A Quote by Thundercat

I started taking the bass more seriously when I heard Jaco Pastorius. — © Thundercat
I started taking the bass more seriously when I heard Jaco Pastorius.
I like Jaco Pastorius' 'Portrait of Tracy.' He was this bass player who played jazz fusion. He was the dopest bass player who ever lived.
I just wanted to experiment with the bass, and my main influence from Jaco Pastorius inspired me to write music in a certain way.
Jaco Pastorius gave the bass a new voice. I mean, he was very inspired by singers like Frank Sinatra. And in a lot of ways, maybe he wanted to be a singer himself.
I've been friends with Jaco Pastorius's son since 1996 - Johnny Pastorius, the eldest son. And I remember when I first met him, I said, 'Some day, you've gotta make a film about your father,' because his influence is so broad.
It happened to be, from '73 to '78, the five years that, our most glorious years for bass players. We had Larry Graham, with his own band, Stanley Clarke with his own band. We have Bootsy doing his thing. We had Jaco Pastorius. They were all leading their own bands.
I didn't arrive on the scene until after Jaco Pastorius had passed, but 'Three Views of a Secret' is a long-time favourite of mine.
She [Joni Mitchell] wanted to have that (jazz) element in her music. Of course, when she heard Jaco's [Jaco Pastorius'] music and met him, that floored her -- really grabbed her. She decided that Wayne Shorter was really conducive to her music. She would speak metaphorically about things. "I want this to sound like a taxicab driver, or a taxi in New York," or "I want this to sound like a telephone ringing." She would speak to musicians like that, and we really tuned into what she would want our music to be.
I started growing up in a hurry and taking a lot of the philosophy I'd heard from church as a kid a lot more seriously - especially the Ten Commandments - and wondering how 'Thou shalt not kill' could be so absolutely ignored. It took me until I was in my 40s to write what I was thinking as a young soldier.
I started taking vocal lessons steadily. I started taking it seriously.
After the first three or four years of me taking rap seriously, it started to look more promising. I started booking shows and more people were playing my music, so I starting believing this could actually work for me.
Other people started taking me seriously before I took myself seriously.
With this record [The Colour and the Shape], I started taking the lyrics more seriously. This is a very personal album.
In 1972, I got my first electric bass and started playing the kind of instrument I play now. I found that the majority of musicians couldn't bear that. They are not used to listening to the bass because they think the bass is in the background to support them.
I don't look at my instrument as having one specific role; I was raised to go as far as you can. But Raphael Saadiq hated my bass. He told me to throw it away. And playing in Snoop's band, there was a time when my bass was more annoying to everyone than helpful. They would get on my case: 'Can you make your bass sound like more of a bass?'
I was a bass guitarist first before I started playing double bass - and I only started playing it because my teacher said I'd get twice as much work, as there's not enough players out there.
I was 17 when I first started rapping and 18 before I started taking it seriously - when I really knew I could rap and have fans and be a trendsetter.
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