Monday, February 28, 2011

Tim Price Blogging For Rico-Playing jazz should be just as natural and relaxed as talking.

~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.

Being able to improvise on I GOT RHYTHM changes appears much more as a puzzle or study that must be negotiated than as an opportunity look within and reach for new sounds you hear. Improvising means creating music that is spontaneous, of the now, and your own. It will not get played if you yourself don’t play it, and try.

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. Thank god for them!

Todays 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. In a word- BASICS that last for your career.

Just some thinking on subjects we all love and are close to our agenda.

Here's some lunch for your ears, and I'll see you next week!


Charlie Parker Early Recordings 1943

Till then......BIRD LIVES!


If your in the Reading, Pa / Greater Berks- Philly areas and a student that wants to play. Please come by!

Tim Price Adventures In Jazz

( Rt 422 Reading, Pa In the lower store level. )

Playing jazz should be just as natural and relaxed as talking. The key to mastery of this art form is to be able to have access to all your abilities and acquire new abilities in a stress-free manner.The Tim Price Adventures In Jazz Workshop Series at Berks Jazz Festival at Boscovs East. Sunday March 27 th at 12 noon.Any student may bring their horn and sit in. ( Students only )
Bassist Bruce Ketterer will be on hand, plus a hand picked band by Tim's friend/former student and tour de force on alto sax- Nathan Bellott.The music focus is workshop style playing on blues/standards and the groove within them. Tim Price uses a core of student musicians to play-experiment and try jazz techniques.This event is free and open to all students that are interested in furthering their jazz skills. Understanding basic levels and skills are suggested.This first series Tim calls " Jazz In The Classroom- at Boscovs East" via his Adventures In Jazz Series is a token of respect to the masters he was associated with at Berklee College of Music in Boston.Tim Price and his students provide a fun and relaxing way to improve your jazz skill and increase your knowledge of jazz.Tim Price's goal is dedicated to the American art form known as jazz, his mission is to promote jazz education and performance.Join him for the adventure.


In addition to a full complement of students he teaches in New York City at the New School University, and his private studio on 46th st. As well as Reading, Pa and worldwide SKYPE students,Tim Price has put on instructional clinics around the country and in Europe. His expertise both in teaching instrumental technique and jazz improvisation makes him highly effective. His knowledge and experience as a full time player clearly permeates his method of teaching - an ability he has been officially recognized for. Tim endorses RICO REEDS at trade-shows and clinics worldwide. Call him at 610-370-1544.

All presentations are based on a school's individual needs and will meet the students at their level. Teachers may request specific topics in advance. I'm here to help you.

Tuesday, February 22, 2011

Tim Price Bloggin' For Rico- How things really are- Sound/Music and lunch for your ears.

The saxophone sound is one of the most powerful tools of expression that you have and one of the first things you should strive to make personal.

It has been the thumbprint to a players style and life. To cop a sound so close to another player shows lack of imagination, and also lack of roots. ROOTS ! Yes, lets talk about that...masters like Johnny Hodges, Ben Webster, Coleman Hawkins, Lester Young,Roland Kirk, Phil Woods,Ben Webster,Dexter Gordon,Sonny Rollins,Charlie Mariano,Eric Dolphy, George Braith, Yusef Lateef, Albert Ayler, Gato, Tina Brooks, Serge Chaloff and Cannonball Adderley. Their sounds were an integral part of their musical identity. It didn’t matter if they only played a few notes, just hearing that sound was enough to get their message across to the audience. Then there's soul. SOUL! Players like King Curtis, Jimmy Forrest, Stanley Turrentine, Fathead Newman,Gene Barge aka Daddy G, Earl Bostic, Hank Crawford and Houston Person to name a few. Their sound encompassed all the aspects of their musicianship and is a direct result of the time spent on the horn.This element needs to be addressed these days more. The sound becomes ingrained into your personal concept, becoming an essential part of the overall message that you are communicating. Ultimately, if sound is lacking, the other areas of your playing, are lost on the listener.

Listening to players like this starts the mystifying process of self-realization, self discovery that ultimately governs one’s evolution. Improvising, after all, means creating music that is spontaneous, of the moment, and uniquely your own.The instrument becomes a process of self-discovery, finding out what your music really sounds like. You develop a period of looking honestly within, stripping away the BS that we have all collected in our attempt to sound like we can play, and listening for the simple melodic voice that really is our own. It’s there, if we really listen for it. The edge is something that has to do with not only the ESP of knowing, but the "bring it on" part.

