Thursday, August 28, 2014

Tim Price Bloggin' For D'Addario Woodwinds- .Commitment to your art form -EDDIE SHU and more.

- EDDIE SHU.....This guy is beyond words- and swinging like wild.A true Jazz genius https://www.youtube.com/watch?v=7T64pb4pMl4&feature=youtu.be MORE VIDEO- Of Eddie Shu here- https://www.youtube.com/watch?v=ffm4rt-Uks0&feature=youtu.be . . . . - What it is...Is hard work and commitment.Commitment to your chosen art form, and desire to do just that.Creativity and responsibility are twins in art. One cannot claim to be truly creative without being responsible. However, the commitment of an artist to a cause should never be blind commitment. The artist should always retain the right to question motives. In that way the artist will remain faithful to both creativity and social responsibility.If all art is a form of communication, all art is produced with an audience in mind. The process of artistic creation is an exercise in communication and as all communication must be able to communicate, it therefore follows that the process of artistic creation entails the responsibility to communicate. It can therefore be argued that there is no necessary contradiction between creativity and responsibility in art. I know that there are philosophies like art for art’s sake, which can be contrasted to say the literature of commitment. But I say you cannot be truly creative without being responsible. The moment you stop being responsible you stop being truly creative.IT DON'T JUST HAPPEN. 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 Price

Friday, August 15, 2014

Tim Price Bloggin' For D'Addario Woodwinds- Inspiration from an inspiration- Bennie Maupin.

- In listening to Lee Morgan last night... I started to reflect on hearing Bennie Maupin with Lee & Herbie Hancock, Horace Silver through the years. All those Blue Note records- which are always in constant rotation in my listening. He had his own thing, played saxello, bass clarinet & the woodwinds in such a personal way. My kinda hero! To me there are things in this music & life that transcend money or anything- and that's acknowledge from your hero's & peers. I met Bennie over two decades ago- after I played a demo at a trade show in LA. That's where the picture with Branford is from....I'll never forget that day! He came over and just started to talk & was amazing. Since then we've stayed in touch, became friends and I can't describe the _high_that comes with someone coming up to me- and saying that Bennie Maupin told them about me. It makes me practice harder- and stay on my path....because that what's happening. Inspiration-knowledge, hard work- wash & repeat. That to me is why I do what Ido..in this multifaceted ART FORM. Here is a nice quote Bennie Maupin gave me years ago for my website...there's no room for depression or any funny stuff with guys who I listened to for ever giving me some vibes like that. Have a great weekend ya'll - keep on. HERE IS HIS QUOTE - - "Tim Price continues to explore and develop his deeply personal approach to music. Through the years his persistence, determination and passion has enabled him to create a stellar reputation as a multiple woodwind master, composer, producer, author and last but not least educator. Tim is one of the best musicians active today and I'm happy to say he's my friend...." -Bennie Maupin ;; - - - LISTEN TO BENNIE MAUPIN AS MUCH AS POSSIBLE- HE IS THE MEDIUM & MESSAGE YOUR EARS NEED. MORE SOON- Tim Price

Tuesday, August 5, 2014

Tim Price Bloggin' For D'Addario Woodwinds- Sonnymoon for.....YOU !

