As a Hammond organist, I often get asked about bass lines—especially the ones I lean on when comping a jazz blues. Over the years, I’ve gravitated toward a few go-to patterns, particularly when working with students who are exploring the blues for the first time.
In this post, I’ll share 3 essential Hammond bass lines for comping a 12-bar jazz blues in F. Whether you’re new to the Hammond or looking for fresh ideas, these lines will help you build a strong groove and foundation.
Why I Love Blues in F
For me, blues in F feels like home. I keep coming back to it because it’s versatile and soulful—it’s one of those keys that just sounds “right” on the Hammond. It’s also where I often start with students because it’s familiar and offers endless possibilities.
Bass Line #1: Inspired by Jimmy Smith’s “Chicken Shack”
The first bass line is inspired by Jimmy Smith’s classic Chicken Shack. It’s a simple yet powerful pattern built on just two notes: the root and the fifth of the chord you’re on.
• Over F7, you’ll play F and C.
• When moving to the B♭7, you shift to B♭ and F.
• Then return to F and C when back on the F7, and so on, following the 12-bar blues progression.
What gives this bass line its signature feel is the shuffle rhythm. Imagine triplets where the F takes up the first two tied eighths of the triplet and the C lands on the third note. This creates that swinging, rolling motion essential to a proper blues shuffle.
I love starting students with this bass pattern because it locks them into the feel of the blues immediately while keeping things simple and spacious.
The Blues Clave Concept
When playing organ, you’re juggling three main elements:
• The bass line (left hand or foot pedals)
• The comping or chords (right hand)
• The melodies or solos (right hand)
To help students manage these layers, I created what I call a blues clave—a rhythmic pattern that serves as a backbone for your playing. It’s something you can always return to when you’re not busy with melodies or solos.
It’s not a strict rule, just a practical tool. Having a go-to rhythmic groove can really help you stay grounded and maintain the pulse in your playing, especially in a blues context.
Bass Line #2: A Jimmy McGriff-Inspired Pattern
The second bass line is something I picked up from Jimmy McGriff’s style. It’s another favorite of mine, and I often teach it alongside the clave.
Here’s the basic shape:
F – D – C – F# (or G♭)
You can also vary it by substituting the F# with a G:
F – D – C – G
Personally, I like the F# because it opens up harmonic possibilities, like playing a C9 over it in the right hand, which gives it a strong V-I pull.
Again, this bass line fits perfectly within the shuffle feel. I often combine this with wide voicings in my right hand, like an F13 chord (for example, E♭ – A – D – F), to give the progression more texture and depth.
Bass Line #3: The Octave Movement
The third bass line is probably the simplest but very effective. It outlines an octave and leads nicely back to the root:
F – F (an octave higher) – E♭ – C
It’s direct and rhythmic, great for keeping the energy moving forward. When you play it with the shuffle rhythm, it creates a driving feel that’s hard to resist. Like with the other lines, you might find yourself naturally adding ghost notes once you’re comfortable, giving it more character and swing.
Wrapping Up
All three of these bass lines are reliable tools that help you groove and comp confidently over a jazz blues in F. Whether you’re working on your left-hand independence or just looking to freshen up your bass lines, these patterns will serve you well.
🎥 Bonus: Watch the Full Video
Want to hear how these bass lines sound in action? I break them down and demonstrate them step-by-step in this video:
