Bruno Raberg

Professor

"I started playing electric bass at age 12. I played in a pop group, mainly covers of the hit songs of the day. Then I started getting into groups that played more improvised solos, such as Jimi Hendrix and Cream. One specific summer I was introduced by a friend to Chick Corea, Herbie Hancock, Miles Davis, John McLaughlin, Ornette Coleman, and John Coltrane, which completely blew my mind. That's when I started getting into more jazz-oriented music. I played professionally for six years, touring most of Europe as well as New York and the Monterey Jazz Festival. Then in '81 I decided I wanted to go back to school, and that's when I went to New England Conservatory and studied bass with Miroslav Vitous, a founding member of the group Weather Report."

"I teach a class on South Indian rhythmic solfege, a class where we do rhythmic exercises using spoken solfège. Students can apply the material they learn to any style of music or playing situation. It helps them solidify their own rhythm, yet be flexible enough to play in dynamic situations. It helps students grow as individuals, but also as members of the ensemble."

"Over the years I've learned that no two students are the same and that teaching style is really determined by students' learning styles. You have to be very flexible as a teacher and patient enough to get to know the students and understand how things click for them."

"The hallmark of a good bassist is knowing the foundation of both your own instrument and the music—understanding your own playing but also the role of your instrument within a group, how to interact and listen. In my teaching I make sure to cover all those aspects."

"I think that playing and touring with bands for a long time, like I did, gives you a unique perspective about what it means to really be a part of a band. You learn about real human experience, things that aren't exactly music-related but in the end are definitely part of playing in a band."

"I want my students to take away from my classes the importance of learning foundations of music while at the same time as believing in their own musical imagination. I want to send them off knowing that with the right attitude and curiosity about music, they can have a long musical life. It's about the journey, not the goal. Celebrity is not what is important, and neither is becoming an overnight sensation. In the end it's about enjoying playing music with others, and that is something that hasn't changed for me since I was really young. It's the same feeling."

Career Highlights

 

  • B.M., New England Conservatory of Music
  • Performances/recordings with Sam Rivers, Mick Goodrick, Ben Monder, Ted Poor, Matt Wilson, Dave Tronzo, Jerry Bergonzi, George Garzone, Trichy Sankaran, Suhail Yusuf Khan, Chris Cheek, Billy Hart, Bruce Barth, Tiger Okoshi, Jim Black, and Julius Hemphill
  • International tours in Europe, the U.S., South America, Africa, India, and Japan
  • Endorsee of D'Addario Strings and B-Band Bass Pickups
  • Leader of six recordings: Lifelines, Chrysalis, Ascensio, Presence, Orbis, and Pentimento, featuring artists such as Ben Monder, Chris Cheek, Allan Chase, Phil Grenadier, Marcello Pellitteri, Ted Poor, Matt Wilson, Bob Moses, Donny McCaslin, and Mick Goodrick
  • Sideman on over 30 recordings featuring Jerry Bergonzi, George Garzone, John LaPorta, and Bill Pierce
  • Conductor, Wayne Shorter Quartet and Berklee Brass and Woodwinds Ensemble