Thursday, February 16, 2017

Tim Price Bloggin' For D'Addario Woodwinds- That thin line,and the moment.

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!


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.
When you speak of touching someone and reaching out- There's Charles Lloyd. His contribution since he hit the scene is a music brilliantly conceived and played. Charles always is always coming up with music of immense power and authority. As great as any jazz master as well- and someone who has the wisdom to move forward as himself.His message is a supreme joy-and just watch the audience react as he plays. Communication!

REMEMBER ~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.  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. This is the way I learned with master players-educators like Charlie Mariano, Charlie Banacos ( I was lucky to study with Banacos since 1994 till 2010 ) Sal Nistico, Joe Viola, Andy McGhee and John LaPorta.These men were a beautiful category of a jazz pro who both knows what he is doing, and is willing to share. Today's 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.


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

SEE YOU NEXT WEEK....Keep your ears and mind open- Tim Price

Tuesday, February 7, 2017

Tim Price Bloggin' For D'Addario Woodwinds- A LESSON IN MELODY AND IMPROVISATION.

- Go to you tube- find one of these standard songs, and start to copy the melody exactly as the artist played it. Using his dynamics, articulations and tempo.These basics are most important these are particular technical areas that the jazz musician have to specialize in then feel free to present that information with some twists and turns of their own. All these people I chose have a great sound   technique that starts with melodies. This is not only is a basic tool for developing great technique, but also your time and knowing how to play along with the rhythm section. Not to mention sound production. Listening to these masters is essential to developing beautiful sound. Try to do everyone of these listed-if it takes a year - then you have something that is adding to your playing in a very internalized way.

This portion on my blog I also wanted to focus on the history of the saxophone showing you in a way,  that you really need to know these kind of standards,  featuring your instrument. By doing this it adds emotion and confidence to your music. Get started and watch what happens!

Lester Young - She's Funny In That Way

Coleman Hawkins - It's The Talk Of The Town

Charlie Parker - My Old Flame

Johnny Hodges - Night Wind

Lester Young - I'm Confessin' (That I Love You)

Chu Berry - On The Summy SIde Of The Street

Flip Phillips - Sweet And Lovely

Coleman Hawkins - Someone To Watch Over Me

 Jimmy Forrest- Night Train

Lester Young - Something To Remember You By

Ben Webster - I Got It Bad (And That Ain't Good)

Charlie Parker - Don't Blame Me

Chu Berry - A Ghost Of A Chance

Lester Young - East Of The Sun

Benny Carter - Stairway To The Stars

Coleman Hawkins - What Is There To Say?

 Jimmy Forrest- - Moonglow

Lester Young - Polka Dots And Moonbeams

Charlie Parker - The Gypsy

Coleman Hawkins - Sophisticated Lady

Charlie Ventura- Dark Eyes with Gene Krupa

Buddy Tate - Blue And Sentimental

Lester Young - These Foolish Things

Coleman Hawkins - I'm Through With Love

Here are some of the things you will learn from- JUST LEARNING TO PLAY THESE MELODY'S ABOVE :
  • A  clear understanding of  melody in relation to harmony, practically, harmony that will give you an advantage in every aspect of your musical life
  • The ability to understand music by ear and to play beautiful, melodic real melody's.
  • How to recognize how the chords move  to any song as easily
  • The mind set of those “musical geniuses” who can listen to any song once and immediately know how to play it
  • How to play directly from your imagination, expressing your own musical ideas exactly as you hear them in your mind- just as the artist did.
  • How to play standards with the freedom to be expressive and play in time.
  • How to  attend “jam sessions” and play jazz tunes by improvising together and not being stuck in a book, you will be able to recognize melody by ear and to play it instantly- because you have a hard drive in your ear from doing this! You will also learn to express your own musical ideas exactly as you hear them in your mind.
  •  HISTORY! ROOTS! Of what your instrument should sound like. Other aspects like- taste, control and telling a story.
  •  You need to stop worrying about “what mouthpiece someone plays” and just enjoy making music  knowing you developing internally a SKILL LEVEL and a set of roots, techniques on the language.

