Rico Artist Blog

Tim Price Bloggin' For Rico- BOMBAY BAR WALKING

2012-02-13T21:05:00.001-05:00

BOMBAY BAR WALKING

I originally picked this scale up from listening to Junior Walker recordings as a kid in bar bands. I realized that he was playing it as a set scale over a lot of things. A for sure shape and firm note choice too.It could be called a lot of things as well. But as I say, " To hear is to see."

Subsequently I noticed that many other Sax players seem to use this as one of their preferred scales over Blues and Rock changes. Jazz players sure are using it,it's pretty universal.
Check players " ideas"....and also tap into the key center too, transposing it sometimes is important too.

Play the Em Blues scale without the "B" ( D E G A Bb ) over the entire G Blues progression, you'll find pleasant and useful surprises.

I visualize this scale as "The E half-diminished pentatonic", but it's also known as: But you can be sure Junior Walker was using his ear and shaping it to fit the idiom, and song harmony.Then I found it in quite a few Ragas that Charlie Mariano showed me via India music concepts.

Raga Jayakauns
E G A Bb D
Raga Shivranjani
G A Bb D E
Raga Hindol / Sunada Vinodini
Bb D E G A

* * * * * * *
This scale also sounds GREAT over iim - V7 - I (Am - D7 - G) progressions:

Sometimes add the 4th above the G root, but not overly often as it doesn't seem to have very much personality in this context.
The b7 is also a possible tone here, but the major 6th seems to be favored over it.
Adding the 4th and b7 to this pentatonic turns it into the Dorian. But- as Charlie Banacos told me, to hear the intervals between the notes and the steps, names really mean nothing when you go this deep. But a great deal of the charm of this scale lies in avoiding those two notes.

When analyzed over the I chord, you can also think of this scale as the "minor 69" pentatonic (1 2 b3 5 6).

Analyzed over the IV chord it yields 9 3 5 6 b7. Like a rootless 13th (no 11).

Analyzed over the V yields 1 2 4 5 #5. The #5 over a V chord sounds great in Blues and minor changes.

Analyzed over the ii chord yields 4 5 b7 1 b2.

So there you have it. As I always said- it's all related and all useful.

One of my personal projects is called " Bombay Bar Walking". It combines the rhythm and blues and exotic via improvised grooves and vamps. As Charlie Banacos once said," It's not music for the Holiday Inn man"..ha!! No worrys there mate. To keep it real is the deal.

I always felt that once I heard Mariano wailing in his group " Osmossis"
in the late 60's and also realized Junior Walker < as others were >was coming from that same space- just the idiom was different and the groove was for sure. The point here is what Rilling calls the "architecture" of the music. For example, the way Pablo Casals varied the tempo according to what he was trying to convey. Indian music and soul R &B, jazz are much in the same.

Hopefully, what's going to be remembered, is going to be the intertwining of the present living person whoever it is, in the context of the art form, its tradition, its future, its present, and that whole mixture together. A common form and feeling. The vibe of a sax player who walks the bar and a guy cross legged in India in a trance blowing –It’s all the same- they BOTH are after the same thing. It’s…that THANG …that place the music goes.
Like that groove that exists in R &B AND Jazz and Indian ragas.
In essence, we really have something called the language, the vernacular, and it's immediately transferable to personal creation anyway.
And in the end, the music is connected- there's a great book by Hazrat Inayat Khan of the Sufis. It's about how music ties into the "realms" and everything like that. It's just an understood, it's a given.

In my thinking -everybody is a spiritual creature, and an artist's duty is to try to get in touch with that through his work. It's the work and it's the art that will do.

SO.. it's freedom, individual creativity ! Check out that scale and have fun.

Till next week- keep your ears open and play.

This blog this week is dedicated to Junior Walker, Charlie Mariano and Charlie Banacos. People who knew- and had the essence of humanity and soul.

~ TIM PRICE

Mind the Gap: saxophone students stretch their minds

2012-02-10T07:17:00.005-05:00

You know, the one that exists between that which you know and do not know. This has been a focus of our discussions lately in my saxophone studio at the University of Georgia. This gap produces discomfort of the unknown, fear of failure, fear of lack of productivity. It unglues the familiar, the foundation upon which past accomplishments have been achieved. The fear of releasing the familiar for the unfamiliar produces resistance, confusion and frustration. And questions. Lots of questions.

As a studio, we get together once a week for a voluntary discussion group called “Incubator.” This term is commonly used to describe a space where start-ups can live while in infancy, when resources are at a minimum. Incubators promote the sharing of resources amongst others at the same stage of development. “Incubator” is a perfect term for the gathering of young musicians committed to improving their craft and in need of zeroing in how to most effectively do that. We talk about shared frustrations, time management, what drove us to music, what keeps us in music, how to practice more effectively, networking, creating opportunities. I keep telling them with a smile that I have one job and it’s to expose the gap between that which they know and do not know, and then help them thrive in it. More confusion.

Vulnerabilities are a plenty! I have never enjoyed witnessing the stretching of minds as much as in the past two weeks. Honestly. Students with previous robotic technical accuracy are beginning to miss notes in scales they’ve known for years as they attempt to shift their thinking away from their fingers in favor of their sound and the discovery and communication of intent. Read more...

Tim Price Blogging for Rico-Focus-Inspiration & the zone of creativity.

2012-02-06T18:58:00.006-05:00

Tim Price Blogging for Rico-Focus-Inspiration & the zone of creativity.

~There's a euphoria and a feeling of deep interaction with what you're creating. You're inside something. I'm not standing there trying to be someone else by playing someone else's style or licks. My goal is to start from zero and try to add something to the music. This is something I've learned and been influenced by studying with masters such as Charlie Mariano, who has a great internalization of not only saxophone command but commitment to creativity. You have to understand even if you're playing simple triadic rock n' roll or the most harmonically ad vanced stuff. You're going for a groove. I have an unreleased CD that's called " Bombay Bar Walking" , and the vibe is no matter if you're at a corner bar in Philly and you're playing tenor in the pocket or you're sitting crossed legged with a tabla player to your right-no matter what you're going for that zone. That's where its at. That zone that everyone looks for. That is my spring board.

My inspiration comes from the masters. And by that I mean having respect for what came before me and the people who created it. There's nothing in this world that's more inspiring than listening to Dexter Gordon play a blues. The average person walking the street has no idea who Dexter Gordon is and no clue to what sitting down and listening to an artist like that can do for you. That might be more of a therapeutic thing for the human race than handing out hand fulls of prozac and riddelin . When I was a kid I would kick back and put on a record in the mid-60's when I was in high school of Sonny Stitt and Gene Ammons, that music came from such a g reat place emotionally that no matter what happened that day I was chilled out. To take it a step further I've been very lucky in my life that the tenor saxophone has been part of my DNA. It's an inspiration that goes far beyond any words I can say. Hopefully its something people will hear in my music.

My experience can be summed up into something I heard Stan Getz refer to as the "Alpha State". This is a frame of mind and again something similar as I've described earlier about being in the zone. It's a very important mind set, not something that just happens. As musicians we should all be grateful that we can pick up our instrument and create. And that goes for just finding a reed, playing some scales to get loose, or rehearsing with friends just to play. There's a spirituality like no other in getting together with like minds and going into a room for the pure sake of playing and just looking at each other and saying... yeah; and letting the music transcend.

When I improvise, I try to keep in mind what pianist Paul Bley said about composition, "Improvising is composing in real time." If you're writing a lot it becomes a lot easier compositionally. I try to find a certain point in the day and just jot down four or more measures, or a sequence of notes I like in my notebook. For over 20 years I had the honor of studying with Charlie Bacanos. he prepared me for this kind of mind set. Keep in mind I was touching on it before, but I got more focus from Charlie. My inspiration comes from daily preparation and practice. It helps me move faster and also not lose track of what I'm hearing in my minds ear.

A few years ago, I had the honor of playing a Coltrane tribute at Loyola University in New Orleans with my friend Tony Degradi on saxophone and a great band that included drummer Stanton Moore from the band Galactic. This concert was done on Trane's birthday, a year before Katrina. We had a great program of music prepared. The night before we played at The Snug Harbor Club to a packed house. It was great feeling being in New Orleans and playing with these musicians. As the gig started I felt a very deep connection within the music. We were playing Trane based music, obviously. I had rearranged some of the tunes like Ole for me playing electro-bassoon and Tony on Soprano Sax. In addition we were hitting some two Tenor things that just gave me chills. As the gig went on everything was where it was suppose to be and just kept going and going fantastically. At the end of that gig I had a feeling from being in New Orleans where there's a very deep spiritual vibe and playing this concert on Trane's birthday-something I've never felt in my life, it was really cool to say the least.

In closing I would like to suggest these books:
The first book is called 'The Artist's Way' by Julie Cameron. It helps you focus day to day in your practice and provides daily activities. It's a must read. Also I highly suggest checking out 'The Mysticism of Sound and Music' by Hazrat Inayat Khan along with his other book 'The Music of Life'. These three books will really inspire you and are fantastic reading. Thank you!

BY THE WAY...The picture at the top of this weeks blog is Bob Weir and I hanging at
this years 2012 NAMM show at Theo Wanne booth.GOOD TIMES! ( Pic' by Matt Ambrose )

~ Tim Price

PS- Bring Tim Price to your school/ University and events!
Booking information available here ;
http://www.timpricejazz.com/booking.html

And study with Tim @ http://www.timpricejazz.com/study/studynyc.pdf

OR-http://www.timpricejazz.com/skype2.html

Tim Price Bloggin' For Rico- Have you heard Brian Landrus? Well you should!

