Head to Head with Jetro Da Silva

Take one look at the long list of performance and production credits tucked neatly under Jetro DA Silva's name and it becomes quickly apparent that you are dealing with a very busy man, and a serious musician. Having worked with Whitney Houston, Patti Austin, Faith Hill, and Brandy to name but a few, the recently appointed Assistant Chair of the piano department at the respected Berklee College of Music has been putting hand to keys since the age of 12. With his first solo effort on the way, Jetro is set to turn heads the world over, yet again.

AAS : Maybe you can start off by telling us how your musical life began. What were the major turning points for you, and who were your biggest influences as a young musician?

JDS : I was born on February 28, 1967 in Meier, Rio de Janeiro, Brazil. I began my musical training at 12 years old. With only one month of piano lessons, I was already playing for my church congregation (Sao Joao de Meriti Baptist Church). When I turned 14, I told my Dad that I wanted to pursue music seriously. At that time, I started searching for the best music schools in Rio de Janeiro. Then somebody told me about Escola Nacional de Musica, the most respected classical school in Rio. I prepared for the audition and within one month I was accepted as a full scholarship student. At 16, I was the sole supporter of my family, playing with world-renowned musicians in Rio DA Janeiro. After touring with several Brazilian artists, such as Emilio Santiago, I decided to extend my musical education by pursuing a scholarship at the Berklee College of Music. In 1991, I relocated to Boston, and became a full-time student at Berklee majoring in Music Production and Engineering.

In 1993, I toured with Brian McKnight, Walter Beasley, SWV and others. Then in 1996, I decided to relocate to Los Angeles, where I worked with Pastor Andrae Crouch, Chaka Khan, The Pointer Sisters, Brandy and others. I also did some composing for television at that time, like Magic Hour in with Sheila E., as well as performing with various stage acts. Most recently, I toured the US as the primary keyboard player and Music Director for Patti Labelle. I've also had the privilege of becoming the new Assistant Chair of the piano department at the Berklee College of Music. I want to be an influence to the new generation of musicians at that wonderful institution.

How has life at Berklee been for you so far ?

So far it has been great, I should say wonderful. The piano department consists of many wonderful teachers and players. My boss (Stephany Tiernan), for example is a great composer and pianist, and she does a wonderful job as the head of the department.

I'm glad to be working with the best.

You've worked with a staggeringly diverse range of artists from across a lot of musical styles. Is there a genre of music that's closest to your heart? Have there been particular artists that you really clicked with?

I love a lot of different styles such as, classical, jazz, rock, R&B , Brazilian music. I would say that gospel music is my favorite though. As a matter fact I am working on a project where I will play the old hymns in Jazz and Brazilian Styles with a little pop/ house influence.

You mentioned the last time we spoke that you, like many artists these days, have been working more and more inside the computer using virtual Instruments as opposed to hardware. How's this transition been for you?

Well, I love it. First of all, I love computers. I take my G4 powerbook everywhere. I can do everything in my powerbook these days. I didn’t have a problem with the transition. It's so much more practical, and the soft synths really sound great.

You've no doubt had your hands on more than a few electric pianos over the years, how’s your experience been with the Lounge Lizard? What were your initial impressions?

Back in the 80’s I use to play lot’s gigs in Brazil with the Fender Rhodes and Wurlitzer. They were my favorite electric pianos. When I tried the Lounge Lizard for the first time, I was first impressed with the sound and I immediately used it in one of my projects. I use it with Logic Audio and by itself.

Have you used the Lounge Lizard in any specific projects recently? How Has it integrated into your workflow?

Yes, I have been using it in all my projects. As a matter fact, in my hymn project I will have it in lots of my arrangements. The software is very consistent.

If I told you we were going to make the J.D.S. dream instrument, What kind of features would it have? Are there specific areas of synthesis or particular instruments you'd like to see go virtual?

I would like to see more concentration on the aspect of combination. Where in a live setting I would be able to make combinations of 5, 6. or more sounds. I am talking about multitimbral, you know.

What's in the works for you these days? Any new projects on the way you'd like to give our fine readers a 'heads up' on?

I am really enjoying my new adventure at Berklee. I AM STILL producing. I will be working with Ms. Namie Amuro in Japan next year, and I will have my first solo project done by next April.

Finally, any special advice for up and coming musicians ? How predictions for the future?

For the upcoming musician I would say learn and listen to good music. Get your musical preparation in parallel with your technological know how. There are magazines and web sites out there filled with music, but being successful all comes down to writing good music. As for the predictions, I can see in the very near future a whole rack mount inside a palm pilot connected via USB or firewire to a MAudio Oxygen 8 controller.