What a player Jim was and an old school gentleman too. Never heard him play a bad note. I attended his final gig a few weeks before he passed. Peter Bernstein joined him on the last tune St. Thomas. RIP Jim Hall.
Really annoying when someone twanging on a guitar blocks out the sound of a guy lauging and tellng jokes in the background- those harmonies almost distracted me from the punchline.
I’m assuming the chatterboxes in the audience are serious music students. Maybe a course in Jazz etiquette is in order. A world class player like Peter Bernstein playing some beautiful shit, and they are just chatting away. Anyhoo… it’s great to hear two of my favourite players sounding great. A real pleasure to hear this once the audience settled down.
You have got to admire the generosity of players of the calibre of Peter Bernstein in allowing students to play with him. Most students would consider themselves not worthy especially if it involves tunes they don't really know.
Pete has a depth of honesty that comes out musically. Little to no b.s if at all. Guitar gets boring quick in the wrong hands. It should be an extension of what we feel on any tune. Pete knows me and we hung out at his studio apt all day once, jammed and caught some cats performing.Pete is a master of the basics and himself! The sax cat is great and should be out there on the world stage!
@@grantgre Peter is listening to his music very very carefully. He is the first listener of his music. So music exists by itself even if they are lacking of respect and concentration. He knows what he wants these people to listen to and what he wants to play. And finally noisy people turned into audience. It's the meaning of music.
That's Steve Masakowski, a top jazz cat down there in New Orleans, or anywhere. He and Emily Remler used to be an item. Amazing player! I only found out about him last year.
Que desrespeito das pessoas falando e falando... E ainda alto!! A mágica já acontecendo ali e muitos não perceberam. Uma pena! Ótimo vídeo. Obrigado pela postagem!
You could ask peter about the weather, and he would make up a whole philosophy and come up with ingenius thoughts on how the weather relates to jazz and music. Such a great guy
What's the name of the first song they play together. Steve said something like "Eugene" or "Jean". It's a familiar tune but I didn't quite catch the name.
So here is the truth! To play at this level, 1/memorise 300 modern standards including the harmonic structure. 2/ memorise the heads and how they relate to the harmony. 3/ memorise a gazillion lines and licks and how they work harmonically to the point where you can hear them in your head without having to play it. 4/ make sure your ideas all sit in the groove and swing. After you actually achieve this 99.9% of humanity (including a lot of musicians) won’t get it and probably hate it. This all begs the question WHY?
You don't have to play at this level to be a great player. Start by learning 10 standards and use them as a vehicle to learn the nuts and bolts. If you can play 10 standards reasonably well, you can always add more, although some will be more unique or challenging. With just 10 standards, you can book a gig. You don't have to master Giant Steps unless you really want to.
As someone working on repertoire diligently, I can tell you that you're not really learning and memorizing "songs". You're learning and internalizing movements - regardless of key, regardless of the melody - these harmonic movements are the key, and your list of tunes starts to grow exponentially as you recognize the same shit happening across a ton of standards. When I went at it younger, I memorized songs in the key they were written, and this is shallow. It won't stick and you'll forget them over time too.
To "Play!" The Greats got Great by Playing, and if they are not Playing, and Playing in front of an audience, with other players, who are on the same page, then it's like Not being able to Breathe! There is no other formula that Works: Learn by Playing! Study? Yes, but only when there is no opportunity to play, especially with people who are better, or playing stuff on a different level, People you want to learn from.
1. George Shearing reckoned he could only retain about 20 tunes in his repertoire - he knew a lot more but not up to what he considered public performance standard. The 20 would change of course. 2. This goes without saying for the 20 or so. 3. Peter Bernstein doesn't play licks. He understands the harmony. 4. Absolutely. After you acheive this, what does it matter how many get it or probably hate it. You have achieved something significant for yourself and those who wish to play with you and those who wish to listen to you. BTW it doesn't 'beg' the question - which is a form of logical fallacy - it simply raises the question:)
Wow!!! ...good start, the master playing and people keep making noise...as Jim Hall said, listening is still the key.
Enough Said !!!
What a player Jim was and an old school gentleman too. Never heard him play a bad note. I attended his final gig a few weeks before he passed. Peter Bernstein joined him on the last tune St. Thomas. RIP Jim Hall.
My sentiments exactly ! 😮
About to post the same 😂
Peter and Steve should do an album together. Great synergy.
It took 3 minutes to get everyone's attention. Boy those conversations must have contained some important stuff.
anyone knows the title of the piece they play together at 15:25 ?
i found it finally, it's Jeannine
what kind of amp is masakowski using-anyone?
Looks like an AER compact.
@@Abcdef12396 👌🙏
Really annoying when someone twanging on a guitar blocks out the sound of a guy lauging and tellng jokes in the background- those harmonies almost distracted me from the punchline.
Pissed me off! Couldn't they hear the beautiful music?
I’m assuming the chatterboxes in the audience are serious music students. Maybe a course in Jazz etiquette is in order. A world class player like Peter Bernstein playing some beautiful shit, and they are just chatting away.
Anyhoo… it’s great to hear two of my favourite players sounding great. A real pleasure to hear this once the audience settled down.
Steve masakowski was great 25 years ago! Now he is a a humble legend.
Incredible how the students are so deprived of common decency, much less ignorant of in who's presence they are privileged to be in. 👀
You have got to admire the generosity of players of the calibre of Peter Bernstein in allowing students to play with him. Most students would consider themselves not worthy especially if it involves tunes they don't really know.
