Wednesday, May 20, 2015

Tim Price Bloggin' For D'Addario Woodwinds- Frank Catalano- Jimmy Chamberlin - ’God’s Gonna Cut You Down’ :; A must to hear!

The newest featuring Frank Catalano and Jimmy Chamberlin, ’God’s Gonna Cut You Down’ released on April 7, 2015 on Ropeadope Records. A MUST TO HEAR. You need this!!!!! THIS RECORDING IS TOTALLY AMAZING....Frank Catalano is playing very open original ideas that are his own. That's one of the many things I always loved about his playing.This cd release is a showcase for the diversity of this great group of current jazz's most complimentary soloists. Frank's robust tone on the title track is countered by his sensitive interpretations of fresh lines played from the heart. Always a propulsive soloist,he explores his instrument's range fully developing consistently interesting solos. The musicians are completely comfortable with the material, and each performance is definitive, easily rewarding repeated listening. The music benefits from superior recording quality as well. For those who need it-It not only is a perfect introduction to Frank and Jimmy, but will reward and delight long time fans of these great musicians and their music. Highly recommend! What a great band as well; Frank Catalano - Tenor Sax- Jimmy Chamberlin - Drums- Demos Petropoulos - Hammond B3 Organ- Scott Hesse - Guitar- Eddie Roberts - Guitar (Track 1, 6)- Mike Dillon - Vibes (Track 5, 6) If you love Jazz or just love great musical compositions, this new CD by Frank and Jimmy Chamberlin will become an instant favorite.Beautiful playing all the way around. I'm very impressed by Jimmy's playing and how he plays and the depth of his artistry. This is a deep player- and sounds personal too.The other great thing about this CD is that it is a great value. Here is a whole lot of music and not a single cut will you want to skip over. Pop this in your player and be pleased. - Tim Price Bloggin' For D'Addario ;;;;

Wednesday, May 13, 2015

Tim Price Bloggin' For D'Addario Woodwinds- Ethics.

Overall this business functions through lies, power, cheat, ego-self-orientated, non-talented people (but also talented people, the one I call Artists). Many people will give and do everything to succeed in their field. That is to say, for music producers, music directors, promotion or marketing managers, music journalist, music agent, etc., it is a real challenge to work in this domain. What’s more, concurrence between one another is enormous and that is the reason why many people are mistreated, disrespectful, and sometimes inhuman. Why people have this behavior? What encourage them to do so? What are their limits? Do they care? Maybe more time shedding their art form might be in order, just saying. Working in the music industry is a way to put oneself forward. It is a question of pride and self-esteem. One wants to show that he or she is important and has values and beliefs that have to be seen. One needs recognition so he or she can succeed in what he or she is doing. On top of that, what motivate is.. MONEY! $$$$$$$$$ From what I have experienced and heard,people quickly realize that being ethically honest, respectful and professional is the key to success in the long-term. That is why one has to build up a strong reputation in order to achieve a successful career. One builds trust on someone on the way he or she behaves on a daily basis. And that is the thing to bear in mind. There are a huge number of characters in the music industry, some are ethically correct and even push you forward but some do the opposite by being self-fish, disrespectful and will do everything to kick you out. If you show a positive behavior and treat people fairly that is definitely the right path to success. Think about it- - See you next week- Tim Price

Tuesday, April 28, 2015

~ Tim Price Bloggin' For D'Addario Woodwinds- Les Tomkins interviews Tubby Hayes & Sal Nistico

