Well, when learning a tune in rock/pop/R&B I memorize the notes of the signature riff or lick, and find the most comfortable pattern to play these notes - either what is economical in physical movement, or what sounds best, -- like if it requires sliding into ("greasing”) notes.
When it comes to the song chord progression usually think of chord root name and immediately/automatically transfer that into the Roman numeral method (Key: I ii iii IV V7 vi viiº or i ii III IV v/V7 ♭VI ♭VII [very overly simplified]). When talking to another player will say chord name and quality (ie B minor, G Major, F7, etc) - it’s such fast plain speak that is so efficient. They can figure where/how they wish to play it for themselves. Or may rattle off the chord progression numerals.
It’s good to know fretboard patterns at first. But it’s good to know all of the different patterns. Every chord has at least four patterns you can use. I recommend reading through
The Improvisor's Bass Method by Chuck Sher | Sher Music Co. which has a ton of diagrams and exercises; super easy and fun!* Of course down the road you’re going to want to break away from hand pattern thinking and have it become ear pattern hearing. But that’s another subject. For you for now just focus on knowing all of the note names on every string on every part of the neck. Would think the “put this finger here” method would be exhausting and time consuming — but that’s just me.
In jazzy jazz it’s hearing the roots and hearing the chord changes and pretty much knowing chord arpeggios and recognizing the changes, because a lot of progressions are really common = one hears them a lot [very overly simplified], and common ways to get from one chord [tone] to another.
Have fun!!
* a GREAT instruction book in all aspects of playing and thinking about developing bass lines. Light, useable theory explained. Well, I liked it anyway.
