The Funk Brothers

To Motown's stars, the four wooden steps leading down to Hitsville's basement were a bridge to a land of dreams. But to the studio musicians who shaped the Motown sound, the stairs were a gateway to a workplace, a cramped, smoke stained, dimly lit room they affectionately dubbed "The Snakepit."
For almost fourteen years on a daily and nightly basis, the musicians transformed that basement into a hit factory. They rolled masterpieces off the production line in an hour or less, trading friendly insults as they worked. Known as "Funk Brothers", they were utterly unknown.

Berry Gordy demanded assembly-line efficency. Sessions started at 10 o'clock and were over in the afternoon. Most of the time they were three hour sessions. Since they could call for a session seven days a week the Funk Brothers were always on call. They were paid $10 a song until everything was right.

In some of those three hour sessions there might be two or three producers depending on the number of songs. The Union rule was that you could cut no more than four songs at a session. However because the Funk Brothers were an in-house band the Union was never around. So they cut whatever needed to be done.

At the Chit Chat Lounge
(l to r: Robert White, Dan Turner, Earl Van Dyke, Uriel Jones, James Jamerson and DJ Martha Jean Steinberg)

When they weren't working at Studio A they could often times be found jamming at Millie's Chit Chat Lounge on 12th Street.

Here are the names of those musicians, broken down into the three distinct periods of the Motown Sound.

1959-1962 The early Motown hits were blues based, a product of the uncluttered approach devised by the Motown staff songwriters and producers in tandem with local blues and R&B musicians. Most of the arrangements were done on the spot by the musicians, occasionally with a simple horns background added.

The earthly, down home piano playing of Joe Hunter, Motown's first bandleader, contributed a great deal to the success of hits like "Pride and Joy" and "Come Get These Memories." Although he left in 1964, Hunter's greatest achievement was bringing together the intregal components of a world class studio band.

Keyboards - Joe Hunter, Earl Van Dyke, Popcorn Wylie Guitars - Robert White, Eddie Willis, Joe Messina, Larry Veeder, Dave Hamilton
Bass - James Jamerson, Clarence Isabell
Drums - Benny Benjamin, Richard "Pistol" Allen, George McGregor, Clifford Mack
Percussion - Jack Ashford, Eddie "Bongo" Brown
Vibes - Jack Ashford, Dave Hamilton, James Gittens
Trumpets - Herbie Williams, John "Little John" Wilson, Marcus Belgrave, Russell Conway, Johnny Trudell
Saxophones- Hank Crosby, Andrew "Mike" Toney, Norris Patterson, Thomas "Beans" Bowles, Teddy Buckner, Ronnie Wakefield, Lefty Edwards, Eli Fontaine, Ernie Rodgers
Trombone - Bob Cousar, George Bohanon, Paul Riser

Motown's resounding success was a powerful magnet to Detroit's local jazz and club players, who brought with them a musical sophistication missing in the earliest recordings. Robert White's and Eddie Willis' signature guitar licks, the backbeat cooked up by guitarist Joe Messina and percussionist Jack Ashford, the heart stopping rhythmic locks by drummer Benny Benjamin and virtuoso bassist James Jamerson, the deft direction by bandleader and keyboardist Earl Van Dyke, provided the unshakeable foundation for Motown's stars.

Keyboards - Earl Van Dyke, Johnny Griffith, Johnny Gittens, Ted Sheely Guitars - Robert White, Eddie Willis, Joe Messina, Marv Tarplin, Cornelius Grant
Bass -James Jamerson, Tony Newton
Drums -Benny Benjamin, Richard "Pistol" Allen, Uriel Jones, Frederick Waites
Percussion - Jack Ashford, Eddie "Bongo" Brown
Vibes- Jack Ashford, Jack Brokensha
Trumpet - Johnny Trudel, Herbie Williams, Floyd Jones, Maurice Davis, Billy Horner, Jon "Little John" Wilson, Russell Conway, Marcus Belgrave, Don Slaughter.
Trombone - George Bohanon, Jimmy Wilkens, Bob Cousar, Paul Riser, Don White, Carl Raetz, Patrick Lanier, Bill Johnson
Saxophone - Hank Crosby, Andrew "Mike" Terry, Thomas Beans" Bowles, Kasuka Malia, Teddy Buckner, Lefty Edwards, Eugene BeeBee" Moore, William "Wild Bill" Moore, Angelo Carlisi, Ernie Rodgers, Dan Turner, Bernie Peacock, Larry Nozero
Flute - Dayna Hartwick
Strings - Gordon Staples (concertmaster) and the Detroit Symphony Strings.

1968-1972

During this era there was a new catalyst for change in the Motown sound. Producer Norman Whitfield's psychedelic soul revolution ushered in the arrival of guitarist Dennis Coffey and Wah Wah Watson. Motown's recording schedule increased bringing in other new players. The death of Benny Benjamin, along with James Jefferson's advancing alcoholism, pushed talents like Uriel Jones and Bob Babbitt to the front. Still at Motowns core was the classic band led by Earl Van Dyke.

Ater a decade of hit making the Funk Brothers performed like a championship team; they thought their dynasty would last forever. But as Motown began to seek new horizons in Los Angeles, the musicians sensed the coming of an end to an era. Digging deep into their lifeblood, the many strains of Detroit's rich musical traditions, they redefined the boundaries of pop music one last time with the historic Marvin Gaye What:s Going On sessions.

