Monday, January 19, 2015
To arrive at a personal destination you have to invest in yourself. Study, practice and life. Think about this great quote as well ; The characteristics of a good musician can be summarized as follows: 1. A well-trained ear 2. A well-trained intelligence 3. A well-trained heart 4. A well-trained hand. Seems like the most practical, right? Let me go further in the essence of jazz, there must be a constant equilibrium. As soon as one lags behind or rushes ahead, there is something wrong. Check out the music of the of the 20th century, from twelve tone Schoenbergian music to Broadway; from “Mac the Knife” to operas; from Brecht to Lotte Lenya;Hendrix, Satie, Debussy, Cecil Taylor, composers, arrangers, anyone and anything prolific and interesting to you. By accepting that challenge with an individualistc, interpretive approach,you will broaden and deepened YOUR artistic core as an improvisational musician. Study, listen well to the association of how rather than what. In other words don’t let a musical idea,vision or concept get borne out of the fingers rather than the music itself, and the try to keep the highest musical value or useful when searching for oneself.Be the best YOU that is available at the moment. After all,our goal is creativity and the use of the imagination. We are trying to enter the realm of feelings and emotions through music, and to arrive at a point where your fingers go where the ear dictates.Hopefully this blog can instigate the artistic process in an attempt to have a coherent and unified vision of what an art form concerns. Play, study and approach what you do to the maximum. Look for inspiration beyond your own instrument. Check out the trio I speak of as well. LISTENING IS PRACTICE TOO!!! Tracking is the ability to listen to yourself. This is one of the most crucial things in melodic playing. Tracking is the ability to identify your own ideas and build on them. Music is not the combination of as many different ideas as possible in the shortest amount of time, (e.g. playing a lot of notes fast and all over the place) but, the flow and elaboration of a few ideas in a logical and coherent manner. The secret of tracking is to listen to yourself. Again, each idea should have a beginning and an end. Pause and listen to your last idea. Your next idea should be related to the last. Whether you repeat a rhythm, note, shape, or even stop and begin with a new idea, this will help you to direct your lines and phrases into a specific area. What you will hear coming out of yourself will be your own musical ideas. They are shaped by your feelings and the interactions of the people you are playing with, as well as your technical condition. All this will grow richer as you study more and practice harder and learn the repertoire. The secret is to create in the now, and not simply play all your memorized licks. The more you practice, the more you will be able to hear, and your abilities as a jazz improviser will grow and expand. Remember, what you hear is more important than what you know. SUGGESTED LISTENING- CHARLIE PARKER ON DIAL. Volume 8 Recorded: Nov 8, 1947 – Sep 1948 The final volume of the series featured tracks taken primarily from a radio broadcast on November 8, 1947, where Parker played with Barry Ulanov and His All-Star Metronome Jazzmen. The group featured Bauer on guitar, Allen Eager on tenor saxophone,John LaPorta on clarinet, Fats Navarro on trumpet, Tommy Potter on double bass, Buddy Rich on drums, Tristano on piano, and, singing on "Everything I Have Is Yours", Sarah Vaughan. Additional material was taken from a set with Tadd Dameron's Orchestra, featuring performances by Eager and Gray. LISTEN TO JOHN LA PORTA....On clarinet. One of the greatest in jazz clarinet and the teacher at Berklee who took the time to get "tracking" into my mind set as a young player/student. This man, played with Mingus and Bird. Hope this helps you open some new doorways in your playing. I suggest if you want some freedom and personal forward motion you try this for a week: turn off the TV and computer games, use the phone and text only when necessary, and spend the rest of the time doing things that make you think, feel, create or anything that shows an active involvement and appreciation of you life. It's way off the hook, people are talking on the phone in restaurants instead of enjoying the meal they just ordered. Musicians and students need to get their life in order. I've thought and researched it- in one year the average person watches about 1200 hours of TV. Think of what could be learned in 1200 hours in one year. One could become competent on their instrument, and lots more. It's very staggering, and a form of freedom I enjoy. For musicians, you also will reach a moment of clarity and understand time needs to be allocated to insure mastery. As you start the process of practicing thoughtfully you will be able to gauge how much time it takes to accomplish your goals.When outside diversions and distractions are removed then you get down to the real nitty gritty of your journey. Thus begins a new world, watch what happens. In a week there are 168 hours. Most people work about 40-50 hours and sleep fifty to sixty hours. That leaves over 50 hours of loose time. SEE YOU AT NAMM 2015......Let's make 2015 the one...Tim Price
