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Neil Jason

Neil Jason (born Neil Jason Grossman; January 2, 1954) is an American , , , and renowned for his versatile contributions across rock, pop, and genres over a career spanning more than four decades. Born and raised in , , he began his musical journey in the sixth grade playing and later expanded to , , , and electric during high school, drawing influences from artists like , , and . As a proficient on , , , and , Jason has become a staple in studio sessions and live performances, emphasizing professionalism and rigorous practice in his approach to music. Jason's career gained prominence in the 1970s and 1980s through high-profile collaborations with iconic figures and bands, including John Lennon and Yoko Ono, Billy Joel, Mick Jagger, Paul Simon, Michael Jackson, Diana Ross, and the Brecker Brothers. He further expanded his resume with work alongside Paul McCartney, Luciano Pavarotti, Roxy Music, Bryan Ferry, Hall & Oates, Pete Townshend, Kiss, Celine Dion, Dire Straits, and Eddie Van Halen, contributing bass lines and arrangements to numerous hit albums and singles. Notable recordings include his bass work on Mark Knopfler's Local Hero soundtrack (1983) and the Pokémon 3: The Ultimate Soundtrack (2001). From 1980 to 1983, he served as a member of the Saturday Night Live house band, and he made over 100 appearances with Paul Shaffer and the World's Most Dangerous Band on Late Night with David Letterman. Beyond performing, Jason has produced music for commercials, films, and television, leveraging his skills as a songwriter and composer to create diverse soundscapes. His achievements include being profiled in the Marquis Edition of Who's Who in Entertainment, recognizing his impact as a behind-the-scenes force in the music industry. In addition to his studio and touring commitments, Jason served as head of artist relations at Guitar Center in New York City, mentoring emerging musicians while continuing to endorse products like La Bella bass strings.

Early life

Upbringing in Brooklyn

Neil Jason was born on July 29, 1954, in , . He was raised in Brooklyn during the and .

Musical beginnings

Neil Jason's musical began during his childhood in urban Brooklyn, where access to programs provided an early entry into instrumental training. In the , he started trumpet lessons as part of the local school system's music , marking his initial formal engagement with music. Throughout junior high and high school, Jason expanded his involvement by participating in school marching and bands, where he played not only the but also and , honing foundational skills and versatility on and woodwind instruments. As a , he also took formal lessons, which helped him develop a broader understanding of and proficiency, contributing to his dexterity as a . In high school, Jason transitioned to after joining a local amateur band that lacked a ; the player demonstrated basic techniques using left-hand patterns, teaching him simple riffs like "Knock on Wood" with open strings. This self-taught approach led to his first amateur performances as a in these early groups, building on his prior experiences as a player and singer in similar local ensembles.

Musical influences

Early exposures

During his adolescence in Brooklyn, Neil Jason participated in school big bands and ensembles, where he played trumpet, saxophone, and trombone starting in sixth grade, gaining foundational exposure to brass sections and rhythm section interplay within larger groups. These experiences emphasized the coordination required in horn-driven arrangements, shaping his understanding of ensemble dynamics early on. Transitioning to in high school provided a rhythmic foundation that bridged into these group settings. Through regular rehearsals in the late 1960s and early 1970s, Jason honed his abilities by quickly adapting to new charts across multiple instruments and developed skills by contributing to collective jams within the bands.

Professional inspirations

Jason developed a deep admiration for the bassists and , whose innovative grooves and melodic lines profoundly shaped his appreciation for the instrument's rhythmic and lyrical potential. He was initially captivated by the sound without identifying the specific players, but later recognized Jamerson and Babbitt's contributions as foundational to his technical style. A pivotal influence came from , whose pioneering slap and pop technique in inspired Jason to refine his own rhythmic precision and timing. Jason became a devoted fan, attending approximately fifty Sly Stone performances solely to observe Graham's playing up close, which emphasized syncing with the drums to maintain a continuous groove even in solo contexts. 's integration of elements further influenced Jason's approach, blending melodic invention with propulsive energy. Jason also drew inspiration from jazz bassists such as and , whose work in fusion and jazz contexts contributed to his versatile style across genres. These figures collectively drove Jason's evolution toward versatile session playing during the music scene, where he actively emulated diverse styles to adapt across genres rather than adhering to a single method. He described this period as one of broad exploration: "It was a very interesting way to learn how to play, by not just sticking to one style, but by getting interested in all the different guys and just trying to cop their styles." This foundation in clean, adaptable technique—honed through meticulous practice to eliminate extraneous noise—proved essential for his professional demands.

