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James Jamerson is noted for expanding the musical style and role of bass-playing in the popular music of the time, which (in 1950s and '60s R&B, rock and roll, and country) largely consisted of root notes, fifths and simple repetitive patterns. By contrast, many of Jamerson's basslines relied heavily on chromatic runs, syncopation, ghost notes and inversions, with frequent use of open strings. His nimble bass playing was considered an integral part of the "Motown Sound". He transcended the standard "bass line" and created a duet with the singer, melodic, but still very tightly locked with the drumgroove. Prominent bassists who have claimed Jamerson as a primary influence include James Brown's bassist Fred Thomas, Bernard Odum, Bootsy Collins, Tim Drummond, Sweet Charles Sherrell, Gary Thain (Uriah Heep), Larry Graham (Sly and The Family Stone, Graham Central Station), Bernard Edwards (Chic, Robert Kool Bell, Mark Adams (Slave), James Alexander (Bar-Kays), Johnny Flippin (Fatback Band), Clarence Hadley (Joe Tex Band), Steve Washington (Aurra, Slave), Paul McCartney (The Beatles),[6] Brian Wilson (The Beach Boys), Kevin McCord (One Way), Marshal 'Rock' Jones (Ohio Players), Richard Finch (Sunshine Band), Louis Risbrook (B.T. Express), Doug Gibson (Jimmy Castor Bunch), Rocco Prestia, Bill Wyman, Roger Glover (Deep Purple), Mel Schacer (Grand Funk), Andy Fraser (Free), Suzi Quatro, Bob Babbitt, Tommy Cogbill, Ron Asheton (The Stooges), Pete Quaife (The Kinks), Jim McCallister (Mitch Ryder), Tony Sales (Iggy Pop Band), Chris Campbell (Bob Seger), Donald 'Duck' Dunn (Booker T. & The MG's), Pino Palladino, Alan Gorrie (AWB), Rick Danko, Jerry Jemmott, John Entwistle, Glenn Hughes, Nathan Watts, Will Lee,[7] Chuck Rainey, Marcus Miller , Victor Wooten, Mike Mills (R.E.M.), Matt Noveskey (Blue October), Tommy Shannon (Double Trouble), Peter Cetera (Chicago),[8] Phillip Chen (Jimmy James and The Vagabonds, Rod Stewart), Geddy Lee (Rush) and Michael "Flea" Balzary (Red Hot Chili Peppers).[9][10] The Rolling Stones recorded "My Girl", "Ain't Too Proud to Beg", "Just My Imagination", and "Going to a Go-Go".[11] Phil Collins covered "You Can't Hurry Love" and Hall & Oates did "Man Eater" while The Jam's "Town Called Malice" got old Motown beat include James Jamerson's bassline.[12]
James Jamerson's double bass was a German upright acoustic bass that he bought as a teenager and later used on such Motown hits as "My Guy" by Mary Wells and "(Love Is Like a) Heat Wave" by Martha and the Vandellas.
Jamerson played mainly the Fender Precision Bass, but is known to have briefly used a Fender Bass V and a Hagström eight-string later in his career.
His first electric bass was a 1957 Precision Bass, refinished in black, with a gold-anodized pickguard and maple fretboard, nicknamed "Black Beauty". That bass was a gift from his fellow bass player Horace "Chili" Ruth. In the sixties, it was stolen.
After his 1957 Precision Bass was stolen, he acquired a stock 1962 Fender Precision Bass which was dubbed "The Funk Machine." It had a three-tone sunburst finish, a tortoiseshell pickguard, rosewood fretboard and chrome pickup and bridge covers (the latter containing a piece of foam used to dampen sustain and some overtones). On the heel of the instrument he carved, with a ballpoint pen, the word "FUNK". He typically set its volume and tone knobs on full. This instrument was also stolen, just days before Jamerson's death in 1983. As of 2017, it has not been found.
James Jamerson used La Bella heavy-gauge (.052-.110) flatwound strings which were never replaced, unless a string broke. He did not particularly take care of the instrument, as he stated: "The gunk keeps the funk", and it is possible that the neck eventually warped, as many claimed it impossible to play. While this made it more difficult to fret, Jamerson believed it improved the quality of the tone. Early in the '70s, a producer attempted to modernize James Jamerson's sound by asking the bassist to switch to brighter-sounding roundwound bass strings, but Jamerson politely declined.
One aspect of James Jamerson's upright playing that carried over to the electric bass guitar, was the fact that he generally used only his right index finger to pluck the strings while resting his third and fourth fingers on the chrome pickup cover. Jamerson's index finger even earned its own nickname: "The Hook".
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