Countdown - Improv with Chord Tones, Scales and Four Note Groupings by Ed Saindon

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. 

Here is the link to the transcription:

Countdown Transcription