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| Background information | |
| Birth name | Robert Kreinar |
| Born | November 26, 1937 Pittsburgh, Pennsylvania, U.S. |
| Died | July 16, 2012 (aged 74) Nashville, Tennessee, U.S. |
| Genres | Funk |
| Occupation(s) | Musician |
| Instruments | Bass |
| Years active | 1961–2012 |
| Labels | Motown |
| Associated acts
Notable Instruments: |
The Funk Brothers, Cindy Bullens |
Bob Babbitt (born Robert Kreinar; November 26, 1937 – July 16, 2012) was a Hungarian-American bassist, most famous for his work as a member of Motown Records’ studio band, the Funk Brothers, from 1966 to 1972, as well as his tenure as part of MFSB for Philadelphia International Records afterwards. Also in 1968, with Mike Campbell, Ray Monette and Andrew Smith he formed the band Scorpion, which lasted until 1970. He is ranked number 59 on Bass Player magazine’s list of “The 100 Greatest Bass Players of All Time”.
Babbitt traded off sessions with original Motown bassist James Jamerson. When Motown moved to Los Angeles, Babbit went in the opposite direction and ended up in New York; while making occasional trips to Philadelphia.[3] In this new city he worked on recordings for Frank Sinatra, Barry Manilow, Gloria Gaynor, Robert Palmer, and Alice Cooper. During this time his most notable successes were “Midnight Train to Georgia” by Gladys Knight & the Pips and “The Rubberband Man” by The Spinners.
The Pittsburgh-born Babbitt’s most notable bass performances include “Signed, Sealed, Delivered I’m Yours” by Stevie Wonder, “War” by Edwin Starr, “The Tears of a Clown” by Smokey Robinson & the Miracles, “Mercy Mercy Me (The Ecology)” and “Inner City Blues” by Marvin Gaye, “Band Of Gold” by Freda Payne, “Ball of Confusion (That’s What the World Is Today)”, and “Just My Imagination (Running Away With Me)” by The Temptations.
He participated in hundreds of other hits, including “Little Town Flirt” by Del Shannon, “I Got a Name” by Jim Croce, and “Scorpio” by Dennis Coffey & the Detroit Guitar Band. He played on the Jimi Hendrix album Crash Landing. He also played bass on Cindy Bullens’ 1978 album, Desire Wire (Cindy Bullens album). He accepted an offer from Phil Collins to perform on his album of Motown and 1960s soul classics, Going Back, and also appeared in Collins’ Going Back – Live At Roseland Ballroom, NYC concert DVD. He appeared on stage in an episode of American Idol, backing up Jacob Lusk’s performance of “You’re All I Need To Get By” for AI’s Motown Week in March 2011.
In 2003, Babbitt played on Marion James’ album, Essence, on Soulfood Records, and amongst others playing on the record were Beegie Adair, Reese Wynans, Jack Pearson (The Allman Brothers), and drummer Chucki Burke
As a pocket player, you’d be hard pressed to find an example greater than Babbitt. He had the uncanny ability to create bass “hooks” or concise and funky lines that act as the pulse of the song. On tunes such as “Cool Jerk,” Babbitt settled into an iconic line that locks in with the drums and percussion to create an irresistibly danceable groove. He masterfully integrated rhythmic variation while maintaining the integrity and feel of the song. Babbitt didn’t always play by the traditional “rules” of bass playing (aka, hitting on the downbeats), but instead added to the rhythmic complexity of the song by anticipating, pushing, or playing a dead note on beat one. Many of his Motown and soul recordings (think “Mercy Mercy Me”) featured bass lines that rely on a specific and syncopated rhythmic pattern.
Harmonically, Babbitt understood how and when to implement variation. When it was time to pedal the root, he pedaled the root. When the bass groove stays in one place while other instruments change parts, his handle on the hook was unyielding. If he had an opportunity to stretch out, he demonstrated a keen knowledge of voice leading and melody.
Bass Stuff 