This is Sonny on RIVERSIDE in 1957, when as the liners say, he was undisputed ruling the DOWNBEAT critic's poll and at the top of his form. I like this album because Sonny hits on some better known standards, but turns them into vehicles for his rich imagination as a leader and soloist... the tunes are catchy even before his solos (with the opening moments of JUST IN TIME bordering on almost weird), but once he starts soloing, things swing... majorly...The rhythm section needless to say is fitting... Sonny Clark on piano, Percy Heath and Paul Chambers on bass, Roy Haynes on drums. Sonny's tricky rhythms have Sonny C. laying out on THE LAST TIME I SAW PARIS - - I guess the man from St. Thomas could baffle the best ! His playing is energetic, colorful and graceful. It seems to engender respect for the material as well as his bandmates as demonstrated by the seemless manner in which he migrates between varied rhythm sections. I especially enjoyed the international "flavor" of "Mangoes," an interesting counterpoint to "The Last Time I Saw Paris." What I love about this album is that it demonstrates what an engaging player Sonny is and was... regardless of the tempo or tune he really gets your attention... even before the solos... I also like how he clearly states the melodies to the tunes, yet put his own things into it. The solos can be very simplistic yet hard driving at the same time... at other times, he'll lay a flurry of notes on you... That was another strength of his... to play on space and time and do it cleverly, yet always deep within the pocket. He was definitely one of the few immediate post-Parker players who had his own rhythmic thing going... a big fat fluent swingin' sound that makes you pay attention to each and every moment... and again, cute and clever ideas for the arrangements, showing the reason why he was a LEADER and not a sideman. THIS...is one of my favorite albums in jazz ever. If you know me- You know I'm a Sonny Clark fan as well."The Sound of Sonny" is Sonny Rollins' first and only recording with one of my all-time favorite bop pianists, Sonny Clark. Like most Sonny albums from this period, 80% of the material here is standards. However, it is a perfect blend of familiar and seldom heard standards, up-tempo grooves and touching ballads. Of particular interest here is Sonny's first unaccompanied solo recording ("It Could Happen To You"). "The Sound Of Sonny" ranks right up there with the best of them. Rollins' performance on this classic from 1957 not only solidified him as one of the greatest tenors of his generation, but, along with all of the other material from his illustrious fifty plus year career, has stood the test of time to make him one of the all-time greatest musicians regardless of style. Backed by a duo of legends in bassist Ray Brown and drummer Shelly Manne, Rollins cooks from beginning to end. He is in prime form, still a relativly unknown tenor when this album came out, he plays like a man ahead of his years. Sonny's tone is hard, percussive, rasping, and even playful, a full spectrum of colors and moods. What makes this a truly great album is that every single note Rollins plays is a highlight. His soloing stands up to repeated listening and rewards the effort with something new each time through. Manne and Brown contribute fantastic performances of their own, matching Rollins by producing phenominal solos of their own.Sonny was in his absolute prime when he cut Way Out West. No tennor ever had a better tone than "Newk", and that includes some very exclusive company, (Clotrane, Getz, Shorter, etc.) The painstaking remastering job here brings out the brillance of his majestic sound. To me Sonny's pharsing has always had the same inherent rhythem as the great post-war singers like Sinatra and Tony Bennett. Without a single bad note or overstated pharse, Way Out West is some of the best hard-bop you'll ever hear. Fortunately Sonny is still going strong and at seventy-something he is still producing vital music for us to enjoy. Even the usually aggravating practice of sticking alternate takes behind the originals hardly makes a difference. Rollins, Manne, and Brown are so brimming with ideas, the longer alternates offer the listener just that much more of a good thing. This is one of those albums that needs to be in every jazz collection, even the cover photo is a classic. Buy this cd if you do not already own it, you will not be dissapointed. "Rollins Plays for Bird" is vintage Sonny Rollins -- an album with the perfect combination of medium tempo hard boppers and scintillating ballads. But unlike other recordings, you get them here all in one song. "The Bird Medley" features seven different Charlie Parker songs, all strung together intelligently by the band of Sonny, Kenny Dorham, Wade Legge, George Morrow and Max Roach. While the medley is album's focal point there are two other tracks, the eloquent ballad "I've Grown Accustomed to Your Face" and "Kids Know," featuring terrific horn interplay by Sonny and Dorham."Rollins Plays for Bird" is vintage Sonny Rollins -- an album with the perfect combination of medium tempo hard boppers and scintilating ballads. But unlike other recordings, you get them here all in one song. "The Bird Medley" features seven diiferent Charlie Parker songs, all strung together intelligently by the band of Sonny, Kenny Dorham, Wade Legge, George Morrow and Max Roach. While the medley is album's focal point there are two other tracks, the eloquent ballad "I've Grown Accustomed to Your Face" and "Kids Know," featuring terrific horn interplay by Sonny and Dorham. In my review of the previous incarnation of this CD, I complained that the "The House I Live In" should have been included here to complete this 10/5/56 session. STILL....important timeless music. Rollins was only 20 years old when track 13, I Know, was recorded in January 17, 1951. Eleven months later, the then 21 year old Rollins was on tracks 5-12 (Scoops, With a Song in My Heart, Newk's Fadeaway, Time on My Hands, This Love of Mine, Shadrack, On a Slow Boat to China, and Mambo Bounce.) It is interesting that at 21 he already had a song that contained his nickname - Newk - on the album. The first four tracks on the album were the last ones recorded (October 7, 1953).I am a big MJQ fan to begin with, so having Rollins with the original members - John Lewis, Percy Heath, Milt Jackson and Kenny Clarke - is heavenly to me. I will not bore you with feeble attempts at describing the music (the first four tracks) because the sound samples do a far better job than I. As a drummer I was particularly interested in Kenny Clarke's playing. He is the father of bebop drumming, so paired in this musical setting showed aspects of his playing that is not evident in his earlier work, not his later work with Bud Powell in Paris. The bulk of this album - tracks 5 through 12, feature an interesting quartet format with the great Kenny Drew on piano, Percy Heath apparently borrowed from MJQ for the session, and Art Blakey on drums. Art's drumming is pretty subdued considering his explosive technique with other ensembles, including his early work with Clifford Brown and his career with the Jazz Messengers. The focus is Sonny's tenor and the tone is beautiful. When you consider that he was barely 21 when these tracks were recorded you have to wonder why he felt so compelled to spend a chunk of 1959 practicing on the Williamsburg Bridge eight years later. What I love about the final track is the fact that Miles Davis wrote the song and also played piano on it (backed by Percy Heath on bass and Roy Haynes on drums with Sonny's beautiful tone coming from that tenor.) I remember a story about Dizzy chiding Miles for not using the piano more. Apparently that chiding had an effect. For the life of me I do not understand why it took so long to release this album. It was recorded in three sessions between January 1951 and October 1953, but was not released until 1956. Regardless of why, the long period between completion and release does show that the music was still relevant - and this during a time when jazz was rapidly evolving in a number of directions. To me the music is as relevant today as it was when first recorded. These are some Sonny that...should appeal to you....listen and enjoy. More Sonny soon too- -TIM PRICE