Professional career

Session work

Jason began his session career in 1976 as a in New York studios, rapidly establishing himself as a first-call player during the peak era of the city's recording scene at facilities like the Power Station and . His early work included contributions to the ' fusion albums, such as Heavy Metal Be-Bop (1978), where he provided the driving electric bass lines that anchored the band's high-energy jazz-rock sound. Similarly, in the late 1970s, Jason collaborated with keyboardist Bob James on sessions for albums like Lucky Seven (1978), featuring his prominent bass on tracks such as "," and One on One (1979) with guitarist , where he shared bass duties and delivered funk-infused grooves. Throughout the late and into the , Jason accumulated extensive studio credits, appearing on over 130 recordings as a session across , and pop genres. His approach to studio playing, influenced by legend James Jamerson's pocket-conscious style, emphasized locking tightly with the drums to create solid, intuitive foundations for ensemble performances. A standout contribution came on David Sanborn's Hideaway (1980), where Jason played bass on multiple tracks, including the title instrumental hit "Hideaway." Recorded live at Minot Sound in , his performance featured innovative slap bass techniques—using a 1965 through an chorus pedal—for the song's syncopated choruses, syncing improvised pops and thumps with drummer Steve Gadd's precise grooves to drive the track's funky, accessible energy. This session exemplified Jason's versatility in blending technical flair with ensemble cohesion, a hallmark of his New York studio tenure.

Television and live roles

Neil Jason served as a bassist in the house band from 1980 to 1983, where he provided musical support for a wide array of musical guests during live broadcasts of the program. Throughout the and 2000s, Jason made over 100 appearances as a deputy bassist with Paul Shaffer's The World's Most Dangerous Band on , frequently substituting for regular bassist and contributing to the ensemble's energetic performances behind celebrity guests. In addition to his television work, Jason contributed to studio sessions for Mark Knopfler's Local Hero soundtrack in 1983. He also engaged in occasional club performances in New York, such as multi-night holiday residencies with the Brecker Brothers at the 7th Avenue South venue, delivering two shows nightly during Christmas and New Year's periods. These roles highlighted Jason's adaptability, applying his session-honed skills to the rapid preparations and improvisational demands of live television formats.

Production and composition

Throughout his career, Neil Jason has taken on roles as a , , and , contributing to recordings, television, film, and commercial projects with a focus on creative scoring and . His multi-instrumental expertise, particularly on and , has informed his approaches, allowing him to layer sections and in studio sessions. These behind-the-scenes efforts complement his session work by emphasizing arrangement and original over performance execution. Jason's arranging credits include horn arrangements for Peter Criss's 1978 solo album, where he shaped the brass elements on tracks such as "Easy Thing," "Rock Me, Baby," and "I Can't Stop The Rain." This work highlighted his ability to blend rock and jazz influences in album production. In the and , Jason composed original jingles and scores for numerous hit commercials in , capitalizing on the era's demand for catchy, memorable advertising music. He has noted that these projects were both lucrative and collaborative, often involving quick-turnaround creative decisions to fit brand narratives. For television and film, Jason's compositional output includes incidental scores and themes, with a representative example being his co-writing of the song "Viridian City" for the Pokémon animated series in 2000, which served as an opening theme in the English dub and captured the show's adventurous spirit through upbeat, synth-driven arrangement. His broader film contributions encompass scoring elements for various movies, drawing on his New York studio experience to create atmospheric underscoring.

Notable collaborations

Solo artists

Neil Jason's collaborations with solo recording artists in the 1980s showcased his versatility as a session across pop, rock, and crossover genres. On Cyndi Lauper's breakthrough debut album (1983), Jason provided bass on multiple tracks, contributing to the record's energetic and sound that propelled hits like "Girls Just Want to Have Fun" and to commercial success. Jason worked extensively with on several albums during this period, helping define Joel's polished, radio-friendly style amid explorations of . In circles, Jason lent his skills to Mick Jagger's solo effort (1985), playing bass during key recording sessions that captured Jagger's post-Rolling Stones experimentation with funky, horn-infused tracks like "Just Another Night." This work highlighted Jason's ability to adapt to high-profile, genre-blending productions. Earlier in his career, Jason collaborated with and on their 1980 album , providing bass for several tracks including "I'm Losing You" and "(Just Like) Starting Over," contributing to the album's blend of rock and personal introspection shortly before Lennon's death. He also worked with on (1983), adding bass to introspective tracks, and with on sessions for (1982), though specific track credits vary. Additional solo collaborations include , , and on various projects throughout the 1980s and 1990s. Jason also ventured into classical crossover territory with Luciano Pavarotti, providing on the track "Ave Maria, Dolce Maria" from the Pavarotti (Music From The Motion Picture) (), where his contemporary work complemented Pavarotti's operatic vocals in a fusion of and pop elements. These sessions exemplified Jason's session techniques, such as prioritizing rhythmic lock-in with drums to underpin diverse stylistic shifts.

