Anthony Jackson and the four-string bass.

[CryingBass]

AJ knows that it's not always about being able to play notes fast ( which he can easily do ),
but to let space into the timeline while you do so.

Of course: Being able to always hitting just the right note - ON THE RIGHT TIME - is also a bonus!

Great post above @Bassist30

 

[inanimate_carb]

AJ knows that it's not always about being able to play notes fast ( which he can easily do ),
but to let space into the timeline while you do so.

Of course: Being able to always hitting just the right note - ON THE RIGHT TIME - is also a bonus!

Great post above @Bassist30

He also makes it all sound deceptively easy, like anybody could do it. Until you try to do it. You don't run into a lot of younger, unseasoned players that are really into AJ's work, and I think that's a big part of why that is.

 

[CryingBass]

Hey - it's a glamour profession, right?

 

[Bassist30]

He also makes it all sound deceptively easy, like anybody could do it. Until you try to do it. You don't run into a lot of younger, unseasoned players that are really into AJ's work, and I think that's a big part of why that is.

Anthony Jackson has a very intelligent way of playing. Besides being an excellent reader he also breaks down into playing alternate time signatures. As one of many examples playing a triplet feel in a 5/4 time signature and make it sound natural. And keep it perfect while everybody else is taking it out. I said an intelligent way of playing as the guy is intelligent regardless as a great bassist. He didn't go to music HS but the School of Science and Math in the Bronx....

 

[Brad Johnson]

I have always shunned the offer to solo unless you’re just messing around in the garage or whatever. If you’re on stage and somebody says take one then it suggests to me that the tune your playing has become secondary to showing off your chops. That’s not what I’m there for. Does the song really need a solo? Mostly no in my experience.

Some BL's look at it as an opportunity to give you the spotlight. I couldn't care less about the spotlight, I already got the gig, already on stage and if I'm doing my job well, somebody will notice. Besides, I never liked the idea that just about everyone else gets to play with a bassist on their solo except me.


OTOH I know folks who genuinely get pissed if they aren't showcased. I'm far more concerned about the check clearing.

 

[Brad Johnson]

The music that made me an Anthony Jackson fan was recorded on his detuned Jazz. In particular, I am still in awe of his playing on Chaka Khan’s first three solo albums.

Commonly referred to as "the Fodera sound". Always get a chuckle from that one. Nothing against Fodera.

 

[twinjet]

He also makes it all sound deceptively easy, like anybody could do it. Until you try to do it. You don't run into a lot of younger, unseasoned players that are really into AJ's work, and I think that's a big part of why that is.

Agreed.

If you model your playing after AJ, your technique may improve. If you model his musical attitude, you may end up with a heightened sense of musicality of your own. A better sense of how things should go, higher standards. I don't know. Regardless, I think learning from AJ and immersing myself in his discography has improved my playing because I've strayed from an egotistical view of playing (look how cool I am without actually trying, hear these notes) to a much more subservient approach.

I serve the song and not myself. I've learned that if I'm trying to impress others and especially myself, the music falls apart.

Many favorites but I love the way he plays with the bass drum.....and in the early 80's.

Nice track. Also check out Night Moods.

 

[Bassist30]

Marcus Miller played every song on the Never too much Luther Vandross album. There was one song A house is not a home, which AJ plays the bass in one of the best ballad grooves ever.. I cant think of a better bassist who could had better time or groove on this song. Perfect in every way.

 

[inanimate_carb]

Agreed.

If you model your playing after AJ, your technique may improve. If you model his musical attitude, you may end up with a heightened sense of musicality of your own. A better sense of how things should go, higher standards. I don't know. Regardless, I think learning from AJ and immersing myself in his discography has improved my playing because I've strayed from an egotistical view of playing (look how cool I am without actually trying, hear these notes) to a much more subservient approach.

I serve the song and not myself. I've learned that if I'm trying to impress others and especially myself, the music falls apart.


Nice track. Also check out Night Moods.

I’ve heard a few tracks of Anthony’s isolated on various projects in studios while I lived on the East Coast - they’re clean, buzz-free, and nearly flawless. His execution is quite literally without equal. There’s a lifetime of work in just trying to cop that alone. Conceptually, he successfully mastered the shell game of playing deceptively simple stuff that isn’t by definition simplistic - it’s elegant. The fills and figures he may add take on greater weight and significance because of the economy he chooses to employ in the rest of the tunes he plays on. I know it’s a corny notion, but somehow he manages to imply depth, pure musicality, and sophistication in a few notes that most other players can’t duplicate with dozens. I’m pretty sure it’s his note choices, confident delivery, and unquestionable time that create the sound that’s undoubtedly his when he plays a strictly supportive role. I know he worked hard on that for a very long time, because he’ll always mention that it’s not difficult to play fast convincingly, but it is hard to make an individual statement while still playing your role and not stepping on anyone else’s part.