2012-01-30T10:09:00.006-05:00

Have you heard Brian Landrus? Well you should!

~ Rico artist and NYC saxophonist Brian Landrus has released two extraordinary studio albums- both strikingly different from each other but with a core of personal originality that demands your attention. Hearing Brian in these two settings only only further emphasizes my joy and urgency for him to gain a wider audience.

To me, on a first listen each band plays with a combination of logic, trust, and emotion. The key then is how important Brian's leadership, playing and composition takes hold.His playing is lively and intelligent, and contains a lot of excitement. Also emotional and intelligent.He can play anything from swing to be-bop,his roots are there way more than many these days, and his sound on his horns is a knock out.
Those above mentioned skills are a perfect foundation for long lasting attention to his recent recordings.

To describe them review style is one thing. Let me say this- buy them both now ok. Then come back and re-read this blog and you'll see why I'm raving about him.
First off, he cared to do this right, the band still sounded inspired,the inspiration is flowing and his technical facilities are in full force.His new material, at this point is like a fresh breathe and that ups the ante considerably.I'm sure in a live performance these compositions are juggernauts,with jumping off points for a band finding inspiration in the elasticity of the material.

What I noted also was Brian's quest for something original. Open ended blowing, and telling story's.I marvel at how many great ideas, directions his improvising on his horns takes,he is about today.NOW! This is the source of that wellspring coming from him as a player.

On one track “Soul and Body,” his solo improvisation functions as an intro to the standard “Body and Soul”, in which the band rejoins. This to me speaks volumes.Hear him, don't just read my words, buy these CD's and support this man in his creative career. Another point is on The Landrus Kaleidoscope, the electro-acoustic CD "Capsule" Landrus plays baritone sax, bass flute and bass clarinet on Capsule,which was released October 25. This recording beckons air play by radio stations. I'd love to see what would happen if some programming was adjusted to fit just one track in of this disc! Ditto the "Traverse" will hold it’s own,go ahead jazz radio programmers make my day- play these CD's and watch the results.

This playing, music and commitment is very hip. And very modern, not in the sense of being different for the sake of difference or weird, but with the collective mastery and freedom which comes from knowing the form via the music so thoroughly that you can go all the way out with complete confidence that you can come back.

You need to experience such joy and maturity for yourself.Hear Brian Landrus now.

Till next week, strive for tone and remember, in the end it is all about love, giving, and gratitude.

Tim Price

PS- Amazon has them right here ;

http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Dpopular&field-keywords=brian+landrus&x=10&y=22

Tim Price Bloggin' For Rico- APPROACHING YOUR LONG TONES IN THE SHED

2012-01-25T14:18:00.000-05:00

Long tones should be the most important part of your practice routine. This fact is surprising to many beginner or intermediate saxophonists.

Why Go Long?

Long tones help you develop muscles and skills that are extremely important in most playing situations:

• Embouchure. If the embouchure is correct throughout all of the long tones, then you will feel the burn as you reach the high notes. Make sure to really squeeze the corners in the high notes, and do not bite. If you feel the biting, stop, rest for a little while, and then continue when you feel ready.
• Tonal quality. By playing long tones, you become subconsciously aware of the overtones and can develop a finer tone quality.

How to Practice

Long tones should be practiced the following way:

1. Begin with low Bb and play this note at a piano volume the best you can for 10 seconds.
2. If you need to, use a metronome and set it to 60 beats per minute.
3. Go up chromatically and play each note in the range of the instrument. With correct lower lip and breath support as well as well-developed control of the muscles involved, you should be able to keep the intonation even.
4. Be conscious of tone quality, intonation, breath support and embouchure.
5. Use a mirror to see your embouchure. Long tones must be practiced for about 15 minutes at a time. In the first session, start at low Bb and ascend to the highest note you can play correctly. In the second session, start at the highest note you can play correctly, and descend to low Bb. Try your best to practice long tones as much as you can.

Good luck!

Tim Price

Tim Price Bloggin' For Rico-The Essence Of Quality Practice.

2012-01-16T13:10:00.003-05:00

Today's musicians-students-educators need quality of practice, which is of the essence. It's a life long process-. When you're twenty yrs. old, you just run off desire and youthful animal energy to practice. In the long run, the creative person needs to find a way to maintain a level of interest and aliveness in his art. This takes work and intelligence,it is not separate from living, just another aspect of it.

The concept of daily practice is an important one and is the best way to make
any kind of musical progress. Daily effort keeps you finely attuned to
continuous movement and the accumulation of effect. Practicing sporadically
causes you to lose the thread of your practice and is thus much less effective.

Through diligent , consistent daily work, a tangible musical substance is
incrementally developed. First of all, you develop physical stamina through
the repeated effort. Also , from day to day, you accumulate ideas and expand
on the themes of your practice. If you are working Major chords; the first day
you might just work on arpeggios, the next day you might see some connection
with other musical sources, such as songs, or through or whatever is interesting to you. By continuing to work with focus on the same things from day to day, you will find that your level of proficiency has risen and expanded to include all these other sources. Your practicing every day results in the acquisition of
technique, musical intelligence, improved tone, and stamina. Just the quest to continuously find something to practice will increase you creativity.

There are so many variations of scales melodies, and melodic patterns. So many sounds to make, articulations, songs to learn, music to listen to and analyze, technical
problems to sort out. The only limitation is your focus and creativity.
For example: let’s say that you have adequately practiced your horn and now want something else to work on. You could sit down at the piano and transcribe a song, learn a song by ear that you may have previously learned by wrote.

This , is one of the most beneficial practices you can do. Ear training, learning songs, listening to other players, hearing bass lines, melodies or whatever. Ok. Now you’ve spent a few hours and learned a tune the way its supposed to be played. You know the tune inside and out, in essence a great organizational mind skills study too. However your mind works. Don’t overload-otherwise nothing sticks. Your capacity will increase after you have spent more and more time. It’s amazing how connections are
made,they seem to occur in a fashion which is beyond the conscious ability to
plan and organize.

Daily practice also allows me to imprint the material in my mind until it
becomes instinct. One long practice session will not do this. For
most players, useful techniques can only be acquired through repetition. I
always try to work new materials into songs, lines and grooves that I like.
For me it’s sort of like upgrading my musical mind so that my playing becomes
reoriented in the directions I choose. Increasing familiarity with they materials is a good thing. It’s like learning a language--music is a language.

Here is some lunch for your ears;

Gerry Mulligan - Night Lights
http://www.youtube.com/watch?v=0cK_AIpmejs

Elgar Cello Concerto 1st mov.
http://www.youtube.com/watch?v=L5C99JyP2ns

solo oboe
http://www.youtube.com/watch?v=gZyfaPEnfl0

Arthur Doyle & Sunny Murray - Live at Glenn Miller Cafe 2000http://www.youtube.com/watch?v=YHOzroR6cgU

Billie Holiday and Lester Young
http://www.youtube.com/watch?v=1IyuG_2jXsE

Gerry Mulligan - Prelude In E Minor
http://www.youtube.com/watch?v=s4JLM...eature%3Drelated

Grateful Dead - St Stephen
http://www.youtube.com/watch?v=mYmIu_njso4

FRANK SINATRA - ANGEL EYES http://www.youtube.com/watch?v=ll0wkmVBg_c

STANLEY TURRENTINE, Light Blue (Tommy Turrentine)
http://www.youtube.com/watch?v=Ngk4V4_bbUA

It all depends on what ya know, and what your searching for.
If you are looking for Sherlock Holmes you ain't gonna find it in Rumi.

Keep listening, keep your ears open and keep playing.
Sometimes the trip is as much fun as the reward later.

See ya next week, and hope to meet some of ya at NAAM.

~ Tim Price

Tim Price Bloggin' For Rico- Tim Price in the NAMM ZONE- and more.

2012-01-09T15:12:00.004-05:00

Well, we’ve made it through another year. Still on the planet and in love with the music.
As musicians what we have is the spirituality of musical activity is a powerful antioxidant,positive reinforcement to everyday life. If you look at it like that you can have a level of activity that is boundless, both from the perspective of listener or student and player or composer. Music will join the people of the world together and enriches the minds and spirits of young and old alike. Health care has got nothing on music as a healing endeavor.Think about the effects of music in it's many stages, be it a movie or even a beer commercial. As musicians we should be as grateful for music, the arts and the possibilities it implies and spreading tolerance any way we can within that.

CHECK IT- Sonny Rollins won a Kennedy center award, honoring him for his contributions to the American art form called jazz. This was the only time I saw any jazz on network television all year. Never the less, it was heart warming to see this great man acknowledged by our country. At the age of 81 he still practices every day, and is very much aware of what’s happening in the world. ( take note! )

There's a book I'm reading- I urge you all to read ;
Pops: A Life of Louis Armstrong
By Terry Teacho

As you should know, Louis Armstrong stands as one of the legends of twentieth century music. During five decades as a performer he thrilled audiences with his cornet and trumpet virtuosity, while his gravelly voice made him one of the most popular and recognizable singers of his day. Such a career became the stuff of legend, making it difficult to discern the truth underneath. In this book, Terry Teachout undertakes the difficult task to sift though the legend to discover the man underneath.

