Everyone says to avoid hitting the bars at the nodes. Well, I wanted to see what it would sound like in a musical context. Enclosed is my experiment. The idea was to play over Am on the nodes in one phrase, then answer over other changes with a more hollow tone on the middle of the bars. Playing at the nodes is neat because you can hit it hard and hear the attack of the mallet but the notes sound like they are in the distance or as if a low-pass filter is applied to the sound. Does anyone else use this technique?

A few months ago I started transcribing John Mark Piper's tune "Spring Valley Kids". I didn't get any further with the transcription but every once in a while I play a few measures of it on my vibes. I recorded my jam on that tune. After you listen to my version, listen to the Master's performance (link above). I am floored every time I listen to it.

Barry

I'm just not sure how to implement it!

I thought about get 2 choruses at a specific tempo from as many players as i can and then make a blues train.

Man, if we had 40 or 50 players each playing 2 choruses of the blues, with their info on the screen and video or a photo.

that could be a great way to get to know everybody here.

what do you vibists think.

Hey everyone, I just wanted to draw your attention to an exciting gig that I have coming up in January with a new band of mine. We'll be doing all original music, and it should really swing. If anyone will be in the NYC area come January, please drop by and say hello!

Dan McCarthy, vibes
Mark Shim, sax
George Garzone, sax
Michael Bates, bass
Nasheet Waits, drums

Real quick, I never have time to write in depth reviews. But I'm listening to Tom Beckham's CD and thought I'd mention it here. It's a great CD with really great playing! You guys should check it out.

Maybe Tom will post a track here and lead sheet!

I think we might go overboard sometimes by suggesting that there is only one legitimate improvisational language in music and it comes from Bebop/blues/jazz. We tend to require some historical quote from the "jazz language" or it is ignored or labeled that it doesn't speak and isn't legit music. Sometimes we can be a bit closed minded to the point of prejudice with the idea that everyone has to play "jazz/bebop/blues" to be worth anything as an improviser.

Steve Yeager Edited this interview from NPR. If you haven't heard this yet, it's great and you'll learn alot about Milt!

At last, I found a video clip of Victor Feldman playing vibes! This is from an old TV program called Frankly Jazz. The first tune I don't know the name of, but it features Feldman on vibes, Jimmy Rowles on piano, Kenny Dennis on drums and Bob Whitlock on bass.

What's with the m-48. I hung with vibist Tom Beckham last night and I couldn't believe he had the same experience as me. When I play my m-48 I have to move it around my floor to get it into a spot where the dampening will work. He does the same thing. I love the sound of the instrument. The bars are beautiful, but it's such a drag to play.

Any ways anyone know of to fix it?