James Jamerson - “Bernadette”
The Four Tops — Reach Out (1967)
Bass: James Jamerson
“Bernadette” is a prime example of James Jamerson at full intensity — urgent, melodic, restless, and utterly locked into the emotional narrative of the song. Everything about this line feels alive. Jamerson isn’t just outlining the harmony; he’s driving the entire arrangement, pushing Levi Stubbs’ vocal into a higher emotional register and shaping the forward momentum of the track with every bar.
This is Jamerson in storytelling mode. His playing mirrors the desperation in Stubbs’ performance — passionate, relentless, almost anxious. Yet it never loses clarity. His lines weave between melody, counterline, rhythmic drive, and harmonic architecture with a kind of instinctive intelligence that still feels unmatched.
This transcription captures one of the fullest expressions of what made Jamerson revolutionary: he turns a pop song into a symphonic, narrative bass composition, all while remaining locked inside a “four on the floor” Motown framework.
The Line
Jamerson’s line on “Bernadette” is a continuous flow of melodic motion and rhythmic urgency. He never settles into one idea for long. Instead, he crafts long, connected phrases that rise and fall with the vocal intensity, blending walking-influenced motion with explosive rhythmic hits and soulful flourishes.
The line carries its own emotional arc. He drives into downbeats with weight, then fires off bursts of 8th-note motion to push the harmony forward. You feel him pulling against the band, propelling the groove into the next phrase. His melodic cells twist and resolve with natural ease; even the most complex lines feel inevitable once you hear them.
This isn’t “busy for the sake of busy.” It’s a melodic dramatization of the song’s emotional world.
Pocket & Time
The pocket on “Bernadette” is aggressive, bright, and forward-moving — the complete opposite of Jamerson’s laid-back, behind-the-beat approach on tracks like “What’s Going On” or “My Girl.” Here, he leans into the front of the beat, giving the groove a sense of urgency and desperation that perfectly matches the vocal.
His time is bold and assertive, often pushing the band — but never rushing. This is the Motor City engine at full power. The urgency is created by intention, not impatience. Jamerson controls the forward lean with master-level precision.
This is what Working Pros need to understand:
Jamerson chooses the pocket based on the emotional truth of the song.
Tone & Touch
This is Jamerson’s signature sound at its fiercest — thick fundamental, ringing sustain, and an almost vocal articulation on every attack. His right hand (“the hook”) gives the notes a slightly percussive bite, while his left-hand strength creates long, powerful sustains that glue his long melodic lines together.
There’s a physicality to this performance. You can hear the strength, the commitment, the weight behind the notes. Jamerson’s tone carries both the groove and the emotion — powerful, focused, and resonant.
Harmonic Movement
Harmonically, “Bernadette” is a playground for Jamerson. He outlines chord tones with authority, then stretches outward with chromatic approaches, passing tones, and extended melodic runs that create tension and release in all the right places.
His movement through the changes feels like a story unfolding:
lines climbing into cadences, descending into the next phrase, circling around pivot tones, and using bold voice-leading to give the harmony shape and momentum.
This is harmonic freedom anchored by deep harmonic knowledge.
Interaction With the Band
Jamerson’s interplay with the rest of The Funk Brothers is electric. Listen to how he locks with the kick drum, creating rhythmic surges that give the hook its punch. His lines push the horns, wrap around the guitars, and amplify the emotional delivery of Levi Stubbs.
He’s reacting constantly — to the vocal, to the arrangement, to the intensity of the moment — but he never loses control of the groove. He’s shaping the song from the inside, giving it emotional propulsion with every bar.
This is ensemble leadership from the bass chair.
What This Teaches Modern Bassists
“Bernadette” is a masterclass in balancing melody, power, pocket, and emotion. Jamerson shows that bass lines can be narrative — they can tell a story, elevate the vocal, and carry the momentum of the tune without ever losing their supportive role.
For Working Pros, this transcription offers lessons in rhythmic intention, harmonic fluency, emotional phrasing, and how to use forward energy to lift an entire band.
Working Pro principle:
Intensity is musical when it’s intentional.
Jamerson proves that playing with fire doesn’t mean playing recklessly. His power comes from purpose — every push, every melodic line, every forward lean is tied to the emotion of the song.
Shed Like A Pro
Hear every detail. Feel every nuance.
This isolated bass track gives you full access to the clarity, articulation, and pocket of the original performance—without the rest of the band masking the subtleties. Shed with the exact phrasing, dynamics, note length, and feel that define master-level bass playing.
Step into the band. Fill the chair.
This minus-bass version of the original recording places you directly in the bassist’s role—same mix, same energy, same interaction, with the entire ensemble responding to your time, feel, and sound.