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I sometimes cop Balafon patterns to work on. I love listening to Balafon players and checking out their independence. 

Check out this video: 

In the beginning somewhere he plays this pattern. I don't take them down stricktly, because they vary them. 

Every now and then, we talk about the use of vibes outside the context of jazz.

I just became aware yesterday that this track, which includes the first recorded tracks I did with Miss Magnolia (my Deagan Imperial), was released a few years ago.  They had asked for a “vintage sound”, so my thought was to go with her, some old Albright mallets, and a pair of tube based mics.   
 

I want to do more of this.  :)

I'm interested if anyone knows about the history of dampening -- who did it, who didn't, who was the first to do it, etc. After watching lots of videos of great vibraphonists, I can see Milt Jackson did it quite a bit, especially on ballads (probably part of why his phrasing is so incredible), and pretty much every vibes player today I looked at does it to some extent (Tony+David obviously, but also Stefon, Warren, etc.), but I can't find videos where Lionel Hampton or Terry Gibbs do. Not a value judgement at all, I'm just interested in seeing how dampening has developed.

I am working on "O Grande Amor". Here is a version with a bunch of choruses using iReal Pro.

Barry

This was a great gig. On this video I am playing his tunes with his son on drums. Tom Rainer on Clarinet and Bill Cullen on piano. 

I am working on Out of Nowhere. Attached are two versions; one is a solo, and the other is me trying to hang with Chet Baker. This is the first time listening to this to https://www.youtube.com/watch?v=B4W6OJIrEjc. Having a good rhythm section behind me makes it a lot easier. These are both without reading.

Suggestions appreciated.

Barry

A great tune by one of my favourite composers and player Horace Silver, took me a few weeks to get this to an acceptable level. Hope you like it , working on a solo..