Whoa, hold on to your feathers! If you want energy and excitement and a funky groove, then check out Kris Berg's chart, The Chicken. The legendary electric bassist Jaco Pastorius recorded this powerhouse tune and arranger Kris Berg has adapted it for the Jazz Band Series. If you have a strong electric bass player, then you have found yourself a showstopper with this arrangement. The tenor sax solo (written solo provided), the optional guitar solo, and the solo bass line will showcase your soloists. Your ensemble will totally devour The Chicken. Guaranteed to pluck the audience right out of their seats!

TABLE OF CONTENTS Jaco Pastorius – Jaco Pastorius Donna Lee 1 Come On, Come Over. 6 Portrait of Tracy.

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10 Opus Pocus. 12 Pat Metheny – Bright Size Life Bright Size Life. 16 Joni Mitchell – Hejira Black Crow. 20 Weather Report – Black Market Cannonball. 24 Barbary Coast. 27 Weather Report – Heavy Weather Birdland. 28 A Remark You Made.

32 Teen Town. 34 Palladium. 38 Weather Report – Mr.

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Gone River People. 46 Punk Jazz. 50 Joni Mitchell – Mingus The Dry Cleaner from Des Moines. 52 Weather Report – Night Passage Port of Entry. 56 Jaco Pastorius – Word of Mouth Crisis.60 Chromatic Fantasy. 61 Weather Report – Weather Report Dara Factor Two.

62 Jaco Pastorius – Invitation (a.k.a. Twins) Amerika. 66 Soul Intro / The Chicken. 68 Bireli Lagrene & Jaco Pastorius – Stuttgart Aria Stuttgart Aria I. 72 Performance Notes.77 Discography 80 PERFORMANCE NOTES DONNA LEE The thing to watch on this one is the way that Jaco switches from straight eighth notes to swing. At a fast tempo like this, the difference between the two is somewhat slight, but the shifting back and forth is definitely there.

Don’t let the time changes throw you off. I’m sure Jaco wasn’t thinking consciously in terms of changing time signatures like at the bottom of page 1, he was probably just playing the music he heard it in his head. If you get hung up on trying to read some of the more difficult rhythmic phrases, just try to hear them and play it by ear instead of reading them. COME ON, COME OVER Listening to this song was like a revelation for me – it was the first time I was really introduced to the genius of how muted notes can funkify a bass line. Download fsx fws super traffic board. Probably the hardest part then, is in getting a perfectly steady stream of notes, with a perfect rhythm clipping along regardless of whether your fret-hand is holding down the note or lifting up just a bit to mute the note.

This is a perfect spot to take the written music and play it alongside a metronome, concentrating on a perfect, steady stream of notes clicking along at a slow, steady rhythm before attempting to take the whole thing up to the speed of the recording with Jaco cruising full-steam ahead. The intro lick may throw you off a bit with the quick slide from F to F# and back, that three note slide is so fast that it can be mistaken for a single note with vibrato. It’s a unison lick with the keyboards, however, so if you listen to the keyboards playing the same three notes without the fretless slides, you’ll be able to hear the rhythm of those notes a bit more distinctly. This is a common Jaco blues lick which you’ll hear him revisit in other songs as well. CONTINUUM Jaco used his picking-hand thumb as an anchor, anchoring down on the string beneath the string being picked. With the thumb anchoring, the picking finger is pulled towards the thumb and through the string being played.

This explains how the open E note is cut off at the beginning of most of the new phrases. He’s not coming over and stopping the open E note with his fret-hand, the muted open E notes happen naturally as the thumb anchors on E at the exact moment that the new phrase begins with notes being picked on the A-string. At the end of page 7 and the top of page 8, there are some fourth licks. The fourths are played on the same string while the unisons are played on adjacent strings. It takes a bit of a stretch, and it’s a little strange at first when you play the same note twice on two separate strings, but it makes for an innovative and very cool riff. Looking at the last six notes of page 7 and the first three notes of page 8: 16-G, 11-G, 16-D, 11-D, 11-A, 11-A, 16-E, 11-E, 0-E. PORTRAIT OF TRACY The F# harmonic in bar 4 and subsequent bars is played by fretting the 2nd fret A-string with your index finger and while holding that down reaching over with your pinky and lightly touching the string just before the sixth fret bar.

While still fretting with the index and lightly touching with the pinky, pick the note with your picking-hand. What you’re effectively doing here is creating a capo at the 2nd fret and then getting the harmonic at the 3.8 fret past that capo. This is a variation on artificial harmonics, which is discussed more thoroughly in the notes to Birdland.