Am I deaf? AJ's bass line overrated in this song?

[Ammioz77]

Help! although I claim AJ as one of my bass heroes.. I guess I'm either missing the obvious or am a neandrathal in this case. I've read over and over (thanks BP magazine) about how superlative AJ's work was on Chaka Khan's "Naughty" - specifically the track, "move me no mountain." Now the track to me, is some of Ms C's best vocal work - exuberant, powerful, all the things that marked her as one of the best. AJ does lock with Steve Ferrone is a ferocious way. But... maybe I'm missing it but his bass part in that song just doesn't seem to be "all that.." I've heard better work from him and others for that matter. The part actually seems kind of average to me. What am I missing? Educate me someone please?

[Richard Lindsey]

A part doesn't have to be overtly impressive to be good. It just has to be right. And what's wrong with "locking ferociously," anyway? Not everybody can do that.

[DWBass]

Originally Posted by Richard Lindsey

A part doesn't have to be overtly impressive to be good. It just has to be right. And what's wrong with "locking ferociously," anyway? Not everybody can do that.

+1 Being able to lay back and play simply and for the song is just as impressive.

[Buskman]

Just kidding, Ammioz77!

What AJ plays on that track in particular is like a song in itself. He keeps the parts interesting yet always stays in the pocket w/ Ferrone like you said. He definitely shows his Jamerson influence here.

Wait... I'll let the man answer for himself (taken from a Bass Player mag interview):

On Chaka Khan's Naughty and What Cha' Gonna Do for Me [both on Warner Bros.], you were able to express highly creative ideas while not only supporting the songs but kicking the hell out of the grooves. Is that the most freedom you've ever been given as a sideman?

Certainly those recordings are among the best examples of blatant commerciality infused with high art that I've been involved with. The basic tracks went down quickly and easily. They probably could have been left untouched, ready for overdubs and sweetening, were it not for my inability to find anything good to say about my own performances. They were competent, but I was absolutely not thrilled, and this was unacceptable. This situation has generally prevailed throughout my career, and in most cases I have had no recourse but to stuff a sock in my mouth and go quietly home. Those who know me, of course, know that often the sock came out and I let everyone know that if they had any sense they would let me redo my parts until I felt they were right. For the most part, this got me nowhere, though I did make many close enemies.

I will probably never know what could have been going through the minds of Chaka and her producer, Arif Mardin, in allowing me to redo every single note of every single track I played on. To make a fascinating but long story short, Naughty, which was recorded in New York in 1979, went on without concern for the bass tracks. I was given absolute artistic license, with one exception, and an unheard-of amount of time-three months-to recompose the bass parts, whereupon I notified Arif of my readiness to record. I was then given all the studio time that I required. I never found out how much my indulgence cost Chaka, but the end result is as pure an example as exists, in my own case, of the ends justifying the means.

The performances represent, with only scattered exceptions, the peak of my creative abilities at the time and in that genre. They are, hopefully, only elemental today, but I recall listening to the final mixes just before release and realizing that I was able, for the first time, to hear evidence of a defined, mature, and effective style coming through my playing. This was a revelation, a coming-of-age, and, I hoped, proof that my stubbornness in playing what I heard despite intense pressure to "conform or else" was paying off. The succeeding album, What Cha' Gonna Do for Me, recorded in Montreux in 1980, was made along similar "highbrow" lines, but with the first signs of an end of an era in sight-the budget was down and the time restricted-although the end result remains impressive.

Unfortunately, reality closed in around us after that album, and the crucial prerequisites to recordmaking of this quality are difficult to come by today. Producers are no longer inclined to grant sidemen, however esteemed, unlimited control of anything, and certainly time is more tightly rationed than anything else. The right combination of players is now highly unlikely, inasmuch as a full rhythm section is seldom seen. Machine augmentation is the rule. Most important of all, few artists of major stature have ever possessed the patience, supportiveness, musicality, and virtuosity of Chaka Khan. I've worked with countless singers, from divas to bicycle pumps, and none has been able to gather and harness such powerful creative forces as Chaka.

Many people think that you used a 5- or 6-string bass on those recordings.

I've never used a 5-string, period. Around the time of Chaka's first solo album [Chaka, Warner Bros., 1978], I resumed the search for an effective 6-string. Remember that the first two instruments had not been successful, despite my using Number One [the Carl Thompson contrabass built in 1975, see photo, page 17] for some recording and touring. In pursuing Number Three, I began discussions with Ken Smith and later Ken Parker, but these went exceedingly slowly, so I did what I could to tide myself over and secure, however awkwardly, a sub-bass range for recording. A little common sense, combined with a willingness to experiment, led me to modify my Fender [the "Career Girl," see photo, page 17] accordingly. I raised the nut, readjusted the truss rod, and did much bridge-fiddling until the instrument felt manageable when tuned down two whole-steps.

