Vibrafon

Vibrafon

Klasifikacija
Udaraljke
Raspon tonova

Srodna glazbala
marimba, ksilofon
Glazbenici
Boško Petrović
Lionel Hampton
Milt Jackson
Gary Burton
Bobby Hutcherson
Industrijski proizvođači
Musser, Yamaha

Vibrafon je glazbeni instrument koji koristi palice ili maljice za proizvodnju zvuka, a dolazi iz
porodice udaraljki. Prvi puta pod imenom vibrafon pojavljuje se 1921. godine u Sjedinjenim
Državama.
Vibrafon se sastoji od metalnih (aluminij) pločica, a ispod njih se nalaze cijevi različitih dužina
koje proizvode vibrirajući zvuk. Vibrafon također ima i pedalu, koja se koristi slično kao i
kod glasovira. Vibrafon je solističko glazbalo. Najčešće se pojavljuje u jazz glazbi kao primarno
glazbalo ali također i u simfonijskim i zabavnim orkestrima kao sastavni dio udaračke sekcije.
Skladbe za vibrafon se pišu u g-ključu i ima raspon od tri oktave: od f do f.

Sadržaj
[sakrij]

 1Povijest glazbala
 2Dijelovi vibrafona

 3Tehnika sviranja

 4Vibrafon u klasičnoj glazbi i filmu

o 4.1Klasika
 o 4.2Film

o 4.3Teme za video igre

o 4.4Televizijske teme

 5Vibrafon u popularnoj glazbi

 6Vibrafon u jazz glazbi

 7Izvori

 8Vanjske poveznice

Povijest glazbala[uredi VE | uredi]

Vibrafon je vrlo stari instrument koji porijeklo vuče sa otoka Jave i Balija[1]. Tvrtka Leedy
Manufacturing iz Sjedinjenih Država prvi puta glazbalo pod imenom 'vibrafon' prodaje 1921.
godine. Međutim taj se instrument značajno razlikovao od ovog današnjeg koji je poznat pod tim
imenom. The Leedy vibrafon postiže stupanj popularnosti nakon što ga u skladbama "Aloha 'Oe" i
"Gypsy Love Song" koristi Louis Frank Chiha ("Signor Frisco")[2]

Dijelovi vibrafona[uredi VE | uredi]

Vibrafon se sastoji od metalnog okvira iznad kojeg su dvije drvene letve na kojima se nalazi niz
od šest do petnaest pločica od mekog metala (aluminij). Pločice su postavljene na postolje
(saron) iznad rezonatora od cijevi. Cijevi su okomito obješene ispod pločica i sadrže male
lopatice koje se okreću pomoću električnog motora učvršćenom na desnoj strani metalnog okvira.
Ispod pločica nalazi se prigušivač zvuka, na kojem se nalazi poluga koja se pokreće pedalom.
Kada je pedala u gornjem položaju, poluga se diže i ton je prigušen i prilično je kratak. Pop
pločicama se udara palicama koje mogu biti različite veličine, a najčešće imaju glavu presvučenu
vunom. Da bi se odsvirao čitavi akord, u isto vrijeme se koriste dvije, tri ili čak četiri palice.

Tehnika sviranja[uredi VE | uredi]

Vibrafonist Gary Burton i gitarist Julian Lage. Stila sviranja sa četiri palice.

Svjetski vibrafonisti u grubo se mogu podijeliti u dvije skupine, oni koji sviraju s dvije palice i oni
sa četiri, dok u stvarnosti takva podjela i nije slučaj. Mnogi svirači biraju između dvije, tri i četiri
palice, što ovisi o glazbenom zahtjevu i njezinoj situaciji.
Određenim brojem palica prilikom izvođenja glazbe dobivaju se različiti zvukovi i stilovi. U novije
doba te razlike nisu toliko opsežne kao što su bile kada je Gary Burton prvi puta predstavio
svijetu stil sa četiri palice ali još uvijek postoje u velikoj mjeri.

Vibrafon u klasičnoj glazbi i filmu[uredi VE | uredi]

Klasika[uredi VE | uredi]

Alban Berg: Lulu

Harrison Birtwistle: Endless Parade (solo na trubi, žičani instrumenti i vibrafon)

Pierre Boulez: Le marteau sans maître, Pli selon Pli

Benjamin Britten: Spring Symphony (solo akordi, tremolo, uvod u svaku strofu)

Mockingbird Chamber Ensemble [3] (Bach, Haydn, Corelli, Chopin, Dohnanyi, Satie,
Telemann, Handel)

Morton Feldman: Rothko Chapel

Olivier Messiaen: Turangalîla Symphony

Olivier Messiaen: Saint-François d'Assise (Saint Francis of Assisi)

Olivier Messiaen: Trois petites Liturgies de la Présence Divine (Tri male liturgije od
Princeze Divine)

Olivier Messiaen: La Transfiguration de Notre-Seigneur Jésus-Christ (The Transfiguration
of Our Lord Jesus Christ), piano solo, solo na violončelu, solo na flauti, solo na klarinetu, solo
na xylorimbi, solo na vibrafonu, veliki orkestar (1965.-69.)
 [4]
Lior Navok: Quintet for Vibraphone and String Quartet,

Michael Torke: "Saxophone Concerto"

Dmitri Shostakovich: 14. i 15. simfonija

Igor Stravinski: Requiem Canticles

Philippe Manoury: Solo na vibrafonu u Le Livre de claviers (Vibrafon)

Film[uredi VE | uredi]

 Leonard Bernstein: West Side Story

 Pink Floyd: glazba za film More.

 Benoît Charest: glazba za film Les Triplettes de Belleville (The Triplets of Belleville)

 Bernard Herrmann: glazba za film Vertigo

 Yann Tiersen: glazba za film Le fabuleux Destin d'Amélie Poulain

 John Williams: glazba za film Uhvati me ako možeš

 Franck Barcellini/Alain Romans/Norbert Glanzberg: glazba za film Mon Oncle

Teme za video igre[uredi VE | uredi]

 Glazbena tema u video igri Halo 3 (jedan završni nivo): Martin O'Donnell

Televizijske teme[uredi VE | uredi]

 Glazbena tema za seriju Frasier (Tossed Salad i Scrambled Eggs)

 Glazbena tema za seriju Sex and the City

 Glazbena tema za seriju Rugrats

Vibrafon u popularnoj glazbi[uredi VE | uredi]

Milt Jackson 1980-ih

 Teriyaki Boyz - "Tokyo Drift" producent "Pharell Williams"

 The Beatles - "Baby You're a Rich Man" sa albuma Magical Mystery Tour

 Eric Burdon & The Animals - "A Girl Named Sandoz", kasnije izvodi sastav The Smashing
Pumpkins

 Madonna - "Give It 2 Me" producent "Pharell Williams"

 Jonny Greenwood - "No Suprises" s albuma OK Computer

 The Beach Boys - Na mnogim snimkama, uključujući "Summer Means New Love" i "Let's
Go Away For Awhile"

 Captain Beefheart - "Dropout Boogie" s albuma Safe As Milk

 Dire Straits - "Love Over Gold" sa isto imenog albuma, zajedno sa Mikeom Mainieriem na
vibrafonu.

