Tuesday, October 18, 2016
~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.
Tuesday, October 11, 2016
The ability to create space with others in this way has deepened and aware within my own self , I’m naturally able to be more present with others without loosing that inner connection to myself. Being present to someone in this way may not always seem ‘easy’. If you let yourself, you can easily become distracted by your thinking: including devising what you’ll say next; mulling over your judgements about the other person (or worrying about what they think of you); feeling a need to interrupt their speaking with your own opinion; or thinking about something else entirely. It's something to think about as a performer and artist as well as a student.
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." Don't forget the words of Lao-Tze: "A journey of a thousand miles begins with a single step." Put Lao and Phil's words together in your mind...you can't loose! Till next week.. keep on the path- Tim
Tuesday, September 27, 2016
Wilbur C. Sweatman (1882-1961) is one of the most important, yet unheralded musicians involved in the transition of ragtime into jazz in the early twentieth century. In That's Got 'Em!, Mark Berresford tracks this energetic pioneer over a seven-decade career. His talent transformed every genre of advent of rock and roll- circus sideshows, vaudeville night clubs, and cabarets. Sweatman was the first musician to be offered a long-term recording contract, and he dazzled listeners with jazz clarinet solos before the Original Dixieland Jazz Band's so-called "first jazz records." Sweatman toured the vaudeville circuit for over twenty years and presented. His bands were a fertile breeding ground of young jazz talent, featuring such future stars as Duke Ellington, Coleman Hawkins, and Jimmie Lunceford. Sweatman subsequently played pioneering roles in radio and recording production. His high profile and sterling reputation in both the black and white entertainment communities made him a natural choice for administering the estate of Scott Joplin and other notable performers and composers. That's Got 'Em! is the first full-length biography of this pivotal figure , providing a compelling account of his life and times. hIs playing was one of a kind world class, and still to this day fresh.
YOU NEED THIS BOOK!
More important than anything, this is the place where the rubber hit the road.
That's Got 'Em!: The Life and Music of Wilbur C. Sweatman....t
Thursday, September 15, 2016
As I've said before one of the fascinations, and inspirations I've always had has been John Coltrane work ethic. He played who he was-he never tried to be someone else. The work ethic he had and the commitment to knowledge took him to a level unto itself. You might research his solos on standard tunes, Then research how his blues playing expanded over the course of his career. Like any artist the blues is the real thumbprint of an improviser. Coltrane also had a lot of work he did many times he went to multi instrumentalist Yusef Lateef to gain insights into scale usages and also scales like expanded Phrygian expanded Dorian and also Greek and Persian scales. At some point of course these are modes. Please check my enclosed handwritten PDF here with a Persian scale and expanded Phrygian scale.The scales and chordal matrix I added for the harmonic usage of these scales- check it out. This is some serious business-in my opinion of course what equipment Coltrane used is interesting to a degree, too many times people are spending far too much energy worrying about that which is of course personal-and they are not hitting the work ethic which is what made this man such a brilliant player. Even back to the early days you could hear all his bebop language-approach notes-scale displacements. Far more important than trying to find a five digit serial number on our favorite French saxophones
Many times since the 70s I took apart Trane solos and searched for parts in the Slominsky book- if you look in the Slominsky book at pattern 30… You can hear portions of that symmetric progression in Tranes solo on " nature boy". The same can be said if you look at the implied dominant seventh cycle in the "Thesaurus the scales and melodic patterns" -pattern number 372 you could hear the complete cycle and dominant seventh chords. This type of shape showed up in Tranes solo on Brasilia! As train plane and got deeper into something that he was hearing there's a pattern Number 182 that is an obvious not on the Trane composition-"One down one up".
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
The "Coltrane at 90" event info that I'm playing in Philadelphia, Pa is listed below; please read, there are details- if you plan on attending. The 2 events I'm playing are listed as well; Thanks so much! Grateful to be chosen for this.
Saturday, September 17th, 2016
Jazz Walk – Giant Steps
Jazz Walk – Giant Steps
East Park Reservoir/Fairmount Park
33rd and Diamond Streets, Phila., PA 19121
12:00pm - Tim Price Trio with; bass- Mike Boone, Rob Martino- drums
12:00pm - Tim Price Trio with; bass- Mike Boone, Rob Martino- drums
4:00pm - Tenor Madness Ensemble / featuring Sam Reed, Larry McKenna,Tim Price and others.
Monday, September 5, 2016
This is one of the most simplistic things to learn but something that you have to really concentrate on to get internalized so you can apply it. Each of your solos in the matter what the idiom… Should have a beginning… A middle and an end.
That's one of the age-old aspects of why something sounds good and has a focus personally. How somebody constructs that is as important as what notes they play and any other aspect that they apply.
Very simply-if your solo does not have a shape that includes a beginning middle and end-you're missing a very important part of your message.
If you take yourself and record 12 bars or eight bars and listen to it and listen to that shape you'll hear it right away. You can also use a solo transcription and graph it, if you do a solo by somebody like Cannonball Adderley or Louis Armstrong you'll see what I'm getting at immediately just take your pencil and graph out to solo.
You can hear this type of sound in anything from Louis Armstrong solos, Steve Douglas solos on early rock records, Steve Lacy solos and of course Monk solos. Of course Lester Young and Bird!
The point of his blog today is very simple use your ears, listen to what's going on around you give yourself some where to start when you start improvising. Remember-the beginning-a middle-and an end.
Hope this helps.
~ Tim Price
Wednesday, August 24, 2016
The experience of creating space – within your body, your life, and with others – is incredibly liberating. I know that the more space I give myself, the more grounded I feel within who I am. And the more space I create the deeper connection I experience in my music and life. This isn’t really about physical ‘space’, but about creating space in the way you communicate and interact with others. This means not letting thoughts interrupt the connection that’s being created between you and the other person. It’s a feeling of spaciousness that exists within your body and inner self. It’s an experience of being clear, present and grounded in who you truly are – and using that connection as the foundation for relating to others from a more authentic and meaningful place.
The ability to create space with others in this way has deepened as I’ve learned to be more present and aware within my own body and self. As I take time to connect with the whole of who I am on a daily basis, my mind has becomes quieter and I feel more in tune with my authentic self. From this space, I’m naturally able to be more present with others without loosing that inner connection to myself. Being present to someone in this way may not always seem ‘easy’. If you let yourself, you can easily become distracted by your thinking: including devising what you’ll say next; mulling over your judgements about the other person (or worrying about what they think of you); feeling a need to interrupt their speaking with your own opinion; or thinking about something else entirely. I’ve fallen into this trap too, many times. Connecting with others authentically takes a conscious commitment in the moment. In my own experience, when I make that commitment, I find I’m rewarded many times over. Rewarded – not because I’ve been able to ‘contribute’ through my words – but because the experience of being truly present provides a much deeper, fulfilling sense of connection between everything. Beyond music, life and anything. Internal joy. IF....YOU DESIRE...A feeling of spaciousness that exists within your body and inner self. It’s an experience of being clear, present and grounded in who you truly are – and using that connection as the foundation for relating to others from a more authentic and meaningful place.
Then give yourself the respect and open up.You might find that a dead end has become a doorway. - - - Till next week- take some walks, turn off the Iphone and Facebook and live- Enjoy- Tim Price