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Lots of ghostnotes and syncopation here! Because of the syncopation (playing notes after the beat on 1, 2, 3 and 4) and the ghostnotes it’s a very funky and groovy bassline and a joy to play! The ‘secret’ of this bassline is getting the right feel of the main groove. It has to feel laidback and in the same time the groove has got a ‘push’ because of the ghostnotes and syncopated notes.
I’ve seen different tabs/scores from this song and I see (hear) that in most of these transcriptions bassists play a ghostnote on the second and fourth beat of a bar. That’s already the case in bar 1 and 2. But I think you just DON’T (!) have to play this ghostnote. The snare drum is already playing there and I think it’s far more musical to not play a note there in the bass and to give space to the snare drum.
Lenny plays some really nice slides. Listen for instance at bar 3 where he not just slides from the Bb note to the G note, but you can hear him play the Ab note. It’s a subtle effect because the Ab is not ‘in your face’, but it’s there!
Also a very subtle effect is in bar 12 where he plays a hammer on note on the fourth beat (from Ab to A). I really love these details!
An other one of my favorite licks is in bar 29 and 30. Lenny plays sixteenth Ab notes (being the fifth of the Db chord) and he plays these same Ab note on the Fm chord (being the third of the Fm chord). It isn’t a very difficult lick, but it’s very harmonic.
And only in the Chorus 4 he plays octaves in the Db chord of the main groove. Talk about building a bassline and having patience to build a bassline! Also in Chorus 4 he plays these really nice pull off 16th notes (bar 62 and bar 70 in Chorus 5).
Talking about syncopation: what about bar 64 and 70! I really love it!
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Bass: Lenny Kravitz
Album: Mama said (1991)
Composer: Lenny Kravitz
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