For anyone looking around for the definitive sit down with Anthony this is it. This is a first class interview. One doesn't get to hear this kind of information from the few artists who exist where fine art and high craft overlap. The questions are well thought out and Anthony has a lot to say here.
Thanks for all the great comments on this interview, and the emails as well. This interview was done backstage in tokyo at the Blue Note in 2007 on a Minidisc recorder that unfortunately was quite noisy in the end. I did attempt to clean up the audio, but the gates, and various eqs that I used to try to get rid of noise sounded a bit unnatural, so I just posted the original hoping that it was audible enough to get the point across.
I'm not a musician, but this was really astounding. The clarity of his expression was really refreshing. I knew he was seriously ill one time, but had no idea. This was really worth the time. The first time i heard his work was the bass line on, 'For the love of money'. Then with Steve Gadd & Erica Gale, on De Rabbit. I was hooked. Loved knowing he worked with drum legends, which means I have new music to search for. Thanks for this !!
Thanks for this Cliff. I have been a major fan of Anthony's since I first heard him on Dave Weckl's first solo disc in 1990 (Master Plan). What a brilliant and classy musician.
I played in a really wonderful jazz rock band in the early 70's. I hooked up with them, from an ad in "The Village Voice."The pianist was Peter Warshaw, drummer Robbie Branch, and a guitarist who's name escapes me, as he only played with us for a short time. We rehearsed at a friend of the drummer's home in Stamford, Conn. It was 1973. I was totally in awe of these guys... they were dedicated players, and had their shit together. We all loved the same music. I was just learning to play bass "right side-up" because, as a lefty, I had learned to play bass upside down, as did Gerald Johnson, Jimmy Haslip, Waymon Tisdale and so many others... who never switched....but then, I wanted to play upright, too- and backwards did not seem advantageous. So after 6 years of that, I figured the best way to get used to the 'correct way, was to find some players better than me, to play with. BOY, did I ever! One day, I brought an album- yes, a real vinyl record- to rehearsal. It was "The Catalyst" released in about 1972- 73. On it, two now prominent bassists appeared. Alphonso Johnson, and Anthony Jackson, who played on the title track- "Catalyst is Coming." I played it for the guys, and pointed out the truly unique bass solo on it, by this bass player I never heard of before. Robbie asked me- "Do you know Tony?" I kinda didn't answer, while I was asking them, "Did you hear THAT?" Peter and Robbie then said- "You don't know Tony? I said... 'ah, no'.... They said- "You replaced him in this band." I was stunned. The guys I hooked up with were all Bronx H.S. of Science classmates and musical buddies of Anthony's. I got to chat briefly with him at Buddy's Place, when his buddy Peter and I went there, circa 1974 One of the most amazing musicians ever to play ANY instrument, Anthony Jackson...
Anthony touched on a very important aspect of being a professional: reading. The real pros can see a chart and cut it right on the first take but then can also play with a group of musicians they've never met and make their playing fit well as to style, volume, rhythm, nuance. Some guys/gals are great readers but not so good on improvising while some others are great on improvisation but weak on reading. It applies to all instrumentalist/singers. Arrangers, on the other hand, have a whole different set of requirements. I love good arrangers.
Thanks Cliff for this very enlightening interview. As a music journalist and fellow drummer - I was hoping that you would've delved into the fact that he is one of the primary composers of "For the love of Money" by the O'Jays. Anthony is a native Philadelphian, and I assume he probably performed with TSOP, The Sounds of Philadelphia orchestra - the main musicians behind all those Philly Sounds, aka The O'Jays. If you ever do No. 3 interview, please keep this in mind - I've always wanted to know the details surrounding his input in creating that hit tune. I bêt he's collected major royalty checks thru the years for his contribution to that sound -- I think he created the unique bass line that's the signature of that song. I think that's why he was credited so heavily as the tune's co-composers. Great work on the AJ interview, Clifford. Thanks again. TC
Cliff, thank you for this inspiring and conceptual interview with one of the ICONIC bass-men of the 20th century. Once past rudiments and time, CONCEPT (in my opinion) is the next step in the development, and a must, for ALL aspiring and pro drummers! I'm very proud to have known you my bro! Russ Henry
Great conversation! Damn, I didn't know you were the drummer on One More Once. That is such a phenomenal record! In fact, I bought another copy for my 11 year old nephew last year. I really enjoyed listening to Anthony Jackson talking about his career and playing. Thanks!
Thanks for sharing, so inspiring and intriguing! Anthony is such a fascinating force in music, a maestro of the bass, and hearing both of you talk music is as wonderful as hearing you both play music!
Cliff, I went looking for any interviews with Anthony, preferably to include the time with Buddy. I had recordings of Buddy's Place that have long since been lost... Amazing and brilliant is an understatement. And all so beautiful on a Gibson bass guitar, not known for it's sound quality or timbre. A great interview with a legend of bass, thank you for a real gem.
man this is one of the best interviews I've heard....thank you for the post!!!...Anthony is one of the greatest musicians around and in my opinion is responsible for many bassist playing playing 5 and 6 string basses....I love that Chaka record he speaks about and check him out on Luther Vandross...a House is not a Home....much respect to him and you for being aware of his ability!!!
Cliff, Thanks a lot for taking your time and interviewing Anthony and thanks for uploading it on RU-vid! BTW, you are definitely one of the most amazing and respected and talented drummers out there today! Please keep up your talented work and all the best )) Arthur Sadowsky/bass
Wonderful Interview ! Thank you for posting this !! @ 27: 57 "That's what a style is...you have a musical problem; fix it, by yourself, using only your own wits..."
Cliff, great interview with one of the Masters. Your questions were top notch and you really coaxed out some really great gems from Anthony… I really enjoyed your hook up with Anthony when you guys were playing with Wayne Krantz…. blessings, joy and creativity!!
hes absolutely correct, you pretty much learn and know the person you're playing with ability. I play drums and have a twin brother that plays bass, we lock because we know each others abilities and feel.
Thanks Cliff , been digging Anthony since first hearing him on 'Nite Sprite' in 1977. You asked good questions & I enjoyed how articulate he is verbally .... & as we all know , an articulate player doesn't necessarily = also articulate in speach , it's refreshing ! Cheers.
Cliff. i dig your shit(good). GIVING not TAKING to the community; Thankyou for sharing with us and imparting KNOWLEDGE from you and AJ. LOVE NETZAH, you will hear me in Valhalla, maybe not hear/here on earth.
@cliffalmondmusic thank you for sharing this excellent interview! You mentioned this is part 1. Is there another part available somewhere? Thanks and all the best, -J
Aj is on my Mount Rushmore of bassist ( Met him years ago at Catalina Bar and Grill in LA playing with Michael Camilo)... Alone with Marcus Miller, James Jamerson and Chuck Rainey... Gadd is a great reference... Dennis Chambers is the GOAT IMO (he can play it all)..
At long last!. A fantastic INTERVIEW with an ICONIC musician. ThankU, Mr JACKSON for your talent & thoughts. Thx Cliff for this gr8 POST. Paraphrasing ANTHONY: u're FINE drummer. Amen. pcHux
cliff, at the beginning of this video you mentioned this was quite long and this was a part one. is there a place we can find the rest of this interview? much appreciated.
Regarding his comments on time, I've heard and seen the original Michel Camilo trio where they ALL rushed into a faster tempo. But it didn't matter. It "enhanced" the music as he said. I really, really, really hate recording with a click. It is the most unnatural feeling. And anyone who disagrees is a button pusher, not a musician
