Dumb question: Pino doesn't read music?

[devnulljp]

So I was watching this clip -- not a huge Paul Young fan but Pino's amazing (saw them both live in the late 80s as opening act to Genesis) -- and it struck me. Pino is a world-class session musician. How does he do that without reading music? I'm woodshedding trying to really learn to read bass clef after decades of half-assedly scraping by kinda being able to (mostly) fumble my way through, and this guy can walk into a studio and do some of the most impressive work without being able to read?

 

[DWBass]

Some of the best musicians in the world don't read a lick of music!

 

[Winfred]

Talent. Hard work. Darned if I know?

 

[devnulljp]

Some of the best musicians in the world don't read a lick of music!

True -- but how on earth can you be a session player without it? I can't imagine even getting in the door without being able to read...

 

[pacojas]

Pino is music. you hire his sound. there are a ton of these guys around. get heard and they will come!

 

[Mik75]

Pino isn´t the one who gets the call if they need someone who´s playing a transcribed bass line.
But whenever an artist is needed to fill the lower register with a super musical and grooving bass line, he´s most probably the right man to call! ;-)
He surely reads charts and knows the neck of his bass very very well. He´s just blessed with this outstanding talent that makes him understand and feel music within a very short time. And his hearing is phenomenal!

 

[markjsmithbass]

Different people have different paths into the industry. If a guy has certain sound/feel that is sought after like Pino has then it's worthwhile for an artist/producer to work around something like reading even if there are specific parts that might have been charted out by an arranger. Anyway, I'm pretty sure Pino would never volunteer himself for something that requires loads of reading like a Broadway musical. As great as he is, that would be way out of his comfort zone and something he just couldn't do without weeks and weeks or months of memorising parts. It wouldn't be worth the time and effort.

 

[rtav]

My inability to read is something that has kept me from a lot of opportunities over the decades. I've tried and tried, but there's something about reading music that seems so foreign and alien to me I can't "get" it, and I've tried over 38 years to be able to read it. In my primary band, our keyboardist sight reads and has her minor in music, our drummer teaches music and has his master's in it, and our guitarist also sight reads and teaches music.

Me? I'm the illiterate runt of the litter. When working up something new, everyone emails each other the sheet music they've written - I get a midi file and sometimes a tab. They sit around discussing inversions, modes, etc., while I play Angry Birds on my iPhone. Still, I've managed to hold my own with them for 7 years, but I wish I could read.

Back on topic: I can't imagine even seriously considering doing session work with my non-existent reading skills - or teaching formally (no theory knowledge here, either). I'm shocked that (apparently) Pino doesn't read. Wow.

 

[electracoyote]

Pino is one of those very intuitive cats who has a huge vocabulary of utilitarian approaches to a variety of music styles, and he has the ability to construct solid appropriate bass lines for the song. He doesn't go in and read bass lines; he writes them. This has made him in-demand with other performers who need someone to come in, interpret the song, lay it down and get it right in a timely manner. In addition, he is very tasteful with his tonal choices. In the 80's he put his patented fretless style on the map.

I would venture to say the majority of pop bass players playing on hit records over the decades are this way, and most probably either don't read music or did not rely on that skill. I think a lot of us could get there with enough time and creative effort, but the cream still rises to the top.

 

[DiabolusInMusic]

I don't think bass players have been handed sheet music in the studio for a very long time.

I highly doubt Pino cannot follow/read a chart/head.

 

[lfmn16]

I predict this thread turning into a discussion on the merits of being able to read music!

 

[buldog5151bass]

Most session players, regardless of instrument, need to be able to read music. You will never be turned away from a gig for having that skill. He is one of those musicians who people hire for what he brings to the table - HIS sound, which is very distinctive. If you just want a part covered, you won't be paying his price.

 

[Lownote38]

I don't think bass players have been handed sheet music in the studio for a very long time.

I highly doubt Pino cannot follow/read a chart/head.

What about a session that's for a movie soundtrack, or a commercial advertisement? There are definitely situations where a bass player will be expected to read a piece of written music.

 

[Whousedtoplay]

Mick Karn R.I.P. - Bass player (and a very good one) (R.I.P.)
"I still can't read music."

"Andonis Michaelides (Mick Karn), bass-player, multi-instrumentalist, songwriter: born Nicosia, Cyprus 24 July 1958; married (one son); died London 4 January 2011."
http://www.independent.co.uk/news/o...soteric-earlyeighties-band-japan-2179198.html

Japan - Still Life In Mobile Homes


Japan live — Methods of Dance with Mick Karn

Japan Swing and My New Career

 

[electracoyote]

What about a session that's for a movie soundtrack, or a commercial advertisement? There are definitely situations where a bass player will be expected to read a piece of written music.

Very important in this discussion to differentiate between more formal sessions where the parts have been charted in standard notation in advance and less formal sessions.

And then there are all points in between, such as the Nashville number system.

 

[Spin Doctor]

Pino's gig isn't about reading someone else's part. It's all about him. His style and his sound. Whoever hires him will probably play a few scratch tracks for him and he fills in the blank. He does it on the spot, probably without thinking about it much all. I would think music is so ingrained in him, that he has to think about it as much as he thinks about having a regular conversation...

It's got nothing to do with movies or commercials. He doesn't need any of that work. Yes there are opportunities for that and you do need to read for it. But this thread is asking about Pino, not jingle house commercial work.

 

[Lownote38]

Very important in this discussion to differentiate between more formal sessions where the parts have been charted in standard notation in advance and less formal sessions.

And then there are all points in between, such as the Nashville number system.

Indeed. The Nashville number system is its own animal! I guess it's easier to transpose using that system, though.

 

[Whousedtoplay]

Pino isn´t the one who gets the call if they need someone who´s playing a transcribed bass line.

You mean, playing some boringly old shows - that's what you get for your good sight-reading skill.

But whenever an artist is needed to fill the lower register with a super musical and grooving´bass line, he´s most probably the right man to call! ;-)

But when somebody needs to compose that beautiful bass-line from "Lady in Red",
then AMATEUR Pino is our hero. And all that glory goes to Pino.

No more sight-reading for me.

 

[Mik75]

You mean, playing some boringly old shows - that's what you get for your good sight-reading skill.



But when somebody needs to compose that beautiful bass-line from "Lady in Red",
then AMATEUR Pino is our hero. And all that glory goes to Pino.

No more sight-reading for me.

Sight reading can be helpful in your bag of tricks, if you are a working musician and have to pay your rent with it.
But the musical approach (one could call it composing a bass line) of someone like Pino, is the true art for sure!

 

[Phil Smith]

The more you can do, the more you can do.