Ah man, I wish I had some recording for that duo...
Norbert Lucarain on vibes + Hubert Dupont on double bass...
These two had a great cooperation a few years ago, but no recording came out of it... I remember some smoking gigs in Paris!!! They had called themselves "NORZUB"...
I only have left a picture and French presentation of the two of them, that might let you imagine what it sounded like! :o)
David Friedman has recorded several selected duets with Harvey Schwartz on some of his CDs. They're not entire albums of duets, but you can find some super vibe/bass work there. The recordings I have date back to the 80s and 90s. I don't know if there are more recent examples.
Hi (15 years late), have just been looking into this and have found two thus far, both on YouTube: the track 'Truce' from 1975 record 'Winter Love, April Joy' (starts at 4:47 timestamp) and the track 'Three Pieces' from the 1977 record 'Futures Passed' however only the first of the three pieces (until 21:19 timestamp) is duo with Schwartz - this is quite interesting because the melody is in the bass, which is a hard balance to pull off (there is some overdubbed marimba in the last 40 seconds or so as well so not solely vibes & bass). Have exploited Schwartz' discography and record credits, plus Friedman and Double Image's discographies, and appears these are all.
Shameless plug - I have a vibes & double bass single out with Aram Bahmaie entitled 'This stuff is sometimes labelled' on all streaming platforms and band camp (2025).
There's a recording titled "For Duke" with Gary and Jay Leonhart (sp). It's a quartet album and the piece of interest is "Take the A Train" which is a vibes/bass duet. Listen to it with extreme caution, because if you're interested in the vibe/bass format for yourself you'll probably end up selling your intrument.
this is what puzzles me. very few duo cds. a few trio cds. i wonder why although via looking inside of me i think i know why.
i think (i'm not sure) that we all think that 60 minutes of vibes and bass would be too much, or boring, or whatever. am i wrong in thinking that that's what most of us think? let me know.
when i talk to vibes players we're always talking about how 3 hours of vibes is a lot. we don't say that about piano, and i understand why, piano is the whole orchestra, we're just part of it (referring to our range).
these are just thoughts that go through my head and some is based on conversation. but nothing is hard set. feel free to educate me.
i fantasize about being able to play an hour concert solo, like burton did. man how many vibe players have played a complete solo concert. i wonder.
when i listen to guys with much more experience than me, like friedman and joe locke and of course burton i hear the way the 'sculpt' there cds to make sure there is variety on them.
how do you play solo vibes for an hour or an hour and a half and do that?
this is part of the reason i'm interested in making the next vibe hang, all solo vibes. let's see what we come up with.
i had a talk with mike pinto about this today and how we feel about playing solo vibes.
i think it all has to do with the line. we have to make sure that the line is there and people can follow us, then i think this is possible. that's something i notice in every great solo vibe performance i've heard. a cut on a cd, or someone playing live. without the line this instrument gets very mushy to me when played solo.
i think all this leads to very very few recordings. i know of a couple vibe players with solo vibe cds. doesn't piltzeker have a solo cd out? burton does.
friedman is totally courageous with all this and has a couple trio cds out and i though a duo cd. (there's a post somewhere here)
and joe locke did a trio cd. also a very courageous player!
It is us as vibe players that need to get passed the Gary Burton age. Just like Gary jumped passed the Milt Jackson two mallet age. We need to think differently and challenge ourselves to go outside of our own barriers and constraints.
I think accepting and utilizing some new characteristics of the instrument may help. Like extended range, pickups, various modulators(time,amplitude,pitch etc), but I don't think it is necessary.
Frankly I think rhythm is the first place to look for opportunity. Harmony is already heavily represented and melodies are often ornamental and full of embellishments. Its not about four mallets or two or three. Its not about the instrument. Its about the music one makes with it. I think this new music will have much more space and opportunity for reflection and excitement.
And even more frankly I don't care whether its called jazz or pop or {pick a name} as long as it smells of spirit and excellence and moves people.
I think it's possible to play a solo vibe gig and make it interesting.
Somebody will do it.
Is it going to be you?
Todd Canedy
Don't stop asking until you understand. Once you understand constantly confirm it.
Related to playing solo, I wonder why there aren't more vibes players that play in piano-less groups. For example, Ed Saindon does this regularly, but Gary and Joe don't (at least most of the time).
what do we feel inside about all this. why do we make these choices? if we have a quartet then why do we choose a chordal instrument for the 4th piece.
when i do (not usually), it's partly because i'm sick of my stuff and want some fresh voicings in the mix. the way someone comps underneath you really can change your stuff.
Just to set the record straight. My first recording, New Vibe Man In Town, was a vibes/bass/drums trio record. I spent three years playing with Stan Getz as the only chordal instrument in the band and made several records with Stan. I recorded a duo record with bassist Steve Swallow called Hotel Hello. I also recorded solo and did solo concerts regularly for a couple of years. Then in the late 70's/early 80's for five years, I had groups with either trumpet or saxophone, no piano. Made three records with those groups, and too many concerts to count. These days, however, I don't find it as interesting musically, to be the only chordal instrument. I'm just following my instincts. I will be playing a concert in Norway in July with tenor sax, vibes, bass and drums. Maybe I'll find a renewed interest.
these are the things i'm curious about. what is not interesting about it? is it just a personal thing? is it a limitation you feel of the instrument? just want someone else putting the harmony in with you.
in the back of my head is all this stuff. bad things. like 'is an hour of vibes is boring?'. like: are 3 sets of a vibe trio is boring?
what i wonder is do others feel that way or is that just my baggage? and then should i be saying that 3 sets of ME playing in a trio is boring.
so to here you say that, makes me very curious.
i practice playing solo ALL the time, but could never do what you did (play concerts completely solo). but that's a fantasy of mine.
all head stuff maybe and maybe partly the instrument.
i hope i'm making sense, and all this is very very interesting to me!
