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So in this video the piano player (don't know who he is) is playing a transcription of the Michel Camilo recording of St. Thomas. Beside being in complete awe of the work this guy put in, and the quality level that he plays, I'm wondering why he did it. Well, I guess I know why *he* did it, but I'm wondering why playing a transcription should be in a concert. Anyone have an opinion?

Tom P.

Dr. Bob posted this over on FB. Check her out!

@Marie, did you know of her? I never heard of her until now.

Diane and Tony played this song on both their sets here in Dallas. I used to play it with this piano player years ago. Its a great tune!

This week I didn't practice as much as usual.
Work has been a real bitch and I needed some change to improve my perspective.
So I made it a listening week.

Aside from all the great videos posted at VW this last week or so, I kept being reminded of someone on the site saying we need to listen to other instruments and in particular guitar players. So that's what I did this week. A guitar listening marathon.

The guitar players I listened to were:
Jim Hall
Pat Martino
Bill Frisell
Emily Remler
Steve Kahn
Pat Metheny
Larry Carlton
John Scofield
Robben Ford

Check out Chet's scat solo. I love it. Sounds exactly like he's playing trumpet.

This is a really nice work for solo vibes. Originally written by Hector Villa-Lobos for voice and cellos, this is just one in a series of pieces that were an attempt freely to adapt a number of Baroque harmonic and contrapuntal procedures to Brazilian music.

The accompaniment is often just arpeggios, so let them ring. You'll need to mallet dampen the melody at several strategic places. The goal, as always, is to have the piece sound as full and clean as possible. Fullness comes from leaving the pedal down a lot, and cleanliness comes from pedaling and dampening in all the right places.

Dana has a GREAT music room!

OH man, this is pretty incredible. Wait until you check this out.