Here's a little blog I wrote https://www.pipervibe.com/post/dreams (and continue editing) called "Dreams". It's an attempt to explain what I'm trying to do with my "Good Vibes" thing. Trying to change or add ways of doing business in these changing times. I believe our challenging times are an opportunity for change for the better.
Dreams make a difference.
Dreams Blog:
https://www.pipervibe.com/post/dreams
Supporting vibes players with Good Vibes
https://www.pipervibe.com/post/good-vibes-pipervibe-dot-com
Why is the vibraphone so dang cool?
It's right there. From striking of the bar to innervating the ear drum of the listener – it is organically right there with nothing between the artist and the listener.
Many people have often said that the vibraphone is limited by what it can do but I think the simple requirements to control the vibrating aluminum bar IS what makes it so pure and beautiful to the listener. It is that simple perfection that makes it so beautiful. Heck, you could say the same about The Beatles.
I bought a little Musser small-bar style vibe to customize and make great. However, the model clearly states on the low F and on the serial number label that it's a Musser 48. I'm sure it was made before the M48 traveler vibe came into play and maybe before the M45 One Niter.
I've always wanted to see what I could do with one of these Musser small-bar vibraphones as a hobby. It's in great condition, fantastic sounding bars but the resonators need a little tuning for my liking.
A few months ago, I bought Lionel Hampton's autobiography. As I am slowly, but surely, making my way through it, I have learned a great deal from the master. I want to share some of that with you all.
I look back on my history with this instrument and I realized that I always threw Hamp to the wayside. I loved Gay Burton and Milt Jackson, but never gave him much consideration. I have now realized how grave a mistake that was.
The story is so common that it is even in the Wikipedia entry about Bobby Hutcherson; He was so inspired by hearing Milt Jackson play on Miles Davis’ version of Thelonius Monk’s “Bemsha Swing” from the 1954 album “Miles Davis and the Modern Jazz Giants”, that he decided he wanted to learn to play the vibes.
This is a project I've been working on for a long time. I'm offering it up as new practice material while isolated due to Coronavirus Lockdown. It's about 1/3 complete but it's a LOT of practice work.
I came up with the idea about 35 years ago, then put it out in a very rough form with intentions of someday making it more user friendly. In the past few years, I add to it it when I feel like messing with it. It's great practice material and is very challenging. I thought I'd add it to the mix here at VW for folks looking for something different to work on while held up at home.
Walt Dickerson's daughter, Liz, is a friend of mine. When we first met, we were talking about him and I wrongly assumed that the tune Elizabeth was written for her; it was not... he wrote it for his wife (Liz's mother). Liz also told me that day that her favorite recording of all the ones her dad did was not Elizabeth, but rather one called Bacon and Eggs.
Check this out !
Great interview with Mike Mainieri. I'm probably the only person who hasn't seen it already but I thought it was excellent.