James Jamerson: the tragic life of Motown’s greatest asset
Bass players are rarely afforded the same degree of attention or acclaim as their six-stringed counterparts, but the widespread ignorance of the world to the groundbreaking basslines of James Jamerson is particularly egregious. After all, Jamerson carved out the sound of some of the most enduring hits of the 1960s, earning credits on a whopping 23 number-one hits in the US, as well as helping to define the inherent sound of Motown Records. Yet, speak to most self-professed music aficionados, and they won’t have ever heard his name.
Motown Records launched a deluge of iconic performers into the limelight during its 1960s heyday, from Diana Ross to Marvin Gaye, Stevie Wonder, and Smokey Robinson. Berry Gordy’s groundbreaking label defined the pop charts of the era, but it wasn’t an empire that was built alone. Alongside Gordy and his unparalleled roster of stars, Motown was built upon the talents of its various backroom staff, producers, and session musicians, all of whom played a part in establishing that enduring Motown sound.
At the heart of that sound was The Funk Brothers, Motown’s in-house band, who provided backing tracks for countless now-iconic hits on the label throughout the 1960s. Chances are, if you can think of a Motown hit, it featured The Funk Brothers in some capacity; despite rarely being credited for their work, the various musicians who passed through the outfit over the years each played an indispensable role in carving out the voice of Motown. Throughout it all, James Jamerson was among the greatest assets of that house band.
Having cut his teeth playing alongside soul and R&B legends like Jackie Wilson, Jamerson joined the ranks of Motown in 1959, when the label was on the cusp of breaking into the mainstream consciousness with singles like Barrett Strong’s ‘Money (That’s What I Want)’. Quickly, he began to lend his bass talents to a wealth of different Motown artists and sessions, fostering an unparalleled reputation within the label’s studio and production staff. Nevertheless, his efforts still went uncredited and severely underpaid.
Between 1963 and 1968, it is thought that Jamerson performed on every single Motown release, including a litany of colossal hits. Along the way, the bassist provided Motown with its inherent groove and inspired fellow bassists like Paul McCartney, who covered a range of Motown tracks with The Beatles during the mid-1960s. His impact on the pop charts was profound, yet those not in the know might never have heard his name.
By 1973, Jamerson severed his ties with Motown, owing to years of underpayment and underappreciation from the label. At that time, the label had relocated from Detroit to Los Angeles, and the bassist had made the move too, but he found that he struggled to make an impact in the increasingly saturated landscape of LA session musicians. Nevertheless, he continued to perform as a session artist for a multitude of legendary artists, most notably Aretha Franklin, Gladys Knight, and Smokey Robinson.
As time went by, however, Jamerson’s talents fell by the wayside. Musical tastes had changed, and the advent of styles like disco had rendered his old-school R&B playing technique virtually obsolete. He struggled to find work during the 1980s and fell headfirst into a prolonged bout of alcoholism.
Alcoholism was not wholly uncommon in the music industry of the 1960s and 1970s, with many performers relying on alcohol to get through their packed schedules. However, Jamerson’s dependency on alcohol became much worse when his work began to dry up in the early 1980s. Eventually, the bassist succumbed to his addictions, passing away in 1983 as a result of liver failure, heart failure, and pneumonia at the age of 47.
