Wednesday, July 19, 2017

Tim Price Bloggin For D'Addario Woodwinds- A trip to Rahsaanapolis. Get your rip, rig & panic on. Today is the day on the D'Addario Blog that we remember the great instrumentalist Rashaan Roland Kirk

 

Today is the day on the  D'Addario Blog that  we remember the great

instrumentalist
Rashaan Roland Kirk








Rahsaanapolis awaits you!
Today on the Rico Blog is the day we remember the great instrumentalist
Rashaan Roland Kirk, who was born on August 7th ( yesterday) 1935.
He was one of the most important musicians in jazz, now then and always. Check his history here :
As a assignment for ALL those interested, please go buy -

Rip, Rig & Panic


How can you miss with this band!
Roland Kirk - Tenor Saxophone, Stritch, Manzello, Flute, Siren, Oboe, Castanets
Jaki Byard - Piano
Richard Davis - Bass
Elvin Jones - Drums
You can even get a 2-for CD here; At CD Universe. Downloads too!
http://www.cduniverse.com/search/xx/music/pid/1177275/a/Rip,+Rig+And+Panic%2FNow+Please+Don't+You+Cry,+Beautiful+Edith.htm
This CD combines two of Roland Kirk's most celebrated albums. Rip, Rig and Panic is renowned because of the astounding line-up, Jaki Byard on piano, Richard Davis on bass, and the redoubtable Elvin Jones.In this respect it provides listeners,a good overview and trip into Rahsaanapolis.

This said, it would require a truck equipped with extra heavy-duty suspension to deliver the box set providing a comprehensive tour of Rahsaanapolis. Kirk was a man of profound contradictions, relentless experimentation, and an unquenchable appetite for music. He has been largely overlooked by jazz historians (to say nothing of the public!) and unfairly tagged as a novelty act because of his propensity for playing multiple horns simultaneously and actually making his own reed instruments out of bits and pieces of other reed instruments. But also listen to his gentle side- he was capable of playing music so fragile and beautiful check out " I Talk With The Spirits".

Who else could take you from Sidney Bechet, Don Byas, and Fats Waller and have the trip make sense? Kirk played everything he touched, and he played with unparalleled intensity. His flute playing was amazing, but his tenor sax work was simply off the map. Kirk belongs in the pantheon with Lester Young, Charlie Parker, Eric Dolphy, and John Coltrane - indeed, he's already there, it's just that the mainstream hasn't noticed yet. I'm not aware of any Rahsaan Roland Kirk CD that isn't worth the price of admission, but for veterans and first time visitors to Rahsaanapolis alike, this CD is a must have. Rico Blog readers get it now!
Are their musicians like this anymore? The experience is uncommonly artistic and uncompromising but never strains the ear or mind. As a free-range whole, Kirk was a poet's poet, clearly and constantly musical, with the mark of unsurpassed integrity.Give it up to Rahsaan.
I am lucky to be one of the few people who has all the Roland Kirk records on original vinyl. Including the rare stuff with Tubby Hayes and James Moody. In 1969 I saw him sit in with ZAPPA and The Mothers Of Invention at the Boston Globe Jazz Festival. He played Zappa's stuff and jammed on " Louie Louie".
Needless to say...it was the best version of that tune I ever heard. HA!!
IN 1970.....I lived in a apartment building in Boston, a now famous building a lot of us lived in called " Holmes Hall" on Hemenway st in Boston down the street from Berklee. Jam sessions day and night, all kinds of sounds daily and great musicians there.Ray knew Kirk very well and took us down on a Sunday to hang.
In the midst of the hang, someone ordered a pizza. The guy shows with the pizza and dropped the change as Roland Kirk paid him. AT THAT POINT....Kirk .reaches down , and picks up the change and hands it to the guy. I had to know how he did that, I asked him. He was still going by the name Roland then, he looks at me and sais " EARS BABY". I am very lucky. He was the musician that influenced me to search out stritch and saxello and expand my woodwind mind set at an early age as well. Thank you sir for that sonic message!
Remembering a late great master innovator, bright moments indeed.
~ Tim Price

Roland Kirk - Rip, Rig & Panic

Roland Kirk - Alfie
http://www.youtube.com/watch?v=47VSwCMhZ8I&feature=related

Roland Kirk - Slippery, Hippery, Flippery
Buddy Guy, Jack Bruce, Roland Kirk, Jimmy Hope & Ron Burton Supershow Live

Thursday, July 13, 2017

Tim Price Bloggin' For D'Addario Woodwinds- Thank you Gary Burton! Much enjoyment in your retirement years & life.





