A lesser-known aspect of Stanley Clarke’s early career in the 1970s is that while he was in the throes of revolutionizing the bass guitar, the Philadelphia native had a solid three-year run as a groove-minded New York City session musician.
“I would do four sessions every day,” said Clarke in the May 2017 issue of Bass Player. “I was paying $35 a month in rent and I’d make that in the first hour of my first session! I remember meeting Billy Cobham on a Campbell’s Soup jingle and doing an Avon jingle with Herbie Hancock. It was an amazing time.”
Perhaps the best example is Aretha Franklin’s cover of Bill Withers’ Let Me in Your Life, from her 1974 album of the same name.
Deodato provided a chart that was mostly chord changes with some notated cues. The ensemble did two or three run-throughs and one or two recorded takes. Clarke played his Fender Precision with flatwounds, recorded direct via a tube DI, as well as a miked Ampeg B-15, “to get some grit.”
The track begins with a two-bar intro that includes Deodato and Spinozza riffing, leading Clarke to boldly jump into the groove with his upper-register fill in the second measure.
“I was young, cocky, and confident, so I went for it. The New York session scene at that time was friendly to the next hot young player coming up, and I was that guy on bass – which is smart, because to move music forward, you always have to acknowledge what the youth bring to the table.”
“This was particularly true of Aretha’s producers on the session, Jerry Wexler, Arif Mardin, and Tom Dowd. They always had their eyes on the young guys and the next new sound, and they dug what I was doing. Wexler liked that I took chances. He listened to the take and said, ‘Yeah! That’s a bass track!’”
Clarke pivots between the tonic G and F in the hard-driving A section, with some open-E pickups. He also uses chromaticism when moving to the IV chord C for the second time at 00:43.
“There was a language of contemporary R&B at the time created by masters like drummer Bernard Purdie and guitarist Cornell Dupree, and for me, on bass, James Jamerson and Chuck Rainey – and we were all fluent in it.
“We had the rhythms and the licks down from listening to those guys. But at the same time, we added our own subtle twists, as newer guys with varied influences. I remember Rick’s hi-hat feel was slightly different from Purdie’s.”
“I remember meeting Billy Cobham on a Campbell’s Soup jingle and doing an Avon jingle with Herbie Hancock. It was an amazing time”: Stanley Clarke’s 1974 Session with Aretha Franklin and Soul Music Legacy
The Formative Years: Stanley Clarke Before Fame
Before Stanley Clarke became a household name in jazz fusion and soul music, his career was marked by numerous small yet critical sessions. Among these was a pivotal 1974 recording session with the legendary Aretha Franklin, which would prove to be a key moment in Clarke’s musical journey.
During this period,Clarke was also building connections with other iconic musicians,including drummer Billy Cobham and pianist Herbie Hancock. these encounters happened in sometimes unexpected places, like doing a Campbell’s Soup jingle with Cobham or recording an Avon jingle alongside Hancock, illustrating the wide-ranging gigs that shaped Clarke’s early experience.
Meeting Music Legends: Billy cobham and Herbie Hancock
- Billy Cobham – A powerhouse drummer, known for his groundbreaking work in jazz fusion and collaborations with Miles Davis, Cobham first met Clarke during the Campbell’s Soup jingle sessions. This introduced Clarke to a world where creativity and professionalism merged seamlessly.
- Herbie Hancock – A jazz giant and innovator, Hancock worked with clarke during an Avon commercial recording. This session was another crucial milestone, linking Clarke with a network of visionary artists.
These early experiences were crucial for Clarke, not only for the music but for the relationships and opportunities they provided. They exemplify how session work is frequently enough the unsung backbone of a musician’s rise.
Stanley Clarke’s 1974 Aretha Franklin Session: A Defining Moment
The 1974 studio session with Aretha Franklin, often remembered as a moment where clarke “took chance after chance,” was more than just another job - it symbolized an era when soul music was evolving and blending seamlessly with jazz and funk elements. Clarke’s basslines on this session helped define the sound of soul for years to come.
Aretha franklin, already an established icon known as the queen of Soul, sought fresh, innovative sounds that would bridge traditional soul with the rising influence of jazz fusion and funk. Clarke’s involvement brought that cutting-edge bass depth and flair.