I'm sorry that I implied that you haven't done a lot of vibes-as-the-only-chordal instrument playing. My parenthetical statement should've been more like "at least most of the time, lately, on recordings" :-).
hi gary you know even you think this kind of records without piano you do not find interest musically, I find can be for a any vibes player a great challenge.
in my case i listen this records from you and i was very fascinating and the give me the idea to make some similar
I love the time i spend comping for another soloist and try to grow into a great backgroung harmonys for the group
i make two records inpiring by you
one of them comping for a tenor sax making the music of jerry bergonzi and the other in a hardbop context with trumpet and alto sax
I think was very learning process how i fell comping for other and when arrive my solo be alone ( it was so dificult)and works like a piano player
(all to me start when I listening you the sound of love version)
Tony wrote, "i practice playing solo ALL the time, but could never do what you did (play concerts completely solo). but that's a fantasy of mine. all head stuff maybe and maybe partly the instrument."
You may have answered your own question here. There really is no such thing as a completely solo gig if you consider the audience the other member of the "band." So when you practice you are both performer and audience. As a pianist, it's true that I have 88 keys instead of 37 bars to work with, but I still have to consider that the audience is an equal member of my solo act; the only difference is that they pay and I get paid, but they basically get to call the tunes.
I think it's the same deal with a duo - it's really a trio of vibes, bass, and audience whether it's a live audience or the record-buying audience. I think of the old saying about the falling tree not making a sound if nobody hears it.
ran this through google gemini and here's what i got.
didn't turn up to many duo cds.
II. Canonical Jazz Recordings: Verified 100% Duo Albums
The discographical search yielded a small, specialized collection of recordings that unequivocally meet the criteria of featuring only vibraphone and bass throughout their duration.
A. Case Study 1: Walt Dickerson & Richard Davis — Acoustic Post-Bop Extremism
Vibraphonist Walt Dickerson and bassist Richard Davis are the foundational artists of the acoustic vibraphone-bass duo in modern jazz. Their collaborative work from 1977 represents a pinnacle of commitment to this sparse format, rooted deeply in the expressive, free-improvisational vocabulary of post-bop and avant-garde jazz.
Divine Gemini (SteepleChase, 1978): The Essential Duet
The album Divine Gemini, released by SteepleChase in 1978, is one of the most securely verified examples of the pure vibraphone and bass duo.4 The album personnel is confirmed exclusively as Walt Dickerson on vibraphone and Richard Davis on bass (acoustic double bass), with no additional instrumentation listed.4
Recorded in C.I. Recording Studio in New York City on February 9, 1977, the album runs 33:48 and features four compositions by Dickerson.4 The track list includes extended improvisational pieces such as "Lucille" (12:33) and "Her Intuition" (14:24).4 The lengthy track times demonstrate that the duo format was not merely utilized for short sketches or interludes but was sustained for deep, extended journeys into abstract improvisational territory.
The musical achievement of Divine Gemini rests heavily on Richard Davis's profound technical command. Recognized for his clear tone, woody resonance, and melodic inventiveness, Davis's playing style is uniquely suited to filling the enormous sonic void created by the absence of piano and drums. The duo’s success illustrates that for the vibraphone/acoustic bass configuration to function over an entire album, the bassist must possess an extremely polyphonic and melodic approach, treating the instrument as a co-equal lead voice rather than just a rhythmic anchor.
Tenderness (SteepleChase, 1985): Continuation of the Partnership
A second album featuring the identical exclusive instrumentation is Tenderness, also by Dickerson and Davis.6 While released in 1985, Tenderness was drawn from the exact same recording session as Divine Gemini on February 9, 1977.6
The album credits confirm the personnel as Walt Dickerson on vibraphone and Richard Davis on bass, with Nils Winther producing the session.6 The existence of two separate, full-length albums released years apart, sourced from a single date dedicated solely to the vibraphone-bass duo, confirms the depth of commitment these artists had to exploring the structural and expressive limits of the format. Tenderness completes the artistic statement made by the partnership in 1977.
B. Case Study 2: Tom Collier & Dan Dean — Fusion and Electric Bass Application
Moving beyond the acoustic, avant-garde territory of Dickerson and Davis, the duo of Tom Collier and Dan Dean demonstrates the viability of the format using modern electric instruments.
The album Duets by Collier & Dean, released in 2005, is explicitly confirmed as a duo recording.8 The personnel is listed as Tom Collier on vibraphone and Dan Dean on electric bass.8 Critics noted that the instrumentation was unusual, reflecting the rarity of this setup.9 Collier and Dean have maintained a musical partnership for nearly four decades, bringing a wealth of experience to this challenging project.9
The application of electric bass in this duo provides a fundamentally different sonic foundation compared to the acoustic double bass. The electric instrument offers greater sustain and a more solid, stable low end, often aligning the sound closer to jazz fusion or contemporary crossover styles. The track listing of Duets supports this genre mobility, featuring standards like "Giant Steps" and "So What?" alongside originals and even an arrangement of the Rolling Stones' "What A Shame," illustrating the format’s versatility in contemporary contexts.9 The successful execution of complex pieces and diverse genres confirms that the vibraphone/electric bass duo is a sustainable format, particularly when the bassist employs a strong, foundational approach.
Summary of Confirmed 100% Vibraphone and Bass Duos
The following table summarizes the verified albums that meet the highest standard of featuring only vibraphone and bass, fulfilling the user's strict criteria.