LISTEN...TO THIS INTERVIEW OF TUBBY AND SAL ; Les Tomkins interviews Tubby Hayes & Sal Nistico ..Click here- THESE TWO TENOR PLAYERS.....Are two of the most important players ever!! A heads up to the young students out there- these are guys you should be closely listening to. Know your history! Must have- double CD featuring the British tenor giant Tubby Hayes, caught here in scintillating form live at the Ronnie Scott Club, London 1964. Sitting in with the maestro were visiting Americans Cat Anderson (in town with the Duke Ellington Orchestra) and tenor man Sal Nistico of the Woody Herman band together with the then rising young bass star Albert Stinson. Also on hand were the Swede Rolf Ericson (also with the Duke) and ace Scottish trumpeter Jimmy Deuchar - leader of the Quintet on Disc Two and a regular soul mate of Tubby's over the years. The double set is topped off with an interview of Tubby and Sal Nistico conducted by producer Les Tomkins. This is an excellent 2 disc set comprised of various live club dates from 1964 featuring Hayes. Tubby's playing is excellent throughout - However the highlight of this two disc set is the recording of "Stella By Starlight". Taken at a slightly up midtempo This is perhaps a rare glimpse into a phenomenal Jazz musician digging deep down and really stretching out. The pianist sits out during Tubby's solo and Hayes just practically burns the club down. Very interesting to hear him fill the spaces with just bass and drums. This is a solo where Hayes is totally exploring and pushing the boundries - particularly rhythmically - sounding at times a bit like Rollins - in his pianoless trio formats. Hayes had such tremendous drive - and played with near locomotive force - this is just astounding work. There is alot of other marvelous music in this two disc set but "Stella" alone is worth the price of admission. TODAY...this blog is about two giants I love...and you should too- any saxophonist worth their salt should be very aware of these guys.Sal was a teacher of mine and a very good friend and life long inspiration. To hear his voice here with Tubby is beyond words. ENJOY - - Tim Price....

Saturday, April 25, 2015

Tim Price Bloggin' For D'Addario Woodwinds- Reflections on the artistic process & more.

I practice everyday, and I practice for at least 2 hours before I do anything. I don't do it because I think that Mike Stern or Sting is going to call. < I wish they would > I do it because it's the one thing in life that has been a constant for me. So few things in life ever remain the same, if any. But the saxophone < and my woodwinds > is the same every day.To me, it's the best ever deal you can make in life. If you work hard and practice at your saxophone , you get better. It's that simple! Think about it. Still grateful to be playing and learning. Looking forward to each gig and rehearsal and student, trying to stay in that vibe. And learn what I can from it. All human beings are linked together through the timeless, universal chain of history and events.The musician links to the practice room and the bandstand. Various life developments have been born in both environs. ~ The first stage involves absorption of principles and techniques that have already been accepted as standard in the field , the artist personalizes past and contemporary styles, meaning active participation in real world. This is why, I've always felt the need to play with all kinds of musicians, any age and of course working heavily with students to develop their "real world" skills. So- till next week - practice hard and eat more vegetables and fruit. Don't forget to do something nice for somebody too, remember compassion is essential with each other. I’m grateful for the music that was inspired by and created in the 60’s: Miles Davis, John Coltrane and all the great Bluenote recordings (Freddie Hubbard, Herbie Hancock, Hank Mobley)There was a profound sense of exploration and subtlety in all this music.I’m grateful to have had the opportunity to hear Ed Beach in New York, a radio station that was jazz music. I’m grateful to have grown up in an era when a middle class family could go on nice vacations, own a house, send their kid to college < Berklee >without going into serious debt. This was also an era when you could be a “starving artist” in New York City, and not actually starve.I came though it and learned something from it. ...AS USUAL...Here's some things to practice and shed- hope they help. See you all next week- thank you. Grateful for your attention and reading this- TIM PRICE...For D'Addario Woodwinds Blog ; ;

Monday, March 30, 2015

Tim Price Bloggin' For D'Addario Woodwinds- "Criss Cross Live At The Red Sea "....Marty Krystall.