Just a few weeks ago vibraphonist , leader, educator and jazz icon Gary Burton step back from the bandstand and went into retirement. I'd like to use today's blog to thank him for the multitude of recordings and direction and inspiration he's provided. His history should be obvious to any jazz fan, if it's not immediately obvious, please google him and make it a point to take some time and get familiar with him.


Gary was discovered first by iconic innovative jazz educator-master musician John LaPorta at a summer band camp. From what I remember from what John told me, it was one of those Stan Kenton camps. That said; Gary's career from a teenager to his final concerts always were bright spots and bright moments. In a world of music this man not only stands tall , but set an incredible benchmark for those who care to partake. His bands always  had the highest level players. Manny had been introduced to the jazz audience for the first time and stepping forward displaying what they have to offer. Gary's bands were always spot on, starting on time with a focus set and a forward motion and development of the music. Music for music sake at the highest level.



For me before attending Berklee I had heard Gary's first recordings that were new to me of course called " Duster" and " Tong Funeral" and of course I was lucky enough to hear him play live as a side man with jazz legend Stan Getz. The venue that I heard Gary play with Stan was the Lambertville music tent in Lambertville Pennsylvania. In the summers Lambertville would have jazz in this theater in the round. I have great memories in that era of hearing not just Stan but the Woody Herman band with Sal Nistico, Dave Brubeck and the MJQ. Places like that reinforced my fortitude and wanted to become a musician and also hearing how it was done a few feet from my face while I was still in high school. Stan's band had Gary, Steve swallow and Roy Haynes. Again the route was rehearse music and music of the highest level. They went from tune to tune like the established pros they were. This was of course before Gary's RCA records and I believe the only record and I had at that time was something called " New Vibes man in town". I quickly made it a practice to make sure when something came out with Gary on it , or one of his own recordings, I got it. And my ears and my knowledge were better for it. One of my favorite records was " Throb" which had violinist Richard Green on it and also a drummer who I later would have the joy of playing with, and having a great friendship named Bill Goodwin. Recordings that are timeless gems and stand tall in the direction of the art form of jazz.



As that was developing in the music-in my third and fourth years at Berklee I had Gary for improvisation classes and ensembles. He was a no-nonsense teacher and you left with knowledge and a firm grip of what he was teaching you. To this day I'll never forget this man's commitment to what he did for us as students, he came in the room knew all of us by name the second class. This was before computers and before passing out printouts. He would go to the blackboard and write out on the board within seconds cord progressions and scales that he wanted us to investigate and study. Many times and ensembles there was printed music that we've never seen from Mike Gibbs or Carla Bley. He'll pass out a concert sheet, and if you were a saxophonist or transposing instrument you were required to transpose that music on the spot. I remember a few times he also played piano in the ensembles, and his piano playing was very inspiring. In short he was a teacher that was of great assistance to me at that point in my life but also somebody who propagated and displayed musicianship that I had to be attained. A very friendly human being to.  Let me say that his " Berklee On Line" classes are something that had it's own importance as well. ANYONE...going to Berklee today worth their salt in any shape or form, should make it their business to listen and study Gary's playing but also his career. ( read his book too!)


There are many people in this business that came to Gary's bands as sidemen that have careers today that are untouchable. There was a certain ambiance about Gary's  four mallet technique and his choice of music was always the best. Always fresh tunes and as I said before well rehearsed and totally professional from the first tune to the last whether he played a concert or a club. Is bands always started on time! You never waited for Gary Burton to start a set. That says everything especially with the way the level has slipped today and the opposite has taken place which we won't get into. I have find memories of hearing Gary and also fun memories of the period that I encountered him while a student at Berklee. There was another thing I thought I'd mention-a few times and ensembles he say to people what would you like to play? I remember one time somebody called Sonny Rollins is tune " Airegin".... Gary Play the tune without any kind of second-guessing or anything, in the period of the Steve swallow tunes some of those tunes were very tricky to people who had not been playing songs with nine bar phrases or cord progressions that had stepped out of the bebop cycle. Being around Gary and hearing him play these and demonstrate these on a professional level within a few feet of you with some of the best education you could get. As I say, to hear is to see!


I admire somebody who created such a benchmark  in the music in so many ways I'm sure I'm missing a few as I write this blog. Things that today don't exist in the same level, like having a working band constantly, employing a band, a leader that had his skills together so that the band move smoothly and concentrated on the music.

