Thursday, May 25, 2017

Tim Price Bloggin' For D'Addario Woodwinds- Being a complete musician goes well beyond the notes.

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.

Music can teach us to listen carefully and without prejudice. It can also teach us to cooperate and interact with others outside preconceived goals and benefits. It can offer insights into expressions of selfhood, as a key player in the construction of subjectivity. However, on the other hand, music also plays an important role in the disciplining and controlling of human beings. In that sense, music has ‘unethical’ sides as well. 9 times out of 10...a person with an attitude of a hustler or
" enlightened savior" runs a short course in the long term.
Absurdities abound in these people and take a second to realize...who is jiving whom!

THE TERM...Intellectual shucking and jiving describes it all. Only thing as a player, that can change YOU as a player is to work, study, and keep working and studying your art. Stay positive and when you can, remember your knowledge is the tool most vital. NEXT- Is your ear. Instead of buying a thousand dollar mouthpiece- Why not buy a thousand dollars worth of recordings of great players and listen. Get an AMAZON ECHO TOO....All I say to my ECHO is ALEXA Eric Dolphy and I've got hours of Eric Dolphy to hear in my home. 


 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 today's 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

Tuesday, May 16, 2017

Tim Price Bloggin' For D'Addario Woodwinds- Coltrane's drawing and variations on thoughts & shapes.

There's been a lot of talk about the circle Trane drew- when you first look at it it looks like a Poly-gram. There are geometric shapes, but  they cannot be drawn into the standard circle of fifths or fourths or chromatic circle . I've heard people referred to this is the Coltrane star or chromatic circle.

If you look at this as a variation of circle of fifths or fourths this circle that he created was also evident in Yusef Lateefs book the "repository of scales and melodic patterns". When you look at this this, it is another way of seeing things. That said- if you look on the inside of the circle at the top where it says C B C#   it would be 12 o'clock… if you look at this and make it simple there's an outer ring that's displaying a six next to tonic or whole tone scale. C- d- E--Gb- Ab- Bb- -C. That is the circle on the inner side that displays a hexatonic scale.OK- if you look at these carefully and go clockwise between the tones of the scale of the rings they're contained in, it turns out to be a circle of fourths and then counter clockwise circle of fifths.

Many times when we look at this we see the tones that are circled… If you look at those you're going to see some super tonic's and leading tones, perhaps there's even more to that than meets the eye, and ear.

In my opinion any Coltrane devotee knows that he liked using the diminished scale or basically the double diminished at it as it was called , good example of that is his solo on " moments notice" and  in the 74th measure explicit use of a B-flat seven diminish scale pattern that is probably one of the most influential in the Trane language. One that I always liked, and I also think is right out in front of your face, is his solo on " Epistrophy" on the live Carnegie Hall recordings with Monk.

I think this was his way of trying to look at things in a clear concise manner.
The possibilities are really endless and I think that is something that he noticed by drawing this. People know there are 13 intervals from the tonic to the octave, these intervals are unison- minor second- major second- Minor 3rd- major third- fourth -tritone -5th, minor sixth -major sixth- minor seventh -major seventh and the octave.  There's a lot of tones in between yes! But keep on mind- there's also a lot of references in clockwise and counterclockwise motion. Shapes and things to come, if you will. To me this is the beautiful part of music… The study in pursuit. In the grand scheme of course- this is just my opinion.I've also seen other drawings that were based on this-that makes sense too.

The drawing on the tone circles will always be a fascination to saxophone players and musicians and jazz musicians for decades and centuries to come. After all that is why we are all here aren't we?

The outlines and concepts of this hopefully will enable the soloist to think further ,and go past the normal outlining the changes at the same time as the rhythm section. That is something that can become very redundant. Remember you're creating something not repeating something! Remember overall sound and shapes and tones is what you're after. Delving in heavily to intervallic and  sequential playing will assist you to eventually develop a vocabulary of your own that moves to new areas, that you might not of played before. The keyword is direction!

