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From: Morenski@ptdprolog.net
Date: 11/19/99
Time: 6:41:46 PM
Remote Name: 204.186.184.161
Dear Bob,
I am going to add my nickels worth to the controversy surrounding Carol Kaye’s claim to “I Was Made To Love Her” and offer an opportunity for a definitive scientific solution.
When I first heard about the controversy, I said OK, seems Kaye was thorough, keep notes and such, maybe she did play the tune, maybe she came up with the “hook” in the opening measure in a demo somewhere, maybe that became a part of the tune. However, stylistically, the next two measures following the opening line, are definitely Jamerson. Kaye never demonstrated anywhere, that I am aware of, previous or thereafter, that peculiar (Jamerson signature) rhythmic style (not that I am a Carol Kaye expert by any means, but I am more than familiar with many of her tracks).
After reading through your site and discovering that Kaye is also trying to take credit for (as I cut and paste) “Bernadette", "Reach Out", "Baby Love", "I Was Made to Love Her", "Ain't No Mountain High Enough", "Dancing In the Streets", "Can't Help Myself", and dozens of others Motown classics-in short, the majority of James Jamerson's signature performances. I too am floored.
I wish you had gone further, rather than state “dozens of other Motown classics”. In other words, I wish you had listed all the tunes she has laid claim to, because, if she is including, what I consider the real genius of Jamerson, as exemplified by “Uptight”, “Darling Dear”, “What’s Going On”, or, in particular “For Once In My Life”, then something HAS to be done (not meant to dismiss both versions of “Ain’t No Mountain”, "Bernadette" or "Reach Out") to definitively resolve this controversy.
As I see it, all that is really needed is to perform a Fourier Transform analysis on the filtered digital signal of all the known Motown tunes that are in contention, as compared to the known works of both Kaye and Jamerson, during the period of contention. Knowing that Jamerson only played on one electric bass, and is reported to have never changed his La Bella strings, the Fourier Transform fingerprints (overtone series analysis) should be quite consistent , and, perhaps, quite distinguishable from Kaye’s Precision Bass overtone signature (now, again, I don’t know a lot about Kaye, but I would assume that she didn’t play on all that many “different” basses either). An analysis of stylistic tendencies, ie, the study of patterns and “time between fingerings” could also possibly distinguish these two bassists.
Now, being a contract engineer “in between gigs”, and having, not only a great interest in the resolution of this controversy, but the necessary mathematical skills and (most of) the equipment to accomplish same (other than the financial resources, in terms of time and a few other necessary gadgets, to benevolently bestow upon the public the definitive answer to this controversy) I would be more than happy to undertake a project of this nature, and would be more than willing to offer a proposal, to execute same, to any willing financiers.
A quick note on the “pick theory” detailed in Marc Petrillo’s e-mail: another thought regarding the sharp attack might have been due to some long fingernails also!
Many, many thanks for your work on “Jamerson”. I started playing bass in the late 60’s, and for a number of years, I, like Entwistle, also referred to Jamerson as “that guy from Motown”. In the mid 70’s, I made an effort to find out “that guy’s” name and came up with Chuck Rainey (close, but no cigar). Until I coped “Standing in the Shadows” in 1992, I didn’t get it cleared up. Imagine, how embarrassed I was: for about 15 years I was crediting Rainey for Jamerson’s stuff (no reflection on Rainey, who is really great in his own right)!
I have served my penance for this mistake, by, although it took me several years (!), thoroughly devouring the charts in “Standing in the Shadows”, blatantly admitting I had credited the wrong dude to my friends and probably foremost, becoming a great champion of the “Jamerson cause”. Now, I’m confronted with this Carol Kaye thing. Let’s get together to get this resolved!
“Ain’t No Mountain High Enough”, Frank Morenski
From: Britney
Date: 2/5/2008
Time: 12:11:17 PM
Remote Name: 210.22.158.132
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