Tag Archives: Funk Brothers

Give Some More to the Bass Player, Part 5: Mercy, Mercy Me by Marvin Gaye

James Jamerson, the man widely and repeatedly cited as the greatest bass player in the history of popular music (or at least the greatest bass guitarist), was a genius, peerless.

But unfortunately, Jamerson had a weakness for alcohol, a weakness that would eventually lead to cirrhosis of the liver and his death. Motown found that they needed a reserve in Detroit who could be relied on to turn up on time and deliver the goods when Jamerson couldn’t.

Babbitt was that man. He had come into contact with some moonlighting Funk Brothers, including Jamerson himself, while playing sessions at a studio called Golden World, owned by R&B producer Ed Wingate. Through this association, Babbitt found himself playing in Stevie Wonder’s live band, and then Berry Gordy acquired Golden World for Motown. Guys like Uriel Jones and Benny Benjamin who had played with Babbitt at Golden World for Wingate’s sessions knew Babbitt could play – and read written charts – to a high standard, so when the decision was made to try to find a bassist who could bring something of Jamerson’s style to the sessions Jamerson couldn’t make, Babbitt got the call. His first session was Wonder’s version of We Can Work It Out.

Marvin Gaye’s What’s Going On brought out the best in every musician involved in cutting it, and Babbitt was no different. Jamerson plays on the lion’s share of the cuts, but Babbitt got the sessions for Inner City Blues, Wholly Holy and Mercy Mercy Me.

Mercy Mercy Me has always been my favourite of them. Babbitt’s bass is a big, but not destablising, presence in the mix, and the pattern he plays is glorious. He locks in with the dominant kick-drum strokes at the front of each bar on the root note, before playing a funky melodic pattern with the octave note and fifth, stressing the downbeat by playing the first of those prominent octave notes in time with the snare. I love grooves that work like this, that add high-register melodic elements to a great low-end pocket. John Klinberg’s bass line on Van Morrison’s Into the Mystic is another favourite of mine for exactly the same reason.

He plays that pattern on the E, C# minor and F# minor chords, but changes things up on the B by playing a funky vamp mainly on the root, but incorporating a little chromatic run back up to the E.

It’s details like that run, so like what we think of when we think of James Jamerson’s playing, that have led many to assume he was the player on Mercy Mercy Me. Nowhere but Motown would Babbitt be in anyone’s shadow. He may have gotten his start at Motown because he could reproduce the Jamerson style when called upon, but the man was his own player, and is one of the finest there has ever been.

Inner City Blues; Mercy Mercy Me; Signed, Sealed, Delivered I’m Yours; Midnight Train to Georgia; Ball of Confusion; Agent Double-O-Soul; Band of Gold. All Babbitt, all classics.

 

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Give some to the bass player, part 3 – What’s Going On by Marvin Gaye

James Jamerson had no peer. Even at Motown, who could also call on the services of Bob Babbitt in Detroit and Carol Kaye and Wilton Felder in LA*, Jamerson stood tallest, at the apex of the art.

The factory ethic at Motown instilled by Berry Gordy militated against too much individualism on the part of its players. Stylistically, the musicians that came to be known as the Funk Brothers played in a house style. Jamerson was the wild card. Jamerson could not be constrained. His outrageously (in their context) chromatic, syncopated and rhythmically complex lines seemed to come from somewhere deep within him, and he was wisely given the freedom by Motown’s producers** to play what he felt. Any of the bass players associated with Motown could play tight, tidy, groovy lines. Only Jamerson could rip your heart out.

His bassline on the title track of Marvin Gaye’s What’s Going On has been admired and deconstructed by fans for four decades now, and it remains a thing of wonder. The story, whether it’s true or not, goes that Gaye was determined that Jamerson should play on the track and tracked him down, already drunk, at a local club and asked him to come by the studio. Jamerson, too drunk to sit upright, played the line horizontally. Arranger David Van DePitte claims to have written a part for Jamerson , which the latter played verbatim. If so, he captured Jamerson’s style perfectly. Listening to the isolated part, I find it hard to believe that all the little Jamersonian licks were written by Van DePitte, but then we are talking about a couple of musicians of the very first rank.

The fluidity, the sheer ease, with which Jamerson plays these complicated runs (listen to the part he plays on the B chord at the end of the first verse to hear the sort of thing I’m talking about) is what defines him as a player. Most of us can’t get near this. When most of us play complicated stuff, we make it sound complicated. Jamerson made it sound beautifully simple.

*There’s an extremely long-running controversy over the authorship of bass parts on Motown records, with Carol Kaye laying claim to some parts that thitherto had been considered signature Jamerson performances (I Was Made to Love Her is the most contentious). Kaye has an impeccable CV, so one would assume no reason to fabricate a story like that. Still, it’s hard to give her story much credence when numerous Motown insiders have denied it. Can they all really be complicit in a cover-up?

**Jamerson had the great good fortune to work under producers and songwriter-producer teams including Smokey Robinson, Holland-Dozier-Holland, Henry Cosby and Norman Whitfield. None of them got where they did without learning to get out of the way of genius.
Jamerson
James Jamerson (left)