First of all, I’ve got to declare an interest: Jaco’s in my all-time top five favourite musicians.
Ever since I started really noticing music in the late ’70s, he was always on my radar – my dad would play Weather Report’s Heavy Weather and Mr Gone around the house, and by the time I knew Jaco’s name I was totally (if subconsciously) immersed in his stuff.
I bought his legendary 1976 debut album from a secondhand vinyl shop in Blandford Forum, Dorset (don’t look for it now, it’s not there any more) sometime in the mid-’80s, and I’ve been a superfan since.
The general critical consensus seems to be that, at his best, when he was healthy and strong between the early ’70s and early ’80s, Jaco’s composing skills were improving at the same rate as his bass-playing skills.
Luckily, in his short, somewhat tragic life, he left us five or six classic compositions (a list that would have to include ‘Havona’, ‘Teen Town’, ‘City Of Angels’, ‘Punk Jazz’, ‘Dania’ and ‘Las OIas’), but perhaps the most enduring of all is ‘Three Views Of A Secret’, a tune that has beguiled me since I first heard it.
He copped the title from a totally unrelated composition by Charlie Brent, the musical director of Wayne Cochran and the CC Riders, a hard-touring funk/R’n’B band Jaco played with in the early ’70s.
‘Three Views’ is essentially a medium jazz waltz built on three sections (A, B and C). The 16-bar A section has a bluesy feel and strong, simple melody.
The B section modulates to D-flat, before returning eventually to E. The third and final C section features repetitions of a four-bar phrase centred again around E, but with added colours to develop the tonality. It is, by any standards, an expertly-crafted piece.
The first recording of the tune was arguably the standout track from Weather Report’s 1980 album Night Passage, recorded live at The Complex, Los Angeles, in July 1980.
Joe Zawinul (a very tough critic, apparently calling Jaco’s ‘Liberty City’ “typical high-school big-band bullshit” right to his face a year later) rated it as his finest composition.
‘Three Views’ represented a distinct change of pace for Jaco in terms of his Weather Report career, coming hot on the heels of the frantic ‘Teen Town’, ‘Punk Jazz’ and ‘Havona’.
The closest stylistic reference in jazz to ‘Three Views’ would probably be Charles Mingus, though Jaco himself claimed to be more a Gil Evans man.
Jaco starts the tune with his trademark false harmonics (most famously heard in the head of ‘Birdland’), aided by Zawinul’s shimmering accompaniment.
Then, in the B section, Wayne Shorter deliciously deconstructs the melody in the way only he can. He refers to it, flirts with it, skitters around it, but never fully commits to it, leaving Zawinul’s strong harmony to point the way forward.
The second version appeared on Jaco’s second solo album Word Of Mouth, released in 1981. A controversial release, it was supposed to be Jaco’s big Warner Bros ‘fusion’ debut but it ended up going way over budget and making him almost persona non grata at the company.
The basic track was recorded at the Power Station, New York, with Jaco on piano, Toots Thielemans on harmonica and Jack DeJohnette on drums.
Strings, brass, woodwinds, voices and bass were added later in LA, at enormous expense; Jaco hired a 31-piece string section from the LA Philharmonic at a cost of $9,000, but later erased their contribution, not believing they had delivered the performance required.
Seven players from the section were selected by Jaco to come back a few weeks later and try again – they were overdubbed nine times each to create the illusion of a 63-piece string section!
So was it all worth it? Judge for yourself below. I know which version I prefer…
There’s also a lovely 1986 live (bootleg) version featuring Jaco’s short-lived but storming trio with Hiram Bullock on guitar and Kenwood Dennard on drums, but it’s really hard to find.
‘Three Views’ was played by a specially-selected band at Jaco’s funeral mass on 25th September 1987 at St Clement’s Church in Fort Lauderdale, Florida, where he had once served as an altar boy. It rang out as the pallbearers, including Zawinul and Shorter, led the procession of mourners out of the church.
Cover versions have been multiple and generally pretty faithful to the originals: Bob Mintzer, Gil Goldstein and Richard Bona, though there is also this ill-advised smooth jazz/funk abomination by Brian Bromberg. But no matter – it can’t erode the majesty of this classic Jaco composition.
For much more about Jaco, check out the great recent documentary, produced by Metallica’s Rob Trujillo, and Bill Milkowski’s controversial, though very detailed, biography.