When you are approaching concepts like this make sure you're playing them in swinging time and practice slow. Think about what your playing and remember the further into the cosmos that you go- The harder you should be swinging. 

Check out Coltrane on "Sunship" or some of the Yusuf Lateef records and also ALL the Booker Ervin books. EG- The Freedom Book- The Space Book- The Song Book.

Intuition is your friend use it!
Good luck and I hope this helps you all.

Thank you....Tim Price 

 Take some time and study this man's music from the side of enjoyment and reflection-and also the study aspect. People always say to me what's a great solo to start with to transcribe- I always say what started me in 1969 at Berklee was Andy McGee getting me into playing one chorus of his solo on " Oleo"... That's a great place to start get that in tempo. There's always something in this man's legacy and recorded career to be inspired by-search it out and pursue it. But remember being who you are that's one of the greatest lessons that we can learn from this man-and study and look for things lifelong.

For more info on Coltrane via my blogs- go here-

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

Tim Price Bloggin' For D'Addario Woodwinds- The pantheon of great jazz masters- and like minds. Trane & Slominsky.

THANK YOU....  Tim Price

Tuesday, May 9, 2017

Tim Price Blogging For D'Addario Woodwinds- Shoe Shine Boy transcription- and a study of Lester Young.

Tim Price Blogging For D'Addario Woodwinds- Shoe Shine Boy transcription- and a study of Lester Young.

LESTER YOUNG !This weeks blog is a study on Lester Young.

You gotta have roots- there's no short cuts Andy McGhee used to tell me- AND HE WAS RIGHT.

I acquired my knowledge not just as a student, but from decades of practical experience on the road. Every night you go to work, you're going to school to a certain extent.

As I work on a tune/solo with students, I stop a lot to iron out trouble spots.
I pull apart a tune to show its different intricacies. By the time we finish, we have really wrung it dry.I want students to leave my studio understanding exactly everything they played and feeling good about that.

I'm very serious about it because that's how I learned.
What I learned in the classroom was one thing, what I learned on the bandstand was another. I bring this to my students and they are better for it.

Learn every Prez solo you can. This solo is found here-

Study his lines and shapes. In addition, keep in mind the tempo and phrasings- very modern to this day as well.

The solo is below- your goal is to get the solo in tempo and memorize it.
 NEXT- - On your own transcribe Lester Young solo on " Taxi War Dance" should be fun and pretty enlightening. Get started now!

I suggest this book on Lester Young-

I love Lester Young and had read of this book in another biography and have been enjoying every page. Pres was so important and it is great to get this compendium of so many interviews and views in one place. It's a great start to a young learner who needs to learn more about a classic legendary innovative saxophonist.
Till next week- Enjoy the blog on Lester Young and keep studying  his playing and style. Prez forever.

See you next week- Tim Price

Tuesday, May 2, 2017

Tim Price Bloggin For D'Addario Woodwinds- Stay focused and believe in yourself even if others do not believe in you.

Start working toward your goals today. Ask yourself, "What can I do today to get one step ahead, however small, closer to achieving my goals?" Stay focused and believe in yourself even if others do not believe in you.Define and describe your goal. Write down when you want to achieve it. Write down the reasons why you want it. Write down what it would feel like after you have achieved it and write down your accomplished goals Figure out exactly what it will take to get it. Be realistic about the time things will take. Many people don't allow themselves enough time, and give up too soon.Once you've broken down your goal into pieces, write down the steps on a piece of paper to make sure you have everything thought out. One of the worst things that can happen is you're almost to the point of your goal, but you're not sure what to do next. Also, give yourself deadlines for each step. Otherwise, you'll end up procrastinating and never achieving your dream.
Visualize. Close your eyes and imagine yourself accomplishing your goals. Where are you? How did you get there? How do you feel? Do this often. Don’t get swayed easily with the noise and happenings going on outside. Put your attention on what you are trying to achieve. Remember the goal, and you will have control over the discomforts and difficulties.. Now that you have the momentum going, don't let it stop! Some steps may seem less exciting than others seem, but make sure to stick to your plan until the end! Avoid distractions and stay focused. Don't allow yourself to be distracted by other energy consuming efforts.Be positive. Always believe that you will achieve your goal. As soon as you stop believing, you have already failed.BUT- Keep trying. as Phil Woods once told me - " If you don't try you die