Tuesday, January 13, 2015
This is a great album and shows Alex at his best with world class musicians! This is another illustration of a player who is really playing at a high level, and deserves attention for not only being true to tradition but also the art of real jazz.. His style is beautiful- he sure sounds like he's having fun too.His playing is quintessentially modern. Alex and his NYQ give this recording an austere clarity of classic perfection, the feel is there and so is the quality of the band. In a word... clarity. If you want to hear something truly genuine, if you want to immerse yourself in some beautiful music, listen to this. I'd add that this one is a very well recorded album as well. His sound is truly focused and very fresh. The album Alex Terrier New York Quartet Featuring Kenny Barron is available now- right here - http://www.alexterriermusic.com/alex-terrier-nyq-featuring-kenny-barron Alex made his mark with this one...probably his best yet,a classic,it catches every mood and rises to the top of the new releases... you just can't put it down. Check out the nice rapport he has with Kenny Barron,really developed lines, phrasing and focused solos. I am a huge Kenny Barron fan, and to me Kenny is one of the best jazz has to offer.His comping and mastery of making the music speak is a life lesson. What a beautiful player! ALEX IS IMPRESSIVE...Alex Terrier was born in Paris, France, in 1980. He didn't grow up in a musical environment, but "the day I sat down to the piano was the first step to a life long journey into the world of music" Alex says. Studying classical piano for a few years, it was a shock when Alex Terrier, around age 12, heard Duke Ellington and the sound of saxophonist Johnny Hodges. That was the second step. From that day on, Alex Terrier has been dedicating his life to Jazz: "I used to get up in the morning and play the piano half asleep, really first thing in the morning before breakfast. I would listen to music all the time, read, study... that's all I did when I was a kid". His first influences were Duke Ellington, Memphis Slim, Fats Domino, and Sydney Bechet, as these were the few LPs he found in his father's home office. Alex Terrier received a Brevet de Technicien des Métiers de la Musique in Sèvres (it is hard to translate, but that could be Music Technological Diploma) in 1999. He received a Médaille d'Or at the Ecole Nationale de Musique d'Evry before going to Berklee College of Music in 2004. He graduated from Berklee in 2007 with a Dual Degree in Performance and Jazz Composition. He has been since then an active member of the New York scene and has become the first French musician to be part of the legendary Mingus Big Band. - This is an inspired work of art! The record is a tour-du-force of musical vision and mastery of improvisational inventiveness within a melodic and harmonic form that draws the listener in immediately.You need to hear this CD,buy it. It's SPEC-TA-CU-LAR. Nothing less. ~ Tim Price / Bloggin' For D'Addario Woodwinds January 2015.
Thursday, January 1, 2015
It has been my contention that the most valuable viewpoints come from those who do. Thus, it’s logical to assume that any saxist 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 life-struggle, and the never ending open tuition to the school of hard knocks is always balanced by the intense commitment to the horn, and the pure love of playing it. Not everybody in jazz as in any art form can be a genius' but there are always musicians that have contributed and have made themselves worthy of recognition.This is Georgie Auld. The original KING SUPER 20 ( Along with Chas Ventura) endorser too, by the way.. George Auld was a rising tenor saxophone stylist in the late 1930's. Already in his late teens he was demonstrating his abilities as an original soloist.Playing in Bunny Berigan's band, e.g. "The Prisoner's Song" and many live airchecks with Artie Shaw, e.g. "Everybody's Jumpin'" he managed to sythesize Herschel Evans and "Pres" into a very identifible style. Unfortunately, he is overlooked when listeing to "Pres," "Hawk," Ben Webster, etal. He remains for this listener a mystery.After he left these bands he began sounding like other people, e.g. Ben Webster. Later the cool school West Coast tenor players.The answer to this question I guess will never be known. When many players attempt to find their voice which he apparently did and then to lose site of himself is a strong case of regression of either lost identity or confidence in what he was doing. To me Auld played an important role in the tenor saxophone history. Auld coming to prominence in the Swing era, he was one of the very few swing musicians who managed to traverse the ridge that Dizzy Gillespie and the young moderns threw up between swing and be-bop in the middle Forties. While most of the swing musicians gave up in the face of the new music, Auld not only relished the challenge but moved swiftly towards the top of the be-bop ladder. While his later work was commercial, some