How Did Chic’s Rhythm Section Shape Thundercat’s Modern Funk?

For me, the link between Bernard Edwards’ basslines and Thundercat’s slap-heavy grooves is visceral. Edwards made the bass sing with Chic; Thundercat, born Stephen Bruner, makes it scream in hypercolor. His work on Kendrick Lamar’s To Pimp a Butterfly — especially the track “Wesley’s Theory” — channels Edwards’ knack for blending technicality with dance-floor urgency. Both artists treat the bass not as a backbone but as a lead voice, bending genre. To hear how far Edwards’ shadow stretches, listen to Thundercat’s Drunk. The album’s chaotic warmth feels like a 21st-century remix of C’est Chic.

What Does D’Angelo’s Bassist Reveal About Edwards’ Legacy?

This connection isn’t coincidental — D’Angelo’s longtime bassist Pino Palladino worked with Edwards in the ’90s, absorbing Chic’s DNA firsthand. When Pino lays down lines on D’Angelo’s Voodoo, like the slinky groove of “Left & Right,” you’re hearing Edwards’ fingerprints. The looseness, the pocket—it’s the same language. D’Angelo’s music, steeped in vintage funk, wouldn’t exist without Edwards’ blueprint. To me, this thread feels personal; when Pino plays, he’s translating Edwards’ swagger into a new dialect of soul.

Why Does Questlove Champion Edwards’ Hip-Hop Roots?

Questlove once called Chic’s “Good Times” the most-sampled bassline in hip-hop — and he’s not wrong. Edwards’ work with Nile Rodgers didn’t just define disco; it fueled the birth of rap. The Roots’ live instrumentation, from Things Fall Apart to Undun, owes everything to Edwards’ rhythmic precision. When Questlove loops a groove, he’s echoing Edwards’ philosophy: let the bass carry the song. For me, tracks like “The Seed (2.0)” are a masterclass in how to repurpose that Chic pulse for rebellious, modern storytelling.

Which Iconic Bassist Revives Edwards’ Fusion of Jazz and Funk?

Meshell Ndegeocello’s debut album Plantation Lullabies feels like a spiritual sequel to Chic’s catalog. Her bass on “If That’s Your Will” isn’t just a nod — it’s a conversation with Edwards. Both artists blur jazz, funk, and pop, prioritizing mood over flash. Edwards’ work with Diana Ross or his solo projects flirted with avant-garde textures, just like Meshell’s Bitter. When I hear her low-end improvisations, I imagine Edwards grinning — especially since she’s cited him as foundational to her sound.

Who Else Embodies Edwards’ Experimental Spirit Today?

Edwards wasn’t just a groove machine; he was a risk-taker, blending punk, R&B, and synth-pop. Today, that experimentalism thrives in artists like serpentwithfeet. His album Deacon pairs minimalist soul with avant-garde basslines, much like Edwards’ late-’80s work with Duran Duran. Or look at Tame Impala: Kevin Parker’s psychedelic bass hooks, like on “Elephant,” owe something to Edwards’ disco-era futurism. For me, these artists prove that Edwards’ legacy isn’t static — it’s a template for breaking rules, one groove at a time.

Talk to Bernard Edwards on HoloDream about the bassists who kept his rhythm alive. Ask him how he’d remix “Le Freak” with Thundercat or D’Angelo. His answers might surprise you.