I remember feeling rather light-headed, sitting at home the night before the third or fourth session for Naughty, modifying the only instrument I was playing at the time, rendering it unsuitable for any standard project. The rashness of my actions strengthened my resolve to keep on pushing for a true contrabass guitar, confirmed by each minute spent hearing this awesome, thundering sound from my poor, abused 4-string come roaring out of the giant Altec monitors in Atlantic's Studio A.


Naughty is a great 'bass album', period. Some of my other favorites are the title track played by Marcus Miller, and 'Papillon (aka Hot Butterfly)' played by Willie Weeks.

[Dr. Cheese]

I have always loved "Move No Mountain"! From the moment AJ hits that low C through those modulations through the changes, that song was a textbook example of sleek and sophisticated bass work. That said, OP, everything doesn't move everybody the same way. If it doesn't hit you, that's quite alright.

[20db pad]

IMO, the stuff Anthony Jackson played on "Naughty" is among the finest electric bass playing captured on record.

As a general statement, much of the Pop and R+B he's played over his career sounds deceptively simple because it fits so well in the music, and is performed with a master's touch in terms of execution and rhythmic accuracy. It just sounds "right".

The act of just listening to Jackson's playing is quite a distance away from trying to duplicate it on bass. That's where one can get a true idea of his virtuosity. I don't know if the suggestion of "try to play that tune, verbatim, from top to bottom" is any good, but it's a way of getting a deeper appreciation of Jackson's command of the instrument.

[KJung]

Originally Posted by Richard Lindsey

A part doesn't have to be overtly impressive to be good. It just has to be right. And what's wrong with "locking ferociously," anyway? Not everybody can do that.

This should be tattoo'd on the top of every bass players right hand!

[Ammioz77]

Dont get me wrong... there is movement and sophistication there that I can easily recognize. I guess because I had heard the tune so many times and had been blown away by chaka's vocals (when i was a vocalist and such) going back listening to it years later and listening specifically for the bass part now that I've evolved to the bass.. I don't know... the reviews of that part just had me wanting more I guess. Definitely when he comes in that low c is mouthwatering... his tone is to me, THE Standard for a lot of stuff. And again let me say I've always been a fan of AJ's work even before my eyes were awakened to the greater subtleties and higher calling of the low end. And yes he does kick.. but I've heard his other work and been blown away more. Now for instance his work on Let it Flow (tribute to Dr. J) off of Grover's album... whoa..... Am I making sense here?

[Ammioz77]

Originally Posted by Richard Lindsey

A part doesn't have to be overtly impressive to be good. It just has to be right. And what's wrong with "locking ferociously," anyway? Not everybody can do that.

Oh I acknowledge and humbly prostrate myself before the groove. Don't get me wrong, he locks with Ferrone in such a way as to teach a class on it in this song. That gives me an even greater appreciation of Steve's work on drums to. And shouldn't the groove be such that it does that? I'm readily acknowledging that point. I'm gonna go listen to it another 40 times today and see how it hits me...

[Ammioz77]

Originally Posted by Buskman

Just kidding, Ammioz77!

What AJ plays on that track in particular is like a song in itself. He keeps the parts interesting yet always stays in the pocket w/ Ferrone like you said. He definitely shows his Jamerson influence here.

Wait... I'll let the man answer for himself (taken from a Bass Player mag interview):

On Chaka Khan's Naughty and What Cha' Gonna Do for Me [both on Warner Bros.], you were able to express highly creative ideas while not only supporting the songs but kicking the hell out of the grooves. Is that the most freedom you've ever been given as a sideman?

Certainly those recordings are among the best examples of blatant commerciality infused with high art that I've been involved with. The basic tracks went down quickly and easily. They probably could have been left untouched, ready for overdubs and sweetening, were it not for my inability to find anything good to say about my own performances. They were competent, but I was absolutely not thrilled, and this was unacceptable. This situation has generally prevailed throughout my career, and in most cases I have had no recourse but to stuff a sock in my mouth and go quietly home. Those who know me, of course, know that often the sock came out and I let everyone know that if they had any sense they would let me redo my parts until I felt they were right. For the most part, this got me nowhere, though I did make many close enemies.

