Wednesday, October 1, 2014

Tim Price Bloggin' For D'Addario Woodwinds- -What does it take.

~Improvising means creating music that is spontaneous, of the moment, and uniquely your own. So think of it as the instrument becomes a process of self-discovery, finding out what your music really sounds like. You develop a period of looking within, stripping away the excess and listening for the simple voice that really is our own. It’s there, listen for it. Being able to improvise on I GOT RHYTHM changes appears much more as a puzzle or study that must be negotiated than as an opportunity look within and reach for new sounds you hear. Improvising means creating music that is spontaneous, of the now, and your own. It will not get played if you yourself don’t play it, and try. You have to focus your practicing for maximum progress towards creating a powerful forward motion as a player. Add personal guidance of a master teacher and artist, and you’re poised to grow as a musician and as a performer. Todays student needs substance ! Plus how to focus practicing of improvising on the essential elements,the actual substance of what to play and how to develop it in your personal style, and dealing with practicing of specific vocabulary. It's what I call, what to shed! Then you got to understand jazz is part of culture. Bird, Prez,Basie,Pee Wee Russell, Roland Kirk, Duke, Hawk and all those giants who gave something to culture. What did they have? They had the the building blocks of jazz improvisation. MELODY ! Then guide-tone lines, and melodic Rhythm. Real world building blocks of jazz improvisation. In a word- BASICS that last for your career. Just some thinking on subjects we all love and are close to our agenda.TIM PRICE

Tuesday, September 16, 2014

Tim Price Bloggin' For D'Addario- Meaning and purpose.Passion and purpose.

....Living a life of purpose reflects who you are deep inside, your beliefs, values and passion for living. It is about following your heart and doing what you love to do with passion and purpose. This may initially feel overwhelming and go too "deep" but that's exactly where you need to go - deep into your heart, beyond the busy, superficial day-to-day chores and demands of life. Beyond the fast paced day of the modern mom who typically deals with her career, various children's activities, computer viruses, proverbial household cleaning, - overall role of superwoman who never had or has had a chance to do some real soul searching for real meaning in her life. Do you feel like you're spinning of the hamster wheel and getting nowhere? Just talking...and talking.Do you wonder if your life counts for anything? Despite the many resources of self-help tools available today via magazines, books, tapes, videos, and seminars, many still feel unfulfilled and lacking purpose in themselves, family and career. What ever happened to just getting together- making some coffee and playing some standards ad blues.Life is about choices - good, bad, happy, unhappy, purpose filled or void. It is important to intentionally and passionately seek to pursue joy, fulfillment and purpose despite the situations or people who may seem to be trying to take it away from you. Your choices should be reflective of who you are and what you believe in vs. the standards and beliefs of someone else.Are you really hearing the music- or going for just who's popular? The following are wide sweeping key components that require considerable processing in their own right in order to most fully develop your own true purpose and are full length topic discussions within themselves - please be sure to process them in your own time and according to your specific needs.Each person holds unique and very individualized gifts. Allow yourself to really explore your current and past skills - even some you may not even be aware of yet. But also....Recognize them, write them down and then think of how you could integrate your most compelling skills into an area of your life now. MEANING AND PURPOSE...ok. When you are clear about your purpose, then it becomes much easier to say no. No matter how "good" it sounds, how much validity it holds - if it doesn't further your purpose then the answer is No. Don't let those ceaseless requests pull you away from your goal and lose focus on where you find meaning.Thoughts and plans are all well and good, but if they don't get into action, they aren't much good after all. So put those thoughts, plans, and skills into action! Identify the best place to start - typically with one small task that leads to another small task = success=more energy and motivation= more done. The snowball effect of getting the ball in motion will require less energy to move. Enjoy the ride! Weekly encouragement, support and accountability have proven to be the best way to keep you energized and moving. Focus on what your purpose in and the meaning behind it will serve as a motivator itself and you can look at the past week to see just what you have accomplished.The possibilities are endless. Till next hard and study, practice to be the best YOU......Tim Price

