James Jamerson | |
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 Jamerson in 1964 | |
| Background information | |
| Born | James Lee Jamerson (1936-01-29)January 29, 1936 |
| Died | August 2, 1983(1983-08-02) (aged 47) Los Angeles, California, U.S. |
| Genres | |
| Occupation | Musician |
| Instruments |
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| Years active | 1956–1983 |
| Formerly of | The Funk Brothers |
James Lee Jamerson (January 29, 1936 – August 2, 1983)[1][a] was an Americanbassist. He was the uncredited bassist on most of theMotown Records hits in the 1960s and early 1970s (Motown did not list session musician credits on their releases until 1971), and is now regarded as one of the greatest and most influential bass players in modern music history. He was inducted into theRock and Roll Hall of Fame in 2000. As a session musician he played on twenty-threeBillboard Hot 100 number-one hits, as well as fifty-sixR&B number-one hits.
In its special issue "The 100 Greatest Bass Players" in 2017,Bass Player magazine ranked Jamerson number one and called him the most important and influentialbass guitarist.[2] In 2020,Rolling Stone magazine ranked Jamerson number one in its list of the 50 greatest bassists of all time.[3]
A native ofEdisto Island, South Carolina,[4] he was born to James Jamerson Sr. and Elizabeth Bacon.[5] He was raised in part by his grandmother who played piano, and his aunt who sang in church choir. As a child he was a competent piano player and performed in public. He briefly played the trombone. As a teenager he was a reserved person, and passionate about music. He listened togospel,blues andjazz music on the radio.[6](p3)
Jamerson moved with his mother toDetroit in 1954. He attendedNorthwestern High School; there he started on theupright bass. He began playing in Detroit area blues and jazz clubs and was influenced by jazz bassistsRay Brown,Paul Chambers andPercy Heath. He was offered a scholarship to study music atWayne State University, and he declined. After graduating from high school, he continued performing in Detroit clubs. He joined blues singerWashboard Willie's band and later toured withJackie Wilson. His increasingly solid reputation started providing him opportunities for sessions at various local recording studios. Starting in 1959, he found steady work atBerry Gordy'sHitsville U.S.A. studio, home of the Motown record label.[6][7][8] He played bass on theSmokey Robinson single "Way Over There" (1959),John Lee Hooker albumBurnin' (1962) andthe Reflections' "(Just Like) Romeo and Juliet" (1964).[9][6](p12) There he became a member of a core of studio musicians who informally called themselvesthe Funk Brothers. This close-knit group of musicians performed on the vast majority of Motown recordings during most of the 1960s. Jamerson's earliest sessions were performed on double bass but, in the early 1960s, he switched to playing an electricFender Precision Bass for the most part.[6]
Like Jamerson, most of the Funk Brothers were jazz musicians who had been recruited by Gordy. For many years, they maintained a schedule of recording during the day at Motown's small basement "Studio A" (which they nicknamed "the Snakepit"), then playing gigs in jazz clubs at night.[10][11][12] They also occasionally toured the U.S. with Motown artists. For most of their career, however, the Funk Brothers went uncredited on Motown singles and albums, and their pay was considerably less than that received by the main artists or the label, hence their occasional freelance work elsewhere. Eventually, Jamerson was put on retainer for $1,000 a week (US$9,042 in 2024 dollars[13]), which afforded him and his expanding family a comfortable lifestyle.[7][4][6](pp13–15)
