Chapter 20

Ten Great Rhythm Sections (Bassists and Drummers)

In This Chapter

Discovering great bassist-drummer combinations

Listening to some examples in the styles of the pros

The bass guitar, more than any other instrument, is at its best when tightly aligned with the drums. Together, the bassist and drummer develop the powerful grooves that drive the song by constantly listening and reacting to each other. In this chapter, I introduce you to ten classic bass-and-drum combinations (sorted alphabetically by the bass player's last name) that have enhanced a multitude of songs. If you listen to music at all (and I presume you do), you probably have heard most of these rhythm sections already. If you haven't, you should make a concerted effort to find recordings that feature these classic combinations — and then listen and enjoy!

On Track 117, you can hear brief examples in the styles of these masters. However, to get a sense of truly great bass grooves, you need to listen to the original recordings. Go directly to the source and get inspired by the same musicians who inspire me.

Bootsy Collins and Jab'o Starks

Bootsy Collins and Jab'o Starks are stellar as James Brown's rhythm section of 1970. Their work is one of the earliest examples of the complex interplay between bass and drums. Check out James Brown's recordings “Sex Machine” and “Super Bad” to hear their funky grooves. Figure 20-1 features a bass line in the style of their playing.

Figure 20-1: Bass line in the style of Bootsy Collins. Track 117, 0:00.

Donald “Duck” Dunn and Al Jackson Jr.

From the mid-1960s through the early ’70s, Donald “Duck” Dunn and Al Jackson Jr. recorded many hits for a number of artists as members of the house band for the Stax/Volts record label. Stax was one of the ultimate R & B/Soul record labels, featuring artists Sam and Dave, Otis Redding, Isaac Hayes, and many more. Listen to “Soul Man” and “In the Midnight Hour” to hear their soulful R & B/Soul grooves. Figure 20-2 shows you an example of a bass line in the style of “Duck” Dunn.

Figure 20-2: Bass line in the style of Donald “Duck” Dunn. Track 117, 0:15.

James Jamerson and Benny Benjamin

James Jamerson and Benny Benjamin combined to form the ultimate rhythm section for the Motown record label throughout the 1960s. Their playing can be heard on hits such as “I Was Made to Love Her” and “Going to a Go-Go.” Check out Figure 20-3 for an example of Jamerson's style of playing.

Figure 20-3: Bass line in the style of James Jamerson. Track 117, 0:26.

John Paul Jones and John Bonham

John Paul Jones and John Bonham are best known for their work in the band Led Zeppelin. Songs such as “The Lemon Song” and “Ramble On” exemplify their brilliant work from 1968 through 1980. Take a look at Figure 20-4 for an example of a bass line in the style of John Paul Jones.

Figure 20-4: Bass line in the style of John Paul Jones. Track 117, 0:52.

Joe Osborn and Hal Blaine

Joe Osborn and Hal Blaine were members of an elite assortment of session players who recorded a staggering number of hits during the “California Rock Explosion” of the ’60s (when an unusually large number of hits were recorded by bands in California). As part of the “Wrecking Crew,” Osborn and Blaine laid down solid grooves for The 5th Dimension, Simon & Garfunkel, The Mamas and The Papas, The Monkees, and many more. Listen to “Vehicle” and “California Dreaming” for great examples of their diversity. Figure 20-5 shows an example of a groove in the style of Joe Osborn.

Figure 20-5: Bass line in the style of Joe Osborn. Track 117, 1:09.

Jaco Pastorius and Peter Erskine

Jaco Pastorius and Peter Erskine were both members of the pioneering jazz-rock-fusion group Weather Report during the high point of the band's popularity in the late 1970s. Their complex interplay of bass and drums can be found in such tunes as “Birdland” and “Teen Town” (the live recordings, not the studio recordings). Erskine later went on to play with Jaco's big band Word of Mouth. To call these two masters dynamic is truly an understatement. Check out Figure 20-6 for an example of a bass line in the style of Jaco Pastorius.

Figure 20-6: Bass line in the style of Jaco Pastorius. Track 117, 1:22.

George Porter Jr. and Zig Modeliste

The syncopated and rubbery style of George Porter Jr. and Joseph “Zigaboo” Modeliste represents New Orleans funk at its very finest. As members of The Meters from the late 1960s to the late ’70s, Porter and Modeliste laid down some of the most memorable grooves in history in such tunes as “Cissy Strut” and “Funky Miracle.” Figure 20-7 features an example of a bass line in the style of George Porter Jr.

Figure 20-7: Bass line in the style of George Porter Jr. Track 117, 1:38.

Francis Rocco Prestia and David Garibaldi

The soul funk of the Oakland-based band Tower of Power was at its peak throughout the 1970s with the combination of Francis Rocco Prestia and David Garibaldi. Their solid sixteenth-note grooves can be heard on “Soul Vaccination” and “What Is Hip,” displaying some of the best funk you'll ever hear. Figure 20-8 features a bass line in the style of Francis Rocco Prestia.

Figure 20-8: Bass line in the style of Francis Rocco Prestia. Track 117, 1:55.

Chuck Rainey and Bernard Purdie

The power and nuances of Chuck Rainey's and Bernard Purdie's playing drove some of the best music recorded in New York in the mid-1960s and ’70s. This duo laid down the grooves for a diverse list of artists (from Aretha Franklin to Steely Dan). The Rainey-Purdie combination shines on tunes like “Until You Come Back to Me (That's What I'm Gonna Do)” and “Home at Last.” Figure 20-9 shows a bass line in the style of Chuck Rainey.

Figure 20-9: Bass line in the style of Chuck Rainey. Track 117, 2:14.

Robbie Shakespeare and Sly Dunbar

Robbie Shakespeare and Sly Dunbar are widely considered the premier bass-drum combination of reggae. Besides playing on dozens of records together, both were members of Peter Tosh's band in the late 1970s. Shakespeare and Dunbar played some of the most memorable reggae grooves in history on such tunes as “Mama Africa” and “Whatcha Gonna Do.” In Figure 20-10, you can see a bass line in the style of Robbie Shakespeare.

Figure 20-10: Bass line in the style of Robbie Shakespeare. Track 117, 2:40.