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James Jamerson: What’s Happening Brother by Alex Wilkerson
Meet Alex Wilkerson
Click on link at the bottom of this page to download the transcription
This transcription is an amazing piece from one of the world’s greatest bass players: James Jamerson. “What’s Happening Brother” comes from Marvin Gaye’s epic album: What’s Going On. This album is an absolute must for musicians. There are so many great songs, performances and arrangements…but I digress. Let’s take some time to talk about Jamerson’s style, his licks, and some of his arranging techniques.
One thing you might notice on first glance of this transcription (besides having a lot of black on the page) is that there aren’t many measures throughout the song that are identical. Even when a theme is repeated, the rhythm is often slightly altered in some way. This is a great way to keep interest in the song. You’ll also notice that instead of playing completely different lines for every measure, he uses a lot of themes throughout the song. This is one reason why he was able to apply so much motion and variation without stepping all over the singer (as if that was possible with Marvin Gaye). Check out the first 12 measures. The theme here is quite clear despite the variations applied. Another theme appears at measure 17-18, and reappears in measures 25-26. Both sections B and B2 are very similar in theme, as are sections C and D. You’ll notice that the first four measures of the B sections contain almost identically repeating measures. The theme of section C however is not as exactly duplicated. Take a moment to look at the rhythms of the first two beats of every measure in section C. Even though the notes change, the rhythmic theme continues through the entire section. Jamerson most likely improvised this bass line but it’s important to note that the themes here are purposeful and not haphazard. His use of themes is not an accident and was a crucial part in helping the audience relate to the song and to keep the song cohesive. Whether you have or haven’t already, pay some attention to your own use of themes in improvised bass lines. It’s also a great idea to take Jamerson’s approach and subtly alter a repetitive bass line.
Another topic worth mentioning about Jamerson comes from the first 12 bars of the song. Play or listen to these measures once. It’s a really amazing line, but one interesting point is that they are comprised of simple chord tones. You’ll find that most of these measures only contain the triad of the chord. Sometimes a seventh sneaks in but the content is 95 percent triadic. This fact is really impressive and demonstrates the importance of rhythms in a bass line. Jamerson didn’t need fancy passing tones, reharms or substitutions to make an impressive bass line. He could take a simple triad and make it more hip than most bass players can to this day. The lesson here for us is that using more notes from the scale is not always better or needed. Jamerson only used essentially three notes but made them sound incredible. Consider this in your bass lines, especially when introducing a song.
Now let’s take a look at some of Jamerson’s licks. Check out the lick that occurs on beat four of measures four, eight, and twelve. This is a great and easy lick to make your own and will work on any minor seventh chord and also on certain dominants. For the next lick, direct your attention to beat four of measures 22, 52, 54, 56, 58, 60, 62, and 64. I would analyze this lick as the fifth and third of the chord followed by the leading tone on the “and of four”, which to my ears briefly hints on the dominant sound and points to the resolution on beat one. Whatever way you look at it, this lick will give your lines great motion and keep the energy up when you have to spend time on a stagnant chord. Lastly, check out measure 23. Recognize this lick? It’s really close to the opening bass line of “What’s Going On”, which this song strongly resembles. This is really encouraging to us as bass players because as great as Jamerson was, he used licks. This implies that he didn’t just come straight out of the womb improvising spectacular bass lines, but rather had to work at it over time. We can do the same. We can take licks like the kind he’s given us, incorporate them into our playing and eventually be capable of some of the things we love Jamerson for. Don’t get me wrong Jamerson fans (of which I am top of the list), there will never be another Jamerson, and the fact that he helped invent the electric bass can never be duplicated, but his lines and concepts are so good that one would be a fool not to learn from him.
