Thursday, January 16, 2025
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Berklee Prof teaches you Reggae Bass (coolest Bob Marley groove)


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When Bob Marley brought the Jamaican sounds of reggae to the U.S. in the early Seventies, he created a musical revolution. And in today’s video, we want to show you how you can bottle a little bit of that magic for yourself! Watch as we visit Danny Mo Morris and get an exclusive look into some specific techniques used on some of Bob Marley’s most beloved songs.

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Video Breakdown:

00:00 – Introduction
00:36 – Performance
01:45 – The Harmony
03:10 – The One Drop Explained
04:06 – Note Placement
05:50 – Drummers Approach to Reggae Feel
07:22 – Swing Vs Straight
08:43 – Chords on Bass
10:38 – Summary

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Originally posted by UCWTj3vCqkQIsrTGSm4kM34g at https://www.youtube.com/watch?v=e4uOkw2Gipw

32 thoughts on “Berklee Prof teaches you Reggae Bass (coolest Bob Marley groove)

  • Would Be great to have Don Chandler on to talk about reggae Bass….He has played and toured for years with the greats of authentic Reggae …and also has a utube channel..'Donstrumental'..which is definitely worth checking out…Great Reggae bass player…who has a vast knowledge of the music…and excellent teacher

    Reply
  • Reggae is in the gumption.

    The bass and drums are the foundation, everything else is color added to the riddim.

    Simplicity is it's nature.

    If you over think it or clutter it with too many notes then it's no longer reggae but soft jazz or fusion.

    Reply
  • “There’s almost some swing there, like your playing a count bassie tune” OH god. Can we please get some Jamaicans to teach us how to play Jamaican music. Tony Chin, Fully Fullwood, Santa Davis, you guys could find someone. This content is not educational.

    Reply
  • I used to hate Reggae, until I did a Reggae gig. They didn't send me a setlist the first day, despite me asking them a billion times, and I thought I did fine, but given the songs were super popular, I kinda bombed ???? I played at a gospel church for a few years, prior to that gig though, so I was used to hearing the chords and figuring out what number they were and making a bassline, but it DID NOT sound like Reggae ????

    After that day, I INSISTED that they send me the setlist, and only then, did I realize how WRONG everything that I was playing was! Their basslines (and everything else for that matter) are very deliberate and different from what I'm used to. Stir It Up, for example, is a SUPER easy bassline to play, and by itself, sounds kinda boring imo ???? but with the context of the guitar, and drums, the vocals, etc, all of it together makes this grooooovy song, that I never would've been able to appreciate, prior to being a musician.

    Reply
  • Rad. You guys should get Don Chandler to do a session.
    He is not only a great bass instructor, he has a long list of touring and recording credits with Reggae legends!

    Reply
  • Its cool to have bass player here but i would like an episode one day with a bass maker.Explaining how to upgrade your bass,take care of it etc…

    Reply
  • Aston "Family Man" Barrett is laughing at this BS!! Stop wasting your money, suckas.

    Reply
  • This was a great lesson!!! Love me some reggae bass! I would like to see a slap sneak peak of the bass academy. Thanks ????

    Reply
  • Why does the misinformation about the 'one drop' being related to the bass guitar continue to spread? If you're going to teach something, at least get the facts right.

    Reply
  • Reggae drummer here from JA and UK with over 45 years experience.
    One drop is derived from the drums playing on beats 2 & 4 of the bar, it has absolutely nothing to do with the bass guitar.

    Reply
  • And forget the rigid rules of theory because that F is an F# what I like to internalize is counting to 6 in 4/4 it's gonna give you an entirely different feel of how to apply placement.
    Plus contrast is key most of the time when the Drummer grooves or shuffles the bass player follows and that is seldom the case with Carlton and Family man if you listen closely.
    When one shuffles the other one straightens out and they exchange pockets and fills almost oscillating.
    It's exactly that contrast or musical autonomy of legitimizing your own path while playing together that authenticates the feel of Playing On time In Time or just With Time.

    Reply

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