it came to walking bass lines. He had the best Time feel with a capital “T.” He studied at Curtis. People still emulate his playing. JC: Barry Harris said he taught Paul Chambers to play bass. Barry played bass in high school. RM: “I don’t take credit for teaching or discovering anyone but I heard Jaco Pastorius before he was well known. It was a Wayne Cochrane & The CC Riders recording on the jukebox at Joe Namath’s Club “Bachelors Three” in Ft. Lauderdale, Florida while I was playing there in 1975 with BS&T. I fell in love instantly with his electric bass sound, and asked the bartender who it was. I had to play the track for BS&T drummer/leader, Bobby Colomby. Bobby heard what I’d heard in Jaco’s sound. The next day, he went out and found him and later brought him to New York and recorded Jaco’s amazing solo Cd on Epic Records. A few months later, Bobby fired me and hired him. Jaco didn’t want to play BS&T’s music. He wanted them to play his, but they had hits! I often wonder what would have happened had I not told Bobby Colomby about Jaco. He was a true innovator, but his life was tragically cut short in his mid thirties. “During my 3 years with Blood Sweat & Tears chose to write instrumental pieces for them, not having what it takes to write “Pop Music” with lyrics. In 1974 I wrote the title track for “Mirror Image” on Columbia Records. In 1975 I was nominated for a NARAS Grammy for “Best Instrumental Arrangement” for an original piece called “No Show”. JC: What did you learn from the recording experience? RM: “Jimmy Einer, the producer of the BS&T recording: “New City”, helped me reduce my 1975 (Cont. in February as Part II) Subscribe Free to the Jazz Culture Newsletter:
http://thejazzculture.com. © 2012, The Jazz Culture, Ltd..
Job Opening: Advertising Director; 50% commission basis; info@thejazzculture.com
24
The Jazz Culture, VI:41