Funk uses 16ths and pushed downbeats. Reggae uses laid-back eighths with emphasis on the and of beats. Latin (especially Afro-Cuban) uses syncopated patterns built on 3-2 or 2-3 son clave.
Reggae: the one-drop bass
In reggae, the kick drum lands on beat 3, not beat 1. The bass plays roots that emphasize beats 3-and-4, with rests on beats 1-2.
beat: 1 & 2 & 3 & 4 &
play: . . . . E . E E
The bass enters after the first half of the measure. Massive space.
Bob Marley's Three Little Birds (capo'd guitar, but the bass concept is reggae) lives in this rhythm. So does Stir It Up (Family Man Barrett, one of reggae's most influential bassists).
Latin: the tumbao
A tumbao is a bass pattern built on a 2-3 or 3-2 son clave. The simplest tumbao:
beat: 1 & 2 & 3 & 4 &
play: . . E . . . E E
Rest on beat 1, hit on beat 2-and, rest, hit on beat 4. The pattern is syncopated (offset from the strong beats), which creates the Latin feel.
Try both
90 BPM. Play the reggae pattern on E for one minute. Then switch to the Latin tumbao. Notice how different they sound, same chord, same notes, completely different feel.
What this teaches
Rhythm is more important than pitch. A C played on beat 1 sounds different from a C played on beat 2-and. The choice of when to play is at least as important as what to play.
Now go listen to Marley, then Buena Vista Social Club, then James Brown. Pick out the bass lines. You'll start hearing rhythm-driven choices everywhere.
Next: bass solos. The art of taking the spotlight for 8-16 bars.