.....Man, I don't know where to start. "Criss Cross Live At The Red Sea " is a masterpiece. Marty has done it again, one of those CD's I will treasure forever and listen to over and over again. Why? There are few times in the history of mankind that we can sit back and allow ourselves to be manipulated in notes and tones by a pure mad man, brilliant tenor saxophonist, woodwind player and jazz legend Marty Krystall. Marty's playing allows the mind to travel to the brink of truth and reality and come back unharmed and ... enlightened.If Monk was still on this Earth, Marty Krystall would be his tenor player- This is the most creative jazz saxophone playing you'll hear today.The greatest sound, ideas and real jazz feel. It's inspiring to hear Marty just do what is supposed to be done, Thank God for this band ... they make the jazz world a better place. You can hear the reality in how they play and also the way they approach this music head on. The music is clear and concrete,the tunes are amazing. Listen to this CD by MARTY KRYSTALL,BUELL NEIDLINGER,HUGH SCHICK,BILL CUNLIFFE AND BILLY OSBORNE... it is a joy. There's no reason not to own this CD...this is what jazz is and should be. .........Tim Price / Blogging for D'Addario Woodwinds.

Friday, March 13, 2015

Tim Price Bloggin' For D'Addario Woodwinds- REACH OUT !

My philosophy on any students musical growth is that they should learn how to think, listen and talk about music. If you think about music, then it follows that you can easily talk about it. Listening is the most important part ! Without ears, music would not exist. If I had to pick the most valuable musical tool for musical growth, it would be personal taste. That seperates a Stan Getz from Sonny Rollins. If you think about it, we all possess it. Years ago, I asked Charlie Mariano if a particular note "worked" on a modal tune we were working on; his response was, "only if you like it". Personal taste for sure.Personal musical taste expands infinitely. This allows for musical evolution. ~ I believe in positive thinking and growing in music is a life long process that shouldn't stop and each stage has its own validity. Teaching is a necessary undertaking on my part to preserve creative music as an art form as well as my own development as a musician. I consider myself privileged to be a musician and my strong desire to teach a gift. My strongest hope is for musical evolution for the students,and music. That means new teaching concepts involving interactive playing, getting students to rely on intuition while creating.Be it a Rubank book with a young student or opening the creative doors with a bassoon student or working on jazz ideas or rock styles. Growing in music is a life long process that shouldn't stop and each stage has its own validity.You need to listen and learn. Then experiment, listen, and learn some more. With personal taste paving the way. Of course, music is the real teacher... if you listen! This works with a 5th grader through an adult. Remember,music is a life long process that shouldn't stop and each stage has its own validity ! IT'S EASY, Strength in numbers for music and band.Not only is there concert band, wind quintets, jazz band, marching band, music appreciation but also the rebound of these subjects. Listen here- if we don't say something people assume it's cool to keep cutting the creative arts in education out. LET THEM KNOW, NOW, IT'S NOT! Studying music enhances children's ability to perform better at other subjects, improves coordination and boosts self-esteem. They learn to harmonize with others not just on a musical level. Music was part of mainstream education throughout most of history. Through junior high upwards music is just as or even more important in the people's continuing education. Music is_THE_ universal language. By doing this students can pursue passions and learn how to share their thoughts with others directly in a healthy and peaceful way. Through my private teaching, I see many students fall in love with the many forms of music. It starts with just learning the basics. Certain students started on flute or clarinet and went on to become orchestral bassoonists or jazz saxophonists,recording engineers and also music publishers. It's a great feeling. Music, it’s a magical art form that’s universally and timelessly loved. And because of this overwhelming love of music, it has become an integral part of everyday life. Cutting that from education is WRONG! THINK ABOUT IT- one cannot visit a grocery store, an elevator, watch a TV show, movie, or a wide variety of others venues without hearing a familiar song. And, I’m certain that if asked right now, most people can name off the top of their heads, a significant list of favorite tunes.Without early exposure to music in the schools, we will also lose aspects like this for future generations. I've seen a quality education for students actively engaged in learning, strong relationships between teachers and students,hundreds of high-quality teachers with high expectations for all students, effective and strategic use of technology in the classroom, instruction for both remediation and for gifted students.It's inspiring and an asset to the young minds and ears that are in the classrooms. Not to forget a ripple effect that will affect school instrument programs, rentals,music publishers, instrument sales, music shops, music studios and more! Stopping music programs will basically stomp on things like this and destroy years of hard work. Ripple effect indeed! You got to speak up-and speak up loud and strong now. MUSIC COUNTS! At this point in time in jazz, everything seems to be published and everything seems to almost be written down. We are in a great educational state. But where are the people who are really reaching within and trusting themselves to their own creative muse? This is the element that I am addressing here. As a student of music, take some time to think about using your intuition. As Bird said, "First you master the music, then you master your horn, then you forget all that shit and just play!" We need to keep that in the front part of our minds and make that a slogan similar to the many people who look to their "third eye." As you see, I'm trying to point out a parallel in creative paths. It's not easy. But it is easy when you bring it into your own consciousness and try to practice these aspects. Sure, licks, lines, inversions, and all that good stuff is of paramount importance. But let us not forget to keep the magic in the music. Give all that you have and you shall receive more than you can imagine experiencing when playing jazz! Thanks and lets hope that music will survive in these school programs. Till next week, work hard and practice harder- Tim Price

