Alright...I said I wouldn't post again until the end of the week, but here I am hogging up the blog newsfeed because...I am excited that I just figured out this third part of the intro!!!
So here's how this has been going:
Day 3:
I was just sitting here listening to some practice tracks I recorded. You know I say all the time that I might be a teacher on this site, but I'm also a student. And I've listened to many of you and learned something.
I just realized while listening to these practice tracks that I learned a lot about solo playing during our TOTM. And it was from listening to little things some of you did. Even if you didn't do it perfect, I saw what you were going after and got it and learned from it.
Over the past month I've been preparing for a John Coltrane tribute in Eugene Oregon. When we chose the music for the gig we selected two tunes, 26 2 and Freight Trane. Both of these tunes have definately seen the woodshed, which in turn, I've been reminded of past articles in PASIC notes by Ed Saindon and David Friedman.
On to sticking .. 26 2 is one of those tunes that if you play throught the tune alternating, it's a game of Twister by the end. So, with that in mind, I use variations of LRLLR and also LLRR in order to get more of a melodic horn articulation.
This is what woke me up this morning: beautiful!! My vibist friend Norbert Lucarain used to play in a band like this with flamenco rhythm section, vibes/marimba and a dancer. Victor is obviously having a great time and showing all his talent there!! I love the part with the dancer, the way she mixes flamenco with a bit of ballet, and the way they 'play' together: a lot of fun!!! Enjoy! – M
This is an exercise that i decided to write down, in order to share with everyone here. The title " Keeping It Close," is a reference to a concept i try to keep in mind when i improvise, especially on fast tunes with many changes. In essense what i set out to do it play all of the changes of the tune with in an octave of the vibes, without jumping around at all. this concept came from listening to horn players like parker and coltrane, taking notice how fluid there lines are in a very small range, but yet they place the notes so the harmony of the tune and also a line is created.
Man...I think this blog thing is really helping me. Tonight I wasn't going to spend a ton of time on Afro Blue, but then I said "No, I've got to work on that transcription so I can post!!!".
Had the chance to see Chick Corea and Gary Burton and the Harlem String Quartet in Burlington VT last night. What a show. Great tunes, beautiful arrangements and unreal musicianship. The best part of the show, besides Gary Burton's unbeilably fluid lines (how can lines be so smooth?) was that all the musicians really wanted to share their music with the audience. They were into it! Thank you to Chick Corea and Gary Burton for continuing to Tour!
thomas Mackay on vibes, John Zalabak on bass and kelvin underwood on drums, this is a tiny wine cellar that we play at twice a month. the place is so tiny the one nighter vibraphone barely fits in the place .. this is a tune by tmackay called herky jerky, improvisation over a D and Db tonality ..the melody is stated at the end of video
Alright...I need some motivation. Many times I have said to myself "Carolyn, you should transcribe more, it's great for your ear!" so I'll start working on something...AND NEVER FINISH IT.