The art of repetition – what do I mean by that? It is probably safe to say that most funk vamps are one or two bars in length. The appeal is the repetitive notion of the vamp or riff, besides the actual note choices, time feel, sound, phrasing and interaction with other instruments. In the best-case scenario the bassline becomes hypnotic and draws the listener and players into a trance-like state of feeling great! This often does not require heaps of chops but a willingness to ‘give it up’ for the funk, ie playing a relatively simple bassline that locks in with all other parts of the band, and the rhythm section in particular.
To fully experience this it would probably be best to call upon your drummer mate, and even better, guitar friend too, and get ‘jamming’ on a funk vamp. No solos required, just the willingness of all the players to repeat their parts until all parts become one. If you all hit a spot when it feels great, ideally don’t change anything, as you are likely to spoil these funkified moments of great delight. Repeating a bass vamp over and over doesn’t necessarily mean to be rigid. Of course, you can play variations and let the whole thing breathe and evolve.
One of the most classic examples of this would be ‘Sex Machine’ by James Brown, with Bootsy Collins on bass. It is such a classic, funk masterpiece it did not even make my ‘Listening Recommendations’ section, as I generally would like to recommend lesser known tracks. Booty’s explosive funk vamp is bristling with repetition, as well as a myriad of cool variations. A great example of a more stringent approach to a funk bass vamp might be ‘Masterpiece’ or ‘Papa Was A Rollin’ Stone’ by The Temptations, with Bob Babbitt on bass.
Tower of TNT
Listen to the full version of Tower of TNT by RB Funkestra on Soundcloud
Tower Of TNT This is a tune I wrote a while ago with my writing partner ‘in funk’, Thomas Foyer. Like most funk tunes it has a repetitive main vamp and a B section. Additionally there is also a breakdown section and an intro riff that is repeated in the middle and at the end. Note that all notes are played very short. The ‘tr’ above notes means ‘trill’, ie slide your fretting finger as quickly as you can between the main note and the next fret up from that note.
Intro
The tune starts with a two-bar E7#9 riff packed with a tritone in the first bar and a descending chromatic line leading into the main vamp.
Main Riff
Here is where the art of repetition comes into play. The whole tune is based on this two-bar A minor vamp. Of course, more than some traces of James Jamerson and Rocco Prestia can be heard in this bassline. The most important part to repeat and ‘drive home’ is the first bar and the first half of the second bar. The second half of each second bar is there for your experimentation. A good starting point is always to rest first, then listen, then play. I played a few variations during the sax solo section but kept the overall feel very repetitive. If this concept worked for James Brown and his bassists, it is sure good enough for me!
B-section
Here the tune modulates up a minor third to C minor, and the bassline features typical funk octaves and chromatic approach notes into the roots of the chords.
Breakdown
This line is not without its challenges as it bounces between two octaves and some unison lines between the bass and the baritone saxophone. This has to be tight!
Having written all this, of course, you can use the backing track to jam along and make up your own basslines as much as you like!
Tower of TNT-no bass by RB Funkestra
Listening Recommendations
All these tunes fit loosely into the topic of ‘The Art Of Repetition’. Have fun listening to these, and keep an open mind as some of these funk tracks straddle jazz territory.
Lonnie Liston Smith
‘Expansions’ from Expansions. Bass: Cecil McBee
Graham Central Station
‘It’s Alright’ from Ain’t No ’Bout-ADoubt It. Bass: Larry Graham
Maceo & All The King’s Men
‘Thank You For Letting Me Be Myself Again’ from Doing Their Own Thing. Bass: Bernard Odum
Miles Davis
‘Black Satin’ from On The Corner. Bass: Michael Henderson
Bernard Edwards
‘Your Love Is Good To Me’ from Glad To Be Here. Bass: Bernard Edwards
Repertoire
Some well-known and lesser-known funk classics, perfect for any funk jam.
Miles Davis
‘Jean Pierre’ from We Want Miles. Bass: Marcus Miller
The Meters
‘Fire On The Bayou’ from Fire On The Bayou. Bass: George Porter Jr
Funk Inc
‘Smokin’ at Tiffany’s’ from Hangin’ Out. Bass: Gordon Edwards.
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