Now let’s talk about some of his concepts. We already mentioned that one great Jamerson trait is his use of syncopations without getting in the way of the groove or main vocals. This is a lot easier said than done however. Granted, one small reason he got away with being so busy is because of his flat-wound strings, but this reason is far overshadowed by the fact that his phrasing was so masterful. Check out measures 28, 56 and 58. These rhythms are highly sophisticated and are great lines to have in your bag of tricks. In the midst of all this syncopation is an interesting phenomenon. Take a look at the first measure of every section (measures 1, 13, 29, 40, 51 and 61) and tell me what you notice. I’m seeing a whole lot of solid quarter notes on the down beat of one. Now look through the whole song and count how often this happens. The first 12 measures of the song have a lot of quarter notes but they are all tied through beat two. Now the fact that this is such a rare occurrence throughout the song, and the fact that most of these occurrences mark the beginning of a new section are no coincidence. Jamerson used this technique to create a sense of momentary resolution for the start of new sections and to clearly define their beginnings. Remember how many of the first 12 measures started with a really long note? All of them did. If you really took the time to analyze the beginning of each measure, you’ll notice that this trait (quarter notes on one, tied through beat two) ONLY occurs in the first 12 bars. This use of space is a great arrangement technique. We have all heard the loose rule that you should keep the top of the song simple and can later use more variation and fills. This is because the audience is potentially hearing the song for the first time and needs some “space” to get comfortable with the harmony, beat, and instrumentation of the song. Once they acclimate, you can then add more changes or variation to the song to keep your audience from getting bored. Too much “new” information at once can make a song hard to accept. If everyone is playing their busiest parts at the beginning of the song, the most likely result will be that you lose your listeners. On the other hand, if you start simple and build into the peaks of the song, you will keep your audience interested and able to relate to the music. Jamerson clearly had a purposeful intention to give listeners a breath at each of these points of change in the song and so should we with our own work.
The last concept I want to talk about is the use of variations in style. Take a quick look at how many sixteenth notes are in the song and find the places where there aren’t as many. You can clearly see that the lines at measures 33-36, and 44-47 are in contrast with the rest of the song. They contain less movement, less syncopation, and the effect gives the song variation. This is another excellent arranging technique. Jamerson could have played continuously thick sixteenth note syncopations for every measure of the song, but he didn’t. A good story can’t have cloned content reoccurring over and over again, and neither can a good song (which should also be a good story). Look for this concept in some of your favorite songs. Chances are you will see the same technique of making space in the song when new material is presented, applying variation later, and keeping sections of a song different from each other. The difference between sections could be the appearance of a new instrument, a new subtle melody or sound effect, or just more fills and busier lines from the musicians.
“What’s Happening Brother” is an amazing piece of music and has a lot of great tools and lessons for musicians of all experience levels. If this transcription gives you a thirst for more Jamerson material to study, you can check out the book Standing in the Shadows of Motown from Hal Leonard. It contains a lot of good transcriptions and insight. Jamerson really is one of the world’s greatest bass players and I hope you enjoyed what I consider to be one of his all time best performances.
Click on link below to download the transcription
What_s_Happenin_Brother_Jamerson_Line-dec09
Positive Grid launches Spark 2, the next evolution of their cutting-edge smart guitar practice amplifiers and Bluetooth® speakers.
Engineered for acoustic, electric guitar, and bass, Spark 2 delivers an immersive practice and playing experience. Enjoy detailed sound and an all-new upgraded speaker design powered by Positive Grid’s exclusive Sonic IQ Computational Audio technology. With an onboard creative looper, optional battery power, and intuitive AI features for tone exploration and practice, Spark 2 is the gateway to a musical experience that goes beyond expectations.
Proprietary Audio and Advanced Technology
Spark 2 represents a leap forward in amplifier design. It integrates a new DSP amp modeling engine with double the processing power, and at 50 Watts, it packs 25% more volume than the original. Positive Grid’s proprietary Sonic IQ Computational Audio delivers incredibly detailed and dynamic sound. New HD amp models, enhanced by multi-band dynamic range compression and virtual bass augmentation, redefine the sonic landscape.
Equipped with two premium FRFR speakers and reflex ports, Spark 2 offers wide stereo imaging and broader frequency response, ensuring refined bass and clear, immersive sound.
Built-In Creative Looper
Spark 2’s built-in Groove Looper features hundreds of hyper-realistic drum tracks. From basic loops to multi-layered soundscapes or the ultimate jam session, this intuitive tool inspires endless creativity. Onboard amp controls provide quick, on-the-go looping functionality.
AI-Powered Tone and Smart Jam
Spark AI revolutionizes tone exploration. Describe any desired tone in the Spark app – from practical to outlandish – and Spark AI will suggest tones to audition or download. The more it’s used, the smarter it gets, delivering the perfect sound.
Additional smart features make it easy to practice, learn new songs and improve playing skills. Smart Jam listens to the user’s playing style and generates accompanying bass and drum parts, while Auto Chords analyzes any song streamed and displays the guitar chords in real time, to make learning and practicing new songs easier than ever.
Enhanced Hardware Design and Portability
Spark 2 allows for storing up to eight customizable presets directly on the amp for quick access to favorite sounds. Perfect the tone with large, visible onboard controls for looper, EQ, gain, reverb, and more.
