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. This explains how the open E note is cut off at the beginning of most of the new phrases.
With the thumb anchoring, the picking finger is pulled towards the thumb and through the string being played. CONTINUUM Jaco used his picking-hand thumb as an anchor, anchoring down on the string beneath the string being picked. This is a common Jaco blues lick which you’ll hear him revisit in other songs as well. 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. 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. 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. 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. 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. 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. 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. Don’t let the time changes throw you off. At a fast tempo like this, the difference between the two is somewhat slight, but the shifting back and forth is definitely there.
PERFORMANCE NOTES DONNA LEE The thing to watch on this one is the way that Jaco switches from straight eighth notes to swing.
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