Jamerson's discography at Motown reads as a catalog ofsoul hits of the 1960s and early 1970s.[14][15] His work includes hits such as, among hundreds of others, "You Can't Hurry Love" bythe Supremes, "My Girl" bythe Temptations, "Shotgun" byJr. Walker & the All Stars, "For Once in My Life" and "I Was Made to Love Her" byStevie Wonder, "Going to a Go-Go" bythe Miracles, "Dancing in the Street" byMartha and the Vandellas, "I Heard It Through the Grapevine" byGladys Knight & the Pips and later byMarvin Gaye, and most of the albumWhat's Going On by Marvin Gaye, "Reach Out I'll Be There" and "Bernadette" by theFour Tops.[16][b] He occasionally recorded for other labels, such as "Boom Boom" byJohn Lee Hooker in 1962 and "Higher and Higher" byJackie Wilson in 1967.[11] Motown released 537 singles in 1960s and over 200 albums.[19][20][c] According to fellowFunk Brothers in the 2002 documentaryStanding in the Shadows of Motown, Gaye was desperate to have Jamerson play on "What's Going On", and went to several bars to find the bassist. When he did, he brought Jamerson to the studio, but Jamerson was too intoxicated to stay upright, so James played the classic line while lying flat on his back.[12][21] He stopped touring in 1964 and began to do studio work on a full-time basis.[1][22]
Jamerson is reported to have played on nearly every Motown recording between 1963 and 1968, which includes over 60 top-fifteen pop singles.[23][24][d] He performed on 23 number-one hits on the pop charts,[e] a record narrowly surpassed only byPaul McCartney ofthe Beatles, who cites Jamerson as his biggest influence.[27] Jamerson also performed on 56 number-one hits on the R&B charts.[28][25][f]
| External videos | |
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 Bass line of "Ain't No Mountain High Enough" |
Jamerson is noted for expanding the musical style and role of bass playing in popular music of the time, which, (in 1950s and '60s R&B, rock and roll, and country), largely consisted ofroot notes,fifths and simple, repetitive patterns. By contrast, many of Jamerson'sbasslines relied heavily onchromatic runs,syncopation,ghost notes andinversions, with frequent use of open strings. His nimble bass playing was considered an integral part of the "Motown Sound". He created melodic lines that were nonetheless locked to the drum groove.[7][11][32]
Jamerson's transition from upright to electric bass was at a time when electric bass was a relatively new instrument, and its use and style of play was not well established.[33] Jamerson's background as a jazz musician and upright bassist informed his playing style, and over time his technique and improvisational approach became more nuanced.[14][6](p12)[21] By mid-1960s, his style became an indispensable part of the Motown sound and in turn impacted popular music.[1][34][35] Early examples of Jamerson's impact are "Rescue Me" byFontella Bass and "You Won't See Me" and "Nowhere Man" by theBeatles.[36](pp144–146)
In a 1983 interview withMusician magazine, Jamerson said Motown's songwriting-production team "would give me thechord sheet, but they couldn't write for me. When they did, it didn't sound right. (...) When they gave me that chord sheet, I'd look at it, but then start doing what I felt and what I thought would fit. (...) I'd hear the melody line from the lyrics and I'd build the bass line around that."[17][g][h]
Bassists who have noted Jamerson's contribution or been influenced by him includeRocco Prestia,Anthony Jackson,Pino Palladino,Paul McCartney,Bob Babbitt,Nathan Watts,Will Lee,Geddy Lee,Chuck Rainey,Marcus Miller,Mike Mills,Phil Chen,John Entwistle,Michael League,Mike Watt,Sting,John Paul Jones,Bernard Odum,Victor Wooten,Robert DeLeo,Glenn Hughes,Tommy Shannon,Suzi Quatro,Ron Asheton,Tony Sales,Peter Cetera,Robert Kool Bell,Bootsy Collins,Flea,Jaco Pastorius,Stanley Clarke,Michael Henderson,Jack Bruce,John Patitucci,Jason Newsted,Rick Danko,Garry Tallent,Alan Gorrie,Jerry Jemmott,Andy Fraser,Brian Wilson and others.[39][11]