PLUS- It will enhance your phrasing! Phrasing should be internalized.

When you improvise a musical phrase, you are creating new melodies on the spot over an established chord progression. Therefore, knowing melody's is essential for creating a successful musical phrase.
 In Arnold Schoenberg’s   The Fundamentals of Musical Composition. He states;
  • “The term phrase means, structurally, a unit approximating to what one could sing in a single breath. Its ending suggests a form of punctuation such as a comma.”
  • “The mutual accommodation of melody and harmony is difficult at first. But the composer should never invent a melody without being conscious of its harmony.”

Get started learning these melody's- as the above artists played them. Make it part of what you shed everyday. This is a basic element to a solid foundation not only as an improvisor but also as a complete jazz player and beyond. See you next week - Tim Price

Tuesday, January 17, 2017

Tim Price Blogging For D'Addario Woodwinds-Your music should be a launching point and a departure point for personal expression.

Your music should be a launching point and a departure point for personal expression. Whether speech or natural sound,and anything that's carrying a personal  impression should be creating this. In simplest form-just carefully take the word -Morning. Now repeat it 50 times. This is what a single note can convey from hearing it in its own position and it's on relation to itself. Sometimes thinking of something in this matter without any other instrumental parts around it or any other contacts requires that we call upon some quite extraordinary abilities that rely on personal expression in response intuition. In a matter of the improviser music should be built upon memory and the fluid reality. As you play your first note to the solo play almost at random you should begin to develop your soul into a harmonic contexts that does beginning suggest via self interpreting and being creative mechanically. Just like when you said that one word-your creative energy and your speech pattern can change that one word or one note, it's something that lays on a deep personal level , it's as important as your musical abilities. Just like when somebody calls you on the phone you recognize their voice-you don't automatically think oh it could be one out of 75 people.
Improvising should be a direct result of your past conditioning and reference-something that already exists in time just like when you speak. Language can be finite in other words to the sum total of every statement every configuration of words, it is possible to string together, or it is possible to continue inventing new statements with in that . This way you're dealing more with context and vastness of natural languages-both idiomatically and in terms of your own vocabulary. This should be similar to an internal world that you simply use for what you've already worked on and internalize to study. Just like when you learn to talk you study the language-that's the principal function of a human being as of artist or a seeker of things on the improvisational level, and internalizing your basic skills is an absolute must.
( If not, think of the babble of an infant who has not learned to talk or express themselves!  )
Improvised music should rely upon contrasting sounds with the player themselves and the ensemble, if you cut your harmonic activity to a minimum and think of groupings and textures within what your playing and make that your main vehicle of expression, in the beginning  new sonics and contrasting shapes will start to present themselves to you. You have to cross your boundaries zones! You'll find a musical universe of your own inside one note of the time this is what I call simplicity of expression and also your tuning in to your own thoughts as an improviser .

Through the history all the greats have re-imagined the music and also invited you into it to experience on a  unexpected personal level . Think about this try to apply it as you're doing this you're going to be awakening what you already know and also opening your ears more-unity and cohesiveness will become a new tool .

Hope this helps, as always  there's some technical builders and other material at the bottom of this blog. Keep in mind I am always looking for clinics and workshops worldwide-if you have a budget please consider me, or tell somebody about me. You can always contact me through my email at timpricejazz I offer an ocean of possibilities, please keep me in mind.

Tuesday, January 10, 2017

Tim Price Bloggin' For D'Addario Woodwinds- Practical involvement and keeping the channel open.

PRACTICAL APPLICATION 1. of, involving, or concerned with experience or actual use; not theoretical 2. of or concerned with ordinary affairs, work, etc. 3. adapted or adaptable for use 4. of, involving, or trained by practice 5. being such for all useful or general purposes; virtual TRAINED BY PRACTICE. Get out there, and make the music stronger. I've been saying this. Sure. Thing is the guys that are my age when we went to Berklee in 1969, could already play a wedding, or bar gig. We were not Coltrane or Stanley Turrentine nor Stan Getz but we realized this music was- HANDS ON.

