James Jamerson: Bass Player

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James Jamerson: Bass Player Rob Cantrell BLKST 153 History of Black Popular Music Professor Earl Stewart November 15, 2013 “The dirt keeps the funk.” – James Jamerson Dr. Ann Lucas, music historian and Professor of Music at Allan Hancock College, believes that the roots of rock, pop and jazz had an inescapable connection with Soul music. She stated in a 2011 lecture “There was a time in pop history when you could hear a song for the very first time and make a pretty good gamble of deducing where it was tracked and mastered.” She went on to elaborate: Record companies like Stax, Chess, Atlantic and Philadelphia International made the characteristic sounds of Memphis, Chicago, Muscle Shoals and Philadelphia identifiable worldwide in the 1960s and early 1970s. But there are probably more who can pick the ones made in Detroit, home of Motown Records, a lot easier. When the average person thinks of Motown in the 1960s, they mostly think of the Temptations, Marvin Gaye, or songsmiths like Smokey Robinson or Holland/Dozier/Holland, to name a few of the artists associated with the label as the big names. But bassist James Jamerson, along with drummer Benny Benjamin, pianist Earl Van Dyke, guitarist Richard White and percussionist Jack Ashford, and several other studio musicians who were recruited from the elite players of Detroit's jazz scene by Motown’s Founder, Barry Gordy Jr., laid the foundation of the Motown sound. The Funk Brothers, as they became to be known, jammed in a studio they nicknamed the “Snake Pit” that was in the cellar of Motown's headquarters. And it was there that they would arrange and perform virtually every instrumental track of virtually every classic Motown record known. But it was James Jamerson's exceptionally dulcet bass lines that made those records great. From "My Girl" by the Miracles, "You Keep Me Hangin' On" by the

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