Shortly after Motown moved their headquarters to Los Angeles in 1972, Jamerson moved there himself and found occasional studio work, but his relationship with Motown officially ended in 1973.[1][7] He went on to perform on such 1970s hits as "Neither One of Us" byGladys Knight & The Pips (1973), "Boogie Down" (Eddie Kendricks, 1974), "Boogie Fever" (The Sylvers, 1976), "You Don't Have to Be a Star" (Marilyn McCoo andBilly Davis Jr., 1976), and "Heaven Must Have Sent You" (Bonnie Pointer, 1979).[16] He also played on recordings byRobert Palmer (Pressure Drop, 1975),Dennis Coffey (Instant Coffey, 1974),Wah Wah Watson (Elementary, 1976),Boz Scaggs (Slow Dancer, 1974),[40]Dennis Wilson (Pacific Ocean Blue, 1977), Eloise Laws (1977),Smokey Robinson (1978),Ben E. King (1978),[41]Hubert Laws (1979),Aretha Franklin (Aretha, 1980),[42]Tavares (1980),Joe Sample/David T. Walker (Swing Street Cafe, 1981), andBloodstone (1982).[16][43] However, in Los Angeles, Jamerson was not working with a steady group of musicians, and he was not as free to improvise. He felt out of place and over time his increased dependence on alcohol affected his work.[23][17] As other musicians went on to use high-tech amplifiers, round-wound strings, and simpler, more repetitive bass lines incorporating new techniques likeslapping, Jamerson's style fell out of favor with local producers as he was reluctant to try new things. By the 1980s he was unable to get any serious gigs working as a session musician.[6](pp70–73)[44]
Jamerson married Annie Wells shortly before graduating from high school.[45] They had four children. His son,James Jamerson Jr. (1957–2016), was a professional session bassist and a member of the disco bandChanson.[46] He had two other sons, Joey and Derek, and a daughter, Dorene (Penny).[6](p49)
Long troubled by alcoholism, Jamerson died of complications fromcirrhosis, heart failure andpneumonia on August 2, 1983, in Los Angeles.[23][47] He is interred at Detroit's historicWoodlawn Cemetery.[48]
Motown's founderBerry Gordy called Jamerson an "incredible improviser" and said "I, like some of the other producers, would not do a session unless at least two of the Funk Brothers were present – namely, [drummer]Benny Benjamin and James Jamerson."[1][22][h] However, Jamerson, along with the other Funk Brothers, received little formal recognition for his lifetime contributions.[34] His work was uncredited until later in his career, and he remained largely anonymous, even to bassists who emulated his style.[17][49][50] The first time he was credited on a major Motown release was in 1971 for his performance on Marvin Gaye'sWhat's Going On. He was noted as "the incomparable James Jamerson" on the record's sleeve.[34][i]
Jamerson was the subject of a book byAllan Slutsky in 1989 titledStanding in the Shadows of Motown. The book includes a biography of Jamerson, transcriptions of his bass lines, two CDs in which 25 bassists such asPino Palladino,John Entwistle,Chuck Rainey, andGeddy Lee speak about Jamerson and play the transcriptions.[23][14](p244) His story was featured in the subsequent 2002documentary film of the same title. Jamerson's work has continued to be the subject of various publications.[j]
Jamerson was posthumously inducted into theRock and Roll Hall of Fame in 2000, among the first-ever group of "sidemen" to be inducted.[51] He received aGrammy Lifetime Achievement Award in 2004,[52] and he was inducted into theMusicians Hall of Fame in 2007 both as a member of the Funk Brothers.[53] In 2009 he was inducted into the Fender Hall of Fame by fellow Motown session bassist and friend,Bob Babbitt.[54][55] He received theBass Player magazine's Lifetime Achievement Award in 2011.[56] He received theSamson, Hartke andZoom International Bassist Award in 2012.[57] He was awarded a bust at theHollywood Guitar Center's Rock Walk,[58] and in 2013 the Funk Brothers received a star on theHollywood Walk of Fame.[59] In 2015 songwriter and bassistBrian Wilson of theBeach Boys named Jamerson as his favorite bassist.[60]
Jamerson has received several accolades in his home state ofSouth Carolina. These include a two-day tribute hosted by the Charleston Jazz Initiative and the College of Charleston'sAvery Research Center (2003),[61] theGullah/GeeChee Anointed Spirit Award (2008),[62] the Independent Tone Award for lifetime achievement (2016),[63] the Dr. Martin Luther King Dream Keeper Award (2018), induction to the Lowcountry Music Hall of Fame (2018),[52] induction to the Carolina Beach Music Hall of Fame (2018).[64] Also, theSouth Carolina Senate, theHouse of Representatives and the town ofEdisto Island have passed resolutions in recognition of his contributions.[65][66][67]
