Tuesday, July 30, 2013

Tim Price Bloggin' For Rico Reeds- THE SONG IS YOU.

Everyone has dreams. Whether they are big or small, they have vast importance in our lives. However, the procrastinator in all of us doesn't have to win. The Little Engine That Could was on to something with the whole "I think I can" mentality. With just a little bit of planning, accomplishing a goal is a simple task. Start working toward your goals today. Ask yourself, "What can I do today to get one step ahead, however small, closer to achieving my goals?" Stay focused and believe in yourself even if others do not believe in you.Define and describe your goal. Write down when you want to achieve it. Write down the reasons why you want it. Write down what it would feel like after you have achieved it and write down your accomplished goals Figure out exactly what it will take to get it. Be realistic about the time things will take. Many people don't allow themselves enough time, and give up too soon.Once you've broken down your goal into pieces, write down the steps on a piece of paper to make sure you have everything thought out. One of the worst things that can happen is you're almost to the point of your goal, but you're not sure what to do next. Also, give yourself deadlines for each step. Otherwise, you'll end up procrastinating and never achieving your dream. Visualize. Close your eyes and imagine yourself accomplishing your goals. Where are you? How did you get there? How do you feel? Do this often. Don’t get swayed easily with the noise and happenings going on outside. Put your attention on what you are trying to achieve. Remember the goal, and you will have control over the discomforts and difficulties.. Now that you have the momentum going, don't let it stop! Some steps may seem less exciting than others seem, but make sure to stick to your plan until the end! Avoid distractions and stay focused. Don't allow yourself to be distracted by other energy consuming efforts.Be positive. Always believe that you will achieve your goal. As soon as you stop believing, you have already failed.BUT- Keep trying. as Phil Woods once told me - " If you don't try you die." Don't forget the words of Lao-Tze: "A journey of a thousand miles begins with a single step." Put Lao and Phil's words together in your mind...you can't loose! Till next week...enjoy your summer and keep on the path- Tim Price

Tuesday, July 23, 2013

- Tim Price Bloggin' For Rico Reeds- Journeys, Listening & the abstract truth in the Jazz-A-Delic.