Within a year after the release of Gaye's album, Motown moved permanently to Los Angeles, and the most prolific studio band in recording history closed shop.

Keyboards - Earl Van Dyke, Johnny Griffith Guitars _ Robert White, Eddie Willis, Joe Messina, Dennis Coffey, Wah Wah Watson
Bass - James Jamerson, Bob Babbit, Eddie Watkins
Drums - Richard "Pistol" Allen, Uriel Jones, Andrew Smith
Percussion - Jack Ashford, Eddie "Bongo" Brown
Vibes - Jack Ashford, Jack Brokensha
Trumpet - John Trudell, Russell Conway, Herbie Williams, Floyd Jones, John "Little John" Wilson, Maurice Davis, Marcus Belgrave, Billy Horner, Don Slaughter, Eddie Jones
Trombone - Jimmy Wilkins, Bob Cousar, Paul Riser, Don White, Carl Raetz, Patricl Lanier, Paul Johnson
Saxophones - Hank Crosby, Kasuka Mafia,Teddy Buckner, Lefty Edwards, Bernie Peacock, Thomas "Beans" Bowles, Eugene "BeeBee" Mooore, William "Wild Bill" Moore, Angelo Carlisi, Ernie Rodgers, Dan Turner, Eli Fontaine, Larry Nozero, Lanny Austin
Flute - Dayna Hartwick
Strings - Gordon Staples (concertmaster) and the Detroit Symphony Strings

Arrangers and producers throughout the Detroit era - Paul Riser, Willie Shorter, Dave Van DePitte, Wade Marcus, Johnny Allen, Gil Askey, Ernie Wilkins, Jerry Long, Hank Crosby, Slide Hampton, H.B. Barnum

Motown's West Coast Studio Band.

During the mid-Sixties Motown augmented its overwhelming Detroit recording schedule with a few west Coast sessions. In addition to accommodate complex touring schedules the company often flew tapes between Los Angeles and Detroit. The majority of the hits were still being recorded in Detroit, but by the late 60s the Los Angeles operation played an increasingly important role. The Jackson 5 sessions, in fact, were recorded almost entirely in Los Angeles.

Keyboards - Mike Rubini, Joe Sample, Clarence McDonald, Don Randi, Larry Knechtel Guitars - Arthur Wright, David T. Walker, Thomas Tedesco, Louie Shelton, Adolph Green, Weldon T. Parks
Bass - Wilson Felder, Carol Kaye, Bill Pitman, Ron Brown
Drums - Earl Palmer, Ed Greene, Gene Pello, Paul Humphreys
Percussion - Gary Coleman, Bobbye Porter, King Errisson, Joe Clayton, Sandra Crouch, Jerry Steinholtz, Emil Richards
Arrangers - Gene Page, James Carmichael, Arthur Wright, Gil Ashley

James Jamerson was inducted in to the Rock and Roll Hall of Fame in 2000 James Jamerson
Who's who of the Funk Brothers
Standing In the Shadows of Motown: The Story of the Funk Brothers
Recording at Motown

In the 1960's an independent record company in Detroit, Michigan began creating and marketing hit records better and in larger volume than any record company in the world. The name of this record company was Motown. The recording techniques that were developed by Motown in the mid 60's were part of the formula for the company's success. Even today, many of the recording techniques used find their roots in this "Motown Sound" of the 60's. The Motown Historical Museum includes the original Hitsville USA building that housed Motown's original recording studio on West Grand Blvd. in Detroit. I worked for Motown 1963-1968. I was the "Disc Recording ("Mastering") Supervisor and had other responsibilities in the engineering department and in quality control of the sound quality. The recording student and the recording engineer of today will find a visit to the museum both interesting and informative. Recording EQ would like to give you a glimpse of our "Motown Recording Heritage."

The Original Hitsville USA The outside of the East museum building looks much like it looked in the 60's with the "Hitsville USA" sign above the large display windows. In front of the building is the official State of Michigan plaque declaring this a historical site. When I worked for Motown (1963-1968) the basement of this building housed the Engineering Department. The Control Room was on the first floor and the studio was in an addition in the back. The attic had an acoustic reverberation chamber in it. Before I left, Motown had installed a mix room in a close-by building and had another studio miles away. Read the Motown Heritage article about winter at the spread out 1960's Motown. The Original Console The recording console just routed and mixed the signals. Racks of gear to shape the sound had to be "patched" into the console. The Control Room was small, but for some reason you could cram a lot of people into it. The panels of the console were custom built by Motown's engineering department. Read the Motown Heritage article about Motown's custom engineering. The famous reverberation of the 1960's was obtained by acoustic chambers built into the three main Motown building attics and patched into the console during mixing. The patch points for the three chambers were labeled with the address of the building (like "2648") The Equipment Racks The back of the control room had racks of equipment that could be patched into the console. In a modern console much of this gear would actually be in the console housing. Read the Motown Heritage article about the racks catching on fire. The original 3 track tape machine (Left) recorded many hits in its day. The first Motown 8 track (middle rack) took over a year to build and install. In those days you couldn't buy an 8 track from the music store. Read the Motown Heritage article about how these machines tended to break tape. The Studio The studio was fair-sized and had "good" acoustics. Mic cables were fed from the ceiling so the cords weren't stepped on. The studio was actually an addition on the back of the building - similar to how you may add a recording studio to your house. Read the Motown Heritage article that compares the Motown studio to a "home recording" studio. The Original Complex