Vibes

Perhaps the most venerated of all percussion instruments, the sweet and soothing vibraphone distinguishes much of the finest jazz and Latin-jazz recordings. The vibes can be very hip, as in hypnotic. A "xylophone for adults," known in Hawaii as the "white man's bamboo organ," the vibes can lend exoticism or pass as a standard instrument. Great jazz vibes players have tended to explore Latin music and double on marimba. Tito Puente and other great Latin stars made extensive use of vibes in the small mambo groups of the 1950s.

Similar to Cal Tjader, and in fact an outgrowth of Latin jazz, was the pop exotica movement. Arthur Lyman in particular demonstrated versatility in both pop and jazz. Much of the standard canon for exotica, in fact, came from California jazz sources, such as the Vince Guaraldi Trio.

Quintessential session percussionist Phil Kraus joined one of the first bands to use vibes in 1939. This was the band of New York radio station WNEW, later known as the Five Shades. Lionel Hampton and other leading lights led the way in mainstream jazz. The major Latin acts in New York concentrated on vibes in the early 1950s, but it was not until the following decade that vibes found their place in all kinds of pop music. Low-key and atmospheric, vibes make an unnatural lead instrument; fortunately enough top percussionists have gone through a vibes stage that there are fine, and sometimes funky, vibes-led albums.

Buying: Hip vibes records can be very hard to find. Pick up Pike, check later Tjader, and don't be coy about McCoy. Latin vibes stars abound: Alfredito, Puente, Pucho, Pete Terrace, Bobby Montez...

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