Designed for convenience, an optional rechargeable battery provides up to 12 hours of playtime for on-the-go sessions. The new double-thick strap and durable build ensure easy and secure transport. Spark 2 is also Bluetooth® ready, allowing for music streaming and jamming along with favorite tracks anytime, anywhere.
Multiple Outputs and Advanced Features
Spark 2 offers versatile connectivity with a headphone out for private practice, stereo line outs for external audio sources, and a USB-C port which enables it to function as an audio interface. WiFi-enabled, Spark 2 allows convenient over-the-air firmware updates, keeping the amp up to date with the latest features and improvements.
“I’ve used a ton of practice amps while touring the world for over 38 years and it was always just a technical, bland exercise,” says guitar virtuoso, singer-songwriter and producer Nuno Bettencourt. “Spark 2 is like taking Madison Square Garden wherever you go – epic and versatile.”
Color Options
Available in Pearl or Black finish with a dark weave grille and premium finish.
Special Event, Upgrade Pricing & Availability
Join the special live premiere event featuring Nuno Bettencourt and surprise guests on August 1, 2024, at 8:00 am PT/11:00 am ET. Visit positivegrid.com/pages/livestream for more details and to sign up for a reminder.
Regularly USD $299, Spark 2 will be available at special early bird pricing during the pre-order period. Registered Spark 40 owners can also receive exclusive upgrade pricing.
For more information and to sign up for pre-order alerts, visit positivegrid.com/products/spark-2.
A review of the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction: The Joyo Gloam is a sub-octave fuzz pedal specifically designed for bass players, combining modern sub-octave effects with rich fuzz tones. With two independently controlled circuits, the Gloam aims to provide a versatile range of sounds, from deep, aggressive fuzz to Moog-like synth effects. This review will explore the Gloam’s specifications, controls, and overall performance, highlighting both its strengths and areas for improvement.
Specifications:
- Dimensions: 130 * 110 * 50 mm
- Weight: 403g
- Working Voltage: DC 9V
- Controls: The Joyo Gloam features a comprehensive control set designed to provide bassists with a wide range of tonal options:
- Dry Tone: Adjusts the tone of the clean signal.
- Dry Volume: Controls the volume of the clean signal.
- Sub Octave Volume: Adjusts the volume of the sub octave signal.
- Gain: Controls the amount of gain in the fuzz circuit.
- Fuzz: Adjusts the intensity of the fuzz effect.
- Bass: Controls the bass frequencies in the fuzz circuit.
- Treble: Adjusts the treble frequencies in the fuzz circuit.
- Fuzz Mode Switch: Switches between two different fuzz modes.
- Dry Tone Frequency Switch: Selects between two different frequency points for the dry tone.
Performance: The Joyo Gloam excels in its dual-circuit design, offering both a sub octave and a fuzz channel that can be controlled individually. However, it’s important to note that the octaver cannot be used without the fuzz circuit activated; the only way to solo the octaver is by turning down the fuzz while both channels are engaged.
Fuzz Circuit: The fuzz circuit includes standard controls such as gain, volume, bass, and treble, along with a fuzz mode switch that toggles between two distinct fuzz modes. While one of the fuzz modes is highly usable and delivers a rich, aggressive tone, the other mode falls short and is less practical for most applications.
Octaver Circuit: The octaver circuit features controls for sub octave volume, clean volume, and clean tone, along with a dry tone frequency switch that provides two different frequency options. This allows for significant tonal versatility, enabling bassists to fine-tune their sound to match their preferences. Despite its limitation of being tied to the fuzz circuit, the octaver produces a deep, balanced sound that stands out.
Combined Effect: When used together, the fuzz and octaver circuits create a wide range of sounds, from classic, aggressive fuzz to synth-like tones reminiscent of a Moog synthesizer. This combination makes the Gloam a powerful tool for bassists seeking to experiment with their sound and achieve unique, textured tones.
Pros:
- Versatile Controls: Extensive control options for both fuzz and octaver circuits.
- Rich Tones: Delivers deep, aggressive fuzz and balanced octaver sounds.
- Sturdy Construction: Durable build quality ensures reliability.
- Wide Range of Sounds: Capable of producing everything from classic fuzz to synth-like effects.
Cons:
- Unusable Fuzz Mode: One of the fuzz modes is less practical.
- Dependent Octaver: Octaver cannot be used independently of the fuzz circuit.