 Frank Zappa - Freak Out!

 Kaleidafunk - Dr BArrystein's Jam Cabin?!

 k.d. lang - Ingenue

 Nick Drake - "Saturday Sun" sa albuma Five Leaves Left zajedno sa Tristanom Fryom na
vibrafonu.
 Pink Floyd - "See-saw" (sa albuma A Saucerful of Secrets)

 Sufjan Stevens - album Illinois na mnogim skladbama uključujući i "Chicago"

 Van Morrison - Astral Weeks

 The Supremes - I Hear a Symphony i još mnogo skladbi.

 The Zombies - "Goin' Out of My Head"

 Frankie Valli - Can't Take My Eyes Off You

 Steely Dan-"Razor Boy" s albuma Countdown to Ecstasy

 Edwyn Collins - "A Girl Like You" zajedno sa bubnjarom sastava Sex Pistols, Paulom
Cookom na vibrafonu.

 The Righteous Brothers - "You've Lost That Lovin' Feelin'"

 Sublime - Doin' Time

 Linkin Park - "In Pieces"

 The New Standards - Istoimeni album

 Tortoise - "Glass Museum"

 The Cure - "Just like Heaven"

 Natalie Merchant - "Tigerlily"

 AFI - "Prelude 12/21" s albuma Decemberunderground

 The Bonzo Dog Doo-Dah Band - "The Intro and the Outro"

Vibrafon u jazz glazbi[uredi VE | uredi]

 Boško Petrović - hrvatski vibrafonist
 Gary Burton - suradnji sa Chickom Coreom na albumu Crystal Silence

 Bobby Hutcherson - sve skladbe s albuma Idle Moments od Granta Greena i Out To
Lunch!, Erica Dolphya

 Milt Jackson - Thelonious Monk's Criss Cross

 Jerry Tachoir - Jerry Tachoir Quartet i Jerry Tachoir and the Group Tachoir

 Jerry Tachoir - Jerry Tachoir/Van Manakas Duo - Improvised Thoughts

 Spyro Gyra - Morning Dance (uključujući i Davea Samuelsa)

 Mal Waldron- Into the Light (zajedno sa Christianom Burchardom)

Izvori[uredi VE | uredi]
1. Jump up↑ Hrvatska glazbena unija - Instrumenti sa čekićima ili maljicama - Vibrafon
2. Jump up↑ The Vibraphone: A Summary of Historical Zapažanja iz kataloga odabranih iz
literature solo i mali-ansambla; od Harolda Howlanda; Udaraljke, volume 13, no. 2, ljeto 1977.
 3. Jump up↑ Mockingbird-music

4. Jump up↑ Liornavok.com

Vanjske poveznice[uredi VE | uredi]

 Proleksis enciklopedija Online: Vibrafon
 Ludwig - proizvođač vibrafona

 Yamaha YV3910 Vibrafon

 Službene stranice Garya Burtona

[sakrij]
V ·R·U
Udaraljke

Rezonantna glazbala Balafon • Cjevasta zvona • Crotales • Gong • Ksilofon • Metalofon • Marimba • Steelpan • Timpani • Vibrafon •

Bas bubanj • Bongo bubanj • Bubanj • Bubnjarski komplet • Cabasa • Claves • Cowbell • Činele • Kastanjete • K
Nerezonantna glazbala
tom • Trokut

Ostalo Popis bubnjara

Vibrafon
Iz Wikipedije, slobodne enciklopedije

Tipičan vibrafon kompanije Ludvig-Maser

Vibrafon je najmlađi instrument iz grupe udaraljki, a nastao je 1924. godine. Kod vibrafona se
ispod svake pločice nalaze metalne cevi različitih dužina, a u kojima se nalaze elektro-magnetna
pojačala koja izazivaju treperenje ili vibraciju tona.
Ime je dobio prema rečima „vibra“ — vibrirati i „fone“ — zvuk. Koristi se za muzičke efekte u
simfonijskom orkestru, kao i u džez i zabavnim orkestrima.

VIBRAFON
Struka GLAZBENE UMJETNOSTI I BALET

vibrafon

vibrafon (engl.), vrsta udaraljke nalik na marimbu, proizveden 1907. u SAD-u, gdje
je nazivan vibraharp ili metalni ksilofon. Sastoji se od čeličnih pločica poredanih u
pačetvorinastom okviru vodoravno položenom na 4 noge. Ugođene su u
kromatskom nizu u opsegu od f-f . Ispod pločica okomito vise metalne cijevi. Duljina
3

im je razmjerna veličini odgovarajuće pločice, s donje strane zatvorene, a na vrhu

ispod pločica nalaze se mali propeleri koji, pokretani elektromotorom, uzrokuju
vibriranje proizvedenih tonova, po čemu je glazbalo dobilo naziv. Tonovi se
proizvode udaranjem po pločicama štapićima s gumenom ili ebonitnom glavom. U
početku se upotrebljavao u jazzu (L. Hampton), i plesnim sastavima, a od kraja 1930-
ih dionica v. nalazi se i u djelima suvr. skladatelja.

Službenica na carini zaustavi Boška Petrovića koji je u ruci držao poveći kofer.
- Što vam je to? Vibrafon!
- Vibrator?
- Mlada damo, vi ste stvarno veliki optimist!

Vibrafon
 Vibrafon je veoma stari instrument koji potiče od metalofona, ima 6-15 pločica postavljenih na jednu kutiju il
trske. Kada se udara u ove pločice dobija se ton produžen vibracijama, zato se i zove vibrafon. To je solistički
ključu.

History of the Vibraphone:

Technology and Design
For CU Undergrad Symposium and (hopefully) other presentations

by

Patrick Overturf
on 18 November 2013

1348

Comments (2)
 nico vanderPlas · 918 days ago

patrick, great presentation, few mistakes: vanderPlas Baileo started/founded

in 1999, M58 does not have a silicone damper pad. This item is invented by
vanderPlas and is on the vanderPlas vibraphones, among with more
innovations