Friday, February 27, 2015

:: Tim Price Bloggin' For D'Addario Woodwinds - STEVE MARCUS....Innovator, Saxophone legend.

In thinking about Steve Marcus'and the effects that he had on this music. I wonder how many people would think of him as a component in early Mike Mantler "Escalator Over The Hill" projects with Carla Bley. Or in 1965 or 66 playing hair raising Coltrane-esque tenor with Stan Kenton's more progressive bands with Dee Barton on drums. That band should be talked about in the same breath as Maria Schneider's and Gil Evans from a stepping over the dotted line standpoint. Marcus was also one of the first guys playing Soprano in some of those situations...and with his own concept and sound. I remember once with Coryell Marcus played so incredibly on Larry's music and I couldn't for the life of me why he never got the proper kudos from the jazz press. In a way, he should have been bigger than anyone considering he was one of the originators and propagators of that genre. Marcus was smart, he made a living as a musician, he made people around him feel like playing. Some of the best times I saw Buddy Rich in later years was when Steve Marcus started to play and turned the heat up so high, that you could see Buddy smiling and digging that they were going to be getting into something. Though Miles Davis introduced a fine-tuned version of fusion to the world with Bitches Brew, he was by no means its primary architect. The concept of a union between jazz and rock music had been knocked around for several years prior to Brew's release by such jazz musicians as Gary Burton, Larry Coryell, Steve Marcus, Jerry Hahn, Charles Lloyd, as well as Soft Machine. Sadly, many of their recordings have become lost with both the passage of time ; only recently has this fervor calmed enough for the music of this era to be properly reevaluated. The Water label is helping out immensely in this regard by reissuing such albums as Tomorrow Never Knows and others originally released by the Vortex label. Herbie Mann, one of the oft-overlooked godfathers of this scene, founded the label; in addition to employing scenesters Miroslav Vitous and Sonny Sharrock in his own group, Mann used his stature with Atlantic to form this subsidiary label (as well as its successor Embryo). Another guy who INVESTED in the people he believed in. These Vortex records were right on target with the " JAM BAND " train of thought playing that was also happening today- yet it was decades before. He founded a way of playing that was going on in the mid 60s. I saw him on TV with Stan Kenton in the 60s and he absolutely killed it. Later at Berklee I heard "jazz in the classroom " records he was on & realized he played this way from the jump. His message was there. NOT, ,just notes but a passion and a true message in every solo. As the old cats would say - HE WAS REACHING FOR SOMETHING. "The Beatles made kids of us all," Steve Marcus, told the writer Stuart Nicholson five years ago. "I had spent much of my previous years completely enveloped in Coltrane and Bartok and really heavy, profound music - and then when the Beatles came along I just felt like a kid again." Marcus was a powerful saxophonist. He was also in at the beginning of jazz-rock fusion - involved in pioneering groups attempting to marry the melodic sophistication and spontaneity of jazz with rock and funk dance rhythms. Marcus, visionary and innovative drummer Bob Moses, guitarist Larry Coryell and New Zealand-born pianist Mike Nock were young jazz-obsessed neighbors in New York in 1967, gripped by the idea of joining the Beatles and the Byrds' infectious song-hooks to the transcendental energy and virtuosity of Coltrane, their hero and spiritual model. Marcus was to go on to play much more orthodox jazz - notably in Woody Herman's swing orchestra and with