Anthony Jackson

[KJung]

One other important factor to mention about AJ is that he was and is very influential, but seems to have few soundalikes, partly because his profile is lower than "famous" guys Marcus Miller or Victor Wooten, and also, he is a player and doesn't appear to compose (he doesn't have a solo album AFAIK), but mostly because it is so damn hard to even try and sound like him!

I am in the process of transcribing all the tracks I can find with AJ, and believe me he is way beyond "chops" or "technique". One thing that, imho, sets him apart from most bass players is his note choice. Even at the most rapid tempos and demanding situations, when you write his bass part out and analyze it, you could make another song out of it. Also, I have heard people say how other players have more "chops", but AJ's execution is among the best there is. Check out tracks like El Realejo from Rendezvous, Captain Fingers on the Overtime DVD, or even Heed The Warning from What 'cha Gonna Do For Me - they are very, very hard to play with the same clarity and feel! At the other extreme, check out his work with Steely Dan and Donald Fagen - I.G.Y on The Nightfly is a masterclass in almost machine-like evenness and consistency, but still with feel and groove. It seems to me he has studied a fair amount of classical music too as his playing has real dynamic changes, sounding less like an electric and more like an acoustic instrument at times.

I feel no shame in trying to imitate as much of his style as I can, because it will only make me a better player, and I may even find more of myself on the way...

With regard to slapping, I am sure he would do it, and do it well, if he thought it would be the right part for the track or where he wanted to go with the bass... perhaps he feels he has enough different techniques to hand already?

Oh, +1 for the Ritenour Live at the Coconut Grove DVD, absolutely fantastic playing - at times you can't believe this is a one-take live situation, they're so tight... great musical drum solo at the end of one of the tracks by Harvey Mason too...

All musicians lose gigs. As he has played on probably hundreds if not thousands of tracks it is not surprising if he got called by someone who didn't know who he really was, or couldn't see past the lack of strap buttons on his bass! Maybe he didn't want the gig either, who knows?

He is also amongst the most versatile of players - there are very few bassists that have played in as many different styles and situations. As his recordings show, he is a master of latin, flamenco, jazz, avant garde, pop, rock, funk, you name it. When I saw him at Ronnie Scott's last year he and Dave Weckl were playing in almost a hip-hop style at times, very contemporary in feel. Perhaps the nicest touch was that before he went out to play he sat in the audience and watched the house band. He was really digging it and tapping his foot. He is here for the music and nothing else. A genius.

Nice post and 100% +1. It took me quite a while to really appreciate Anthony. Way back in the day, like many others, I was more impessed by flash and really didn't have the musical knowledge or experience to appreciate the literally perfect time and note placement and note choice that Anthony achieves.

There's a good friend of mine who is the first call bassist in St. Louis on the jazz, pop, modern country, and alt rock side of things (talk about versatile!). His main influence is Anthony. It's interesting in that when you go see him perform, no one thing 'blows you away'... he doesn't do fancy slapping, or chording or blazing 16th note runs. Many who see him for the first time say 'yeah, he sounded good', but not much more. However, the BANDS he plays with always sound totally solid and groove, and there's never a note out of place, or rushing into the bridge, etc., etc. And.. he sounds equally good on DB in a straight ahead setting, or on EB on a pop/dance gig, or a blues or country gig, etc.

I've grown to totally appreciate that, and over the past years have worked much more on listening and knowing the tune/playing the appropriate parts, than the NAMM chops noodling (which I never could do anyway).

IMO, all bassists should go to school on Anthony for at least a little while to learn what it really means to be in a rhythm section, and to be supportive but still burning in a way appropriate to what the bass is supposed to do.

Amazing stuff!

Edit: And remember, listen to 'Nitesprite' at least once a year!!!!!

 

[Dr. Cheese]

Nice post and 100% +1. It took me quite a while to really appreciate Anthony. Way back in the day, like many others, I was more impessed by flash and really didn't have the musical knowledge or experience to appreciate the literally perfect time and note placement and note choice that Anthony achieves.