A nice quote from Rachel Z about Tim Price Jazz-A-Delic....." I've been thinking'.... " Jazz-a-delic is a sound that should be heard in every major jazz festival! It is unique and fun! People will L0VE it! "......Rachel Z'. Rachel Z. was..Keyboards formerly with Steps Ahead, Wayne Shorter and Peter Gabriel. As well as many gigs with me as well. Here's the press P-R on my Friday gig....For the upcoming BUILDING 24 performance, Price will showcase his Jazz-A-Delic project, featuring vibraphonist/percussionist Randy Sutin, drummer/composer/educator Sean Kennedy; and bassist Mark Amentt.The 2013 BERKS JAZZ FESTIVAL performance for Tim Price Jazz-A-Delic was >> STANDING ROOM ONLY... BOTH SHOWS.This high energy emotionally charged band is becoming a must hear for anyone who is looking for high quality music with players that have roots, experience and the right Jazz-A-Delic attitude to let you know that music is universal language.Within the band structure of jazz, world-beat, R&B and a special musical nod to the essence of jam bands, give this unit musical scope and emotional power -- not to mention the commercial appeal -- expanding the repertoire beyond labels to embrace works that redefines ethereal grooves of the 1960s. Price is a musician who lives locally but plays globally. He travels the world playing jazz and has had the good fortune to have bands of his own featuring world-class players such as Lew Tabackin, Bennie Green, Carl Allen, Ray Drummond, Rachel Z, Richie Cole, Stanton Moore, and Bill Goodwin.Price also has been a special guest with Grateful Dead member Bob Weir's RATDOG.When he is not performing or teaching, Price keeps busy writing about jazz and playing the saxophone. He has authored three books published through Hal Leonard.His also writes a weekly blog for Rico Reeds. Houston Person, Jay Migliori and Sean Kennedy, featuring Yellowjackets saxophonist Bob Mintzer, have recorded music written by Price, who also teaches at the New School University in New York City. He has been part of the jazz education department for over a decade.Dutch and contemporary sax star Candy Dulfer refers to Price as her mentor. - The Jazz-A-Delic...is a frame of mind. In a world of labels I searched for something that is open-ended. I found it.I am in themidst of a city that has a smooth jazz festival that is amazing. For over 22 years, I headlined and had my own bands here. With guests like Richie Cole, Lew Tabackin, Bobby Zankell, Chuck Zuerin, Greasy Tenor Madness, Rachel Z, Bill Goodwin and more. Those are all leaders, recording artists and major jazz voices that came...TO PLAY.The fun was in the music- people heard it-responded and I drew an audience within the smooth festival for jazz hat was different than the smooth. More straight ahead, funky, blues based with saxophone battles,and just plain fun. The Jazz-A-Delic...was an idea I got from sitting in with Jam bands like Bob Weir and Ratdog. Or gigs with Lynyrd Skynyrd. - My roots are in jazz, Blue Note records and tenor saxophone sounds.Rabid tenor freak here too. But it was time to mix the stew and jump up into the mix of competition- and it's working.The band is focused, rehearsed and loaded with inspiring sidemen like Randy Sutin- Vibes-gongs, the ever ready gifted Sean Kennedy and thebassist supreme and master of groove Mark Ammett. Music is an open sky as Mr. Rollins said-and fun. Try to come out- listen and experience this. - Listening is everything. Whatever kind of music you play...should be based on playing is reaction. To go beyond just you,and listen to what's going on around you. This brings in something greater than notes, or hip re-harms, playing in a bag or equipment etc etc. YOU SHOULD...Be reacting to everything you hear. How can you play with others if your not listening. You can't! You're supposed to be complementing and in the moment. Everything depends on your ears and listening.- Think about it. - Thanks for reading this...and being there dear readers- enjoy this crazy July and keep the music on tilt!! - Tim Price Teaching lessons is a journey, sounds from many times and places. As a teacher I try to act as a facilitator to guide the student ( of any age/level) to be comfortable playing the written and improvised music. I'm trained to listen, to observe and to customize my approach to their needs. I'm also on the IP and OP Jazz Faculty of New School University in New York City. I teach on SKYPE ; in NYC & Reading, Pa. And teach all woodwinds, as well as saxophones. Contact me at timpricejazz@aol.com

Tuesday, July 16, 2013

Tim Price Bloggin' For Rico Reeds- Charlie Mariano & his multicultural textures, Nadaswaram & more.

