www.vibesworkshop.com

I seem to get all the hard math questions and then I just give up.

EVERYTHING this man (tony) does is top notch. Every time he plays the vibes, great music happens. So, why the hell isn't Tony written about in ALL the magazines, booked with top paying gigs and so busy performing that he'd have to hire out his vw site to someone to run for him? I know things are picking up for him but I have a theory that the reason he's not more "important" in the biz is because he hasn't got the "wave" going yet. It really pisses me off when people have to be told how good an artist is in some magazine or on some endorsee list before people can trust their own judgement.

I'd love to hear what other people do when they rehearse their bands. I'd especially like to hear about rehearsals with Frank Zappa (if anyone at VW has any experience with that). I heard he rehearsed a lot. I'd also like to hear about rehearsals with "local" bands and rehearsals that David Friedman, Gary Burton and Tony conduct when traveling, and anyone who is doing "professional" rehearsals who is paying their members for their time.

I'm starting to get back into playing a little and thought I'd share some of the exercises as I revisit them. Today I was reviewing harmonizing in sixes and thought I'd share one.

I read something on V.W. about a Deagan for sale and it reminded me of a project I did years ago when I drew the Deagan (model 145) out on Auto Cad. I thought that since the Vibes Workshop is EVERYTHING vibraphone, I should add it to the resources. (see pdf attachment)

In my other life (firefighting), my Lt. or Captain often asks at the end of the shift. "Did anyone learn anything today" then we'll go down the roster and answer, stating what each of us learned that shift and how we could do it better next time.

I thought it would be interesting to post what we have learned this year by visiting www.vibesworkshop.com

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.

I'm curious to know what your most challenging aspect of playing the vibes is or has been. I'd like to know from both the "pros" and the "up and coming Pros". This should be very unique to each individual. We all have different views on how we want to sound (that's one unique view) and we are all gifted with unique talents and... well... deficiencies.

Do you ever ask yourself, "what's the best way for me to support the arts?" or "Is there anything I can do from the ground level that would help support the arts and keep it healthy?"

Yes, remember that every time you buy a recording or arrangement from a musician, you are not only purchasing something for yourself but you are supporting those people who are doing it.

Like: (buy something from a musician or... Join a music web site ((hint, hint))

To this day, I still love Led Zeppelin, Paul McCartney, The Stones, The Doors, Janis Joplin, Jimi Hendrix... and of course The Beatles… and many other pop bands. I love them just as much as I do any music. They all played perfectly (to me). And today with my ears having decades of learning, listening and educating, I find this music to be even more astonishing.