In this he is aided by Armstrong, who left behind two autobiographies and numerous audio recordings. Teachout goes on to describe his journey during the 1920s from promising young cornet player into the headlining talent he became by the end of the decade. Teachout rightly gives this period, one that saw some of his most innovative music, considerable attention.
In examining Armstrong's life, Teachout brings to bear his skills as detective and storyteller. He succeeds in depicting a very human yet enormously gifted performer, a talented musician who was also a superb entertainer.Read this book- it's a must for anyone who is involved with any form of music.

Next week...From Thursday January 16th to Sunday January 22 I'll be at NAMM.
Check the poster at the bottom of this blog - for my performance date at NAMM as well. If you are looking to get to me before NAMM...Email me at timpricejazz@aol.com so we can hook up.

So there you have it, stay well and strive for tone.

Tim Price

Tim Price Bloggin' For Rico'...T.P. Thanks Rico for being the real deal.

2012-01-02T09:06:00.016-05:00

~ As 2012 starts I just want to thank Rico Reeds for not only being the innovative reed company, but also for being there for those of us who are concerned saxophonists, clarinets, woodwind players and educators in this life. From my corner as a player who educates and a educator who plays. The Rico team all the way around is stellar, not just to me but to everyone and everything. They care!

For me comfort and mind set as a creative artist are number one.Sure I break in reeds and do that- but many times in the world we live in the band gets set up and my sax pak is in the corner of the club behind a table of people chomping on calamari.It's not always that way but hey, REALITY #101 Class in session!* HA! So I got my reeds in my pocket or on my stash on my Line 6 amp for my Electro-bassoon. Mid-set on the 2ed set the club gets noisy,the band starts to play harder and the heat in the club is up. My reed needs a rest.I take a walk on the wild side...I take a brand NEW RICO RJS out of my pocket that I wet once and put it on. Check it quickly on our break in the jazz dressing room the club so nicely provides for all it's bands. AKA- THE MENS ROOM !! The reeds is ready to rock. The set starts and I am happy and the reed is killin'. This same scene has happened to me on Latin gigs,rock and roll, Aretha , big band, jam band, theater, pit and subbing peoples club dates. Rico is there!

Not every reed 20 years ago was like that and not every concert or gig has perfect sound. BUT...The way Rico has gone to bat for us and done the right thing is something very special. Not just the RJS either but clarinet reeds and Reserve too.A new benchmark has been set.

The beautiful part is, people that are there that listen.They want the truth. Then they also want the truth on the post-reed side. If I ran into a bad run of reeds and told my people like Rob Polon or Kristen McKeon...there would be concern and things would be dealt with instantly.It's like that. In a word, trust.
Plus- nobody told me to say these things. Just so you know. If I feel it- I say it. That is another factor of these blogs. I write what I want. Sure I endorse RICO, but these's a reason why, I'm not just some guy piling up endorsements etc. and playing peek-a-boo with the business of music, this is my life.This is what I do-I educate and I play. Without a great reed, and a consistent reed week to year to year I got issues. Rico, makes the intangible tangible for me. Thank you Rico!

Also another case in point, It's great to help students at clinics with Rico too. So many times as student has a sound that is not so good. I work on breathing and embouchure.But 9 times out of 10 when I give them a Rico product they " lock in" and get a much faster comfort zone as a student.Plus- on clarinet results are instant. In the years I studied reed design with Kal Opperman, as well as years of legit study of the clarinet with Kal I can humbly say if Kal saw these new Reserve reeds he
would be not only in love with them but playing them. ( Kal was a teacher of mine post-Berklee ) Students need this stability in their lives.

So there as we start a new year- I got to give some love and credit to my people at Rico. All of ya! My bro Rob Polan- who not only is one great, great buddy but understands what I'm into as a person and a player. Why? He listens and takes the time. Ditto- Kristen McKeon.She's another great one, and tremendous friend as well. But also like I said EVERYONE at Rico. Take a bow. Thank you.

Till next week- strive for tone.Also in 2012, take the time to say thank you to the folks in your life big and small.The two most unused words in todays language are just those two. Make it happen.

TIM PRICE

www.timpricejazz.com

* TAKE NOTE ; Dressing rooms/ gigs.
I've seen every dressing room, from a great green room
to exactly what I described. From rooms with food, towels,
places to changes, water and even nice massage women to the kind I described.
It's what it is. I think I might do a few blogs on SURVIVAL 101. Stay tuned!

Tim Price Bloggin' For Rico- The Cats You Never Heard Of- And the cats you should hear more of.

2011-12-26T09:10:00.007-05:00

THE CATS YOU NEVER HEARD OF AND THE CATS THAT YOU SHOULD HEAR MORE OF...

I'm in that kind of mood today so let's run with it. I just found a great solo of
one my unsung fav's tenor monster- Morris Atchinson. What a great sound- and he is as great as anyone.

"Love Of Mine - Bobby "Blue" Bland
http://www.youtube.com/watch?v=OfB9XwrDpW8&feature=email

Check these- then read on please ;

Tim Price- The Cats You Never Heard Of

http://www.youtube.com/watch?v=BLJ8vVb-LYU&list=UUYwdVKqz7wU6r6fnmho7Lvw&index=25&feature=plcp

http://www.timpricejazz.com/articles/index.html

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 chitlin' 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'. Hes on some Johnny Hammond Smith records and some Barbara
Donald stuff on Cadence records. 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. Ask Benny Golson about Rudy Jones
sometime-you'll be good for a half hour talk at least.

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 enviroments 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 step out of your comfort zone and listen to some people that you don't know.

Have a great New Year and see you in 2012. Have a great one!

TIM PRICE

Tim Price Blogging For Rico- Happy Holidays From T.P.- Forward motion thoughts- Wild Turkey cookies & Italian Bouillabaisse Stew

2011-12-18T22:17:00.006-05:00

TIM PRICE - HOLIDAY BLOG- MAKING SPIRITS BRIGHT.

You recognize when you feel good. You know when you feel at your best—at the top of your game. You realize when you enter harmonious relationship with family and friends—maybe even with foes. These are emotional states you experience. They range from negative and protective to joyous and ecstatic. The positive ones include love, peace, freedom, joy, empowerment, generosity, trust, tolerance, faith, patience, safety, honesty, and more.

These are emotional states you experience. They range from negative and protective to joyous and ecstatic. The positive ones include love, peace, freedom, joy, empowerment, generosity, trust, tolerance, faith, patience, safety, honesty, and more.

Of course most of us most of the time want the good feeling emotional states. With music, we have the escape button most do not in society today.Perhaps you think you are not as consciously aware of such states as the next person. Whether or not you are, I believe that you can grow into broader and deeper awareness of these states. Only you can determine if you want greater awareness, or whether you deserve to experience these states, or even when you are ready to explore your potential. I encourage you to choose growth. Look forward, as I say...forward motion. It's the only way to go.

I seem to think it serves as a effective guidance system. Feeling responses signal when you are aligned with your purpose—also when you are not.( Focus,practicing, relating to your lover, wife or concert) When you align with your purpose at any level from the most mundane to the most sacred, you establish integrity with what and who you are from core to skin and beyond. This involves a simple condition that allows more and more persistent experience of emotional well being. It responds to conditioning which best begins with curiosity and flexibility. Natural, effective and free! Then allowing you to free your energy into an open flow. The effort required for this may be minimal. However, it can become very draining while meeting obstacles, residue, & constriction. Clearing these blocks is essential. The results are amazing. Thinking is all you need to do- yo don't need to buy anything, just clear your mind and apply this cornerstone of balance.

OK- Now the holidays are upon us and it is time for T.P.'s holiday Xmas treats. First a Christmas cookie idea.

WILD TURKEY HOLIDAY BOURBON BALLS

Makes about 48 balls.....perfect for de-stressing! ha!

2 1/2 cups chocolate cookie crumbs (best made with Nabisco Famous wafers -- 1 package -- pulverized in a food processor)

1 1/4 cups pecans

1/2 cup or more of Wild Turkey 101 Bourbon.

1 cup confectioners' sugar, plus additional for rolling

3 tablespoons unsweetened cocoa powder

1 1/2 tablespoons honey

NOW- HERE'S WHAT YA DO

In the bowl of a food processor, pulse together the cookie crumbs and pecans until the nuts are finely ground.
In a separate bowl, stir together the bourbon or rum, 1 cup confectioners' sugar, the cocoa powder, and honey. Add the mixture to the food processor and pulse until just combined. Let the dough rest, uncovered, at room temperature for 4 hours or, lightly covered, overnight. This will dry it out a little.

Use your fingers to roll the dough into balls about 1 inch in diameter. Roll the balls in confectioners' sugar. Store the balls airtight if you like them moist, or uncovered if you like them to develop a crunchy sugar crust on the outside. Sprinkle with (or roll the balls in) additional confectioners' sugar just before serving.

----------------------------------------------------------------------

NEXT- I got this from a friend who runs an Italian shop in my city.Her family makes this every year and I am going to try it.It's an Italian Bouillabaisse Stew, and it is delicious. I had some last year and it is delicious. Great the 2ed day too!