Wednesday, September 3, 2014

Tim Price Bloggin' for D' Addario Woodwinds- Coltrane / Prestige 7105

THIS...Recording....Coltrane / Prestige 7105...Is my favorite Coltrane recording ever. ( I love all the other Trane records, but this onejust speaks to me. It has for decades too.) Coltrane's career didn't begin when he signed to Impulse! (contrary to what the label sometimes tries to imply), nor did it begin when he signed to Atlantic....John Coltrane recorded so frequently for the Prestige label during '56-'58 that it's tough to figure out where to start. This May 1957 recording, coming just after his departure from the Miles Davis Quintet, is a pretty good initiation; a great session of hard bop with plenty of Coltrane's powerful, intense playing. The album's peaks are two ballads "Violets for Your Furs", "While My Lady Sleeps" -- Coltrane was already an incredible ballad player by this time. The other tracks are all crystallized hard bop of the highest level ever. the rhythm section (Mal Waldron and Red Garland on piano, Paul Chambers on bass, Al Heath on drums) is excellent, Johnny Splawn (trumpet) and one of my very favorite baritone saxophonists ever Sahib Shihab. Before both of these labels, he was on Prestige recording a bunch of albums which tend to get overlooked nowadays. "Bakai" opens the set and is very close to "Dakar", theme wise,with Shihab laying down an afro-centric beat; Trane and Splawn harmonizing over it. Red Garland slides off a cool,swinging,mood-changing opening solo. Trane solos next,sounding very serious;driving moderately. Shihab's solo comes off LIKE A GEM, containing slight elements of r&b, before the close. "Violets For Your Furs" is a ballad. A premier balladeer, Trane handles the theme. Red gives off a beautiful solo, followed by Trane's warm,sincere expressions. The other horns are not heard. "Time Was" is typical John Coltrane, coming out swinging. An up-tempo track, Trane blows that 'good stuff' so very well. He doesn't do a lot running,here; just cookin'. Paul Chambers and Al Heath keep Red's solo swinging. Paul lays down a pretty sharp solo of his own, before Trane closes. Good track. "Straight Street" < one the the Trane tunes that NEEDS to be played more is a medium-tempo that brings back the rest of the horns. Trane solos first,at ease and steadily flowing. Splawn is next. Johnnie is like too many good trumpeters....underrated. His solo,here,swings with know-how and experience.SO GOOD! Paul and Trane lay down the mood for the hauntingly,bewitching "While My Lady Sleeps", a super-laid-back MONSTER that Trane keeps under rein with the help of Mal Waldron. Excellent song choice. "Chronic Blues" is just that...the blues.Knocks me out of the park with the way they just play. There's some great Coltrane stuff on Prestige, "Settin' The Pace" with a ridiculous Trane solo on "Little Melonae", and some great work by Red Garland, "Lush Life", with a lovely Milesish statement of "Like Someone in Love" and some brilliant drum performances from Art Taylor, particularly on "I Love You". BUT THIS RECORD- Coltrane / Prestige 7105 Has inspired me for over 5 decades...and still does. Right off the bat it's clear that musically Coltrane and his new sextet are on a musical mission of a very different sort than he had been playing with Miles Davis, musically positioning himself somewhere between the internationally expansive hard bop sound and the sound and stepping towards what many call " Post Bop". This is a stellar example of how an artist who has roots and knowledge brings the culture of jazz to an absolute zenith. ~ TIM PRICE

Monday, September 1, 2014

D'Addario Woodwinds artist Tim Price booking clinics- workshops and mini-residency's for 2014-2015

