Here is some text from an interview, where he talks about his intonation:
Intonation:How did Pino deal with the problem of intonation on a fretless bass, given that many of his recorded bass lines were often first or second recording takes?
"I never really think about intonation: whenever I do, I play out of tune! If I really worry about it live - listening too hard to what I'm playing, rather than the whole thing - then it starts to get a bit sharp or flat, or whatever. It sometimes seems that, though the bass note may be right, the context makes it sound out. I don't really think about it in those terms; I just play until it sounds 'in'. Also, with fretless, you can do lots of vibrato, so a lot of the time, if you for a lick, up the top, you can give it a little shake to adjust the intonation, and it's more of an effect melodically."
So the intonation is totally fluid?
" Yeah, it just happens. Some producers on sessions I've done get really touchy about it; they put the tuner up, play the bass track back and say 'It's a sharp there...' I always ask them whether it sounds sharp, because it really doesn't matter what it looks like on the tuner. A lot of the time on tracks I've done, 50% of the notes are out of tune but it sounds OK. It's like voice - never perfectly in tune, and a guitar will always be slightly out of tune as you move around the neck. It's hard to get one with perfect notes everywhere. On a fretless, it's up to you where you want to pitch it."
By the way - the bass he used on New York Minute was a fretless Music Man bass.
Bob Bone