Anthony Jackson, a brilliant and innovative master of the electric bass, renowned for redefining his instrument and laying down iconic grooves for legendary pop and jazz artists alike, passed away on October 19th on Staten Island at the age of 73.
His manager, Danette Albetta, shared news of his passing on social media, noting that he had battled Parkinson’s disease and suffered several strokes in recent years. Health challenges had unfortunately kept him from performing since 2017, as reported by Bass magazine earlier this year.
In 2005, Modern Drummer magazine hailed Jackson as one of the world’s most sought-after session musicians, specifically citing his iconic opening riff on The O’Jays’ 1973 classic, “For the Love of Money,” as one of pop music’s most unforgettable bass lines.
A poignant clip from the film “Calle 54” showcases the masterful song “From Within,” composed by Michel Camilo, highlighting the profound artistry that defined Jackson’s career. (Credit: Fernando Trueba PC (Spain) & Cinétéve (France))
Throughout his prolific career, Jackson was a sought-after sideman, lending his talents to a vast array of jazz and pop genres. Within just five years, his remarkable bass lines graced tracks like Quincy Jones’s cover of “Takin’ It to the Streets” (1978), Diana Ross’s “No One Gets the Prize” (1979), Paul Simon’s “Oh, Marion” (1980), Steely Dan’s “My Rival” (1980), Madonna’s “Borderline” (1983), and Luther Vandross’s soulful rendition of “A House Is Not a Home” (1983).
He once shared with Bass Player magazine in 2008, “I enjoy playing with a large ensemble, and being the one to put a big, fat foundation under it.”
However, one monumental achievement stands out as uniquely his own: the invention of the six-string contrabass guitar. This innovation, adding new sonic range beyond the traditional four-string electric bass, truly set him apart.
“When it has been pointed out that I invented an instrument now played by thousands worldwide, it’s certainly a source of pride,” Mr. Jackson told Bass Player. “The contrabass guitar has been a path to ecstasy for me, my Eden.”
The origins of the electric bass, also known as the bass guitar, trace back roughly 90 years. The term “Fender bass” became ubiquitous after Leo Fender’s pivotal introduction of an electric bass in the early 1950s.
Soon after, record producers began urging upright bass players to transition to this new electric sound. Yet, as Jackson often recalled, the electric bass was frequently dismissed as “a poor man’s upright.” This context placed him among the first generation of musicians who embraced the electric bass from the outset, dedicating themselves without condescension to exploring its full musical potential.
A pivotal moment in Jackson’s career was his work on “For the Love of Money,” the O’Jays’ 1973 hit, recorded when he was remarkably just 21 years old.
Joe Tarsia, the recording engineer for that session, fondly recalled in 2015, “It all started with Anthony Jackson’s bass line. I walk into the studio, and I heard this bending wah-wah on the bass. Nobody ever did that before, that I knew of.”
The song begins with Jackson’s bass as the sole instrument, its jaunty, unpredictable sound immediately establishing the melodic hook. Kenneth Gamble and Leon Huff, the esteemed songwriting and production duo, made a rare exception by sharing writing credit for the song with the then little-known young bassist.
The track soared into the Top 10 on both the Billboard pop and R&B charts in 1974. Years later, it gained renewed prominence as the memorable theme song for the reality television series “The Apprentice.” In recognition of its cultural significance, the song was inducted into the Grammy Hall of Fame in 2016.
Jackson pinpointed the genesis of his mature artistic style to his contributions to Chaka Khan’s 1980 album, “Naughty.” He told Bass Player in 1990 that the album’s songs were “among the best examples of blatant commerciality infused with high art.”
His distinctive artistic voice truly blossomed with Chaka Khan’s 1980 album, “Naughty,” a collection he proudly cited as a perfect blend of commercial appeal and profound artistry.
Another profound measure of Jackson’s artistic self-realization emerged from his decades-long quest to develop the six-string contrabass guitar. At just 16, already a four-year veteran on bass, he expressed a persistent frustration: “wanting to get down underneath the bottom register and wanting to move to the upper register without feeling like I was going to run out of space.”
As soon as he earned enough, he sought out luthiers to design this revolutionary new bass. Initially met with bewilderment, he invested thousands in custom instruments that ultimately fell short. He even attempted makeshift solutions with epoxy cement and kitchen knives.
His breakthrough came when he connected with instrument builders Vinny Fodera and Joey Lauricella. They created prototypes that Jackson rigorously tested for days, his heart racing with each new contrabass. The tenth version, completed in 1996, was the “jackpot,” he declared in 2008. It would take him another six years, he noted, to truly master playing it.
In 2019, Bass magazine lauded this collaborative effort as “probably the longest and most productive partnership between a player and a builder in the history of the bass guitar.”
Chris Jisi, an editor at Bass Player, wrote in 2008 that the histories of five- and six-string electric basses often present them as “magically and simultaneously” emerging from guitar companies in the early ’80s. He clarified that, in reality, “the path to today’s easily accessed, wide assortment of 5’s and 6’s was forged largely by one musician, Anthony Jackson.”
Anthony Claiborne Jackson was born on June 23, 1952, in New York City. He vividly recalled his mother buying him his first bass guitar in 1965 at Ben’s Music on West 48th Street, a purchase that cost $43.
The legendary bassist James Jamerson, a foundational figure of the early Motown sound, became Jackson’s “mentor” through his meticulous listening to Jamerson’s recordings. He also held a deep appreciation for the organ compositions of Bach and Olivier Messiaen.
In his later years, he graced stages worldwide with the acclaimed Japanese jazz pianist, Hiromi, showcasing his enduring talent.
In March, jazz fusion guitarist Al Di Meola shared on social media that Jackson’s manager, Ms. Albetta, had also taken on the role of his caretaker, as he reportedly had “no family.” Information regarding his survivors was not immediately available.
Despite being widely acknowledged as a true master, Jackson once philosophized to Bass Player that “There is no point where one can be said to have ‘mastered’ anything.” He believed, rather, that “we remain seekers, never truly achieving our ultimate goals.”