Album Title
Artists
Vibraphone Player
Bass Player
Bass Type
Genre Focus
Release Year
Divine Gemini
Walt Dickerson & Richard Davis
Walt Dickerson
Richard Davis
Acoustic Double Bass
Avant-Garde Jazz
1978
Tenderness
Walt Dickerson & Richard Davis
Walt Dickerson
Richard Davis
Acoustic Double Bass
Avant-Garde Jazz
1985
Duets
Tom Collier & Dan Dean
Tom Collier
Dan Dean
Electric Bass
Jazz Fusion/Crossover
2005
III. The Strict Exclusion Zone: Albums Falling Short of the 75% Threshold
A significant difficulty in compiling this discography involves popular recordings that frequently surface in discussions of drum-less or piano-less ensembles but ultimately fail the strict criterion due to the inclusion of additional instrumental voices. Analysis confirms that the most commonly cited “duos” are, in fact, trios or multi-instrumental pairings that do not adhere to the 75% Vibe/Bass rule.
A. The Problem of the Piano/Marimba Double: The Gary Burton/ECM Catalog
The work of vibraphonist Gary Burton, a pioneer of the instrument in modern jazz, often involves sparse ensembles, leading to frequent misidentification of his duos as pure vibraphone and bass recordings.
Hotel Hello (Gary Burton & Steve Swallow, ECM, 1974)
Hotel Hello is a classic ECM recording featuring Burton and electric bassist Steve Swallow.10 However, the album is disqualified because both primary artists incorporate multiple instruments. The personnel is listed as Gary Burton on Vibraharp, Organ, and Marimba, and Steve Swallow on Bass and Piano.10
The album review explicitly states that Swallow assumes a dual identity in the title track, "Hotel Hello," playing both bass and piano.10 Furthermore, the opening track, "Chelsea Bells (For Hern)," features piano and vibes, confirming the presence of a third harmonic voice, which violates the "ONLY vibraphone and Bass" rule.10 The choice by the artists and producer Manfred Eicher to utilize multi-instrumental doubling, including piano and organ, demonstrates a clear aesthetic preference for harmonic richness and textural variation, deliberately avoiding the ascetic constraints of a strict two-instrument format. This confirms that despite being a highly regarded duo recording, it does not meet the necessary discographical specification.
Other Multi-Instrumental Duos
The criterion is also violated by other high-profile duos. For instance, Dave Holland and Karl Berger’s partnership on All Kinds of Time features Holland on bass, but Berger switches among vibraphone, piano, and balafon, thereby preventing inclusion due to the pervasive use of secondary instruments.2
B. Misidentified Trios: The Drummer as the Primary Contaminant
The most common reason for exclusion is the presence of drums, transforming the intended duo into a vibraphone-bass-drums trio, a much more conventional and rhythmically grounded format. Many albums cited by listeners for their strong vibraphone-bass interaction belong to this category.
The Arrival of Victor Feldman (Contemporary, 1959)
This album is frequently praised for the instrumental interplay, particularly highlighting the exceptional bass work of Scott LaFaro.1 Commentators often focus on the synergy between the vibraphone (Victor Feldman) and the acoustic bass (Scott LaFaro), noting how the clear recording allows the "woody resonance of Scott's bass shine".1
However, The Arrival of Victor Feldman is a quintet album recorded in two sessions, featuring a trio on three tracks and a quintet on two others. Crucially, the rhythm section includes Stan Levy on drums.1 Furthermore, Wynton Kelly is often present on piano. Therefore, despite the melodic brilliance of the LaFaro/Feldman interaction, the instrumentation confirms this recording as a standard jazz ensemble, disqualifying it from the exclusive duo category.1
Other Confirmed Vibe-Bass-Drums Trios
Several highly recommended albums from recent jazz history are consistently identified as vibraphone/bass/drums trios, failing the strict criteria for the same reason:
New Vibe Man in Town(Gary Burton): Confirmed by multiple sources to feature drums.1
A Common Language(Steve Nelson): Explicitly cited as a vibes, bass, and drums trio.1
Very Early(Joe Locke): Also confirmed as a vibes, bass, and drums ensemble.1
The consistent identification of these trios by listeners seeking duos confirms a recurring issue in instrumental discography: the powerful melodic connection between the vibraphone and the bass often overshadows the presence of the drummer, even though the drummer is essential to the album’s structural integrity. This pattern demonstrates that for a vibraphone-bass duo to achieve stability in the mainstream jazz idiom, musicians typically find the addition of rhythmic percussion indispensable. The successful 100% acoustic duo albums (like Dickerson/Davis) are therefore intrinsically linked to experimental or abstract jazz methodologies, where traditional rhythmic grounding is intentionally avoided.
IV. The Vibraphone-Bass Duo in Contemporary and Classical Crossover Repertoire
The pure vibraphone and bass instrumentation is also utilized in the classical and contemporary repertoire, where instrumental configuration is dictated by a specific composer’s score, rather than jazz improvisation standards. This domain presents a viable avenue for finding additional pure duo recordings.
A. Confirmed Classical and Crossover Performance Repertoire
The duo of percussionist Homero Cerón (Vibraphone) and Jim Karrer (Double Bass) has publicly performed and recorded a specialized program of compositions for this exact pairing.12 Cerón, a former principal percussionist, and Karrer, the continuing principal double bassist of the Tucson Symphony Orchestra, perform a repertoire that spans genres.12
The confirmed program includes classical works such as J.S. Bach's Invention X and Invention XIII, excerpts from Igor Stravinsky (including Allegretto, Lento, and Vivo), and contemporary crossover pieces like Leonard Bernstein’s “Somewhere” and Astor Piazzolla’s "Oblivion".12
The successful execution of this demanding repertoire is possible because classical music allows the double bass to frequently employ the bow (arco) technique. Arco playing provides the necessary sustain to maintain contrapuntal lines and harmonic texture, effectively occupying the space traditionally reserved for a piano. This approach addresses the harmonic instability of the purely pizzicato Vibe/Bass duo, making the combination functionally viable for sophisticated written music.
