Thursday, September 15, 2016

Tim Price Bloggin' For D'Addario Woodwinds- Remembering John Coltrane




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






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

http://ricoreeds.blogspot.com/2016/03/tim-price-bloggin-for-daddario_28.html

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

http://ricoreeds.blogspot.com/2016/03/tim-price-bloggin-for-daddario_28.html

THANK YOU....  Tim Price


PS- FYI-

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
East Park Reservoir/Fairmount Park
33rd and Diamond Streets, Phila., PA 19121
Site C:
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

Tim Price Bloggin' For D'Addario Woodwinds- Most important part of constructing a improvised solo.

Some of the most important aspects about improvising and playing jazz and also just plain improvise sol be the big band, playing in a jazz quartet, free playing, or behind a female vocalist or playing eight measure solo are rock 'n' roll gig.

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

Tim Price Bloggin' For D'Addario Woodwinds -The experience of creating space.







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



















Wednesday, August 17, 2016

Tim Price Bloggin' ForD'Addario Woodwinds- Pierre Dewey LaFontaine, Jr., aka- Pete Fountain ; Thank you sir.








Pierre Dewey LaFontaine, Jr., better known as Pete Fountain, was a legendary New Orleans jazz performer. He brought the traditional jazz of his native city to a national audience through frequent appearances on television. He performed for presidents and a pope, making him an international ambassador for jazz and culture. He died August 6 at the age of 86.

In the grand scheme of things....Pete was a giant. The music spoke louder than anything anyone could say- and that's the way it should be! His sound, ideas, respect for the music and his vibe touched all kinds of people all over this planet.

Read this- http://petefountain.blogspot.com/


RIP amazing Pete Fountain!!!! Thank you Pete for what you played and HOW you played it.



Pete's tribute ;

https://www.youtube.com/watch?v=JwQh8CR2zj4



https://www.youtube.com/watch?v=geV3B_DSHE8

Tuesday, August 9, 2016

Tim Price Bloggin’ For D’Addario Woodwinds- GIVE ME 5- with saxophone master Paula Henderson aka Moist Paula



It has been my contention that the most valuable viewpoints come from those who do. Thus, it’s logical to assume that any artist who is surviving in this field, and doing it with success, is doing something right. The energies we all put into our craft; The years of apprenticeship and the intense commitment to the horn, and the pure love of playing it are paramount to the art form. This section of my D’Addario Woodwinds Blogs by Tim Price, to all intents and purposes is a sort of portable omnibus of sax / woodwind creations. Musically, verbally and spiritually. The music these players create and talk about is a privilege to be a part of. The music always has an infinite history and fertility, inexhaustible vitality, and at the same time, a seductive power of temptation – which inspires all of us who play – and offers the open-ended invitation to create as much as we can. The results, the waiting, the practicing at all hours, the talking of the music and constant study gives the music a breath of spirit, endless in motion and evolution. Paula Henderson is a card carrying badass baritone saxophone player. What I always liked about talking to her was the music was bigger than her- he humble vibe and deep sense of respect for the music and players. She's a unique soul in today's music and I think you'll enjoy what she's about. . Moist Paula Henderson and her baritone saxophone are a great thing. Enjoy~ Thanks Paula- Tim Price.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>


1- How have the last few years of your life affected your current music?


The last few years have been great for me in many ways - I've done a lot of heavy touring with Nick Waterhouse, Burnt Sugar and CW Stoneking, continued my 20 year long weekly residency with Rev. Vince Anderson and his Love Choir when at home in NYC and I got an EWI, with which I've made dozens of home recordings of instrumental electronic music. Also, as I get older I feel less concerned with anything other than playing music.