It’s important to note that he’s had rocks thrown at him on this forum and in other venues for his personal views and seemingly pompous attitude over the years. In real life, he’s a nice guy, but very low-key, not afraid to use his extensive vocabulary, and dead serious about his chosen life’s work. I guess that sets some people off, and after observing some of the common behavior on this board, it's not a surprise. That said, you don’t enjoy a 4-decade high-echelon career in this business if you’re a jerk all the time.

 

[retslock]

Many favorites but I love the way he plays with the bass drum.....and in the early 80's.

Rock solid! Nobody plays like Anthony. You may be able to match his tone but his phrasing and attack are all his own and the way he gives each note it’s full value - sweet!

 

[Brad Johnson]

I’ve heard a few tracks of Anthony’s isolated on various projects in studios while I lived on the East Coast - they’re clean, buzz-free, and nearly flawless. His execution is quite literally without equal. There’s a lifetime of work in just trying to cop that alone. Conceptually, he successfully mastered the shell game of playing deceptively simple stuff that isn’t by definition simplistic - it’s elegant. The fills and figures he may add take on greater weight and significance because of the economy he chooses to employ in the rest of the tunes he plays on. I know it’s a corny notion, but somehow he manages to imply depth, pure musicality, and sophistication in a few notes that most other players can’t duplicate with dozens. I’m pretty sure it’s his note choices, confident delivery, and unquestionable time that create the sound that’s undoubtedly his when he plays a strictly supportive role. I know he worked hard on that for a very long time, because he’ll always mention that it’s not difficult to play fast convincingly, but it is hard to make an individual statement while still playing your role and not stepping on anyone else’s part.

It’s important to note that he’s had rocks thrown at him on this forum and in other venues for his personal views and seemingly pompous attitude over the years. In real life, he’s a nice guy, but very low-key, not afraid to use his extensive vocabulary, and dead serious about his chosen life’s work. I guess that sets some people off, and observing some of the behavior on this board, it's not a surprise. That said, you don’t enjoy a 4-decade high-echelon career in this business if you’re a jerk all the time.

Excellent analysis of AJ's approach. Particularly about his role in a song. While many bassists perform on a chopsfest level throughout a song or worse, sound like they're simply biding their time until their spotlight, it dawned on me that it was far more fulfilling for me to play every note with intent and choose my spots to cut loose a bit, without leaving the arrangement for a solo. In hindsight I learned that from musicians like Jamerson and Jackson. There are less boring songs than boring interpretations.

I also enjoyed his columns in Guitar Player magazine because he spoke his truth and a bonus was how many people that bothered. A lot of his discoveries jibe with ones I had figured out over the years through trial and error. That let me know I might be on the right track in developing my own voice.

 

[Brad Johnson]

Two bassists IIRC. Always wondered what AJ thought about this...

 

[Brad Johnson]

Possibly my favorite cut from this album... he just waits and plays the perfect notes. No more, no less Especially the descending fill towards the end.

 

[bgartist]

Two bassists IIRC. Always wondered what AJ thought about this...

Again, 2 bassists. AJ with the groove, Mark Stevens (Chaka's brother?) adding slaps and pops.

 

[inanimate_carb]

Two bassists IIRC. Always wondered what AJ thought about this...

When I was learning about how major-label recordings that had many decision makers worked, Anthony was one of the first players at his level to reveal that substantial artistic changes can and will be made to a musician's contributions on a record after they've made them. Of course, we all know multi-track recordings are editable even on tape, so anything can happen after you exit the studio. Over many interviews read, clinics attended, and brief conversations, Anthony seems to acknowledge the fact that this happens and appears to chalk it up to business/artistic decisions that are just the nature of things sometimes.

