Many are entranced by harmony, the in & out of the music. So to speak.But there's more to it than a techinique- it's THE MELODY. How you phrase it and the message.
I note with extreme interest, that to get to a level of a Coltrane, Miles Davis or Michael Brecker, one needs to have their melody playing as tight as possible. To many rely on what might be " required" or the peer group their in. But realistically speaking, you need MELODY to make the advanced techniques work.You need to enhance your playing with the richness of color and its subsequent emotional power to bring the listener into your story. After all, you won't be playing for your peers all your life. Right?
Learning standards, such as " Body & Soul", " Stardust", " I Can't Get Started" and so many others.In this sense I mean knowing the song without a fake book. Playing from that agenda. Of course tunes like " Soul Eyes", " Lush Life" and Strayhorn gems need chord lead sheet road maps.But the agenda of knowing standards is essential.Improvising is a bottomless pit of discovery with unending combinations,but it's useless unless you study the roots of the music. If you do not know the melody, and chords to ballads like I mentioned or worse yet songs like " All Blues" and " Tune Up" there are huge missing links within.
Without the aspect of swing, and melody the core of the tradition is not present.With out question the supremacy of melody has to be acknowledged.We all know that harmony shades and supports melody,enhancing its beauty and depth. In jazz creating a strong melody stands as a crowning achievement.
We have all remarked when an innocent child speaks their mind and reveals something candid, with no worries about consequences, failure, or judgment that makes us think. We also know there is something envious about that special quality; raw freedom to express with no fears or hang-ups. When a young student drums on a desk, draws on a paper, or sings, sincerity is at its best. And it’s all valid because it’s sincere.
Our attraction to music is a personal one. Sure, there are peer pressures, and multi musical purposes, but somewhere in our hearts we have our own musical tastes. To step forward and play what you feel might be your best move.I feel it’s tragic to not explore music and life through creativity and self development. I respect the ideal of traditional development of needed musical skills but not at the cost of creativity. No one should have to wait some undetermined amount of time to compose something or even think about composing something.Ditto with improvisation. Same with any writing or art. It’s sincere. It’s in the moment.
The path of a true "artist" is a rocky road. It's like walking up wet glass at times but after a while it's fun.It is your business to keep the channel open.You have to keep open and aware directly to the urges that motivate you.You'll note a slow emergence almost imperceptible. it will be something you never forget.
Now's the time tell a genuine story, speak the truth, and someone will appreciate it.It is part and parcel of being an artist.
Keep the channel open, and try your best.You'll learn something special.The saxophone has long been considered to be the most versatile musical instrument.The spontaneity of an artist doesn't flow from an unrehearsed consciousness. It flows because they thought about things hard and honestly, as to obtain a level of direction within their performance.
To obtain total creative control, it must be thought about, studied, listened to and internalized even more. When I heard Michael Brecker play in concert the thing that struck me was how he used changes in volume (dynamics) to great effect. Sure, he played fast, high and split notes etc BUT it was his use of dynamics that floored me. Listen to the 30 second long, almost inaudible Low B at the end of Delta City Blues. Get my drift?!? Another great example is Stan Getz, on the CD " Sweet Rain", listen to the dynamics of the entire recording. Especially " Litha". How about Coltrane on " Stardust", or Coltrane on " Lush Life" ? The majority of Trane guys never approach the Prestige / Blue Note Coltrane conceptions, just the later/modal stuff.
~ Just a quick commercial saxually speaking..about clinics-workshops and concerts.
I'm expanding my base of operations more and more. Week to week- I'm finding out that I need to get to YOUR city for performances, school concerts-clinics and so on. As I book myself, I am just letting those interested know.
Check out Jeff Coffins words about what I do ;
"Tim Price has captured my imagination on many occasions with his forward thinking arrangements and wonderfully captivating playing. He is a unique musician made more unique because he has searched and found his own voice. Truly a rare find in music."
~ Jeff Coffin
Tim Price- On the Road (Promo)
http://www.youtube.com/watch?v=YGaAWGW5gWo
EUROPE ESPECIALLY! Let me know how I can be of service? JUST ASK!!
http://www.timpricejazz.com/booking.html
I'll be talking more about ~stepping forward~ and taking your chances. Now's the time.
Thanks, and keep on your path......Tim Price
Many are entranced by harmony, the in & out of the music. So to speak.But there's more to it than a techinique- it's THE MELODY. How you phrase it and the message.