of his recordings in the mid-Forties, notably "Co-Pilot", which features Dizzy Gillespie on trumpet, were daring examples of big band jazz, possessing values which would escape the notice of the general listener of the time. Auld's family left his native Toronto when he was 10 and moved to New York in 1929. Studying alto sax, he won a Rudy Weidoeft Scholarship in 1931 and studied with that famous teacher for nine months. In 1936 he was so affected by bearing Coleman Hawkins's recording of "Meditation" that he switched to Hawkins's instrument, the tenor. George had his own small group that year at Nick's, one of New York's more famous jazz nightclubs, and joined Bunny Berigan's orchestra in 1937. Auld's early experiences in the big band world must have been rigorous since, on leaving the everdrunk Berigan, he joined the orchestra led by the brilliant clarinetist Artie Shaw in 1939. No sooner had he settled in than Shaw decided to give up the band and that November the 20-year-old Auld took it over and tried to run it himself, but without a star name to draw the customers, the orchestra was soon forced to disband. After a few months with Jan Savitt's band, Auld joined Benny Goodman in November 1940 and during the next seven months with Benny made his most famous recordings. Most importantly, Auld was here exposed to the work of Goodman's guitarist Charlie Christian, one of the young musicians who was probing his way toward what was, in the hands of Charlie Parker and Dizzy Gillespie and others, to become be-bop a few years further on. Christian's use of augmented and diminished chords was unique in jazz at that time. Auld was a receptive listener and Christian's influence on him was profound. When Christian died some months later, Auld left Goodman and joined Artie Shaw's new band, but he continued to explore the music that Charlie and the others had opened up to him, The unpredictable Shaw disbanded again in January 1942, and Auld led a group of his own until he went into the army in 1943. For some reason he was discharged, perhaps because of a chest illness which was to trouble him for many years, and from June 1943 he led a quartet at The Three Deuces in New York until, in September that year, he formed his big band. Auld's band lasted for two years and was never amongst the best known but it made many interesting records and spanned a difficult period in jazz when the roots of its arrangements were in swing but its soloists in the be-bop era. Big bands became uneconomic in the post-war period, and Auld sensibly paired his down to a sextet, probably one of the best of all his bands. It included the trumpeter Red Rodney, the baritone saxophonist Serge Chaloff, the pianist George Wallington (later replaced by Lou Levy), the bassist Curly Russell and the brilliant drummer/composer Tiny Kahn. George's illness caused him to break up this band and he moved to Arizona and finally to California for his health. He reformed, this time with a nine- piece devoted to the writing and style of the great composer Tadd Dameron. In 1948 he joined Billy Eckstine's band and in 1949 spent almost a year on Broadway acting in the play The Rat Race. At this time he also ran a club in New York, the Tin Pan Alley, which became a center for jam sessions. He joined Count Basie's Octet briefly and then formed a fine quintet in New York in 1951 (with Levy, Russell and Kahn, plus the young trombone virtuoso Frank Rosolino). Auld began to shed his be- bop overtones and returned to his earlier Coleman Hawkins-influenced manner. Returning to the West Coast in 1954, he opened another club, The Melody Room in Hollywood. Auld drifted into obscurity, but bounced back when, for no good reason, he became immensely popular in Japan. He made more than a dozen tours there beginning in 1964 and recorded 16 albums for Japanese labels. In 1977 he appeared in the film New and Liza Minelli. De Niro's role was as York, New York with Robert De Niro a saxophone player, and Auld played the solos on the soundtrack as well as having an acting part. His link to the Colman Hawkins school of tough tenor played a vital part in jazz and swing music. John Altwerger (George Auld) bandleader, saxophone And clarinet player, born Toronto, 19 May 1919, died Las Vegas 7 January, 1990. To me Auld played an important role in the tenor saxophone history. If you can listen to him at some point in time I think it would provide a missing link to a style that is very accesiable and vital to the sax and swing music. On a personal note-if anyone has any of his jap. issue recordings - I am very interested in getting any kind of copys. Just E mail me. CLOSE behind the tenor sax playing of Coleman Hawkins, Ben Webster and Bud Freeman, came that of George Auld. The result is that their playing will be remembered when Auld's could be sadly forgotten, and yet he too was a jazz innovator through the big bands that he led in the Forties.And was one serious tenor man......Have a great New Years Day my friends...and see you in 2015 as ever - Tim Price
Wednesday, December 24, 2014
Tim Price Bloggin' for D' Addario Woodwinds- Making Holidays Bright- and everyday too. HappyHolidays !!