B. Discographical Status of Commercial Classical Releases
While the musical viability and performance history of duos like Cerón and Karrer are established through concert recordings 12, the confirmed existence of a commercially distributed CD release remains to be verified through specialized classical or university press databases. Given the dedicated nature of the repertoire—performing works by Bach and Stravinsky adapted for this setting—it is highly probable that commercial classical or contemporary composition recordings exist for the vibraphone-bass duo, often commissioned by academic or chamber ensembles. Future discographical research should target these highly specialized labels, as they are often overlooked by general jazz/pop databases.
V. Technical and Aesthetic Analysis of the Instrumentation
The confirmed duos are musically noteworthy because they successfully navigate significant textural and harmonic obstacles. The study of these rare recordings illuminates crucial musical parameters required for the format's success.
A. Timbral Interaction: Sustained Resonance vs. Attack
The vibraphone and the bass present a challenging timbral pairing defined by highly contrasting sound envelopes. The vibraphone features a sharp, clear metallic attack followed by rapid decay (even with the motor on), whereas the acoustic bass provides a low-frequency resonance, and the electric bass offers a solid, sustained tone.
In these duos, the vibraphonist must necessarily function as both lead voice and harmonic provider. This requires sophisticated, dense, four-mallet voicing techniques—a highly demanding skill set—to imply full chordal movement where a sustained instrument would state it explicitly. The proper use of the vibraphone’s sustain pedal becomes a critical structural element, essential for bridging harmonic gaps and preventing the texture from disintegrating into disconnected percussive statements.
B. Improvised Dialogue and Role Reversal
In a pure two-voice setting, the traditional roles of melodic lead and rhythmic support dissolve, requiring a radical equalization of musical duties. The successful acoustic duos rely on a bassist who moves far beyond the conventional time-keeping function. Richard Davis, on Divine Gemini and Tenderness, exemplifies this: his playing exhibits melodic independence, using the bass not just as a foundation, but as a parallel improvisational voice capable of interacting contrapuntally with the vibraphone.4
The dynamic rhythm of the music is shared collectively, creating a tension of time. Without the explicit, stabilizing pulse of a drummer, the musicians must rely on collective, internal timing and heightened interactive awareness. This methodology explains why the most secure, 100% acoustic examples (Dickerson/Davis) are concentrated in avant-garde and free jazz genres. In these experimental contexts, the intentional destabilization and abstraction of rhythmic and harmonic duties align perfectly with the limitations of the Vibe/Acoustic Bass duo. Conversely, the demands of structured mainstream jazz or hard-bop overwhelmingly require the stability offered by a drummer, confirming that the Vibe/Acoustic Bass duo is structurally aligned with non-traditional improvisational methodologies.
VI. Conclusion and Definitive Discography
The request for commercially released albums featuring only vibraphone and bass for 75% or more of the program identifies a highly specialized and exceptionally rare discographical subset. The structural constraints of this instrumentation—specifically the harmonic vacuum and the rhythmic burden placed solely on the bassist—mean that most popular suggestions fall into the category of vibraphone trios (Vibes/Bass/Drums) or duos that employ extensive instrumental doubling (Vibes/Piano/Bass).
Based on commercial data and verifiable personnel listings, the core discography of albums dedicated exclusively to the vibraphone and bass duo comprises three principal titles across two distinct genres: avant-garde acoustic jazz and electric jazz fusion.
Confirmed Definitive Discography
Album Title
Artists
Vibraphone Player
Bass Player
Bass Type
Genre Focus
Release Year
Label
Divine Gemini
Walt Dickerson & Richard Davis
Walt Dickerson
Richard Davis
Acoustic Double Bass
Avant-Garde Jazz
1978
SteepleChase
Tenderness
Walt Dickerson & Richard Davis
Walt Dickerson
Richard Davis
Acoustic Double Bass
Avant-Garde Jazz
1985
SteepleChase
Duets
Tom Collier & Dan Dean
Tom Collier
Dan Dean
Electric Bass
Jazz Fusion/Crossover
2005
Origin Arts
Final Assessment
The successful establishment of a consistent musical language in this sparse setting, whether through the intense, lengthy improvisations of Dickerson and Davis or the standards-based, electric clarity of Collier and Dean, represents a significant artistic achievement. Listeners seeking the pure interaction of only these two instruments should prioritize the three confirmed recordings listed above. All other commonly cited albums are confirmed to include additional core instrumentation (e.g., drums, piano, or secondary mallets) and thus fail the stringent 75% exclusivity requirement.
Comments
Lucarain/Dupont
Marie-Noëlle Mon, 05/24/2010 - 13:03
Ah man, I wish I had some recording for that duo...
Norbert Lucarain on vibes + Hubert Dupont on double bass...
These two had a great cooperation a few years ago, but no recording came out of it... I remember some smoking gigs in Paris!!! They had called themselves "NORZUB"...
I only have left a picture and French presentation of the two of them, that might let you imagine what it sounded like! :o)
http://www.hubertdupont.com/norzub.htm
david friedman and harvey schwartz duets for bass and vibes
tedwolff Mon, 05/24/2010 - 14:58
David Friedman has recorded several selected duets with Harvey Schwartz on some of his CDs. They're not entire albums of duets, but you can find some super vibe/bass work there. The recordings I have date back to the 80s and 90s. I don't know if there are more recent examples.
Ted.
Cerulean Blue: new CD by Ted Wolff. Go to http://cdbaby.com/cd/kleinwolff
I haven't been able to find
toddc Tue, 05/25/2010 - 10:34
In reply to david friedman and harvey schwartz duets for bass and vibes by tedwolff
I haven't been able to find these duets yet.