Feel free to share the info. via TIM PRICE CLINICS-WORKSHOPS with like minded college professors/ University teachers who will be interested. Contact Tim Price via I'm currently booking clinics- workshops and mini-residency's for 2014-2015 and thought I'd pass the info on here. I've got some_new_ideas and music for the performances as well as some very cool ideas to share that have a contemporary focus for the student.I continue to enliven a passion for jazz in students, and teach the vital musical building blocks using a unique methodology from over 40 years experience as a performing jazz musician and woodwind artist.Students leave my classes with a stronger understanding of the jazz language and therefore with more confidence as they participate in the music. Thank you Tim Price Also enjoy the HEADHUNTERS & Herbie Hancock sax-woodwind player Bennie Maupins quote about me; it made my decade!:) "Tim Price continues to explore and develop his deeply personal approach to music. Through the years his persistence, determination and passion has enabled him to create a stellar reputation as a multiple woodwind master, composer, producer, author and last but not least educator. Tim is one of the best musicians active today and I'm happy to say he's my friend...." -Bennie Maupin OR - JEFF COFFIN'S WORDS...About what I do ; "Tim Price has captured my imagination on many occasions with his forward thinking arrangements and wonderfully captivating playing. He is a unique musician made more unique because he has searched and found his own voice. Truly a rare find in music." ~ Jeff Coffin

Thursday, August 28, 2014

Tim Price Bloggin' For D'Addario Woodwinds- .Commitment to your art form -EDDIE SHU and more.

- EDDIE SHU.....This guy is beyond words- and swinging like wild.A true Jazz genius MORE VIDEO- Of Eddie Shu here- . . . . - What it is...Is hard work and commitment.Commitment to your chosen art form, and desire to do just that.Creativity and responsibility are twins in art. One cannot claim to be truly creative without being responsible. However, the commitment of an artist to a cause should never be blind commitment. The artist should always retain the right to question motives. In that way the artist will remain faithful to both creativity and social responsibility.If all art is a form of communication, all art is produced with an audience in mind. The process of artistic creation is an exercise in communication and as all communication must be able to communicate, it therefore follows that the process of artistic creation entails the responsibility to communicate. It can therefore be argued that there is no necessary contradiction between creativity and responsibility in art. I know that there are philosophies like art for art’s sake, which can be contrasted to say the literature of commitment. But I say you cannot be truly creative without being responsible. The moment you stop being responsible you stop being truly creative.IT DON'T JUST HAPPEN. Musical forward motion.... Being a complete musician goes well beyond the notes.It involves more than just getting a degree, playing your instrument, and those aspects. More so, it includes, the day to day life of travel, prep before you travel, making sure your ducks are in a row on the daily agenda.Gas for the car, bus ticket, clothes and schedule. Anything short of that in todays environment is a loss on the player-performers game card. Yes, it's past the mouthpieces, or a five digit Selmer and the demo CD that your uncle Ralph paid for. It's called- day to day life. Here is a day in my life- as of May 13th. I thought I'd share this with you all dear readers, hope you enjoy it. I continue to explore and learn all I can in the quest to develop my own musical voice. This is an account of a day in my life, and what’s behind the music via a profound the effect on my musical psyche.As I said, being a complete musician goes well beyond the notes. Keep on your path and do something good for somebody. Be well and remember compassion is essential with each other. See you next week. - Tim Price

Friday, August 15, 2014

Tim Price Bloggin' For D'Addario Woodwinds- Inspiration from an inspiration- Bennie Maupin.

- In listening to Lee Morgan last night... I started to reflect on hearing Bennie Maupin with Lee & Herbie Hancock, Horace Silver through the years. All those Blue Note records- which are always in constant rotation in my listening. He had his own thing, played saxello, bass clarinet & the woodwinds in such a personal way. My kinda hero! To me there are things in this music & life that transcend money or anything- and that's acknowledge from your hero's & peers. I met Bennie over two decades ago- after I played a demo at a trade show in LA. That's where the picture with Branford is from....I'll never forget that day! He came over and just started to talk & was amazing. Since then we've stayed in touch, became friends and I can't describe the _high_that comes with someone coming up to me- and saying that Bennie Maupin told them about me. It makes me practice harder- and stay on my path....because that what's happening. Inspiration-knowledge, hard work- wash & repeat. That to me is why I do what this multifaceted ART FORM. Here is a nice quote Bennie Maupin gave me years ago for my website...there's no room for depression or any funny stuff with guys who I listened to for ever giving me some vibes like that. Have a great weekend ya'll - keep on. HERE IS HIS QUOTE - - "Tim Price continues to explore and develop his deeply personal approach to music. Through the years his persistence, determination and passion has enabled him to create a stellar reputation as a multiple woodwind master, composer, producer, author and last but not least educator. Tim is one of the best musicians active today and I'm happy to say he's my friend...." -Bennie Maupin ;; - - - LISTEN TO BENNIE MAUPIN AS MUCH AS POSSIBLE- HE IS THE MEDIUM & MESSAGE YOUR EARS NEED. MORE SOON- Tim Price

