Wednesday, August 16, 2017

Tim Price Bloggin' For D'Addario Woodwinds- AND THERE'S MORE !

~ In today's world as a creative musician, teacher, recording artist and student you got to learn to hang in there. Music is a beautiful thing, something very important to life and all within. But just like anything else, nobody gives you something for nothing.

You have to understand that...
luck is where your lifelong preparation will join the opportunity. It's not easy either- don't expect because you can play " Giant Steps" or know the inner world of the " Creston Sonata" or have played every bar in the Jersey Shore that you deserve anything.

Before anything, you must love what you do. As Charles Bukowski said," You gotta have the guts." Do what you do and do it to the absolute best of your ability. Bukowski also said, " It’s no good quitting, there is always the smallest bit of light in the darkest of hells." This life can be a roller coaster. Sometimes you will make money,maybe great money. Often very little money and will struggle to get by. A strong work ethic is needed, as well as a strength of will. You also will have to be prepared when opportunity appears. Again- HARD WORK.The ethos behind lateral action is creativity coupled with productivity as the route for success, which also means creatively looking at our productivity. Perhaps sitting and squeezing out every drop of inspiration by sheer force isn’t the best way to get results.Like any productive creative process it’s all about balance and finding a way. The picture below- Is me with Philly jazz royalty Sam Reed- Sam is one of the legends in Philly jazz- we play with Phila Jazz Project a lot and he has played with everyone. One of the true tenor legends in this life. Great arranger too.

Nobody is entitled anything, remember that, it's HARD WORK to make a living as a musician. You must embrace the music with the pursuit of excellence.You earn it every cent you make. You'll get there by experience, and we ALL pay dues. These are things only time and a two thousand stupid gigs will teach you , or teaching a few days of fourth grade students for a few years. Don't complain-learn from every situation you find yourself in. We're only human- accept criticism without taking it personally. If you have an open mind, you'll learn and grow. You will never know all there is to know,always will be something new to learn.

Know this is a beautiful thing music, but it's also a business.Hang in there-it's no good quitting and your not entitled, but you have a vision in mind. Don't cheat yourself out of something you love.

Back in the day...As a teenager I heard a tenor saxophonist ~

~ The tenor players name was- Billy Mitchell! I saw him through a dirty bar room window in my home town in Reading, Pa as a kid. He wa splaying with trombonist Al Grey.That left a huge impression on me as a young player. Every week I'd go stand
outside & look thru the dirty glass window on 7th street ( which is where the railroad is...Eg-Reading Railroad for all you Monopoly fans ) And dig the bands. One time I heard Billy Root with Al Grey.Another time this guy FRANK HAYNES, who was like a Trane -grits type line player with a chitlins' Gene Ammons sound.
Frank later recorded with Lee Morgan & Grant Green.

AS time passed...I started to work on the next street at the C.P Club on
weekends and Sundays. ( C.P means Colored Political ) So I got
to meet some of those sax players while I was still in high school.We'd play a lot of soul music with jazz instrumentals as covers. It gave all of a chance to play but also meet some of these guys at an early age. After all- jazz did not start with " Giant Steps" and " Love Supreme". Years later at Berklee, in my apartment building, there was a guy who lived in my building in Boston Gary Hammond. Came off the road in 1970 to study in Boston..he just left " The Ice Breakers". Hammond later played with Patton and at times still does. Gary is a unsung player and a sweetheart of a guy. I
love his playin'. He's on some Johnny Hammond Smith records and some Barbara
Donald stuff on Cadence records. The picture below is yours truly and BETHLEHEM . . a Philly singer- artist of sonics that I have the pleasure to play with- and is a world class artist- Listen for her ok.

I got to mention two guys from Philly who played in that bag-one was the late great Rudy Jones. He never left Philly. He and I used to play a lot with Don Patterson in late 70's. Another Philly guy who never got credit was Vance Wilson. Great tenor player. 