My vision of music that echos humanity is that we can, and should strive to contribute to a better world through music. By bring together musicians and music lovers who are concerned about the welfare of humanity and our planet we can use music to improve the world!That way,we can enjoy the music twice. Once through listening, creating/recording/sharing and again through others enjoyment and enrichment.Music that echos humanity..is something I always felt.No matter where the musician creates and performs,we are approaching music’s singular destination every time.That state beyond the everyday sensory experience, adding something to the music and being at one with and literally becoming the music.No other job or life style contains that.Check that out.. Musicians need to add compassion,generosity and kindness to their message,that helps to start crystallizing our thoughts,to help the music reach out more to the peoples ears. I am grateful that nothing is out of the realm of possibility. You recognize when you feel good. You know when you feel at your best—at the top of your game. You realize when you enter harmonious relationship with family and friends—maybe even with foes. These are emotional states you experience. They range from negative and protective to joyous and ecstatic. The positive ones include love, peace, freedom, joy, empowerment, generosity, trust, tolerance, faith, patience, safety, honesty, and more. These are emotional states you experience. They range from negative and protective to joyous and ecstatic. The positive ones include love, peace, freedom, joy, empowerment, generosity, trust, tolerance, faith, patience, safety, honesty, and more. Of course most of us most of the time want the good feeling emotional states. With music, we have the escape button most do not in society today.Perhaps you think you are not as consciously aware of such states as the next person. Whether or not you are, I believe that you can grow into broader and deeper awareness of these states. Only you can determine if you want greater awareness, or whether you deserve to experience these states, or even when you are ready to explore your potential. I encourage you to choose growth. Look forward, as I say...forward motion. It's the only way to go. Enjoy your Christmas holidays everyone...Happy New Year to you all. Tim Price Bloggin' For D'Addario Woodwinds
Wednesday, December 10, 2014
Tim Price Bloggin' For D'Addario- We as a music community need to demonstrate that through support of arts and culture we also invest in the art form's economic well-being.
We as a music community need to demonstrate that through support of arts and culture we also invest in the art form's economic well-being We as a music community ( jazz, pop, classical, students, rock, indy etc etc) need to get out and start supporting each other more. One of the most fascinating dimensions of this music, today is all the people involved in it. But, when I attend a concert, club gig or student recital, it's very shocking to see the empty seats. In the last few weeks, I noted with great interest that this was evident. In short, people need to start to support each other more. From within the ranks. We are creative people, stepping out to hear a friend or a person who's trying is an asset to all of us. Listen to what the music does, not what it doesn't. We as a music community need to demonstrate that through support of arts and culture we also invest in the art form's economic well-being. Show up for a few sets.Buy the Cd's. Take note that we need a collaborative approach to make this successful.I believe strongly that if diligently and judiciously executed,it would be of mutual benefit to everyone.Strengthen the music field and effectively recharge it from within the ranks.This is very important ! The music will grow- the musicians will foster more gigs and the scene will get stronger. A lot of us from my generation,when we were young musicians, there was an idea that we would be playing this music,or at least some of us would be playing this as our principle means of support. Now the "night club circuit" can no longer support us ( read that as "any of us" ). Education is the big portion of our income. We all do clinics, residencies and all the other educational components , let alone the high school or college positions or straight up private teaching. As a young player I would go to my mentors gigs and check out how he dealt with the reality of PLAYING. Even as a teenager, when I studied with my local heros like Joe Miller and Sam Correnti I learned a lot about the reality. At that point the reality was learning transposition from Joe and Sam. Joe would give me fake books to transpose, there was no REAL BOOK then, so it was good ol' VOL. 1. Plus other" bop" or swing books. Through doing that with Joe, I eventually learned to transpose at sight as a teenager. Yes Joe Miller, he was the best local jazz saxist I could of dreamed of as a teacher. He played King Super 20 saxes and had a great sound on alto and tenor, and he played RICO reeds! He turned me on as a kid to RICO brown box reeds on my Brillhardt mouthpiece. Joe was hip to Art Pepper and Bird and the cats.The baddest player in my home town-bar none for jazz. But the reality was , he also made a living playing dance gigs. He was great at it ! They played my high school prom. They played a few pop tunes " of the era" but mostly standards for dancing. Ok- From those relationships I would know what a jazz musician was. Later with guys like Charlie Mariano, Joe Viola and Andy McGhee at Berklee School as well, and years later Sal