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. 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 !!
As we remember as Sonny Rollins said- " MUSIC IS AN OPEN SKY".
Michael Brecker, god bless him, was a great friend of mine. He knew tunes without a Real Book in front of him. Like my blog said last week- I hope people are taking heed and looking at that reality. Everything ain't Wayne Shorter tunes and " Inner Urge". Nor is it one chord funk jams- though we all love to play them. It's about a new reality and NOT trying to be like some guy you hear or read about. ~Beyond-the-classroom opportunities.ok? Search inside you for the the inner sources of spontaneous creation,where art in the widest sense comes from. The whole enterprise of improvisation in life and art,is about yourself.All the things in life you love to do, regardless of how well you or others think you do them. Whoever you are, and whatever you do, discover what creativity is, where it comes from,and how we can make it sizzle and on your own terms.Ypu do that with otheres on the bandstand, in the loft, practice room, garage, backroom bar and rehearsal room. But do it!Jamming becomes a shared manifestation of a single impulse at least an attempt at it – and when you all lock in together, there’s nothing like that feeling. If I had to choose between jamming and gigging, I’d choose jamming – just for the excitement of finding that groove with a different bunch of people. At its core jamming is all about collaboration, instinct and innovation. One musician may start things off but it is the obligation of every other musician to build on that, take it further, push the envelope and ultimately take it to a new place. To get jamming to work each player must pick up on other players thoughts, translate them, add to them and then pass it back to them for the process to perpetuate itself. Done well it creates a powerful chain reaction of energized collaboration and creativity that produces something new and wonderful.It also allows you to tap into a deeper, more diverse brains trust that can lead to ground-breaking new ideas for your organization.
Charlie Mariano used to tell me- " YOU GOTTA PLAY".' With that, I'll close this blog- go play. Get off pro-crasta-net and play, shed, work in a new reed and DO IT. Practical application...real world. Get it? hope's life!!!!

My contribution is to spread love and inspiration through music. Check- and read the book above about R & B...You'll love it. In LA. In some small way I would like to think that this could make a difference. In the process I hope to inspire people to seek the truth in themselves and music, and get deep inside of the art form we love. It's all about that. As Lester Bowie said- " It all depends on what ya know". ~TILL NEXT WEEK....Keep on. Tim Price....

PS- - If your looking for some stuff to practice-look no further. Below is a few study's of mine to practice- - hope you like them.

" All a musician can do is to get closer to the source"....John Coltrane

Wednesday, January 4, 2017

Tim Price Bloggin' For D'Addario Woodwinds- aspects about improvising & thoughts within.

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

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 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.

Have you ever considered at what time are you the most creative or when is your mind highly productive? For some people it is when they just wake up in the morning or when they are about to go to sleep. Others find that they are most creative in the shower or when relaxing in the bath. I have also found that people are creative when they are driving along the highway or going for a relaxing walk. Interestingly, not many people actually state that they are most creative when at work, which could be the reason why our abilities to solve problems. The key to achieving a highly creative and productive mind is to move into a relaxed state of being, that is, when your mind enters the alpha state. Relaxation, music and mind set all equal a high creative state of mind.
I'm about not just playing jazz, or rock, blues,funk but making the music something lager than any word could describe. After all-the music is bigger than all of us! To get to a good train of thought requires practice and being aware of the world. You already have the answers...keep on your dreams and work hard. There's no quick fix or gear that will replace books, CDs and shed time. One bedroom video is only that, go out and play for REAL people.

I practice everyday, and I practice for at least 2 hours before I do anything. I don't do it because I think that Warren Haynes or Mike Stern or Bjork 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......Tim Price Bloggin' For D'Addario Woowinds.

PS- Some stuff to shed below if your interested ;


Wednesday, December 28, 2016

Tim Price Bloggin' for D'Addario Woodwinds- Being flexible on dominant 7th chords.