star big-band drummer Buddy Rich - but he was a key participant in early fusion, leading one of the first groups to play it when he ran the Count's Rock Band on and off for three years from 1967. Marcus was born in New York's Bronx. He began on clarinet but switched to saxophone at the age of 15. Joe Viola the reed teacher at Berklee then, asked me what I was listening to. I told him these Steve Marcus records were things I was finding, and I never heard anything like it. At that point he told me about Steve being around Boston. So, Joe Viola joined Jane and I a few times at the Jazz Workshop, on Boylston St, to hear Steve. It was then I realized what an open mind Joe Viola had, yet I think that was something that was essential to all of us who came in Joes studio. Imagine though when Marcus saw Joe, and sat and talked about things with Joe, and told him about the new Beatles record " Abbey Road " and also loving the Coltrane release " Sun Ship". A conversation I'll never forget, nor will I forget the after the gig coffee/ muffin talk with Joe Viola about the gig we heard and the great stuff he heard Coryell play. Not only was Steve a great exciting player, but he had what all great jazz musicians should have...HE KNEW HOW TO PLAY A BALLAD. In the world of jazz...there's a lot of great guys out there today playing the instrument...but the muscularity and creative spark of a Steve Marcus will be missed. This guy never headlined any major jazz festivals, BUT - what he did was something even greater than that...he played everyday with a leader that would never accept anything less than bloodcurdling solos. He also traveled with Coryell city to city in vans and station wagons playing the clubs that are only talked about anymore, that hired jazz six nights a week. I can confess for one seeing him night to night that this guy never missed. In Boston- at the old " Jazz Workshop" club on Boylston St, my girlfriend Jane and I would go to catch Coryell every night. The cover charge was really pretty low for the early 70's, and every night Marcus tore the club up!!! Talk about burning. Damn was he on fore. What I saw was a guy who HAD TO PLAY. He had no other choice in life, that was his destiny. and that my friends is something that no critic or jazz magazine has any control over. That's why since hearing Steve Marcus when I was a kid in the 60's , I followed every note and every step of his career I could. This man had a destiny...and it was adding something to the music and the saxophone. and he sure did and we are all lucky for it. The other thing that I thought of immediately was I used to go every night when he played Coryell at the Jazz Workshop in Boston. One night on a Saturday I came in with my horn, cause I had an early strip lounge gig , I had no intention of asking to sit in or even getting close to the bandstand with my horn. I had talked to Steve a lot that week as well as Larry. Steve saw I was carrying my horn and said "Just come up and play something" realizing that even though I was way out of my league - the learning experience would carry me for the rest of my life. THIS WAS 1970 ! I WAS 18. I learned something that day from Steve Marcus, I also learned that every time you play, the next day is even better and there is even more to learn. But if you don't take the chance you'll never realize some of the things you're trying to accomplish, or need to. I'll never forget him for showing me that valuable lesson. He lived not far from me, in New Hope, PA which was at one point in the 60's a musicians community. He was a road rat who was never home - an unbelievable player who I doubt anybody will ever forget. I sure won't. KNOW YOUR HISTORY!!!!!!! STEVE MARCUS WAS A MAJOR INNOVATIVE PLAYER. Listen to him on you tube and learn! Till ext week....keep on - - TIM PRICE