Tuesday, August 5, 2014

Tim Price Bloggin' For D'Addario Woodwinds- Sonnymoon for.....YOU !

This is Sonny on RIVERSIDE in 1957, when as the liners say, he was undisputed ruling the DOWNBEAT critic's poll and at the top of his form. I like this album because Sonny hits on some better known standards, but turns them into vehicles for his rich imagination as a leader and soloist... the tunes are catchy even before his solos (with the opening moments of JUST IN TIME bordering on almost weird), but once he starts soloing, things swing... majorly...The rhythm section needless to say is fitting... Sonny Clark on piano, Percy Heath and Paul Chambers on bass, Roy Haynes on drums. Sonny's tricky rhythms have Sonny C. laying out on THE LAST TIME I SAW PARIS - - I guess the man from St. Thomas could baffle the best ! His playing is energetic, colorful and graceful. It seems to engender respect for the material as well as his bandmates as demonstrated by the seemless manner in which he migrates between varied rhythm sections. I especially enjoyed the international "flavor" of "Mangoes," an interesting counterpoint to "The Last Time I Saw Paris." What I love about this album is that it demonstrates what an engaging player Sonny is and was... regardless of the tempo or tune he really gets your attention... even before the solos... I also like how he clearly states the melodies to the tunes, yet put his own things into it. The solos can be very simplistic yet hard driving at the same time... at other times, he'll lay a flurry of notes on you... That was another strength of his... to play on space and time and do it cleverly, yet always deep within the pocket. He was definitely one of the few immediate post-Parker players who had his own rhythmic thing going... a big fat fluent swingin' sound that makes you pay attention to each and every moment... and again, cute and clever ideas for the arrangements, showing the reason why he was a LEADER and not a sideman. one of my favorite albums in jazz ever. If you know me- You know I'm a Sonny Clark fan as well."The Sound of Sonny" is Sonny Rollins' first and only recording with one of my all-time favorite bop pianists, Sonny Clark. Like most Sonny albums from this period, 80% of the material here is standards. However, it is a perfect blend of familiar and seldom heard standards, up-tempo grooves and touching ballads. Of particular interest here is Sonny's first unaccompanied solo recording ("It Could Happen To You"). "The Sound Of Sonny" ranks right up there with the best of them. Rollins' performance on this classic from 1957 not only solidified him as one of the greatest tenors of his generation, but, along with all of the other material from his illustrious fifty plus year career, has stood the test of time to make him one of the all-time greatest musicians regardless of style. Backed by a duo of legends in bassist Ray Brown and drummer Shelly Manne, Rollins cooks from beginning to end. He is in prime form, still a relativly unknown tenor when this album came out, he plays like a man ahead of his years. Sonny's tone is hard, percussive, rasping, and even playful, a full spectrum of colors and moods. What makes this a truly great album is that every single note Rollins plays is a highlight. His soloing stands up to repeated listening and rewards the effort with something new each time through. Manne and Brown contribute fantastic performances of their own, matching Rollins by producing phenominal solos of their own.Sonny was in his absolute prime when he cut Way Out West. No tennor ever had a better tone than "Newk", and that includes some very exclusive company, (Clotrane, Getz, Shorter, etc.) The painstaking remastering job here brings out the brillance of his majestic sound. To me Sonny's pharsing has always had the same inherent rhythem as the great post-war singers like Sinatra and Tony Bennett. Without a single bad note or overstated pharse, Way Out West is some of the best hard-bop you'll ever hear. Fortunately Sonny is still going strong and at seventy-something he is still producing vital music for us to enjoy. Even the usually aggravating practice of sticking alternate takes behind the originals hardly makes a