I thought I'd take some time this week and define some 7th chords and their functions. It is something every improvisor needs more clarity on due to the amount of things to hear and play. Let's get started.

Seventh chords are the most common extension of the basic 3-note triad you come across.
A seventh chord is built by adding an extra note to a triad which is an interval of a 7th above the root note.
e.g. If you build a triad on C you will use the notes (C-E-G). If you add a another note a 7th above C then you will have C-E-G-B. You have just created a basic seventh chord.

The 5 Types of Seventh Chords

There are 5 types of 7th chord you will come across and want to use in your music. Each one gives a characteristic sound which will help you when composing music.

Major seventh chord

The major seventh chord has a much softer sound than the dominant seventh. Again, it is created by taking a major triad, but this time adding a note a major seventh (11 semitones) above the root.
e.g. a major seventh chord on C contains the notes C-E-G-B (B is a major seventh/11 semitones above C).
You will often see it written as CM7.

Keep in mind, these below are very easy to learn. But make sure you can hear and apply them.

Half-diminished seventh chord

The half diminished seventh chord is the first of the two 7th chords which give a feeling of tension.
It is created by taking a diminished triad and adding a note a minor seventh (10 semitones) above the root.
e.g. a half diminished seventh chord on C contains the notes C-Eb-Gb-Bb.
You will often see it written as a slashed circle followed by a 7 (see the table below)
Can you hear the feeling of tension you get with the half-diminished seventh chord?

Diminished seventh chord

The final seventh chord is the diminished seventh chord. This gives a very distinctive tense and scary feel.
It is created by taking a diminished triad and adding a note a diminished seventh (9 semitones) above the root.
e.g. a diminished seventh chord on C contains the notes C-Eb-Gb-Bbb). (Bbb is “B double flat”).
You will often see it written as a small circle followed by a 7 (see the table below)
As you can tell from the audio example below it is a brilliant chord to use if you want to create tension in your music.Hope this lesson has helped you understand seventh chords and given you some inspiration for your composing.
I have put together a summary below of  seventh chords to make things easy, and some

Secondary dominants- if you take a few minutes to try these, study them you'll be solid on these forever.

In connection with the dominant and predominant chords we discussed the meaning of the tritone as a tension-building ("dominant") interval. To recognize a key by ear, it is enough to hear the tritone resolve into either a major or a minor chord.
A major or minor triad can build on a variety of degrees of a key and sound "like the tonic" if preceded by its dominant chord. An example of this is the second degree chord (Dm) in C major preceded by A7 (V7 in D minor): the relationship between these chords is stronger than in the ordinary progression VI-II (Am-Dm). This is due to the tritone resolution: the third and seventh of A7 resolve into the root and third of Dm.
The dom7 always includes a tritone; since a major key only includes one tritone, secondary dominants always include altered notes.
The symbol for a secondary dominant is the dominant chord sign (V, Vs, or VII) followed by a slash (/). The slash is followed by the scale degree (secondary tonic) into which the secondary dominant resolves.
In the example below, we see the secondary dominant chords in C major with their secondary tonics (root + third) with scale degree symbols and absolute chord signs. A diminished triad, the VII degree does not have a secondary dominant (or the II degree of a minor scale).
The tritone resolutions of the same chords with consequent chromatic alterations are seen below:
If a minor third is added in the tritone, the result is a secondary dominant of the VII type. If another third is added on top of the tritone, the result is a secondary dominant of the VII7 type, which is a diminished four-note chord. A diminished chord includes two tritones; their proper resolution is shown in the example. While the diminished chord includes two tritones demanding resolution, the dominant type (V7/) secondary dominant is the most common because it builds a fourth relation to the secondary tonic.

 ALSO STUDY WITH TIM PRICE ON SKYPE....Contact Tim at for more details on enrollment.

Thursday, December 15, 2016

Tim Price Bloggin' For D'Addario Woodwinds- TP's holiday blog chock full of stuff to shed, things to think about and TP's kitchen sink Xmas cookie recipe.

