ככה מנגנים על בס!

[lukatch]

ארנון, יש בפורום הזה תלמיד של וילבור באסקום.

לא ידעתי שג'יימרסון חיבר ספר... אולי אתה מתכוון לספר של דוקטור ליקס (אלן סלוצקי) על ג'יימרסון?

הנה תקציר:

"Who Played "I Was Made to Love" Her?

The Carol Kaye-James Jamerson Enigma" 

He was dead, buried, and forgotten.  Even 99% of the bass players in the

world had no idea who he was.  But in the last seven years, his life and

music have been center stage amidst an explosion of newspaper and magazine

articles (more than 350 worldwide), a long overdue biography, and an

upcoming film documentary.  The Fender custom shop has made a signature bass

in his name, flatwound strings have begun selling again, and in the last two

years, the recording company that had employed him for a decade and a half

finally gave him official recognition in the liner notes of 3 recent

historical CD box sets.

After three decades of obscurity, musicians and music lovers throughout the

world were discovering the holy grail of the bass world-James Jamerson, the

tormented genius whose earthquake-heavy bass lines fueled the Motown hit

machine through the '60s and early '70s.  Even though it was posthumous, he

was finally getting his long overdue recognition.

And everyone lived happily ever after, right?  Not exactly.  As Jamerson

rose in prominence, his reputation was given a serious challenge through the

media by another icon of the bass, Carol Kaye.  Well aware of her claims

through the years about her recording sessions with the Supremes, Four Tops,

Stevie Wonder, and other stars in Berry Gordy's stable, I contacted her in

1987 when I first began my research for STANDING IN THE SHADOWS OF MOTOWN:

The Life and Music of Legendary Bassist James Jamerson.  This was done out

of the highest regard for Carol's monumental achievements and contributions

to the bass, and popular music in general.  My intention was to find out

first-hand what she had played on so I could avoid stepping on her toes.

I had expected her to name a few significant hits but was floored when she

laid claim to "Bernadette", "Reach Out", "Baby Love", "I Was Made to Love

Her", "Ain't No Mountain High Enough", "Dancing In the Streets", "Can't Help

Myself", and dozens of others Motown classics-in short, the majority of

James Jamerson's signature performances.

At that point I decided to rethink the entire project.  If I could

substantiate Carol's allegations, I would write the book about her instead

of Jamerson.  I expected my research to turn up pros and cons for each

player's position, along with the usual grey areas you can expect when

researching multiple claims to the same material.  Instead, what I found was

overwhelmingly conclusive evidence that James Jamerson played the tunes in

question.  Here are the facts that my research turned up:

1) The songwriting-production team of Holland-Dozier-Holland attested to the

fact that James Jamerson played on almost every one of their productions,

and they never allowed others to produce songs that they had written.  Brian

Holland signed a notarized affidavit categorically stating that

"Bernadette", "Reach Out", "Can't Help Myself", "Keep Me Hanging On",

"Standing in the Shadows of Love", "Reflections", "Baby Love", "Back In My

Arms Again", "Come See About Me", and "Can't Hurry Love", (all tunes claimed

by Carol) were in fact, played by James Jamerson.  Most damning was his

statement that he had never even heard of Carol Kaye.

2) Smokey Robinson who wrote or produced probably 30-40 percent of Motown's

biggest hits also denied that she had any major role in the Motown story,

and had no part at all on the songs in question.

3) The performance credit that Carol has pursued with the greatest tenacity

over the years is the bass part on Stevie Wonder's "I Was Made to Love Her".

Hank Cosby who co-wrote, produced it, and who, in his own words, "was there

every step of the way from the writing of the song to the day the 45's were

shipped", vehemently denied any participation by Carol Kaye on this

recording.  Cosby added, "Fifty percent of the song was James Jamerson's

bass line.  No one played like that but Jamerson." Cosby also signed an

affidavit similar to Brian Holland's attesting to Jamerson's performance.

Point-Counterpoint:  Carol's Side of the Story

1) The Politics of Race and Gender-Carol contends that Motown was afraid to

admit that a white female bassist was the driving force behind some of their

biggest hits.  They wanted to push a black male agenda.