I will probably never know what could have been going through the minds of Chaka and her producer, Arif Mardin, in allowing me to redo every single note of every single track I played on. To make a fascinating but long story short, Naughty, which was recorded in New York in 1979, went on without concern for the bass tracks. I was given absolute artistic license, with one exception, and an unheard-of amount of time-three months-to recompose the bass parts, whereupon I notified Arif of my readiness to record. I was then given all the studio time that I required. I never found out how much my indulgence cost Chaka, but the end result is as pure an example as exists, in my own case, of the ends justifying the means.

The performances represent, with only scattered exceptions, the peak of my creative abilities at the time and in that genre. They are, hopefully, only elemental today, but I recall listening to the final mixes just before release and realizing that I was able, for the first time, to hear evidence of a defined, mature, and effective style coming through my playing. This was a revelation, a coming-of-age, and, I hoped, proof that my stubbornness in playing what I heard despite intense pressure to "conform or else" was paying off. The succeeding album, What Cha' Gonna Do for Me, recorded in Montreux in 1980, was made along similar "highbrow" lines, but with the first signs of an end of an era in sight-the budget was down and the time restricted-although the end result remains impressive.

Unfortunately, reality closed in around us after that album, and the crucial prerequisites to recordmaking of this quality are difficult to come by today. Producers are no longer inclined to grant sidemen, however esteemed, unlimited control of anything, and certainly time is more tightly rationed than anything else. The right combination of players is now highly unlikely, inasmuch as a full rhythm section is seldom seen. Machine augmentation is the rule. Most important of all, few artists of major stature have ever possessed the patience, supportiveness, musicality, and virtuosity of Chaka Khan. I've worked with countless singers, from divas to bicycle pumps, and none has been able to gather and harness such powerful creative forces as Chaka.

Many people think that you used a 5- or 6-string bass on those recordings.

I've never used a 5-string, period. Around the time of Chaka's first solo album [Chaka, Warner Bros., 1978], I resumed the search for an effective 6-string. Remember that the first two instruments had not been successful, despite my using Number One [the Carl Thompson contrabass built in 1975, see photo, page 17] for some recording and touring. In pursuing Number Three, I began discussions with Ken Smith and later Ken Parker, but these went exceedingly slowly, so I did what I could to tide myself over and secure, however awkwardly, a sub-bass range for recording. A little common sense, combined with a willingness to experiment, led me to modify my Fender [the "Career Girl," see photo, page 17] accordingly. I raised the nut, readjusted the truss rod, and did much bridge-fiddling until the instrument felt manageable when tuned down two whole-steps.

I remember feeling rather light-headed, sitting at home the night before the third or fourth session for Naughty, modifying the only instrument I was playing at the time, rendering it unsuitable for any standard project. The rashness of my actions strengthened my resolve to keep on pushing for a true contrabass guitar, confirmed by each minute spent hearing this awesome, thundering sound from my poor, abused 4-string come roaring out of the giant Altec monitors in Atlantic's Studio A.


Naughty is a great 'bass album', period. Some of my other favorites are the title track played by Marcus Miller, and 'Papillon (aka Hot Butterfly)' played by Willie Weeks.

Buskman, I've never been able to find any images of No. 1 or No. 3, do you have some? I've always been fascinated with the history of his contrabasses? Can you post them up here?

[Buskman]

Originally Posted by Ammioz77

Buskman, I've never been able to find any images of No. 1 or No. 3, do you have some? I've always been fascinated with the history of his contrabasses? Can you post them up here?

Couldn't find any on the net (wassupwitdat? ), but I remembered seeing one of at least his CT 6'er in another AJ thread - it's in post #53 (courtesy of TB'er VintageBT6Lover):

Anthony Jackson Check out that narrow string spacing, too!

Hope this helps a little bit!

[Ammioz77]

I understand now! I had read and re read AJ's various interviews talking about Jamerson's influence... Now I had grown up with Motown (and despite Jame's bass work I always preferred the stax sound because of its grittiness). He constantly cited Jamerson as the architect of his sound. I understood it from an intellectual standpoint. But the emotional part of it, the musical spirit didn't hit me again until I listened to the "whats going on" clip on youtube. http://www.youtube.com/watch?v=Y9KC7uhMY9s It Has been mentioned in a couple of threads before - this being a live take on the song with Marvin and James and the rest of the funk brothers, interspersed with the shot from the 1973 doc., "Save the Children." Jamerson's work is nothing short of masterful on that one take. That has opened up everything else he has done for me at another level. For the one or two of you who have not seen that clip, watch it and the adjoining the clips that are associated with it.

