Vulfpeck’s “Daddy, He Got a Tesla” Combines Old-School and Modern Bass-Writing Practices: Here’s What Makes It Great

All the time, we hear stories of how music today is nowhere near as good as in the “good old days.” If we pick an example of the best artist that proves this wrong, it would be either Vulfpeck or The Fearless Flyers. And if there’s a bassist who proves it wrong, then it’s the almighty Joe Dart.

This is why I decided to dive deeper into Joe’s work and explore some of his finest bass lines. Sure, there’s an abundance of them, with his approach to playing that’s nothing short of acrobatic.

Rooted in the groove and concept of “rhythm section first,” Joe’s playing is where the old-school and modern bass line composition meet. The one song that perfectly encapsulates his unique approach to writing and a very clever approach to performing is Vulfpeck’s “Daddy, He Got a Tesla.”

Although the main bass line has some serious staccato in there, it still flows incredibly well while also adding another melodic layer. In just this one part, you can hear Jaco Pastorius, Rocco Prestia, and James Jamerson influences, among others.

While listening to the song, another bassist also comes to mind — Verdine White of Earth, Wind & Fire. The reason I bring up Verdine is Joe’s heavy touch and the way he attacks the strings right over the pickup.

Vulfpeck’s “Tesla” is as fun and lighthearted as the rest of the band’s discography. However, it’s a serious landmark piece that encapsulates all the classic and modern bass works. Most importantly, the bass parts aren’t just a display of Joe’s technical skills as they serve their purpose, blending in with the other instruments and respecting the bigger picture.

Or, in other words, even non-musicians can feel the song. And that’s what it’s all about. This is precisely why I went deeper into analyzing it.