In 1968, a 16-year-old musician named Anthony Jackson had an idea. Why not expand the range of his bass guitar, he thought, by adding two strings: a low B and a high C? He called the concept a contrabass guitar and began to look for a builder who could make such an instrument. Late in 1974, he found one: Carl Thompson, a New York City luthier who had already done one “special project” by building a piccolo bass for Stanley Clarke. Thompson thought the contrabass guitar was a strange idea, but he went ahead and built the first 6-string bass tuned BEADGC. Jackson wasn’t happy with some aspects of the instrument, so he asked Thompson to try again. The second attempt never made it past the test bass stage, and Jackson moved on to another New York City builder, Ken Smith. Smith built two contrabasses for Jackson. The woodwork was done in Smith’s Brooklyn shop by a young luthier named Vinny Fodera. While working there one day, Vinny answered a knock at the door and met Joey Lauricella, a bassist who had been doing some sales work for Smith. Lauricella began to help out in the shop, and the two became good friends. In 1983, they decided to go into business for themselves, forming a partnership to launch Fodera Guitars. Anthony Jackson was one of their first customers. In the ensuing years, Fodera has built a series of contrabasses for him — probably the longest and most productive partnership between a player and a builder in the history of the bass guitar. While both Thompson and Smith had been skeptical about Jackson’s concept, Vinny Fodera embraced it. “I was quite enthusiastic about the idea,” he says, “and I think that set the tone for our relationship. Anthony appreciated that instead of telling him how bad an idea it was, I was eager to give it a shot.” The first Fodera Anthony Jackson contrabass, a double-cutaway instrument with a 34" scale, was delivered in 1984. It was called No. 5, because it followed the two built by Carl Thompson and the two by Ken Smith. Five years later, Fodera created No. 6, a single-cutaway instrument with a 36" scale. Since then, Fodera has built six more versions; the most recent, the Anthony Jackson Presentation II, a.k.a. No. 12, is a Hybrid contrabass with a hollow body (see: www.fodera.com/anthony-jackson-presentation-ii/). (It’s called a Hybrid, Vinny explains, because it has tone characteristics of both acoustic and electric instruments.) Throughout the process of creating these instruments, Jackson has been closely involved, often spending entire days in the Fodera shop. “We were willing to try anything to please him,” says Vinny. “It was a privilege to work for him, and his ideas were quite sound. We were curious to hear the result of them in the instruments.” Jackson confirms the sympathetic nature of the collaboration. “It went very naturally,” he says. “There was never a matter of them saying, ‘I don’t understand. What are you trying to do?’ There wasn’t any o