OK- Here it is ;

Ingredients

1/2 cup olive oil
2 stalks celery, chopped
2 cloves garlic, minced
3 leeks, sliced
1 teaspoon dried thyme leaves
1 bay leaf (optional)
1 (14.5 ounce) can diced tomatoes
2 (8 ounce) bottles clam juice
2 3/4 cups dry white wine
2 teaspoons fennel seeds, crushed
salt and ground black pepper to taste
3 tablespoons chopped fresh parsley
1 pound red snapper fillets, cut into 2 inch pieces
1 pinch saffron
24 sea scallops
30 small mussels, scrubbed and debearded
1 pound cooked lobster meat, cut into bite-size pieces

Directions

Heat the olive oil in a large skillet over medium heat. Stir in the celery, garlic, leeks, thyme, and bay leaf; cook and stir until the vegetables have softened, about 5 minutes.

Stir in the diced tomatoes, clam juice, white wine, fennel seed, salt and pepper, and parsley. Simmer for 15 minutes. Add the snapper and cook for an additional 10 minutes.

Gently mix in the saffron, scallops, and mussels. Cook until the scallops are no longer translucent and the mussels have opened their shells, about five minutes. Add the lobster pieces and cook until heated through, about one minute.
Ladle the bouillabaisse into serving bowls, making sure each portion contains 5 mussels, 2 to 3 sea scallops, fish, and a piece of lobster.

Sounds good and fun too~~ yea !!!!

So- on that note my friends I hope that works for you.Food wise and forward motion wise.

I'll close with one of my favorite quotes by Norman Vincent Peale- " Christmas waves a magic wand over this world, and behold, everything is softer and more beautiful."

May peace be everyone's gift at Christmas,and joy and blessing to all of you.

~ TIM PRICE

PS- Happy Holidays means whatever you celebrate the very best to you and yours! :)

Tim Price Blogging For Rico- Expression not impression in jazz.

2011-12-12T07:31:00.008-05:00

When I listen to great music, not just jazz but great music I hear expression. Take for example Johnny Hodges. ANYTHING... Hodges played by the way! Expression, deep internalized emotional depth that brought the listener in.Stravinsky, Bach, John Lennon and thousands of others.

No a bunch of flurries of fast notes.No matter what,technique must always serve an expressive idea. If you listen to Coltrane play " Russian Lullaby " there is a great example of what I just talked about. To use another example, Ernie Watts with Charlie Haden.( Charlie Haden Quartet West with string orchestra) as much horn as Ernie can play, you never hear how the chops are in the way of the artist.Great jazz players know that all they have is themselves. Doing what everyone else is doing is not an option.In the jazz community you don't get significant points for chest pounding every solo. Entry into the pantheon of great jazz is strictly reserved for those who play "who they are,".

Internalization through performance is also suggested to get expression together- everything can NOT be gained in the practice room.You need to play and play more than just the cream gigs. Play the small out of the way spots to get your ideas to relax and meet new players. I would workshop my bands at the now defunt " Puppets" a great jazz bar in Brooklyn NY on off peak hours. Mid-day to get players together and to get things going. Often, I'd find a lot out. It was a beautiful place to, Jamie who ran it was a great guy and beautiful drummer. On peak hours I'd bring in bands like my
" T.P.'s Kosmik Incubator" and we'd have a ball.Everything does not happen in the practice room!

NEXT- SEE THE PICTURE AT THE TOP OF MY BLOG?

That man is Jean-Baptiste Illinois Jacquet (October 31, 1922 – July 22, 2004)

Known as Illinois Jacquet, one of the greatest tenor saxophonists in jazz ever. Also one of THE greatest jazz bassoonists in jazz ever.You job is to search out everything you can find of his on you tube, and on Cd's and on older Count Basie you tube because he is essential to everything that ever happened to the music. Ever! And yes he played Rico reeds and oh yes he studied the music hard from every aspect. he even studied the bassoon in later years in life with a teacher from the NY Phil. Hear Illinois- you'll learn a lot.

Lastly,this is something I'm noticing a lot. Self-consciousness on the bandstand can be heard, and can easily be noticed when the player is looking around the room to see if anyone is watching them while they are playing.Lesson of lessons in the real world- ego nor machismo should override common musical sense.
As a player does this they are taking affirmation inventory as they play; checking out who looks impressed with them, or searching to see who or what other musician is in the room. Hiding vulnerability with this approach should be lost. Discipline, focus, sacrifice and heart are the tools used to respect your own life, focus on those and practice, and enjoy your playing on the set, eat right, and be glad your you. That's all you can hope for.

Till next week- make seasons bright !

~ Tim Price

Tim Price Bloggin' For Rico- Ole' Nicolas Slonimsky

2011-12-04T21:50:00.013-05:00

Coltrane’s 1961 Impressions album, recorded at the Village Vanguard in New York City,and the Coltrane record " Ole" took my teenage mind out in the 60's. Songs like “India” and “Impressions” propelled me into an out-of-body experience.I listened to the song " Ole" as a teenager in a different mindset than probably most would once I started to understand Trane could never get to that place in time, without being a strong blues player or a serious student of the music. I knew this from hanging around the older musicians I worked with as a teenager in clubs, and listening to the radio from Philly.

I had this great music and immagery around me. What exactly was happening? Why did Trane’s music have this effect on me? I think the answer lies in his approach to improvising. When he switched from chordal to modal music, he was embracing an old world music paradigm that often induces altered states of consciousness.Modal music takes you on a voyage, and certain scales affect people in powerful ways.It is often used in sacramental rituals in traditional world cultures.

Coltrane had read Russian music lexicographer Nicolas Slonimsky’s exhaustive Thesaurus of Scales and Melodic Patterns. It contained not only classic Western modes like diatonic, chromatic, lydian, phrygian and other well-established musical elements, but also modes from various world music genres: Indian scales, North African and African styles, Middle Eastern modes, and more. Coltrane studied these patterns and modes and used them in much of his exploratory music from 1961-1967, the year of his death. He also studied Indian modes and scales with Ravi Shankar.( He named his son Ravi as well, who is also one of my very favorite players )
Yusef Lateef also explored traditional world music in a similar fashion and used these idioms in his music. For both musicians, modal improvisation allowed them to reach a deeper spiritual plane than standard chord progressions would, the latter which Coltrane had thoroughly covered in the 1950s on albums like Giant Steps and his work with Miles Davis for the Prestige sides.
Many cultures outside of Europe see music as elixir, not just entertainment or even art . Music forms a part of daily life, devotion, spirit and ritual, not just in clubs or concert halls. This is where the modal model comes in.

Coltrane was a seeker who wanted to go deeper in his music. And that is why he is revered not only as musician but also as a musical healer as well. He was a true musical sufi who transcended many musical boundaries, and his music prefigured what we enjoy now in world music. And hearing that 1961 album, Impressions and Ole, changed my life and musical journey.

But let me say boldly that the Nicolas Slonimsky book is something still yet to be fully paid attention to in depth. Of course we all know Frank Zappa gave strong props to Nicolas Slonimsky. But if you really study the book in the right way-slowly doors open. I've been into it since buying it in 1970 from the Bumblebee book Store on Hemenway St in Boston. I have sinse bought another hard cover copy as well, as a travel copy. My teacher the late Charlie Banacos and I got deep into the book- and not only did I start to find some great harmonic parts of Coltrane solos, but also key center shifting or the whole-tone pattern of two augmented triads
that appears in an earlier position in Coltrane’s improvisation on “One Down, One
Up”. Plus other nice ideas as - a sesquitone, or minor third, progression used as melodic vocabulary in a Coltrane improvisation occurs just before the E major, C major, and Ab major implied major thirds cycle from the composition “Brasilia”. There are loads more in " Brasilla" and of course " Saturn" with direct links to Slonimsky.

The Thesaurus of Scales and Melodic Patterns contains over two hundred
patterns based on the ditone progression which is the most common link to the interval of the major third. Listen to " Giant Steps". Coltrane used so many
ditone progression patterns out of the Thesaurus in his pursuit of cyclical
material.If you search in the book,Slonimsky labels one particular group of patterns included in the ditone progression portion of the Thesaurus as "Miscellaneous Patterns". These sixteen patterns constructed using dominant seventh chords progressing by the interval of a major third and are further classified by root position, first inversion, second inversion, and third inversion.I was playing them for years, and Charlie Banacos pointed them out to me- and the light went off. It made sense then!

Then there are the, if you will and I hate to use a term free but the word free music with Rashid Ali, where you can hear the cycles going from the book.Those duets recorded with Rashied Ali are mind blowing, "Mars" was done in 1967 and sounds like it was done yesterday and contains a cycle following a perfect fourth inversion then perfect fifth until it is reached again. Once Coltrane finishes one complete cycle of fourths, he immediately starts and completes eight more pitches of another cycle of fourths. Right out of Slonimsky! Not note for note mind you but for sure, the thought intuition. Of course another great example is John Coltrane using the perfect fourth via the principal
interval pattern is as the first motive is the composition "Jupiter", from the Interstellar Space recording again as I mentioned.

NOW- Here on "Jupiter" what has made it such a tour de' force is that Coltrane has his be-bop roots right in place,is a melodically stronger pattern because of the whole and half step approaches to the pitches of the principal interval. Slonimsky typically uses patterns in the Thesaurus that outline triads-but Trane had added that to bop approach notes and took to to the ultimate zenith of it's limit. The first time I head this it was mind blowing because it was like opera. Between two eras at once in a split second! Trane has the minor triads outlined in fourths. By arranging the pattern the way he does, Coltrane is able to melodically and rhythmically
emphasize the movement by the principal interval of the fourth with the Slonimsky ideas. Not copying have you but fuel for the fire! Remember, I bought my book in 1970, it took me decades of study and asking questions and LISTENING to get to these places. I'm not done either.