There's a good friend of mine who is the first call bassist in St. Louis on the jazz, pop, modern country, and alt rock side of things (talk about versatile!). His main influence is Anthony. It's interesting in that when you go see him perform, no one thing 'blows you away'... he doesn't do fancy slapping, or chording or blazing 16th note runs. Many who see him for the first time say 'yeah, he sounded good', but not much more. However, the BANDS he plays with always sound totally solid and groove, and there's never a note out of place, or rushing into the bridge, etc., etc. And.. he sounds equally good on DB in a straight ahead setting, or on EB on a pop/dance gig, or a blues or country gig, etc.

I've grown to totally appreciate that, and over the past years have worked much more on listening and knowing the tune/playing the appropriate parts, than the NAMM chops noodling (which I never could do anyway).

IMO, all bassists should go to school on Anthony for at least a little while to learn what it really means to be in a rhythm section, and to be supportive but still burning in a way appropriate to what the bass is supposed to do.

Amazing stuff!

Edit: And remember, listen to 'Nitesprite' at least once a year!!!!!

Hey KJung, are you talking about Zeb? That young dude is a monster, and I actually taught him - history!

 

[KJung]

Hey KJung, are you talking about Zeb? That young dude is a monster, and I actually taught him - history!

I am. He just sounds so good in such a wide variety of settings... perfect time, perfect ear, not a lot of flash... but that's why he works 6 or 7 nights a week!

And Anthony, we are getting old... I just attended that 'young dudes' 30th birthday party last Sunday!

 

[Baryonyx]

+1 to AJ's superb skill of note choice. He may not be playing incredibly fast, but the thought that goes into his lines, oh my! They often seem to evolve as he plays through them!

 

[matty589]

+1 to AJ's superb skill of note choice. He may not be playing incredibly fast, but the thought that goes into his lines, oh my! They often seem to evolve as he plays through them!

I think he plays as quickly as the music requires - ever tried playing El Realejo on Rendevous? He has small hands and plays a huge bass, but his hands move as quick as anyone else. You can also hear every note.

 

[KJung]

I think he plays as quickly as the music requires - ever tried playing El Realejo on Rendevous? He has small hands and plays a huge bass, but his hands move as quick as anyone else. You can also hear every note.

+1, it's not that he can't 'burn' with the best of them, it's just that he only does it when the music calls for it. That to me is the beauty of Anthony's whole thing. Regardless of tempo or complexity, the note placement, tone and time is constant (i.e., about as perfect as you can get IMO!).

 

[ElMon]

+1, it's not that he can't 'burn' with the best of them, it's just that he only does it when the music calls for it. That to me is the beauty of Anthony's whole thing. Regardless of tempo of complexity, the note placement, tone and time is constant (i.e., about as perfect as you can get IMO!).

Exactly. The clarity of his lines is what gets me. I've never heard that slightly atonal flurry of 16/32nd notes from Anthony that many of todays 'monster' bassists employ, nor will you ever catch him with that thin, quasi-trombone-sounding bridge pickup solo tone. Nothing but beefy bass. Not to mention that, if you've ever tried transcribing some of his fills, you'll find that there is a LOT going on harmonically and subsequently AJ's lines have some tricky fingerings. AJ's my hero as far as bringing a dark and full tone to the bandstand that never sounds buried. Like a modern take on Jamerson. Dig it.

 

[Dr. Cheese]

...Like a modern take on Jamerson. Dig it.

I don't know AJ, but from what I have read, your comment would likely be the kindest thing you could say to him.

 

[ElMon]

I don't know AJ, but from what I have read, your comment would likely be the kindest thing you could say to him.

I'd love to get the chance to tell him in person some day!! Its weird, and yet admirable, that there really isn't anything specific, technique-wise, that I would point to as an obvious 'Jamersonism' in AJ's playing, but that its his general approach to the music that reminds me of Jamerson. With both players, you get the sense that the song wouldn't be the same without their presense.

 

[vision]

Question for the Anthony Jackson experts out there. How does he do that swell articulation that makes it sound almost like he is bowing on an upright bass? It's like theres now attack to each note, they just glide into each other. I assume he is using a volume pedal or something, but I can't see how he is doing that in faster passages.

By the way, I'm listening to the live recording in Tokyo that he did with Michel Petrucciani and it is blowing me away!