Burton has been an innovator on several fronts: virtuoso soloist as well as influential bandleader and educator. He’s discovered one future star after another for his bands: Larry Coryell, Pat Metheny, Kurt Rosenwinkel, and, in his current quartet, the guitarist Julian Lage. Burton also ushered in the new wave of “jazz-rock fusion,” preceding Miles Davis by a couple of years. Meanwhile, as a teacher and administrator at Berklee for 33 years, he transformed the curriculum, bringing rock into the program, expanding the use of digital technology, and, more recently, initiating the school’s online education program.

I applaud Gary Burton for the career and more keys left in this music in many ways in many shapes. Also for the integrity that he has had as a human being musician educator an innovator. And that's a word that is used to freely today but yes indeed Gary Burton was a stone cold innovator. Thank you sir for touching this music so deeply and I wish you nothing but the best in your retirement. Health happiness and lots of sun and good times you've earned it. I bow deeply in your direction as somebody who has followed your career from not only a fan but a student who heard your message and the music, let this blog be a thumbs up and a huge thank you. Thank you Gary Burton!   


Tim Price Bloggin' For D'Addario Woodwinds 2017

Sunday, July 2, 2017

Tim Price Bloggin' For D'Addario Woodwinds- JULY IDEAS TO PRACTICE-LISTEN TO & MORE!


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. This will always be a source of awe and wonder to the fan or player. The legacy of the sax is a never ending landscape, at all times finite and infinite, both temporal and spiritual. The following players below are life long friends- we all hang study and play a lot- If you do NOT know them you should. If you play the saxophone these guys are the ones who will set your ears straight. Take a chance and find out who they are. Get started now- old school. Seek and ye shall find.









 You aware of this book? If not get it;
 YOU KNOW THIS TUNE? Sam Rivers is also someone you should know- start now.

 LEE MORGAN'S TUNE....get it together.
 TRI- TONE SUBS....the good bad and ugly - on one page.

 THIS BOOK....Was suggested to me by none other than the great late Von Freeman- if you don't practice out of it- you should .
 STUDY WITH ME...Skype NYC and Reading Pa....
 Working the new Sax Dakota straight tenors out with my man Joe Lovano in NYC last week in NYC.

 Trane study's on your favorite progression. You dig?

 Suggested listening....if you are NOT listening you are NOT learning.


HAVE A GREAT JULY 4TH....Drink plenty of water and be cool. Practice like a boss and listen to the cats I'm telling you to. Battle stations!! Thanks- Tim Price for D'Addario.




THAT'S IT FOR NOW....YOU TALKIN TO ME???!!?!??!!?!?














Tuesday, June 27, 2017

Tim Price Bloggin' for D'Addario Woodwinds- Summe ( june 2017) reading / listening suggestions.




Here's a few things that you might find interesting and also might not be the middle of the road interests but things that the average serious player will have to address. Recordings books and knowing your history. When you play music it's your responsibility to have roots and not only the music but the history to validate where your stance is. Take some time check these out.

Any musician worth their salt is aware of who people like Dexter Gordon is and their history which is why I'm suggesting the book here. If you watch through the next few weeks I'll be suggesting other things that will help you gain not only history knowledge but knowledge of the music. We've become far too obsessive with mouthpieces and facing sizes and serial numbers and also who plays what. That said when's the last time you heard somebody on social media talk about Sonny Criss or talk about a book they read about Lester Young. There's too many people not stressing the fact that if you don't have roots and are aware of what came before you you're dead in the water. Also I suggested A piano book here-search it out. As always I hope this helps. Tim Price....June 2017









Thursday, June 22, 2017

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

 