I understand now. I'm going back through all my family's motown with another kind of ear now... It's homework time....

[Funk 'N' Stein]

Originally Posted by 20db pad

IMO, the stuff Anthony Jackson played on "Naughty" is among the finest electric bass playing captured on record.

As a general statement, much of the Pop and R+B he's played over his career sounds deceptively simple because it fits so well in the music, and is performed with a master's touch in terms of execution and rhythmic accuracy. It just sounds "right".

The act of just listening to Jackson's playing is quite a distance away from trying to duplicate it on bass. That's where one can get a true idea of his virtuosity. I don't know if the suggestion of "try to play that tune, verbatim, from top to bottom" is any good, but it's a way of getting a deeper appreciation of Jackson's command of the instrument.

What a great post.

I was going to add something myself, along similar lines...but this gentleman said it so well, any further comment would be superfluous.

[russianspy]

That bassline is alright. I think the line from "All Night's All Right" is amazing though. One of my favorite R&B bass performances.

[Funk 'N' Stein]

Originally Posted by Ammioz77

Dont get me wrong... there is movement and sophistication there that I can easily recognize. I guess because I had heard the tune so many times and had been blown away by chaka's vocals (when i was a vocalist and such) going back listening to it years later and listening specifically for the bass part now that I've evolved to the bass.. I don't know... the reviews of that part just had me wanting more I guess. Definitely when he comes in that low c is mouthwatering... his tone is to me, THE Standard for a lot of stuff. And again let me say I've always been a fan of AJ's work even before my eyes were awakened to the greater subtleties and higher calling of the low end. And yes he does kick.. but I've heard his other work and been blown away more. Now for instance his work on Let it Flow (tribute to Dr. J) off of Grover's album... whoa..... Am I making sense here?

...Anthony didnt play the version of 'let it Flow' on Grover's "Winelight" Album . That's a very young Marcus Miller.

You will however hear Anthony play 'let it Flow' on "Grover Washington Live"...the concert Grover recorded (on video) in 1981, with the NY all star band at the Schubert theatre in Philly. I much Prefer AJ's interpretation of the tune actually. Much stronger groove IMO.

Do yourself a favour and check this out. Anthony's playing (come to think of it...the whole band's playing) is 'perfect'. There are several examples during the concert when he reharmonizes tunes spontaneously and that just knocked me on my arse. Notwithstanding those little nuggets of virtuosity, his groove is utterly relentless.

[DWBass]

I'd like to suggest his work with the jazz band, Metro. He was the bassist on their first recording. I highly suggest this as serious listening!

http://www.metrojazz.com/
http://www.amazon.com/Anthony-Jackso...6988424&sr=1-5

[EddieG]

Originally Posted by Richard Lindsey

A part doesn't have to be overtly impressive to be good. It just has to be right. And what's wrong with "locking ferociously," anyway? Not everybody can do that.

Words to live by!

[Ammioz77]

Originally Posted by Funk 'N' Stein

...Anthony didnt play the version of 'let it Flow' on Grover's "Winelight" Album . That's a very young Marcus Miller.

You will however hear Anthony play 'let it Flow' on "Grover Washington Live"...the concert Grover recorded (on video) in 1981, with the NY all star band at the Schubert theatre in Philly. I much Prefer AJ's interpretation of the tune actually. Much stronger groove IMO.

Do yourself a favour and check this out. Anthony's playing (come to think of it...the whole band's playing) is 'perfect'. There are several examples during the concert when he reharmonizes tunes spontaneously and that just knocked me on my arse. Notwithstanding those little nuggets of virtuosity, his groove is utterly relentless.

Funk, I appreciate the clarity lol that is exactly the version that I'm talking about - the youtube clip. I never cared for the song prior to that. It was good, but it didn't have that extra "something." Anthony's version with the all star band - Gadd on drums and Eric Gale on guitar... man that hits it in every place there is to hit!!!!

[Funk 'N' Stein]

Originally Posted by Ammioz77

Funk, I appreciate the clarity lol that is exactly the version that I'm talking about - the youtube clip. I never cared for the song prior to that. It was good, but it didn't have that extra "something." Anthony's version with the all star band - Gadd on drums and Eric Gale on guitar... man that hits it in every place there is to hit!!!!

right on!! ('Mr Magic' is even better!)

[Ammioz77]

what was said about the little nuggets of virtuosity is key. im really going back and listening to the jamerson clips on youtube. the one where he created that line for the temps.... i can fully understand how AJs wrld was transformed... heck how the whole generation of bassists were transformed.