Ornette Coleman’s early records, more than anything else testaments to this insight. What can specify good improvisation — collaborators like Don Cherry and the recently departed Charlie Haden were consciously trying to innovate but there was never an aesthetic arrogance to what they were doing, compared with others from this time of aesthetic ferment. He and Don Cherry’s experiments at this point were with pitch and playfully provocative – indeed there are at least half a dozen masterpiece records from 1959 — Miles Davis’s Kind of Blue; John Coltrane’s Giant Steps; Charles Mingus’s Mingus Ah Um and its companion piece Mingus Dynasty and the often overlooked debut by by hard-bop trumpet player Donald Byrd, Byrd in Hand. There can be no dispute that all of these records are transformational. Some are more mellifluous and easy to listen in what may be called a “chilled out” fashion (Davis, Byrd), while others demand an active listen (Mingus). It is notable that while all of these records were experimental in that they brought new sounds to the jazz idiom that was moving beyond bop and hard bop, all but Byrd imported musical frameworks that had heretofore been foreign to jazz as a whole. Byrd, on the other hand experimented with texture — two saxophones, a drummer who played on the twos when he should have been playing on the ones, that sort of thingThen of course, there was Coleman’s Shapes of Jazz to Come. Like Byrd, Coleman’s innovation was endogenous within jazz as a blues-derived form, as compared with the exogenous shifts that came from Mingus, Davis and Coltrane. Indeed,  this record is simultaneously incredibly challenging .The song "Lonely Woman" stands to this day as one of the most poignant, even intimate jazz compositions, a sort of blues-for-postwar capitalism, a cold war dirge. Coleman told Derrida "I came across a gallery where someone had painted a very rich white woman who had absolutely everything that you could desire in life, and she had the most solitary expression in the world. I had never been confronted with such solitude, and when I got back home, I wrote a piece that I called 'Lonely Woman.'" Like many of the best politically-minded artists of the last half century, Coleman approached the political sideways and was never as publicly connected with the far-left as his colleagues like Haden and Cherry.

In the early nineties, Coleman was hanging out backstage, waiting to sit in with the   Grateful Dead. Coleman didn’t like what he was hearing. An admirer of Jerry Garcia’s effervescent guitar playing, Coleman had played with him a number of time.  Listening to this cacophony, Coleman said to the Dead’s manager, “Man, these guys don’t listen to each other when they play.” Yet a listen to a bootleg recording of the concert has Coleman hitting the stage during the Dead’s “space” segment (their own "free jazz"  ). Suddenly, the band sprung to life culminating in a version of Bobby Bland’s “Turn on your Lovelight” — precisely the type of Rhythm and Blues that Coleman played as a kid in Texas. The band was listening to each other again.  


This was the key to Ornette Coleman’s cultural production as a whole. It is easy to romanticize the best improvised music in a quasi-new age sense, that is to say the idea that some type of extra-human intelligence of a sort is channeled at “peak moments”. Indeed, many improvisational musicians, unable to fathom the affect they and their audience experience, take to this kind of belief. It is notable, thus, that Coleman, while sometimes having a foot in the milieu of “spiritual jazz” alongside comrades like Don Cherry and Charlie Haden.

