Sharing this transcription of "Vibraphonissimo", the second track from Astor Piazzolla's "Suite for Vibraphone and New Tango Quintet" which he wrote for Gary Burton. One of my first transcriptions dating back to 1996, when I was starting to learn everything I could on my own; form playing the instrument, to calligraphy. Astor's quintet and Gary played this suite a few times in Europe and the Montreux concert, which took place in July 1986 was soon after released. This transcription also contains Astor's bandoneon's solo. Enjoy, Gustavo
Originally posted on "All Things Vibraphone" & "All Things Improvisation" on November 2016. This was one of many things by Ed that I've had in the back burner for a long time. There are so many great things about this clip. To me it is just stunning. Definitely "my ideal".
On the one hand the improv techniques are just so clearly executed, and with so much ease over this challenging chord progression. On the other hand, this is particularly a great lesson for vibes players. I remember that during the time Ed made this clip, he was focusing on incorporating all four mallets in linear playing, as well as working on particular nuances of the "Fulcrum Grip"; such as switching between fulcrums and having more control over certain fulcrums. All of that is clearly evident in this clip.
Additionally this is a study in phrasing, time, time feel, touch and "dynamics". Yes, the dynamic range and level of nuance within a line is just insane. That is the reason I find Ed so difficult to transcribe. There are always notes in a line that no matter how hard you try to listen they are almost inaudible, as if they were "implied".
Of course, this clip by no means represents Ed's playing in its entirety. It is a fast tempo, so there is little to no opportunity for dampening, instead, it is a great chance to focus on "pedaling". So I decided to edit Ed's original clip, which he recorded off the cuff with the phone, and zoom into the "hands and feet". Ed probably won't be thrilled that I chopped off his head from the original clip, but I think this is a good way to observe how relaxed his upper body is, and how loose, fluid and both delicate and powerful the grip is in spite of stemming from such minimal motion. Economy of movement at its best.
The other important aspect to notice is how evenly Ed is standing on both feet; controlling the pedal with just the toes. The pedal is not swiveling from side to side, or "fluttering" (what's that?), or being bashed against the floor, or used to keep time. It is simply being applied when it is musically needed. In fact, you will notice that it barely moves, and when it so "minimally" does, it is just to target specific desired notes, or groups of notes.
I had a little practice time today at Berklee and was working on John
Coltrane's classic composition "Countdown". My improv students and I
have been working this week on improvising on this song focusing on
several techniques including the use of Chord Tones, Scales and Four
Note Groupings (1,2,3 and 5 for each chord). This tune is based upon the
16 bar jazz standard "Tune Up" which is basically a series of II-7 V7 I
Maj's through various keys down in whole steps. Coltrane applied his 3
Tonic System (3 major keys a major 3rd apart) to each II-7 V7 I Maj. So
for D-7/ G7/ C Maj/ C Maj 7/, we now have D-7 Eb7/Ab Maj 7 B7/E Maj 7
G7/ C Maj 7/. #AllThingsVibraphone #BerkleeMalletsNetwork
Here is a chord melody on "I'll Wait And Pray" (George Treadwell, Jerry Valentine) utilizing a variety of voicings, as well as mallet & hand dampening in order to keep the clarity of the melodic line and counterpoint. I created this chord melody for a great student of mine at Berklee, James. He is a drummer, but is studying vibes with me this semester. James transcribed both the melody & chord changes from the beautiful John Coltrane version (Coltrane Jazz - 1959). We compared it to Sarah Vaughan's 1944 version and took elements from both. The goal was to keep it simple, honor the melody and maintain clarity, while using different type voicings. I included pedal markings in the written music to help make clear what needs to be dampened by the mallets/hands. Types of dampening utilized here are alternate and same mallet dampening, slide dampening and hand dampening. If you have any question, feel free to ask. #AllThingsVibraphone #BerkleeMalletsNetwork
Another beautiful take on Oliver Nelson's minor blues composition "Stolen Moments" by the great Joe Locke. This is a nice band featuring Billy Childs on piano, Cameron Brown on bass and Idris Muhammad on drums. The session took place in Japan and was put together as the "Joe Locke & The New York Quartet". The album is called "Sailing". Unfortunately this recording hasn't been released. Enjoy!
Here is a transcription of Joe Locke's solo on Oliver Nelson's minor blues "Stolen Moments". It is the closing tune in the 1991 Locke/Barron "classic" duo session "But Beautiful". Another great insight into Joe's early language. Enjoy!
This is a transcription of another tasteful solo by Joe Locke on the standard "You Don't Know What Love Is" by De Paul/Raye. It is from a duo recording entitledBut Beautifulwith pianist Kenny Barron, which dates back to 1991. I've posted another transcription from this same recording for the tune "On A Misty Night", as well as a transcription fro a trio version of "You Don't Know What Love Is"from 1994. The playing (compared to Joe's present standard) is much simpler, making it a great resource for students to get introduced to Joe's early vocabulary, strongly informed by Bebop players. The transcription contains the standard changes, but Joe uses some common reharmonizations, for example on bars 9-10 of the A section, which I've left up for the students to identify. Enjoy.
This clip was taped in a recent improvisation class taught by Ed Saindon at Berklee College of Music. The class was working on applying the improvisational technique of "Four Note Groupings" to Cole Porter's composition "I Love You" and "Rhythm Changes". Here Ed is heard on piano as he demonstrates the technique,improvising primarily with FNGs. The attached PDF contains the FNG chart for "I Love You" used in this solo, as well as the "Rhythm Changes" progression along with some basic reharmonization. For further information on Four Note Groupings please refer to Ed's FNG Article. Four Note Groupings is one of the five topics extensively discussed in Volume Two of The Complete Guide To Improvisation by Ed Saindon soon to be released.
Here is a simpler chord melody chorus on the 1929 standard "Beautiful Love" by Victor Young. Like we mentioned in the previous chord melody blog on "How Insensitive", this is a good way to systematically work on solo vibraphone possibilities. The combination of pedaling with various mallet & hand dampening techniques can help create counterpoint in voicings, melodic & harmonic embellishment, reharm, etc., while maintaining the clarity and adding nuance to the music. Writing the music down in the form of an etude can help to better understand and assimilate the information, or even generate more ideas. In the video clip I am reading the music literally, but be aware that rhythm embellishment can be added. It can be played with a swing feel, or even changing the meter to 3/4. Any of these modifications may pose different challenges in the execution of the dampening techniques. If you have any question, please feel free to contact me. Gustavo #AllThingsVibraphone #BerkleeMalletsNetwork Here is the link to the written music: "Beautiful Love" Chord Melody (PDF)
Here is a transcription of Joe Locke's vibes solo on Tadd Dameron's tune, "On A Misty Night". This gorgeous duo session with the great Kenny Barron on piano features many great songs, and took place in August 1991. That's just short of 25 years ago. Joe's playing has never stopped evolving, but the musicianship documented on this album is of a stunningly high level. Yet, this solo, as well as the previously posted solo on "You Don't Know What Love Is" from Joe's 1994 trio album "Very Early", are great insights into the roots of Joe's much praised and admired musical vocabulary.
