Jamerson making it hard on a brotha.

[DreadyDiggs]

OKay, well I'm looking around Facebook and I see that Wednesday night is a little Black History celebration thing. I decide I should go and bring the bass and talk about the black bassists that helped pave the ground that you and I jam on.

I can't slap worth a damn, so I said maybe I'd play a Jamerson lick that they should all know. So I'm looking for tabs, and come across Heard It Through the Grapevine.

GOOD GRIEF! Like I knew he covered all four strings, but wow, it's a different story when you trying to learn to play it haha. I don't know if I can get this tab down by Wednesday.

I could stick to what I can play and talk about Family Man, but he's technically not African American. I'm gonna try and learn this, but if not, I'm going with Fams haha.

[millsbass5]

Remember....You HAVE to play it w/just you're index finger too!

[DreadyDiggs]

I've done that on a few songs, but never something as fast as his licks. If I can get them down, then I'll pick up my P-Bass (I'm faster on the headless) and see if I can jam it with the hook. The man deserves a ton more props than what he got.

[JimK]

How about the road bassists back in the day that were supposed to cop that stuff?
I bet the live versions didn't sound like the record!

No wonder Marvin Gaye insisted on taking JJ out on the road with him.

I'm not sure which version of "Grapevine" you're talking about-
Gladys Knight's version may sound 'busier' but IMO Gaye's version is tougher to cop...a lot of crossing the barlines + 'odd/out' passing notes.

[DreadyDiggs]

Yea I'm talking about Gladys Knight's version.

I can say right now that I don't know a lick of theory. I've been self-teaching myself and haven't gotten to serious theory reading yet. I'm sure I'll have a new found respect for Jamerson after I really "understand" the lines he created. My bass mindset is a lot simpler since the music I play mostly has simple basslines (well to me), I can't really fathom coming up with a lick with that many freaking notes in it haha.

[kesslari]

That's why you see all those "WWJD" bumperstickers.
What Would Jamerson Do?


he was The Master.
With that said, there's no shame in playing Family Man as an icon of bass guitar.
Don't get too hung up on the "African-American". It's not "African-U.S.'ans". Jamaica is in North America, and the Jamaicans of African descent were also brought there for the same morally wrong reasons and in the same utterly barbaric manner.

[DreadyDiggs]

True True kesslari. I might as well stick to I know, and go with Jamerson as a nice project haha.

I know plenty of Family Man cuts, and I know enough about him and the band to not go up there without anything to say.

I don't know what came over me. Black is black, it doesn't matter if you're in the USA or Jamaica or London. Black History Month includes all of us, don't ask me why I was trying to be exlusive. Now that I think about it, I shouldn't have made that mistake.

[Dig Wilbur Ware]

Had he stayed with us longer, you just *know* he and Fams would've gotten tight. Perhaps you could "rephrase it" a little as a view of Black Music from the Bassman. The idea of unlocking Familyman and Jamerson is brilliant. I'd love to see your tribute.

[JimK]

You need this for the shed-
http://www.amazon.com/Standing-Shado...4829667&sr=8-4


...and this for entertainment-
http://www.amazon.com/Standing-Shado...4829846&sr=8-1

$6.99 for the SITSOM DVD. It doesn't get much better than that.

[DreadyDiggs]

Hey guys, everything went great.

I got up on stage and talked a lil bit then I played along to The Wailers 400 Years from the Catch A Fire album (EQ'd the song's bass down and mine up). Got a bunch of props for my chops haha.

After that I went to eat at one of the dining halls (college student haha) and a guy that I'm sure works at the school saw me with my gig bag and walked over to me. Slapped his hand on the table and said "Here you go my friend". When he lifted his hand up he was giving me a pick haha. I don't play with a pick but I said thanks as he was walking away. I'll keep it and if I ever end up with a guitar I'll try and use it.

[Allmanfan456]

Originally Posted by millsbass5

Remember....You HAVE to play it w/just you're index finger too!