In the study of jazz improvisation (both in books and schools), there are two major components that rarely get the recognition they deserve: ear training and rhythm. Instead, the bulk of jazz education focuses mostly on theory -- learning what notes to play over which chords. While knowing jazz theory will help you to become a better player, I think (much) greater advances are possible through strengthening ones ear and rhythmic skills. lunch for your ears- You should listen to this stuff. Start here- and go through my list ;“Porgy and Bess” (Miles Davis), “Ascension” (John Coltrane), “The Jazz Composer’s Orchestra” (Michael Mantler), “Live in San Francisco” (Archie Shepp)Listening/tunes: “Walkin’” and “Mysterioso” (J.J. Johnson), “Freddie the Freeloader” and “Flamenco Sketches” (Miles Davis), John Coltrane Plays the Blues (all tracks), “Cousin Mary” and “Mr. P.C.” (John Coltrane), “Sack O’ Woe” (Cannonball Adderley), “Now’s the Time” (J.J. Johnson), any blues record by Charles Mingus, Milt Jackson, Charlie Parker, Dizzy Gillespie, Horace Silver, Jimmy Smith, Wes Montgomery.Then listen to- “Milestones” (Miles Davis), “Fat Girl” (Navarro); Bird: The Savory Recordings/Master Takes: Miles Davis’ solo on “Half Nelson”...Then isolate your ears with recordings by Bud Powell, John Lewis, Horace Silver, Thelonious Monk, Oscar Peterson, Wynton Kelly, Tommy Flanagan, only piano.
Using your intuition and feelings when improvising is most important be it at the most advanced level or just a basic beginner. To thoroughly approach this as an art form and something that has deep meaning is most important. The masters when they played, be it Johnny Dodds or Sidney Bechet or Bud Powell on through the greats like Wayne Shorter or Charlie Mariano all came from a very deep place. At times, this place is something that you must go to in a natural way. Nothing cosmic about it, it's almost like a trance. It's almost like when your telling someone a story and you close your eyes and you're taking them somewhere with you. Art Pepper wrote a song about this called "The Trip." Stan Getz called this frame of mind the "alpha state."Whether its experienced in dreams, altered states, or simply sitting in solitude, the artist must be aware of the visionary realm.

Check THAT out....and I'll see you next week- - Tim Price

Thursday, April 20, 2017

Tim Price Bloggin' For D'Addario Woodwinds- Is there a place for just plain beautiful instrumental jazz today? Just you...just me.

Is there a place for just plain beautiful instrumental jazz today?  I appreciate (post)modernists as much as the next guy. But I also think there's room for lovingly rendered standards. And that is the core of jazz- Swinging music, beautiful ballads and a saxophonist whom has their own sound.
Houston Person has been doing it quite successfully, as have Ron Carter and Charles McPhearson. Enter Charlie Mariano, erstwhile jazz pioneer, experimenter, and sojourner to such far off places as South East Asia and India. 
In a way, it's almost like coming home for Charlie on this CD of standards on Enja who has a long history--it almost seems like in a former life--of playing standards. Linked up with an exceptional rhythm section and some (generally) under-recorded standards, the results are entire enjoyable, if not revolutionary is you know what your listening to.
Mariano is walking a fine line between getting genuine sentiment out of these romantic ballads and keeping from slipping into sentimentality. His tone, bright, soulfully round. has a remarkable range of expression. His band mates, Bob Degen on piano, Isla Eckinger on bass, and Jarrod Cagwin on drums, a marvelously fluid unit, provide the exact right backing for Mariano. Cagwin--a name new to me--especially proves invaluable with perfect timing, coloration, and just a hint of the exotic.
All in all, a very creditable set, certainly worth checking out.This I suggest because last week over 6 people wrote and asked me to suggest a CD of Charlie playing standards- here you go!

I better mind set,in a way.This ain't easy out here. I've been REAL lucky to have the friends I do.BUT , our sanctuary. Our inner spot to focus and grow and Playing/loving music is a special thing.I do not watch a lot of TV. I kinda never did...lived 4 years in Boston and never had a TV.I think , to be positive is my sanity factor.But that IS just me. 
You know the tune Prez played.." Just you , Just Me". Ever think how boring life could be WITHOUT music.- How many people off the street can you talk to about jazz? a special thing.Hope those of you who know , got my points

You know the actor John Garfield? In one movie he walked up to this train station, the ticket booth, and the guy says, 'Yes, where are you going?' And he says, 'I want a ticket to nowhere.' I thought: that's it. The freedom to do that. I want a ticket to nowhere --- Wayne Shorter
....My Definition of Success is the Freedom to be Yourself. Remember- Knowledge is a weapon. But intend to be formidably armed. If you go back and listen to Coltrane Plays The Blues, then his work in the 50's you'll learn a lot about hard work, being prepared and knowledge too.