 Patrick Overturf · 884 days ago

Thanks Nico! I appreciate that you took the time to check this out and helped
me with my mistakes!
Transcript of History of the Vibraphone:
Technology and Design
by Patrick Overturf
The History of the Vibraphone:
Earliest Developments pre-1935
Acknowledgements
Leedy
Prof. Robert Breithaupt, Boyd Fund for Undergraduate Scholarship, Percussive
Arts Society, Gilberto Serna & Century Mallets, Dave Samuels, Dana Sudborough,
Tony Miceli, Dr. Lou Fischer, Gary Burton and everyone else who has supported
me along the way!
Technology and Design
-Conceived in 1916 by Herman Winterhoff.
-1921 rotating motor disc fan invented.
-1922 the vibraphone is born!
-The original function of the vibraphone was for sound effects.
-1924 the first commercial recording of the Leedy vibraphone was released.
-3 octaves, steel bars, no pedal.
Earliest Developments pre-1935
-1927 "The Jazz Singer"
-Vibraharp invented in 1927 by Henry Schluter.
-The pedal came from the Deagan Organ Vibrato Harp; aluminum bars came from
the Deagan Song Bells.
J.C. Deagan
-First model was the 145 vibraharp.
-Released in 1928 to compete with the success of the Leedy vibraphone.
-Bars were graduated 2"-1.5" bars.
The New Jazz Voice 1935-1940
Lionel Hampton
-Introduced the instrument on a recording session in 1930.
-Pioneered vibraphone with Benny Goodman.
Red Norvo/Adrian Rollini
-Norvo originally recorded on xylophone, switched to vibraphone in the 40's.
-Adrian Rollini started recording with his quintet in 1936, made records through
the 40's.
The Vibraphonist Evolves 1945-1970
Deagan/Milt Jackson
The Vibraphone
-Deagan was leading the way in manufacturing.
-Milt "Bags" Jackson started his career with Dizzy Gillespie, became famous with
the Modern Jazz Quartet.
-Jackson became associated with the Deagan 55 "Imperial" vibraharp.
-First example of large end posts.
The Vibraphonist Evolves 1945-1970
Clair Omar Musser
-Born in 1901, began playing xylophone at 9 years old, built first concert
instrument at 25.
-Incredibly well known for his contributions to the design, pedagogy and
performance of the marimba.
-Joined J.C. Deagan as an engineer in 1931.
The Vibraphonist Evolves 1945-1970
Musser Mallets
-Founded by Clair Omar Musser in 1948; credited with coining the word "vibes".
-First two models were the M75 Century and the M45 One-Niter portable
vibraphone; conducted various other experiments with the vibraphone.
-Musser bars are half an inch wider.
-1964 the M55 vibraphone is invented. Gary Burton attached his name to the
instrument in 1966.
-Musser emerged as a competing brand to Deagan.
Expanding the Vibraphone as an Instrument
Sound Support
-Concept of amplifying a vibraphone was pioneered with Musser Alphatron
electronic vibraphone.
-1970 Deagan introduced the Electravibe.
-1984 K&K Sound was founded and pioneered a rail-mounted amplification
system.
Expanding the Vibraphone as an Instrument
Range Extension
-Canterbury vibraphone by Musser (only five made).
-1976 Deagan created 598 Innovator with a 4 octave range C-C.
-1982 Yamaha acquires J.C. Deagan and begins manufacturing keyboard
percussion instruments; immediately began expanding range.
-Keiko Abe and Dave Samuels toured in the 80's to support extended range
marimbas and vibraphones.
-Current Yamaha offering has 3.5 octaves C-F.
Expanding the Vibraphone as an Instrument
Dampening Systems
-Musser developed the M58 Piper model with John Mark Piper.
-Advances include M-Brace suspension system, double spring pedal.
-Malletech Love Vibe-first offering for vibraphonists beyond mallets.
-Vibrato is pedal-driven instead of motor-driven.
Expanding the Vibraphone as an Instrument
Vanderplas Baileo
-Founded in 1999, the first and only "vibraphone only" manufacturer.
-Working to expand upon previous innovations.
-MIDI Pickups, Silicone Damper Pad
 -These instruments can be heard by Tony Miceli and Dana Sudborough.
The advances of the instrument today are headed in two simultaneous directions:
ground-breaking new advances in technology and the refining of older processes.
From either perspective the quality of instruments we will be playing will only get
better and the vibraphone will be assured a place in jazz history.
-The sound was supposedly fuller
on the Imperial.
Expanding the Vibraphone as an Instrument
Transportation
-1956 the Deagan 580 Traveler was created.
-The Musser M45 One Niter was Musser's first portable instrument.
-Gary Burton helped design the M48 Pro Traveler in the 80's.
-The Deagan Electravibe was also designed to be portable.
-Musser emerged as a major competitor to Deagan.
-The M55's intent was to provide the M75 sound with the M45 frame.
-Some people believe this aspect of design is the most overlooked.

Comments (2)
 nico vanderPlas · 918 days ago

patrick, great presentation, few mistakes: vanderPlas Baileo started/founded

in 1999, M58 does not have a silicone damper pad. This item is invented by
vanderPlas and is on the vanderPlas vibraphones, among with more
innovations.
 Patrick Overturf · 884 days ago

Thanks Nico! I appreciate that you took the time to check this out and helped
me with my mistakes!
1. vibrafon bez pedale 1916. – smišljen bez pedale – Herman Winterhoff, a
1922. s motornim diskom – vibrafon je rođen!!!3 oktave, bez pedale,
metalne (alu) pločice

1. vibrafon s pedalom 1927. Vibraharp – Henry Schulter, a prve palice

musser 1948. C.O.Musser

VIBRAPHONE
also: vibraharp
gallery #1
detail #1
 detail #2
Title: The Best of the Modern Jazz Quartet--Nature Boy; Milt Jackson, vibraphone
Label: Pablo
Format: CD
Catalogue#: PACD-2405-423-2
Track: 5
audio #1

Overview

Contextual Associations
The vibraphone is a metallophone idiophone of American origin. It is today found
distributed throughout the world wherever Western cosmopolitanism has taken root.
It is commonly found in jazz bands and combos (see Jazz Combo), in percussion
ensembles (see Keyboard Percussion Ensembles and Mixed Percussion
Ensembles), and is called for occasionally in orchestral and concert band works. The
vibraphone, like other keyboard percussion instruments, necessitates a level of
specialization on the part of the performer to play well, and not every percussionist
can be expected to be proficient on it. In the jazz idiom, a few players in particular
have elevated the vibraphone to the status of a solo instrument (listen to the audio
clip).

Description

The vibraphone pictured here has 37 precisely tuned aluminum alloy bars (ranging in
length from 6.9 to 15 inches and in width from 1.5 to 2.25 inches; all bars are .52 inch
thick) arranged in the fashion of a keyboard in a single plane. Ropes run horizontally
through the bars at their acoustical nodes and are supported by posts positioned
between the bars that are attached to the instrument's frame. The keys are therefore
suspended over rather than resting on the frame. There are two rows of tuned metal
tube resonators of varying lengths (from 2.8 to 19.2 inches long), open at their top
but closed at their bottom end, one tube located beneath the center of each bar.
Each tube length and volume is attuned to the frequency of its bar and amplifies its
sound. A long rod runs the length of each row of resonating tubes and rests in
notches at the tops of the tubes. In the top opening of each tube a flat disc or vane
with a slightly smaller diameter than the opening into which it fits is attached to the
rod (see first detail image). The rods and their discs are rotated by a variable-speed
electric motor (see second detail image), which when engaged successively opens
and closes the resonators to the energy of their vibrating keys. This creates the
vibrato effect (actually, an amplitude or volume pulsation) from which the instrument
takes its name. The instrument can also be played without the vibrato effect.
Because the rope-suspended metal bars on the vibraphone ring for a considerable
period of time after being struck, a dampening mechanism, raised and lowered by a
foot pedal, is provided. It is a long beam that runs underneath the seam between the
two rows of bars, its top surface covered with felt. When the foot pedal is up, all bars
are damped, when down all bars are free to vibrate.

