Thursday, October 30, 2014

Tim Price Bloggin' For D'Addario Woodwinds- Self-discipline is like a muscle

Imagine what you could accomplish if you could simply get yourself to follow through on your best intentions no matter what.The pinnacle of self-discipline is when you reach the point that when you make a conscious decision, it’s virtually guaranteed you’ll follow through on it.Be it practicing your instrument, sticking with a mouthpiece and putting the time in to learn to play it or just daily goals and jobs. Your discipline is one of many personal development tools available to you. Of course it is not a panacea. Nevertheless, the problems which self-discipline can solve are important, and while there are other ways to solve these problems, self-discipline absolutely shreds them. Self-discipline can empower you- imagine the results, if you say to yourself ... I want to learn all my scales in every key at 120 on my metronome. Not have to...but want. That can be done sooner than you think with discipline. So can application to study-reading a new book to open new ideas on things. It can wipe out procrastination, disorder, and ignorance. Within the domain of problems it can solve, self-discipline is simply unmatched. Moreover, it becomes a powerful teammate when combined with other tools like passion, goal-setting, and planning. Self-discipline is like a muscle. The more you train it, the stronger you become. The less you train it, the weaker you become. Think of the results- just for you.Confidence before an audition! Confidence when picking up your horn to play in a new setting- your primed and ready. Relaxed and confident! We all possess different levels of self-discipline. Everyone has some — if you can hold your breath a few seconds, you have some self-discipline. But not everyone has developed their discipline to the same degree. Check it out- it takes self-discipline to build self-discipline. Similarly, the basic method to build self-discipline is to tackle challenges that you can successfully accomplish but which are near your limit. This doesn’t mean trying something and failing at it every day, you must start with challenges that are within your current ability. Old opportunities will dry up. New opportunities will begin to appear.Your mind set does change- and so does your ability on whatever you are working on with discipline. Invitations that once attracted you will seem boring, while others will become interesting to you.People will change how they relate to you. Some will become more distant while others will zoom closer.Gigs will appear, you'll enjoy things more. Things you used to merely dream about will begin to seem possible for you. Celebrate your success! ~ Till next week...practice your long tones everyday- Tim Price

Wednesday, October 29, 2014

Tim Price Bloggin' For D'Addario Woodwinds - Advanced Pentatonic Lessons w/ Tim Price

Advanced Pentatonic Lessons < on Skype w/ Tim Price > These Advanced Pentatonic Lessons highlights a positive and fun way out of the cliche dilemma. Relevant to many chord types and rhythm ideas as well. Knowledge/methodology/approach. These deal with theoretical as well as " hands on" work. First, A seemingly crystal-clear concept is introduced. Second, illustrative findings using many chord types are given. Findings – the vital importance of the “ cliche dilemma " may trigger further research on your own- in short you'll have lots to practice. For a long time. EG- C, Eb , E, F#, G#, C - Works on- C7 alt, Bbminor7 b5 Or- C, Db, Eb, Fb, Gb, C - Works on C7, Eb7 and A7 And- C, D, G, A, b , C Works on D7 sus 4, D minor 7. These are just a few of the hundreds...tim price PHOTO BY LARRY KOCH- Reading, Pa.

Tuesday, October 14, 2014

Tim Price Bloggin' For D'Addario Woodwinds- STUFF TO SHED....

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; A nice jazz line using II-V. And a I-VI-II-V...of course If you check my web page- you'll find some intervallic studys on II- V. For those interested in some Bird & bop to shed...check out; Enjoy~ TIM PRICE

