|  | | 
02-01-2013, 11:50 AM
|  | mi la ré sol | | Join Date: Mar 2002 Location: Reims, Champagne, France | | | I thought this anecdote refered to I heard it through the grapevine. |
02-01-2013, 12:24 PM
|  | Registered User | | Join Date: Jan 2009 Location: Québec | | Quote:
Originally Posted by christoph h.  Just out of interest I listened to this track while looking at the "Standing In The Shadows Of Motown" book and I was surprised by the amount of mistakes in the transcription!
It's a great book for sightreading and if you want to get the basic idea of Jamerson's style,
but if you really want the details, you need to transcribe the line yourself. | Could you please cite an example of an error in those transcirptions. |
02-01-2013, 12:30 PM
|  | Registered User | | Join Date: Apr 2011 Location: Davis, CA | | Quote:
Originally Posted by NCD Supposedly this line wasn't improvised the way that most of Jamerson's were. This is a quote from Dave Van dePitte, who arranged the entire What's Going On album: | Fascinating. In another thread I just started this morning, I asked this very question: what was Jamerson reading?
Thank you for this detailed (and surprising) answer.
__________________
"You can't really be jealous of something you can't fathom." -- Nigel Tufnel
Lefty Union #235 - Steinberger Club #0012 - Fretless Club #763 - California Bassists #93 |
02-01-2013, 12:55 PM
|  | The Funkfather
Kohlman Bassworks | | Join Date: Jan 2003 Location: SE Virginia via NYC | | I'm about 98% there. The problem is James played it with one finger so there are some minute nuances that just can't be copied. I play it all kinds of different ways though due to whatever situation I'm playing in.
Here's a demo recording I did a couple years back. I'm embellishing a bit but I'm sticking close to the original. http://tindeck.com/listen/ocrw
Will post a video later this evening.
Last edited by DWBass : 02-01-2013 at 02:32 PM.
|
02-01-2013, 01:03 PM
| | Registered User
Endorsing Artist: Carvin,Modulus, Hotwire & Conklin Basses, Eden Amps | | Join Date: Sep 2000 Location: Nashville,TN | | With any transcription, it's really helpful to listen to the recording while reading along in the music. Besides the missed notes (as a transcriptionist I can assure you they happen and frankly two players can hear the identical part completely differently as well) you need to check out the nuances of what's being played.
Mistakes and all, I recommend that every bassist have a copy of "Standing in the Shadows of Motown" on their bookshelf and take the time to learn all of the transcriptions and check out the original recordings. It will help your time, concept, reading and general "bass consciousness" more than you know!  |
02-01-2013, 01:13 PM
| | Registered User | | Join Date: Dec 2011 Location: Deep in the heart of Texas | | | On the isolated JJ track...what a thunky chunky tone he has!
__________________
Thump it!
|
02-01-2013, 01:15 PM
|  | Registered User | | | | | They say he rarely ever changed his strings or cleaned his bass. Lots of grime in that chunk. |
02-01-2013, 01:20 PM
| | | | I use to have the "Standing in the Shadows of Motown" book and cassette tapes and I believe that Bob Babbit played on "What's Going On" for that package. Or did Jamerson's son play on that one? If what was played was accurate to the original recording then I use to know it. But we're talking a long time ago and I admit that I couldn't even begin to remember it now.
Last edited by Mike M. : 02-01-2013 at 01:31 PM.
|
02-01-2013, 01:21 PM
|  | Every exit is an entry somewhere else | | Join Date: Apr 2006 Location: Northern CA. | | Yeah, he always got great tone. Many have already seen this, but one of my favorite live versions. http://youtu.be/FHoLn_QCnRM |
02-01-2013, 02:02 PM
| | Registered User | | Join Date: Jul 2010 Location: Sorrento, LA USA | | Quote:
Originally Posted by Mike M. I use to have the "Standing in the Shadows of Motown" book and cassette tapes and I believe that Bob Babbit played on "What's Going On" for that package. Or did Jamerson's son play on that one? If what was played was accurate to the original recording then I use to know it. But we're talking a long time ago and I admit that I couldn't even begin to remember it now. | James Jamerson Jr. played it !!!! |
02-01-2013, 02:07 PM
| | Registered User | | | | | ^^ that's always nice to revisit . |
02-01-2013, 02:10 PM
|  | Don't want no treble. | | Join Date: May 2012 Location: Long Beach CA | | Quote:
Originally Posted by SolarMan My mind is blown every time I listen to Jamerson. | Yep. Incomparable.
BTW the story about Jamerson playing this line flat on his back and inebriated is from an interview with the surviving Funk Brothers in the SITSOM movie.
__________________ Quote:
Originally Posted by MagnificentB I don't need to hear the notes. I just want to feel the floor shake. | Low-Wattage Tubesters #1/FSR #6/Crappy Bassist-Expensive Gear #229/LOG #453/Mediocre #886/Precision #953/Jazz #1010/P&W #1202
|
02-01-2013, 02:20 PM
| | | | What amazes me about Jamerson's playing isn't so much the tone, groove, funk, or even the melody of his lines. He played with such a natural ease that his lines, for lack of a better word, just seemed to breathe. |
02-01-2013, 02:22 PM
| | Registered User | | | | | That's Jazz baby!
Another great that impressed me is Nate Watts. Stevie wonders bass player. |
02-01-2013, 02:37 PM
| | Fueled by chocolate | | Join Date: Jun 2008 Location: Montreal, Canada | | | I've played this song hundreds of times on stage with all kinds of different singers/acts. I've not once played it exactly the way it appears on the recording and there'd be no reason for me to (though I do play much of it more faithfully than most other bassists I've heard doing it). As soon as you change the players and equipment you change the feel. I don't play a P with flats and I don't favour a "thunky" sound so Jamerson's exact parts wouldn't sound right coming out of my fingers. And the other musicians invariably play in a way that differs from the recording so I tend to fit in (at least to some degree) with what they're doing. |
02-01-2013, 02:49 PM
| | | | Wow... Kudos to you and your super in depth anaylsis of the song, NCD. It's really great to get into the head of pros like that and try to figure out every nuance. I do that sometimes with RHCP tracks. I'll definitely refer back here when I want to learn it. |
02-01-2013, 04:20 PM
| | Fueled by chocolate | | Join Date: Jun 2008 Location: Montreal, Canada | | | |
02-01-2013, 04:38 PM
| | mi la ré sol | | Join Date: Mar 2002 Location: Reims, Champagne, France | | | This is the video I was looking for! Is it possible to have more class?
The report pictures in town are very touching. |
02-01-2013, 04:42 PM
|  | Registered User
Endorsing Artist: Glockenklang | | Join Date: Aug 2012 Location: Indianapolis In | | | I plowed all the way thru "grapevine" that will lee performed on the book....what a delight to play it when I finally nailed it. He is the master at using fourths (same fret next string) with intricate rhythmic patterns....only two notes that groove hard and he also used this technique to not only play 1-4, but inverted the root on the fourth position to use it as octave and the supporting lower note as pure harmony(perfect fifth)...he does this masterfully on heard it thru the grapevine and then that ridiculous 16th note run from octave C all the way down to low E(supporting the c major triad of C, E, G). He was the man. | | Thread Tools | Search this Thread | | | | 
Posting Rules
| You may not post new threads You may not post replies You may not post attachments You may not edit your posts
HTML code is Off | | | |