But the other interesting part is-first of all- they bring you in. It feels so good. There's a rapture in there. An invitation and a very unique desire to return. I don't know how many times I listened to those records, let alone the cut " Ole". Also I should add this, It is true that Slonimsky does not come right out and say how to specifically apply these concepts and phrases. Instead, he leaves little clues (many of which are in the Introduction) to help guide and provide the reader with a few different options of harmonizations and applications. Quite simply, with the "Thesaurus," you get what you put into it. If you spend time analyzing, applying, and considering the things in this book, it will over time become clear as to what it is all really about.This is NOT a quick fix book. One of the great things about this book is it inspires an individualistic approach; you learn to develop your own way of thinking as you work through it. This makes everyone's appplication of the scales just a bit different from the next person. Two people might approach the same pattern in a totally different way, therefore making the applications constantly evolve and change. Also, if you are thinking this book will provide a "quick fix" for your playing, or make you sound like Coltrane, don't bother buying this book either. One should be aquainted with both classical and jazz harmony before working through this book. Besides the contents of the book there are a few other nice things about it. There is an explanation of terms, which is most helpful as the musician learns Slonimsky's terminology. It is also extremely well organized which lends itself well to an individual curriculum. For the musicians that are ready, and are motivated enough to put in the required time and effort, it will be well worth it, and the musical rewards will compensate the price of buying the book many times over. Slonimsky states in the Introduction, "There are 479,001,600 possible combinations of the 12 tones of the chromatic scale. With rhythmic variety added to the unbounded universe of melodic patterns, there is no likelihood that new music will die of interval starvation in the next 1000 years." Good news!

I'm even at a point where I'm feeling ready to do a Slonimsky-Coltrane masterclass in NYC in 2012 in the spring. I got a few interesting line matrix within chords that work, and some examples and definitions. I've used some of it myself even with some open ended bassoon things of mine, it works great if you use the patterns in the next portion of this analysis of interval cycles based on the tritone progression that are classified by Slonimsky as“Symmetric Interpolations”. The tritone progression is the only interval cycle in the Thesaurus that includes this category. This is due to the fact that since the tritone interval divides an octave equally into two parts, an intervallic symmetry can be created ascending and descending the middle of the octave by 96 strategically inserting interpolations. This works amazing, due to the octaves on the bassoon, and you don't have to resolve at all.

Improvising- results could go places like this;

http://www.timpricejazz.com/audio/bassoon1.mp3

If I really want to go off- I throw on my WHAMMY pedal and add some aditional harmony like a 4th down or a 7th up. I wonder what Nicholas might of thought of that? Hmmm????

On a funny note- Once Ernie Watts and I were practicing this book in my home at almost midnight. Ernie got concerned, and said to me, " Does your wife own a fire arm? "....after the laughter stopped,I assured him it was ok. She was sleeping and the room was sound proofed. We still laugh about that. Another story was, I actually met Slonimsky once in Los Angeles. A friend composer /woodwind player knew him, and took me to meet him. He was really a very interesting man. I was at a loss for words.
If you know me, that might behard to believe, but I said to him, Nicolas you look fantastic. As I was really nervous as I never expected to meet this man in my life! He smiled and said " I SHOULD- I'M NOT EVEN 100 !"....He was a brilliant hang.

In any case- this is a path I've been on for decades and also something of great interest. In closing let me also add,entry into the pantheon of great jazz is strictly reserved for those who play "who they are," not for those who second-guess what they think the audience wants to hear. The jazz masters all know that individuality can't be mass-produced. Think about it...work hard...practice hard and be who you are.

~ Tim Price

- I studied with Charlie Banacos from 1984 to December 2009 , the year that he passed. He was a beautiful teacher and a great friend.I really miss this man, he was a remarkable teacher and great friend. He proved to me that education was beyond the ivory tower and beyond a degree,it was also music for music sake as I learned young on the streets as a player.He was a funny vivid brilliant guy who knew the real deal- and was a world class teacher one on one.Actually I remember him briefly at Berklee for a hot minute. Always dug his decorum and energy.
I heard Charlie at the famous Arlington street church concert concert in 1972 with Miles Donahue and Jerry Bergonzi which became known as the famous Arlington street Church Concert.Through Charlie Banacos,Charlie Mariano, Ernie Watts and Bert Wilson I gained much insight into this great book.

Harmonically Charlie Banacos opened many doors for me that helped me open more- this blog is dedicated to Charlie Banacos.Once he gave me advice on some music I had done with electro-bassoon using these Slominsky kinda things and chords. He said, " Look man your cooking Tim but don't play this stuff in the Holiday Inn! "...hahaha. I sure do miss Charlie Banacos. This blog is for him. God Bless You Charlie.

www.timpricejazz.com

Tim Price Bloggin' For Rico- Tim Price solo transcription by Brian Falkokski

2011-11-30T07:46:00.005-05:00

Here's an MP3 from the Tim Price audio page at my web sight. From Long Island NY jam session 'bout 1986 or so. In any case, I felt good that day & the music was fun & loose. ( As it should be!)

Big thanks and kudos to Brian Falkowski for transcribing this solo on " Softly As A Morning Sunrise"- HE DID A GREAT JOB! The transcription is here as well.

I got a real laugh out of his Email telling me he was only 2 when I did this. He said he's off to take it thru 12 keys so I'm excited about that. ( He was 2!!! LOL )

Hope you guys really enjoy it.

For the tech minds out there; I was using a Lawton 10star-bb mouthpiece and Rico brown box #5 reeds. Remember those great reeds??! Enjoy!

Solo is here; http://www.timpricejazz.com/audio/tenorjam1.mp3

I could of played better/more so I felt good but you always feel like there's things that_SHOULD OF_and could of been better....Though I felt good about where this went.

Hope you enjoy it.

Thanks to Brian Falkowski too....GREAT TRANSCRIPTION.

The attached transcriptions are here, as it was hard to load on this blog.
But I wanted to re-document these,as a source for folks to get to them for study etc.
Brian did a great job, and, it's a solo, even though years ago, I can live with.

CHECK IT HERE ;

http://forum.saxontheweb.net/showthread.php?162037-Transcription-of-Tim-Price-tenor-sax-solo-on-quot-Softly-quot-by-Brian-Falkowski

HAVE FUN!!!!

~ Tim Price

Tim Price Bloggin' For Rico- How To Learn A Tune. ( a hands on study on the study aspects of this )

2011-11-28T16:55:00.009-05:00

A young saxophone player wrote me from Korea,and was very happy with his results
about my advise on the blog about Big Nick's advise. His question was about the basis of basic tune learning.

So, I decided to do a blog for my friend from Korea- and anyone else who wants to get the insights into some basic tools.

Check it out! It works!!

HOW TO LEARN A TUNE

Learning tunes is more of a challenge for the contemporary jazz student than it was in my student days. The “casual” gigs we played to make money were usually dances, Bar Mitzvahs, weddings, restaurant gigs, strip lounges and the like. Fortunately, the tunes we played on these gigs were the same tunes from the classic American Standard song repertoire we played in jam sessions and jazz gigs. Tunes by Cole Porter, George Gershwin, Jimmie van Heusen, etc.

I used to lug my fakebooks to every gig. The problem was, the band leaders would often call medleys which gave me no time to find the page in the books for a particular tune. Rather than wait for you they’d say “fake it , fake it.” You‘d listen to the bass and guitar player for the changes and the form and after a few choruses you’d have most of it by ear. Any gaps in your knowledge would then be easily filled with a few questions like “What was the change in the third bar of the bridge?”

I began my first semester at Berklee in 1969. I estimate that by early 1971 I knew 250 tunes without the paper. Knowing so many tunes affords one a unique perspective that may be impossible for the contemporary student to acquire.

First ; today’s commercial gigs are generally “Top 40” tunes and not part of the standard jazz musicians repertoire.

Secondly; only after you’ve learned 1,000 tunes do you realize that there are really only about 20 song forms and every tune is a combination of segments of these 20 forms. This overview made it easier to learn (internalize) any new tune. Thirdly; the current proliferation of original music makes this overview more difficult to achieve.

Another way of say this is that new learning which is resonant with our musicianship can be remembered readily (often instantaneously) because it ties into something we already know.”
“Let the melody be your guide” is sage advice for the jazz improvisor but may not be so for learning a tune as usually the melody is the most complex element of a tune and therefore the most difficult to memorize.

1. Learn the key.
2. Learn the meter.
4. Learn the length.
5. Learn the form. (AABA, ABA, etc.)
6. Learn the harmonic form. Where are the I chords, major and minor? Once you have the I chords you know that every I chord is preceded by it's appropriate II-V.
7. Learn the first chord of every section. (AABA) Is it a I, II, or V chord?
8. Since the melody fits the chords, at this point you should have enough info to begin learning the most difficult and complex part of a tune, the melody. It must be learned by rote. No short-cuts. Then test yourself. Can you sing the melody with and then without the chords being played underneath it?

