‘The baddest shit on the planet’ – that was Weather Report keyboardist/co-founder/chief composer Joe Zawinul’s assessment of his band’s music.
He wasn’t alone – many credit them as the greatest jazz/rock unit in history, pretty impressive considering they developed out of a ‘scene’ that also included The Mahavishnu Orchestra, Return To Forever and Herbie Hancock’s Head Hunters.
Curt Bianchi has run the acclaimed Weather Report Discography website for many years and now expands his study to create the excellent ‘Elegant People’, an elaborate history of the band which features a myriad of exclusive interviews, photographs and information.
It has Brian Glasser’s effective Zawinul biography ‘In A Silent Way’ in the rear-view mirror but emerges as a very different proposition. Bianchi initially looks in detail at the formative years of Zawinul and co-founder/saxophonist Wayne Shorter, with sobering tales of the young Zawinul’s experiences in wartime Vienna and fascinating insights into Shorter’s extended periods in the bands of Maynard Ferguson, Art Blakey and Miles Davis.
The sections on Weather Report’s formation around 1970 are fascinating. Columbia’s marketing of them as a ‘progressive’ – rather than ‘jazz’ – band led to some interesting dichotomies; Shorter and Zawinul were already established superstars in their field but often had to engage in fairly menial/minor promotional work just to get a foot in the door with rock audiences. We also learn about the other potential band names that hit the cutting-room floor before ‘Weather Report’ appeared.
Bianchi then expertly traces the group from those early days as a kind of ‘chamber’ jazz/rock unit to their status as a ‘power band’ around the arrival of bassist Alphonso Johnson and drummer Chester Thompson in 1975, and the subsequent boost with the recruitment of Jaco Pastorius and Peter Erskine.
Bianchi brings the albums to life with great gusto. There’s a rare photo from the Night Passage sessions at The Complex in Los Angeles, and the last-ever photo of the Jaco/Erskine band taken at the Power Station in NYC, with Jaco almost a ghost at the back of the shot (shades of that famous final Syd Barrett photo with Pink Floyd). Elsewhere there are ticket stubs and even session track sheets.
And fans of Weather Report’s 1980s music can rest assured that Bianchi doesn’t give that era short shrift – there’s almost as much about the last few albums Sportin’ Life and This Is This (and many of Zawinul and Shorter’s post-Weather Report projects) as there is about commercial breakthroughs Black Market and Heavy Weather.
So ‘Elegant People’ is surely the ultimate Weather Report book – it’s an absolute must for fans and those wanting a deeper dive into the band’s music.
Even as the streaming revolution sweeps all before it, there are a few aspects of physical music that seem to be thriving: vinyl and the ‘historical discovery’.
Bass superstar Jaco is now a worthy recipient of both, courtesy of Truth, Liberty & Soul, a complete gig recorded at the Avery Fisher Hall in New York City on 27 June 1982, part of that summer’s Kool Jazz Festival.
The concert was originally broadcast live on NPR but has lain in the vaults for decades, and it took Resonance Records (via vaultmeister Zev Feldman) six years to prepare these tapes for release.
It features Jaco alongside his regular band (Bob Mintzer – saxes, Randy Brecker – trumpet, Don Alias – percussion, Othello Molineaux – steel drums, Peter Erskine – drums), plus special guest Toots Thielemans on harmonica and a big band full of NYC’s finest horn players.
The album catches Jaco at somewhat of a crossroads; by most accounts, June 1982 was the last time he was truly ‘together’ in terms of his mental wellbeing, the wheels really coming off during the Japanese tour later that autumn. (Fans of a certain age may fondly remember the televised live gig from the Montreal Jazz Festival which took place on 3 July 1982 – see below).
The question is, if you already own Jaco’s 1983 live album Invitation (released in slightly expanded form as Twins in Japan), also featuring the big band, is it worth getting this one? The answer is a resounding yes. It’s thrilling to hear a whole gig in real time by one of the last true jazz titans.
The sound is superb – crisp, deep and rich. The packaging is excellent, with a weighty booklet full of incisive essays and previously unseen photos. Anyone sick of bandleaders’ endless yakking to the audience to run down the clock these days will be pleased to hear that Jaco doesn’t utter a single word until a garbled band announcement during the closer ‘Fannie Mae’ – he’s there to play music.