I note with extreme interest, that to get to a level of a Coltrane, Miles Davis or Michael Brecker, one needs to have their melody playing as tight as possible. To many rely on what might be " required" or the peer group their in. But realistically speaking, you need MELODY to make the advanced techniques work.You need to enhance your playing with the richness of color and its subsequent emotional power to bring the listener into your story. After all, you won't be playing for your peers all your life. Right?
Learning standards, such as " Body & Soul", " Stardust", " I Can't Get Started" and so many others.In this sense I mean knowing the song without a fake book. Playing from that agenda. Of course tunes like " Soul Eyes", " Lush Life" and Strayhorn gems need chord lead sheet road maps.But the agenda of knowing standards is essential.Improvising is a bottomless pit of discovery with unending combinations,but it's useless unless you study the roots of the music. If you do not know the melody, and chords to ballads like I mentioned or worse yet songs like " All Blues" and " Tune Up" there are huge missing links within.
Without the aspect of swing, and melody the core of the tradition is not present.With out question the supremacy of melody has to be acknowledged.We all know that harmony shades and supports melody,enhancing its beauty and depth. In jazz creating a strong melody stands as a crowning achievement.
We have all remarked when an innocent child speaks their mind and reveals something candid, with no worries about consequences, failure, or judgment that makes us think. We also know there is something envious about that special quality; raw freedom to express with no fears or hang-ups. When a young student drums on a desk, draws on a paper, or sings, sincerity is at its best. And it’s all valid because it’s sincere.
Our attraction to music is a personal one. Sure, there are peer pressures, and multi musical purposes, but somewhere in our hearts we have our own musical tastes. To step forward and play what you feel might be your best move.I feel it’s tragic to not explore music and life through creativity and self development. I respect the ideal of traditional development of needed musical skills but not at the cost of creativity. No one should have to wait some undetermined amount of time to compose something or even think about composing something.Ditto with improvisation. Same with any writing or art. It’s sincere. It’s in the moment.
The path of a true "artist" is a rocky road. It's like walking up wet glass at times but after a while it's fun.It is your business to keep the channel open.You have to keep open and aware directly to the urges that motivate you.You'll note a slow emergence almost imperceptible. it will be something you never forget.
Now's the time tell a genuine story, speak the truth, and someone will appreciate it.It is part and parcel of being an artist.
Keep the channel open, and try your best.You'll learn something special.The saxophone has long been considered to be the most versatile musical instrument.The spontaneity of an artist doesn't flow from an unrehearsed consciousness. It flows because they thought about things hard and honestly, as to obtain a level of direction within their performance.
To obtain total creative control, it must be thought about, studied, listened to and internalized even more. When I heard Michael Brecker play in concert the thing that struck me was how he used changes in volume (dynamics) to great effect. Sure, he played fast, high and split notes etc BUT it was his use of dynamics that floored me. Listen to the 30 second long, almost inaudible Low B at the end of Delta City Blues. Get my drift?!? Another great example is Stan Getz, on the CD " Sweet Rain", listen to the dynamics of the entire recording. Especially " Litha". How about Coltrane on " Stardust", or Coltrane on " Lush Life" ? The majority of Trane guys never approach the Prestige / Blue Note Coltrane conceptions, just the later/modal stuff.
~ Just a quick commercial saxually speaking..about clinics-workshops and concerts.
I'm expanding my base of operations more and more. Week to week- I'm finding out that I need to get to YOUR city for performances, school concerts-clinics and so on. As I book myself, I am just letting those interested know.
Check out Jeff Coffins words about what I do ;
"Tim Price has captured my imagination on many occasions with his forward thinking arrangements and wonderfully captivating playing. He is a unique musician made more unique because he has searched and found his own voice. Truly a rare find in music."
~ Jeff Coffin
Tim Price- On the Road (Promo)
http://www.youtube.com/watch?v=YGaAWGW5gWo
EUROPE ESPECIALLY! Let me know how I can be of service? JUST ASK!!
http://www.timpricejazz.com/booking.html
I'll be talking more about ~stepping forward~ and taking your chances. Now's the time.
Thanks, and keep on your path......Tim Price
Tim: Try to get booked into Havana Nights in Virginia Beach. Contact John Toomey at jtoomey@odu.edu just a word of warning, they will want you to use his rhythm section. John Toomey was Maynard's Music Director and piano player in the early 80's. He teachs at Old Dominion University. His bass player is Jimmy Masters, his drummer varies. Ken Peplowski played there and used John's Trio to back him up. Anyway if you can get a gig down here I would come, it'd be great to see you again. They just had vocalist Kenny Washington 2 weeks ago, he sang great.
ReplyDeleteTake care,
Larry W