Sammy Otoo and the Revolution of Bass Guitar Patterns in Ghanaian Gospel Praise Songs

Sammy Otoo is regarded as one of Ghana’s most influential bass guitar players, whose bass patterns have significantly shaped the sound of Ghanaian gospel praise songs. His bass lines have become the standard for modern bass players in this genre and are often used as benchmarks during auditions and recruitment by gospel bands. However, scholarly exploration of his approach to revolutionising bass guitar patterns in Ghanaian gospel praise songs has been limited. This study explores Sammy Otoo’s contribution to bass guitar technique, examining the thematic concepts embedded in his bass patterns and aims to preserve his legacy. Using a case study and discographic research designs, the findings show that Sammy Otoo, a self-taught musician, developed his technique through a combination of records and sheet music. His deep knowledge of multiple music genres allowed him to blend conventional patterns, such as ‘walking’ and ‘substitution’, while incorporating melodic motifs from various musical traditions. These innovative approaches make his rhythm and pitch organisation unpredictable, contrary to conventional bass guitar patterns used in Ghanaian gospel praise songs. It is concluded that Sammy Otoo revolutionised the bass guitar patterns in this genre, influencing a new generation of bass players. Music instructors, curriculum developers, and performers are encouraged to integrate his techniques and recordings into instructional and performance practices. Also, institutions and individuals involved in African popular music education are expected to adopt Sammy Otoo’s contributions as essential learning material, with the view to reflecting the dynamic evolution of Ghanaian popular/gospel music and to reimagining instrumental roles to inspire future generations of musicians.

Keywords: Bass guitar patterns, bass players, gospel praise songs, revolution, Sammy Otoo, technique