Sometimes you hear great players say “I just play what I feel.” My answer to young players is, “yeh, play what you feel, but not before you learn how to play.Other wise your wasting energy- ya know. Jazz is a language, just like any language. It’s just that we speak our language, called jazz, on our instruments. Imagine...How would you sound speaking German, if you never learned how to speak it? If you never learned the words, phrases, or sentences of German, not many people would understand much of what you were trying to say.I think of jazz improvisation in those terms and you can sort of see where I’m coming from. 

You hip to David S. Ware? THIS MAN....Was unified by spontaneous invention that are staggering in their complexity and intuitive concordance, skill, hard work,transcendental spirituality and conviction,he was an inspirational and improvisational tour de force of improvisation and mastery in the art form.One of the biggest tenor saxophone sounds in jazz- and a artist that also played stritch, saxello, flute and bass clarinet.David was a strong presence for jazz,humanity and enlightenment. They are assets to this music, life and the legacy of all things in saxophone and music.~ ~ TIM PRICE

OH YES- Check out the Coltrane picture above- with the 2 young guys- they are the Grubbs brothers I rave about so much. Carl is a long time Philly friend-

The picture right above this, was from a early morning radio show within the Cape May Jazz Festival 2008. One of the many aspects of those Cape May Jazz festival were the jam sessions ; the hangs & camaraderie. This picture is a result...of that era. The man I'm with is Philadelphia jazz icon saxophonist Carl Grubbs. Playing the jams with Carl & guys like that were just beautiful.Carl is not only a great friend, who inspires, and has a spirit that speaks to you. Some of you will recall alto saxophonist Carl Grubbs from early '70s ensemble he shared with his late tenor playing brother Earl: "The Visitors" out of Philly.We shared many a bandstand and he is someone I'm proud to call friend. Listen for him please!

Go within. Hear the story of sunrise from the Sun itself. if there were no sunrise within I would have set long ago. ~ Rumi

Tuesday, April 11, 2017

Tim Price Bloggin' For D'Addario Woodwinds- Ideas, thoughts and music to study & practice.

Tim Price Bloggin' For D'Addario Woodwinds- Ideas, thoughts and music to study & practice.

Check it out and enjoy.... also- for some more ideas....check through these ; want some ideas on ii-v's...look here; ' If your looking for a nice warm up / sax sound study-look here; for info on tune study; look here; reed info, look here; sax players food for thought:look here;

. This will develop a focus on what you are trying to accomplish. No matter what level your at as a musician. Monday: Just play, all day. Letting go, feeling your way up and down the sax, checking out the sound. Have fun and listen to your strong points. This usually starts out being abstract and works its way into more melodic playing. Doing this all day gives us plenty of time to really get the idea of the exercise. Write down notes to yourself on what you want to work on that week; then during the week approach your ideas one by one. Tuesday: Melodic playing. Today start to put two or more notes together that sound 'pretty'. Take a look at your REAL BOOK/ or any book of songs, and notice how some of the great tunes are made up of simple intervals. Some of them are short scale passages. This gives us a clue that it does not take much to write or play a good melody. Write at least one idea down a day, and it will help you to think melodically and will add more substance to any style.No matter what level your at. Wednesday: Quality over quality. What do you feel you need to make stronger? Take today and study it. Make friends with the area of your playing that needs more focus. As your thirst to improve grows add this Wednesday topic to your other days. Practice scales, licks, study other players styles on CD's. Thursday: New melodies and new chords. This day we take some of the melodies created on Tuesday and put them together.

