The Vibraphone: A New Sound in Contemporary Cool Music?

Steve Raybine:

Blog #46:

The Vibraphone:

A New Sound in Contemporary Cool Music?

As we begin 2010, let me begin my New Year's blog with an appeal to you, my dear blogsters about the instrument of my choosing--the vibraphone. I believe that it is time for the vibes to claim its rightful place within the hierarchical pantheon of musical acceptance alongside the guitar; saxophone; trumpet; piano/keyboards; bass; etc., in contemporary music. Music needs to evolve and via that evolution may emerge a new sound--the crystalline beauty of the vibes, perhaps? Here is my story--enjoy!

I play the vibes--an unconventional instrument within the musical genre known as “Smooth Jazz.” Although I perform and compose music that is affiliated with the Smooth Jazz marketplace, the Funk/R&B, Latin and Jazz/Pop stylistic influences found within the music of Smooth Jazz are dominated by the sounds of guitar and saxophone. My instrument, however, has not yet found its rightful place with this audience. It’s time for the vibes to make its sound heard...and accepted by a large constituency.

Let me state up front: I am a huge fan of both the guitar and the saxophone. In fact, both of my two sons play the saxophone (alto and tenor sax respectively), a decision, which I enthusiastically endorse. Moreover, my original music incorporates a significant amount of sax and guitar within the arrangements. Why then is there not an open-mindedness within this music industry of a reciprocal nature to embrace a new instrumental voice--one that pays homage to the ‘established sounds,’ yet presents another alternative to the Smooth Jazz consumer? We have seen other instruments accepted into the so-called Smooth Jazz “inner circle” of frontline-instrument viability such as the trumpet, keyboards, bass and vocals. Flute, violin and harp are featured to a much lesser degree. But the vibraphone, which has been embraced by Mainstream Jazz standards, has been unable to find its true place within the Smooth Jazz market. Unfortunately, for now at least, there seems to be a bias/prejudice against the vibes as a lead instrument relative to the sax, guitar et al.

Questions worth pondering regarding this dilemma are:

1.) Is the vibraphone sound conducive to the often mellow-sounding repertoire found on most Smooth Jazz radio stations?

2.) Is the vibraphone an instrument that is capable of being played convincingly in Funk, Latin and/or R&B musical styles?

3.) Does the vibraphone have visual performing appeal in an idiom that is visually provocative?

4.) Is the vibraphone capable of being played expressively in a melodic manner such that it would appeal to a genre that values jazz/pop songs that are melodic and lyrical?

5.) Is the Smooth Jazz industry uncomfortable with instruments that may be considered ‘different’ or out of the guitar-and-sax “comfort zone?”

6.) Is Smooth Jazz radio locked into a formulaic design (instrumentally & repertoire) that has become terribly predictable and non-creative?

If you answered yes to the above questions, you are in total agreement with me and many others. Let’s address each of the questions:

1. Is the vibraphone sound conducive to the Smooth Jazz radio format, which often features mellow-sounding groove tunes?

The vibraphone (a.k.a. vibes) is by its very acoustic design, an extremely mellow-sounding instrument. When you employ the electric motor with slower songs, the instrument sounds very human-like with its “vox humana,” or vocal vibrato. I contend that the vibes can be and are a very seductive sound and those Smooth Jazz listeners who specifically enjoy mellow songs, would be innately attracted to the vibes’ sultry sound.

2. Can the vibes be played in a musical style that is influenced by Funk, Latin and R&B (Rhythm & Blues) music?

As a vibist, I know that the vibes can be played in a Funky, Latin and R&B style. In order to achieve this musical objective, the player must be able to incorporate the blues element and other stylistic qualities that are indicative of this specific genre into his or her

playing style. Suffice it to say, the ability or inability to play Funky/R&B licks is dependent upon the player--not the instrument! Moreover, Latin music requires an understanding of Latin musical elements that can and should be incorporated into the songs and improvisations by the players'. Again, this can be easily achieved on most instruments if you understand what you're doing musically.