Thursday, October 9, 2014

Tim Price Bloggin' For D'Addario Woodwinds- Bert Wilson insights

BERT WILSON INSIGHTS... Tim: Bert, you knew Sonny Stitt; reflect on his tenor style. Bert: You have to study and compare how he played tenor saxophone and how he played alto saxophone. He played alto sorta like a Bird style; but not totally Bird. On tenor he blended Lester Young’s influence with Charlie Parker’s. Then he did it and his approach influenced every tenor saxist for a long time including John Coltrane! Stitt’s style taught me to blend influences, in listening to more than just one artist. I could blend all of the influences into my playing and become Bert Wilson. When you hear Sonny Stitt on tenor he does not sound like Lester Young; nor does he sound like Bird on tenor, ’cause when you listen to Bird when he played tenor, the closest person to that would be Sonny Rollins-tonally and especially rhythmically. Stitt’s style taught me how to take the approach of learning from all of the great artists in the music and blend their influences into my personal playing. All the young saxists should listen to Sonny Stitt; it will really help your style. Tim: As a force in modern day sax, what drew you to Colman Hawkins? Bert: Everybody says Hawk was the daddy of the tenor sax. And as much credit as they give him, I feel they don’t give him enough. Hawkins invented jazz tenor saxophone. It was through Hawkins’ studies playing cello and piano as a child, and working out his own approach to the horn. Hawk said there were others that were earlier than him who played the saxophone, but they all played the instrument like it was a clarinet! And Hawks figured out how to play it like a sax; he gave it its own voice and its own style. We all wouldn’t be around if it weren’t for Colman Hawkins. If not for Hawkins we might all sound like Bud Freeman. What drew me to Hawkins was his terrific beat! The way his sound leaped off the record into your ears. As soon as Hawkins blew, the music became supercharged with energy, reached a new level of creativity, and a total feeling of command. It just grabbed me! His harmonic feel was just so advanced, and all over the horn. It was totally and wonderfully Colman Hawkins; it was something special. Throughout his life, Hawkins would pick out the parts he liked and add them to his style, sound more like Colman Hawkins than ever, and drop the rest. What a great genius! Every note, every solo is something special. It tingles my ears and wakes me up. One more thing needs to be said about Coleman Hawkins is that everybody talks about Colman Hawkins and not enough people listen to him, and they should. There’s a universe of music to listen to in his music. Tim: When did you first hear Stan Getz? Bert: Around when I was 11 or 12; in about 1951 or ’52 I heard the Royal Roost records. The disc jockey in Chicago played Johnny Smith’s “Moonlight in Vermont” every night. I had no doubt in my mind it was Stan Getz. I had listened to Lester, and you could hear Lester in Stan Getz, but even the young Getz was himself. Stan’s sound and special placement of tone in the horn were so beautiful; he was very special. The “West Coast Jazz”, and “Diz and Getz” records are just dynamite. Everyone should hear those, especially that one called “For Musicians Only”. A total class of music by itself. How many hundreds of us would like to sound like Stan Getz. Oh boy, I wish I could. Coltrane even loved Getz. Because Getz played so smooth, so pretty, his playing was accessible and commercial to the extent that he could play any style. Here’s a good example of Charlie Parker’s influence on the tenor sax. Getz’s drops and the way he ran through changes are you can tell the difference between Stan and Lester. Lester often chose common tones and held across the bar and across the chord and hold one note there. Getz could do that, but run the chords in a way that was both vertical and horizontal. He would make a line that involved the melody using all the notes in the chords; and the color changes would be really outstanding like they were in be-bop. Plus this lyrical beautiful line that was more across the bar; very much his own. Tim: You know John Coltrane’s music; you played with him. Can you reflect on his playing? Bert: I don’t want to do just another technical analysis; that’s been done over and over. I don’t want to talk about his sainthood ’cause that’s been done over and over. John Coltrane taught us all how important practice was! What dedication really means. He gave his life, body and spirit to it. He was in the forefront of an entire cultural movement! It changed the entire face of art in this country and in Europe. Because of his young death, the bottom fell out of the profit margin that people who ran the record industry were seeing in the new music, the creative way of thinking, the new approach. Because of what happened to the culture at that time, at least an entire generation of jazz musicians went undocumented, unaccounted for, unappreciated to the point where now there’s a whole raft of musicians who range in age between forty and sixty who are totally unknown, who should have been the leaders of that new movement in jazz. The fact that I happen to be one of those doesn’t in any way make it more important to me ’cause I’m one of a crowd that includes Sonny Simmons, Barbera Donald, Zitro, Michael Cohn -- fantastic musicians who should have been the great artists of this generation. Smiley Winters, Perry Robinson, Henry Grimes, Jim Pepper, Albert Stinson -- all of those people should have been leaders in a big way. Trane was a wonderful person; not only that dogged resolve to practice his instrument-no matter what, bt he had a warmth about him, too. He always made time to talk to a young musician, time for help, time for a word, a question, anything. Trane would make time for everyone. As a result, everyone loved him, myself included. He was a wonderful guy. One night at Shelly’s Manhole in Los Angeles he just knocked out the entire audience. Occasionally someone in the audience would scream because of the intensity of the music, myself included. So I went backstage to tell John how much I loved it. And I told him how much he moved me, and he said, “I can’t get anything going tonight. I practice so hard; I don’t understand.” That’s a perfect example of the artist hearing what goes in and the listener hearing what goes out, and it’s always, most always, unrelated - Unrelated! It’s all a matter of perspective. It’s spirit; that’s what makes us musicians. We feel it inside. Because nobody could pay us for the kind of spiritual awakening we can get from the act of