2. How did you choose to play the saxophone, and what players influenced you early on?
I've always felt that the saxophone chose me. As a child and teenager I was a dancer and took piano lessons - as a really small child I said I wanted to play trumpet because I saw Louis Armstrong and Sly and the Family Stone on tv, but the horn at that time was  nothing more than a whim. As a late teen I started seeing punk rock and new wave bands all the time - once I left high school and home, I would see bands 7 nights a week. I collected records obsessively and did a radio show. There were two bands from Brisbane in Australa at the time which were punk bands with horns, first The Saints, and then The Laughing Clowns, which was started by the original guitarist of The Saints. I loved both and eventually The Laughing Clowns got a fierce girl sax player. Louise Elliot, and I loved her. I was also at the time , the early 80s, really getting into some no wave jazz punk from NYC such as James Chance & The Contortions, Defunkt, The Lounge Lizards and Decoding Society. Then one day  my friend Paul Cumming, a wonderful British musician living in Australia who'd turned me onto a lot of soul, r&b and reggae records, knocked on my door (I didn't have a phone!) and had a tenor sax with him. He said, I think you should have this - keep it for a month and if you like it give Cambo $400. I paid Cambo and am forever indebted to Paul. He got me right on to King Curtis who's still one of my faves.






3. At this point in life - What inspires you ... 
I'm repeatedly inspired by the musicians and vocalists I'm lucky enough to play with; time after time they blow mind and they are my teachers. I also feel extremely inspired by audience members. I've been playing in bands for more than 30 years and I'm in love with the thing that happens when an audience member starts responding positively to,live music and connecting with the musicians. I'm inspired by a child being magnetized by a busker, especially when I've been that busker. I'm inspired by visual art from every era for millennia that depicts this magical, invincible part of the human condition. I love reading autobiographies of musicians whose life stories and works are inspiring, and have recently enjoyed memoirs by Burt Bacharach, Grace Jones, Bobby Keys, George Clinton and Questlove. Mary Wilson's and Little Richard's are my favorites. Music documentaries pretty much always make me cry and so do all kinds of music museums - historic venues and recording studios fill me with reverence and I'm lucky enough to have played in many. In the most general sense I'm inspired by the power of music itself , throughout the ages. And flowers. And ice cream. And Melvin Van Peebles.


4. Your choice of notes is really inspiring- talk about how you arrive at this kind of destination as an artist. What are you thinking about in terms of your solos, and agenda.
I'm a pretty spontaneous communicator - for example I'm just answering these questions without a plan or any kind of editing in advance. For better or worse, that's pretty much how I approach playing the saxophone - I just go for it, using the vocabulary I have at the time (hopefully it becomes broader the older I get) within the context. I'm well aware I'm not the most "proper" player, but as much pressure as I've been under from myself and anyone else to become more so, the resistance within me has been greater. When I'm soloing in a band, I'm generally thinking about the singer and the song. I like playing things - melodies, lines. on the saxophone  that any person might find themselves humming. Growing up in the 60s I heard a lot of instrumental pop music on the radio that would really get stuck in my head - Bacharach, Herb Alpert, Burt Karmpfert and all the groovy tv themes; along the way I've definitely gone through periods of insecurity that my solos weren't technically and harmonically dazzling enough but I'm currently more on the tip of playing la di da if that's what it seems the song us calling for. Once after several unsuccessful,attempts at recording a solo on a record, the producer suggested i "compose" the solo and learn and perfect it - I may have met him half way on that but the idea hadn't even occurred tome because my agenda was for the solo to have an atmosphere of spontaneity - I think the underlying belief behind that is why I've never yet attempted to transcribe and learn anyone else's solo. 


