PledgeMusic jest organizacją, która wspiera Roberta Trujillo w projekcie filmu dokumentalnego o Jaco Pastoriusie, poniżej ich rozmowa z Robem na temat filmu, tłumaczenie dorzucimy na dniach:
For readers who aren’t as familiar with Jaco’s legacy, what do you mean when you say he reinvented the electric bass?
Jaco brought a unique voice to an instrument that was really viewed as just an anchor. Jaco was able not only to support and supply, the foundation, but bring a melodic ingredient that was really special and contained beauty and power! His stage presence and attitude captivated audiences.
He really brought more of a Rock ‘n’ Roll, Punk/Funk dynamic to the performance. You couldn’t just call it Jazz; he was taking music beyond any one style. Reinvented, to me, means Jaco made it cool to be different, and also gave a whole new generation of bass players the inspiration to compose and take it to the stage, like Hendrix did for the electric guitar.
When did you first become enamored with Jaco’s work personally?
It was 1979, and I was about 14-years-old. The band Weather Report had a concert at the Santa Monica Civic auditorium, and I was there to witness Jaco Pastorius in action, sliding into his bass like it was home plate. The energy in the building was really an extension of Jaco himself and his trusted electric bass guitar(s). That’s when I first heard and saw “SLANG” the bass solo! Everything from James Brown to Jimi Hendrix was thrown into that mix. Taking the bass to the front stage, not hiding in the back. I saw lots of my wild surfer/skater/punker friends experiencing that same energy. It was an interesting gathering of tribes, so to speak.
I still talk to fellow local Venice Beach resident and original Suicidal Tendencies hardcore punk bass legend Luichie Mayorga about it because he was there as well. He know’s what went down: a super bad-ass-next-level-rockin’ performance! John Belushi was even hanging out. Now that’s a wild dude!
And Jaco’s first solo LP was ground breaking, I still have my original copy. That album really changed the way so many musicians viewed the electric bass guitar and composition. The beautiful edgy growl of Jaco’s fretless bass made an impactful statement in the world of music.
If you had to pick a favorite project that Jaco worked on, what would it be?
If I had to pick a favorite project that Jaco worked on, it would have to be a toss up between Weather Report’s “Heavy Weather”, because it was the first LP I purchased featuring Jaco, and Joni Mitchell’s “Hejira”, because I’d never heard a bass support a vocal in that way. It’s a really special production as well. Very dynamic. But my favorite solo is on “Port of Entry” off of “Night Passage”. Maybe “All American Alien Boy” from the same-titled LP by Ian Hunter is a close second.
You’ve got a tremendous guest roster who lend insight on the film. Was it hard to round up so many or did the subject matter draw them in?
Not hard at all, but it just took time. Everyone wanted to contribute, and everyone has a great story. I even had a great encounter with Jaco, but it’s not in the film. [Laughs] That’s a great sign that people wanted “in”. It shows that people really care about this special man, his story, and his music. And I think it’s important to bring awareness to the bipolar disorder which Jaco had. I have learned so much, and want to help. Hopefully, this film will open hearts and minds.
This campaign is a bass player’s dream with so many amazing lessons and special items available. What was primary for you when you were dreaming up the exclusives?
This campaign is a huge step in the completion of a very special film project, and it’s really a dream for me, a passion project, with so many treasures. I know people from all walks of life will appreciate this work of art that comes to life on the screen.
As far as the exclusives, for me, I’ve been a part of many special charities and support for creative projects. And I know that lessons with special musicians, or even jamming with some of the best bass players in the world, is well worth the experience alone. It’s also a creative journey, especially if you bring cool, funkified, rocking grooves to session. Each player is incredible! Iconic players, except me. [Laughs] Jamming is the best, and at amazing locations. All musicians are welcome, so pledge!
Anyway, there’s so much good stuff to choose from. My wonderful wife, Chloe Trujillo, has designed some very special scarves. There are Dunlop custom guitar straps, Jaco lithos, and Chloe’s Jaco poster art from Record Store Day 2014 in collaboration with NYC artist Steve Lampasona, which was never before available but made available for this campaign.
The instruments are kickass! Bill Nash’s “Bass of Doom” replicas signed by some of my favorite low-end masters including the likes of Armand Sabal-Lecco, Flea, Les Claypool and Geezer Butler from legendary Black Sabbath. Oh yeah, included in the mix is Jaco’s favorite bass player, The Groovemaster Jerry Jemmott among other very special players.
We also have a handful of kickass guitars, and even my good buddy Kirk Hammett threw in an ESP which we all [Metallica] signed them as well as a couple Warwick signature models, pretty much from the first run of Trujillo custom models, four and five stringers. There’s lot’s of cool T- shirts, the Omnivore vinyl release “Modern American Music…Period” The Criteria Sessions, Jaco’s early recordings from 1974. This is the real punk jazz! Pure, untamed magic, and hard to find!
When did the idea for a film project honoring Jaco come to you?
Originally, I had met Jaco’s eldest son, Johnny, while I was touring with Ozzy Osbourne back in 1996 in Fort Lauderdale. Johnny was familiar with my previous band, Suicidal Tendencies, and my other group, the Infectious Grooves, which was completely inspired by Jaco’s bass playing. This is also around the time I connected with Jaco’s nephew, David, and Jaco’s daughter, Mary [Johnny’s sister], as well. We all bonded through various types of music as musicians.
At that time, I told Johnny that some day he should make a documentary film about his father, because so many of my fellow musician friend’s of all styles had total respect for his father and really held him at the top of that pedestal of creative ingenuity. His dad’s story needed to be told.
Now, there’s quite a bit of info that exists in that mix between 1996 and where we’re at today in 2014. I decided to finance this film about five years ago with film company Passion Pictures, as I knew I could bring it to fruition with my good friend Johnny Pastorius. Without my director/editor Paul Marchand we would never have made it this far; he has been my creative force. We can’t exclude my good friend and master ‘DP’ Roger De Giacomi especially over the last few years. And there have been many very helpful hands throughout.
Earlier we had the major help of Jaco’s younger brother Gregory and early years friend and producer Bob Bobbing. Bob produced Jaco Pastorius “Portrait of Jaco…The Early Years 1968-1978”, not to mention author Bill Milkowski, who wrote “The Life And Tragic Times of Jaco Pastorius”. Director Stephen Kijak had an important role in this journey as well. Anyway, that’s the short version.