3. Is the vibraphone a visually-compelling instrument?

As a contemporary vibist, I can assure you that many audiences find the vibes a fascinating instrument to watch as it is being played. Of course, it is relatively exciting to see horn players strut around the stage during a performance. But on another note, what can be more visually exciting than to watch a vibist create his/her musical magic with the contrapuntal manipulation of independently-generated four-mallet techniques? I contend that it’s a visual marvel to behold--certainly the visual equal to a pianist, if not more so.

4. Is the vibraphone capable of being played in an expressive, lyrical and melodic manner?

Once again, the ability or inability to play music in a melodic and lyrical manner is completely dependent upon the player's affinity and ability to generate melodically-interesting jazz improvisations, and to interpret and personalize a song's melody. The issue of expressiveness relative to the vibraphone is directly proportional to the player's overall musicality. Therefore, most definitely, the vibes can be played in a melodically sensitive and expressive manner that can translate well to live and radio audiences--they’re not bagpipes for goodness sakes (however, there’s nothing wrong with bagpipes if that’s your 'bag'--instrument of choice).

5. Is the Smooth Jazz industry uncomfortable with so-called “atypical” instruments that deviate from the tried-and-true sax and guitar tandem?

Well, the preponderance of these two instruments (sax & guitar) at Smooth Jazz festivals and on Smooth Jazz radio would seem to indicate that they probably are at the very least, somewhat uncomfortable with other instruments, excluding the few additional instruments that are included within the Smooth Jazz “inner circle.” Otherwise, you probably would hear more vibes; flute; violin; harp; trombone, and other instruments in concerts and on the radio. It takes a certain amount of creativity and open-mindedness to embrace other possibilities--possibilities that may prove to be very refreshing to a significant segment of the CD-buying-festival-attending Smooth Jazz audience, if it were made available to them.

6. Is Smooth Jazz radio predictable?

Yes, I’m sad to say that it is, and this is unfortunate. From the beginning of this radio format, the Smooth Jazz radio market has become a vehicle for the sax and/or guitar ‘da jour’ player of the month, who in all likelihood, sounds too much like all of the other saxophonists and guitarists who have preceded them--a concept which has unfortunately been encouraged within the industry. Now, add a little trumpet, piano, a taste of bass and your obligatory vocal(s) into the radio mix, and that’s pretty much your radio format, which also includes certain old rock and blues-influenced songs from previous decades. Is this really all this market can generate for interest? I’m saddened to say, that this has unfortunately been the prevailing trend within this radio format throughout the years. I’d like to believe that the radio market is capable of being much more diverse and interesting. Moreover, many of the current tunes have bordered on being redundant and lacking interest (creativity) and vitality. Most recently, there has been some recognition via the PPM's (Portable People Meters) that audiences, are in fact, interested in other alternatives to the current radio playlists. It is my contention that songs don’t need to be a cookie-cutter copy of each other--people will embrace different styles and interpretations if given the opportunity to do so. Wouldn’t it be refreshing if some of the radio songs reflected the excitement of a live concert venue? I, for one, would truly welcome such a scenario.

In summation, I respectfully request that the Smooth Jazz marketplace give audiences more options. Let them hear other instruments and different types of songs--it may be an invigorating and much-welcomed experience. Embrace change, individuality, and difference--too much homogeneity in any consumer market can prove to be really uninteresting (boring, if you will). This market would be well-served to open its borders to others--it may save the genre from imploding due to predictability and sameness. Remember: vibraphonists need attention, too!

After being played on 130 national and international radio and internet stations, I think that it is safe to assume that there is a market for the vibes and my music (Steve Raybine). Moreover, with increased radio spins, audiences would be exposed to newer artists that could contribute vitality and freshness that is sorely lacking within this genre. Increased radio exposure would undoubtedly lead to more festival appearances, which would enable the independent artists such as me, to showcase our music for fans of Smooth Jazz music everywhere.

Copyright 2006/2009 Steve Raybine

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