Can anyone point me in the right direction?
Todd Canedy
Don't stop asking until you understand. Once you understand constantly confirm it.
Hi (15 years late), have…
gloria_657 Wed, 10/29/2025 - 09:14
In reply to I haven't been able to find by toddc
Hi (15 years late), have just been looking into this and have found two thus far, both on YouTube: the track 'Truce' from 1975 record 'Winter Love, April Joy' (starts at 4:47 timestamp) and the track 'Three Pieces' from the 1977 record 'Futures Passed' however only the first of the three pieces (until 21:19 timestamp) is duo with Schwartz - this is quite interesting because the melody is in the bass, which is a hard balance to pull off (there is some overdubbed marimba in the last 40 seconds or so as well so not solely vibes & bass). Have exploited Schwartz' discography and record credits, plus Friedman and Double Image's discographies, and appears these are all.
Shameless plug - I have a vibes & double bass single out with Aram Bahmaie entitled 'This stuff is sometimes labelled' on all streaming platforms and band camp (2025).
There's a recording titled
DrBobM55 Mon, 05/24/2010 - 21:17
There's a recording titled "For Duke" with Gary and Jay Leonhart (sp). It's a quartet album and the piece of interest is "Take the A Train" which is a vibes/bass duet. Listen to it with extreme caution, because if you're interested in the vibe/bass format for yourself you'll probably end up selling your intrument.
Bob Wesner
there are not a lot
tonymiceli Mon, 05/24/2010 - 22:29
this is what puzzles me. very few duo cds. a few trio cds. i wonder why although via looking inside of me i think i know why.
i think (i'm not sure) that we all think that 60 minutes of vibes and bass would be too much, or boring, or whatever. am i wrong in thinking that that's what most of us think? let me know.
when i talk to vibes players we're always talking about how 3 hours of vibes is a lot. we don't say that about piano, and i understand why, piano is the whole orchestra, we're just part of it (referring to our range).
these are just thoughts that go through my head and some is based on conversation. but nothing is hard set. feel free to educate me.
i fantasize about being able to play an hour concert solo, like burton did. man how many vibe players have played a complete solo concert. i wonder.
when i listen to guys with much more experience than me, like friedman and joe locke and of course burton i hear the way the 'sculpt' there cds to make sure there is variety on them.
how do you play solo vibes for an hour or an hour and a half and do that?
this is part of the reason i'm interested in making the next vibe hang, all solo vibes. let's see what we come up with.
i had a talk with mike pinto about this today and how we feel about playing solo vibes.
i think it all has to do with the line. we have to make sure that the line is there and people can follow us, then i think this is possible. that's something i notice in every great solo vibe performance i've heard. a cut on a cd, or someone playing live. without the line this instrument gets very mushy to me when played solo.
i think all this leads to very very few recordings. i know of a couple vibe players with solo vibe cds. doesn't piltzeker have a solo cd out? burton does.
friedman is totally courageous with all this and has a couple trio cds out and i though a duo cd. (there's a post somewhere here)
and joe locke did a trio cd. also a very courageous player!
enough! i'll stop
i know i'm rambling but this got me thinking!
------------------------
Tony Miceli
www.tonymiceli.com (new)
s k y p e: tjazzvibe
tony@tonymiceli.com
www.facebook.com/people/Tony-Miceli/604414578
http://twitter.com/tonymiceli
http://www.myspace.com/tonymicelivibes
Its not a matter of the instrument!
toddc Tue, 05/25/2010 - 10:10
In reply to there are not a lot by tonymiceli
It is us as vibe players that need to get passed the Gary Burton age. Just like Gary jumped passed the Milt Jackson two mallet age. We need to think differently and challenge ourselves to go outside of our own barriers and constraints.
I think accepting and utilizing some new characteristics of the instrument may help. Like extended range, pickups, various modulators(time,amplitude,pitch etc), but I don't think it is necessary.
Frankly I think rhythm is the first place to look for opportunity. Harmony is already heavily represented and melodies are often ornamental and full of embellishments. Its not about four mallets or two or three. Its not about the instrument. Its about the music one makes with it. I think this new music will have much more space and opportunity for reflection and excitement.
And even more frankly I don't care whether its called jazz or pop or {pick a name} as long as it smells of spirit and excellence and moves people.
I think it's possible to play a solo vibe gig and make it interesting.
Somebody will do it.
Is it going to be you?
Todd Canedy
Don't stop asking until you understand. Once you understand constantly confirm it.
Vibes without piano
tpvibes Tue, 05/25/2010 - 10:27
In reply to there are not a lot by tonymiceli
Related to playing solo, I wonder why there aren't more vibes players that play in piano-less groups. For example, Ed Saindon does this regularly, but Gary and Joe don't (at least most of the time).
Tom P.
i'm curious also
tonymiceli Tue, 05/25/2010 - 12:49
In reply to Vibes without piano by tpvibes
from a players perspective.
what do we feel inside about all this. why do we make these choices? if we have a quartet then why do we choose a chordal instrument for the 4th piece.
when i do (not usually), it's partly because i'm sick of my stuff and want some fresh voicings in the mix. the way someone comps underneath you really can change your stuff.