making music. That whole sharing thing between creatures. A lot of people who only imitate Coltrane missed out on a lot by only digging Coltrane. They missed Lester Young, Don Byas, Wardell Gray, Hawkins, Sonny Rollins and Lucky Thompson. So we got three generations of players who sound like they only listen to John Coltrane and are trying to copy Trane too hard. And they missed Lester and Hawk, or Budd Johnson, Zoot Sims and Al Cohn, Benny Golson; and Johnny Griffin. There’s the problem that evades and invades jazz today; because people won’t do that; they miss the real tradition of jazz, the real creative process. One style seems to be the trend now, which is that funk R& B style, mixed with Coltrane. There’s so much more than that! Dedication, understanding and study by a young musician is what creates a young musician. Study of the jazz history and hours of listening to masters. Not cloning in on a trendy style. You can’t do it that way. Its deeper. There’s a spirit, and the work. You got to get them from yourself inside. Tim: When’s the first time you heard Sonny Rollins? Bert: On that radio show in Chicago. It was very overwhelming to hear, I could see between Coltrane and Sonny Rollins they were reinventing saxophone-ology. And in a very complete way. Sonny Rollins plays like a dancer. And because of my early training as a dancer, I really heard Sonny’s rhythm and the tapping, bouncing dancing way he has. I bet one of Sonny’s influences is Fred Astaire! It’s quite plain to hear. Sonny Rollins knows more about the saxophone than anyone who’s alive today! He can control two lines at once. People need to study Sonny Rollins for the spirit, the heart and the creativity. Tim: What about Sonny Simmons? What space does he hold? Bert: He shoulda got the crown when Coltrane died. Sonny Simmon’s music was ready. He was one of the first saxists to play the new way. His music - the shapes and the way he played form without a preset form - it was much a part of what some other musicians and I were doing that it just set the whole pace for us. We all went that way when we heard Sonny. It put it in focus for all of us! Simmons has the best parts of Bird, Dolphy, Coltrane, Ornette wound tightly into a personal experience that is his alone. He has a natural amazing facility on the instrument. He taught himself how to play alto saxophone after studying classical oboe and English horn for quite a long time; as a child. He picked up the sax on his own. He was a rock ’n’ roll star in his teens playing tenor, walking the bars in Oakland. During the early parts of the free jazz movement is when Sonny committed himself to the thing that he was doing all along. Sonny also studied out of the Nicholas Slominsky book of scales and melodic patterns, and also had been studying Schillinger composition and theory out of the Schillinger books and really coming to grips with the fact that there were more than 8 notes in each scale, and ways to relate them together, and exploring those sounds. He also pushed the constraints and limits of the instrument. He was a very advanced player. He taught me a lot. We played together all the time. The one record I’m on with him -“Music of the Spheres”- which was done in 1966, is not even close of how far we took it. Simmons had the most exciting, together, well-formed and most swinging; it was a perfect example of how a unique voice was created from many voices of influencing one person. When you listen to the best musicians and learn from each, you come up with your own voice. He absorbed be-bop totally, before he became influenced by people like Trane and Ornette and Eric Dolphy. What he did was draw the things that he heard the best in his own ears and mind and blend and combine them into what sounds to all of us like Sonny Simmons. Like anyone can do if they try, they’ll come up sounding like themselves, not who they studied, because that’s what happens when you study the masters. Tim: What about some solos on records you’ve done over the years that you really like? Bert: The first records I did in 1966 and 1967 have only recently been reissued on CD on the E.S.P. label with the fact that they’ll be out at the same time with my CD called “Further Adventures in Jazz”. There is some very interesting correlations when comparing these discs with the music that first came out and the music that’s happening today. One thing that’s happening is that if you go back to those E.S.P. discs, I used several sounds on sax during that period that had never been on records before. At that time Albert Ayler, Phariah Sanders and a lot of people, including Coltrane, were using extensive sounds that had never been used in this music before. Each one was different and highly personal so it really wasn’t noticed at that time during the entrance of my solo on the “Zitro” record (on E.S.P.) that I played eleven tone clusters in a row that were all melodically and harmonically organized. It didn’t get noticed at all at the time it came out. It will be interesting to see today if those sounds get noticed in context. I did a double record in 1968 for Arhoolie label in California in Berkley. It was called “Smiley Etc”. On that record, which is still available by the way, there’s a track called “Love is Enlightenment”, and I played a lot of things on soprano sax at that time, a lot of which had never been used at that time, such as tone clusters, overtones and extended ranges. On one track, called “Two Tranes”; which is a tune of mine, I played several melodic quotes in tone clusters including one which is a direct quote from Wayne Shorters “Nite Dreamer” which I voiced in tone clusters, melodically and harmonically, and exact. It’s interesting nobody ever noticed that! On the new recordings we’re much more in the context of straight be-bop tunes with order, changes and melody, in swing time in the regular way. But my thing is that I use all of those extended techniques in the music still. You can hear those sounds on “Ionic Implant”or “Happy Pretty”. There’s places in the melody of “Truth” where you can hear multiphonic clusters against the melody. On the earlier record, “Kaleidoscopic Visions” there’s a piece that’s conceived as a study in multiphonics; song and solo are chock full of clusters and multiphonics. Both records are available through North Country, Cadence Magazine. (Write: Cadence, c/o Cadence Building Redwood, NY USA 13679). The title tune is what I’m referring to, it covers a lot of sounds and harmonic areas. ----------------------------- - I think everyone needs to seriously check Bert out....Do it - -Tim Price

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