Key Contributions by Stanley Clarke on the Aretha Franklin 1974 Session
- Innovative bass techniques: Clarke introduced complex,melodic bass lines that added rhythmic and harmonic depth.
- Genre fusion: His jazz fusion background blended perfectly with Franklin’s soulful style, pushing the boundaries of both genres.
- Collaborative energy: Demonstrated ability to adapt and elevate the music while working alongside an ensemble of top-tier musicians.
The Impact on Soul Music and Jazz Fusion
This session reflected a turning point where soul music embraced more experimental sounds, thanks in large part to musicians like Stanley Clarke.The collaboration between Clarke, Franklin, and other notable artists contributed to a new soul sound characterized by:
- Groove-oriented bass lines with intricate jazz harmonies
- Improvisational elements later associated with jazz fusion
- Increased emphasis on collaborative musicianship within soul recordings
table: Highlights of Stanley Clarke’s early Career Collaborations
| Year | Collaboration | project Type | Key Impact |
|---|---|---|---|
| Early 1970s | Billy Cobham | Campbell’s Soup jingle | Network expansion; crossover experience |
| Early 1970s | Herbie Hancock | Avon commercial jingle | Jazz fusion exposure; high-profile connections |
| 1974 | Aretha Franklin | Studio session | Defined soul jazz fusion; career catalyst |
Firsthand Experiences: Reflections from Stanley Clarke
Clarke recalls the 1974 session as a vibrant mix of chance and artistic challenge. Meeting giants like Billy Cobham and Herbie Hancock in everyday studio settings showed him how versatile and adventurous the music industry could be. These sessions were not just commercial gigs - they were creative laboratories that fueled his ambition and inspired risk-taking.
“It was an amazing time,” Clarke has said, encapsulating the excitement, uncertainty, and potential that fueled his early career.
Benefits of Embracing Diverse Sessions for Aspiring Musicians
- Networking opportunities: Working with different artists increases visibility and opens doors.
- Skill diversification: Each session teaches new styles and techniques.
- Creative growth: Exposure to varied genres sharpens adaptability and inventiveness.
Practical Tips for Musicians Inspired by stanley Clarke’s Path
- Be open to unexpected gigs – every job can be a valuable stepping stone.
- Network with other musicians during every session; connections are crucial.
- Invest in honing your craft across genres to maximize adaptability.
- Embrace risk and new experiences – great opportunities often come from taking chances.
Case Study: The Importance of Session Work in Shaping Legendary Careers
Stanley clarke’s story parallels many other musicians whose behind-the-scenes work propelled them to stardom. Session work in the 1970s was a fertile ground where emergent talents crossed paths with established stars, creating unique sounds that shaped the future of music.
His 1974 session with Aretha Franklin is a prime example of how seizing these chances with creativity and professionalism helped Clarke carve a unique identity, bridging soul, jazz, and fusion – and ultimately becoming one of the most influential bassists in history.
For the first B section at 00:53, Clarke unleashes a series of descending fills in the back half of each measure. Of note is how he starts his run on the C of the Am7b5 and moves to progressively higher starting notes in the successive chords. Also key is how he uses the open G, D, and A strings to navigate these considerable spans.
“There was space after the downbeat, and I’m thinking David, Rick, and the keyboardists aren’t doing anything, and even the string line is whole-notes, so I went for it! I thought that section needed some movement, and it came out naturally and quickly, without a lot of thought.
“I was a jazz musician; I knew chords and I knew which notes to pick. I was fearless and everyone had made the session so comfortable for me. I remember Rick looking at me wide-eyed and then nodding.
“The other factor was that Aretha is more aggressive in the A section, which we all responded to, but in the B section she’s more passionate and pleading. I wanted to play something beautiful and emotional on the bass in response.”
As for the open-string use, Clarke added, “My whole approach to basslines goes back to my roots on acoustic bass; utilizing open strings is a common device for getting around on the upright. But another part of my open-string use was for tonal purposes.
“As a melodic-minded player, I liked to have ringing notes, and back then, flatwound-strung electric basses had a short, thumpy sound, which is why I liked to have a miked amp when recording.”
Clarke goes on to play with a bit more expression via slurs, slides, and hammers in D. This leads to the outro at 02:53, which rides the A-section pocket. With the fade looming, he submits one more greasy, upper-register idea at 03:11.