It’s almost impossible to memorize a tune isolated in a practice room. It takes at least three times of playing a tune in a performance context to learn it. Performance gives you even more information to relate to. i.e., the other instrumental parts (bass line, chordal accompaniment, horn melodies, drum beats, etc.). Rhythm sections encounter more memorization difficulties as they usually don’t get the opportunity to learn the melody of a song as the horns are usually playing it.
Every pianist, guitarist, bassist and drummer should know and be able to play the melody of a tune.

The first two times use the paper, the third time, throw the paper away and try to work from what you have in your head. Make mental notes of what you can't remember and work on it later. It's important that you get away from paper as soon as possible.

When you're looking you're not hearing!Confirm you have it memorized. The best time to review a tune is when laying in bed before going to sleep. At a certain point the mind goes into it's "Alpha" state, which is the ideal mental state in which to work on memorization. Go over all the aspects of the tune in the above order, making mental notes of what you can't remember, then work on them next day.

If, you have any more questions ask Tim Price.

Till next week...practice your long tones!!

The picture above the blog- is two of my inspirational friends from the California area.
Ernie Watts and Marty Krystall- these guys can plaay some serious saxophone- check them out. Inspiring human beings too!

LISTENING SUGGESTION; YOU NEED TO KNOW THESE PLAYERS!

Art Pepper Live At Dontes- with Joe Romano
http://www.jazzloft.com/p-52507-live-at-dontes-1968.aspx

In my opinion- here are two of the greatest players that ever lived.
JOE ROMANO....AND ART PEPPER.

This CD is so important- get it and learn!

The tunes on it, are things all jazz players play. These versions are
some of the very best versions of the tunes ever. Let's face it, quiet as it's kept Art Pepper was as important as Coltrane or anyone ever. Listen and find out why!'
And Romano...the greatest alto and tenor player. This is one of the best CD's in jazz. Study it- and keep listening to it. It is the real thing.

Tim Price

www.timpricejazz.com

Tim Price Bloggin' For Rico- Gifts that I continue to be thankful for.

2011-11-21T12:02:00.006-05:00

My friends there is a very thin line, sometimes with a pale shadow attached, between what happens on the bandstand,in the shed,writing your thoghts in your blogs, and in the classroom. All involve the now, listening being in the moment.

Instruments, reeds,paper,laptop, pencil, the mind as messenger for the mind and heart are our tools for being in this life.

Whether it's playing with a cool band,or some friends playing Monk tunes, writing a really good line of poetics,learning some new ideas or tunes, or connecting with and enjoying your students.All are gifts that I continue to be thankful for, and always will be.We now have to believe in our true selves and realize that what we do is a gift!

Every day is Thanksgiving !

Let me also add, to me , communication is most important . So, it there is no direct communication with the audience for which you are playing, there goes your job. Play music for people- and watch the result!

John Coltrane used to talk about imagining his music reaching out and embracing his audiences.Remember before Trane was Trane he was a player who could rock the house on the blues, and play any standard song.
When you speak of touching someone and reaching out- There's Charles Lloyd. His contribution since he hit the scene is a music of huge evocativeness, brilliantly conceived and played. Charles always is always coming up with music of immense power and authority. As great as any jazz master as well- and someone who has the wisdom to move forward as himself.His message is a supreme joy-and just watch the audience react as he plays. Communication!

I hope these words help motivate you to explore your music even more.

Keep the channel open. Everyday...is Thanksgiving.

Enjoy the holiday and the moment.

~ Tim Price

Tim Price Bloggin' For Rico-Shifting our energy to higher consciousness. < and a playing tip from Big Nick >

2011-11-13T07:58:00.014-05:00

I suggest if you want some freedom and personal forward motion you try this for a week: turn off the TV and computer games, use the phone and text only when necessary, and spend the rest of the time doing things that make you think, feel, create or anything that shows an active involvement and appreciation of you life. It's way off the hook, people are talking on the phone in restaurants instead of enjoying the meal they just ordered. Musicians and students need to get their life in order. I've thought and researched it- in one year the average person watches about 1200 hours of TV. Think of what could be learned in 1200 hours in one year. One could become competent on their instrument, and lots more. It's very staggering, and a form of freedom I enjoy. For musicians, you also will reach a moment of clarity and understand time needs to be allocated to insure mastery. As you start the process of practicing thoughtfully you will be able to gauge how much time it takes to accomplish your goals.When outside diversions and distractions are removed then you get down to the real nitty gritty of your journey. Thus begins a new world, watch what happens. In a week there are 168 hours. Most people work about 40-50 hours and sleep fifty to sixty hours. That leaves over 50 hours of loose time. Think about it- try it you'll like it.

Great jazz players are known for being undiluted and real. Doing what everyone else is doing is not an option. With that in mind- please try this.To many younger jazz player's main focus is to conform to and imitate what great jazz musicians have played. They think that if they play Coltrane's ideas then maybe they will become hip or famous too. Shedding transcriptions is an asset- but use it to assist your quest and a learning tool. That I have no problem with, at all. It's fun too! Great jazz is about those who play who they are, individuality can't be mass-produced.

As people in a creative world, we need to shift our energy to higher consciousness levels.Add something to this beautiful planet earth-Gaia!Inspiration,personal forward motion and positive thoughts.Be YOU....and strive to be you.

OK- Here's one for the musicians;BALLAD FOCUS I CALL IT.

Do this- it works!Play the first two bars of the melody of a ballad 15 times, each phrasing the melody differently, but in a way that is expressive yet still melodic. The rhythm can be changed, the melody can be broken up differently with different length rests,dynamics and shapes within dynamics .OK- do not change the actual pitches; once you change the pitches and the rhythm it is no longer the tune that is was to begin with. VARY THE MELODY.
By doing this- you start to look deep inside melodys to find ways of playing and giving new life to the melody each time you play it.Then you can be more accountable for your creativity and the music also speaks with more coming from the melodic. Playing a two bar phrase versus the whole tune allows you to remember what you did two bars ago, than trying to remember what you did thirty-two bars ago. Try it- it works! This important information I gained from Big Nick- the legendary saxophonist that Coltrane wrote the tune " Big Nick" for. ( See picture and words below! )

ALSO -Check out our RICO friends killin' it at a master class. Two of my favorite players and educators. Unique one of a kind musicians. The drum feel is so beautiful and connected to Frank's improv- a real lesson with deep roots.

Frank Catalano & Rick Drumm @ Sax.co.uk Master Class

http://www.youtube.com/watch?v=QN1mP4OOsjI

In closing, see the clinic flyer I'm doing with Theo Wanne this Monday and Tuesday in the New York areas. Stop by if you in the hood! Check the details here ;

Have a great week- and understand that to give is much greater than to receive,be the change that Gandhi talked about.

~ Tim Price

www.timpricejazz.com

THE BELOW PICTURE...IS FROM 22 YEARS AGO!

I played with Big Nick Nicholas. As you know BIG NICK, is a song John Coltrane
wrote for jazz legend Big Nick Nicholas. With Nick I played some great jazz clubs, clinics and gained advise and inspiration that was NOT in books.He'd call me on the phone- give me words of inspiration and advise.On the breaks in the clubs we'd go in the back and practice together,he hipped me to the "verse"..from " Body and Soul". He was also the guy who Charlie Parker went to when he wanted tune advise for his historic record- " Bird With Strings". We played " Smalls" in NYC, when it first opened and also "Fat Tuesday". He was a deep inspiration to me,to stand aside him on the bandstand was an honor.

Big Nick also had one of the biggest saxophone sounds in jazz-he was instrumental in helping find peace of mind in this music as well. One of the " tips" I gave you above on ballads is right from Big Nick!

George Walker "Big Nick" Nicholas (August 2, 1922, Lansing, Michigan – October 29, 1997, Queens, New York City)

Tim Price Bloggin' For Rico- Anchor Man-Charlie Fowlkes

2011-11-06T06:47:00.013-05:00

~ Not enough credit, or attention is being paid to the saxophone section. That being said eg-playing in a section as a member of a team. In my opinion, there is a real loss these days of " sax section playing" and blending as a unit.

In some current blogs, I will try to bring your attention to the section, and a few _GREAT_recorded examples and players so you have a reference. Of course everyone would say Duke Ellington! Hodges, Harry and the boys. Of course! I'll get to that but- this week I want to pass some attention and love to THE ANCHOR MAN. A baritone saxophonist that anchored one of the greatest Basie saxophone sections. Mr. Charlie Fowlkes! Here is a sound man! A full vibrant baritone section sound, great intonation,shading,dynamics, phrasing and consistency.

In his Basie years, I always caught him on a Conn low Bb bari with a metal Berg Larsen. As time passed, it was a low Bb Conn 12M (Mexi-conn ;Nogales) and a Meyer NYUSA 7 mouthpiece.I believe that horn Danny Bank had after Charlie passed. He had such a correct baritone sound to blend in that Basie band. If your looking to hear a "classic" jazz saxophone baritone saxophone sound, this is your man. Younger players I urge you to listen to him- study the Basie recordings and google him, go to Amazon.com and look for the recordings. This is a saxophone lesson in front of you.

Charlie Fowlkes' relationship with Count Basie sets records for sideman stints, lasting more than 25 years.He could be in the Guinness Book Of Records if anyone counted! Fowlkes also showed a sense of loyalty, he also played in Lionel Hampton reed section for four years and spent six years in a combo led by Tiny Bradshaw, also was a member of Arnett Cobb's bands.

