Players
J c c andy Jackson, born in Baton Rouge, Louisiana in 1956, doesn't have the usual bass-player biography. A fusion bassist from his twenties, having got his start with the French jazz violinist Jean-Luc Ponty, he found fame with the AOR giants Journey in 1986. This kickstarted a long and prolific session career, whether playing pop hits with artists such as Whitney Houston or complex jazz with Billy Cobham, and he soon expanded his role to production, artist management, and then A&R, where he was a stalwart for many years at Columbia and MCA.
That's a successful music-industry career by anyone's standards, but Jackson's appearances as a judge and artist mentor on American Idol on Fox from 2002 until 2014 made him nothing less than a household name. Now that TV talent shows of this nature have receded from view a little, it's easy to forget just how massive they were a decade ago: At its peak, say from 2004 to 2010, American Idol was ranked at the top of the annual US television ratings. It created dozens of new musical stars, the best-known among them being Kelly Clarkson, Carrie Underwood, R
Stadium-rock perennials Journey are back with a new album made with the returning Randy Jackson, whose story goes far beyond merely playing bass. An A&R man, unwilling TV star, producer, and entrepreneur, Jackson is renowned in our world for his vast resume of sessions—but to 40 million TV viewers, he's better known as the man who sat next to Simon Cowell on American Idol.
Interview: Joel Mclver Photography: Getty and Queen's Adam Lambert, mentored by Jackson and his fellow judges Simon Cowell, Paula Abdul, Keith Urban, Jennifer Lopez, and others.
Many a musician despises the American Idol format, though-and to his credit, when Jackson talks to us today about Journey's new album Freedom, he paints a balanced picture of the show. And if you're looking for bass stories that will blow your mind, look no further: This man has seen and done it all.
I really enjoyed Freedom, Randy. There's tons of cool bass all over it. Thanks, man. It was fun. It was a little bit challenging to make during the pandemic, but we did it. I worked at NRG Studios in North Hollywood for part of it, and at my own studio here. It was wild at times, not being in the same room. Jonathan [Cain, keyboards] was in Florida and Arnel [Pineda, vocals] was in Manila, but we did it.
It doesn't sound any different to a traditional, studio-recorded album to me. That's because we know each other so well, and we've played together a lot over the years. At a certain age and after a certain amount of development and experience, you all know what it is and where it's going. Also, we all chimed in on writing and co-writing, so we all knew what the intention was, you know what I mean?
I do, but didn't you miss that moment when you look at the drummer and they look at you, and you know you're both going to play something at the end of the bar?
Oh, I know. I do this anyway, but on this album I played the songs a ton of times over and over in seven different ways, because
I was trying to imagine being in a room and getting that feeling.
If the technology existed so that you could work remotely and the timing would be perfect, with no delay, it would be fine. There's companies coming out with that stuff. One of them is called Sessionwire, and they're doing some cool stuff that I'm involved with. It sounds cool, and it's almost close enough to be really workable.
The company that cracks that is going to make a fortune.