 Don't judge your new pieces but keep trying until you find something you like. Remember you have all day to come up with something that makes you feel good. If you write two bars you are a big winner. Also, try to take the new chords and use them in some of the tunes you know. Or make up your own progressions with them. You are being creative this day. Be yourself, not someone you read about. Friday: Listen to music all day long, new and old CD's. Get inspired and make notes of the players' style, how they phrase, keep time, how they let space and silence become part of their solos. Can you remember a few ideas that you can play? Be eclectic! Listen to rock, jazz, classical, world music or spoken word. Be inspired this day. It's your day! Saturday: What caught your musical ear? Was there something this week that made you think differently? This is the day to investigate further and go deeper into that . Try to understand what moves you. If it caught your fancy, stick with it until it reveals itself to you. This day may change your life! Document this feeling you have. It is important for your future. Sunday: Review in your mind,think about the week of practice. Review things slowly- listen for improvements. Remember, intuition is your very best friend. Listen to it and be ready to act on it. If it sounds good, remember how you worked and focused on it to get it to that point. Arrange your seven days your own way. Add subjects that you love. Add new directions from time to time. Go slowly, enjoy the journey and grow within your own ideas. It helps to have a plan for the week, keep it loose like this so it can grow-for you. It will take a certain amount of pressure off and allows you to relax as you practice. Focus today so tomorrow your closer to your goals.


The music I'm checking out is Birth of the bebop Bird on Tenor 1943, I finally found a vinyl copy on Stash records- So far I have yet to see one on CD. But to hear Bird on just got to hear it. It's a lesson. Also- Bird in Time 1940-1947 [Box set] on ESP recordings. 

Bird in 1940 through 1945 was something unique- so much there to enjoy and learn from.The music on here is the pinnacle of of the absolute best.Find it and listen to it. You'll love it!

Do not waste your precious life in plastic hopes, be conscious of yourself, it is the most beautiful gift. Don’t be persuaded by people who simply want to exploit your vulnerabilities. Be strong, and learn to accept the way you are. You are already so beautiful. Only once you start loving yourself, you will be loved by everybody.

MOST OF ALL...enjoy being YOU.

Thanks- Tim Price 

Tuesday, April 4, 2017

Tim Price Bloggin' for D'Addario Woodwinds- " WATCH IT SUCKER"....

   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. I’m grateful for that.
 ... 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 today's 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. 

Watch it sucker, if your thinking differently. ha!! With all due to everyone at - SANFORD AND SON.

Think about it, true improvising has a completely different dimension to it. That element is “spontaneity”. This means that you are forced to create music right on the spot, without having any time to prepare anything in advance. Obviously, this kind of playing is challenging, both from the mental and physical standpoint. It is more challenging from the mental standpoint because you are forced to come up with cohesive musical ideas right as you are playing, without having any time to analyze which phrases will flow well together.

  I am often asked about scales used to solo over chord progressions in order to sound more creative and more original. My response is usually to shift focus more on developing your phrasing rather than simply learning new scales. Learning new scales only will produce limited results because THE WAY you play has not really changed. Improving your phrasing deals more with the actual element of HOW to play the notes rather than "what" notes to play. When it comes to phrasing, remember that it is all about the little nuances that can make ALL the difference. You can take 10 great sax improvisers and give them the same lick and chances are they will each make it sound a bit different using the nuances of phrasing when they play it. Learning new scales can make some difference of course, but when it comes to making your style more original and creative, improving your phrasing will make a much greater difference than simply learning 10 new scales. There are many approaches you can take to practicing phrasing. You can begin by developing all the different nuances and using different combinations of them when you play your phrases.

 Can you play these at 90 to 120 on your metronome?
 GET IN THERE AND REVIEW- get off Ebay buying mouthpieces-

All major scales
All minor scales (natural, harmonic, ascending melodic)
All (2) whole-tone scales
Pentatonic scales
Blues scales
All diminished scales
Chromatic scales
Bebop scales (ionian add #5; mixolydian add Maj.7; melodic minor add #5; mixolydian b2 b6 add Maj.7; dorian add Maj.7; locrian add Maj.7)
All of the above scales in 15 keys (7 sharp keys, 7 flat keys and the key of C)

SO- That's it for now- keep the music going and thank you for reading this blog. If you see a book or CD I have pictured in these blogs- GO READ OR LISTEN TO THEM! 

....Tim Price