Last October, I posted about the experiences I was having at MorningStar Studios learning about recording vibes with ribbon mics and the surprisingly rich sound Glen was able to get with me sequestered in a vocal booth. Some things have changed here at home since then that I would like to share.

Glen rebuilt his drum booth. He put in all new acoustic treatment panels and gave me the old ones, so I now have a much more fully treated space in which to record that is much closer to the vocal booth experience.

This is one of my absolute favorite pieces - I learned this first during my violin study, and transferring it to mallets just sits so well.

Nice write up on Behn's album Jazzwise is a UK jazz magazine.

See the attached document for background and notation.

Hey Everyone,
There's a hard-copy magazine down here in Hilton Head called Local Life. It's a beautiful glossy monthly that is widely read. In the April issue there is an article on me by writer Carolyn Males. Carolyn went above and beyond to learn about the vibraphone before interviewing me and she showed her in-depth understanding in writing it. She came from a musical family but the vibes were totally new to her. It was her idea to include photos of Lionel Hampton and the instrument, which makes it well-rounded.

This improvisation is inspired by some of the grooves I explore on the African balafon (log xylophone) using 4 mallets. It’s all about freedom and energy, flow without measure, and getting to the “no mind.”

Alchemy appears on my 2017 world percussion CD “Crafty Hands”
http://www.rhombuspublishing.com/recordings.html

Just recorded this at home as preparation for our latest duo album. Martina Barta is a dream singer to play with. She listens, waits, takes the lead and sings in tune. Her voice has myriad colors that all fit well with the vibraphone. Accompanying a vocalist is not so easy. What I've learned is not to over play and to leave space.

2nd is Gary Burton and Ralph Towner