Conclusion: In conclusion, the Joyo Gloam sub-octave fuzz pedal offers a versatile and powerful option for bassists looking to expand their tonal palette. Despite some flaws, the Gloam delivers impressive sounds and flexibility. Its combination of rich fuzz and deep octaver tones, coupled with a sturdy construction, makes it a valuable addition to any bassist’s pedalboard. For those seeking a modern bass distortion with the added depth of sub-octave effects, the Joyo Gloam is a compelling choice for a very compelling price.
Visit online at joyoaudio.com/product/281.html
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Behind the Strings – Jim’s Corner…
D’Addario & Co. proudly announces the launch of “Jim’s Corner,” a captivating new YouTube series telling the 400-year-old story of the D’Addario family creating the world’s largest music accessories company. This series features Jim D’Addario, Founder and Director of Innovation at D’Addario and Co., sharing his family’s remarkable journey from 17th century Italy to a 21st century global enterprise.
In the first four episodes now available, Jim D’Addario takes viewers back to the beginning, making strings from animal guts and knotting ukulele wire as a family around the television. Countless generations carried the passion forward until the 1970s when the company made it official and never looked back. Jim recounts the creation of strings that inspired legendary riffs, including one by The Who, the launch of Darco strings, the merger with Martin Guitars and the company’s humble beginnings with his wife, Janet and brother, John. Jim D’Addario’s firsthand accounts provide an intimate and personal perspective on the milestones and challenges that shaped D’Addario into the revered brand it is today.
Episode Highlights:
- Episode 1: The Early Days in Italy and the Move to America
- Episode 2: Inspiring Iconic Riffs and Legendary Partnerships
- Episode 3: Launching Darco Strings and Merging with Martin Guitars
- Episode 4: Building the D’Addario and Co. Legacy
Watch & Subscribe Now:
Join us in celebrating this incredible legacy by watching the first four episodes of “Jim’s Corner” on YouTube. New episodes will drop every month so please subscribe to our channel to ensure you don’t miss any future episodes and exclusive content from D’Addario & Co.: www.youtube.com/@daddarioandco
Gear News
Gear News: Aguilar Amplification Unveils Limited Edition NYC Gold Skyline Tone Hammer Preamp
Aguilar Amplification announces the release of the Limited Edition NYC Gold Skyline Tone Hammer Preamp pedal. Hand serialized 1-100, this exclusive edition celebrates Aguilar’s deep roots in New York City with a tribute to its iconic landmarks and vibrant spirit.
Born in the heart of NYC and raised on the road, the Tone Hammer Preamp DI has been an indispensable tool for bassists seeking inspiring tone and versatility. The new Limited Edition Gold NYC builds on this legacy with striking custom graphics encapsulating the essence of New York City. Featuring iconic landmarks from the Statue of Liberty to the Empire State Building, this pedal is not just a tool, but a piece of art embodying the soul of the city. Each unit features a sharp platinum silkscreen over a stunning matte gold sparkle finish, that is as visually captivating as it is sonically powerful.
The Tone Hammer is an essential preamp/direct box for every bassist’s toolbox. The Tone Hammer features fully sweepable midrange frequencies in addition to bass and treble controls. With the Tone Hammer’s pristine D.I. players are set for either studio or stage. To give this tone shaping unit the ultimate flexibility we introduce our proprietary Adaptive Gain Shaping circuitry (AGS). AGS allows the player to kick in an additional gain structure and EQ with the “stomp” of a button. You can go from modern slap sounds to vintage or overdriven. 18-volt operation gives the Tone Hammer plenty of headroom to reproduce the most dynamic playing styles. Separate gain and master controls allow players to dial in just the right gain structure for any instrument.
Aguilar Amplification’s Jordan Cortese adds, “With only 100 hand-numbered units available, this third iteration of our NYC edition Tone Hammer is a collector’s dream. “It’s a homage to our city’s monumental influence on music and culture and celebrates the craftsmanship and the story of Aguilar”.
Street price: $299.99 For more information, please visit www.aguilaramp.com
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Interview With Barker Bass’s Inventor and Writer Lee Barker
Working-Class Zeros: Episode #4 – Boutique and Vintage Basses, Dress Code for Summer Gigs
Gear News: Ibanez & Graph Tech Launch Multi-Scale Bass with Cutting-Edge Tuning
Album: John Entwistle, Rarities Oxhumed – Volume Two
July 22 Edition – This Week’s Top 10 Basses on Instagram
Gear News: Positive Grid Launches Spark 2
Gear Review: Exploring the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Alberto Rigoni On Unexpected Lullabies
