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James Jamerson and Duck Dunn

I want to learn and accept some influence from James Jamerson and Duck Dunn.

What are some of your favorite albums they play on that I should buy, listen to, and transcribe..

Obviously a lot of you will just say all of them, and yeah thats a good bet :smug: but I just wanna know some of your favorite Motown and Stax records that these two shined on.
 
Booker T & The MG's "Melting Pot"

This is their most original album, very dynamic, and showcases the MG's (Cropper included) versatility, and lock tight grip on rhythm.

The Motown/Stax legacies....something to be said about the "house band" era, no doubt.

"Melting Pot" seems to bridge these two vastly different regions with a lot of east and west coast stylings as well......Hmm maybe that's how the term "melting pot" was being used? I think so.
 
.... and also add Carol Kaye and Joe Osborn. All of these players were amazing when you picture them walking into a room, sitting down with sometimes strangers, and knocking off tune after tunes that they never heard before. Sometimes these "guys" didn't even know who the "artist" was going to be added at the top.

Those days are long gone, but thankfully well captured.
 
If you want to really get into the R&B/Motown sound the bass players you should check out are (IMO)

Jamerson
Dunn
Tommy Cogbill
Jerry Jemmott
Bob Babbitt

those guys are like the Elder Gods of groove, I've learned so much about what playing both melody and rhythm can sound like by listening to their stuff.

for Books both Standing in the Shadows of Motown, and What Duck Done are great,

Also, this site is a huge gift, Link Removed

My personal fave Duck Line
 
:cool:

Most of the Otis Redding stuff is Duck Dunn.
Killer groove.
James Jamerson is to me, the most important electric bassist up to
1970.
He influenced everyone.
Paul McCartney.
Jack Bruce.
John Entwhistle.
John Paul Jones.
Just to name a few.
 
All of the above are great suggestions. But don't forget some of the outstanding work Jamerson did for Motown's girl groups, such as the inconceivably funky "I Heard It Through the Grapevine" for Gladys Knight and the Pips and the bouncing, dancing bass line on the Supremes' "Love Is Here and Now You're Gone."
 

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