Party like xylophone orchestra of (pseudo)-symphonic jazz by Paul Whiteman in the late '20s, Norvo in the early 60s he was still able to anticipate the sound of the ECM in fusion sextet with clarinetist Bill Smith. .. But first things first: survivor of soup, Paul Whiteman, he went behind the singer Norvo Orchestra, Mildred Bailey, a Native American who married and with whom he recorded the only plausible alternative to the recordings of Billie Holiday in the '30s, often orchestrated a master of the genre: Eddie Sauter. Then in the '40s, switching to vibes already described, and an amazing recording with Charlie Parker, Dizzie Gillespie and Flip Phillips. Benny Goodman, welcomed the move to the vibes, the offering assumes the post left vacant by Hampton. But Norvo is not a solo overflowing as his fellow African American prefers a role to play-maker. If we wanted to make a comparison piano, we could think of Art Tatum (Hampton) and Teddy Wilson (Norvir). Moreover, the similarity in the phrasing of the two vibraphonists with such pianists is obvious. But Norvo is a 'playmaker' and not a 'tip' - pardon the football interlude - it shows his amazing trio, probably thought observing the trios of Nat King Cole and Art Tatum. This seamless training: vibraphone, guitar, bass, dated 1950, reveals the artistic profile of our own.

1) Norvo not want to be the first soloist of the group, but wants others to have the same level.

2) The development follows the execution of swing bands, but improvisation is privileged in advance.

3) His phrasing is steeped in the swing era, but the time is Norvo and harmonizes like a bopper.

4) His pre-chorus (special), are embedded in the culture of California or West Coast, and this, before we talk about a trend called modern jazz, in fact, West Coast.

5) Names of partners: Tal Farlow and Jimmy Raney, guitar, Charles Mingus and Red Mitchell, double bass, that two of the greatest guitarists and bass players of all time.