How about before you even introduce yourself or anything else happens, play "Bernadette" from the Standing in the Shadows of Motown Disk. Then you'll have there attention on who Jamerson is.Justin V said:
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the Late Great James Jamerson..
- Thread starter SamJ
- Start date
Good idea of having the kids read up on and hear James Jamerson's playing.
Without a doubt, he was one of the true innovators of the sixties, seventies and beyond. Definitely should be mentioned in the same conversation as Paul McCartney and John Entwistle.
Cheers.
Without a doubt, he was one of the true innovators of the sixties, seventies and beyond. Definitely should be mentioned in the same conversation as Paul McCartney and John Entwistle.
Cheers.
Alex E said:
Agreed.. It would be ironic not to, as both of them point to him as a major influence on their style.
The more you analyze his contribution to Rock / R&B / Pop bass style and his influence on other players, the more you realize that he was really a "first among equals" in terms of bass legends.
Thanks for the clip! It's hard to find footage of Jamerson. A few months ago, I found Standing in the Shadows... in the $5.50 DVD bin at Wal-Mart and I just bought every copy I could find and passed them out to everybody I knew. Even if you're not a musician, it's such an eye opener and the Brothers are as good at story telling as playing music - especially Uriel Jones. You can still get it from Amazon for around $6.00. BTW - Jamerson had some freakin' monstrous fingers!
I have always been 'aware' of Jamerson and his significant role on the electric bass but never really dug-in with his work until recently.
I transcribed 'What's Goin' On' from the studio version and was absolutely blown away at his playing on that recording. Literally, ever few seconds there's a sweet little hook in his line, a subtle pause or a tasty lick. No fancy technique, 16th notes, tap or slapping. Just flat out in your face raw finger style GROOVE. His ability to play in the pocket is simply mindblowing. The entire feel and groove of that song is all because of the bass line. It's the perfect example of the whole being greater than just the sum of the parts.
Likewise, I have a feeling the bass lines in all those other hits he played on contributed significantly to their success and appeal. It's just not obvious to the listener. Jaco has always been my bass hero but these days I'm not so sure.
great thread and absolutely deserves to be stickied!!
I transcribed 'What's Goin' On' from the studio version and was absolutely blown away at his playing on that recording. Literally, ever few seconds there's a sweet little hook in his line, a subtle pause or a tasty lick. No fancy technique, 16th notes, tap or slapping. Just flat out in your face raw finger style GROOVE. His ability to play in the pocket is simply mindblowing. The entire feel and groove of that song is all because of the bass line. It's the perfect example of the whole being greater than just the sum of the parts.
Likewise, I have a feeling the bass lines in all those other hits he played on contributed significantly to their success and appeal. It's just not obvious to the listener. Jaco has always been my bass hero but these days I'm not so sure.
great thread and absolutely deserves to be stickied!!
Larry99 said:
Good post!
I think alot of players overlook Jamerson for the simple fact that he played on all those Motown hits whose emphasis was on the vocal "stars". Alan Slutsky recified the Funk Brothers obscurity in pop music and via SITSOM applied an amazing homage. Some of the Funks are still on the road due to SITSOM's popularity.
Anyone who grew up in the 60's listening to pop music on AM radio may not have dug-in as you say. I didn't. I didn't buy Motown records. Loved the music, but, didn't own it - and I'm from Detroit. With FM radio (full spectrum sound) Jamerson's work on songs like Bernadette and I Was Made To Love Her finally jumped out at me. It wasn't til I started buying the music and digging in when I realized how phenomal a talent he was. His approach to his 3 minute hits were like little masterpieces of movement and variation on a theme; full of surprises and creative ingenuity.
IMO Jamerson sits atop them all.
Also, dudes seem to forget that these hits were churned out day after day in studio A..the funk brothers didnt have the luxury of a few months "prep time"...they were literally handed the charts and played them (obviously adding their own magic) live there and then....that to me makes jamersons lines all the more incredible..imagine being able to come up with the basslines for Bernadette, I was made to love her, Darlin' dear etc etc in a matter of minutes 
pure genius!
pure genius!