I still have no idea how he managed to do that.

[Krowser]

Originally Posted by Allmanfan456

I still have no idea how he managed to do that.

Or better yet, WHY?

[deaf pea]

Originally Posted by Krowser

Or better yet, WHY?

I don't know why Jamerson did it, but for ME . . . it helps with "cleanliness" . . . when the finger ("hook") prepares to play the NEXT note, it naturally STOPS the previous note's sound . . . kinda like "automatic" muting . . .

works for me . . .

[Terry Funk]

Originally Posted by Krowser

Or better yet, WHY?

Here's a little insight on that:

http://www.guitarplayer.com/article/...on/mar-05/3904

Chuck Rainey: Two ingredients are key to James Jamerson’s style. One, he usually played off a root-5th-octave pattern; second, most of the Motown grooves had a hidden baion type of feel. James built many of his lines from the root-5th-octave shape, and then he’d add other scale tones, as well as non-scale chromatic passing tones, to create motion and melodic lines. That was his major influence on my style. A classic example is the kind of stuff he played on songs like “Bernadette” by the Four Tops (see Ex. 1).

Coming from his upright background, James plucked mainly with one finger, using all upstrokes. His heavy touch, high P-Bass action, and “real man” attitude resulted in strong, singing notes. I remember showing him my back-and-forth index-finger plucking technique, and he laughed and said, “that’s sissy stuff right there.”

Chuck Rainey is a studio legend who has also recorded three solo CDs.

[kesslari]

Diggy - cool that it went well. Props, bro!

DP and TF - thanks for the insights. TF, that article is great.

[kraigo]

Originally Posted by Terry Funk

Here's a little insight on that:

http://www.guitarplayer.com/article/...on/mar-05/3904

Chuck Rainey: Two ingredients are key to James Jamerson’s style. One, he usually played off a root-5th-octave pattern; second, most of the Motown grooves had a hidden baion type of feel. James built many of his lines from the root-5th-octave shape, and then he’d add other scale tones, as well as non-scale chromatic passing tones, to create motion and melodic lines. That was his major influence on my style. A classic example is the kind of stuff he played on songs like “Bernadette” by the Four Tops (see Ex. 1).

Coming from his upright background, James plucked mainly with one finger, using all upstrokes. His heavy touch, high P-Bass action, and “real man” attitude resulted in strong, singing notes. I remember showing him my back-and-forth index-finger plucking technique, and he laughed and said, “that’s sissy stuff right there.”

Chuck Rainey is a studio legend who has also recorded three solo CDs.

Thanks for the link. Michael Henderson is hilarious. He's my new hero.

Good to see Ralphe Armstrong in there, too. I've only heard him on an old Jean-Luc Ponty "Live" album. When I revisited the album a few years ago I was absolutely floored by the man. He added a great, warm, R&B touch to what is generally considered to be "head, not heart" music. Brilliant player.

KO

[deaf pea]

Originally Posted by Terry Funk

Here's a little insight on that:

http://www.guitarplayer.com/article/...on/mar-05/3904

...

There's at least ONE error in that article . . . James Jamerson DID NOT play on ANY version of Al Wilson's "Show and Tell"!

[xaxxat]

Originally Posted by kesslari

That's why you see all those "WWJD" bumperstickers.
What Would Jamerson Do?

Why, he'd work a miracle, of course...

[Caca de Kick]

Originally Posted by DreadyDiggs

Jamerson making it hard on a brotha.

If you read the 'Standing In the Shadows' book, apparently even Motown's touring bassists complained that the bass lines were difficult for them to learn to play.

When watching youtube videos of acts on the road back then, the bass parts seemed simplified quite alot.

[DreadyDiggs]

LOL, yea I saw clips on Youtube. But haven't read the book yet. But yea some of the session bassists were definitely still complaining on film haha.

http://www.youtube.com/watch?v=jEs0H5Q935g
http://www.youtube.com/watch?v=YbEWU4jVfcc