I always get concerned about these guys because they were the backbone of tenor playing. Like Bergonzi said " The cats you never heard of". They helped me in many ways...I get concerned because these environments like the clubs etc are not around anymore. Even the audiences have changed. And believe me these bands and players were an education unto themselves. I worry that young players will miss the essence of
Fred Jackson , Marvin Cabell, Rudy Rutherford,Rudolph Johnson, Tom Russell, Weasel Parker, Leo Johnson in Newark,Miles Donahue,Sue Terry, Sam Phipps, Arnie Krackowski, Bll Saxton in NYC, Patience Higgins and so many more.With the loss of the record industry and the influx of commercial sales- things have gotten worse.Yes- the " net" is somewhat of a help but the players I'm talking about are of another era. These guys have paid some real dues.Listen for them. AND THERE'S MORE....

TILL NEXT WEEK, Keep a light in the window and a chilled cucumber vodka martini ready for me- Tim Price

Tuesday, August 8, 2017

Tim Price Bloggin' For D'Addario Woodwinds- “Bebop, Swing, and Bella Musica" ( book review)

A MUST!! Fascinating read of some of the players and people that make this music go round.

In this 383-page reference treasure, famous singers such as Frank Sinatra and Tony Bennett are profiled along with lesser known but important contemporary improvisers such as Frank Catalano, Jerry Bergonzi, and Joey Calderazzo. The authors point to several examples of Sinatra’s and Bennett’s contribution to the civil rights movement as well as their commitment to playing a vital role in the integration of jazz.

Celebrating the Italian contribution to jazz are the stories of many Italian-American musicians whose talents and determinations have enriched one of America’s greatest art forms. This book profiles musicians such as Tony Bennett, Joe Lovano, Flip Phillips, Louis Prima, Frank Sinatra, and Lennie Tristano, and also features original interviews with Louie Bellson, Sam Butera, Buddy DeFranco, Johnny Frigo, Buddy Greco, and Bucky Pizzarelli—who, in the pursuits of their craft, survived the immigrant experience, the Great Depression, poverty, and other personal tragedies. As Grammy Award-winning saxophonist Joe Lovano said, “Jazz has a specific root— the African American experience—but it’s also about the branches of the tree. Jazz is about cultures coming together, inspiring each other, which is what makes it so beautiful.”

"What a joy to see so many musicians I've worked with receive their due. Dal Cerro and Witter have composed a chronicle of history, love, joy and music that started in countless Italian American homes. A great musical read!"  —Gene DiNovi, bebop pianist and composer

In their recent book “Bebop, Swing, and Bella Musica: Jazz and the Italian American Experience,” co-authors Bill Dal Cerro and David Anthony Witter document “the many cultural barriers Italian-American musicians faced in the pursuit of the American Dream.”  They also postulate that the importance of melody and harmony to those of Italian extraction make for a common bond in their interpretation in any music, be it opera, popular music, or jazz.

A perfect summer read- for the student of jazz and music who wants to get a broader picture of the depth of the magnitude of the music.Louie Bellson, Lennie Tristano, Tony Bennett,

Buddy DeFranco, Flip Phillips and Joe Lovano: These are just some of the
hundreds of musicians of Italian descent whose talents have enriched jazz.

But Bebop, Swing and Bella Musica is more than just a book about music, this book documents the cultural barriers which Italians faced in their pursuit of the American Dream. It also profiles musicians like Joe Marsala who played an active role in the integration of jazz music.
Bebop, Swing and Bella Musica features original, in-depth interviews with many artists who overcame poverty, illness and other personal tragedies. In the end, they drew strength from the musical traditions of their ancestors, bringing Italian passion to America’s greatest art form. 

Do check this out...Highly recommended. Tim Price - D'Addario Woodwinds blogger ;

Wednesday, August 2, 2017

Tim Price Bloggin' For D'Addario Woodwinds-ALL THE THINGS YOU ARE. . . A blog about a innovative timeless human being- Joe Lovano.

ALL THE THINGS YOU ARE. . . A blog about a universal innovative human being- Joe Lovano.

  To function creatively in an art form like jazz one must think creatively and also have a reference. Joe Lovano is an amazing example and benchmark of that. I've known Joe since we were students at Berklee around 1970! The rapport and the simpatico within the music was always there and flowing. The beautiful part of it is all of us are still playing and involved in something we love. As time has passed evolution growth within the art form and also growth and development with the internals of the music are moving forward constantly. This blog this week is just some things I'm going to share about Joe… That you might not read anywhere else… And also some things that I feel strongly about.