Bands and groups

Neil Jason joined the Brecker Brothers as a core member during the late 1970s, contributing electric bass to their fusion-jazz sound on the album Heavy Metal Be-Bop (1978), where he supported the horn-driven grooves alongside brothers Randy and Michael Brecker. His tenure with the group extended into live performances, including a notable 1980 show in Hamburg captured on the posthumously released Live and Unreleased (2020), showcasing his solid rhythmic foundation and occasional solos in tracks like "Some Skunk Funk." This period highlighted Jason's versatility in blending jazz, funk, and rock elements within a tight ensemble dynamic. In the early 1980s, Jason provided bass on select tracks for Roxy Music's sophisticated art-rock album (1982), including "The Space Between," "While My Heart Is Still Beating," "The Main Thing," and "Take A Chance With Me," complementing the band's atmospheric textures with precise, melodic lines. His contributions added depth to the record's lush production, marking a key studio collaboration with , , and during their mature phase. Jason reunited with Roxy Music in 2022 as their touring bassist for the 50th Anniversary Tour, performing at major venues such as in and the in . This role, spanning North American and European dates from to October, bridged his earlier studio work with the group and emphasized enduring band chemistry in live settings.

Personal life

Marriage and family

Neil Jason married Canadian-born Brigitte Zarie, with whom he shares a close professional and personal partnership. The couple has collaborated extensively on musical projects, blending their personal relationship with creative endeavors. Jason frequently plays bass in Zarie's performances, including her arrangements featuring large ensembles such as a 24-piece for original compositions. Details regarding children or extended family remain private, with no public information available on this aspect of their lives.

Lifestyle and residence

Neil Jason was born and raised in , spending his early years in before establishing a presence in neighborhoods like , where he lived just two blocks from 7th Avenue South during key periods of his career. This enduring connection to has facilitated his role as a premier , providing easy access to the city's renowned studios and venues. Beyond his professional bass work, Jason pursues multi-instrumental practice at home, including and , to sustain his dexterity and versatility across and instruments. He maintains a collection of vintage gear, featuring items such as the and Bacchus WL-434 Bass, reflecting his appreciation for historical equipment in music production. Jason adopts a low-profile approach to life, prioritizing his musical pursuits and avoiding the spotlight or public scandals, which aligns with his reputation as a humble figure in the industry.

Recent activities

Tours and performances

In the , Neil Jason made several guest appearances as on Bryan Ferry's solo tours, marking his first live collaborations with the artist after years of studio work together. He joined Ferry's for the 2017 world tour, performing tracks from Ferry's catalog including material from Boys and Girls, and continued with subsequent tours in 2018 and 2019, contributing to sold-out shows across and . Jason's association with Roxy Music, where he had earlier contributed bass to their 1982 album , extended to live performances when he joined the band for their 50th anniversary world tour in 2022. As the touring bassist, he performed alongside core members and at major venues, including in and the Chase Center in , delivering sets that celebrated the band's catalog from to . The tour, which drew large crowds and received critical acclaim for its polished execution, highlighted Jason's longstanding connection to the group's sound. Following the Roxy Music tour, Jason participated in select one-off performances, including a November 2024 tribute concert to David Sanborn featuring an all-star lineup. These appearances underscored his continued demand in live settings, blending his session expertise with high-profile ensemble work.

Endorsements and media

Neil Jason has maintained a strong presence in the bass guitar industry through equipment endorsements, particularly with La Bella Strings, where he is listed as an artist on their website. In a 2023 Bass Magazine feature titled "Old School Stomp!," Jason highlighted his endorsement of Seamoon FX pedals, assembling a supergroup including drummers Steve Jordan and Steve Gadd, saxophonist Randy Brecker, and others to demonstrate the pedals' capabilities on tracks like "Sponge" and "The Skye," recorded at Power Station at BerkleeNYC. He specifically praised the Funk Machine for its grinding overdrive, the Octatron for its sub-octave effects, and the Skye Machine chorus, noting their recreation of vintage sounds he has relied on throughout his career, with the session released as Super Session Vol. 1 in August 2023. In a 2020 interview with For Bass Players Only, Jason discussed his experiences touring with , emphasizing the challenges and rewards of live performance in high-profile settings. A 2024 article featured Jason reflecting on his collaboration with on the 1979 track "Hideaway," providing a modern lens on 1980s New York session work during an era of live tracking with elite players like and . Jason detailed his slap bass approach—inspired by —using a 1965 with Rotosound strings and an CS-9 chorus pedal, stressing the importance of locking with the drummer for precise pocket and restraint, noting he would play fewer notes today compared to the original dense performance. This piece, published shortly after Sanborn's passing in May 2024, underscored Jason's enduring influence in blending historical session anecdotes with contemporary technique discussions.

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    ### Biographical Details on Neil Jason
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