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Hi from Jeff Berlin

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#201
CindyB said:
Hi Jeff,
I used to have a tape I received as part of a BIT information package back in the mid 80's. (We met briefly when I visited the school.) On this tape was a version of Ave Maria that you did which was one of the most beautiful bass pieces I've ever heard. Somehow during one of my many moves this tape was lost. Was this version of Ave Maria ever recorded anywhere else? I'd love to have it again.

Cindy
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What a great piece of music. I will remember to record it in the future. Thank you for reminding me.
 
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#203
willgroove2 said:
Hey Jeff big fan, I'm curious have you ever done "working stiff musician" gig's I.E. wedding bands,corporate shows ect even in your young days as a player and if so did they have any value to your development as a player?
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I surely have. I did a lot of clubs, wedding, shows, all the working man's work. It paid me money while I had a bass in my hands, and I got to meet a lot of guys who became a part of my musical life as we all grew to other levels of success.
 
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#204
Hey Jeff, Thanks for answering all our questions!!

when would you say did you develope the most as a musician?
did you ever struggle or were you just a "natural"? Im sure you must have worked so hard to reach that level of musicianship.. but what were your greatest obsticales in getting there? how much talent is it, and how much hard work?

all the best!!
 
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#205
mosesj4 said:
Jeff,

How do you approach writing a bassline for someone's music that you were hired for ?
Also, are you always given the chord charts ahead of time or, is all done right there on the studio ?

Thanks
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It depends upon the style oif music that I am playing, the instrumentation, what is actually happening around me with the other musicians. Lots of things come into play with me when I try to come up with something. One's experience is definiltely in force when coming up with a bass part that fits, makes sense and also (if possible) represents me as an artist.
 
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#207
bass12 said:
Hi Jeff. What's the one note on a bass that sums up that bass' tone for you?
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Interesting question. I happen to like a low F# and G on my bass.

One day we were gigging with my trio in Italy. Richard Drexler, the pianist and also the upright bass player was familiarizing himself with an upright bass that was loaned to him for the show. He played a low G and the whole stage RANG from that note. We both shot a look at each other at the same moment with a "Holy Mackeral" expression on both our faces.
 
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#209
Jeff,

I make it a point to find time to play every day for at least a half hour or so. I start with warmups and then just play things that I've created noodling around. I try to vary my technique and tempo, but often wonder if there's not a more efficient way to improve my accuracy and speed. Outside of what you've already mentioned about practicing parts out of time to make sure I'm playing them correctly and with articulation, are there any other pointers, tips, or excercises that you've found have helped you make the most out of your practice time?

Thanks,

Mike
 
#210
JeffBerlin said:
No it doesn't because the instant that a drummer and other live musiciansd come into the equation, your metronome lessons are immediately invalidated. Scales and other exercises are really bad practice principles to use with a metronome. In fact, they are totally ineffective, but I know that some will not believe this.
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That's why you have to learn how to do both. Playing with a metronome and learning how to place the beat in different ways is, IMO, invaluable for when you encounter a drummer. Now, if you made metronome practice the end-all-be-all of rythmic training, then yes I could see how you would be ill-prepared for the give and take that comes from all musicians time sense. I also find it extremely challenging to play scales/chord-tones using whole notes while set to about 30-60 bpm. Also, I like to set up the metronome to drop out for several bars so that I can try to keep time in between.

That being said, there IS NO SUBSTITUTE for playing live with others. Agree 100% with you here. I think the first year or so of me gigging full time eclipsed several years of bedroom study. IME of course.



Yes it is! Still, I hold to the idea trhat practicing for a career is an ineffectual way to learn. I regard very strongly practicing as preparing to be a player and regard gigs as a fringe benefit that comes when I am deserving enough to acquire those jobs.
Realize that just about every great bassist who records with a click didn't develop this skill with a metronome. If this is so, one would have to ask themselves where their skill of click playing came from.
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Not a bad philosophy, but only one of a myriad of approaches IMO. If a up and coming player is dead set on working in hip/hop or rap, than IME working with an MPC drum machine is INVALUABLE practice, just as your approach to studying music is to me a logical way to learn how to improvise within a Jazz context and also to master the fretboard. You might see the first approach as limiting, but that only makes sense within the parameters of your particular, and well thought out, musical approach. When I am trying to propel a swing groove on a jazz gig, the last thing I'm thinking about is metronomic time per se. I alter my approach to fit the playing of the rest of the band. However, when I"m asked to lay down some bass alongside a drum-machine, I HEAVILY lean on my skills of playing around a click track.


