oh, you got me interested, you got a list of the standards you re-interpreted?
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Hi from Jeff Berlin
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oh, you got me interested, you got a list of the standards you re-interpreted?
I use an amp that was originally presented to me as a standard Markbass 15 inch combo amp. I so fell in love with the sound that Marco DeVirgiliis, the boss of Markbass called it the Jeff Berlin Combo. The only bit of customizing that I did to the amp was to take the tweeter out of the cabinet.
No sales pitch here! This is the best sounding bass amp I ever played through, and it has my name on it. I am overwhelmed with gratitute for such a magnificent bit of amp construction.
Groovin' High, Invitation, Body & Soul, Someday My Prince Will Come. Nardis. I Want to Be Happy, Poinciana, Solar.
Okay Jeff ,
Here is my question in reference to my last statement , ( not what you said but Why ) .
In a Sept.2007 Bass Player Article , they Deconstructed Hovana .
They then printed a comment of yours in the NOV. 2007 ,
Here it is quoted " Jaco Pastoriuos did not improvise his solo on Hovana . In fact , most of his well known solos ( Donna Lee , Used to be a cha cha ) were written and rehearsed ahead of time and are compositional rather than improvised works . Jaco's talents are unquestionable , but instant solo improvisation though chord changes was not something he developed "
This has bugged me quite a bit as it makes me wonder what you were trying to point out .
When you improvise Jeff , are you using information you haven't written out or rehearsed ? Are you just making up scales you have never played ? Or are you seamlessly combining phrases , scales , chord tones that you have written out and rehearsed for many years . So , okay , he wrote out his part and rehearsed it , and he was prepared for the sesssion and gave a very memorable performance that has stood the test of time . Should he have come in and just winged it ? Granted he could have done something that off the cuff and it would probably still blown everybody's mind at that time . Bringing up this point really seems trivial . Shouldn't we all do whatever we can to nial the session ? This comment you made goes against much of what you had to say about learning to read and write and using those tools to be prepared .
By pointing out that Jaco never developed the ability to instantly improvise through chord changes it sounds like you are saying " Jaco can't do it but Jeff Berlin can , I must be better than Jaco " I am sure you didn't mean it just like that . I would really like to know what your point was to comment on something that after the guy has been dead is recognized as one of his Gems . My other question is , how do you know these things about Jaco ( I assume it is true ) ? Did he personally reveal this to you ?
I have followed your written comments for many years , and I know how to take you bravado , but this one stuck with me . It came off as if you were jealous of Jaco for the attention and legacy that continues to grow . I know what a phenominally great bassist you are ! And I know that you should be recognized as such by a much wider audience , but to constantly curtail Jacos legacy just seems futile .
Please take this as it was written Jeff , with much respect and interest in what you have to say .
Best regards ,
Pete Skjold
Here is my question in reference to my last statement , ( not what you said but Why ) .
In a Sept.2007 Bass Player Article , they Deconstructed Hovana .
They then printed a comment of yours in the NOV. 2007 ,
Here it is quoted " Jaco Pastoriuos did not improvise his solo on Hovana . In fact , most of his well known solos ( Donna Lee , Used to be a cha cha ) were written and rehearsed ahead of time and are compositional rather than improvised works . Jaco's talents are unquestionable , but instant solo improvisation though chord changes was not something he developed "
This has bugged me quite a bit as it makes me wonder what you were trying to point out .
When you improvise Jeff , are you using information you haven't written out or rehearsed ? Are you just making up scales you have never played ? Or are you seamlessly combining phrases , scales , chord tones that you have written out and rehearsed for many years . So , okay , he wrote out his part and rehearsed it , and he was prepared for the sesssion and gave a very memorable performance that has stood the test of time . Should he have come in and just winged it ? Granted he could have done something that off the cuff and it would probably still blown everybody's mind at that time . Bringing up this point really seems trivial . Shouldn't we all do whatever we can to nial the session ? This comment you made goes against much of what you had to say about learning to read and write and using those tools to be prepared .
