I only OWN one bass.I probably should have another one in case.... But so far I've toured the world a few times and I've never had a problem. Famous last words perhaps. But I only own one guitar because I don't need more that one instrument Besides! My bass is, hands down, the best playing bass I ever owned.
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Hi From Jeff Berlin
- Thread starter keysboy
- Start date
I only OWN one bass.I probably should have another one in case.... But so far I've toured the world a few times and I've never had a problem. Famous last words perhaps. But I only own one guitar because I don't need more that one instrument Besides! My bass is, hands down, the best playing bass I ever owned.
How important is practicing to you at this point in your career? Has it dropped off in time spent, or increased since when you were younger?
Jeff, I tech about 15 shows a year, to keep me busy when not gigging. It is truly appalling the number of shows sung to tracks. Do they get away with this in Europe? I'd love to see the pro tools jam up. If I say something, and it is quite often (though of course not at the gig) I'm told, quite simply music is not made on instruments anymore.
Music that does not have the "it could fall apart any minute" edge is not alive even orchestras may fall apart. Now singers have pitch correction software. Is this happening elswhere in the world?
sorry Jeff you answered this already
Music that does not have the "it could fall apart any minute" edge is not alive even orchestras may fall apart. Now singers have pitch correction software. Is this happening elswhere in the world?
sorry Jeff you answered this already
I practice a lot because I find interesting music to check out. I transcribed a Keith Jarrest solo about 6 months ago and I'm still taking lines out of it and working on it. Also, my Banacos exercies are tghe greatest musical principles to regard outside of actual transcription. I like practicing. and I do it for my own edification.
- Jun 25, 2007
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- Artist:TC Electronic RH450 bass system (original test-pilot)
I have a question: a while ago I found a lot of really harsh comments about me on Talkbass. I mean really nasty stuff. But I've been here maybe three times and all the people that I've met have been great. Why do some on the internet take such a harsh reaction to me, or to Carole Kaye, Anthony Jackson, or Dann Glenn?
- Jun 25, 2007
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There are some young bassists who have the fastest playing technique in bass history. Just blazing, billions of notes in 2 seconds. I never had this kind of technique nor could I have it. When these young Turks learn to calm down a little bit, the I feel that bass will have some great new contributers.
I think it's because some of the stuff you say is taken out of context and then incenses some more easily offended people.
Could be. But one might have thought that I called their mama a bad name from the reaction that some have had about my comments. There are some pretty sensitive people around.
Possibly as well. But these guys don't merely object to my comments; they get livid.
- Jun 25, 2007
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I think a lot of people get real brave when they can hide behind the computer and don't have to meet you face to face.
In my opinion, many people find it easier to complain than take a value-based approach to considering anothers viewpoint. You have made it very clear that your methods have worked particularly well for yourself (as a trained musician). Furthermore, you have pointed out that these same methods have worked for countless others. I don't interpret your ideas as confrontational, but rather informative and substantive.
If I decide not to agree with your viewpoint, that is my decision, and there is no room to criticize you for it. However, I would much rather consider your experience as immeasurably greater than mine, and learn from it.
I would be interested in hearing your thoughts on why people play out of time.
Hi Jeff!! I hope all is well and thanks for coming here again!! I dont know if this has been asked yet, but I would like to ask you the following: How should I practice my transcriptions? Do you practice them until you can play each passage at the same tempo? Do you learn to play them by hard? I try to break away from just learning licks from my transcriptions, but I also realize that at certain speed when soloing its muscle memory, so in a way it is licks isnt it? So how do you work with what you transcibe?
Yeah Jeff, I think you can attribute that mostly to the overall immaturity of the poster. I'm sure you will see repercussions about the statement you made about slap and pop earlier in this thread as well. Not that you actually said anything wrong, or even against slap and pop, but the fact that you did not praise and glorify slap and pop, and spend the rest of this thread encouraging and advising slappers on how to do this and that to better their slap and pop, you will automatically be deemed an @$$hole, and seen as the enemy. Sorry about that truth, but for the rest of us, we thank you for your time and words of wisdom.
Given that you're so open about your musical views and practice methods, what do you think about the mysticism that surrounds Charlie Banacos and his method? Is his apparent unwillingness to have his students talk about his lessons pretentious, in your mind, or appropriately protective?
I think most of the animosity towards Carol Kaye stems from her trying to lay claim to many of James Jamerson's lines.
Just to drop in and say hi to all.
I studied with Jeff at the PSOM (twice now!, most recently Jan - March 09) over the least two years, and have improved greatly as a result. Still working my way through the Chord Studies book you had me buy Jeff, as well as many exercises Matt put into his particular Chord Studies book...and ii-V-I exercises, and all the rest....
I'm having a blast now. Playing with a couple of jazz bands (though not given up the day job yet...) and finding more people to play with...
Hard work + correct materials + good teacher = better bass player!
If people want to see my reviews, do a search under my user name and the two review threads I wrote about PSOM will appear.
I may still come back and haunt you Jeff! My only question is, what will come next after finishing the materials I have? I'm keen to find out...
All the best,
Pete
I studied with Jeff at the PSOM (twice now!, most recently Jan - March 09) over the least two years, and have improved greatly as a result. Still working my way through the Chord Studies book you had me buy Jeff, as well as many exercises Matt put into his particular Chord Studies book...and ii-V-I exercises, and all the rest....
I'm having a blast now. Playing with a couple of jazz bands (though not given up the day job yet...) and finding more people to play with...
Hard work + correct materials + good teacher = better bass player!
If people want to see my reviews, do a search under my user name and the two review threads I wrote about PSOM will appear.
I may still come back and haunt you Jeff! My only question is, what will come next after finishing the materials I have? I'm keen to find out...
All the best,
Pete
Last year I debated Steve Bailey who supported a broad approach "anything goes" to learning, whereby I supported a narrow "facts first art later" manner of learning. I am tired of debating what is so logical to anyone who particpates in music from a musical place because people simply do not want to hear the truth about some things. So I just pick my spots and advice people who are looking to become musicians that you have to learn how to do this and this takes work.
Totally forget tempo. Just chuck it out of your door. Play the transcription until you organically can play it well. But, never nver nver include tempo with learning new music.
