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Tag: jamiroquai

Groove Of The Week #52: Jamiroquai – ‘Manifest Destiny’

Stuart’s Second Helping We’ve already heard from Jamiroquai twice in this series (GOTW #8: ‘Whatever It Is, I Just Can’t Stop’ and GOTW #22: ‘Runaway’) and – as much as…

Stuart’s Second Helping

We’ve already heard from Jamiroquai twice in this series (GOTW #8: ‘Whatever It Is, I Just Can’t Stop’ and GOTW #22: ‘Runaway’) and – as much as I want this series to be as wide-ranging as possible – it’s fair to say that some bands have a disproportionate amount of ‘what was that?’ bass moments in their back catalogue. So, here we are with another piece of Stuart Zender’s bass legacy, taken from the band’s second album The Return of the Space Cowboy (1994).

‘Manifest Destiny’ might seem an odd choice for a Groove Of The Week post; it’s not really a groove in the traditional sense of the word, and there are plenty of other Jamiroquai tracks worth a look (‘Don’t Give Hate a Chance’, anyone?), but Stuart Zender’s bassline showcases a rare opportunity for us to present a melody in the upper register of the fretboard without venturing into bass solo territory – we’re still playing a set part and supporting the song.

The video lesson below walks through the melody and harmony of ‘Manifest Destiny’ bar-by-bar:

For those of us that spend 99% of our time below the seventh fret, where most day-to-day bass playing happens, being given a melodic spotlight moment can be daunting; the bass can feel very different in the higher register, and I find that the fretting hand has to be extra vigilant in order to sculpt every single note with the desired effect. ‘Manifest Destiny’ is also an excellent study in fretting hand articulation – the way that the notes are played holds equal importance as the notes themselves. Careful listening will help you to discern the subtle ways that Stuart Zender uses varied note lengths, slides, hammer-ons and vibrato to make the line really sing out.

The harmony of ‘Manifest Destiny’ is also a level above most pop songs; this is to be expected the clear influence of 1970s jazz-funk artists including Roy Ayers, Stevie Wonder, Lonnie Liston Smith and The Headhunters that shine through in Jamiroquai’s music. The main harmonic accompaniment to the bass melody comes from the piano, which keeps an almost consistent voicing in the right hand while the changing bass notes provide movement:

Approximated piano voicings for ‘Manifest Destiny’

The third chord voicing is worth a mention – the piano plays a chord which is essentially Bm7/E, which creates an Em11 tonality when taken into context with the G natural in the bass part at this point.

Diminishing Returns

The A# diminished 7 chord works in this context because it’s really functioning as a substitution for F#7, the dominant chord in the key of B minor. Thinking about the chord tones of A# diminished 7 in the context of F#7 gives us the major 3rd (A#), perfect 5th (C#), minor 7th (E) and flat 9th (G natural), implying an F#7b9 sound. Using this diminished substitution provides more the chord progression with more tension (and therefore more interest) than using a straightforward dominant 7th chord.

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Groove Of The Week #22: Jamiroquai – ‘Runaway’ and #23: Roy Ayers – ‘Running Away’

It seems like there’s been a spate of cases in recent months concerning pop artists being accused of plagiarising existing songs: Sam Smith had been listening to too much Tom…

It seems like there’s been a spate of cases in recent months concerning pop artists being accused of plagiarising existing songs:

The cliché goes that imitation is the sincerest form of flattery, but when does being influenced by an artist become ripping them off? And, more importantly, what does this have to do with this series of blog posts on bass grooves?

Take a listen to these two grooves – ‘Runaway’ by Jamiroquai and ‘Running Away’ by Roy Ayers:

Sound similar? I certainly think so. If the titles weren’t enough of a giveaway both lines sit at similar tempos and outline their first chord by using root – 10th – descending scale line:

Roy Ayers - Running Away copy

Here are the dots for the main groove of ‘Runaway’ (a full transcription is available here):

So, it’s pretty clear that Paul Turner & co had been listening to a lot of 70s acid jazz, and this should come as no surprise to any of us. Just as nutritionists will tell us that you are what you eat, for musicians it’s a case of you are what you listen to (and what you practise).

If you’ve grown up listening to Herbie Hancock, Lonnie Liston Smith, Roy Ayers and other similar artists then it’s no wonder that the music that you write sounds a certain way – what continues to amaze me is that many of the people that I teach have little or no awareness of ‘tradition’ (understanding who inspired the players that inspire them) and don’t make the connection between what they put in (listening and practise) and what they get out (their playing).

I’ll hold up my hand and admit to being ignorant of many musical things and having wasted lots of time ‘barking up the wrong tree’ in the practice room, but I DO make a concerted effort to understand where the music that means the most to me has come from. This act of delving deeper into the history of the music I love helps to broaden my horizons and provides me with a context in which to view all of the players that inspire me.

What do I mean by all of this? Simply put, you can’t know for certain if you’re being original if you don’t know what came before you. Having a deep knowledge of bass playing ‘traditions’ can help you to identify which traits in your own playing are stolen from external sources and highlight any areas of originality.

Here’s some food for thought which also doubles as a good exercise for anyone who’s asked “How Do I Sound?” or “How Do I Want To Sound?”. Think of it as ‘Bass Player Maths’:

  • I find it hard to hear Me’Shell N’degeocello without simultaneously hearing Paul Jackson and Jaco Pastorius
  • Listen to Laurence Cottle, then some Pat Metheny (preferably with Michael Brecker). Now listen to Janek Gwizdala. See what I’m getting at?
  • Two seemingly opposite influences can produce great results: combine James Jamerson’s chromaticism with Jack Cassidy’s tone and you’re on the way to understanding how Anthony Jackson arrived at some of his concepts.

So go forth and rejoice in becoming a total geek about the music and the bassists that inspire you – I’m willing to bet that your own personal detective work gives you inspiration and insight into what has gone before you and what lies ahead for you.

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Groove Of The Week #8: Jamiroquai – ‘Whatever It Is, I Just Can’t Stop’

This week’s groove comes courtesy of Stuart Zender on Jamiroquai’s ‘Whatever It Is, I Just Can’t Stop’. View this post on Instagram Groove Of The Week #8: Jamiroquai – 'Whatever…

This week’s groove comes courtesy of Stuart Zender on Jamiroquai’s ‘Whatever It Is, I Just Can’t Stop’.

The verse hook sits in an E7 tonality and features a number of funk bass staples including semiquaver syncopation, chromatic approaches into chord tones, grace notes and the classic ‘shake’ between the major and minor 3rd in bar 3.

jamiroquai- Whatever It Is I Just Can t Stop

Take a listen to the original and you can hear that it’s not the cleanest bass tone – there’s plenty of string and fret noise and you can really hear Stuart digging in with his right hand.

Got A Groove Request? Let Me Know!

If there’s a bass line that you love but have never got round to learning then let me know by commenting on this post – it could be a classic groove or a song that you feel deserves wider recognition from the bass playing world.

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