Player - Instrument Interface and Sound Production

 The standing performer faces the vibraphone on the ‘white-key’ side of the instrument
(in the photo that would be on the far side facing the camera). A wide variety of
mallets are manufactured in various degrees of hardness with either rubber tips or
yarn-wound rubber tips. A single pair of mallets may be used, but more often than not
the player holds a pair in each hand. The vibraphone is a fully chromatic instrument
with a range of three octaves, F3 - F6. Parts for it are written in the treble clef at pitch.
The instrument has a mellow tone and, if not damped, a long sustain the intensity of
which can be shaped by the rate of vibrato. It is used both as a melodic instrument
and a chording instrument. For a video illustrating the player-instrument interface for
this instrument, view the Philharmonia Orchestra website chapter on percussion [the
first 2:27 in the video is the segment pertaining specifically to the vibraphone].

Origins/History/Evolution

The vibraphone was invented in America in 1921 by Hermann Winterhoff of the

Leedy Drum Co. and almost immediately was put to use by dance band and jazz
musicians. Starting in the 1930s a few orchestral composers started to occasionally
incorporate it in their works.

Bibliographic Citations

Blades, James. 1970. Percussion Instruments and their History. New York: Frederick
A. Praeger, Publishers.

________. 1984. “Vibraphone.” NGDMI v.3: 720-721.

Brindle, Reginald Smith. 1991. Contemporary Percussion. London: Oxford University

Press.

Campbell, Murray, Clive Greated, and Arnold Meyers. 2004. Musical Instruments:
History, Technology, and Performance of Instruments of Western Music. Oxford:
Oxford University Press.

Holland, James. 1978. Percussion. New York: Schirmer Books.

“Instruments.” Philharmonia Orchestra website, accessed September 14,

2015:http://www.philharmonia.co.uk/explore/instruments
Montagu, Jeremy. 2002. Timpani and Percussion. New Haven: Yale University Press.
Leedy Vibraphone

First commercially available Leedy Vibraphone, without pedal damping

mechanism.

Herman Winterhoff, of the Leedy Manufacturing Company, began

experiments around 1916 to create a vox humana or tremolo effect on
the company’s steel marimbaphone. After initial attempts that raised
and lowered the resonator banks, oscillating fans inserted inside the
tubes proved successful, and the vibraphone was born. Driven by an
electric motor and two drive belts, the rotating fans opened and closed
the resonating chamber creating the desired vibrato effect.
This instrument was marketed under the trademark ‘Vibraphone’ in a
limited production of about 25 instruments from 1924 to 1929. It has a
range of three octaves, F to F, with graduated steel bars 1/4-inch thick.
The lowest sounding bar is 2 1/4 x 12 15/16 inches, and the highest is 1
1/2 x 9 3/4 inches. The motor has a simple on-off switch and a lever to
adjust the rotating speed of the fans. This instrument shows tuning
patent number 1632757, but no model number. It was later marketed as
model number 42A, with a 2 1/2-octave version (F to C) available as
model number 42B. In 1929 the catalog price for the three-octave
instrument was $250.
Of note is the fact that this early instrument has no damping
mechanism and has a metal retaining bar on top of the bars to keep
them in place. The pedal damping mechanism was invented in 1927 by
William D. ‘Billy’ Gladstone who was using the instrument at the Capitol
Theatre for broadcasts of the Major Bowes’ Family Hour show over radio
station WEAF. The mechanism was first available as an add-on to the
instrument, which clamped into place. The vibraphone was available
with natural finished wood and steel bars (as pictured) or could be
specially ordered with the frame in either Black or White Duco enamel
finish and a ‘Nobby Gold’ finish for the bars and other metal parts.
By 1928 the J.C. Deagan company had developed a competing
instrument, the ‘Vibraharp,’ with a permanent pedal (patented) and bars
made of aluminum. Due to the competition from the Deagan Vibraharp,
the Leedy Vibraphone was entirely retooled with aluminum bars and
attached pedal in 1929.
In addition to Gladstone, performers who broadcast and recorded on
this early instrument include Signor Friscoe, the Green Brothers, Murray
Spivack, and George Marsh. This particular instrument was originally
owned by the Warner Bros. Studios in Hollywood and was perhaps used
on early cartoon or movie soundtracks.

.
Metalofon je muzički instrument sličan vibrafonu. Razlika je u tome što metalofon nema vibrirajući
uređaj. Rezonator je napravljen od drveta u obliku sandučeta na kome leže pločice. Prilagođen je tako
da raspolaže jednom oktavom i može da ima koji ton više, a koristi se kao dečiji instrument.

https://www.youtube.com/watch?v=JR8f9mc7KWo Oda Radost

Metallophone
Musical instrument
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Metallophone,

any per
cussion instrument consisting of a series of struckmetal bars (compare xylophone,
with struck wooden bars). Examples include the saron and gender of the
Indonesian gamelan orchestra and the Western glockenspiel, vibraphone, and (with a
keyboard) celesta.
China had such instruments by the 7th century. Metallophones had reached northern
Europe from Asia by about the second half of the 17th century. There they were
originally used as practice instruments but were accepted as performance
instruments in the 18th century. In the 20th century, the music-education methods
of Carl Orff added metallophones to many classrooms around the world.

Metallophone
From Wikipedia, the free encyclopedia

A metallophone used in a Gamelan—Indonesian Embassy in Canberra

A metallophone is any musical instrument consisting of tuned metal bars which are struck to
make sound, usually with a mallet.
Metallophones have been used in music in Asia for thousands of years. There are several
different types used in Balinese andJavanese gamelan ensembles, including
the gendér, gangsa and saron. These instruments have a single row of bars, tuned to the
distinctive pelog or slendro scales, or a subset of them. The
Western glockenspiel and vibraphone are also metallophones: they have two rows of bars, in an
imitation of the piano keyboard, and are tuned to the chromatic scale.
In music of the 20th century and beyond, the word metallophone is sometimes applied specifically
to a single row of metal bars suspended over a resonator box. Metallophones tuned to
the diatonic scale are often used in schools; Carl Orff used diatonic metallophones in several of
his pieces, including his pedagogical Schulwerk. Metallophones with microtonal tunings are used
in Iannis Xenakis' Pléïades and in the music of Harry Partch.

Metallophone, generally, the difference between metallophones

and xylophones is that metallophones are amde of metal bars which
are struck, while xylophones are made of wooden bars.
Family:
Percussion

How to Play:
Basically, metallophiones are played the same way as xylophones,
by striking the metal bars with a beater or mallet. There are two
main types of metallophones used in Indonesian gamelan orchestra -
the Saron and Gender Family. These two types of metallophones
differ in the size of its metal bars. Sarons have thick bars while
Genders have thinner bars. They also vary in construction as well as
the force needed to play it. Sarons may be played either soft or loud
while Genders are usually played softly.

