Intro

Jaco Pastorius turned the bass into a melodic engine. “Teen Town” isn’t just a fusion showcase—it’s a blueprint for 16th-note drive, ghost-note clarity, and melodic counterlines that push the whole band forward.

Below are five bass lines that echo that DNA—some as direct homages, others as modern evolutions. For each one, you’ll get why it relates to “Teen Town”, a practice focus, and a mini pattern (not a full transcription) to lock in the feel.

See also: Teen Town vs Dean Town • The Groove Revolution (Jaco)

1) Vulfpeck — “Dean Town” (2016)

Why it channels “Teen Town”: direct homage; relentless 16th-note ostinato, left-hand muting, precision over speed.
Practice focus: subdivision first, then articulation (muted vs open).
Mini pattern (feel, not note-for-note):

G|----------------|----------------|
D|----5-5---------|----5-5---------|
A|-5------5-3-5---|-5------5-3-5---|
E|---------3---3--|---------3---3--|
   1 e & a 2 e & a 3 e & a 4 e & a

Tip: record at 70→90→110→130 BPM; aim for identical note length each repeat.

2) Victor Wooten — “U Can’t Hold No Groove” (1996)

Why it channels “Teen Town”: percussive 16th grid, ghost notes as time-glue, melodic fills between drum hits.
Practice focus: accent map (emphasize “e” and “a” lightly), keep the downbeats dry.
Mini pattern (feel-based):

G|----------------|----------------|
D|------7-(x)-7---|------7-(x)-7---|
A|--5h7-------(x)-|--5h7-------(x)-|
E|0---(x)---0--(x)|0---(x)---0--(x) 
    >       >        >       >

Tip: alternate open-string rebounds with left-hand mutes to simulate the drum-and-bass lock.

3) Marcus Miller — “Power” (2001)

Why it channels “Teen Town”: machine-tight sixteenth engine + syncopated accents; melodic lead without leaving the pocket.
Practice focus: right-hand consistency; lock accents to kick patterns.
Mini pattern (condensed):

G|----------------|-------------5--|
D|------5-7---5---|-----5-7-5h7----|
A|--5h7-----7---7-|--5h7-----------|
E|----------------|----------------|
   & a 1  e &  a    & a 1  e &  a

Tip: practice staccato vs legato versions to hear how articulation reshapes the groove.

4) Snarky Puppy — “Shofukan” (2014)

Why it channels “Teen Town”: hypnotic ostinato that carries harmony and rhythm; melodic bass lead inside a dense arrangement.
Practice focus: dynamics in cycles—every 4 bars, shade the first bar louder, the fourth softer for contour.
Mini pattern (vibe):

G|----------------|----------------|
D|--------5-------|------5---------|
A|--5-5-----7-5---|--5-5---7-5-----|
E|----------------|----------------|
   1 e & a 2 e & a 3 e & a 4 e & a

Tip: add mute-pluck-release triads: (mute)→(short note)→(ring) within one bar.

5) Vulfpeck — “Beastly” (2011)

Why it channels “Teen Town”: the bass is the song—endurance line, micro-timing, and melodic pivots like fusion, packed as minimalist funk.
Practice focus: endurance rounds (5× 2’ on / 1’ off), keeping tone identical from first to last chorus.
Mini pattern (feel-based):

G|----------------|----------------|
D|------5---------|------5---------|
A|--5-7---7-5-7---|--5-7---7-5-7---|
E|----------------|----------------|
   keep notes short; avoid flams on repeats

Tip: do “no-look” takes (don’t watch the left hand) to test muscle memory at 110–120 BPM.

🎯 Teen-Town Technique Checklist

• Subdivision first: speak “1 e & a” out loud while playing.
• Ghost notes = glue: left-hand release, not volume.
• Melodic thinking: target 3rd/7th of the implied chord every 2 bars.
• Tone recipe: bridge pickup, slight mid bump, light compression.
• Tempo ladder: 70 → 90 → 110 → 130 BPM (record every take).

---

🔗 Related Reads (visual block sotto l’articolo)

• Teen Town vs Dean Town — the ultimate funk showdown
• The Groove Revolution: How Jaco Pastorius Changed Bass Playing Forever
• Joe Pass Chord-Melody Exercise Routine (cross-genre phrasing mindset)

🧩 FAQ (in pagina, visibile)

Q: Do I need a fretless to get the “Teen Town” sound?
A: No. Fretless helps with slides and vocal phrasing, but articulation and subdivision matter more.

Q: How do I stop my sixteenths from rushing?
A: Practice with accents only on 2 & 4, then add the remaining notes; record at slow tempos.

Q: Best metronome trick?
A: Put the click on beats 2 & 4; when stable, move it to beat 4 only.