Jamerson started on a school-owned upright bass. After graduating from high school, he bought a Germanupright bass which he later used on such Motown hits as "My Guy" byMary Wells and "Heat Wave" byMartha and the Vandellas.[21][6](pp5–9) This instrument is in the Rock and Roll Hall of Fame.[49]
In 1960 to 1961 he transitioned to electric bass. Jamerson played mainly theFender Precision Bass, but is known to have briefly used aFender Bass V and aHagström eight-string later in his career.[6](pp84–86)[21] He continued to use the upright bass occasionally, as in 1964's "My Guy".[36](p143)
His first electric bass was a refinished 1957 Precision, nicknamed "Black Beauty". The bass was previously owned by his fellow bass player Horace "Chili" Ruth. The instrument was soon stolen, leading him to replace it with an early sixties sunburst Precision, although this was stolen too.[6](p84)
He then acquired[k] a stock 1962 Fender Precision Bass, which would become his primary instrument for most of his career.[l] It was nicknamed "The Funk Machine" by his fellow musicians. It had a three-tone sunburst finish, a tortoiseshell pickguard, rosewood fretboard and chrome pickup and bridge covers (the latter containing a piece of foam used to dampen sustain and some overtones). On the heel of the instrument, he carved the word "FUNK" in blue ink. He typically set its volume and tone knobs on full. This instrument was also stolen, just days before Jamerson's death in 1983, and never recovered.[6](pp84–86)[69]
Jamerson used La Bella heavy-gauge (.052–.110) flatwoundstrings which were never replaced, unless a string broke. He did not particularly take care of the instrument, as he stated: "The dirt keeps the funk". The neck may have eventually warped, as many claimed it was impossible to play. While this made it more difficult to fret, Jamerson believed it improved the quality of the tone.[6](p85)[11] In the mid-1970s, a producer attempted to modernize Jamerson's sound by asking the bassist to switch to brighter-sounding roundwound bass strings, but Jamerson politely declined.[6](p71)
One aspect of Jamerson's upright playing that carried over to the electric bass guitar was the fact that he generally used only his right index finger to pluck the strings while resting his third and fourth fingers on the chrome pickup cover. Jamerson's index finger even earned its own nickname: "The Hook". Another aspect of Jamerson's upright playing that carried over was his use of open strings, a technique long used by jazz bass players, to pivot around the fretboard which served to give his lines a fluid feeling.[11] He played with a relaxed and light touch.[55]
Jamerson'samplifier of choice at club performances was anAmpeg B-15; in larger venues, he used a blueKustom with twin 15-inch speakers.[21][70] On both, the bass knob was typically turned up full and the treble turned halfway up.[32] On most of his studio recordings, his bass was plugged directly into the custom-mademixing console together with the guitars fromEddie Willis,Robert White andJoe Messina. He adjusted the console so that his sound was slightly overdriven and had a mild tube compression.[11]
In 2017, it was reported that Jamerson gave a 1961 Fender Precision bass to bassist Billy Hayes in 1967 or 1968. This instrument is in theMusicians Hall of Fame.[71][m] In 1977, Jamerson was photographed with a 1965–1968 Precision bass (a line of instruments which had a transition logo).[73][74] There is speculation that in mid to late-1960s Jamerson's then-primary instrument was parted with, and that he acquired and replaced it with a 1966 model.[68]
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)Archive image{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)Archive imageI know he played with a relaxed and light touch. (Bob Babbitt, time 2:20)
ITA will honor the lifetime achievement of Motown legend James Jamerson
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