 

[twinjet]

I’ve heard a few tracks of Anthony’s isolated on various projects in studios while I lived on the East Coast - they’re clean, buzz-free, and nearly flawless. His execution is quite literally without equal. There’s a lifetime of work in just trying to cop that alone. Conceptually, he successfully mastered the shell game of playing deceptively simple stuff that isn’t by definition simplistic - it’s elegant. The fills and figures he may add take on greater weight and significance because of the economy he chooses to employ in the rest of the tunes he plays on. I know it’s a corny notion, but somehow he manages to imply depth, pure musicality, and sophistication in a few notes that most other players can’t duplicate with dozens. I’m pretty sure it’s his note choices, confident delivery, and unquestionable time that create the sound that’s unquestionably his when he plays a strictly supportive role. I know he worked hard on that for a very long time, because he’ll always mention that it’s not difficult to play fast convincingly, but it is hard to make an individual statement while still playing your role and not stepping on anyone else’s part.

It’s important to note that he’s had rocks thrown at him on this forum and in other venues for his personal views and seemingly pompous attitude over the years. In real life, he’s a nice guy, but very low-key, not afraid to use his extensive vocabulary, and dead serious about his chosen life’s work. You don’t enjoy a 4 decade high-echelon career in this business if you’re a jerk all the time.

Yes, yes and more yes. I wish Anthony could have hosted a clinic or something. I could learn so much! I've been a stud

When I was learning about how major-label recordings that had many decision makers worked, Anthony was one of the first players at his level to reveal that substantial artistic changes can and will be made to a musician's contributions on a record after they've made them. Of course, we all know multi-track recordings are editable even on tape, so anything can happen after you exit the studio. Over many interviews read, clinics attended, and brief conversations, Anthony seems to acknowledge the fact that this happens and appears to chalk it up to business/artistic decisions that are just the nature of things sometimes.

Do you know of any clinics of Anthony's that are on video? Haven't come across any myself.

 

[inanimate_carb]

Yes, yes and more yes. I wish Anthony could have hosted a clinic or something. I could learn so much! I've been a stud

Do you know of any clinics of Anthony's that are on video? Haven't come across any myself.

He did a few things many, many years ago at the old Drummer's Workshop in NYC. I don't even think it's around anymore. One was a Fodera setup clinic sort of thing, but I don't recall any cameras. There was a brief rundown of it in one of the magazines but I don't think it's ever been online. He talked about a straight neck and a higher-then-normal nut to accommodate it, and something about centering string spacing on the bridge string-edge to string-edge as opposed to center-to-center. I might have that flipped around but the Fodera guys might know.

 

[Leo Smith]

"Fate" is one bass player, all AJ... it's that *one* time he'll say he slapped on a track.

Read this thread, go to post #18 by Jason D. of Fodera Guitars).

A Cold Day in Hell: Anthony Jackson Slapped on this track!

 

[mrufino1]

Possibly my favorite cut from this album... he just waits and plays the perfect notes. No more, no less Especially the descending fill towards the end.

Yes, this is an example of perfection in arrangement and that fill is the best.

 

[PJ Muzikmansky]

I'll never forget that Saturday morning in early 1985 when I was walking past a music store that just happened to be showcasing a selection of then-new Sony Laser discs through a high quality hi-fi system. As I sauntered past, something immediately grabbed my ear. It was bass-playing the likes of which I'd never ever heard before, and it came thundering over the speakers in concert with what sounded to me like the BEST band I'd ever heard up to that point.

I'd been playing bass for three years and was transcribing a steady diet of pop and rock tunes at a comfortable pace, but most of what I was listening to wasn't THAT compelling by the standards I apply today. I'd grown up listening to radio as so knew lots of tunes/bands, but had yet to really expand my listening/playing outside the rock and pop genres.

In fact, I was so green, I wasn't even sure how the bass was supposed to be played, so I was just attempting to copy bass lines from all the music I liked, and the few players I knew by name whose playing I enjoyed.

Then I heard... THIS.

No bass playing I've heard before or since, and that includes hearing Jaco for the first time, has moved me like I was moved that morning. It was an emotional experience and I remember vividly, thinking to myself: "so that's how it's done. THAT'S how the bass is supposed to be played ! ". It was though a light had been switched on.

It was of course Anthony Jackson, playing in concert with Grover Washington circa 1981, and it remains my favorite bass performance of all time. I'm sure many players, Anthony included, would consider the performance 'elemental', but to me, no greater showcase of bass playing in an ensemble setting exists to this day.
https://www.google.com.au/url?sa=t&source=web&rct=j&url=https://www.youtube.com/watch?v=BwC0jHD46vo&ved=0ahUKEwic18Hr-LTcAhWzEqYKHbjWBkEQo7QBCCcwAQ&usg=AOvVaw134D8Kg_V9mAlCcmU5-sFH