When you hear Joe Lovano, you hear Joe Lovano. 
Joe has very deep roots in the music, he grew up in a musical family with the father that not only knew all the musicians, but knew them personally and had played and jammed with them. That is quite evident and I have always seen that as something that was passed on to Joe at early age-that love and fearlessness of just getting together and playing. Letting the music flow and letting the personalities in the music blend in many sonic directions within the notes and tones of the people creating it. 

Jazz is a peoples music-jazz is the original social media and always will be. 

The reality happens when the music is played. Everything else after that becomes evident and also becomes part of an atmosphere among friends and fellow travelers.NOTE; The book below, About the Italian-American players- this is a must read! Joe is in there of course and if you want a book that you can't put down- this is it. I love it!

This last Sunday we spent a lot of time talking about instruments and also doing some playing and hanging. I strongly urge you if you haven't already to listen to some of the many projects and recordings that Joe has done in his life. Each one contains a very special energy and a very special message the only Joe could do-it's like hearing somebody's voice on the telephone. Not only is he a tower of power on the tenor saxophone but he plays Tarogato, Alto saxophone, soprano saxophone, clarinets and straight alto saxophone and straight tenor saxophone ( made by Sax Dakota) as well as drums. And more!
In playing with Joe Sunday, jamming as Joe played the drums it reminded me of what a great drummer he also is. There are many saxophone players who are great drummers there's also many saxophone players who are incredible piano players to. Don't worry that will be subjects of other blogs in the future to help you get a focus on that dear reader. The authenticity of Joe's drumming is very inspiring also when somebody plays drums at a level like that it also enhances what they're doing on their woodwinds. That expansive creativity , and that search is something that makes your main instrument even stronger.

Google Joe's name and look at the multitude of things he's done from Woody Herman to Paul Motian to projects with Michael Brecker .The list is endless-you might find some recordings where he's playing alto clarinet you might find some recordings where he's playing straight tenor saxophone. Then again you might find recordings where he's playing standards with his own special touch. This is a person who has to play music- A special person who hears things in the music and moves forward and plays them! 
The above picture is Joe playing my vintage Vito LeBlanc C melody saxophone, and the below is yours truly trying Joe's vintage Conn C melody saxophone. Something in the sound of these horns from the improvisational orchestral spectrum  is inviting.

 The picture to the right is Joe's dad Big T Lovano- a Cleveland legend and the key element in Joe's saxophonistic agenda. You can see on Big T's tenor the Selmer Varitone attachment, on the bell keys. Players like Sonny Stitt, Lou Donaldson and Eddie Harris were involved with these sounds as well- a huge part of a vital thriving jazz era. Joe's dad was a great tenor player!
Joe's wife Judi is one of the premier sounds and innovators in jazz singing and voice. She literally is a sound that is so instrumentally reassuring and inspiring that you have to just sit back and say-this is ...a true individual artist. She is also a vivid artist whose work on canvas no matter pastel or oil. Multidimensional indeed for her. It's a beautiful thing when you see a deep family laying down a benchmark like this-seek out the recordings that Joe has with Judi, and also her own recordings,   you're in for a real treat. Again these are things that came from Joe's family in Cleveland-values and being raised by parents who love and care. I had the pleasure of hearing big T,  Joe's dad in the 70s in Cleveland. He had a huge saxophone sound and always swinging.

Check out- on you tube; Joe Lovano - Bass Space from SOLOS: the jazz sessions...If you want to hear some solo Tarogato- and some of the most beautiful sonic shapes and ideas.

 So there you have it, a small part of what one of the most unique and spiritual artists on today scene is about-put in the words by me who has known him since 1970.
Joe's contribution to this music and also the brotherhood that exists truly is, the sound of joy. Thank you-stay tuned I'll see you next week. ~ Tim Price

Thursday, July 27, 2017

Tim Price Bloggin' for D'Addario Woodwinds- IT DON'T JUST got to work.

- - 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. You got to work.< all art is produced with an audience in mind > ~ You do it, and keep doing it. That is.....what it is. 