Types of Saron Instruments:

 Saron Panerus - Also known as Peking have small yet thiok metal bars and it is the highest
pitched among the saron instruments.
 Saron Barung - Has medium-sized metal bars and pitched lower than the Saron Panerus.

 The Gender Family:

Gender - Does not play the melody part but acts as a supporting instrument. It is pitched
either inpelog or slendro. There are two types of these instruments:
 Gender Panerus - Have small yet thick bars.

 Gender Barung - Have medium-sized bars and are pitched lower.

First Known Metallophones:

Metallophones existed in China during the 7th century. By the 17th century, metallophones
reached northern Europe through Indonesia. Later on it became performance instruments
during the 18th century.

Musicians Who Used Metallophones:

Carl Orff used metallophones in forwarding his approach in teaching children about music.
 Related
 Percussion Instruments
 Profile of the Xylophone
 The Orff Method, Orff-Schulwerk, Music for Children
 Teaching Music to Kids - Orff, Kodaly, Suzuki, Dalcroze

THE DOZENS: GREAT VIBES by Scott Albin

Vibraphonist Jay Hoggard, in the notes to his
1989 Overview release, made the following observations
about his instrument: “It’s not considered in the forefront
of the vernacular. To me, Lionel Hampton, Milt Jackson,
Red Norvo, Bobby Hutcherson, Gary Burton, Cal Tjader,
all these cats, their contribution to the vocabulary is
significant and it’s not just limited to the instrument. It’s
an instrument whose identity is not clearly, fully or
specifically defined, still to the point that whenever I see
any of the cats, Bobby, even Hamp, I always joke, ‘What
is that thing called that you play?,’ because you
experience it constantly. People come up to you on a
gig, ‘Yeah, I like the way you play that thing � you hit
that thing real well,’ or they ask you what instrument do
you play and you say, ‘Well, I play the vibraphone’ and it’s
like ‘What is that?’ and you say ‘Well, you know what a
xylophone is?’ and it’s like ‘Oh yeah, well, you mean one
of those things like I had when I was a kid with the
colors on it? You mean you play that professionally?’”
 The Vibraphonnist, artwork by Suzanne Cerny

Actually, the first two major players of the vibraphone in jazz, Lionel Hampton
and Red Norvo, each started on the adult-sized xylophone in the 1920s. The
problem with the xylophone was that its wooden bars produced tones of very
short duration and low volume, and that it had no pedal for sustaining notes.
The newly invented vibraphone (or “vibraharp” � both were trade names), with
its sustaining pedal, vertical resonating tubes under the aluminum bars, and
also small electrically powered rotating discs at the top of the resonators that
gave notes a synthetic vibrato, allowed the performer much wider flexibility.
(This was the 1927 Deagan model, the original primitive 1922 version being
virtually unplayable.) The type of mallet used could also affect tonal quality.

Hampton, then primarily a drummer, dabbled with the

vibraphone during a 1930 Louis Armstrong recording
session, and began studying the instrument diligently.
Discovered in 1936 by Benny Goodman, Hamp was
invited to join B.G.’s hugely popular band as a
vibraphonist, becoming a star in the process. Norvo did
not entirely forsake the xylophone until 1944,
coincidentally when he joined Benny Goodman’s Sextet.
Norvo, however, played vibes with the motor switched
off, eschewing artificial vibrato but gaining the ability to
sustain notes.

The third major vibraphonist, Milt Jackson, emerged in

the mid-’40s, and gave the instrument greater exposure
through his many years with the preeminent Modern Jazz
Quartet. (Milt’s distinctive dampened tonal quality was
achieved by reducing the speed of his instrument’s
rotating discs.) Jackson was followed by Terry Gibbs, Cal
Tjader and Mike Mainieri in the ‘50s, Gary Burton, Bobby
Hutcherson and Walt Dickerson in the ‘60s, Steve Nelson,
Dave Samuels and Jay Hoggard in the ‘70s, Joe Locke in
the ‘80s and Stefon Harris in the ‘90s. These and many
other worthwhile vibraphonists have helped the
instrument gain a respected, if not significant, presence
in jazz, although it’s still not considered as essential to
the standard jazz group as saxophone, trumpet, piano,
bass and drums. If a vibraphonist can’t succeed as a
leader of his own band, finding gigs as a sideman
continues to be a challenge.

What follows are tracks by 12 of the most notable

players of “that thing” who have all made their mark on
the vital music we call jazz.

CHICK COREA & GARY BURTON: FOUR IN ONE

TRACK
Four In One

ARTIST
Chick Corea (piano) and Gary Burton (vibes)

CD
Native Sense: The New Duets (Stretch SCD-9014-2)

Buy Track
Musicians:

Chick Corea (piano), Gary Burton (vibes).

Composed by Thelonious Monk

Recorded: Los Angeles, CA, 1997

RATING: 98/100 (learn more)

Charlie Rouse said that when Thelonious Monk first hired him in 1959, the
leader taught him all Monk's tunes by playing them on the piano, except for
more difficult ones like "Trinkle Tinkle," "Played Twice" and "Four in One,"
which Monk wrote out. On Corea and Burton's duet CD Native Sense, they
saved the best for last, a rollicking performance of the tricky "Four in One."
This was their fifth duet recording to date, and their first in 12 years, but their
uncanny rapport made it seem as if they played together on a daily basis.

Corea's jagged, verging-on-dissonant intro sets up his madcap trip through the
serpentine theme in loose unison with Burton, or, if you will, off-kilter
counterpoint, accentuated by the pianist's sporadic smashed chords. Burton
solos first, his trademark four-mallet intricate lines and warm vibrato on keen
display, his playing, as always, both technically impeccable and openly lyrical.
Corea's response is totally unpredictable, his swift, tumbling runs interspersed
with jolting single notes and chords, as well as distorted allusions to stride,
but somehow always keeping the melodic line in clear sight. He and Burton
next exchange short passages in highly responsive and inventive fashion,
before another refreshing, harmonically slack treatment of the theme,
concluded by Corea's one last exuberant, Monkish "trinkle tinkle."

Reviewer: Scott Albin

TERRY GIBBS: WHAT'S NEW

TRACK
What's New

ARTIST
Terry Gibbs (vibes)

CD
Feelin' Good: Live in Studio (Mack Avenue MAC 1022)

Buy Track
Musicians:

Terry Gibbs (vibes), Joey DeFrancesco (organ),

Gerry Gibbs (drums)

Composed by Johnny Burke & Robert Haggart

Recorded: live at O'Henry Studios, Burbank, CA, 2005

RATING: 96/100 (learn more)
When a superior jazz musician has played a particular standard as his ballad
feature over many years, he can enhance and refine his approach until his
performance becomes a thing of rare beauty and a privilege to hear. Such is
the case with Terry Gibbs and "What's New," recorded live in the studio before
a small group of invited guests. Tenorman Eric Alexander and guitarist Dan
Faehnle sat this one out, and are probably heard applauding wildly at the
track's conclusion along with everyone else.

