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This is my ensemble at the University of the Arts. They're playing the Ornette Blues 'When Will the Blues Leave'.

They're a very talented bunch. Andrew Nitolli is the only freshman in the group and he's doing a great job keeping up with the older students.

Andrew is kicking ass here at the school. He's blowing through a couple transcribed solos and playing them in all the keys, and working out voicings and chords, etc.

He's a former student of Joe Locke and I know Joe is pretty proud of Andrew!

Great video of Hutch!

Just some video from my gig last night. Rhythm section is swinging.

Tony Miceli - Vibes
Tom Lawton - Piano
Bob Colligan - Bass
Dan Monaghan - Drums

This article will delve into the family of mallet instruments made of tuned wooden bars, and will take a look at three locations where these instruments are prevalent - North America (jazz and classical), Africa (Shona music), and Central America (Guatamalan folk music). This is not meant to be an exaustive list, but will serve to highlight the vastly different music that has evolved in these places, and the fascinating variety of instruments that have been designed to play the music.

Diego Urbano, member from Argentina and "old cyber pal" put this on his Facebook.

I just couldn't resist!!!

Enjoy!

- M

PS: Man I love it all, the expressions, the parodic details, choice of characters and words, and when they sing out of tune they are so funny!!

Joe Magnarelli is on the road right now in spain. So he posts little words of wisdom over at the trumpet.jazzimprovonline.com. Here's his most recent post. I thought it was cool.

Just did a clinic in Llieda Spain, and realized that
when you get down to it, copying from the masters is the quickest way to get better.
You can study scales and patterns, that's cool, but when
stealing from the classic records you're getting scales and patterns too.
And you're understanding them in the context of a tune.
For example, check Fee-fi-fo-fum (spelling?)

I am working on playing a classical piece. I try to play it like I am performing. If I make a mistake while playing a slow line, should I try and correct it during the performance, or should I just let it be and continue on? If it is a fast line, I have no choice but to move on.

Thanks,
Barry

David sent this video over of him demonstrating to a student the idea of playing laid back. So now we get to check it out as well. It's a beautiful solo! I love his lines and his feel! -- Tony Miceli

This is not vibes, but man, it's amazing music!

Louis Winsberg is a great French guitarist. I met him as he worked with my vibist friend Norbert Lucarain, and I already talked on the site about him and his great contribution to the world music and jazz.

A few years ago, I was at a concert and I saw this incredible Saz duet with his pal Jean-Christophe Maillard... It never had been recorded... until now! And untill my friend Bernard found it!

The Quartet that I have been playing with for a few months now just decided to record a demo to give out to places so we can score some more gigs. We met up at a school in a choir room and mic'd up and ran through with minimal takes. Then the bass player ran it through logic. Pretty quick and dirty.

I decided that instead of posting all the recordings on here, I would just post my myspace page with all my stuff.

www.myspace.com/joedoubleday

the group is:

Joe Doubleday- Vibes
Dr. Cory Gavito- Piano
Mike Boyle- Bass
Hal Corn- Drums