Looking for a good set of mallets for a big band. I was looking at maybe the Joe Locke quickflies, (mike balter 47r), any suggestions?
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We recently passed the number of 2500 members!! Isn't that great? Let's keep it up!... Our first 'Chords & Harmony - Comping Festival' started early this month: check out 'all tons' of lessons and join the party! And don't miss the 'Lesson of the Month' for all members! We are also updating the V-Books. More below.
- VIBE HANG: Saturday November 5th!! - TOMORROW! - 2 to 4 p.m. (GMT-4): www.vibesworkshop.com/node/6265/
What do you see when you play the vibes. What's your perspective?
I always saw it as a guitar or even a violin (after studying Bach). Never really saw it as a piano. But yes it looks like a piano and there are many similar things. I guess since I great up playing guitar, that that's where that comes from.
Playing 'All God's Chillin' Got Rhythm'. Practicing my up tempos. As I'm playing I'm thinking wow, this is a drum. I was getting into this whole drum thing on the vibes and it was so cool. To play with just 2 mallets and think of this as a melodic drum was a great experience for me today. Really exciting. I know many of us say it's a piano (which it's not). I think of it as a guitar (which it's not), but today it felt like a drum (which it's not).... Well today it was!
Here's a lesson on modal comping.
The link will be on the front page of the site, Saturday!
Come check out the vibe hang at the University of Delaware, Saturday Nov. 5, 2011 from 2pm to 4pm!
The first thing I notice in this video is the left hand playing right in the range of the bass player. Teddy Wilson came from the Benny Goodman Quartet where for a time there was no bass player. So it was Teddy Wilson's left hand.
Also I think it's still really based and linked to the stride feel. Of course it's going to break away from that, because bass players are entering the scene and there's no need to 2 players to hang out in that bass range. But you still get that feel don't you?
Why don't we all answer these. Here are my answers
Where's the dividing line between playing a melodically interesting accompaniment and overpowering the soloist?