There are many highlights – a killer ‘Donna Lee’, touching Afro-Cuban take on Toots’s ‘Bluesette’, an epic ‘Liberty City’ and particularly Mintzer’s superb composition ‘Mr Fonebone’, electrifying in big-band format.
There are one or two longeurs – we could probably do without the extended percussion and drum ‘improvisations’. And it has to be said that Jaco doesn’t sound on completely top form during his solos, though that’s possibly due to the size/acoustics of the venue, alluded to by a few contributors in the liner notes. But his accompaniment is typically brilliant throughout.
Frankly, it makes one desperate to attend such a gig in these crazy times. Truth, Liberty & Soul is a valuable release and an absolute must for anyone who owns any Jaco or Jaco-era Joni Mitchell/Weather Report albums.
Could it be that the ’80s spawned more ‘drum-based’ songs than any other music decade?
New recording technology meant that the drums had never been louder and prouder in the mix. Stylistically, influences from ’70s fusion and classic soul/R’n’B were still fresh and relevant.
Hip-hop and go-go brought a funky swing. Metal and punk added a unashamedly aggressive dimension. And let’s not underestimate The Collins Effect: Phil brought a lot of attention to the drums.
Here are 28 notable grooves from the decade. My definition: pieces of music where the drum parts are intrinsic to the architecture of the piece.
Eagle-eyed readers will spot lots of shuffles here – fast ones, slow ones, medium ones, half-times. Bernard Purdie and John Bonham’s influences apparently loomed large. Play ’em loud…
28. Joan Armatrading: ‘The Key’ (1983) Drummer: JERRY MAROTTA
27. Cameo: ‘She’s Strange’ (1984) Drummer: LARRY BLACKMON
26. Japan: ‘Still Life In Mobile Homes’ (1981) Drummer: STEVE JANSEN
25. Lee Ritenour: ‘Road Runner’ (1982) Drummer: HARVEY MASON
How does he find time to fill out the groove with all those 32nd notes on the hi-hats? With such solidity? Only the master knows.
24. Steve Khan: ‘Uncle Roy’ (1983) Drummer: STEVE JORDAN
Apparently Khan’s instruction to Jordan was to play an ‘Elvin Jones type of thing’ on this half-time shuffle. He completely ignored the guitarist and came up with an outrageous groove , turning the snare off, smacking the crash/ride cymbal as if his life depended on it and adding some tasty footwork for good measure.
23. U2: ‘Sunday Bloody Sunday’ (1983) Drummer: LARRY MULLEN JR.
Love or hate the track, it was the beat of choice for air-drumming schoolkids across the land (at least it was at my school). You can even hum it.
22. TONY WILLIAMS: ‘Sister Cheryl’ (1985)
In essence, Tony ‘straightens’ out the jazz swing ride cymbal/hi-hat pattern, adds some snare backbeats and then dials in almost a Latin feel. It’s a revolutionary beat on an album full of them (Foreign Intrigue).
21. Weather Report: ‘Volcano For Hire’ (1982) Drummer: PETER ERSKINE
Maybe Joe Zawinul came up with this pattern, but it’s superbly played and certainly one of the most striking and powerful in WR’s illustrious drumming legacy.
20. INXS: ‘What You Need’ Drummer: JON FARRISS
Fleet-of-foot dancefloor funk/rock smasher from one of the best groove drummers of the ’80s.
19. China Crisis: ‘In Northern Skies’ (1989) Drummer: KEVIN WILKINSON
A different kind of half-time shuffle, with crossed hands, neat ghost notes and a nice tom-tom emphasis on the ‘3’.
18. Prince: ‘Dance On’ (1988) Drummer: SHEILA E
Sheila unleashes her ’70s fusion chops on this curio from Lovesexy. Quite unlike anything else in her or the Purple One’s discography.
17. Joni Mitchell: ‘Be Cool’ (1982) Drummer: JOHN GUERIN
LA session legend Guerin ended his 10-year sideman gig with Joni playing this inspired take on a medium jazz swing. Holding two brushes, one marks out time with triplets and other ‘brushes’ in quintessential jazz style.
