I absolutely agree that the many and various studio musicians who had a hand in creating so much great music deserve to have their contributions noted, especially bassists who tend to be passed over in histories as their role is less well understood by the public compared to guitarists, for example.
And yes, the music CK contributed to was massively influential.
But to compare her influence as a bass player on other musicians, and to the role of a bassist in popular music, to Jamerson's, is a complete nonsense. His popularity now is in no doubt partly due to the efforts of Slutsky, et al, but without the revolutionary style he pioneered, and the monumentous skill and musicianship he displayed with every note he played, over a span of a decade, the book and movie would have been nothing more than an interesting sidenote to musical history, and Jamerson's notoriety would not have increased much more than any other subject of a musical biopic.
The fact is that every once in a while music throws up a truly exceptional visionary who is able to transform the medium he works in, and by example paves the way for other musicians, whether they share his instrument or not.
IMO Jamerson is one of these, and he inspired the ones who in turn went on the become innovators and ground-breakers themselves, as well redefining the role of the bass in a way few others did, or could, as he did what he did at such an early stage of the instrument's history. Few knew his name, but they sure as heck were listening and studying those revolutionary sounds that were emanating from Studio A.
If you did a similar book about CK, would you really be able to find so many monsters of bass, from McCartney to Entwistle with everyone in between, who would gladly play his lines and elucidate their gratitude to her for their influence, or indeed for being the one who first inspired them to pick up the bass?
I'm all for giving credit where its due, and I don't believe music is a competition, nor should we need to compare musicians to appreciate their value, but a little historical perspective and recognition of the chronological significance of Jamerson's achievements compared to Carol Kaye's are necessary here.
None of this would be necessary if she wasn't so insistent on playing up her role and denigrating that of her fellow bassists, and some of her claims are simply unexcusable IMO, while others are more easily explained or forgiven.
Unfortunately she is her own worst enemy, and her vision of what the bass's role is in music is extremely limited and doesn't extend beyond her own style and experience. Studying her work is fun and educative, but her personality and dogmatism have not endeared her to many who she may have touched more deeply if she had behaved otherwise.
Anyway, that's my take on things and I have a feeling I'm far from alone.