 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 . It's called- day to day life. As I said, being a complete musician goes well beyond the notes. I’m grateful for that......As you read, Putting life together- and dealing with it. I'm glad I'm doing things I enjoy.

  The world is out there go find it.Live music needs your support! I continue to explore and learn all I can about all music in the quest to develop a voice.The more I know about what’s behind the music the more profound the effect is on my musical psyche.   I’m grateful for the era that I came up in, and the teachers, musicians that made me aware of these values. Balance!

I hope my words on this issue, in the process inspire people to do the right thing.Go hear some live music, support the people playing NOW, be part of it. Till next week be in the moment and make every moment the best it can be ~ Tim Price
PS- - THIS LADY...PLAYS HER AZZ OFF!!!!! D'Addario artist Mindi Abair and I at one of the Holiday shows she did a year ago or so- She is one of today's ultimate performers and players. If you see her concerts or CDs - get to them immediately- she is all that and more.
Proud to know her and call her a friend too. . one of the real ones today!


Wednesday, July 19, 2017

Tim Price Bloggin For D'Addario Woodwinds- A trip to Rahsaanapolis. Get your rip, rig & panic on. Today is the day on the D'Addario Blog that we remember the great instrumentalist Rashaan Roland Kirk


Today is the day on the  D'Addario Blog that  we remember the great

Rashaan Roland Kirk

Rahsaanapolis awaits you!
Today on the Rico Blog is the day we remember the great instrumentalist
Rashaan Roland Kirk, who was born on August 7th ( yesterday) 1935.
He was one of the most important musicians in jazz, now then and always. Check his history here :
As a assignment for ALL those interested, please go buy -

Rip, Rig & Panic

How can you miss with this band!
Roland Kirk - Tenor Saxophone, Stritch, Manzello, Flute, Siren, Oboe, Castanets
Jaki Byard - Piano
Richard Davis - Bass
Elvin Jones - Drums
You can even get a 2-for CD here; At CD Universe. Downloads too!,+Rig+And+Panic%2FNow+Please+Don't+You+Cry,+Beautiful+Edith.htm
This CD combines two of Roland Kirk's most celebrated albums. Rip, Rig and Panic is renowned because of the astounding line-up, Jaki Byard on piano, Richard Davis on bass, and the redoubtable Elvin Jones.In this respect it provides listeners,a good overview and trip into Rahsaanapolis.

This said, it would require a truck equipped with extra heavy-duty suspension to deliver the box set providing a comprehensive tour of Rahsaanapolis. Kirk was a man of profound contradictions, relentless experimentation, and an unquenchable appetite for music. He has been largely overlooked by jazz historians (to say nothing of the public!) and unfairly tagged as a novelty act because of his propensity for playing multiple horns simultaneously and actually making his own reed instruments out of bits and pieces of other reed instruments. But also listen to his gentle side- he was capable of playing music so fragile and beautiful check out " I Talk With The Spirits".

Who else could take you from Sidney Bechet, Don Byas, and Fats Waller and have the trip make sense? Kirk played everything he touched, and he played with unparalleled intensity. His flute playing was amazing, but his tenor sax work was simply off the map. Kirk belongs in the pantheon with Lester Young, Charlie Parker, Eric Dolphy, and John Coltrane - indeed, he's already there, it's just that the mainstream hasn't noticed yet. I'm not aware of any Rahsaan Roland Kirk CD that isn't worth the price of admission, but for veterans and first time visitors to Rahsaanapolis alike, this CD is a must have. Rico Blog readers get it now!
Are their musicians like this anymore? The experience is uncommonly artistic and uncompromising but never strains the ear or mind. As a free-range whole, Kirk was a poet's poet, clearly and constantly musical, with the mark of unsurpassed integrity.Give it up to Rahsaan.
I am lucky to be one of the few people who has all the Roland Kirk records on original vinyl. Including the rare stuff with Tubby Hayes and James Moody. In 1969 I saw him sit in with ZAPPA and The Mothers Of Invention at the Boston Globe Jazz Festival. He played Zappa's stuff and jammed on " Louie Louie".
Needless to was the best version of that tune I ever heard. HA!!
IN 1970.....I lived in a apartment building in Boston, a now famous building a lot of us lived in called " Holmes Hall" on Hemenway st in Boston down the street from Berklee. Jam sessions day and night, all kinds of sounds daily and great musicians there.Ray knew Kirk very well and took us down on a Sunday to hang.
In the midst of the hang, someone ordered a pizza. The guy shows with the pizza and dropped the change as Roland Kirk paid him. AT THAT POINT....Kirk .reaches down , and picks up the change and hands it to the guy. I had to know how he did that, I asked him. He was still going by the name Roland then, he looks at me and sais " EARS BABY". I am very lucky. He was the musician that influenced me to search out stritch and saxello and expand my woodwind mind set at an early age as well. Thank you sir for that sonic message!
Remembering a late great master innovator, bright moments indeed.
~ Tim Price