------------------------
Tony Miceli
www.tonymiceli.com (new)
s k y p e: tjazzvibe
tony@tonymiceli.com
www.facebook.com/people/Tony-Miceli/604414578
http://twitter.com/tonymiceli
http://www.myspace.com/tonymicelivibes
Playing without piano (or guitar)
Gary Burton Tue, 05/25/2010 - 14:55
In reply to Vibes without piano by tpvibes
Just to set the record straight. My first recording, New Vibe Man In Town, was a vibes/bass/drums trio record. I spent three years playing with Stan Getz as the only chordal instrument in the band and made several records with Stan. I recorded a duo record with bassist Steve Swallow called Hotel Hello. I also recorded solo and did solo concerts regularly for a couple of years. Then in the late 70's/early 80's for five years, I had groups with either trumpet or saxophone, no piano. Made three records with those groups, and too many concerts to count. These days, however, I don't find it as interesting musically, to be the only chordal instrument. I'm just following my instincts. I will be playing a concert in Norway in July with tenor sax, vibes, bass and drums. Maybe I'll find a renewed interest.
Gary B
gary: why don't you find it musically intersting?
tonymiceli Tue, 05/25/2010 - 17:18
In reply to Playing without piano (or guitar) by Gary Burton
these are the things i'm curious about. what is not interesting about it? is it just a personal thing? is it a limitation you feel of the instrument? just want someone else putting the harmony in with you.
in the back of my head is all this stuff. bad things. like 'is an hour of vibes is boring?'. like: are 3 sets of a vibe trio is boring?
what i wonder is do others feel that way or is that just my baggage? and then should i be saying that 3 sets of ME playing in a trio is boring.
so to here you say that, makes me very curious.
i practice playing solo ALL the time, but could never do what you did (play concerts completely solo). but that's a fantasy of mine.
all head stuff maybe and maybe partly the instrument.
i hope i'm making sense, and all this is very very interesting to me!
------------------------
Tony Miceli
www.tonymiceli.com (new)
s k y p e: tjazzvibe
tony@tonymiceli.com
www.facebook.com/people/Tony-Miceli/604414578
http://twitter.com/tonymiceli
http://www.myspace.com/tonymicelivibes
Lately
tpvibes Wed, 05/26/2010 - 09:44
In reply to Playing without piano (or guitar) by Gary Burton
Hi Gary,
I'm sorry that I implied that you haven't done a lot of vibes-as-the-only-chordal instrument playing. My parenthetical statement should've been more like "at least most of the time, lately, on recordings" :-).
Tom P.
to me inspiring me this kind of album you did
arturo serra Wed, 05/26/2010 - 19:20
In reply to Playing without piano (or guitar) by Gary Burton
hi gary you know even you think this kind of records without piano you do not find interest musically, I find can be for a any vibes player a great challenge.
in my case i listen this records from you and i was very fascinating and the give me the idea to make some similar
I love the time i spend comping for another soloist and try to grow into a great backgroung harmonys for the group
i make two records inpiring by you
one of them comping for a tenor sax making the music of jerry bergonzi and the other in a hardbop context with trumpet and alto sax
I think was very learning process how i fell comping for other and when arrive my solo be alone ( it was so dificult)and works like a piano player
(all to me start when I listening you the sound of love version)
Joe Locke in duet... last minute!
Marie-Noëlle Tue, 05/25/2010 - 15:49
In reply to Vibes without piano by tpvibes
If ever you're around NYC, Joe Locke is playing in duet with Harpist Edmar Casteñada... tomorrow 26th! (Jazz Standard)
http://www.jazzstandard.net/red/index.html
- M
the audience is your partner
John Keene Wed, 05/26/2010 - 10:53
Tony wrote, "i practice playing solo ALL the time, but could never do what you did (play concerts completely solo). but that's a fantasy of mine. all head stuff maybe and maybe partly the instrument."
You may have answered your own question here. There really is no such thing as a completely solo gig if you consider the audience the other member of the "band." So when you practice you are both performer and audience. As a pianist, it's true that I have 88 keys instead of 37 bars to work with, but I still have to consider that the audience is an equal member of my solo act; the only difference is that they pay and I get paid, but they basically get to call the tunes.
I think it's the same deal with a duo - it's really a trio of vibes, bass, and audience whether it's a live audience or the record-buying audience. I think of the old saying about the falling tree not making a sound if nobody hears it.
ran this through google…
tonymiceli Mon, 11/17/2025 - 08:59
ran this through google gemini and here's what i got.
didn't turn up to many duo cds.
II. Canonical Jazz Recordings: Verified 100% Duo Albums
The discographical search yielded a small, specialized collection of recordings that unequivocally meet the criteria of featuring only vibraphone and bass throughout their duration.
A. Case Study 1: Walt Dickerson & Richard Davis — Acoustic Post-Bop Extremism
Vibraphonist Walt Dickerson and bassist Richard Davis are the foundational artists of the acoustic vibraphone-bass duo in modern jazz. Their collaborative work from 1977 represents a pinnacle of commitment to this sparse format, rooted deeply in the expressive, free-improvisational vocabulary of post-bop and avant-garde jazz.
Divine Gemini (SteepleChase, 1978): The Essential Duet
The album Divine Gemini, released by SteepleChase in 1978, is one of the most securely verified examples of the pure vibraphone and bass duo.4 The album personnel is confirmed exclusively as Walt Dickerson on vibraphone and Richard Davis on bass (acoustic double bass), with no additional instrumentation listed.4
Recorded in C.I. Recording Studio in New York City on February 9, 1977, the album runs 33:48 and features four compositions by Dickerson.4 The track list includes extended improvisational pieces such as "Lucille" (12:33) and "Her Intuition" (14:24).4 The lengthy track times demonstrate that the duo format was not merely utilized for short sketches or interludes but was sustained for deep, extended journeys into abstract improvisational territory.
The musical achievement of Divine Gemini rests heavily on Richard Davis's profound technical command. Recognized for his clear tone, woody resonance, and melodic inventiveness, Davis's playing style is uniquely suited to filling the enormous sonic void created by the absence of piano and drums. The duo’s success illustrates that for the vibraphone/acoustic bass configuration to function over an entire album, the bassist must possess an extremely polyphonic and melodic approach, treating the instrument as a co-equal lead voice rather than just a rhythmic anchor.