DeFrancesco's silky intro and astute accompaniment, and the slick rhythmic
support of Terry's son Gerry's brushes, offer Terry the perfect framework. The
vibraphonist's vibrato and resultant sound reminds one of Lionel Hampton,
who once asked Gibbs to join his band, an idea Hamp's wife/manager Gladys
vetoed. Gibbs exhibits flawless technique, and his long phrases and harmonic
development are both quite impressive, especially in the double-timed
midsection of his solo, as well as in his dazzling coda. The ever-exuberant
Gibbs was then 80, yet another jazz octogenarian aging like fine wine and not
slowing down. The titles (and pace) of two of his originals on this session bear
that out: "Smoke 'Em Up" and "Hot Rod." But "What's New" is undeniably the
standout track.

Reviewer: Scott Albin

LIONEL HAMPTON: FLYING HOME

TRACK
Flying Home

ARTIST
Lionel Hampton (vibes)

CD
The Lionel Hampton Quintet (Verve 314-589-100-2)

Buy Track
Musicians:

Lionel Hampton (vibes), Buddy DeFranco (clarinet), Oscar

Peterson (piano), Ray Brown (bass), Buddy Rich (drums).

Composed by Lionel Hampton & Benny Goodman

Recorded: New York, April 13, 1954

RATING: 97/100 (learn more)

"Flying Home" was Lionel Hampton's signature tune, composed on his first-
ever plane trip in 1939, as he, Benny Goodman and the rest of B.G.'s band flew
one morning from L.A. to that night's gig at Atlantic City's Steel Pier. Years
later, Hampton claimed to have cashed the thousandth royalty check for the
song in 1964. The 1942 big band version featuring Illinois Jacquet was Hamp's
big hit, but this intoxicating 17-minute track is his longest recorded version.
Hamp solos first after his and DeFranco's unison romp through the theme. The
vibist's trademark metallic, chime-like tone and percussive attack are in full
evidence here, as he moves from short repeated phrases to more intense,
lengthier lines. By now the tempo has moved from medium to up, and Brown
and Rich are in a tight, compelling groove, as Peterson comps animatedly.
DeFranco launches a technically assured, highly expressive solo, the heat of it
belying as usual the notion that he was a coolly unemotional player. The
clarinetist is riffing � la Hampton when not ripping off winding runs, and he
also brings to mind Benny Goodman throughout his improv. Peterson follows
with a bluesy relentlessness and joyful single-note lines. The tireless Hampton
returns at about the 10-minute mark with a second, even more impressive
solo, his phrasing and momentum simply mesmerizing. DeFranco joins Hamp
for some spirited riffing as Rich starts hammering away even more earnestly
than before. DeFranco soars through his own second solo at this point, with
Hamp's and Rich's enthusiastic encouragement, the leader's vocal
exclamations adding to the excitement. Hamp executes a spectacular run
around 16 minutes in, as the band "flies home" to a satisfyingly smooth
landing back on terra firma. You'd be hard pressed to find another 17-minute
piece that flies by more quickly and entertainingly than this one.

Reviewer: Scott Albin

STEFON HARRIS: THANKS FOR THE BEAUTIFUL LAND ON

THE DELTA
TRACK
From the New Orleans Suite: Thanks for the Beautiful Land on the Delta

ARTIST
Stefon Harris (vibes)

CD
African Tarantella: Dances With Duke (Blue Note 0946-3-41090-2-4)

Buy Track
Musicians:

Stefon Harris (vibes),

Steve Turre (trombone), Anne Drummond (flute), Greg Tardy (clarinet), Xavier
Davis (piano), Junah Chung (viola), Louise Dubin (cello), Derrick Hodge (bass),
Terreon Gully (drums)
.
Composed by Duke Ellington & Billy Strayhorn. Arranged and orchestrated by
Stefon Harris

Recorded: Brooklyn, NY, August 29-31, 2005

RATING: 97/100 (learn more)

While Stefon Harris was in a Brooklyn studio during the last three days of
August 2005, Hurricane Katrina devastated New Orleans. How differently
might Harris have arranged the three selections from Ellington's and
Strayhorn's New Orleans Suite, which he recorded at that time, if he'd had the
chance to observe and reflect upon the destruction of New Orleans by Katrina,
and the disastrous aftermath?

Regardless, Harris produced moving and stunningly realized interpretations of

these pieces, and the appropriately titled "Thanks for the Beautiful Land on
the Delta" is a prime example of his skills as both vibraphonist and arranger.
His mix of clarinet, flute, viola and cello, with an additional trombone vamp,
opens the track, sounding like a much larger orchestra. Harris plays the
prayerful, proud melody over this evocative backdrop, his reading fervent,
uplifting and blues-tinged. His reflective solo follows, in which his glistening
lines, crisp articulation and gorgeous tone combine to stunning effect � there
is such majesty and intelligence to his playing, with equal traces of Bobby
Hutcherson and Milt Jackson for good measure. Tardy's subsequent clarinet
solo is both technically impressive and emotionally charged. The reprise, if
anything, improves on the already memorable opening.

Reviewer: Scott Albin

JAY HOGGARD: THE FOUNTAIN

TRACK
The Fountain

ARTIST
Jay Hoggard (vibes)

CD
The Fountain (Muse 5450)

Buy Track
Musicians:

Jay Hoggard (vibes),

James Weidman (piano), Marcus McLaurine (bass), Yoron Israel (drums)

Composed by Jay Hoggard

Recorded: Stamford, CT, July 10, 1991

RATING: 93/100 (learn more)

Vibraphonist Jay Hoggard began his career straddling the worlds of avant-
garde and mainstream jazz, but gradually focused on straight-ahead fare. On
his 1978 debut recording, the otherwise progressiveSolo Vibraphone, he
dropped in a version of "Air Mail Special" as a salute to one of his idols, Lionel
Hampton. And Hoggard's most recent release, Swing 'Em Gates, is a full-CD
tribute to Hamp.

On Hoggard's 1991 The Fountain, the title tune is an abstract, spiritual piece,
the freest selection by far amongst worthwhile renditions of standards and
jazz classics. Hoggard's vibes open the track tranquilly with cascading runs
and a shimmering soundscape, accompanied by McLaurine's vivid arco bass.
The vibes-bass textures intensify until drummer Israel finally enters the fray.
Hoggard then introduces his first truly extended lines thus far, which add
melodic substance to the piece, as the bassist bows an insistent ostinato. The
next section commences with Israel's forceful mallet vamp, until Hoggard
reemerges with a pulsing, circular motif over which the drummer improvises.
Pianist Weidman now unexpectedly joins in, playing dissonant note clusters,
urgent chords and then delicate tremolos. Hoggard returns to his earlier riff,
and Israel to his previous vamp to bring satisfying closure to a compelling
performance.

Reviewer: Scott Albin

BOBBY HUTCHERSON: I AM IN LOVE

TRACK
I Am In Love

ARTIST
Bobby Hutcherson (vibes)

CD
Mirage (32 Jazz 32214)

Buy Track
Musicians:

Bobby Hutcherson (vibes), Tommy Flanagan (piano), Peter

Washington (bass), Billy Drummond (drums).

