Vibraphone

Great video of Hutch!

Here's another lick for January. It's in 2 parts. The lick is attached to each part as a pdf and I play it. I would advise transcribing the lick yourself first and then checking the music.

I usually don't even put the music up but this lick is a little more involved.

Check out the end of this video. These kids are so proud. It's pretty cool.

And it looks like one of the percussion groups Gary grew up with! Lots of players and lots of instruments!

I want to go to school there!

Ok I thought I'd post this one because I'm soloing and comping. You'll get an idea of what I'm doing!

But I won't even post this one on youtube. I look the FATTEST on this one. So this is for subscribers only!!

Only subtle fat jokes allowed. Let's see how subtle and cunning you can be.

I'm going to study stage presence of this cat.

This is a trip and a half. Power to him.

Check out Pianist Tom Lawton's solo. Tom is a true genius like Gary.

Tom transcribes and memorizes solos by playing along with them on the dashboard of his car on the way to gigs.

He can do tricks like play a tune and play each hand in a different key, take solos and everything with each hand in a different key. He can hear anything and play it back and transpose things like Bartok excerpts on the spot and put them in solos.

Just some video from my gig last night. Rhythm section is swinging.

Tony Miceli - Vibes
Tom Lawton - Piano
Bob Colligan - Bass
Dan Monaghan - Drums

This article will delve into the family of mallet instruments made of tuned wooden bars, and will take a look at three locations where these instruments are prevalent - North America (jazz and classical), Africa (Shona music), and Central America (Guatamalan folk music). This is not meant to be an exaustive list, but will serve to highlight the vastly different music that has evolved in these places, and the fascinating variety of instruments that have been designed to play the music.

Joe Magnarelli is on the road right now in spain. So he posts little words of wisdom over at the trumpet.jazzimprovonline.com. Here's his most recent post. I thought it was cool.

Just did a clinic in Llieda Spain, and realized that
when you get down to it, copying from the masters is the quickest way to get better.
You can study scales and patterns, that's cool, but when
stealing from the classic records you're getting scales and patterns too.
And you're understanding them in the context of a tune.
For example, check Fee-fi-fo-fum (spelling?)

I am working on playing a classical piece. I try to play it like I am performing. If I make a mistake while playing a slow line, should I try and correct it during the performance, or should I just let it be and continue on? If it is a fast line, I have no choice but to move on.

Thanks,
Barry