Tenderness (SteepleChase, 1985): Continuation of the Partnership
A second album featuring the identical exclusive instrumentation is Tenderness, also by Dickerson and Davis.6 While released in 1985, Tenderness was drawn from the exact same recording session as Divine Gemini on February 9, 1977.6
The album credits confirm the personnel as Walt Dickerson on vibraphone and Richard Davis on bass, with Nils Winther producing the session.6 The existence of two separate, full-length albums released years apart, sourced from a single date dedicated solely to the vibraphone-bass duo, confirms the depth of commitment these artists had to exploring the structural and expressive limits of the format. Tenderness completes the artistic statement made by the partnership in 1977.
B. Case Study 2: Tom Collier & Dan Dean — Fusion and Electric Bass Application
Moving beyond the acoustic, avant-garde territory of Dickerson and Davis, the duo of Tom Collier and Dan Dean demonstrates the viability of the format using modern electric instruments.
Duets (Origin Arts, 2005): Crossover Vibe/Electric Bass
The album Duets by Collier & Dean, released in 2005, is explicitly confirmed as a duo recording.8 The personnel is listed as Tom Collier on vibraphone and Dan Dean on electric bass.8 Critics noted that the instrumentation was unusual, reflecting the rarity of this setup.9 Collier and Dean have maintained a musical partnership for nearly four decades, bringing a wealth of experience to this challenging project.9
The application of electric bass in this duo provides a fundamentally different sonic foundation compared to the acoustic double bass. The electric instrument offers greater sustain and a more solid, stable low end, often aligning the sound closer to jazz fusion or contemporary crossover styles. The track listing of Duets supports this genre mobility, featuring standards like "Giant Steps" and "So What?" alongside originals and even an arrangement of the Rolling Stones' "What A Shame," illustrating the format’s versatility in contemporary contexts.9 The successful execution of complex pieces and diverse genres confirms that the vibraphone/electric bass duo is a sustainable format, particularly when the bassist employs a strong, foundational approach.
Summary of Confirmed 100% Vibraphone and Bass Duos
The following table summarizes the verified albums that meet the highest standard of featuring only vibraphone and bass, fulfilling the user's strict criteria.
III. The Strict Exclusion Zone: Albums Falling Short of the 75% Threshold
A significant difficulty in compiling this discography involves popular recordings that frequently surface in discussions of drum-less or piano-less ensembles but ultimately fail the strict criterion due to the inclusion of additional instrumental voices. Analysis confirms that the most commonly cited “duos” are, in fact, trios or multi-instrumental pairings that do not adhere to the 75% Vibe/Bass rule.
A. The Problem of the Piano/Marimba Double: The Gary Burton/ECM Catalog
The work of vibraphonist Gary Burton, a pioneer of the instrument in modern jazz, often involves sparse ensembles, leading to frequent misidentification of his duos as pure vibraphone and bass recordings.
Hotel Hello (Gary Burton & Steve Swallow, ECM, 1974)
Hotel Hello is a classic ECM recording featuring Burton and electric bassist Steve Swallow.10 However, the album is disqualified because both primary artists incorporate multiple instruments. The personnel is listed as Gary Burton on Vibraharp, Organ, and Marimba, and Steve Swallow on Bass and Piano.10
The album review explicitly states that Swallow assumes a dual identity in the title track, "Hotel Hello," playing both bass and piano.10 Furthermore, the opening track, "Chelsea Bells (For Hern)," features piano and vibes, confirming the presence of a third harmonic voice, which violates the "ONLY vibraphone and Bass" rule.10 The choice by the artists and producer Manfred Eicher to utilize multi-instrumental doubling, including piano and organ, demonstrates a clear aesthetic preference for harmonic richness and textural variation, deliberately avoiding the ascetic constraints of a strict two-instrument format. This confirms that despite being a highly regarded duo recording, it does not meet the necessary discographical specification.
Other Multi-Instrumental Duos
The criterion is also violated by other high-profile duos. For instance, Dave Holland and Karl Berger’s partnership on All Kinds of Time features Holland on bass, but Berger switches among vibraphone, piano, and balafon, thereby preventing inclusion due to the pervasive use of secondary instruments.2
B. Misidentified Trios: The Drummer as the Primary Contaminant
The most common reason for exclusion is the presence of drums, transforming the intended duo into a vibraphone-bass-drums trio, a much more conventional and rhythmically grounded format. Many albums cited by listeners for their strong vibraphone-bass interaction belong to this category.
The Arrival of Victor Feldman (Contemporary, 1959)
This album is frequently praised for the instrumental interplay, particularly highlighting the exceptional bass work of Scott LaFaro.1 Commentators often focus on the synergy between the vibraphone (Victor Feldman) and the acoustic bass (Scott LaFaro), noting how the clear recording allows the "woody resonance of Scott's bass shine".1
However, The Arrival of Victor Feldman is a quintet album recorded in two sessions, featuring a trio on three tracks and a quintet on two others. Crucially, the rhythm section includes Stan Levy on drums.1 Furthermore, Wynton Kelly is often present on piano. Therefore, despite the melodic brilliance of the LaFaro/Feldman interaction, the instrumentation confirms this recording as a standard jazz ensemble, disqualifying it from the exclusive duo category.1
Other Confirmed Vibe-Bass-Drums Trios
Several highly recommended albums from recent jazz history are consistently identified as vibraphone/bass/drums trios, failing the strict criteria for the same reason:
The consistent identification of these trios by listeners seeking duos confirms a recurring issue in instrumental discography: the powerful melodic connection between the vibraphone and the bass often overshadows the presence of the drummer, even though the drummer is essential to the album’s structural integrity. This pattern demonstrates that for a vibraphone-bass duo to achieve stability in the mainstream jazz idiom, musicians typically find the addition of rhythmic percussion indispensable. The successful 100% acoustic duo albums (like Dickerson/Davis) are therefore intrinsically linked to experimental or abstract jazz methodologies, where traditional rhythmic grounding is intentionally avoided.