16. Level 42: ‘It’s Over’ (1987) Drummer: PHIL GOULD
One of many crafty, original ’80s grooves from the Isle Of Wight sticksman, this one was achieved by playing 16th notes on the hi-hat with both the foot and the hands. On a good system you can really hear the subtleties.
15. Jeff Beck: ‘Space Boogie’ (1980) Drummer: SIMON PHILLIPS
Of course it takes its cue from Billy Cobham’s famous ‘Quadrant 4’ double-bass-plus-ghost-notes shuffle, but Phillips’s beat is in 7/4 and bloody hard to pull off. He maintains the intensity remarkably well and throws in some killer fills.
14. Jeff Beck: ‘Star Cycle’ (1980) Drummer: JAN HAMMER
Another classic from Jeff’s There And Back album, the composer/keyboard player takes the sticks himself for a classic, still-funky, displaced-snare groove. Hammer has always been a superb drummer – check out his First Seven Days album for more evidence.
13. Weather Report: ‘Molasses Run’ (1983) Drummer: OMAR HAKIM
Lots to choose from in Omar’s prestigious ’80s discography but this one sticks out. His beats have a sense of structure befitting a natural songwriter/arranger (which, of course, he is too).
12. Joni Mitchell: ‘My Secret Place’ (1988) Drummer: MANU KATCHE
Kind of a variation on number 8, this cyclical groove almost IS the song.
11. Bennie Wallace: ‘All Night Dance’ (1985) Drummer: BERNARD PURDIE
Another classic from the shuffle master on this track from the saxophonist’s hard-to-find Blue Note album Twilight Time, this managed to incorporate both of Purdie’s trademarks: ghost notes and hi-hat barks.
10. Adam & The Ants: ‘Ant Rap’ (1981) Drummers: CHRIS HUGHES, TERRY LEE MIALL
There are two or three grooves on this and they’re all corkers. The song led to an outbreak of desktop hand-drumming by schoolkids in the early ’80s, driving teachers to distraction.
9. Grace Jones: ‘Warm Leatherette’ (1980) Drummer: SLY DUNBAR
Trust Sly to come up with two such original takes on the shuffle.
8. Paul Simon: ’50 Ways To Leave Your Lover’ (1982) Drummer: STEVE GADD
What a treat to hear and see this classic live version from Central Park, possibly with some tiny deviations from the recorded take. Much imitated, never surpassed. And check out Gadd’s superb extended coda.
7. John Scofield: ‘Blue Matter’ (1986) Drummer: DENNIS CHAMBERS
One of the great beatmakers of the ’80s or any other decade, the Baltimore master busted loose with two classic go-go grooves for the price of one.
6. Van Halen: ‘Hot For Teacher’ (1984) Drummer: ALEX VAN HALEN
Modern Drummer magazine said it best: ‘The song begins with Alex pounding out a fairly complex floor-tom pattern featuring the ever-popular hairta rudiment, played over shuffling double bass drums. Add some tom hits and then a driving ride cymbal, and you’ve got one of the most classic drum tracks of the ’80s—or any decade.’
5. The Police: ‘Murder By Numbers’ (1983) Drummer: STEWART COPELAND
Yet another ingenious variation on the medium jazz swing, Copeland turns 4/4 into 6/8, adds some weird emphases and catches the ear every time.
4. King Crimson: ‘Frame By Frame’ (1981) Drummer: BILL BRUFORD
At Robert Fripp’s prompting, Bruford plays the lion’s share of the beat on one of his Octobans, not the hi-hat. From the classic album Discipline.
3. Chuck Brown & The Soul Searchers: ‘We Need Some Money’ (1985) Drummer: RICKY WELLMAN
The right foot that floored the drumming world.
2. Toto: ‘Rosanna’ (1982) Drummer: JEFF PORCARO
Impossible to leave out this half-time classic. Porcaro fused The Purdie Shuffle with a Bo Diddley beat to create a monster.
1. John Martyn: ‘Pascanel (Get Back Home)’ (1981) Drummer: PHIL COLLINS
Phil came up with numerous cool variations on Harvey Mason’s ‘Chameleon’ beat in the ’80s, but this is my favourite. It’s basically ‘Chameleon’ but with a very groovy triplet figure inserted between the hi-hats and snare. From the classic Glorious Fool album.