Musical forward motion.... 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
Creative thinking is the process which we use when we come up with a new idea. It is the merging of ideas which have not been merged before. New ideas are formed by developing the current ones within our minds. This evolution HAS to be brought on by practice. Ongoing creative thinking is the continuous investigation, questioning and analysis that develops through education, training and self-awareness. Ongoing creativity maximizes both accidental and deliberate creative thinking. It is a quest for improvement which never ends. It is an acceptance of and a looking for continuous change that differentiates between ongoing creativity and mental inflexibility. Ongoing creativity takes time and practice to become skillful. Ongoing creative Keep the channel open, and try your best.You'll learn something special. Been talking to my students about the many aspects of the creative mind set. Trying to just expand more ideas and thoughts.See you next week- enjoy your music- TIM PRICE Here's some things that I'm coming up with ; Creativity is the bringing into being something which did not exist before, either as a product, a process or a thought. Right? So let’s apply this to ALL levels of saxophone playing, thought and improvisation. You would be demonstrating creativity if you: · Played something which has never existed before. · Reapply an existing lick or concept into a new area musically. · Develop a new way of looking at something (bringing a new idea into existence). · Change the way someone else looks at something. We are all creative every day because we are constantly changing the ideas which we hold about the world about us and our relationship with it. Creativity does not have to be about developing something new to the world, it is more to do with developing something new to ourselves !! When we change ourselves, the world changes with us, both in the way that the world is affected by our changed actions and in the changed way that we experience the world. It’s a thought process. It’s past a mouthpiece change..it’s a MIND SET !! Creative thinking is the process which we use when we come up with a new idea. It is the merging of ideas which have not been merged before. New ideas are formed by developing the current ones within our minds. This evolution HAS to be brought on by practice. Ongoing creative thinking is the continuous investigation, questioning and analysis that develops through education, training and self-awareness. Ongoing creativity maximizes both accidental and deliberate creative thinking. It is a quest for improvement which never ends. It is an acceptance of and a looking for continuous change that differentiates between ongoing creativity and mental inflexibility. Ongoing creativity takes time and practice to become skillful. Ongoing creative thinking soon becomes an attitude not a technique. The first step to take is to learn the creative thinking techniques so that you can use them deliberately to come up with new ideas. You will then be at an immediate advantage to those who do not know how to use them. You should then practice them to increase your skill at ongoing creative thinking. With practice you may even find it unnecessary to use specific techniques because you may soon have too many ideas without using them at all. The first step to take is to learn the creative thinking techniques so that you can use them deliberately to come up with new ideas. You will then be at an immediate advantage to those who do not know how to use them. You should then practice them to increase your skill at ongoing creative thinking. With practice you may even find it unnecessary to use specific techniques because you may soon have too many ideas without using them at all.
Musical forward motion.... 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 todays 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

Tuesday, June 13, 2017

Tim Price Bloggin For D'Addario Woodwinds- Beauty is a rare thing.



...SIMPLICITY? Yes...Beauty is a rare thing...Ornette was right. People play music and people LISTEN to music...


Check it out and enjoy.... also- for some more ideas....check through these ; IF...you want some ideas on ii-v's...look here; http://www.timpricejazz.com/lessons/iiV.pdf ' If your looking for a nice warm up / sax sound study-look here; http://www.timpricejazz.com/lessons/sax_warmup.pdf for info on tune study; look here; http://www.timpricejazz.com/lessons/learningatune.html  


A nice jazz line using II-V. http://www.saxontheweb.net/Price/Dec00.html And a I-VI-II-V...of course http://www.saxontheweb.net/Price/Jul01.html If you check my web page- you'll find some interval studys on II- V. http://www.timpricejazz.com/lessons/intervalic1.jpg









Music is a gift that is life long. Plato once said that music “is a more potent instrument than any other for education”. You will find many teachers of young children who would agree with him. Recent research has found that music uses both sides of the brain, a fact that makes it valuable in all areas of development. Music affects the growth of a child’s brain academically, emotionally, physically and spiritually.
Music is academic. For some people, this is the primary reason for providing music lessons to their children. A recent study from the University of California found that music trains the brain for higher forms of thinking. Second graders who were given music lessons scored 27% higher on proportional math and fractions tests than children who received no special instruction. Research indicates that musical training permanently wires a young mind for enhanced performance. Music is physical. Music can be described as a sport. Learning to sing and keep rhythm develops coordination. The air and wind power necessary to blow a flute, trumpet or saxophone promotes a healthy body. Music is emotional. Music is an art form. We are emotional beings and every child requires an artistic outlet. Music may be your child’s vehicle of expression. Music is for life. Most people can’t play soccer, or football at 70 or 80 years of age but they can PLAY the clarinet, saxophone, bassoon and piano and sing. Music is a gift you can give your child that will last their entire lives.
TRY THESE ASPECTS- TO ASSIST AND ENRICH. __ Help kids go to a local concert - let them hear live music as a special thing. __ Donate a private lesson to some in need young learners. __ Contribute to 10+ months of instrument rentals - or donate some used instruments you buy at yard sales. __ Provide students with private lessons -by letting them mow your lawn etc- in exchange for tuition you assist with. __ Celebrate music yourself by sponsoring a concert. __ Donate a record collection, music books and CD's. OK... there are more of course but try these and make a difference.
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.