Monday, July 14, 2014

Tim Price Bloggin' For D'Addario Woodwinds- Coleman Hawkins; 12 keys ; Study material for saxophonists.

Coleman Hawkins; 12 keys ; Study material for saxophonists....by Tim Price Any saxophonist worth their salt, needs to cross the threshold of Coleman Randolph Hawkins aka " The Bean". These are the kind of examples I assign to students to enhance their strength and swing as well as harmonic ideas. I hope you find them helpful. Immerse your ears and mind in Coleman Hawkins- the results will be positive. Thanks. hope this helps.....thank you - Tim Price

Tuesday, July 1, 2014

Tim Price Bloggin' For D'Addario- Enhancing your levels of self-discipline.

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. Some, call it conception! 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. ( smile) 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. - At this point in my life...it's concept. Self-discipline is like a muscle. The more you train it, the stronger you become. The less you train it, the weaker you become. Think of the results- just for you.Confidence before an audition! Confidence when picking up your horn to play in a new setting- your primed and ready. Relaxed and confident! We all possess different levels of self-discipline. Everyone has some — if you can hold your breath a few seconds, you have some self-discipline. But not everyone has developed their discipline to the same degree. Check it out- it takes self-discipline to build self-discipline. Similarly, the basic method to build self-discipline is to tackle challenges that you can successfully accomplish but which are near your limit. This doesn’t mean trying something and failing at it every day, you must start with challenges that are within your current ability. Old opportunities will dry up. New opportunities will begin to appear.Your mind set does change- and so does your ability on whatever you are working on with discipline. Invitations that once attracted you will seem boring, while others will become interesting to you.People will change how they relate to you. Some will become more distant while others will zoom closer.Gigs will appear, you'll enjoy things more. Things you used to merely dream about will begin to seem possible for you. Celebrate your success! ENJOY YOUR 4TH OF JULY......Relax and let all the energy settle and re-group. Hopefully it will be a bright sunny day. See ya'll next week...I'm going to go listen to some Lars Gullin then maybe some Steve Grossman on Import CD's my bro Sam Phipps found for me- Keep on...TIM PRICE

Thursday, June 26, 2014

Tim Price Bloggin' For D'Addario- SOUND ; The importance of Roscoe Mitchell.