Recently, for work, I’ve had the pleasure of hanging out a bit with Paddy Spinks, the man charged with keeping King Crimson together in the 1980s.
Chatting about that mighty musical unit recently, he said that Bill Bruford had been the ‘natural showman’ of the band.
So it was a bit of a surprise to read Bruford’s words about the latter part of his distinguished drumming career in the introduction to fascinating new book ‘Uncharted’: ‘I dreaded performance to the point where…I was unable to function meaningfully. Performance had become incomprehensibly difficult and insuperably so.’
‘Uncharted’ is Bruford’s detailed voyage through the psychology of performance, performance anxiety and drumming creativity. He sets out his objectives clearly: ‘I want to suggest some answers to some fundamental questions about drummers. What do we do and why do we do it? Is there anything creative about it? What are drummers for, if not to be creative?’
He provides some answers himself and also garners opinions from a variety of respected players including Peter Erskine (Weather Report, Kate Bush, Steely Dan), Chad Wackerman (Frank Zappa, Allan Holdsworth) and Cindy Blackman-Santana.
‘Uncharted’ is most assuredly an academic book, the fruits of a University of Surrey PhD, so it probably won’t surprise any Bruford fans to learn that it features no drummer jokes. But it’s never less than gripping, with fascinating titbits dropped in here and there about a distinguished career in music.
The book shines a light on the current state of the recording world, with pithy comments about the rise of the ‘bedroom’ musician and ‘stay-at-home’ drummer sending in his/her parts via email or Skype.
Bruford laments the lessening of time that bands spend together in the rehearsal room these days, often due to financial constraints, rightly commenting that music as complex and nuanced as Yes or King Crimson could only have been produced via lengthy band ‘woodshedding’ sessions.
There are striking observations on the merits or otherwise of ‘playing to your audience’, especially from Erskine: ‘I don’t really give a f**k about the audience. You can quote me on that!’, and also a couple of amusingly barbed Bruford comments about playing double drums with another of the UK’s greatest players. Hint, hint…
Despite its occasional longeurs, ‘Uncharted’ is a fascinating, forensic look at creativity and collaboration, with reverberations that go far beyond the world of music.
Maybe John Abercrombie was the Andy Murray of jazz guitarists.
People say Murray was ‘unlucky’ to be playing tennis at the same time as Federer, Djokovic and Nadal; Abercrombie was arguably ‘unfortunate’ to have been forging a career at the same time as Pat Metheny, Mike Stern, John Scofield and Bill Frisell.
But a superb career he forged all the same. Starting out as somewhat of a John McLaughlin imitator playing unhinged jazz/rock with Billy Cobham and Dreams on ‘some of the worst fusion albums ever made’ (his words), by 1974 Abercrombie had settled into a long, intriguing career on ECM Records, where he could pursue all his interests, from acoustic guitar duos with Ralph Towner to organ trios with Jan Hammer and Jack DeJohnette.
But one of his best bands was this mid-1980s outfit with ex-Bill Evans/Lyle Mays sideman Marc Johnson on bass and legendary Peter Erskine on drums, often augmented by Michael Brecker on sax too.
Abercrombie was getting heavily into the guitar synth around this time, while also using loops and ethereal keyboard patches to beef up the studio sound.
’86’s Current Events was a fine ‘blowing’ record but followup Getting There– released 30 years ago this month – was arguably Abercrombie’s most commercial album. It’s big and bold but definitely no ‘fusion’ sell-out, and it distills its ideas into relatively short, concise statements.
It’s also somewhat of a rarity for the ECM label in that it’s not produced by Manfred Eicher – Lee Townsend is in charge here, assisted by James Farber.
The epic title track is loud and proud, almost approaching avant-rock with Erskine absolutely lamping his drums and a hysterical, exciting set of screaming guitar-synth solos. It gets near the approach of David Torn’s sometimes raucous Cloud About Mercury album.
Ethereal, gentle and gorgeous ‘Thalia’ (composed by Vince Mendoza) and ‘Chance’ are ambient/jazz masterpieces with shades of Mark Isham’s work.
