Vibraphone Improvisations August Vol.

by aaron edgcomb music

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1.	door's for you 06:46	buy track
2.	8/11 02:33	buy track
3.	8/16 06:04	buy track
4.	a dime a dozen 04:25	buy track
5.	one of the following does not belong 05:15	buy track
6.	Wild Recipe 06:57	buy track
7.	8/3 07:13	buy track
8.	recitative 02:47	buy track
9.	28 03:36	buy track
10.	8/1 08:54	buy track
11.	Alois 08:23	buy track
12.	8/14_3 08:58	buy track
13.	8/14 (caw) 05:15	buy track
14.	a small cheat 06:05	buy track

about

I have an interesting relationship with the vibraphone. Along with drum set, marimba, and a few other instruments, it is one of the top tier instruments of expression in the Western Concert Percussion World of today, and as such has to be... dealt with. That being said I don’t always like the sound of the instrument. It is essentially a sine tone producer with very few means of manipulation. It can be a little sugary, a little cutesy. For this reason I don’t love the sound of “jazz vibes” except when it is from very early recordings like Lionel Hampton. Something about the aesthetics of that works for me. It’s the same reason I generally don’t like “jazz flute”, but I’ll listen to Rahsaan Roland Kirk ‘til the cows come home. My favorite vibraphonists find ways of overcoming this, often through the compositional aesthetics of the music being played. People like Matt Moran, Kenny Wollesen. Christopher Deane’s compositions for solo vibes are seminal. Ed Saindon’s fluidity is truly astounding. That brings up the notion of the Vibraphone and Marimba (those major voices in the Western Percussion World) as constantly aspiring to the state of the piano. When I encounter that, I often take a hard turn in the other direction.

This record was an exercise in reaccessing the improvisative mind space after months of quarantining amidst the emotional wreckage I and many others find ourselves experiencing due to the social and political nightmare we find ourselves in. Originally, I thought my improvisations would all be in a similar vein: slow paced and limited pitches. My idea was to make a very long record of mostly very slow moving ambient sounds. This record is pretty long, but it isn’t remarkably long, and though many of the tracks are slow moving and ambient, there is enough other stuff to say that it is not really an ambient record. Oh well. I will still add that tag to it. I’m planning to continue regular solo improvisations, and maybe record a year of daily improvisations at some point. We’ll see if that ever happens.

Suffice to say: if this record doesn’t sell a million copies, I will be very disappointed.

credits

released September 1, 2020

performed, recorded, mixed, mastered, by Aaron in bedroom, August 2020

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aaron edgcomb music New York, New York

aaronedgcomb.com

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