The procurement and bending of aluminum has become increasingly expensive in recent years. Therefore, I decided to make another folding frame for my M55 bar set, this time using mostly 3D-printed components.
Mike Mainieri: An Interactive Exploration
Today, during the vibe hang with Mike Mainieri, we were discussing Lionel Hampton's solo on Stardust. Mike was absolutely correct that Lioniel barely touched the damper pedal throughout, playing the instrument as if it were a drum.
Many years ago, Lionel had a fire in his apartment and lost many of his instruments. His valet, on several occasions, would call me to bring an instrument to a gig in the Philly area so that he would have something to play on. At one of those events, his valet gave me a copy of a transcription that a friend had done of that solo.
Charlie is a great vibe player from California. This is a great cd with an allstar personnel.
Love Vibe For Sale. I'm helping a friend sell his instrument. It's a Love Vibe and it's in good shape. You can email me, if you are interested (tony@tonymiceli.com). The instrument is Near Philadelphia in New Jersey. Cash Only, and you have to pick. I can drive an hour if that helps.
$4750 with cases.
In Part 8, we explore the altered scale (seventh mode of melodic minor) as a way to create tension over dominant chords before resolving back to the tonic or next chord. This scale contains altered chord tones—â™9, ♯9, ♯11, and â™13—which provide a wide palette of colors for jazz soloing.
In Part 7, we explore the half-whole diminished scale as a tool for soloing over dominant chords in the blues. This symmetrical scale creates tension and color that can really open up your sound—especially when used sparingly and with intention.
In Part 6, we continue exploring scale-based soloing over the blues in F, this time using bebop dominant scale variants enriched with added chromatic passing tones. This lesson focuses on creating longer, more fluid lines that still clearly outline the changes—using the dominant bebop scale as a flexible framework, not a strict formula.
In Part 5, we shift our focus from arpeggios to scale-based soloing, using the bebop dominant scale as a framework for outlining harmony with a smoother, more linear flow. This scale includes a chromatic passing tone (usually the natural 7th in a dominant scale), allowing you to maintain a strong rhythmic flow while still landing chord tones on downbeats.
He is the man on the Malletkat IMHO!