difference. Rollins, Manne, and Brown are so brimming with ideas, the longer alternates offer the listener just that much more of a good thing. This is one of those albums that needs to be in every jazz collection, even the cover photo is a classic. Buy this cd if you do not already own it, you will not be dissapointed. "Rollins Plays for Bird" is vintage Sonny Rollins -- an album with the perfect combination of medium tempo hard boppers and scintillating ballads. But unlike other recordings, you get them here all in one song. "The Bird Medley" features seven different Charlie Parker songs, all strung together intelligently by the band of Sonny, Kenny Dorham, Wade Legge, George Morrow and Max Roach. While the medley is album's focal point there are two other tracks, the eloquent ballad "I've Grown Accustomed to Your Face" and "Kids Know," featuring terrific horn interplay by Sonny and Dorham."Rollins Plays for Bird" is vintage Sonny Rollins -- an album with the perfect combination of medium tempo hard boppers and scintilating ballads. But unlike other recordings, you get them here all in one song. "The Bird Medley" features seven diiferent Charlie Parker songs, all strung together intelligently by the band of Sonny, Kenny Dorham, Wade Legge, George Morrow and Max Roach. While the medley is album's focal point there are two other tracks, the eloquent ballad "I've Grown Accustomed to Your Face" and "Kids Know," featuring terrific horn interplay by Sonny and Dorham. In my review of the previous incarnation of this CD, I complained that the "The House I Live In" should have been included here to complete this 10/5/56 session. STILL....important timeless music. Rollins was only 20 years old when track 13, I Know, was recorded in January 17, 1951. Eleven months later, the then 21 year old Rollins was on tracks 5-12 (Scoops, With a Song in My Heart, Newk's Fadeaway, Time on My Hands, This Love of Mine, Shadrack, On a Slow Boat to China, and Mambo Bounce.) It is interesting that at 21 he already had a song that contained his nickname - Newk - on the album. The first four tracks on the album were the last ones recorded (October 7, 1953).I am a big MJQ fan to begin with, so having Rollins with the original members - John Lewis, Percy Heath, Milt Jackson and Kenny Clarke - is heavenly to me. I will not bore you with feeble attempts at describing the music (the first four tracks) because the sound samples do a far better job than I. As a drummer I was particularly interested in Kenny Clarke's playing. He is the father of bebop drumming, so paired in this musical setting showed aspects of his playing that is not evident in his earlier work, not his later work with Bud Powell in Paris. The bulk of this album - tracks 5 through 12, feature an interesting quartet format with the great Kenny Drew on piano, Percy Heath apparently borrowed from MJQ for the session, and Art Blakey on drums. Art's drumming is pretty subdued considering his explosive technique with other ensembles, including his early work with Clifford Brown and his career with the Jazz Messengers. The focus is Sonny's tenor and the tone is beautiful. When you consider that he was barely 21 when these tracks were recorded you have to wonder why he felt so compelled to spend a chunk of 1959 practicing on the Williamsburg Bridge eight years later. What I love about the final track is the fact that Miles Davis wrote the song and also played piano on it (backed by Percy Heath on bass and Roy Haynes on drums with Sonny's beautiful tone coming from that tenor.) I remember a story about Dizzy chiding Miles for not using the piano more. Apparently that chiding had an effect. For the life of me I do not understand why it took so long to release this album. It was recorded in three sessions between January 1951 and October 1953, but was not released until 1956. Regardless of why, the long period between completion and release does show that the music was still relevant - and this during a time when jazz was rapidly evolving in a number of directions. To me the music is as relevant today as it was when first recorded. These are some Sonny that...should appeal to you....listen and enjoy. More Sonny soon too- -TIM PRICE