By pointing out that Jaco never developed the ability to instantly improvise through chord changes it sounds like you are saying " Jaco can't do it but Jeff Berlin can , I must be better than Jaco " I am sure you didn't mean it just like that . I would really like to know what your point was to comment on something that after the guy has been dead is recognized as one of his Gems . My other question is , how do you know these things about Jaco ( I assume it is true ) ? Did he personally reveal this to you ?
I have followed your written comments for many years , and I know how to take you bravado , but this one stuck with me . It came off as if you were jealous of Jaco for the attention and legacy that continues to grow . I know what a phenominally great bassist you are ! And I know that you should be recognized as such by a much wider audience , but to constantly curtail Jacos legacy just seems futile .
Please take this as it was written Jeff , with much respect and interest in what you have to say .
Best regards ,
Pete Skjold
Hi Jeff!! Man I just love your playing. Your soloing is so fluid and melodic...
which leads me to my question:
when playing a complex jazz standard (or piece), with lots of chords, key changes etc. (e.g. giant steps).. how would you start approaching a piece like that? praciting it in little sections, maybe also in one sections on your fretboard? soloing over it at a slow tempo? also would you recommend practicing standards in all 12 keys?
thanks!!
which leads me to my question:
when playing a complex jazz standard (or piece), with lots of chords, key changes etc. (e.g. giant steps).. how would you start approaching a piece like that? praciting it in little sections, maybe also in one sections on your fretboard? soloing over it at a slow tempo? also would you recommend practicing standards in all 12 keys?
thanks!!
Thangfish
...overly qualified for janitorical deployment...
Jeff -
Welcome aboard. I'm a big fan and I hope you'll be back often. I have to tell you I appreciate the sense of humor in many of your song titles on the last CDs.
Couple of questions:
Bx3? How about another tour? At least a CD from the last one? Any news there?
Also - I really like your video of the Star Spangled Banner on your site. Any chance you'll record that or post an MP3?
what is the best way to improve sight readin? i know the notes and where they are played but it just dont flow evenly. im the type of player that has to constantly practice the piece.
I've got just one question. If I was to get into playing jazz, what are some good CD's to pick up that I can listen to and train my ear to? I listen to a lot of Dave Weckl, Alan Holdsworth, Vital Information, etc., but I seem to be getting in a rut listening to this stuff. Is there something out there that I have yet to hear of? I'm sure there is but could you offer up a few suggestions?
My assessment, not being Jeff, and reading it for the first time, was that he was pointing out that Jaco just didn't improv those sections. "Kind of Blue" was a recording made with the briefest of outlines, and then tracked 1st take (if I am not mistaken). The difference between the two approaches is there...not bad, or good, but there. And had one approach been contributed incorrectly to someone...pointing it out, to me, is like telling someone, "that's not really a minor scale...that's Dorian". Simple correction, one would think.
Seems like some of the inflammatory statements maybe mis-read statements...no direct remark about your comment intended, Pete.
IMHO
Closed for intarwebs cleanup, will be opened up again real soon.
Offending posts here will be deleted
Offending posts here will be deleted
This thread has now been opened up again for now after extensive cleanup.
Maybe this is the real Jeff Berlin, maybe not, for now we shall treat him if he is the real thing.
No trolling here thank you!
Those who will troll will be slapped with heavily with the modstick!
Maybe this is the real Jeff Berlin, maybe not, for now we shall treat him if he is the real thing.
No trolling here thank you!
Those who will troll will be slapped with heavily with the modstick!
Hello Mr. Berlin,
I have enjoyed reading this thread and even your myspace bulletins.
My question to you is this, how have you dealt with the bias towards electric bass in the jazz world? I started as an electric bassist, took up the double bass went through music school on the DB and gigged around NYC on it. Then I started to feel that the electric was my voice and when I'd show up to gigs I'd get "the look."
I know your playing would more than likely shut people up in these situations, but was it ever a problem?
I have enjoyed reading this thread and even your myspace bulletins.
My question to you is this, how have you dealt with the bias towards electric bass in the jazz world? I started as an electric bassist, took up the double bass went through music school on the DB and gigged around NYC on it. Then I started to feel that the electric was my voice and when I'd show up to gigs I'd get "the look."
I know your playing would more than likely shut people up in these situations, but was it ever a problem?
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