James Jamerson's Double Bass and Bass Guitar Parts: A Comparative Analysis

Abstract

In this article a comparative analysis of the performing features of the American bass guitarist and double bassist James Jamerson is carried out. Special attention is given to the musician's creative heritage, which includes a huge number of compositions recorded both on double bass and bass guitar. The role of D. Jamerson in the history of jazz recording as a universal musician capable of working with a variety of soloists and vocal ensembles of the late 1950s – early 1970s is emphasized. The innovative style of the bass guitarist is emphasized, due to a remarkable feature – the performance of musical parts only with the index finger of the right hand. This principle provided an even attack of each sound, which was one of the advantages when recording studio tracks. The author analyzes the parts of D. Jemerson's parts in My Guy, played on double bass, and Ain't That Peculiar, played on bass guitar, are analyzed. Attention is drawn to the variation of the double bass line, on repeated harmonic functions (for example, Cm7-F7), which brings rhythmic variety to the accompaniment line and creates additional acoustic volume. At the same time, the practical use of bass guitar, on the contrary, is accompanied by a clearer metrorhythmic basis and the presence of a bass riff. D. Jamerson uses pentatonic sounds, as well as multidirectional movement of the pattern. This creates a certain "rocking" of the melodized bass line, creating an additional groove. At the same time, the study of the double bass and bass guitar part of D. Jemerson in the compositions My Guy and Ain't That Peculiar allows not only to study the peculiarities of the musician's style and original manner of performance, but also to serve as an incentive for new generations of musicians mastering the bass guitar.