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Analysing Jamerson's Lines

#28
SolarMan said:
Hey Chris!

I'm slightly confused;

You posted on your you tube video that you made that bass:



and this:



So, did you or did you not make that bass?!

Anyway, just checking out

(For about the 100th time)

:cool:
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Solarman,

I definitely did not make that bass! In what video do I say that I did? I think you have me confused with someone else!

Everyone else, thank you for your kind words! I hope to get another analysis up soon!
 
#32
rw3cja said:
Hello!

I though you would like to know that there is a new post on my blog 'Jamerson Analysed'. The track is 'Ain't Nothing Like The Real Thing' by Marvin Gaye and Tammi Terrell. This track, and the others that I have analysed can be found here http://jamersonanalysed.blogspot.co.uk/

Hope you enjoy it!

Chris.
Click to expand...

Wow, that is my favorite analysis so far. You really open up the eyes so I can see the magic that lies beneath those emotionally powerful lines.

Makes them even more amazing to listen to.

Thanks again Chris!
 
#33
SoCal1 said:
I pointed out to Joe that since Jamerson did play a lot of open strings it enabled him to play almost exclusively in 1st position which I assumed led to Jamersons outstanding musicallity, since he did not need to learn the notes all the way up the fingerboard and could really focus on each and every note and hand placement in 1st position...
Click to expand...

I think that's a bit of a stretch. As a jazz double bassist and virtuoso bass guitarist, I think it's pretty safe to assume that he knew the entire fingerboard. He may have stayed down in half and first position for a variety of reasons. Simplicity, less shifting, etc. But to assume he didn't know the other notes because of this fingering selection really doesn't give Jamerson the credit he deserves. I think it's pretty safe to say that he could have played whatever he wanted, however he wanted.

Check out this youtube video.

https://www.youtube.com/watch?v=8mKm9BZU3n8

You can see James play a three note chromatic part way up the G-string, twice, at about 6:10. I find it interesting that he fingers this 124, suggesting to me that he may have studied Simandl on DB. In that method there is a tendency to play across the E-G and then up the G string (although, other trajectories are also within the method). Anyway it's a fun watch for Jamerson fans, since there's so few live performances available to watch.


Jim
 
#34
Nice job OP.

I don't play double bass, but from playing violin and watching double bassists, they tend to play in first position and then climb up the G string, then coming back down on the G (and maybe D), rather than moving to a higher position and staying there for all strings. So the area of the fingerboard they concentrate on is kind of a triangle.

As electric players we tend to look at the fingerboard as more of a rectangle (or series of stacked rectangles), which makes it harder to memorize, as we are stressing (almost) every note on the fingerboard equally, like a guitarist would.

I sometimes think I should take a step back and learn the fingerboard from an upright player's perspective. It might be inspiring in a different way.
 
#39
Hey Chris: Thanks for your posts, just had a quick look at the new Grapevine post and watched the video. Really great playing and groove, very impressive. I am going to spend more time with your analysis of this tune and learn it. I have the Shadows of Motown book, and video and CD, and need to spend more time with it. Hopefully this will spur me on. Thanks again. Steve.
 

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