You are a gentleman and your questions are intelligent and thoughtful. Consider that most professional musicians have way more skills than just playing in time to a click. These skills come when one is deep into musical improvement and the rewards come when one is truly dedicated to music and the regard of it.
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True, and thanks for the compliment. I'm curious to know how developing the skill to play consistently along with a click track is any different than playing with a metronome and/or drum-machine/sequencer? And yes, this is only one of MANY abilities that a professional MUST have.

Thanks for taking the time for this discussion!
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#213
dancing_chris said:
Hey Jeff, Thanks for answering all our questions!!

when would you say did you develope the most as a musician?
did you ever struggle or were you just a "natural"? Im sure you must have worked so hard to reach that level of musicianship.. but what were your greatest obsticales in getting there? how much talent is it, and how much hard work?

all the best!!
Click to expand...

Honestly, my best playing happened about a couple of years ago. I am no genius. I am a guy with a love for music and a work ethic. I am a guy who also has a gift for music and I always had this since I was a baby. I used to sing Italian songs in phonetic Italian in the crib before I could talk, according mto my parents. I sang an entire Jussi Bjorling record when I was three years old. because my day used to play it in the house.

Even still, I struggled for years even while I was a world famous player, because I knew the truth about my playing and totally dismissed the accolades. I was, and am, a work in progress and after hearing my last CD, the jazz standards one that will come out soon, I know EXACTLY what I need to do to improve my playing for the next one. Believe me, not many people know this except my closest friends and family but I really suffer over my art.
 
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#214
Eminor3rd said:
Jeff,

I make it a point to find time to play every day for at least a half hour or so. I start with warmups and then just play things that I've created noodling around. I try to vary my technique and tempo, but often wonder if there's not a more efficient way to improve my accuracy and speed. Outside of what you've already mentioned about practicing parts out of time to make sure I'm playing them correctly and with articulation, are there any other pointers, tips, or excercises that you've found have helped you make the most out of your practice time?

Thanks,

Mike
Click to expand...

My most sincere suggestion is that you forget tempo, forget technique, forget speed, even don't worry about accuracy. All this will come if you learn music first because music requires different tempos, accuracy, technique. If you learn how to read, how to solo, how to function in a musical manner, then you will have a need for all the things that you listed here today.
 
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#215
12bass said:
Hey Jeff,

Any thoughts on the state of Jazz? I've long thought that it is an art form which should be continually evolving, but around here, what I hear is mostly uninspired standards.
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Jazz, in my opinion, is a mostly disgarded music in America. Sure it exists. But greatly diminished in impact upon people in America because it receives little press, little support, even less radio or TV airplay.
 
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#217
JeffBerlin said:
My most sincere suggestion is that you forget tempo, forget technique, forget speed, even don't worry about accuracy. All this will come if you learn music first because music requires different tempos, accuracy, technique. If you learn how to read, how to solo, how to function in a musical manner, then you will have a need for all the things that you listed here today.
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Jeff, I'm using a Joe Valenti book on reading intervals to improve my reading.... I also try to read new charts regularly so I don't memorize.... Do you have any other suggestions?
thanks,
Rich :cool:
 
#218
LowBSix said:
Jeff, I'm using a Joe Valenti book on reading intervals to improve my reading.... I also try to read new charts regularly so I don't memorize.... Do you have any other suggestions?
thanks,
Rich :cool:
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A good teacher will help. Most players really shouldn't be teaching themselves in a subject that is new or unfamiliar to them. Go to an expert and get some info. If you are a working musician, you can even tax deduct the lesons.
 
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#219
man im so glad i came onto talkbass today:-) thanks Jeff for doing this and being so honest with us!!

so here is another:

ear training: whats your view on this? would you say its a good move to sing everything along that you play? what you do special exercises for developing a good ear? or does it come naturally by doing transcription and playing with a full consciousness?
 
#220
Hi Jeff

Welcome to TB. I to am a great fan of yours and look forward to the wisdom and experience you bring. At this present time I'm a bit economically challenged so working with a teacher is not an option for me right now and my playing seems to me at least to be in a bit of a rut. I play mostly Gospel/Contemporary Christian and Jazz Fusion and I seem to be stuck doing the same runs and fills. To top it off I've started developing tendonitis in my right arm (I'm right handed). What do you recommend as both a course of study as well as playing exercises?
 
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