Murf said:
that's just it.. he played that bass line almost exactly as it was performed live here while laying on the floor too drunk to stand.. They gathered him from the local watering hole as Marvin couldn't get the sound of this song to go how he "envisioned" it, so they said maybe Jamerson could help.
He took a look at the chord charts, and proceeded to play a chromatic / syncopated ever changing bass line that to this day perplexes many experienced bassists, of the highest order. Then was able to re-perform it live (under a bet from a producer that he couldn't) with little or no difference from the studio track.
Also listen to his 6 minute plus "Ain't No Mountain High Enough" recording with Diana Ross from 1969 (on itunes).. Another example of the Live being as good or better than the Studio version.
This is why I get so upset when I hear some people comparing him to many of his contemporaries as an "equal" or comparable musician .. Man, the brother was leagues ahead of them all..
he was the daddy! I tried to play that for years and years and years! Can a-l-l-m-o-s-t pull it off now after ten years of playing-
what a genious
what a genious
SamJ said:
ABSOLUTELY!!!.....the best example I could give of Jamersons versatility is the two different versions of "Aint no mountain high enough...the Tammi Terell (sp) and Marvin Gaye version and the more "well known" Supremes version)...now both versions are fantastic ..personally I prefer the Marvin Gaye Tammi Tyrell one but I LOVE the "middle 8/bridge" section on the supremes version...(in fact I've robbed that bassline more times than I can count
...it works particularly well while soloists say sax, guitar etc are doin their thing under Bill Withers "lovely day")...here are two radically different versions of the same song and Jamerson creates radically different INCREDIBLE basslines for both.Also the bassline for the Jacksons "darlin dear" is just SICK!!...godawlmighty I've been playing and gigging for a loooong time and that bloody bassline is still giving me grief!!
Murf
Larry99 said:
the "what's going on" bassline has to be one of the greatest of all time. I just joined a new band that's more on the jazzy side of things, and I showed them the Chaka Khan version from the SITSOM DVD...they enjoyed the jazzier feel to the vocals (which is basically Chaka singing Marvin's backup line AFAIK) so when my turn comes up to pick a song, it will definitely be that one
I can hardly wait! Perfect song, perfect bassline!Any bassist who doesn't know Jamerson NEEDS a crash course ASAP - Motown Classics Gold is a good start, as is the SITSOM DVD. You'll also learn about Bob Babbitt, who I think grooves mighty well too. I hope someday I can have at least 1% of the groove these guys did.
Man, I'm all itchin' to play now...and everyone just went to sleep at my place!!!
i just got done reading
that his funk machine bass was stolen
that makes me freakin sick
id like to find that loser and kill em with that bass
that his funk machine bass was stolen
that makes me freakin sick
id like to find that loser and kill em with that bass
Just read this. Wonderful videoo. Man, its just so wrong that JJ's P bass is not being heralded somewhere. It's surely the holy grail of all bass guitars.
As for the comments, well, I have to ask this in all honesty, but who IS 'Billy Sheehan'?????
As for the comments, well, I have to ask this in all honesty, but who IS 'Billy Sheehan'?????
SamJ said:
Absolutely.
I'm from Manchester, and I'm expected to appreciate Peter Hook's bass work with New Order. I don't. It's 2nd grade lead guitar work at best, and I argue for that every time. I point everyone in the direction of Jamerson for the definition of bass playing, or for something a little nearer home, Andy Rourke.
i think what seperates Jamerson from the other greats is..the other greats floor you with great techniqe and facility which impresses alot of rock and fusion people. where as Jamerson just makes you FEEL SO DAMN GOOD... his style was selfless and giving, and thats on some high spirituality.Motown never goes away,and you never get tired of listening to it.....