In my early days at Berklee School Of Music, before Berklee was a College it was called Berklee School Of Music. The school I attended was at 1140 Boylston St. I went there because I wanted to study with Charlie Mariano, as well as Joe Viola and all the other cool people there. Before going to Berklee, I saw in the Berklee newspaper a picture of Charlie Mariano with a Nadaswaram. It's a double reed instrument with a conical bore which gradually enlarges toward the lower end. It is usually made of ebony. The top portion has a metal staple (called "Mel Anaichu") into which is inserted a small metallic cylinder (called "Kendai") which carries the mouthpiece made of reed. Besides spare reeds, a small ivory or horn needle is attached to the Nadaswaram. This needle is used to clear the mouthpiece of saliva particles and allows the free passage of air. The Nadaswaram has seven finger-holes. There are five additional holes drilled at the bottom which are used as controllers. The Nagaswaram has a range of two and a half octaves like the flute. The system of fingering is similar to that of the flute. But unlike the flute, where semi and quarter tones are produced by the partial opening and closing of the finger holes, in the Nadaswaram they are produced by adjusting the pressure and strength of the air-flow into the pipe. Hence it is a very exacting instrument. Also, due to its intense volume and strength is much more suited for open spaces than for closed indoor concert situations. I was into Paul Horn, Ravi Shankar and John Handy in high school. Listening to the adaption they made with the Indian culture. But of course Coltrane as well. So one day, Charlie sais to me " Hey Tim, want to buy my spare Nadaswaram? " I could barely sleep- I just turned 18 and was head first into everything Charlie said. So I copped it and started to study it with him.To really to be honest , it did a number on my chops at first. It was easy to play, just to get a sound out of. But- to actually play the Ragas and India based studys requires EXTEREME endurance. It tunes ( from our concert instruments ,like piano/violin) an :::Augmented 4th:::and you learn how to bend the pitch with your chops. Mariano taught me this instrument in a very special way. Lessons would be hours and just fun. Sometimes Joe Viola would pop in to listen and check it out. At this point in time like I said, I was 18 and Charlie was 50. he had already played with Kenton, Mingus and a tribute to Coltrane record with Elvin Jones called " Dear John C". He is a timeless person. The nadaswaram really helped me understand the music of India and how it related to jazz. At the time I used to hear Charlie play nadaswaram in Boston with OSMOSSIS, A raga-rock band he had that recorded for RCA. OK-this band kicked holy-*** in the way it sounded.They had two drummers, and a full rhythm section and vocalist. Plus Charlie!! They played " The Boston Tea Party" a Filmore style rock club, and opened for Zappa and Cream. Mariano's lines across the raga-rock grooves were transcendental. NOBODY -was playing like this. The band was on the wrong coast, had they been in the SanFran Bay scene, something might of went down. One of my brilliant students Owen Summers has some links and download info here on OSMOSSIS; http://owensummers.blogspot.com/2008/12/charlie-mariano-osmosis.html Charlie had me chew beetle-nuts to get the double reeds harder , which is like an Indian candy almost walnut or chesnut like , and coated with a sugarish coating. The beetle nut made the reeds for Nadaswaram more vibrant and helped them regain hardness. < they also made you high from the juices- really a buzz to remember > There are very few Americans playing nadaswaram at this point.I was very, lucky to have been around a soulful person like Charlie Mariano at that point in my life. It was an amazing experience. You can tell over 30 years later, the thoughts and memory's are like yesterday. There are some amazing YOU TUBE tracks with Charlie on saxophone, with the KCP4 live at Rudolstadt 2007. Very deep music and so beautiful.Mariano has never been one to stand on tradition, his playing from the 40s on was about expansion.His style was full of bends and fashionable forms to his liking. Or to explore the world music that was his obsession for decades way before anyone else started on it. His playing explored the width and the depth of rich post-bop music. He truly was THE MASTER of this path. But what makes the contribution even more compelling is the way Mariano was weaving and segueing music into a tapestry of compelling moods and color. It's a rewarding listening experience for fans and musicians alike. Charlies gorgeous multicultural textures is an intense experience, so much so that it's tempting to just enjoy it 24-7. For me it always will be a transcendent experience exploding in every direction. His music absolutely bustles with energy and movement decade after decade- weather blowing alto, sopranos ( curved or straight!! ), and nadaswaram within an inch of his life, was constantly agile, lightning quick, and sharp as a tack--and presented himself at the top of his game always. -----There's some great information always from Bobby Stern about Charlie- and the Nadaswaram here too.Very cool stuff from Bobby! http://www.bobbysternjazz.com/1/post/2013/05/korner-karnataka-charlie-mariano-konnakolsolkattu-prof-dave-king.html Quite a lesson he taught us and a destination I'm quite happy to be seeking myself upon his life long inspiration. What a great player. What a great person too. Till next week, Keep reaching out to people with a spirit of love and compassion. Doing this will help the environment we live in today a little bit....TIM PRICE' - - CHECK THESE OUT TOO; - - - Supersister - Iskander (Full Album) HQ http://www.youtube.com/watch?feature=player_embedded&v=X2DgIJtvcmw.....Charlie Mariano "Parvati's Dance"....https://www.youtube.com/watch?v=ilL-XobFv_8 - A FEW YEARS AGO...My bro Rob Polan & his great wife Kristen and son Miles, came to visit me. They tried my Nadaswaram, which was Charlie Mariano's spare. It tunes an augmented 4th from piano. Quite the instrument and quite a joy to play. Rob and Kristen had some fun too! Their son Miles was fascinated by it- he almost got a sound. Next time he will!