Composed by Cole Porter

Recorded: New York, February 15 & 18, 1991

RATING: 97/100 (learn more)
The 1968 Monterey Jazz Festival presented a concert entitled "A Generation of
Vibers" (a nod to Philip Wylie), featuring Red Norvo, Milt Jackson, Cal Tjader,
and the two emerging vibraphone stars of the 1960s, Gary Burton and Bobby
Hutcherson. The latter's Blue Note recordings during those years revealed an
individual stylist and prolific and accomplished composer. His distinctive
chime-like sound, and his adventurous and technically proficient
improvisations, which displayed effective use of space, attention to dynamics,
and a creative way of sustaining and damping notes, all combined to give jazz
one of its next major players. Hutcherson continued to refine his style to the
point where every note seemed essential and every phrase and flight of fancy
seemed to fall in place perfectly, and his interpretation of beautiful melodies
both old and new became unbeatable. (He has also proven to be a masterful
marimba player.)

On Mirage, his first-ever encounter with the distinguished Tommy Flanagan,

Hutcherson chose a rare Cole Porter tune, "I Am in Love," for the diverse
program, and his performance is an example of, and testament to, his
brilliance. He offers an ardent reading of the theme and a soaring, exciting and
spellbinding solo before Flanagan and bassist Peter Washington add their own
impressive statements. Hutcherson has the last word, a priceless, highly
embellished exploration of Porter's melody that differs vastly, due to its
greater amplification, from the vibraphonist's more deliberate opening run-
through.

Reviewer: Scott Albin

MILT JACKSON & JOHN COLTRANE: BE-BOP
TRACK
Be-Bop

ARTIST
Milt Jackson (vibes) and John Coltrane (tenor)

CD
Bags & Trane (Rhino 1368)

Buy Track
Musicians:

Milt Jackson (vibes), John Coltrane (tenor), Hank Jones (piano),Paul

Chambers (bass), Connie Kay (drums).

Composed by Dizzy Gillespie

Recorded: New York, January 15, 1959

RATING: 93/100 (learn more)

There was more to Milt Jackson than putting on a tuxedo with the Modern
Jazz Quartet and performing what some perceived as soulless, overly refined
and restrained jazz, usually in distinguished concert halls rather than smoky
night clubs. Yet even with the MJQ, Jackson never lost his bluesy edge and
found plenty of challenges in the music. Away from the MJQ, he'd enter the
recording studio to enthusiastically engage outstanding musicians such as
Lucky Thompson, Cannonball Adderley, Coleman Hawkins, Wes Montgomery
and, last but not least, John Coltrane. Jackson had first played with Coltrane
in Dizzy Gillespie's Sextet in the early '50's, but of course this was a much
different Trane in 1959 � the tenorman was just three months away from his
breakthrough Giant Steps session.

Probably their past Gillespie connection led them to play Dizzy's "Be-Bop"
amidst a repertoire of standards and blues. Coltrane takes the theme, then
gives way to Jackson's bracing improvisation ably supported by Jones's
assertive comping, Chambers's pulsing bassline and Kay's insistent cymbal
beat. Jackson's brisk single-note lines speed by almost in a blur, and his
rhythmically emphatic attack is accentuated by his characteristically
pronounced vibrato. Coltrane solos with beseeching runs, slurs, wails and
intervallic leaps, his momentum maintained confidently for the duration,
although a bit of repetition in his then- characteristic "sheets of sound"
approach becomes apparent near the end. Jones's concise solo is bop at its
most thoughtful and engrossing. Bags and Trane then trade fours, Jackson's
sparse phrases seemingly intended to provoke Coltrane's fertile imagination,
which they succeed grandly in doing.

Reviewer: Scott Albin

JOE LOCKE: SATURN'S CHILD

TRACK
Saturn's Child

ARTIST
Joe Locke (vibes)

CD
Slander (and Other Love Songs) (Milestone MCD-9284-2)

Buy Track
Musicians:

Joe Locke (vibes),

Billy Childs (piano), Vic Juris (guitar), Rufus Reid (bass), Gene Jackson (drums)

Composed by Joe Locke

.

Recorded: New York, March 24-25, 1997

RATING: 96/100 (learn more)

Joe Locke has become one of today's most prominent jazz vibraphonists due
to his technical mastery, versatility and composing ability. There is also a
spirituality to his playing that sets him apart. The notes toSlander (and Other
Love songs), for example, include the text of the 13th-century Persian poet
Rumi's "In the Arc of Your Mallet," as well as a quote from Mark Twain:
"Thunder is good, thunder is impressive; but it is lightning that does the work."
Seen in live performance, Locke physically appears to be a coiled wellspring
of energy as he navigates challenging harmonic pathways at urgent tempos or
reflectively amplifies the essence of slow ballads. "Saturn's Child" falls in the
latter category; it's one of Locke's most beautiful compositions, which he
frequently performs and has twice recorded.

Billy Childs's electronic keyboards (although he is listed only as a "pianist" on

this session) set the soothing mood. Locke plays the contemplative, ethereal
theme in unison with guitarist Juris, as Childs evokes a string section's highly
sympathetic support. The underappreciated Juris solos movingly with crystal-
clear lines and a warm, rich tone. Locke's improvisation is played with a
ringing tone reminiscent of Cal Tjader. His phrases, like those of Juris before
him, are vibrant and lucidly delineated, delivered soulfully and with
understated passion. The reprise lets us indulge once again in the exquisite
grace of this superior melodic creation.

Reviewer: Scott Albin

MIKE MAINIERI: STRAPHANGIN'

TRACK
Mike Mainieri: Straphangin'

ARTIST
Mike Mainieri (vibes, xylophone)

CD
An American Dairy: The Dreamings (NYC 6026-2)

Buy Track
Musicians:

Mike Mainieri (vibes, xylophone), George Garzone (tenor sax),Marc

Johnson (bass), Peter Erskine (drums).

Composed by Mike Mainieri

Recorded: New York, 1997

RATING: 97/100 (learn more)

As vital and inquisitive a musician as Mike Mainieri has been over the years,
best known as leader of Steps Ahead, it's hard to believe he is turning 70 in
2008. Yet at age 15, he played on Paul Whiteman's radio show with his own
trio, and was a Buddy Rich sideman from 1956 to 1963. He also won the New
Star Award in the 1961 Down Beat Critics Poll. Rich, in fact, urged him to
Americanize his Italian name to Mann, and therein lies a tale. His first An
American Diary release in 1995 (with Joe Lovano), Mainieri wrote, "was a
project that put me in touch with the dichotomy of musical tastes in my
family." The second project, The Dreamings with George Garzone, he
"dedicated to my family who introduced me to the art of storytelling, which
they drew upon through their nomadic Italian and Sephardic wanderings and
enriched my American heritage."

