Russell Jackson – The Groove Guru

You were born in Memphis and sharpened your skills in Chicago—two legendary blues cities. How did each shape your identity as a musician?

I think by me being born in Memphis; it’s in my soul. Chicago gave me the opportunity to develop the style and the way that I play. I was just fortunate enough to get the job with Otis Clay, and that gave me the chance to develop my style of playing. 

Was the bass your first instrument?

I grew up in the Southern Baptist church. So as a kid—my father was a deacon in the church—I had to sing with my older brother and two older sisters. My voice would be my first instrument—singing gospel music. But when I picked the bass up, it was almost like I was just made to play bass.

You’re credited with introducing slap bass into the blues. What inspired you to bring that technique into a genre so rooted in tradition?

I developed that whole style of playing when I was with B.B. He was always looking for something just a little different and he wasn’t afraid to try a lot of different things. I grew up in the funk era, back in the ’70s, when they had all the funk bands and their bass players were starting to slap the bass. When I got to Chicago, B.B. allowed me to run with it and do it in his live shows. Then, in 1979, I recorded Live at Ole Miss with B.B. where I put slap bass and I was the first bass player in the blues world to slap on a live blues recording.

What about Willie Dixon? What did you take from Willie Dixon that shaped your signature groove?

Willie Dixon is the epitome of blues bass playing. I decided to start playing stand-up bass. And when I decided to do that, Willie Dixon was my god on bass. when they ask me, “You play stand-up bass?”—I say, “Yeah, but I play blues.”  And I slap on it, too.

What does it mean to you to be called "The Groove Guru"?

My strength is in just grooving on the bass—making the band sound good.  that’s why they started calling me the Groove Guru, because they know once I lay down the groove, it’s strong—and it makes the band sound much better. If you want to work and be successful in this music industry—especially playing bass—you’ve got to be simple. You have to know how to sacrifice to make the band sound good. 

How do you help students connect with the emotional storytelling core of blues, beyond just technique, especially for the ones who are guest in the culture.

I think they have to be honest with themselves. Because it’s such a grounded instrument and so essential in the band for the bass to be right. When the bass player is in the pocket and the band is sounding good—that, to me, is the ultimate. 

What blues means as an emotion to you?

To me, blues is the feeling of the feeling. And it allows you to put your feelings inside—whether it’s slow blues, happy blues, or fast blues. Blues always lets you put your human emotion into the playing, into the music. Because blues music is very simple. 

If you could jam with one artist, living or not with us anymore, who would that person be and why?

If I had a choice—anybody to play with in this whole wide world—it would be B.B We had more of a father-son relationship as opposed to him just being my boss.

If I may ask an intimate question — since you described that father-and-son bond with B.B. King, is there a story or piece of wisdom he shared that still sticks with you, something you'd want to pass on?

He gave me the chance to really be me. I remember one time after I’d been playing in the band for about six months, he walked up to me one day at the airport and said, “Son, I like what you’re doing on the bass back there. Just keep doing what you’re doing, and you can work with me as long as you want to.”  He was giving me freedom to create. He didn’t mind you stealing his spotlight on stage. He would say, “Bring it! Come on, let’s go! Bring it on!” He was always looking for something new to add to the blues. He needed guys behind him who could play both the new style that he was doing and his old-school records. 

Do you have a favorite song that you played with B.B. King?

If I had to narrow it down to one song, I guess it would probably be The Thrill Is Gone. 

Besides the way that you’re playing and your technique, many of grooves are not only moving our hearts, but also move our feet! What is your relationship with blues dancers? 

When I play bass, it’s all about the people. I want to make them feel good, I want make them dance and shake. When I get on stage, I’m a serious bass player, but I like to have fun. When you have fun on stage, it translates to the people who are listening to you.

Can you dance?

When I was in high school, I was always the first guy to learn the new dance that came out. I was a good dancer because my older brother and two older sisters taught me probably before I could walk—how to dance. Plus, I grew up in the era when Michael Jackson and the Jackson 5 were coming up. And I still cut a rug a little bit, you know! Now I boogie around with the bass on stage now—not as much as I used to—but I still come dance around.

Is there a question you've always wanted to be asked but never have been?

I wish somebody would ask me why I wear sleeveless shirts on stage. Last 30 years, I’ve worn shirts and cut the sleeves off. I wear those sleeveless shirts on stage because it frees me up to play bass—especially when I play stand-up bass.

I’m gonna be very intentional about choosing the right photo for this interview — and trust me, everyone’s gonna see those shirts!

I look forward to meeting you guys—and eating some of Adamo’s mom’s pasta! And when you see all of us guys together, it’s like a big laugh festival. 

That’s why we call it Good Time Blues Fest.

That’s a great name. That’s what I’m coming there to do: have a good time, eat some good food, make some new friends, and play the blues.