OK- Next I want to talk about a CD that you all must listen to. Just get it right away and start listening. That CD is..." I talk With The Spirits" by Roland Kirk. YOU GOT TO HEAR THIS! Recoded in 1964, "I Talk with the Spirits" is one of Roland Kirk's most revered albums. It was the first and only time that the innovative multi-instrumentalist would focus entirely on flutes. The result is this hip otherworldly album on which beautiful ballads, blues-inflected jazz with a serene, celestial frequency. Kirk delivers a mixed bag of classics ("We'll Be Together Again," "People," and "My Ship") plus brilliant originals, like "Serenade to a Cuckoo". Something here I always felt about Kirk was his unsurpassed integrity. This CD is a must to hear- it sets a mood you will enjoy and also is one of the greatest jazz flute CD's in the world. You hear that sound like I was talking about before, that extra ingredient that makes music special, to make you feel nothing but good all over and constantly musical.

This CD, I always truly felt was something that was influential to many musicians outside of jazz as well. Take a listen and you'll hear whatI mean.

Another CD I think is a must is- Everybody Digs Bill Evans by Bill Evans.His style style became the blueprint for jazz musicians to follow, and his work has been cited as an influence on Herbie Hancock, Pat Metheny, Chick Corea and so many others. Bill's telepathic musical communication, perfect music from the first note to the last. This CD and the Kirk CD demonstrate a benchmark that exists in jazz- IF you hear it. A certain level that was the call of the day-and an excellence amoung those who played.The quality of his work is astonishing, deep, swinging and high quality- his ability to project the inner essence of a song is unmatched.

On a personal note- I'm looking forward to my Berks Jazz Festival concert coming up in March 2011. We kick off the Berks Jazz Festival at Gerald Veasley’s Jazz Base at the Crowne Plaza. With Tim Price, Ryan Anselmi’s Soulful Tenor Madness.
Info here;,_Ryan_Anselmis_Soulful_Tenor_Madness

Also- I'm looking to expand my base of operations thru the summer and future. If you know of summer festivals, summer workshops, University sax camps and anything in that mind set-pass my name on to the people in charge, and also give me a heads up on contact information.Get tome at- . I'm looking to expand my teaching/playing/education ideas further.

If you think of someone who might enjoy what I do please tell them to go here for info:

Also- I'm very excited about this CD that the great Bob Mintzer played on, and played my tune " Twins Of Spirit" , with drummer Sean Kennedy.
Please take a listen and enjoy my composition.
Bob Mintzer, tenor- Performing "Twins of Spirit" Composed by-Tim Price
YouTube - Bob Mintzer with The Sean J. Kennedy Quartet
from the disc QUEEN ANNE'S REVENGE by The Sean J. Kennedy Quartet

~ OK- See you next week. This is what's on my mind the week of February 21, 2011.

Remember to strive for tone, and enjoy life!

Tim Price

Tuesday, February 15, 2011

Tim Price Bloggin For Rico- Using your mind and ear in improvising.

This week on the blog,I would like to focus on ear training, the ability of being able to hear various intervals and melodies in your musical mind without having an instrument in your hands. Start with simple things like scales, arpeggios, and patterns. Hear them in your mind and ear.

Try to hear a standard tune. Hear the drums, the bass, and piano. Imagine the sound, think of how yuor favorite players sound- shape your imagery towards that.Another nice form of ear training involves reading music without an instrument. Take a standard,or etude, and try to hear the sound and shape of the music in your head. The first thing you might observe is the form (AABA, AAB, etc etc). Next, see what the melody does. Does a particular phrase repeat in a sequential fashion? How does one 4 or 8 bar phrase lead to the next, and what are the common threads? Once you get the hang of what these qualities are, you will have a broader understanding to hear what is going on.Your music will sound healthier, and you will be better able to bring your music to the public. This is a form of practicing without your instrument as well. You'll enjoy it and grow musically as well. Many times at clinics and workshops I really focus on this aspect of our education.

