Ever since the Delaware workshop, I have been working on Horace Silver's "Song For My Father" as my personal TOTM. I promised Tony I'd post something by the end of this weekend, so here's what I have so far. I played the stock key (F minor) with Aebersold, and then Eb- and Bb- are just on their own. Still have a lot of work to do, so any pointers are appreciated. Thanks!

I can't get over how great this year's Delaware Vibes Workshop was. Tony and Harvey set up a wonderful program, complete with great lessons, guest clinicians, and performances. This was my third summer at the workshop, and although I missed having David Friedman this year, it was wonderful having Dave Samuels (one of my favorite artists when I was in school), Behn Gillece and Christos Rafalides share their expertise, techniques. and stories. I enjoyed all of the lessons, and I feel that my playing has once again taken off.

Florian Poser's BRAZILIAN EXPERIENCE

playing "Air Populaire"
based on the famous "Air on a sixstring" by J. S. Bach

recorded live at the Tedesco Recording Studio, Paramus, New Jersey, USA
2nd of March, 2013

Gustavo Bergalli - trumpet (unvisible)
Klaus Mueller - piano
Itaiguara - bass & ac. guitar
Portinho - drums
Florian Poser - vibes

Sound & Video: Tom Tedesco

We got to see the new Malletech Omega prototype at the Delaware Workshop, here's a video about the Omega...Ton Risco, Mike Pope, Joe Locke & Liegh Stevens discuss the Omega and the new pickup system

http://youtu.be/arSMlnvybHA

So I heard it said somewhere that great comping should include a variety of both opened and closed voicings. I think I'm at the point now where I can play and voice lead open and close voicings in all their permutations and variations (i.e. w/extensions) pretty well. However, I sometimes have trouble combining them in a coherent and musical way. Anybody have any advice re: this? I haven't seen it discussed anywhere on the site. I know the obvious answer: use your ear. I suppose then I'm looking for tips that will help me develop my ears to hear the combinations better.

I'm going to try another Livestream of my gig tonight with the OGD Vibe Quartet from 8:00 to about 10:00 PM EDT. Go to http://new.livestream.com/accounts/1758489/events/2347239.

We play a mix of guitarist Mike Caruso's originals and arrangements of classic rock tunes, plus some jazz standards. If you're in the area, we're playing at the Java Room in Chelmsford, MA (http://thejavaroom.com/).

Hi all,
Hope everyone had a good summer. I was on sabbatical from the University of Cincinnati last semester and finished a vibraphone method book. It focuses on building technique and creating ideas for improvisation. If anyone is interested there is a link below.
Best,
Rusty

http://www.rustyburge.com/VibeBook.html

Like the subject says, I need new synchro belts. I had previously removed the fans on my YV-3300 as I was doing a lot of playing outside. I've recenly replaced them, but the synchro belts were lost somewhere along the way. They are a discontinued part, and the synchro belts for the YV-2700 are too short. I haven't been able to find any OEM old stock so I imagine that I'll have to have them custom made. Anyone else have any advise or have experience with this problem in the past and could point me in the right direction?

Peace, our TOTM, is totally opaque tunewise to my brain. So I'm trying something with a strong tune line, and easy to play. Armando's Rhumba, with PDF of the leadsheet, MP3 of piano accompanyment and marimba/piano duet posted (or linked to) at Ted Wolff's lessons at the VibesWorkshop site. Carolyn Stoddard and Eric Katz's performances at the Delaware Workshop have given me the idea to work on Latin beats. I can set up a metronome beat to simulate bongos and slow it down to work on improv lines. I really need a strong tune line, or my improv just falls apart.