IV. The Vibraphone-Bass Duo in Contemporary and Classical Crossover Repertoire
The pure vibraphone and bass instrumentation is also utilized in the classical and contemporary repertoire, where instrumental configuration is dictated by a specific composer’s score, rather than jazz improvisation standards. This domain presents a viable avenue for finding additional pure duo recordings.
A. Confirmed Classical and Crossover Performance Repertoire
The duo of percussionist Homero Cerón (Vibraphone) and Jim Karrer (Double Bass) has publicly performed and recorded a specialized program of compositions for this exact pairing.12 Cerón, a former principal percussionist, and Karrer, the continuing principal double bassist of the Tucson Symphony Orchestra, perform a repertoire that spans genres.12
The confirmed program includes classical works such as J.S. Bach's Invention X and Invention XIII, excerpts from Igor Stravinsky (including Allegretto, Lento, and Vivo), and contemporary crossover pieces like Leonard Bernstein’s “Somewhere” and Astor Piazzolla’s "Oblivion".12
The successful execution of this demanding repertoire is possible because classical music allows the double bass to frequently employ the bow (arco) technique. Arco playing provides the necessary sustain to maintain contrapuntal lines and harmonic texture, effectively occupying the space traditionally reserved for a piano. This approach addresses the harmonic instability of the purely pizzicato Vibe/Bass duo, making the combination functionally viable for sophisticated written music.
B. Discographical Status of Commercial Classical Releases
While the musical viability and performance history of duos like Cerón and Karrer are established through concert recordings 12, the confirmed existence of a commercially distributed CD release remains to be verified through specialized classical or university press databases. Given the dedicated nature of the repertoire—performing works by Bach and Stravinsky adapted for this setting—it is highly probable that commercial classical or contemporary composition recordings exist for the vibraphone-bass duo, often commissioned by academic or chamber ensembles. Future discographical research should target these highly specialized labels, as they are often overlooked by general jazz/pop databases.
V. Technical and Aesthetic Analysis of the Instrumentation
The confirmed duos are musically noteworthy because they successfully navigate significant textural and harmonic obstacles. The study of these rare recordings illuminates crucial musical parameters required for the format's success.
A. Timbral Interaction: Sustained Resonance vs. Attack
The vibraphone and the bass present a challenging timbral pairing defined by highly contrasting sound envelopes. The vibraphone features a sharp, clear metallic attack followed by rapid decay (even with the motor on), whereas the acoustic bass provides a low-frequency resonance, and the electric bass offers a solid, sustained tone.
In these duos, the vibraphonist must necessarily function as both lead voice and harmonic provider. This requires sophisticated, dense, four-mallet voicing techniques—a highly demanding skill set—to imply full chordal movement where a sustained instrument would state it explicitly. The proper use of the vibraphone’s sustain pedal becomes a critical structural element, essential for bridging harmonic gaps and preventing the texture from disintegrating into disconnected percussive statements.
B. Improvised Dialogue and Role Reversal
In a pure two-voice setting, the traditional roles of melodic lead and rhythmic support dissolve, requiring a radical equalization of musical duties. The successful acoustic duos rely on a bassist who moves far beyond the conventional time-keeping function. Richard Davis, on Divine Gemini and Tenderness, exemplifies this: his playing exhibits melodic independence, using the bass not just as a foundation, but as a parallel improvisational voice capable of interacting contrapuntally with the vibraphone.4
The dynamic rhythm of the music is shared collectively, creating a tension of time. Without the explicit, stabilizing pulse of a drummer, the musicians must rely on collective, internal timing and heightened interactive awareness. This methodology explains why the most secure, 100% acoustic examples (Dickerson/Davis) are concentrated in avant-garde and free jazz genres. In these experimental contexts, the intentional destabilization and abstraction of rhythmic and harmonic duties align perfectly with the limitations of the Vibe/Acoustic Bass duo. Conversely, the demands of structured mainstream jazz or hard-bop overwhelmingly require the stability offered by a drummer, confirming that the Vibe/Acoustic Bass duo is structurally aligned with non-traditional improvisational methodologies.
VI. Conclusion and Definitive Discography
The request for commercially released albums featuring only vibraphone and bass for 75% or more of the program identifies a highly specialized and exceptionally rare discographical subset. The structural constraints of this instrumentation—specifically the harmonic vacuum and the rhythmic burden placed solely on the bassist—mean that most popular suggestions fall into the category of vibraphone trios (Vibes/Bass/Drums) or duos that employ extensive instrumental doubling (Vibes/Piano/Bass).
Based on commercial data and verifiable personnel listings, the core discography of albums dedicated exclusively to the vibraphone and bass duo comprises three principal titles across two distinct genres: avant-garde acoustic jazz and electric jazz fusion.
Confirmed Definitive Discography
Final Assessment
The successful establishment of a consistent musical language in this sparse setting, whether through the intense, lengthy improvisations of Dickerson and Davis or the standards-based, electric clarity of Collier and Dean, represents a significant artistic achievement. Listeners seeking the pure interaction of only these two instruments should prioritize the three confirmed recordings listed above. All other commonly cited albums are confirmed to include additional core instrumentation (e.g., drums, piano, or secondary mallets) and thus fail the stringent 75% exclusivity requirement.