Roland Kirk - Rip, Rig & Panic

Roland Kirk - Alfie

Roland Kirk - Slippery, Hippery, Flippery
Buddy Guy, Jack Bruce, Roland Kirk, Jimmy Hope & Ron Burton Supershow Live

Thursday, July 13, 2017

Tim Price Bloggin' For D'Addario Woodwinds- Thank you Gary Burton! Much enjoyment in your retirement years & life.

Just a few weeks ago vibraphonist , leader, educator and jazz icon Gary Burton step back from the bandstand and went into retirement. I'd like to use today's blog to thank him for the multitude of recordings and direction and inspiration he's provided. His history should be obvious to any jazz fan, if it's not immediately obvious, please google him and make it a point to take some time and get familiar with him.

Gary was discovered first by iconic innovative jazz educator-master musician John LaPorta at a summer band camp. From what I remember from what John told me, it was one of those Stan Kenton camps. That said; Gary's career from a teenager to his final concerts always were bright spots and bright moments. In a world of music this man not only stands tall , but set an incredible benchmark for those who care to partake. His bands always  had the highest level players. Manny had been introduced to the jazz audience for the first time and stepping forward displaying what they have to offer. Gary's bands were always spot on, starting on time with a focus set and a forward motion and development of the music. Music for music sake at the highest level.

For me before attending Berklee I had heard Gary's first recordings that were new to me of course called " Duster" and " Tong Funeral" and of course I was lucky enough to hear him play live as a side man with jazz legend Stan Getz. The venue that I heard Gary play with Stan was the Lambertville music tent in Lambertville Pennsylvania. In the summers Lambertville would have jazz in this theater in the round. I have great memories in that era of hearing not just Stan but the Woody Herman band with Sal Nistico, Dave Brubeck and the MJQ. Places like that reinforced my fortitude and wanted to become a musician and also hearing how it was done a few feet from my face while I was still in high school. Stan's band had Gary, Steve swallow and Roy Haynes. Again the route was rehearse music and music of the highest level. They went from tune to tune like the established pros they were. This was of course before Gary's RCA records and I believe the only record and I had at that time was something called " New Vibes man in town". I quickly made it a practice to make sure when something came out with Gary on it , or one of his own recordings, I got it. And my ears and my knowledge were better for it. One of my favorite records was " Throb" which had violinist Richard Green on it and also a drummer who I later would have the joy of playing with, and having a great friendship named Bill Goodwin. Recordings that are timeless gems and stand tall in the direction of the art form of jazz.

As that was developing in the music-in my third and fourth years at Berklee I had Gary for improvisation classes and ensembles. He was a no-nonsense teacher and you left with knowledge and a firm grip of what he was teaching you. To this day I'll never forget this man's commitment to what he did for us as students, he came in the room knew all of us by name the second class. This was before computers and before passing out printouts. He would go to the blackboard and write out on the board within seconds cord progressions and scales that he wanted us to investigate and study. Many times and ensembles there was printed music that we've never seen from Mike Gibbs or Carla Bley. He'll pass out a concert sheet, and if you were a saxophonist or transposing instrument you were required to transpose that music on the spot. I remember a few times he also played piano in the ensembles, and his piano playing was very inspiring. In short he was a teacher that was of great assistance to me at that point in my life but also somebody who propagated and displayed musicianship that I had to be attained. A very friendly human being to.  Let me say that his " Berklee On Line" classes are something that had it's own importance as well. ANYONE...going to Berklee today worth their salt in any shape or form, should make it their business to listen and study Gary's playing but also his career. ( read his book too!)