This music ranks as one of the holy grails of free jazz, like the iconic recordings from the '60s of Ornette Coleman, Cecil Taylor, Albert Ayler, Trane ,when that style of playing was new, fresh and not cliched. Just exquisite. Yes, this is a historic recording--the first AACM recording, but more importantly, Mitchell's record is an amazing set of music by some very original and creative musicians.There are two versions of "Ornette", an aptly named short piece.Although the title is "Sound", silence is equally important here, as the musicians examine the notes and the spaces between them. The ensemble playing shows some traces of free jazz, some traces of third stream, but ultimately is a highly original work that continues to fascinate four decades later.For any lover of creative jazz players of this era, this album is no less than essential. Personnel..... Roscoe Mitchell – alto saxophone, clarinet, flute, recorder Lester Bowie – trumpet, flugelhorn, harmonica Malachi Favors – bass Maurice McIntyre – tenor saxophone Lester Lashley – trombone, cello Alvin Fielder – percussion Arrangement-wise, it employed a number of instruments largely foreign to avant-garde jazz -- not just cello and clarinet, but the AEC's notorious "little instruments," like recorder, whistle, harmonica, and assorted small percussion devices (gourds, maracas, bells, etc.), heard to best effect on the playful "Little Suite." Structurally, Sound heralded a whole new approach to free improvisation; where most previous free jazz prized an unrelenting fever pitch of emotion, Sound was full of wide-open spaces between instruments CHECK YOU TUBE ; https://www.youtube.com/watch?v=aJST92-UNVE...Listen and learn. After the energy of Ornette Coleman, Cecil Taylor, Albert Ayler, and the late Coltrane, SOUND introduced an entirely different approach to the developing free jazz avant-garde -- the deliberate use of space and the elimination of the pulse.This recording of Roscoe Mitchell's compositions was the first recording by the new AACM. IMPORTANT AND VITAL MUSIC...that should be listened to by all.So, I have been a fan of Mr. Mitchell for a long time; the melodious writing is in a category by itself! Love this music!Check it out....it sounds so modern and fresh to this day. ~~ Tim Price / Blogging For D'Addario//

Wednesday, June 18, 2014

Tim Price Bloggin' For D'Addario Woodwinds- Goals and a professional mindset.

We are thrust into life having to make decisions of all sorts. Most likely the one who doesn’t have a good understanding of certain things in a particular area will not make the best decisions there. When it comes to making progress in your life, you have to know what you actually want and don’t want. Of course there’s going to be times when you sometimes don’t know what you want, at that time you need to research and/or explore some things to find out what it is that you actually are looking for. But even before you start the process; it would be very beneficial to you if you have your goals in mind clearly noted before you go forward. A lot of times what happens is, we get lost in the middle of exploring and researching and forget why we started the pursuits in the first place. Of course we are going to get new ideas, get inspired, and increase our understanding as we go, but we just have to make sure we organize our thoughts so we’ll be able to make the next logical step to stay on course. New options will even come about as we go but we have to make sure we don’t get lost in the shuffle and get deterred in other directions that are not consistent with our original goals. Maybe our original goals do need to change a little bit, and that’s cool too. We all project things based on our knowledge and understanding at the time anyway but we can see the heart of what we were doing if we clearly documented what our goals were at the time they came to us. Action Steps 1. Think of one goal you want to accomplish in a particular category in your life, your career, family. 2. Think about what it will take to reach that goal. 3. Spell out the steps it will take to get there 4. Underneath each step put what type of questions that need to be asked in order to make that step happen. 5. As you get your questions together, make sure you research and ask others who are experts in the particular area so you’ll even know what questions to ask to get answers you really need. 6. Converse with people about your goals and your steps towards those goals. People always have resources that you’d never discover unless you talk to them. 7. As you get your questions and answers, start implementing what you receive and move accordingly to walk out every step towards your goals. You can follow these 7 steps and apply it to anything you want to accomplish no matter what category.