Some of you, friends, know I am a big Bobby Hutcherson fan...
so I'm excited about this upcoming show in
San Diego, on March 19th at 98 Bottles, with
Ian Harland (also vibes)
Joshua White (piano)
Doug Walker (bass)
Gerard Nolan (sax)
Duncan Moore (drums)

"A Tribute to Bobby Hutcherson"

Bobby wrote and recorded so
many great tunes, both during his fruitful Blue Note
days and also later, when he was out on the West Coast.
we are going to play as many of them
as we can squeeze into one evening!
Here are some of them:

Head Start
Cirrus
Black Circle
Montara

Hello Everyone,

Practicing today on sound possibilities in executing a line over C-7 F7 Bb Maj7. Focusing on variations with pedaling, dampening, deadstrokes, ghost notes, accents and stickings. The first example is fairly dry with no pedal. There are a lot of possibilities in executing a simple line like this. I'll sometimes take even a smaller phrase and work with it trying to get as many nuances and phrasing possibilities out of it. Note selection is important for sure, but sound is also very important and needs to be constantly looked at.

Here's a chord study with different voicings and the alternate changes.

Hi Everyone,

I have an article in the current issue of Percussive Notes. It's a transcription/analysis of one of David Friedman's performances/lessons from the site (found here: http://www.vibesworkshop.com/node/4457). David was also kind enough to do a short interview about some of the concepts involved. Thanks to Ed Saindon for facilitating this. I attach the article here. I'd appreciate any feedback you might have.

-Tristan

We are having a great week at the 2015 Spring Vibes Workshop.

Today Tom Vendergeld comes and does a workshop! It's such a great week! Matthias is doing a great job with the workshop!

I would love to have a photo or recording to post here as well, but I just wanted to tell a little story about my recent meeting with English vibraphonist, Nat Steele!

A lesson on some different ways to approach iii-vi-ii-v changes using second inversion triads chromatically. I should mention that some of this type of motion (going up specifically) creates triads over the bass note which may conflict with the basic iii-vi-ii-v chord types. Remember the strength of the passing motion is its motivic direction which leads to a resolution.
Rusty

Hi All,
Here is the link to the piece I wrote about the Third World Vibes Congress last January. It's been published in Jersey Jazz and is now posted on All About Jazz. It features a photo of Behn.
http://www.allaboutjazz.com/php/article.php?id=49974
gloria