There are many people in this business that came to Gary's bands as sidemen that have careers today that are untouchable. There was a certain ambiance about Gary's  four mallet technique and his choice of music was always the best. Always fresh tunes and as I said before well rehearsed and totally professional from the first tune to the last whether he played a concert or a club. Is bands always started on time! You never waited for Gary Burton to start a set. That says everything especially with the way the level has slipped today and the opposite has taken place which we won't get into. I have find memories of hearing Gary and also fun memories of the period that I encountered him while a student at Berklee. There was another thing I thought I'd mention-a few times and ensembles he say to people what would you like to play? I remember one time somebody called Sonny Rollins is tune " Airegin".... Gary Play the tune without any kind of second-guessing or anything, in the period of the Steve swallow tunes some of those tunes were very tricky to people who had not been playing songs with nine bar phrases or cord progressions that had stepped out of the bebop cycle. Being around Gary and hearing him play these and demonstrate these on a professional level within a few feet of you with some of the best education you could get. As I say, to hear is to see!

I admire somebody who created such a benchmark  in the music in so many ways I'm sure I'm missing a few as I write this blog. Things that today don't exist in the same level, like having a working band constantly, employing a band, a leader that had his skills together so that the band move smoothly and concentrated on the music.

Burton has been an innovator on several fronts: virtuoso soloist as well as influential bandleader and educator. He’s discovered one future star after another for his bands: Larry Coryell, Pat Metheny, Kurt Rosenwinkel, and, in his current quartet, the guitarist Julian Lage. Burton also ushered in the new wave of “jazz-rock fusion,” preceding Miles Davis by a couple of years. Meanwhile, as a teacher and administrator at Berklee for 33 years, he transformed the curriculum, bringing rock into the program, expanding the use of digital technology, and, more recently, initiating the school’s online education program.

I applaud Gary Burton for the career and more keys left in this music in many ways in many shapes. Also for the integrity that he has had as a human being musician educator an innovator. And that's a word that is used to freely today but yes indeed Gary Burton was a stone cold innovator. Thank you sir for touching this music so deeply and I wish you nothing but the best in your retirement. Health happiness and lots of sun and good times you've earned it. I bow deeply in your direction as somebody who has followed your career from not only a fan but a student who heard your message and the music, let this blog be a thumbs up and a huge thank you. Thank you Gary Burton!   

Tim Price Bloggin' For D'Addario Woodwinds 2017

Sunday, July 2, 2017

Tim Price Bloggin' For D'Addario Woodwinds- JULY IDEAS TO PRACTICE-LISTEN TO & MORE!

The music always has an infinite history and fertility, inexhaustible vitality, and at the same time, a seductive power of temptation - which inspires all of us who play – and offers the open-ended invitation to create as much as we can. The results, the waiting, the practicing at all hours, the talking of the music and constant study gives the music a breath of spirit, endless in motion and evolution. This will always be a source of awe and wonder to the fan or player. The legacy of the sax is a never ending landscape, at all times finite and infinite, both temporal and spiritual. The following players below are life long friends- we all hang study and play a lot- If you do NOT know them you should. If you play the saxophone these guys are the ones who will set your ears straight. Take a chance and find out who they are. Get started now- old school. Seek and ye shall find.

 You aware of this book? If not get it;
 YOU KNOW THIS TUNE? Sam Rivers is also someone you should know- start now.

 LEE MORGAN'S TUNE....get it together.
 TRI- TONE SUBS....the good bad and ugly - on one page.

 THIS BOOK....Was suggested to me by none other than the great late Von Freeman- if you don't practice out of it- you should .
 STUDY WITH ME...Skype NYC and Reading Pa....
 Working the new Sax Dakota straight tenors out with my man Joe Lovano in NYC last week in NYC.

 Trane study's on your favorite progression. You dig?

 Suggested listening....if you are NOT listening you are NOT learning.

HAVE A GREAT JULY 4TH....Drink plenty of water and be cool. Practice like a boss and listen to the cats I'm telling you to. Battle stations!! Thanks- Tim Price for D'Addario.