist Alex Darqui who originally spelled his buddy's name as Jaco and who brings it here together with drummer Rich Franks who made Pastoruis move from drums to the bass - he never took it to a studio with the two, and they're joined here by John Patitucci, all acoustically hushed. There's no competition with the legend, that's why this tribute wins where many others fail. It's the music that's the apex, not the musician, and bass, when it's present at all, takes a back seat throughout, which allows Gil Goldstein to harmonically flourish "Punk Jazz" with his processed accordions, and the Uruguayan choir of CONTRAFARSA to frame Hiram Bullock and Bireli Lagrene dynamic duet on "Three Views Of A Secret" with a spiritual a cappella. The South Americans' presence on half of the "Gospel" tracks reveals rhythmic richness of the originals' deep end, be it "Havona" that Pastorius cut with WEATHER REPORT and, in this version, driven by Othello Molineaux, or jungle-buzzing "I Can Dig It Baby" featuring Felix, Jaco's son, on bass, and an array of percussionists and singers backing Ines Bergara's vocal swing. A celebration, indeed. Having listened to this, you'll think of Pastorius next time you hear the thunder roar from the skies.

CDANDLP.COM (France)
"If there was a Pantheon of electric bass, Jaco PASTORIUS would undoubtedly have a good place there. Renowned both among his peers and audiences, this American musician worked much on improving the technique of his instrument, and promoting its part within jazz. Fusion jazz-rock was also important to him, together with his band WEATHER REPORT. He also proved to be a remarkable composer, far beyond his simple part as instrumentist. Nearly twenty years after his accidental death, his remembrance remains quite vivid. This is shown again by "Gospel For J.P.F. III" (2005), a tribute-album released by the MoonJune label. The list of participants is simply stunning, both for its length and its content. See for yourself : Marcus MILLER (Miles DAVIS), Alex ACUNA (WEATHER REPORT), Birelli LAGRENE, Mike STERN, Hiram BULLOCK, Kenwood DENNARD (BRAND X), John PATITUCCI, Danny GOTTLIEB... Among many other ones ! Like an icing on the cake, a certain Felix PASTORIUS came and played bass lines on "I Can Dig It Baby" (The only composition that wasn?t written by the master, but was his last recording as a sessionman): cats don’t make dogs ! All in all, this is a perfect tribute, which you should not miss..."

JAZZREVIEW.COM (USA) by Glenn Astarita
This star-studded extravaganza features one time Weather Report drummer/percussionist Alex Acuna and a thirty-plus alignment of international artists paying tribute to the late bass god, Jaco Pastorius. And itís not simply a chops-laden session featuring an assortment of bassistís trying to mimic Pastoriusí innovative technique. Thankfully, this production concentrates more on his compositional acumen, and how various pieces can snugly fit within a hodgepodge of jazz-related genres. Shrewdly mixed and tastefully produced, the program contains a multidimensional outlook.  There are Brazilian slants, and hard hitting Weather Report-like fusion romps, namely on ìHavona,î with steel pan master Othello Molineaux riding atop Pete Sebastianís pumping bass lines and streaming synths.  On 'Dania', pianist Michael Gerber rephrases the melody via a briskly swinging groove, supported by bassist Kenny Davis and drummer Billy Hart. Other highlights include Marcus Millerís spacey bass and Hiram Bullockís ravaging electric guitar lines on everyoneís favorite, 'Teen Town'. Beautifully recorded, this tribute breathes newfound stylizations into Pastoriusí legacy.  Essentially, the musiciansí and producersí overall vision presents a multitude of variants and perspectives here.  Ití's more than just hero worship, as this set presents a refined and multifaceted portraiture of a brilliant star whose life was tragically and needlessly cut short. Zealously recommended.

MODMOVE.COM (Australia) by Rob Hudson
Take a set of songs penned by the late self-pronounced greatest bass player in the world and have them performed by a who’s who of today’s jazz world and you have a recipe for a self indulgent mess. Fortunately these tracks become a testament to Jaco’s song writing and arranging skills and stay well clear of only being personal statements. Jaco Pastorius was a jazz bassist of prodigious talent. He burned bright but died young and his legacy is known more for how he died than why he lived and this does him a great disservice. His playing was phenomenal but what most true fans revel in now are the songs he left behind. His song writing and arranging skills were sublime and this project puts the focus where it belongs, on his songs. In contrast to other tribute sets of this nature, Gospel For J.F.P. has a set list that contains some of Jaco’s lesser know solo tracks and songs he wrote when his was in Weather Report. This refocused spotlight is a welcome addition to his legacy and the playing throughout is heartfelt and tasteful. Starting with the song, Three Views Of A Secret, the standard is set. Hiram Bullock and Bireli Lagrene deliver performances outstanding in subtle nuances and taste. Las Olas is discrete luxury personified and Havona shows compositional elegance once again. Continuum is delicate and beautiful, while I Can Dig It Baby is bold and brassy. Jaco’s playful side is captured as well with examples like Gil Goldstein’s accordion version of Punk Jazz. Throughout the tracks there is a level of sophistication both compositionally and instrumentally that is seldom heard in popular music these days. There is also a real feel of admiration amongst the players; this is a work of love not money. Restructuring these songs to showcase Jaco’s song writing and not just an excuse to blow is the albums strongest element and the love of the music itself pervades the entire work. This is a work filled with wonderful moments.

LOS ANGELES JAZZ SCENE (USA) by Scott Yanow
Jaco Pastorius made the electric bass into a major solo instrument. Before Pastorius' arrival on the scene, the electric bass, which was pioneered in jazz by Monk Montgomery back in the mid-1950s, was generally used as a low budget if louder version of the acoustic bass. Only Stanley Clarke in the early 1970s had previously carved out a distinctive style. Jaco's virtuosity, musical recklessness and his unwillingness to be subservient served him well in the 1970s. With Weather Report, various solo projects and his Word Of Mouth Orchestra, Pastorius developed such an individual sound and a forceful approach that he is still the dominant stylist on the electric bass, 18 years after his premature death. For this wide-ranging collection, Neil Weiss and Leonardo Pavkovic gathered together six previously released selections (five Jaco originals plus the tribute title cut) and recorded five new performances that are comprised of four Pastorius songs and another tribute. The personnel and instrumentation change from song-to-song. Although Jaco is actually only heard on one number, a straight ahead trio version of his "Microcosm," his spirit is felt throughout each selection. Along the way such notables as guitarists Hiram Bullock, Bireli Lagrene and Mike Stern, pianist Michael Gerber, drummers Danny Gottlieb and Rich Franks, steel drummer Othello Molineaux, tenor-saxophonist Bob Mintzer, Gil Goldstein on keyboards and accordion (playing the latter on "Punk Jazz"), and Marcus Miller and Jaco's son Felix Pastorius on electric bass are among those paying homage to Jaco. The music is mostly fusion and often quite rockish but never predictable or overly repetitive. Gospel For J.F.P. III. demonstrates the great influence that Jaco Pastorius still has on music today, both in his approach to the electric bass and his compositions
Influences: JACO PASTORIUS
Sounds Like: JACO PASTORIUS, WEATHER REPORT.
Record Label: MoonJune Records
Type of Label: Indie