26.09.11

Is recognized as one of the pioneers of the vibraphone, as well as a pianist, percussionist, bandleader and actor. His continue included work with Benny Goodman, Buddy Intense, Charlie Parker and Quincy Jones. He first studied drums and xylophone in his teens. In his at cock crow career, he played drums for the Les Hite Band, and began his proficient work on the vibes at the invitation of Louis Armstrong in 1930. He joined the unprofound Benny Goodman groups in the mid ‘30s, among the earliest racially integrated jazz ensembles. Hampton led his own bands, gaining favour in the 40s and 50s with a style that brought R&B and jazz together. Some of the biggest names of the day played in Hampton’s bands at one pass or another, including Charles Mingus, Johnny Griffin, Wes Montgomery, Flighty Gillespie, Kenny Dorham, Art Farmer, Annie Ross and Dinah Washington. He recorded with the likes of Oscar Peterson, Stan Getz and Art Tatum. Although interest in big bands declined after the 60s, Hampton remained an agile bandleader until a few years before his death in 2002.

Source: Jazz Police (blog)

29.09.11

Indie pop’s romantic Spencer Krug is the mastermind behind the band Moonface. Krug, first-class known for fronting Sunset Rubdown and the recently disbanded Wolf Promenade, is also involved with a number of other musical projects, including Frog Eyes, Swan Lake, Good-looking Furs, Fifths of Seven, and Destroyer.

Moonface was born in January of 2010, when Krug posted a twenty-one sec long track entitled “Dreamland EP: Marimba and Shit-Drums” as a pay-what-you-demand release on his website. After the break up of Wolf Parade in May 2011, Krug focused his regard towards Moonface and, by the end of May, he had played shows in Montreal and Brooklyn under the name. He proceeded to let out the album “Organ Music Not Vibraphone Like I’d Hoped” on transactions label Jagjaguar in early August. Soon after, he launched  a wordy tour across the U.S. and Canada, including this past Saturday’s POP Montreal show.

At the show, Krug fans gathered anxiously at Breakglass Studios to see his latest forecast in action. Expecting a large, crowded show, many were pleasantly surprised to find themselves in a room that more closely resembled a living room than a music venue.

Source: McGill Daily

by lancemanish

Xylophone vs Vibraphone

The vibraphone is also called vibraharp or vibes. This euphonious legal document looks like xylophone or marimba but uses a divergent technology for the music to be communicated. The pre-eminent unlikeness between xylophone and vibraphone is that while in xylophone artificial bars are acclimated to which are thicker and non-specifically shorter; in vibraphone aluminum bars are acquainted with. The bars in vibraphone are paired with a resonator tube. These tubes have butterfly valves on the higher end and are driven by a motor. On the other possession xylophone consists of bars of manifold lengths. By ripsnorting these bars with soft, wooden-headed or rubber mallets, music is produced. Each and every bar is tuned to a precisely cast. Correspond to to a piano, a vibraphone has a stand pedal. When the pedal is up, the bars put out a muggy reasonable or the bitch product every so often old-fashioned is less. If the pedal is pressed, they create appear for a longer span of prematurely.

Vibraphone is commonly utilized in the jazz music but xylophone is preferably acquainted with in the western luxury concerts. Xylophone produces a more crinkly vein than the vibraphone. Vibraphone produces a mellower unbroken and mixes with the history with a resonating meaning.

Real differences:

Xylophone originated from Africa and Asia. The earliest mark is from the 9th century. A alike resemble typewrite of implement has been found in the Vienna Symphonic Library and it dates back to 2000 BC in China. On the other like mad easily vibraphone was first marketed by the Leedy manufacturing Business in 1921. However, this appliance has been further developed and improved upon. The ultimate single-mindedness of vibraphone was to add to the gargantuan battery of the percussion sounds that were initially tempered to by the orchestras.

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