Classic ballad ‘Remember Hymn’ initially sounds like a re-harmonisation of Sibelius’s ‘Valse Triste’ but slowly becomes a vehicle for Brecker’s haunting tenor. The latter also cleans up on the raucous two-chord blowout ‘Furs On Ice’, reminiscent of Johnson’s Bass Desires band, with Erskine at his most Elvin Jones-like.
Getting There predictably received a somewhat muted critical reaction (but did get a three-star review in Q Magazine). I wasn’t bothered about that – having been recommended Abercrombie by a guitar player friend, I bought it sight unseen from HMV Oxford Street on vinyl a few weeks after it came out. It’s still my favourite album by the guitarist.
But it would be the last time Abercrombie dipped his toe into ‘rockist’ waters – he quickly regrouped to continue his ever-eclectic, increasingly gentle career, and, to the best of my knowledge, never picked up the guitar synth again…
Inspiration was easy to come by; the early ‘80s delivered brilliant drum-centric hits like The Jam’s ‘A Town Called Malice’, Bow Wow Wow’s ‘I Want Candy’, Adam and the Ants’ ‘Ant Rap’ and Phil Collins’ ‘In The Air Tonight’. Drums were sounding like DRUMS again – the days of dead-sounding kits seemed (almost) over.
Exciting fusions were everywhere: avant-gardists combined free-funk and free-jazz; art-popsters brought ideas from minimalism, Africa and the Far East; jazz/rock masters of the 1970s moved into production and arrangement; dub and World music thrived.
Post-punks fused rock and reggae; the ‘Young Lions’ embraced and sometimes extended the drum worlds of Art Blakey, Philly Joe Jones and Max Roach; funk and R’n’B got precise and spicy; metal players took double-kick playing to extraordinary extremes. And of course there was also the sudden development of technology: some drummers shrunk from the challenge, others rose to it.
So, to celebrate movingtheriver.com’s third anniversary, here’s a personal selection of the decade’s finest drum performances, in no particular order.
46. Loose Tubes: Loose Tubes (1985) Drummer: Nic France
France marshals this big band through jazz/rock, Latin and African vibes with a sparky, lively studio sound, something like a Brit version of Dave Weckl.
45. Lee Ritenour: Earth Run (1986) Drummer: Carlos Vega
The album may be the beginning of Ritenour’s descent into bona fide smooth jazz but the best tracks feature brilliant playing by the underrated Vega.
44. Prefab Sprout: Protest Songs (1989) Drummer: Neil Conti
Conti’s classy playing provided a subtle, always stylish counterpoint to Paddy McAloon’s pithy, complex songs about poverty, childhood and the social mores of the early ’80s.
43. Robert Plant: Shaken ‘N’ Stirred (1985) Drummer: Richie Hayward
Little Feat were a tough act to follow from a drumming point of view but Hayward settled into the 1980s with this superb performance, showcasing a bright, expressive style on Plant’s quirky, Peter Gabriel-influenced art-rock.
42. Frank Gambale: Live! (1989) Drummer: Joey Heredia
LA-based Heredia combined slinky funk/fusion, Police-style rock/reggae and Latin grooves to spectacular effect on this classic live album. His sparring with a terrifyingly unhinged Gambale on ‘Credit Reference Blues’ and ‘Touch Of Brazil’ is essential listening.
41. Al Jarreau: L Is For Lover (1986) Drummer: Steve Ferrone
The ex-Average White Band ex-pat Brit takes us on a journey through the art of groove on this nearly-forgotten Nile Rodgers-produced minor classic. He gives James Gadson a run for his money with his killer 16th-note hi-hats, crisp snare and nifty footwork.
40. Eddie Gomez: Mezgo (1986) Drummer: Steve Gadd
On this Japan-only album (which is still waiting for a CD release), Gadd was at his most expressive, navigating the bebop flavours of ‘Puccini’s Walk’ and quirky fusion stylings of ‘Me Two’ with great aplomb. And no one else could have played a samba the way Gadd does on ‘Caribbean Morning’.
39. Miles Davis: We Want Miles! (1982) Drummer: Al Foster
In combination with bassist Marcus Miller, the underrated Foster laid down some highly original rhythm section work on Miles’s only live album of the 1980s. Listening to his ‘bouncing ball’ dynamics on ‘Kix’, you’d swear that the very fabric of time was being messed with.
