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Okay, now I believe in Anthony Jackson.

#81
Smooth_bass88 said:
He's (AJ) such a master. Although I cannot agree with some of his views (like the fact that he believes Leo Fender 'got it wrong'), I absolutely respect him as a musician.
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He never said anything of the sort. As a matter of fact, in a recent BP article, he was talking about how Ken Jung on here said his Presentation bass sounded like a 6-string Precision, and he thought Leo would approve of it, too. He just wanted to play a 6-string bass and Fender didn't make one except the Bass VI, which is not the same thing.
 
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#83
Leo Smith said:
Just curious, where did you read that? The few things I've read point to the contrary.
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I have an older issue of Bass Player magazine where he says that the electric bass, or as he calls it, the contrabass guitar, should have had six strings from the beginning and that Leo Fender "got it wrong".

Perhaps his views have changed in the last 20 years. This article was from the late 80s/early 90s. Again, no disrespect for AJ. He's a true master and has the clout to say whatever he wants.
 
#85
I've always "believed" in Anthony Jackson.
For the past thirty-something years.
Through Fusion and Jazz.

Creator of the six string Contrabass.Master of the tri-tone,harmonic dissonance,pick style,muted notes,and chromatic lines.

My first bass discovery was Stanley Clarke.Then came Anthony through Al DiMeola's slash and burn Fusion albums(vinyl)His tone.That crisp piano-like tone.With a touch of phaser.

Then mostly by way of Steve Khan,Dave Weckl and Simon Phillips.
Artful use of dissonance and the tri-tone to add tension and mystery.
Listen to his opening solo with Steve Khan in "The Blue Shadow"

And also with Simon Phillips "Force Majeure"
Dave Weckl's "Master Plan"Disc.
And finally his outings with Hiromi and Akiko Yano are of note.(If you only watch one of these,WATCH THIS ONE)
 
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#86
I met Anthony Jackson once several years ago. He was a very nice guy. Totally down-to-earth and spoke to me in a genuine and interested way and just as another fellow musician, which I thought was really cool. Very cool guy.

LouLoomis
 
#87
Such a great player, but 100% of the time, I enjoy his tone much more on the old stuff when he is playing his Fender. I don't know how much of that is the instrument, and how much is that his concept changed over the years. But the muscular, focused sound of the Jazz is so much more present than the super-wide-frequency sound he gets with the Fodera. I would love to hear him on a 34" 5 or 6 string with a more traditional sound.
 
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#89
A.K. said:
He is an excellent musician, but he comes across as self-regarding and pompous in interviews and in his writings. Not that that matters.
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Not just in interviews and in writings, that's how he came across when I met him in person.

Doesn't matter how good he is, I just can't get excited by his playing because of his flawed character.
I respect his ability as a player, but not as a human being.
 
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#90
Anthony's got class in abundance, a great droll sense of humor, was an in-demand studio cat hanging with all those '80s pirates, speaks thoughtfully & articulately and has encyclopedic knowledge in many areas. still regularly hits the road & records with world-class pros.

he doesn't do "DUUUuude!.. " while pounding brewskis after the show. he's like Fripp in a way- outwardly low-key intelligent, which might make him seem above-the-fray to some.
he's an advanced cat, but it's hard to imagine him being less than civil.
 
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#92
Got to mention this Michel Camilo album I picked up on the sunday market. Never heard of Michel before this, but since Anthony Jackson and Dave Weckl are on this i just bought it (also cost only €1, so that was a no brainer :cool:).

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Ever since this album I have been buying anything jazzy with Anthony Jackson on it that comes across my way. Still though, this album has a really special place in my record collection, also because Michel Camilo is just ridiculous on that piano.


Oh yeah, as was mentioned earlier, the Hiromi stuff is just fantastic. I have one of her albums (with Labyrinth, etc. on it) and had no idea she plays with A. J. Hugely recommend that album.
 
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#96
smeet said:
Such a great player, but 100% of the time, I enjoy his tone much more on the old stuff when he is playing his Fender. I don't know how much of that is the instrument, and how much is that his concept changed over the years. But the muscular, focused sound of the Jazz is so much more present than the super-wide-frequency sound he gets with the Fodera. I would love to hear him on a 34" 5 or 6 string with a more traditional sound.
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Smeet: A great example of that muscular tone you were referring. The lick at 4:15 when he outlines (what sounds like a) D VII chord (?) by hopping quavers straight across the board in fourths from A to D to G to C ...is just great.

 
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