Bass Transcriptions and More by bassist Dave Fink Transcriptions. Darling Dear · The House On Website. bio/. TRANSCRIPTION OF JAMES JAMERSON’S BASSLINE TO. “YOU’RE MY EVERYTHING” by THE TEMPATIONS by PAUL WOLFE -to-play-bass. com. Welcome to this collection of James Jamerson transcriptions. There’s also some bonus Motown transcriptions.

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Bass Players – James Jamerson

I had no intention of eBaying this stuff, no intention of wanting to ‘own’ such things either. Also, do not post links to giveaways where you personally benefit getting more entries by propagating spamming a link.

This is an incredible set of gems.

Posts made outside of the transcriptiojs will be removed and asked to be reposted. This was demolished a few years ago to make a parking lot for a strip mall. My Motown Bass audio files are now password protected. But amazing things have happened here, and this place has history like no other place in the USA.

True that, but any mixing engineer worth they’re salt will do a low pass and cut out higher frequencies if they’re interfering. A sk any good bassist who their influences are, and surely the legendary James Jamerson will vass somewhere near the top of their list. It seemed to me the world was getting smaller by the minute.

It also wouldn’t be too far of a stretch to simply transcriptinos with flatwounds, and they’re enjoying a little bit of a comeback the Weeknd’s Can’t Feel My Face for example. She always played with a pick, these tracks are so clean and un-mastered that you can tell it’s Jamerson.


Check the sidebar, the FAQ, and search for your answer before making a post. It’s encouraging to hear that as brilliant as they are, they still sound very ‘human’. I have no doubt reasonable former bass-playing people in the record industry can be open minded enough trancsriptions see the good in all of this and realize that hearing Motown bass this way is our version of “the bottom line”.

What I found still blows my mind. I’ve trascriptions included some other famous Motown bass performances in addition to Jamerson. If you planned to sweeten the tracks, you had to either do a different mix when you recorded transccriptions original tracks or make an 8 Track to 8 Track transfer and put the perc and drums together etc. It was pretty common in the 60s, though, when you think about it.

Ja,erson did say that he would find out how to go about licensing them to me, however. What a nice tribute and a fine web presence. Here are some comments I’ve gotten about my isolated Motown tracks. Jim Keltner was here Saturday night sitting at my computer and just delighted.


All the famous producers and arrangers– just crazy. Besides being the record industry’s largest conglomerate, Universal also owns the entire Motown catalog.

While not thought of as a bassist in the traditional sense, Stevie was nonetheless a true Motown Bass pioneer in the early seventies and helped popularize the use of the newly emerging synthesizer for recording bass parts. The 3 trascriptions were mixed to transcripttions track while you were recording live, Jamerson had his own bass track, the drums were cut on one, sometimes on 2 tracks The piano on one, percussion on another.

Bass Transcription: James Jamerson on “Bernadette” — Dave Speranza

On these older recordings, the “thump” of nass flatwounds lands more in the low midrange, so it doesn’t feel muddy or muddled. Listen to son jamfs a preacher man by dusty Springfield, or midnight train to Georgia, or even something like Judy in disguise. Many family members gave me great shit for not selling this stuff, although a few did understand my altruism.


Happy ending, stressful story – one I am proud of though. James Jamerson Interview Oftentimes the bass was the most interesting thing happening in the arrangement. It is eye opening and ear popping!

Bass Transcription: James Jamerson on “What’s Going On” — Dave Speranza

I published a number of documents on my website while they were demolishing the building, and that got national attention thanks to NPR. This is priceless stuff including the knowledge of Wilton Felder’s bass lines. Don’t use the sub to sell or advertise your gear with very few exceptions, ask the mods. On occasion I’ll add some of the comments here. So in jamess, I’ve password-protected the page until licensing details are worked out, assuming that the option stays on the table.

Studio B was mostly for orchestral overdubs. I think it was Golden World Studios when Gordy bought it out. I am so thrilled!

Was he using the foam under the strings? Log in or sign up in seconds. Without the link I don’t think it jameerson have been possible. Become a Redditor and subscribe to one of thousands of communities.