38. Rockin’ Jimmy & The Brothers Of The Night (1982) Drummer: Chuck DeWalt
Here’s one out of left-field from a Tulsa bar band who I first heard yonks ago on Alexis Korner’s fabled early-’80s Radio One blues show. DeWalt had a Ringo-esque knack for coming up with simple but memorable drum parts, with a great feel and nice use of space.
37. Living Colour: Vivid (1988) Drummer: Will Calhoun
Calhoun’s whip-crack snare and natty ride cymbal/hi-hat combinations knocked a lot of drummers’ socks off in 1988. He was just as comfortable with the half-time, Bonhamesque rock of ‘Cult Of Personality’ as he was with the funk and go-go grooves of ‘Funny Vibe’ and ‘Broken Hearts’.
36. INXS: Kick (1987) Drummer: Jon Farriss
If it’s funky pop you’re after, Farriss is your man. His dynamics, ghost notes and weird accents on ‘New Sensation’ and ‘Need You Tonight’ are worth the price of admission, while ‘Never Tear Us Apart’ sounds a bit like Ringo if he had a few more chops.
35. Hiram Bullock: Give It What U Got (1987) Drummer: Charley Drayton
NYC-native Drayton delivered a cutting snare, subtle cymbal work and exciting two-hi-hat grooves on this impeccable slice of late-’80s funk/fusion. No one else – not even his buddy Steve Jordan – could have done a better job.
34. Sting: …Nothing Like The Sun (1987) Drummer: Manu Katche
Overproduced? It’s a moot point when the playing’s as delicious as this. His independence between kick drum and hi-hat on ‘Rock Steady’ is fairly mind-boggling, while no one apart from Copeland and Colaiuta has perfected the high-speed reggae groove with such aplomb.
33. Narada Michael Walden: Divine Emotions (1988)
The ’70s fusion hero turned ’80s producer extraordinaire still had time to deliver this forgotten classic featuring tasty, tight, propulsive grooves and a return to blazing jazz/rock on the hysterical closer ‘We Still Have A Dream’.
32. John Scofield: Electric Outlet (1984) Drummer: Steve Jordan
The NYC tyro had already turned heads with the Blues Brothers and ‘Saturday Night Live’ bands but this album perfectly captured his more expansive side. Two hi-hats, crisp snare, gorgeous K Zildjians and some spry kick drum work, particularly on ‘Pick Hits’, ‘Big Break’ and the title track.
31. Nik Kershaw: The Works (1989) Drummer: Vinnie Colaiuta
We knew that Vinnie could unleash some jaw-dropping chops, but this album perfectly demonstrates his groove side. Check out how he navigates the 6/4 time of ‘Cowboys And Indians’ and hot-wires mid-tempo rocker ‘Wounded Knee’. And then there’s THAT fill in ‘Don’t Ask Me’…
30. Billy Cobham: Powerplay (1986)
An album that finally captured what it’s like to stand a few feet away from the master, featuring a lovely acoustic drum sound, shorn of any studio effects. There was incredible clarity to his playing even if the material wasn’t quite as strong as on the previous year’s album Warning.
29. Japan: Oil On Canvas (1983) Drummer: Steve Jansen
Jansen was always looking at new ways to play a 4/4 beat and came up with five or six classics on this live retrospective. ‘Visions Of China’, ‘Canton’ and ‘Sons Of Pioneers’ still sound like unique drum statements in the history of recorded music.
28. Stanley Clarke: Rocks, Pebbles And Sand (1980) Drummer: Simon Phillips
Beautifully recorded by Dennis Mackay, his drums have never sounded better or bigger. From the driving rock’n’roll of ‘Danger Street’ to highly technical prog-fusion of ‘She Thought I Was Stanley Clarke’, the London maestro delivered a superb performance throughout.
27. Bireli Lagrene: Foreign Affairs (1988) Drummer: Dennis Chambers
Many to choose from in Dennis’s repertoire but I’ve plumped for this hard-to-find fusion classic. With a fatter snare than usual, he anchors the band beautifully on Weather Report-style jams ‘Josef’ and ‘Senegal’ and unleashes a trademark 6/8 groove and killer solo on the title track.
