Meet Robin Bramlett

We were lucky to catch up with Robin Bramlett recently and have shared our conversation below.

Alright, so we’re so thrilled to have Robin with us today – welcome and maybe we can jump right into it with a question about one of your qualities that we most admire. How did you develop your work ethic? Where do you think you get it from?
My work ethic is genetic. My parents, may God rest their souls, were very hard-working people. My father worked as a construction worker until he retired and my mother sold Avon and worked at McDonald’s as a cook. Both of them took their positions very seriously and that trait passed on to me. Because of this I expect a lot out of myself and I’m always working to get better and better at anything I’m working on whether it’s music production, writing, instrument practice, or barbecuing.

Let’s take a small detour – maybe you can share a bit about yourself before we dive back into some of the other questions we had for you?
I am currently working on my second full project release since my 2013 release of This Is My Life. I released the first single from that project in October 2022 entitled Inside My Love which is a Minnie Riperton cover. I am also currently serving as a musical director for artists such as Soul Jazz Flutist Althea Rene, Attention to Detail Productions, and many others. I’ve also recently became a voting member of the Recording Academy and I won the best bass player of the year at the Bakersfield Music Awards. With these very honorable accomplishments I am looking forward to expanding my circle of musical collaborators.

There is so much advice out there about all the different skills and qualities folks need to develop in order to succeed in today’s highly competitive environment and often it can feel overwhelming. So, if we had to break it down to just the three that matter most, which three skills or qualities would you focus on?
When I first began learning bass and piano at a young age I played by ear. It wasn’t until I was around 18 years old that I took music theory classes and once I did I immediately realized the important marriage between having good ears and at least a basic knowledge of music theory. Having both of those under my belt has made the varying genres of music I learn much easier and quicker to grasp.

Also, I pride myself in having a great work ethic. For me a rehearsal is analogous with getting a tune up on your car. The engine and transmission are already doing what they are supposed to do by allowing your car to start and move but getting a tune up will help it start and move more efficiently. In other words, a rehearsal is a place where everyone comes together and “tune up” what they individually learned at home. With that said, I won’t step into any rehearsal room without having learned the music and becoming super comfortable with it ahead of time.

My advice to anyone beginning this journey is to keep your toolbox sharp meaning always be open to improving on any weakness you may have such as music theory, improvisation, chops, ear training, etc. I would also advise any newbies to keep this in mind. Your talent can get you there but your great work ethic and being able to get along with others will keep you there.

Okay, so before we go, is there anyone you’d like to shoutout for the role they’ve played in helping you develop the essential skills or overcome challenges along the way?
My early influences were the late Don Hicks (Minister of Music at St. John Baptist Church in Bakersfield, CA) and Donald Factory (Musical Director at St. John Baptist Church). I learned so much in my late teens playing bass under their direction such as what to do and of course what not to do. Also, the late Don Hicks taught me the difference between major and minor chords. I kept hearing those terms and had no idea what it meant but when I asked him the difference he played both on the grand piano at the church I immediately heard the difference. I guess you can say he was my very first ear training instructor. I also have to give a big shout out to my music theory professor, John Gerhold, whose teachings I use today on a regular basis in my career.

There have actually been a lot of people that have been instrumental in how I became the musical director I am today but I would like to highlight those who have helped enhance my musical directing abilities. One huge influence is Gail Jhonson, keyboardist and musical director for guitarist Norman Brown. She entrusted me with the musical directing duties for the all female jazz ensemble Jazz In Pink and gave me some very valuable advice and tips along the way. Another musical directing influence is Noriko Olling-Wright. We were a part of the all girl group, Hit Like A Girl, and she was also my producing partner on one of the hits from my last project, Square Biz, a Teena Marie cover. We also did other shows together and I watched very closely how she directed the band and prepared for the shows prior. Her and Gail are the reason that I’m so particular about the charts I send to the band. I am known to literally rewrite charts just to make things easier for the band members I’m working with on that show.

There are also a few others that I’ve worked with, and still working with, whom I continuously watch to learn from their musical directing skills such as saxophonist Darren Gholston, who has also been the musical director for my own shows, keyboardist/organist Charles aka Chuckie Young, keyboardist/organist David Jackson, keyboardist/organist Devin Watkins, and keyboardist/organist Criston Moore. There are many more that I’ve watched over the years such as Patrice Rushen, Craig Cooper with Loose Ends, Rickey Minor, Adam Blackstone, Ray Chew, and Kimberly Burse.

As far as bass influences I would go with personal influences first and number one on that list would be Jay Jay Hicks. I knew nothing about changing strings on my bass until I met him. Lol He also gave me many musical and technical tips that helped a lot and he remains to be one of my great friends today. I also have to mention one of my top bass influences from records I played along with but also got a chance to meet and learn from him directly in person. That man is Sekou Bunch. He was and is always willing to share his knowledge with me and let me know when I need to improve on something.

I most definitely have other bass influences such as Reggie Young, the late Mark Adams from Slave, Marcus Miller, Bernard Edwards, Robert “Kool” Bell, the late Robert Wilson from the Gap Band, Sam Scott and Allen’ Golden Sr. from The Mississippi Mass Choir, and way too many others to name.

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Image Credits
Rhonda Kilpatrick Tracy Walker Michael Lopez Klair Blair

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