Tim Price Bloggin' For D'Addario Woodwinds- TP's holiday blog chock full of stuff to shed, things to think about and TP's kitchen sink Xmas cookie recipe.

Merry Christmas blog- stuff to shed. Change you life, change your sound and add some slide in your stride this holiday season. Also my " kitchen sink" cookie recipe, don't worry the lobster comes on NYE. HA!! And some long tone study's at the end- so you don't sound whacked out. There is a LOT here and stuff you do not find in books. EG- The Billy James lesson. Get started and keep your reed wet and practice your long tones and listen to Lester Young. Merry Christmas, Warmest Wishes for Happy Holidays and a Happy New Year. Cheers! 

This lesson with Billy James was a joy.It was published in JAZZ PLAYER in 1996. Billy was the drummer with the famous Sonny Stitt bands that featured Billy and Don Patterson. I was blessed to know & work with Billy and Don through various parts of my life. This lesson is something special- as Billy was one of the greatest organ group drummers in the world. day I also found out he was deeper than that, of course. I gig in Philly was fouled up somehow- at the last minute we had no organ player. A Philly bassist Dylan Taylor was there to hang- and say hi to when we realized this. SO- WE WENT TRIO!! Billy- bass and me!! I couldn't stop playing...Billy inspired me so hard with this open sound within HIS THING and just going for it. To me- there was only one Billy James....guys like Sonny Stitt knew it- so did Lockjaw Davis and Eddie Harris. Read this and see why. God bless Billy- he was one of the real ones. ANY SAXOPHONIST...Worth their salt should know this man's playing. Get into the players like  this- find their groove and style. Your sax playing will get better quick- watch what happens. Jazz is a street music- everything that you learn in a classroom is one thing. KNOWING....your history and the players within the music is vital. No excuses!  Enjoy.

This is the _VERSE_To " Body & Soul" given to me by jazz legend Big Nick Nicholas. If your familiar with the Coltrane tune " Big Nick"....Well that's who this is.
I usually play this verse rubato then segue into the tune. I'm posting this as a respect to my friend BIG NICK..because he's not known as well as he should be, and by getting this out into everyone's hands...we all can keep the VERSE to this tune alive...and also one of the real tenor players in jazz BIG NICK.
Big Nick was also the man Bird went to, to get songs and ideas for them for his " Bird With Strings" recording.
I consider myself very lucky to have known Nick in this life...and this is a great way to keep his name alive...and legacy. If you play this...and pass it on...remember where it came from please.

SO THERE YOU GOT IT.....Practice and study this stuff.

Happy holidays from me to you and your playing. The best in the new year and remember to practice long tones everyday or you'll sound whacked out. You don't wanna sound whacked out do you?

SO...Dig and study the long tones page below. AND...don't think that your getting thru the holiday without a TP Xmas cookie recipe?
Nooooooo....It's right below the long tones.

Enjoy these blog as much as I enjoy doing it- Happy holidays.

~  TIM PRICE...D'Addario Woodwinds blogger- artist.


(17.5 ounce) package Betty Crocker™ oatmeal cookie mix
cup butter
tablespoon water
teaspoon vanilla extract
cup Nature Valley™ granola (use your favorite flavor!)
cup mini holiday M&M'S™ minis chocolate candies, or red and green cherry bits


  • Heat oven to 375°F. Don't put your reeds or mouthpieces in the oven!
  • Prepare cookies as directed on the Betty Crocker Oatmeal Cookie Mix package, mixing in 1 teaspoon vanilla with the egg, butter and water. Put on a Sonny Stitt CD- chill.
  • Stir in the Nature Valley™ Granola and the M&M™ candies. Be careful not to over mix the dough or the M&M™ colors will bleed into the dough.
  • Drop the dough onto an ungreased cookie sheet in rounded tablespoonfuls.
  • Bake 9 to 10 minutes or until edges are a light golden brown. Let cool 2 minutes. Remove from cookie sheets to cooling racks. Let cool completely.