Pete has a depth of honesty that comes out musically. Little to no b.s if at all. Guitar gets boring quick in the wrong hands. It should be an extension of what we feel on any tune. Pete knows me and we hung out at his studio apt all day once, jammed and caught some cats performing.Pete is a master of the basics and himself! The sax cat is great and should be out there on the world stage!
Music exists by itself. And it has nothing to do with what these people are chattering.
What does that even mean? Music exist by itself? If there’s no person to listen there’s nothing you’re dead
@@grantgre
Peter is listening to his music very very carefully. He is the first listener of his music. So music exists by itself even if they are lacking of respect and concentration.
He knows what he wants these people to listen to and what he wants to play.
And finally noisy people turned into audience. It's the meaning of music.
Thanks nice video with the amazing Peter Bernstein. Great sax player
The tenor is killing it!
Those who have ears hear you and those who didn't missed out Great player.
i think credit should be given to the members by name
Anyone knows the name of the saxophone player
Man...he sounds like Elliot Fisk😮good stuff👍
Why is there so much talking going on while he plays?
whos the tenor player?? amazing
peters solo on jeannine - fire!
This is absolute gold. I love his explanations. "Whatever I step in, I'll just clean my shoes later." :)
Fantastic workshop!
Who's the gentlemen with Peter? He has an amazing touch!
That's Steve Masakowski, a top jazz cat down there in New Orleans, or anywhere. He and Emily Remler used to be an item. Amazing player! I only found out about him last year.
@@pallhe Thanks for that information! I can see my evening will consist of looking up his material. Cheers!
Le titre de cette balade jouée en solo
Que desrespeito das pessoas falando e falando... E ainda alto!!
A mágica já acontecendo ali e muitos não perceberam. Uma pena!
Ótimo vídeo. Obrigado pela postagem!
Best ever version of Jeannine.
Steve and Pete -- magic!!!
Does anyone know the guy on Sax.
Great workshop 👍🏾 👌🏾 🎸
Chubby guy is killin too!
Good saxophonist!!
You could ask peter about the weather, and he would make up a whole philosophy and come up with ingenius thoughts on how the weather relates to jazz and music. Such a great guy
Hey UNO no-names, it’s Peter Bernstein playing, time to sit down and shut up. The arrogance at these schools of music is astonishing.
Didnt you guys upload a masterclass with Mike Moreno? Miss that one.
What's the name of the song at 0:52?
Autumn Nocturne...Peter actually says the title after he plays.
He is the guy.
best video on youtube
Peter is magic...
Wonderful video. Not only was Peter great as usual, I was also blown away by the teacher/guitarist and the students.
He’s platform some really stupid people..
Who’s the interviewer?
Sensacional!
54:17 donna lee quote :D
Amazing
Who is the second guitarist?
Probably Steve Masakowski
I had the same question. Awesome guitarist.
Peter Bernstein
Name of the first tune?
"Jeannine" by Duke Pearson, composed c. 1960, if you mean the first song Peter and Steve play together.
Uau. Que legal 👏👏👏
Amazing!!
Wow!!!
What's the name of the first song they play together. Steve said something like "Eugene" or "Jean". It's a familiar tune but I didn't quite catch the name.
It's "Jeannine", a standard by Duke Pearson from 1960.
@@yagamei Thanks so much!
Steve is the man
Guitarists are notorious for not knowing the tune. But ok at the changes. Me included.
So here is the truth!
To play at this level,
1/memorise 300 modern standards including the harmonic structure.
2/ memorise the heads and how they relate to the harmony.
3/ memorise a gazillion lines and licks and how they work harmonically to the point where you can hear them in your head without having to play it.
4/ make sure your ideas all sit in the groove and swing.
After you actually achieve this 99.9% of humanity (including a lot of musicians) won’t get it and probably hate it.
This all begs the question WHY?
Because deep inside you, you have to. If you don't feel that, then no, you shouldn't bother.
You don't have to play at this level to be a great player. Start by learning 10 standards and use them as a vehicle to learn the nuts and bolts. If you can play 10 standards reasonably well, you can always add more, although some will be more unique or challenging. With just 10 standards, you can book a gig. You don't have to master Giant Steps unless you really want to.
As someone working on repertoire diligently, I can tell you that you're not really learning and memorizing "songs". You're learning and internalizing movements - regardless of key, regardless of the melody - these harmonic movements are the key, and your list of tunes starts to grow exponentially as you recognize the same shit happening across a ton of standards. When I went at it younger, I memorized songs in the key they were written, and this is shallow. It won't stick and you'll forget them over time too.
To "Play!"
The Greats got Great by Playing, and if they are not Playing, and Playing in front of an audience, with other players, who are on the same page, then it's like Not being able to Breathe!
There is no other formula that Works:
Learn by Playing!
Study?
Yes, but only when there is no opportunity to play, especially with people who are better, or playing stuff on a different level, People you want to learn from.
1. George Shearing reckoned he could only retain about 20 tunes in his repertoire - he knew a lot more but not up to what he considered public performance standard. The 20 would change of course.
2. This goes without saying for the 20 or so.
3. Peter Bernstein doesn't play licks. He understands the harmony.
4. Absolutely.
After you acheive this, what does it matter how many get it or probably hate it. You have achieved something significant for yourself and those who wish to play with you and those who wish to listen to you.
BTW it doesn't 'beg' the question - which is a form of logical fallacy - it simply raises the question:)