26. Van Halen: 1984 Drummer: Alex Van Halen
If he had only ever recorded the freaky double-bass workout ‘Hot For Teacher’, his place in the drum pantheon would be assured. But this breakthrough album also featured a host of other treats, not least ‘Jump’, plus the most identifiable snare drum in hard rock.
25. John Abercrombie: Getting There (1987) Drummer: Peter Erskine
Difficult to choose one from possibly the jazz drummer of the decade but I’ve gone for this mid-career classic. Erskine busts out his Elvin Jones chops on ‘Furs On Ice’ and rocks hard on the epic title track which almost approaches avant-rock.
24. John Martyn: Glorious Fool (1981) Drummer: Phil Collins
A fascinating companion piece to Phil’s Face Value and Genesis’s Duke during arguably his best period of drumming. He brings out lots of lovely ghost-noted grooves in the Little Feat style, some brutal rock on ‘Amsterdam’ and even spicy fusion on ‘Didn’t Do That’.
23. China Crisis: Diary Of A Hollow Horse (1989) Drummer: Kevin Wilkinson
Wilkinson was (he sadly took his own life in 1999) kind of an English Jeff Porcaro, a tasty groovemeister who always played exactly what was right for the song – with lots of elan. Check out the subtleties of ‘St Saviour’s Square’, ‘In Northern Skies’ and ‘Red Letter Day’.
22. Toto IV (1982) Drummer: Jeff Porcaro
It would almost be sacrilege not to include this. Some of the greatest rock drumming in history, with feel, finesse, style, a rich, full sound and lovely time-feel (though he famously claimed ‘my time sucks’!).
21. Pat Metheny: 80/81 (1981) Drummer: Jack DeJohnette
DeJohnette was always a class act on ECM’s ’80s projects and he sounds sparkling on this double album. But I include it mainly for his performance on ‘Every Day I Thank You’, goosing saxophonist Michael Brecker into one of his finest sax solos on record.
20. Stanley Clarke Band: Find Out! (1985) Drummer: Rayford Griffin
There are definitely shades of Cobham in his exuberant style (and he set himself up left-handed on a right-handed kit like Billy) but also grooves aplenty on this underrated album. His lopsided funk on ‘Born In The USA’ is balanced out by chops-fests ‘Campo Americano’ and ‘My Life’. This guy has technique to burn but also does what’s right for the song.
Jaco Pastorius died 30 years ago today: 21 September 1987.
He was beaten up outside the Midnight Bottle nightclub in Wilton Manors, Florida.
British Jaco fans had particularly meagre pickings in the late 1980s. You gleaned whatever info you could from Bass Player and The Wire magazine or swapped gossip with muso pals.
I’m not even sure I knew he had passed away when I got my hands on import albums like Stuttgart Aria and Live In Italy, both recorded with the brilliant French guitarist Bireli Lagrene, or heard his guest spot on Mike Stern’s Upside Downside.
Then my dad came home from work one day around 1989, excitedly talking about a Jaco concert movie for which he had secured the rights, eventually broadcast on Channel Four as part of the ‘Sounds Of Surprise’ series of jazz films.
Sure enough, the 1982 Montreal Jazz Festival show was a whole new insight into this master musician, shot at a time when he was firing on all cylinders and one of the biggest ‘jazz’ stars on the planet. He was ostensibly touring his Word Of Mouth album at the time, but didn’t play one tune from it.
Starting with his old ‘sweetener’, Pee Wee Ellis’s ‘The Chicken’, Jaco led his superb band (Peter Erskine on drums, Bob Mintzer on reeds, Randy Brecker on trumpet, Othello Molineaux on steel pans, Don Alias on percussion) through a tasty combo of jazz, R’n’B, blues and Caribbean influences.
Particularly notable are a breezy ‘Donna Lee’ and brilliant version of Mintzer’s ‘Mr Fone Bone’, starting at 27:40. Jaco’s soloing throughout the gig is beautiful – emotional, nuanced, dramatic. On the closer ‘Fannie Mae’, he plays the blues with as much feeling as Alberts King or Collins.
So here it is in all its glory. July 1982, Montreal, Canada. RIP Jaco.