There are two faults with this argument.  First of all, when it came to

musicians, Motown had no racial or gender bias.  They were all faceless cogs

to them.  Regardless of whether they were black, white, female, male, or

Martian, they weren't going to get any recognition-period!  It was a star

driven phenomena and the company never gave the slightest thought to

publicizing background figures.  In addition, the Motown studio band (which

was called the Funk Brothers) was not exclusively black.  Guitarists Joe

Messina and Dennis Coffey, percussionist Jack Brokensha, arranger Dave Van

dePitte, and  bassist Bob Babbit, who also played quite a few important

Motown dates, were all white.

2) Improvised vs. Written Parts-Her claim to "Reach Out" is based upon her

contention that "discerning musicians can hear that the parts weren't

improvised.  It was a written part".

James Jamerson regularly improvised and sight read parts of that complexity.

Part of his genius was that he could take a written part and make it sound

as if it was his.  Regardless of this argument, I have a photocopy of the

original Union contract from the "Reach Out" session.  It's dated July 6,

1966 (the year of the tune's release), it lists James Jamerson as the

bassist (for which he received the princely sum of $61.00), and Detroit's

Hitsville studio is indicated as the place where it was recorded.  Carol

herself admits that she never recorded in Detroit.

3) The West Coast Connection-Carol maintains that a great deal of Motown's

output was being cut on the West Coast in Los Angeles.

That is true, but don't forget that Motown also had acts like Tony Martin,

James Darren, and Soupy Sales signed to their label.  There were also

various Broadway and Las Vegas style orchestrated albums produced like the

the Temptations in a Mellow Mood and The Four Tops on Broadway, not to

mention the constant demand for filler material on albums.  There was plenty

of work to go around and Detroit could not possibly handle all of it.  Frank

Wilson who produced hits for Motown in both Detroit and Los Angeles supports

Carol's claim that she worked numerous sessions for the company.  However,

he qualifies it by stating, "They used her a lot but not on the hard core

R&B stuff.  That stuff came out of Detroit.  They didn't like her sound for

R&B because she played with a pick.  It didn't have that fat round sound

that Jamerson got with his fingers."

4) "I Was Made to Love Her"-According to Carol, this tune was recorded at

Armin Steiner's studio and she recalls "I didn't like the final written riff

that I played high up in unison with the horns.  You can also hear where I

was scuffling a bit with open strings a couple of times".

Now it starts to get complicated.  First of all, the detailed studio log

that Carol kept does not support her position.  The log lists every date she

played from 1963-1971.  She painstakingly listed artists, studios, record

labels, contractors and arrangers on each date.  "I Was Made to Love Her"

was released in 1967 which means it was cut in '66 or '67.  There are no

listings for a session at Steiner's or a Stevie Wonder date during that time

span.

As far as "scuffling" around, the performance is perfect.  Don't trust my

ears.  Trust the auditory ability of one of the world's most highly regarded

bassists-lifelong Jamerson devotee, Anthony Jackson.  He couldn't hear what

she was talking about either.  The "final written riff played in unison with

the horns" argument also is problematic.  "I Was Made To Love Her" is rhythm

section and strings.  There are no horns on that record.

5) Ask My Friends-Carol asked me to talk to Gene Page, Jerry Steinholtz,

Earl Palmer, and some of the other studio musicians who played the West

Coast Motown sessions with her.  She felt they would back up her story.

I didn't just call a few of them.  I talked to every one she recommended,

naming the songs in question and telling them about Carol's claims.

Arranger Gene Page immediately burst out laughing and said, "She said that?

No way . . . never.  That stuff was all Jamerson".  Percussionist Steinholtz

remembered playing Motown sessions with Carol but that was as much as he

could remember.  The closest I got to her viewpoint was with veteran R&B

session drummer Earl Palmer who bristled at my suggestion that perhaps they

played the demo versions of the songs in question.  "Hell no!", he

countered.  "We weren't playing demos.  We were playing hits".  The only

problem was that he also couldn't remember any song titles.