Fowlkes also studied alto and tenor saxophone, clarinet and violin before settling on the baritone sax. Influenced by the Duke Ellington baritone sax Harry Carney.He was still with Basie when he died in 1980. He was born in 1916. ( February 16, 1916 - February 9, 1980 )

The period with Lionel Hampton the sax section was loaded with giants. You can find a lot of these re-issues on Metronome classics CD's. Check out the saxophone section with Herbie Fields on clarinet, you can spot a young Johnny Griffin on tenor, Ben Kynard alto, Arnett Cobb, Bobby Plater and Charlie Fowlkes. ( My source here was my man in Blogs Marc Meyers.
The picture was from # http://www.jazzwax.com/2011/07/hamptons-reeds-circa-1946.html from one of Marcs readers, Betty.Thank you Jazz Wax- Also check out Marc's great writing and love of all things jazz. He's very cool- and a must read! )

~ I urge you younger players to study, absorb and check out this kind of saxophone section playing. Especially Charlie. His playing on " Ebentide" on the Basie Roulette records is amazing, melody, solo and the art of being a member of a team.If you can ever find a copy of Frank Wess recording of " I Hear Ya Talking" - get it. It has some of the greatest music on it and was released on Savoy Jazz Records as SJL 1136 in 1984, recorded in 1959. The players are- Frank Wess (flute/tenor sax/alto sax), Thad Jones (trumpet), Curtis Fuller (trombone), Charlie Fowlkes (baritone sax), Hank Jones (piano), Eddie Jones (bass) and Gus Johnson (drums). If you search you can get-
Count Basie & His Orchestra - Complete Roulette Studio Recordings. That is a must as well on all counts saxophone wise.

Also here is a fun link to some insights on Charlie and Mr. Frank Foster and friends relaxing, talking about music.

http://www.jazzprofessional.com/blindfold_tests/foster_fowlkes_reynolds_staples.htm

SO-This is a birds eye view of Charlie Fowlkes! Go listen, and hit Amazon.com.
All the answers are on the recordings dear reader. Thanks to my friend Jeffery Powell
for the decades of great information on Charlie. Jeff, is a French Horn player who knows and loves Mr. Fowlkes as much as I do.

Till next week- listen to this man as much as possible.

~ Tim Price

THE BASIE SAX SECTION WITH CHARLIE, AND YOU CAN SPOT A YOUNG FRANK WESS RIGHT IN THE FRONT, WITH A WHITE MOUTHPIECE.

Tim Price Bloggin' For Rico- 60 years in the Scorpio lane.

2011-11-01T10:24:00.015-04:00

60....years in the Scorpio lane.

Today I turn 60, and you know what? I'm glad I'm the era, and foundation as a person that comes from the dues that comes with that age.
As a young man I was taught to respect experience, listen and learn. God knows I did! Otherwise I would not be here writing these blogs for RICO!
I came up in the time period when I'd go to hear Count Basie and couldn't wait to hear Marshall Royal and Lockjaw Davis. Sure they were older men, but that was where the music was. The real essence of time spent at a craft, and hard work. You listened and you learned. The results were there but you had to take the time to find, listen and apply. Same as with my Berklee education, I was with the masters. Guys who were in the field, and earned stripes. I carried that vibe all through my life and guess what? IT WORKED.

So many times, and I note with extreme interest that people feel the need to juggle the numbers in their age. Why? Let your experience and dues paid
lead the way.The years post-Berklee as I say many times here, riding through the South in Motown band buses with acts like Billy Paul, Lloyd Price, Chuck Berry on
through major road big bands, where you were living on the bus for months and months traveling,and major rock bands.Gigs in Boston as a student,when you were EXPECTED to be inside the gig,playing with musicians two times your age,dealing and learning. Experience that could never be bought, on AND OFF the bandstand.Think about it.

As a teen- my years were way different. I was playing high school dances, and later bars by the time I was 16, the thrill and the chase of getting into bars like my friends was kind of old hat after a few dozen working gigs. Going drinking was something different, and meeting women was immediate.You learned fast on both counts- or the dues would haunt you big time.I came to play,to learn and as I found out years later survive.

Rehearsing big bands in local bars where stale beer and tobacco smell was the call of the day. I also did some theater things, but I was working three nights a week and playing shore points in Jersey in the summer or Philly suburbs. The bands paid higher and I needed back up cash for Berklee- as I was dead set on going there. The summer gigs were a ball, most times from 8 to 2. There was more after hours places, that ran from 11 at night to 6 in the morning.You held your schedule, and stayed on track.
The bands always car pooled, or in the summers had comp rooms at shore points. The money was excellent! It sure beat the alternative, I was working with older players, in places where I had to conduct myself, and be responsible to be on the sets on time.
Plus- knowing all the music without a Ipad in front of you, or a real book touch screen for a tune you should of known before you took any gig.It still baffles me how a University level tenor saxophonist can not know the bridge melody to " Body & Soul"! Those kind of things when I was 18 you had to know, There was no excuse.
There was NO coddling, I just could see John LaPorta's face with some things these days.But as I grew ,through my saxophone, I could gain entrance into another world that most never dreamed of. ~ AKA-Making a living with a horn in my hand!

I embrace getting older.I walk proud. I'm getting stronger, more experienced, learning to live our life to the fullest, it's actually a process of continual mental development. Each day is better.

I will always have the sense of freedom I had in my 20's. The older I get, the less I care about what others think of me. Therefore, the older I get, the more I enjoy life.It works that way with the music also.Teaching as well.

I'll leave you with a quote that sums up what I 'm after ;

Anyone who stops learning is old, whether at twenty or eighty. Anyone who keeps learning stays young.
The greatest thing in life is to keep your mind young.
Henry Ford

Learning to live stress free and without negative thoughts, is the key to staying positive.The key to staying positive, is living through a lifetime of stressful and negative situations with a positive outlook.
I choose early on to be positive, it works.

BY THE WAY- The picture at the top of the Rico Blog is me when I was 19 at Berklee
At that time, we'd session every Tuesday-Thursday on the 2ed floor. In this great room that Hal Grossman ( Saxophonist Steve's brother )who was Berklee faculty and a great friend made sure I had access to. In other words a key for myself! That room was the best, great piano, sound etc. Many times other Berklee faculty would come by
and join us. Many times Steve Grossman and Junior Cook would come by when in town and
we'd know we had much more work to do! LOL. Understanding that in my late teens was an asset for realizing the sun didn't rise and set when I wanted. I had to work for it- I was never feeling entitled. The music is bigger than all of us anyhow!

ALSO- I WAS PLAYING RICO BROWN BOX #5 REEDS. Great times- great reeds and this was about 1970. I used 5's on Bari too! LaVoz medium hard on alto. Those LaVoz boxes from that era-the black and green box. THE HOLY GRAIL OF ALTO REEDS!

Love what you do, do what you love.

I never had to work a day in my life,because I love what I do! And I say that all the
time- good times or bad.

Till next week- Tim Price

Tim Price Bloggin' For Rico- Phil Woods Live In NYC at Birdland ( My Man Phil )

2011-10-23T08:48:00.010-04:00

~Friday night October 21 was time to catch my man Phil Woods in New York City at Birdland. He was making his New York gig with his world class famous quintet.This band is just the best in the business today, Brian Lynch- trumpet, Bill Goodwin- Drums, Bill Mays-piano- Steve Gilmore-bass. What a beautiful friendship this unit has become too, you can hear the empathy and commitment they play with from note one, on the bandstand.

From the first tune of the first set to the last tune of the second set, I had the overwhelming impression of a lasting rare beauty they made on me. That beauty has not diminished with time either! I've been a fan of this band from day one, with Phil's sidemen like Mike Melillo and Harry Leahey back in the day, and every one of Phil's bands has the Woods thumbprint. The music is bright, fresh, melodic, soul cleansing, soothing, brialliant, beautiful and swinging hard.The jazz I heard Friday in New York City is some of the best jazz of all time. To me, Phil Wood's has it all. The sound, and the technique, true jazz roots, and style behind it, never falters. That style is what it's all about. he's got the moan in the tone, beauty and grace, but it's the style that sais Phil Woods. That's a lesson there, dear Rico Blog readers! His tone is huge and his melodic phrasing is an inspiration but also he can take you to the moon to once you get inside his solos, this guy travels the outer limits. There's times Friday where I just shook my head, because he knows how to start a phrase so damn well, and if you listen to his story well, and take the trip with him, you'll find out what I mean. Phil is one bad hombre', and modern cat, but he always was! Why would he ever change! I love hearing him play the Benny Carter tune, "Souvenir"...Every time he plays it, I hear something new. That's a tune, every serious jazz saxophonist should be playing as well.

Phil's band , always intelligent and inventive, driven by plenty of emotion and sensitivity. They are the greatest instrumentalists, on the scene today.The coherence achieved was extraordinary - never surpassed, and rarely if ever equalled. Brian Lynch knocks me out! Without a doubt, he is one of the greatest trumpet players ever. Bill Goodwin, was born to play the drums. I always find Bill inventive and intense as well as wonderfully melodious and profound. Bill Mays is one of the most most fulfilling pianists in jazz. His comping fuels the band, I loved his voicings and the way he comped! Amazing! I'll be blunt- this is one of the greatest pianists playing today.Unhesitatingly recommended - only great respect and gratitude to Bill Mays. Steve Gilmore is a rock solid player I always enjoyed, his sound is right there decade after decade.Warm, vital and inspiring, uplifting contributions.