SEE YOU NEXT WEEK.....By the way ;- PLEASE REMEMBER ; Tim Price is available for a wide variety of tours, festivals, guest appearances and workshops. Tim Price is also available as a guest soloist with a small group or big band, and as a jazz clinician or guest lector. Tim is a Rico Reeds and Selmer saxophone artist. His books are published through Hal Leonard. Please contact Tim at: TimPriceJazz@aol.com Phone ; 610-370-1544 I TEACH IN NYC- READING, PA AND ON SKYPE. SKYPE MUSIC STUDY WITH TIM PRICE These SKYPE sessions with Tim Price are informal and relaxed, yet highly structured. If you are a novice improvisor or even a pro who has always felt there was more to learn, you'll truly enjoy these lessons. Hands-on "Real World" Learning , you'll more than simply learn-you'll do. By gaining new knowledge you'll create momentum that can transform your musical future. You'll sustain results. You'll discover multiple ways to produce real, sustainable results. Take advantage of Tim Price's 35 plus years of teaching, performing, recording & writing experience. Step by step online videos to help you improve your playing at a logical pace. On screen spoken help explaining how to reach your next level. Timpricejazz@aol.com for most current fee info.








Wednesday, May 31, 2017

Tim Price Bloggin' For D'Addario Woodwinds- ERIC KLOSS...the supreme artistry & soul of a complete original.


Once upon a time back in the late 60s…… I bought a record called introducing Eric Kloss. I was curious, Who was the teenage young blind saxophone player from Pittsburgh Pennsylvania. Recording with people like Don Patterson Billy James and Pat Martino. His sound on alto and tenor intrigued me. He was not that much older than me and was a fully developed player not only with style but with soul and commitment.

I watched this young man develop, let's be clear at that stage in the late 60s he was already more developed than most seasoned pros are now. No joke this guy was ready! He was on the bandstand with people like Booker Ervin, Vic Juris, Mike Nock, Terry Silverlight, Groove Homes and very shortly recordings following with Miles Davis is rhythm section of Chick Corea Dave Holland and Jack DeJohnette.



Upon a quick listening to any of his records, and truthfully I have all of them everything I could find. This guy was a walking fountain of inspiration. Not only did you have a beautiful style on alto fully formed with roots off-the-wall ideas that were routed in the blues but originality. His tenor playing was in the same area. Without a doubt he could easily play with Miles, without a doubt that was part of him that would've fit Miles Davis like a glove. Yet at the same time as style was fresh- This man stood his own 2 feet, and he stood for something.

As the years went on, he stayed close to Pittsburgh.Taught at the local University and kept playing amazing jazz. The recordings that he made with people like Chick Corea or Pat Martino and to this day challenge much of the music being played even though it was recorded 35+ years ago.


The part of the business of music, and especially jazz, has always bothered me when a person like this is ignored. There seems to be in overindulgence of hero worship for somebody who had enough money to pay a support system of a press agent may be a fashion photographer, and more. The cold reality of the changing art form and also a change in culture surrounding the music. Clubs and audiences that supported people like Eric have changed and I can admit that. Those kind of clubs and environments you'd know if you we're not playing! The audience would let you know if you were not.You had to be coming up with something-and most times it was three or four sets not an hour and 20 minutes like today.Too often people flock today towards one musician or a small handful of those people, then they are everywhere-it's almost of overkill for the artist in the long run. Guys who stand the test of time get ignored- or a person who invents themselves on social media become a brief reality- so it goes.

 


The values of originality a commitment to an art form not just being popular Have by the wayside. I can easily point to A recording he did with Barry Miles it was all duets. I can point you towards every single one of those recordings-go search them out on YouTube. Listen to the soul that he played the saxophone with-also listen to the personal agenda he had his sound and ideas. That's a lesson right there. Again it's a sad thing when artists get ignored or pushed to the back of the room because people just don't know who they are or don't take the time to listen and find out. Years ago that was something that people prided themselves on, I'm talking about the people with in the music that handled things musically. My words might be a bit spicy here, but somebody's got to bring attention to these type of values before it's too late. The musicianship of Eric will inspire people for decades and decade's. At one point he even wrote a few read preparation articles for Rico! Somewhere I'm going to find one and re-print it so everyone can see it too.


Let this current blog be a polite wake up call to investigate this mans playing- and also realize there was a time. That meaning there was a time when jazz festivals had musicians like this and the Village Vanguard had musicians like this. There are so many recordings of his that I could say right off the top of my head make it a point as this blog closes out on Eric that you investigate yourself and spend some time and listen to at least half a dozen to a dozen of these recordings over the course of the next few weeks. And you'll realize the expression and also… Title of one of his tunes called "to hear is to see". You'll hear and see why I instigated this weeks blog. Thank you for your time and I was always the very best to everyone-keep the music real.

- - - Tim Price Blogging For D'Addario Woodwinds- -