 

[Brad Maestas]

Yes, he's using a volume pedal for that. He's gotten real good with it!

 

[Brad Johnson]

This has probably already been posted elsewhere, but what the heck. Great tone!!!

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There's a great answer to the question "What does Anthony Jackson do?" in this video. 7:52 in the video, AJ does a fill that kills me. That's what he does.

 

[Funk 'N' Stein]

In my lifetime, I have only ever heard a handful of electric bassists who's playing has really, REALLY connected with me on an emotional level; Messrs Pastorius, Jamerson, Johnson (thunder thumbs) and JACKSON

Anthony is my FAVORITE living bassist. His playing is as close to perfection as it gets IMHO.

Although somewhat dated now (circa '81), the early footage of him playing in concert with Grover Washington Jnr (with that stellar band) is an absolute delight and I never get tired of listening to it. Although there is considerable other concert footage of him playing on a more advanced level, hearing him play on that GWJnr concert was a lightbulb moment for me in my development as a player and although I'll never even be a 10th of the player that he is, I am proud to say that I play the same instrument!!

Although I play a stingray 4 these days, The tone Anthony got out of the 'career girl' on that concert always gives me a hankering to once again, get a jazz bass

 

[ElMon]

There's a great answer to the question "What does Anthony Jackson do?" in this video. 7:52 in the video, AJ does a fill that kills me. That's what he does.

+100. So tasty and unobtrusive. I'm sure a lot of people listening don't even hear it. Its just the muso's that go
In fact, thats a good example of why AJ reminds me of Jamerson. Both got away with extremely virtuosic moments in the music that never distracted the listener. How many non-bassists (non-musicians even) even realize how 'HEAVY' Jamerson's stuff was on tracks like 'I Was Made To Love Her', or 'For Once in My Life'. Kickin butt compositionally!!!

Here's some more *** moments in AJ's playing:

http://youtube.com/watch?v=lsqE_yKfkhE&feature=related

Start at 3:10, through about 3:22. DAMN!!!

and 4:03!!!

 

[ElMon]

http://youtube.com/watch?v=euZhlUCv-kU

Oh, and lets not forget 6:17 or 6:48. Holy ****!!!!!

 

[vision]

Yes, he's using a volume pedal for that. He's gotten real good with it!

That's what i was thinking, it sounds amazing! His articulation in general is completely precise...that combined with his incredible note selection just kills me...

I really need to sit down and transcribe some of this stuff...

 

[KJung]

http://youtube.com/watch?v=euZhlUCv-kU

Oh, and lets not forget 6:17 or 6:48. Holy ****!!!!!

+1 in a big way. That 'Paul Simon' rhythm section is about my favorite of all time, followed closely by the 90's James Taylor section with Jimmy Johnson, Carlos Vega and Grolnick on keyboards, etc.

It's rare to get a full section together that just works perfectly together, and that sure is one of them!!!!!

As amazing as Anthony sounds, the soul of that section is Gadd and Tee IMO... amazing. And... Anthony sure didn't improve his tone moving to those fancy Fodera's IMO.. that J sounds AMAZING on those cuts!

 

[jerry]

+1 in a big way. That 'Paul Simon' rhythm section is about my favorite of all time, followed closely by the 90's James Taylor section with Jimmy Johnson, Carlos Vega and Grolnick on keyboards, etc.

I always thought Jimmy Johnson's time sense and note choices were from the Anthony Jackson school of groove.

 

[KJung]

I always thought Jimmy Johnson's time sense and note choices were from the Anthony Jackson school of groove.

I totally agree.... Jimmy is among my main inspirations for pop and pop jazz playing, early on from the Flim and the BB's stuff, and later with James Taylor. I know this is an Anthony thread, but for those of you who like this sort of 'perfect, precise' playing (who doesn't!?!), the James Taylor Live Double disc with Jimmy and Carlos is literally a clinic for those who play in pop rhythm sections IMO.

 

[jerry]

the James Taylor Live Double disc with Jimmy and Carlos is literally a clinic for those who play in pop rhythm sections IMO.

To continue the hijack.....I saw the first gig Carlos Vega did with JT when Sklar was still in the band, he flew in and had no rehearsal time........nailed it. Vega was something special, I loved his playing!