Tim Price Bloggin' For Rico- NOW'S THE TIME! For where thoughts travel your energies do follow!

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.



That's a lot more those days of "learning vocabulary". I think that was a better way but it is not today's reality.When I started Berklee I was prepaired from Joe and Sam. Friends I met from the beginning in Boston, like Joe Lovano, Roger Rosenberg, Ross Konikoff, Jeff Lorber, Scofield, Hal Grossman/ Saxist Steve's brother, Arnie Krackowsky and Rick Wald all shared this sympatico. We could play a blues without music and also play Basie charts. THINK ABOUT THAT REALITY. ( 1969! )

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.PLAY!!

Players used to network on bands and at clubs neither of which exist to any degree. Turn the TV and computer off and get in the life lane! Clubs and concerts are in need of people in the room, and listening to the music.Go and enjoy, I say " Listen to what the music does, not what it doesn't ".

It is very important that we, as musicians, come out and support each other on the scene as much as possible. I try my best to mentor my students, and anyone else in the music who approaches me with questions. It's important to also encourage students to attend their peers recitals/gigs. I did that ALL THE TIME when I was in school, that's when you actually have the time to do it! We all have a responsibility to keep it going, creating, and putting postive energy out there. I am hopeful that the economy will bounce back and we will start filling seats again too!


It's time for stronger community and a vibe that transcends money, politics, ego and anything else. This is art!

Reality. Reality can change,MUST CHANGE, that's what I'm talking about. We establish ourselves in a consciousness of perfection to step forward, not be stuck in the mud.
Musicians are _supposed to be_ connected to inner wisdom and peace.When you live with optimism you achieve optimal results
Purpose is something greater than your self. It changes who you are into who you are in to!
Motives is your destination driving wheel- this is 2012- not 1959 !

If you will it... it will BE
If you see it... you can do IT
if you hear it... you can express IT

MUSICIANS ARE CREATIVE PEOPLE TOO. MUSICIANS HAVE A HIGHER CONSCIOUSNESSES.

For where thoughts travel your energies do follow!

I have an agenda.

~ Tim Price

WWW.TIMPRICEJAZZ.COM






The below picture is my hero of hero's in this life John LaPorta! I knew him from day one at Berklee to decades after I graduated- he stayed in touch with me as a friend and mentor.From 1969 till the year he passed- that is some kinda cool and hip person. THE BEST!
The picture was taken at a Joe Viola birthday party-outside Boston. John and his lovely wife and yours truly. John was the greatest educaor, person and player ever. When he saw me at the party- right off he said, " So Tim man, are you still hittin' on that crazy bassoon or what baby." He is a daily inspiration- the planet is not the same without him.

If your not hip to him -now's the time on that too. The most creative clarinetist of his era and then some,he played with Charlie Parker, Dizzy Gillespie, Miles Davis, Duke Ellington, Gunther Schuller, Herb Pomeroy, Billy Eckstine, Kenny Clarke, Lester Young, Max Roach, Hank Mobley, Bill Evans, Buddy Rich, Bill Harris, Fats Navarro, Oscar Pettiford, Helen Merrill, Neal Hefti, Johnny Mathis, and the big band Orange Then Blue. He was also impressive as a classical soloist, performing under Bernstein, Stravinsky, Stokowski and the Boston Pops.

BUT- In Berklee he set us all straight because he cared and loved the music. THIS WEEKS BLOG IS DEDICATED TO HIM. Thank you John from me and thousands of others for being there.