Nistico, Stitt and Don Christlieb etc. This is why I tell my students to attend gigs, buy Cds, listen and form bands to jam. Make it happen! Jam more, session on days your off, form "head bands" and just play. I do tell students of the "reality in my heart and spirit" but if they don't experience it it does not mean a lot. People need to play together, get into the basement and jam!! Look at each other and say yea. REALITY LESSON !!! Knowing_MELODYS_so people could identify and dance. A life lesson there dear reader! Knowing how to play a dance gig and survival chops to make money. Joe always said, " It beats putting cans on the wall in the supermarket ! "....I never forgot that. Plus as I said, he could blow. We did the old play alongs ( before Aebersold !! ) with the Mal Waldron trio playing those blues heads Gene Ammons recorded. Joe knew the real deal, and as I said, was the best jazz saxophonist in the city. Plus a teacher of reality. His karma paid off too, years later he won the lotto. When I came in with Charles Lloyd records trying to copy the heads like " Sombreo Sam" Joe never flinched. He was that cool. Now Mr. Correnti, taught me flute. Another lesson in itself as today, the flute double is non-existant to a large degree. This was when I was in 10th grade in school too. Sam was cool, always dressed in a hip coat and tie. An old school swing man who knew a lot of the major players , and taught Gerry Muligan when he lived in the area. We used to get the David Gornstein books right from David, as Sam knew him. Sam also made me aware of being dressed right. I always was aware of the clothes a musician wore. REALITY of a very important kind. Plus- flute. Lots of lessons NOT in books. HERE ARE SOME OF MY...Improvising outlines to shed.There are 6 pages here- many students that I have taught via Skype or in New York City, Reading, Pa have improved greatly by this kind of study. Write lines like mine, then based on what YOU hear. Bring the YOU out in what you do.Go slow & listen. Hope you enjoy them. Thanks! TIM PRICE
Tuesday, December 2, 2014
Tim Price Bloggin' For D'Addario Woodwinds- RIP Bobby Keys you rocked this place with class, soul & style.
RIP Bobby Keys.....RIP Bobby you rocked this place with class, soul & style. Rolling Stones Saxophonist Bobby Keys Dies at 70 SAD NEWS. http://consequenceofsound.net/2014/1...st-bobby-keys/ Wish it wasn't true.I always loved talking to him at Roberto's. To hear him play his horn in a shop, you heard this guys depth as who he was and what a personal sound he had. You could hear LIFE in that sound- and his life. You could hear he loved to play. He will be missed.All those great things he did for Sheryl Crow- overdubs. He told me.." He just did em' "...Like that. heard him with Keith once & Keith had him playing a lot- the place was on fire due to Bobby. That pan handle Texas thing he had in sound was something special.Really a shame. RIP sir...you rocked this place with class and soul. He had roots in bar bands, he also knew the history of the sax.NO BS or that airy fairy stuffthat sounded like everyone else-he played and the planet FELT It. HUGE LOSS. -Listen to him on " Can't you hear me knocking"....Nasty greasy Texas tenor. LARSEN full tilt...I always loved him, but that day he said he " just did it" ....Revering to the sax quartet over-dubs on Sheryl Crows record- the room spun. My respect for him doing that, with out charts, by ear- old school, and pro'lly in one take went up a zillion notches. I know my friend Roberto...who worked on his saxes will be torn up-Bobby was a lovable dude. Great bari player too- and alto. . Just listen to those " Sun Sessions" by Sheryl. Damn!!! RIP to a true road warrior of rock & roll and saxophone stylist.Bobby keys you rocked this place with class, soul & style.......Tim Price // D'Addario Woodwinds Blog //
Wednesday, November 26, 2014
My friends there is a very thin line, sometimes with a pale shadow attached, between what happens on the bandstand,in the shed,writing your thoughts in your blogs, and in the classroom. All involve the now, listening being in the moment. Instruments, reeds,paper,laptop, pencil, the mind as messenger for the mind and heart are our tools for being in this life. Whether it's playing with a cool band,or some friends playing Monk tunes, writing a really good line of poetics,learning some new ideas or tunes, or connecting with and enjoying your students.All are gifts that I continue to be thankful for, and always will be.We now have to believe in our true selves and realize that what we do is a gift! Every day is Thanksgiving ! Let me also add, to me , communication is most important . So, it there is no direct communication with the audience for which you are playing, there goes your job. Play music for people- and watch the result! John Coltrane used to talk about imagining his music reaching out and embracing his audiences.Remember before Trane was Trane he was a player who could rock the house on the blues, and play any standard song. 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 of the artistic process 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 hope these words help motivate you to explore your music even more. Keep the channel open. Everyday...is Thanksgiving. Enjoy the holiday and the moment. Thank you- Tim Price - - - - This BLOG is dedicated to the beyond category friendship-love-inspiration that Marietta Benevento has shown to me for over 40 plus years. Beyond words- Thank you Marietta. - - - - One of the real jazz singers in our era- and a deep soul with something to add to this music we all love. Keep on.