ALSO- As an educator, it is easy finding the spirit of imagination in my teaching. On the bandstand, different values get focused on. Via commercial-industrial strength rock & roll playing or playing jazz. I'm always looking to find ways to isolate and capture this spirit via constant checking and re-checking of techniques-thought patterns , as it leads it's way closer.This will help you to develop natural confidence, by knowing information that you need to know. Remember your vision and keep your forward motion.

Till next week, eat well, exercise and walk as much as you can, and do what is meaningful in your daily routine. This is the best you can do.

~ Tim Price

Tuesday, February 8, 2011

Tim Price Bloggin' For Rico- The musical world of Lorenzo Squillari- bansuri master & flute maker.

~ I have been very fortunate to have had opportunity to listen to some great music when I was growing up in the 60's. Some of which had a strong influence from India. I woke up every day to some great music. I got opportunities to listen to maestros like Charlie Mariano, Charles Lloyd, Coltrane, John Handy, and in high school at this same time period I discovered Pandit Ravi Shankar. I had the pleasure of hearing him live while at Berklee in Boston three times! And then as well, I got an opportunity to learn from Charlie Mariano and got plenty of opportunities to watch him perform. Charlie as many of you know is my main inspiration. Charlie helped me get into Indian music and the music of India deeper and also sold me his spare Nadaswaram when I was 18 years old, then teaching me how to play it. I am of a firm belief that I owe a lot to listening to this great music of India. It has expanded my ears and creative base so much, that my thinking around many musics became more mature and effective.

~ In a recent conversation with my friend Roberto Romeo on Saturday, we were talking about a great musician and flute maker named Lorenzo Squillari. Lorenzo Squillari used to make visits to Roberto's NYC shop on 46th street and sell his beautiful flutes, as well as many other exotic flutes made of stone. I own many of his flutes, and play them on many of my gigs. They are an asset to my musical vision.

He is from Italy and is a master flute maker and musician! One summer I had the pleasure of meeting Lorenzo in person, as Roberto introduced him to me. ( Thank you Roberto! ) His musicianship and creative being was amazing! Not only could he play raga based musics of India but also jazz on the bansuris. I never forgot this remarkable man from Italy with a boundless imagination and inspirational creative spirit. On Saturday Roberto, Hyun Joo and I checked out his videos on you tube and were knocked out! Lorenzo has his own approach to musical expression- and it travels through many musics. Lorenzo's playing struck me through its variety, its flexibility, its colour and above all its liveliness.This striking effect can be heard on his videos listed below.

Let this Rico Blog help this gifted innovator- flute maker gain a a wider prominence to the readers of this blog. Spread the word my friends!

In closing,whatever your passion, keep at it, and keep listening. Keep reaching out to people with a spirit of love, friendship and compassion. As Sonny Rollins said
" Music Is A Open Sky."

See ya'll next week - TIM PRICE

Check these out!!!

Lorenzo Squillari - Italy

Hariprasad Chaurasia vicenza Maj 07 with Lorenzo Squillari

Lorenzo Squillari - Roma 27/02/10 - Workshop Bansuri.wmv

Idea Jalsa Pandit Hariprasad Chaurasia

In closing, no matter what music you play, remember this ;

" Music is a universal language. The sound of the melody touches everyones heart and mind. Those people who have never heard this music take a few minutes to feel it, then they enjoy it in their own way."
~Ali Akbar Khan


The Bansuri flute may be seen in many sacred pictures of Lord Krishna and Saraswati, goddess of music.The Bansuri is a transverse flute made of a single length of bamboo and has six or seven open finger holes.There are no keys to produce sharps and flats, therefore all accidentals and microtones, as well as meend (glissandi) and other ornaments, so important to Indian classical music, are produced by a unique fingering technique. The Bansuri with its pastoral association and the chosen instrument of Lord Krishna, is one of the oldest musical instruments of India: it is mentioned in the Vedas and is depicted in the Buddhist art of 2,000 years ago. One Sanskrit verse credits the Bansuri as the source of swarajnana - the knowledge of music. Although the Bansuri is among the most ancient musical instruments of India, its status as a concert instrument for north Indian classical music is a relatively recent phenomenon. This favorite instrument was brought into the fold of Hindustani classical music by the legendary maestro the late Pandit Pannalal Ghosh .