Now we all know that studio musicians live by their reputations, so

remembering hits that they played on is of paramount importance.  If they

had even remembered one title-just one-I would have had something to pursue,

but as it stood, they gave me no material at all to back up her story.  Back

in Detroit, In stark contrast to my California research, the Funk Brothers

remembered everything- song titles, intricate details, times, dates, and

fellow musicians on the session and it all revolved around James Jamerson.

6) The Great Cover-Up-Carol has accused many of Motown's producers of

conducting illegal non-union, under scale sessions, and in efforts to cover

their backs, they refuse to admit working with her.

First of all, if the sessions were illegal, why was a union musician like

Carol playing them in direct violation of union rules?  Secondly, the Motown

story is full of lawsuits and union problems but that doesn't exactly strike

fear in their hearts.  It's just business as usual.  James Jamerson

certainly played under scale Motown sessions at different times.  Why do

these same producers admit working with him?

7) Demos That Became Hits-Amidst the thousand of studio dates in Carol's

logs, quite a few are marked as demos and many of those were with Motown.

According to her, the company misled the musicians because many of these

sessions became the actual records.

Carol may have a legitimate grievance in this instance but not in regard to

the songs in question.  When the recent Platinum CD Box set The Hitsville

Singles Collection was produced two years ago, most of the songs in question

were pulled from the vaults and re-mastered.  Motown's filing system lists

whether the songs were recorded in Detroit or Los Angeles (and in a few

instances in New York) on each storage box.  All the disputed songs were

listed as being cut in Detroit.

During the sixties and seventies, Carol Kaye contributed more to popular

music than most musicians, including myself, could hope to equal in several

lifetimes.  By all accounts of people who know her well, she is also a

wonderful, warm, loving person.  I have no desire in any way to hurt her or

ruin her reputation, but as James Jamerson's biographer, I do have a

responsibility to him.  James died a brokenhearted alcoholic, tortured by

the lack of recognition for his his part in the Motown story.  It took the

world thirty years to find out and appreciate exactly what he did and I

intend to further that recognition to the best of my abilities.  If that

includes defending him in the face of unfounded attacks on his life's work,

so be it.

I'm still open to any information which would change the story and support

Carol Kaye's version but so far, I've yet to find a single shred of

evidence. I'd even go as far as to say that I wouldn't doubt that somewhere

out there, there is some evidence that would support her claims on a few

disputed songs.

She has my humblest apologies for the few that I may have missed.  But when

you're talking about "Bernadette", "Reach Out", "Baby Love", "I Was Made to

Love Her", "Ain't No Mountain High Enough", "Dancing In the Streets", "Can't

Help Myself", Standing In The Shadows of Love", "You Keep Me Hangin' On",

and dozens of others . . . Sorry Carol.  That magical legacy belongs to

someone else.

------------------------------

[Arnon_Palty]

דוקטור ליקס , כן. ג'יימרסון לא חיבר ספר אבל הבן שלו, ג'וניור, עומד מאחורי ההפקה הזו בצורה זו או אחרת.

___מצאתי את השרשור  על בסקום בינתיים. בהחלט מעניין._______

ובקשר לסוגיה המשפטית, אני מכיר את העניין. הייתי במחקר הזה כבר לפני כמה שנים כשראיתי תפקיד של קיי לשיר "נבראתי לאהוב אותך" -זהה כמעט לגמרי לתפקיד של ג'מרסון. אי אפשר להכחיש שישנם ליינים שלמים ש"אומצו" ע"י הגברת, ובטוח לחלוטין שג'מרסון המציא את הז'אנר אבל היא בהחלט מדהימה בפני עצמה.

[huckbuc]

יש בפורום הזה תלמיד של וילבור באסקום.

הלו, לא להגזים... לקחתי אצלו בסך הכל שני שיעורים, שבהם בעצם רוב הזמן דיברנו. 

מצאתי את השרשור  על בסקום בינתיים. בהחלט מעניין.

לטובת התוהים, מדובר בשרשור הזה.

[Arnon_Palty]

huckbuc!

לקח לי זמן להבין מי אתה! טוב,נו, הגיל (שלי) ...איזה כייף!.... ותענוג להזכר בך ובשיעורים בהחלט!

[lukatch]

ארנון, תקליד huckbuc כשהמקלדת במצב של אותיות עבריות ותקבל את השם המלא.