The track "Straphangin'" is described by Mainieri as "inspired by subway

folklore. As a child, I would observe the body motions and facial expressions
as my fellow straphangers would dance and bounce their way through the
city." This led to a "fascination with puppets," which he would make and dress
and "then attach their feet to vibe mallets and stage shows over the front of
my instrument." He calls drummer Peter Erskine "the motorman of this
particular ride." Erskine initiates a swaying subway car rhythm before Mainieri
and Garzone play the choppy, staccato theme. Garzone's long breakneck tenor
solo is intensely creative, with hurtling lines, slurred notes, dissonant wails
and even a simulated train horn at one point, rhythmically exciting overall and
relentlessly paced. Mainieri is less hurried but sizzling nonetheless, expertly
on xylophone at first before switching to vibes, where only his vibrato
differentiates his precise extended runs and expressive percussive attack.
Erskine solos with great command and feeling before vibes and tenor ride the
train to its final destination. Although nothing like "Take the 'A' Train,"
"Straphangin'" is just as invigorating in its own unique way.

Reviewer: Scott Albin

STEVE NELSON: NEW BEGINNING

TRACK
New Beginning

ARTIST
Steve Nelson (vibes)

CD
Live Session, Vol. 1 (Red 123231-2)

Buy Track
Musicians:

Steve Nelson (vibes), Bobby Watson (alto sax),

Donald Brown (piano), Curtis Lundy (bass), Victor Lewis (drums)

.
Composed by Steve Nelson

Recorded: live at the Acireale Jazz Festival, Acireale, Italy, July 1989

RATING: 96/100 (learn more)

Steve Nelson has been quite visible as the vibraphonist in Dave Holland's
Quintet and Big Band since the mid-'90s, yet has had surprisingly few
opportunities to record as a leader. Having paid his dues as a sideman going
back to the 1970s, perhaps now with his most recent well-received
release Sound-EffectNelson will, in his 50s, finally get to move center-stage for
good.

When Nelson performed with his group at the 6th Acireale Jazz Festival in Italy
in 1989, it appeared that the sky was the limit for him and his saxophonist
Bobby Watson, both hot up-and-comers at the time. Their high-energy sets
(there is a Live Session, Vol. 2) did not disappoint. The nearly 12-minute "New
Beginning" starts with Nelson's and Watson's unison delivery of the alluring,
upbeat theme. Nelson's extended solo is expertly paced and structured, one of
his most outstanding recorded improvisations, jubilant and absorbing
throughout. His swift, gliding lines and supercharged liftoffs on the
turnarounds are particular highlights. Watson follows in his usual extroverted
manner, his boppish phrases executed with flair through his piercing tone. His
exuberant playing here comes out of the Phil Woods and Richie Cole school of
intense bop/hard bop. Brown's rousing solo keeps up the pace, spurred on by
Lundy's rock-solid basslines and Lewis's propulsive accents. Brown's superb
comping, it must be added, along with the uplifting support of Lundy and
Lewis help inspire Nelson and Watson to the heights during their respective
solos. This was a tight band for the short time it lasted, probably assembled
just for the European festival circuit that summer.

Reviewer: Scott Albin

RED NORVO: NIGHT AND DAY

TRACK
Night and Day

ARTIST
Red Norvo (vibes)

CD
Night and Day (Savoy, reissued 2007)

Buy Track
Musicians:

Red Norvo (vibes), Tal Farlow (guitar), Charles Mingus (bass).

Composed by Cole Porter

Recorded: Los Angeles, CA, May 3, 1950

RATING: 95/100 (learn more)

Red Norvo was a fascinating jazz musician. On the one hand, he primarily
played the out-of-fashion and limited xylophone up until 1944, and even after
completely abandoning it for the vibraphone, basically clung to the style he'd
developed on his old wooden-barred instrument. On the other hand, his playing
was always hip and advanced, and he naturally embraced and fit in with the
bebop movement, recording with Bird and Diz in 1945, and in 1950 forming one
of the greatest of all small jazz groups � the boppish Red Norvo Trio with Tal
Farlow and Charles Mingus.

Norvo's trio was a perfect blend of creative improvisation, group interaction

through their telepathic responses to each other, and intricate and flexible
head arrangements. The medium-tempo "Night and Day" begins with Farlow's
simulated bongo pattern, utilizing the body of his guitar. Norvo plays the well-
known theme in his vibrato-less style, with Tal cleverly feeding him chords on
the bridge. The guitarist then solos imaginatively with Norvo comping
sensitively behind him and also contributing some effective melodic
counterpoint. Red's own solo typifies his approach. Since he preferred to play
the vibes with the motor shut off to preserve the more natural sound he felt he
got from the xylophone, he uses tremolos, rapidly repeated single notes and
artful arpeggios to compensate for the lack of vibrato, while using the pedal to
sustain notes. It's the harmonic sophistication and melodic ingenuity one
hears on this track that made his unique improvisational concept so
successful. Norvo and Farlow then inventively split the thematic exposition to
take the piece out. This is a rare selection where the usually dominant Mingus
remains largely in the background. This edition of Norvo's trio lasted about
two years, after which the leader tried to duplicate the magic with Jimmy
Raney and Red Mitchell, but it was never quite the same.

Reviewer: Scott Albin

CAL TJADER: MARAMOOR MAMBO

TRACK
Maramoor Mambo

ARTIST
Cal Tjader (vibes)

CD
Soul Sauce (Verve 314-521-668-2)

Buy Track
Musicians:

Cal Tjader (vibes),

Lonnie Hewitt (piano), John Hilliard (bass), Johnny Rae (drums), Willie Bobo,
Armando Peraza, Alberto Valdes (percussion)

.
Composed by Armando Peraza

Recorded: New York, November 20, 1964

RATING: 93/100 (learn more)

Cal Tjader fell in love with Latin music early in his career, and from 1954 to his
death in 1982 primarily led Latin jazz groups, with many of his fans assuming
understandably but incorrectly that he must be Latino. The authenticity of
Tjader's style, and his use of such top Latin percussionists as Ray Barretto,
Willie Bobo, Armando Peraza, Poncho Sanchez and Mongo Santamaria, placed
him at the forefront of the Latin jazz scene, and his music even influenced the
later Latin-rock creations of Carlos Santana.

The short title track of his Soul Sauce album was as close as Tjader ever
came to a hit record, but the longer "Maramoor Mambo" from the same
session better highlights his distinctive metallic sound on the vibes and his
relaxed, flowing and rhythmically engaging improvisational approach. Peraza's
catchy mambo opens with hearty conga accents and firm piano chords as
Tjader navigates the buoyant melody before surging into his driving solo,
where Hewitt's montuno backing is a perfect complement. The pianist, a
veteran Tjader sideman, follows the vibraphonist with his own dancing solo,
displaying an appealing delicate touch and a spirited percussive attack.

"I'm not an innovator," Tjader once said. "I'm not a pathfinder. I'm a
participant." Entertainer would be a better word, as Tjader left behind a body
of work consistently joyful, unassuming and ingratiating.

Reviewer: Scott Albin

http://www.jazz.com/dozens/the-dozens-essental-vibes