5. Talk about some projects coming up in your future, ideas and agendas. Also thank you for doing this- it's a total pleasure. --------------------------------------------------------------------------------
I'm currently touring internationally with C.W. Stoneking and  am looking forward to the release of the 3rd LP from Nick Warerhouse, Never Twice, which is the first of his I've played on, having toured with him for several years. When I'm at home in NYC I continue to play with Reverend Vince Anderson and Burnt Sugar and I refuse to let go of the memory of Moisturizer, the instrumental rock trio I had with Moist Gina Rodriguez from 1998 to 2009. It's my dream to release an album of my bari sax originals, including new stuff and some old Moisturizer songs and meanwhile I keep recording eerie ambient electronica on my EWI so I'm hoping to release a full length Electric Embouchere album as a follow up to the EP I released last year for that project. Most people seem to not like my EWI music but I love it so the album I'm working is called Aesthetic Alien. Meanwhile I hope I get to continue rocking out on bari sax all over the world with some of the coolest bands alive. I LOVE being on the road the most. 


 
Thanks for having me Tim! 

--

Tuesday, June 14, 2016

Tim Price Bloggin' For D' Addario Woodwinds- Remembering Bob Anram


REMEMBERING....A  GENTLE GIANT.....BOB ANRAM. 

Bob's playing and friendship meant a lot to me. His articles on the psychology of improvisation on  SOTW  (the international sax website those articles have over 50,000 reads.  Search out his youtube video or my albums on itunes. This man was a unsung master player, stood for something of great value as a improviser. His friendship was also an asset to me- Bob was a deep person.


Check out his you tube video called- 

Improvisation - A Ballad for Dee :

By Bob Anram and Leonieke Vermeer

  
Bob has quietly and consistently been making brilliant music with his tenor saxophone. His profound mastery allows him to wrap each note of his solos in its own texture. In the midst of his improvisations, he'll slide  up through a silky blue haze to a new pitch and end the phrase with a personal vibrato. I loved his emotional rawness highlighting his textural control.
But Bob Anram brings something else to his music: he imbues everything he plays with a deep sense of relaxation,like a man sure of his place in the larger scheme of things, impervious to the assault of the tempo or anything else.  This man is one of the real assets to the inner core of jazz- sadly he should of received his just props in  his lifetime.
The people who heard his CDs and playing are richer for it. I know I sure am- your not forgotten Bob- thank you for being a person who stood for something as a jazz musician.

I hear you brother- Thank you for being you. ~ Tim Price









  

Tim Price Bloggin' For D'Addario Woodwinds- Charles Lloyd Sangam NYC June 2016







~  NEW YORK CITY... JUNE 12.. There is nothing that surpasses the transcendence of a intimate, live concert by Charles Lloyd & this trio. Charles is always in the zone, and Zakir Hussain & Eric Harland are right there shoulder to sprit in the travel. Off the hook unusual/unique talent, extraordinary, and the ensemble interplay is stellar. Charles played tenor & alto saxophones. He told me he brought the alto saxophone because of my insistence of the way he sounded on it. NOTHING - like it!! The places the music traveled to, the trio dimension....always something only Charles Lloyd can achieve.

Grateful and humbled. he also played Tarogato, flutes, piano & percussion. Zakir gives the trio the real deal India feel/ groove with soaring horn lines with Memphis soul and blues roots mixed with a story that only Lloyd can tell on his horns. Inspiring tapestry of sounds, Eric Harland is the right drummer for this adventure as well. As I've mentioned, I've heard this trio many times and it is always beautiful and hypnotic. Charles's Tarogato playing is supremely evocative, mystical , serene and haunting. Masters at work. I've been loving Charles tenor playing since I was in Jr High school in the 60's- it blew me away when I first heard and it continues to do so, a mind-blowing tenor sound. One of the true personal sounds in tenor with deep roots.
With his expansive palette Charles Lloyd approaches his instruments in a inspirational manner and also a lesson in individuality.

Innovator and brilliant soulful human being- 
Sonic sublimity that will stay in your ears and mind always. This band takes you on a unique journey.
We are blessed to have artists like this in our midst. Charles is not only a great inspiration but someone I am proud to call a friend.
This ensemble SANGAM is extraordinary artists and very much to the fore. Incredible virtuosity and forward motion. It is entrancing and I love it.