Tuesday, July 9, 2013

Tim Price Bloggin' For Rico Reeds.....Ronnie Cuber the most distinctive & innovative baritone saxophonist- a modern day master.

Rico artist Ronnie Cuber is a strikingly individualistic baritone saxophonist, with a distinctively muscular sound and approach, as well as a talent for finding a personal route through the many styles of contempoary music. Be it with George Benson or Maynard Fergerson on through Steve Gadd, Eric Clapton, Eddie Palmeri and hundreds of others. He provides a support within the great baritone sound he gets,that's as often reflective as it is soulful.So many musicians forget about the sound of the baritone, Ronnie is THE benchmark of a beautiful, one of a kind sound. In this aspect, he stands alone. If you listen to the George Benson Cookbooks “66” “67” on Columbia, Which have already been released on CD, You'll find a early twenties baritone saxophone master. As you listen to this keep in mind that Benson and Cuber had this as a working band.That Benson band,from the day, was a working unit and a marvelous display of an an emerging Ronnie Cuber. As Cuber developed past his early years into a quintessential sideman for people as diverse as, Eddie Palmieri or Aretha Franklin and King Curtis. In his teens he was chosen to perform in Marshall Brown's Newport Youth Band at the 1959 Newport Jazz Festival.In 1962 Ronnie Cuber had recorded with Slide Hampton. He worked and recorded with Maynard Ferguson's band from 1963-1965. After stints with the orchestras of both Lionel Hampton and Woody Herman , Cuber augmented his New York session work by performing and recording with the great Latin bands of Eddie Palmieri, Charlie Palmieri, Mario Bauza. At the same time,Cuber was playing alongside and recording with R&B legend King Curtis and backing Aretha Franklin.Ronnie holds this association in high regard. He loved his friendship with King also.His killin' solos with Lee Konitz's Nonet from 1977-79 are historic as well as a study in Bari -sax-ology.. During that decade and the 1980s, Mr. Cuber also recorded with Mickey Tucker, Rein De Graaff, and Nick Brignola, and appeared with such artists as Andy and Jerry Gonzalez and vibraphone player Bobby Paunetto. Other leading artists with whom Mr. Cuber has performed include Eric Clapton, Steely Dan, the Eagles, Chaka Khan, Maynard Ferguson, Conrad Herwig, Boz Scaggs, Horace Silver, and Frank Zappa.From the 1990s to the present, Mr. Cuber has performed regularly with the Mingus Big Band and recorded several discs for Steeplechase and Fresh Sound. He created the Baritone Saxophone Band Tribute to Gerry Mulligan, and has spent summers touring with blues artist Dr. John, for whose band he has written numerous large horn section arrangements for tour and television performances. Mr. Cuber's summer 2000 tour found him opening for Dr. John at European jazz festivals with his quartet and his old friend, organist Lonnie Smith. This is someone that has something to offer every listener of all tastes and ranges musically. Cuber is a musicians musician, as well as one of the most gifted players ever. His gift is in his ability to function with somebody like Steve Gadd and then go record with Horace Silver, at the same time do a tour with Eric Clapton. If you pick up anything under Cuber's name, you're guaranteed a winner.Do yourself a favor, and check out everything he has done.His new C.D....Live At JazzFest Berlin one of the very best jazz releases of 2013. Bar none! Ronnie Cuber is one of the few musicians today, and that goes past just that I believe you can put on and listen from beginning to end, and be consistently enthralled without one moment of hesitation or impatience.His playing sums up sums up the brilliance of the probably the greatest modern day baritone saxophonist,and supreme creators.As an educator- I recommend Ronnie highly as I was a student of his in the mid 70's - he opened the door for me to a greater understanding of baritone saxophone playing as well as was an amazing person to hear in a teaching situation- he was extremely helpful and supportive.....Till next week check out Ronnie Cuber and keep it real....TIM PRICE