Essays-Thoughts

There are a few teaching and practice techniques that I have questioned for years, and I wonder what other folks here at the site would have to say. I am primarily self-taught as a vibist and somewhat self-taught as an improviser. Therefore, I developed my approach to practicing and learning pretty much on instinct: whatever felt right, whatever seemed to be the most natural, became my way of doing things.

I was just thinking about Dim's ability to process criticism without ego and turn it into immediate positive results. Of course it's a credit to him as a passionate musician/student(But isn't that what we are? Musicians and life long students?) It's also a credit to Tony for creating this wonderful platform where we all can present our work, exchange ideas and enjoy the fruits of constructive criticism. This should serve as a motivation for all Vibesworkshoppers to post as often as possible.

Fair warning -- this is a major geek-out. I'll forgive anyone who doesn't want to slog through it, and I don't expect many comments.

But, I'll go ahead. As often comes up in comments to posts here, this is a freakin' fantastic site. Most recently this comment has come up in response to the video of David playing "Giant Steps", but the awesomeness has many dimensions, including the contributions of the star players, the working pros, the students and the people just trying to make the best music they can.

Hi Everyone,

Todd posted this on Facebook and I thought it was pretty interesting. I think that the basic premise of you play what you hear is so true that it's close to a "duh!", but putting it into practice can be difficult.

When I play, I often feel like I'm three different people simultaneously competing for dominance. There's a panicked animal that's just trying to keep his place and not screw up. There's this analytical guy saying, "OK, V7 coming up, diminished or altered scale?". And then there's this touchy-feely guy who's trying to guide the whole thing and make art.

At least according to Wired magazine -- check out http://www.wired.com/magazine/2010/11/st_essay_nofreebird/.

I tend to agree. Paid-for music has now pretty much reached the ease-of-use it could've had in 2000. Now all that remains is to change the habits that were ingrained by the record companies treating customers as enemies. I don't know how long that will take.

Tom P.

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.

Here's some great advice from John Piper.- Tony Miceli

Bill Evans passed away 30 years ago today, on September 15, 1980. I've been listening to his music, which is not unusual, and I'd like to toss out some ideas I've been thinking about expanding on for a blog on my site.

You often hear about Bill Evan's influence on pianists. No surprise there, but I'm thinking that a majority of 4-mallet vibes players would also have him at the top of the list of musicians that have influenced them the most too. I think there are a number of factors at work here. One is timing.

I have been away for a few days, came back to the workshop and watched the Branford Marsalis video and it still moves me. I read through all the posts and had the feeling that it is time to open up a new thread as too many topics are tumbling through oneanother within the original post...
Before covering the actual topic of my post, I'd like to say, that I am 90% behind Marsalis! Okay, he is being very provocative here, but hey I think he has a point.