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the Late Great James Jamerson..

#442
Recently got into Motown, I've known of Jamerson for years but never went out of my way to listen to him. Man! I was missing out. The Guardians of the Galaxy soundtrack really helped me get into Motown. Even though only one song had Jamerson's playing, that one song is genius!

I've found a lot of the transcriptions of his work I've looked for, one I'm pretty sure is him I can't find. Do you see my love (for you growing?) by Junior Walker. Does anyone here know how to play it, have a transcription/tab? or know for sure if it's Jamerson?
 
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#445
kiat said:


In the spirit of Jamerson I believe it lives on with many bass players, but perhaps even more so with Sharay Reed. Just stumbled on this video. An original take on two of Jamerson's fantastic basslines. Grooving, fantastic tone and fingerstyle playing. I think Jamerson would have been proud of Sharay Reed's playing for this tribute.
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I don't know why I even bother getting out of bed in the mornings....
 
#448
I grew up with music of Jaco, George Duke, Michael Jackson, Stanley Clarke, Marcus Miller, Joe Zawinul, Joe Sample, Toto, Fourplay, and any other combination of jazz/fusion/soul but there is not a single record in the CD collection we had (before the internetz) where James Jamerson is on bass. I often felt that people are lost in nostalgia in the way they worship James Jamerson, but studying the evidence gives me the shivers of what this man has done. Even a random deep house mix I'm listening to at the moment has a bassline that's not very far from what James would have played. (from 40:06 - 40:40)

Respect! :thumbsup:
 
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#450
Having read "Standing...Motown" for the first time just recently, I searched for the final songs Jamerson did with Kenneth Koontz in 1983 and found one of his last recordings.

The book isn't wrong when it says he could no longer play in his final years due to prolonged periods without playing, which was sad to read about. Still, he did okay for someone who supposedly lost his playing abilities.

 
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#451
nathanmiller said:
Having read "Standing...Motown" for the first time just recently, I searched for the final songs Jamerson did with Kenneth Koontz in 1983 and found one of his last recordings.

The book isn't wrong when it says he could no longer play in his final years due to prolonged periods without playing, which was sad to read about. Still, he did okay for someone who supposedly lost his playing abilities.

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Link doesn't work, this one does:
 
#452
My first interactions with his playing was through John Paul Jones of Led Zepplin. After getting into his groove I later discovered Jamerson and was amazed on the influence he must of had on Jones. Then I realized that I had actually learned some of the man's groove by working out material by Jones.

I've never really immersed myself in Jamersons body of work, but when I hear it, I can truly hear the depth of influence he has had on the rest of the bass world. That groove note choice, syncopation. It has permeated it's fundamentals into the fabric of all music since.

Just like jazz, it often takes a seasoned ear to truly appreciate what he has done, and only after being immersed in many different styles and forms of music, can I truly appreciate his talent.

I think this might be why younger players might not get him, and I totally understand why. It took me years to appreciate a fine wine, and I see Jamerson to be of the same fine vintage. Not taking anything away from the current bass stars, but it's a lot easier to see the talent involved with a flurry of fingers and spectacular fretboard gymnastics. For a younger player I could easily see where they would be impressed by that over Jamerson just doing his thing in a non flashy manner.

Only after attempting to cop his depth of groove can one truly start to appreciate his genius. But as we all know, only a master can take such a complicated thing and make it sound effortless. I'm just glad that I have played long enough and have enough experience to appreciate his genius. Long live the master.
 
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#456
Question, On the song 'Stop, In The Name of Love' (Diana Ross and The Supremes), Does anyone know if that Bass line is double-tracked? 'cause that's some pretty tricky fingering on that song, and at times it seems like it MAY be layered/ two Bass tracks. :whistle::nailbiting:
 
#457
madjazzbass said:
Question, On the song 'Stop, In The Name of Love' (Diana Ross and The Supremes), Does anyone know if that Bass line is double-tracked? 'cause that's some pretty tricky fingering on that song, and at times it seems like it MAY be layered/ two Bass tracks. :whistle::nailbiting:
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There are two bassists on SITNOL-Jameson and Tony Newton. Motown would occasionally experiment with dual bassists. After Benny Benjamin died 1969, it normal for two drummers to be used on Motown sessions (check out Stevie Wonder's Signed Sealed and Delivered).
 
#459
I've often tried to emulate JJ's grove. He's a study in the 'feel' of a good groove , i'm sure you folks know all about playing something note for note trying to capture that here.

To me, JJ was not only a great bassist, he was one of the original innovators who brought life to the instrument through a new genre of music. ~CS~
 
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