Everything this band has recorded I recommend, not just one CD. But everything. Why? Because it's totally distinctive: there is no replacement, and you will not regret owning and playing them frequently. It's history and a saxophone lesson as well, and for those of you, a jazz history lesson is you step far enough in.

SPECIAL NOTE; Frank Wess was in the house digging Phil Woods too! Phil announced his great respects to Frank and noted that when he grows up he wants to be just like Frank Wess. Don't we all Phil, don't we all ! Support from within' the ranks is inspiring, and what it's about. Take note!

What a great night Friday was, and a fantastic inspiration. A great joy to hear Phil, see some friends and get inspired.Mission accomplished.

This is, I feel confident, the kind of music people will still enjoy centuries hence among the best music of the twentieth century.Thank you Phil Woods!

Till next week, Keep listening, keep practicing, support live music always- Tim Price

Pictured below- Is Drummer Bill Goodwin; One of the greatest drummers in jazz and original member of Phil Woods quintet, and a beautiful human being to boot!

www.timpricejazz.com

Tim Price Bloggin' For Rico- " The credit belongs to the man who is actually in the arena "..

2011-10-18T09:59:00.018-04:00

~ So many times people musically are concerned about harsh reviews that serve no purpose and just thrash the artist. The common sense of communication, respect and review are lost forever in this kind of situation.

The great teacher Charlie Banacos once shared the below quote with me of Theodore Roosevelt which sums it all up nicely.

“It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood, who strives valiantly; who errs and comes short again and again; because there is not effort without error and shortcomings; but who does actually strive to do the deed; who knows the great enthusiasm, the great devotion, who spends himself in a worthy cause, who at the best knows in the end the triumph of high achievement and who at the worst, if he fails, at least he fails while daring greatly. So that his place shall never be with those cold and timid souls who know neither victory nor defeat.” Theodore Roosevelt

And...to take it a step even further...some words from Rico artist Jerry Bergonzi ;

"It's none of your business what other people think of your playing" - Jerry Bergonzi

Here's a helpful hint to gain new dimension ;

Replace the same old videos you watch on youtube with classic jazz recordings.Start listening more to masters and study the real history of what your playing! Youtube can be a great starting point- but keep on searching. Listen to more String Quartets, more Woodwind Quintets, read more about composers. Open a book, listen to Bill Evans, Bartok, read Boulez.Study scores, and get past the same stuff. 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. Being a complete musician goes well beyond the notes- much more than that. 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- The cat is my Maine Coon Cat Milo..he's 12 weeks old. A beautiful Cameo color.
He's on the case already!

Musician + Entrepreneurship = Career You Want

2011-10-17T19:06:00.004-04:00

Hi - I'm Rico Artist and saxophonist Connie Frigo, and I'm flattered to start contributing to Rico's blog page. D'Addario & Co. (parent company to Rico) and the Road of Creativity (my consulting business, ROC for short) are partnering to launch ROC's Inaugural Music Entrepreneurship Retreat from June 3-9, 2012, hosted by the University of South Carolina. If you are a young professional or college-aged musician who desires to gain essential career skills and attitudes for success in today's music world, you need this retreat.

Click here to go to my blog for a free download of my first published article on entrepreneurship for musicians. It first appeared in the Saxophone Journal magazine in early 2011. More to come!

Tim Price Bloggin' ForRico Reeds- Peer Or Clone

2011-10-08T23:09:00.001-04:00

Tim Price Jazz Workshop- Peer or Clone?

http://www.youtube.com/watch?v=CG_J4_3m0O0

To be nobody but yourself in a world which is doing its best, night and day, to make you everybody else means to fight the hardest battle which any human being can fight; and never stop fighting.
e. e. cummings

Tim Price Bloggin' For Rico Reeds- Happy Birthday Von Freeman- Saxophone Legend.

2011-10-03T13:52:00.013-04:00

Happy Birthday Von Freeman!

Von Freeman is a saxophonist and Chicago jazz legend in a town that is known for producing a lot of both.Von Freeman is the namesake of a street Von Freeman Way and the recepient of an honorary doctorate from Northwestern University. That's very cool, and a bright moment in jazz.

Von Freeman is an iconoclastic jazzman, a tenor sax player and a life long fixture on the Chicago jazz Scene. Long regarded as among the top players in the world, he still gigs regularly in a weekly jam session he heads on the south side of town.

Von's style is all his own. Clearly having learned the lessons of Bebop, he chooses instead to play inside changes when he wishes with an outside tone, again when he wishes, playing lines with incredible speed and dexterity.I always loved his taste as to when to use this and when not to.So many other tenor players, play solos that have nothing to do with the song. Not Von, but this is an asset of a master, and he is also a great pianist too.

I consider Von Freeman possibly the most compelling instrumentalist I have experienced,I used to hear him live when I'd travel through Chicago. At a point, I got to talk to him and found him to be a very sweet and open guy. Really a walking history book and fun to talk with. I heard him at the Jazz Showcase on Rush St many times and also at the other spots around town.

That first record he did " Doin' it right now" I still listen to, when I got it, it messed me up because of his great sense of time and harmony. I couldn't stop listening to it! His playing was bold, visceral, and striking. Also one of the hippest versions of " Lost In A Fog" ever. Or let me say one of my favorites! The late John Stubblefield and I used to hang and try to cop Von's articulation, or try to. That Chicago time feel, and the driving attack. I just love it.

There's another Von record, that you got to check out- with our man Frank Catalino on it. It's called " You Talkin' To Me"...and it is amazing. It was the first time I heard Frank, and knew I would be a fan. One of the best records in the Delmark catalog, and damn Frank holds his own with Von. That is a great tenor record!

But- everything Von records you should hear! He's that guy! Check him out, you'll hear something new and fresh always. This man is one of the real ones.

But here's to Mr. Von Freenman on his birthday!
Born on this day in 1923 and one of the assets in jazz and saxophone!

Earle Lavon Freeman Sr. is 89. Happy Birthday Von!! Thank you for all of your inspiration. You've touched all of us deeply sir.

~ Tim Price

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Tim Price Bloggin' For Rico Reeds- The Blues In Jazz, the connection and conviction.

2011-09-26T09:50:00.008-04:00

My Blog this week is dedicated to John Coltrane. A positive force in this music, a person who never stopped learning,a player and a benchmark for all.Thank you sir for your life long inspiration and guidance.

Coltrane's playing had the blues in it- just listen to " COLTRANE PLAY'S THE BLUES"...On Atlantic records or "Blue Trane". If you play jazz, and your playing is void of the blues feel, and sound you are lacking in something very basic, and a vital element to this art form.From Louie Armstrong to Ornette, it's heard and felt.

This weeks Rico Blog is highlighting improvistaion using blues and pentatonic ;

In Pentatonic scale use you can use a C Pentatonic scale over these
chords;

C maj 7
C7
Dminor7
D7sus 4
Emi7b5
Fmaj7
G7sus4
Ami 7
B7b9sus4
Bbmaj7
F# dom7
F#mi7b5

A player like "Thin man Watts" is a very strong blues&pentatonic
player. He know's what he's doing.
To take it a step further....

On a D minor7th....chord you can use C pent. over it & its gonna be
funky. On a C maj 7....chord you can also use a D pent and is going to be
singing and funky.

This one by the way...is a fav of Pharoah Sanders on Maj 7th
chords...it sounds beautiful.

BUT. Also on a C dom 7th chord you can build a pent scale off the SHARP
4th..and it will be hip to. EG~ C7...use F # pent.

Check out this blues lesson I have on Sax On The Web about Thin man
Watts;
http://www.saxontheweb.net/Price/Blues1.html#Watts
Its a lick from his CD-" Return Of The Thin man".

The tune- " SLOP BUCKET."
IT GOES THRU EVERY KEY OF THE BLUES...within Thin mans rhythmic bag.
You can't beat his-TIME-feel of' being funky.

Thin man played things that you could FEEL.
Thin man was a running buddy of the Adderly brothers...was in school
in Florida with them as a young dude.

More folks NEED to get hip to Noble Thin man Watts...as his playing
carried a message. He told a story!! That aspect today is becoming a
lost art.

NOT ONLY..could he funk the club down but he was a strong jazz player
as well. As a kid,, I heard a 60s organ band at this club in my home town.
The club was a semi-famous joint called the "Grand Hotel".
It was aside of a railroad station, and had organ groups on
weekends. I played Wednesday nights...and could slide in for free, and under
age on weekends to catch stuff. SO,,one weekend there's this wild band from
NYC there. The sax player was as skinny as a telephone poll !!!
Later I found out it was a guy named -NOBLE THINMAN WATTS.
As I got in the club and stood at the side door....near the band...I
Ya could hear him on 2 blocks down the street...PREACHING TENOR .
I NEVER FORGOT THIS GUYS PLAYING...it was like a tattoo on my soul.People for
months in that joint " the Grand Hotel" were still talkin' about the THIN MAN on sax
playing there.

Check out these Sax On The Web lessons of mine for ideas and phrases on the
blues. Each lesson is very different but still deals with some aspect of blues playing via jazz.

http://www.saxontheweb.net/Price/Blues2.html

http://www.saxontheweb.net/Price/RootlessMajorChord.html
Look further down in this one...I have a lick on Birds "Now's The Time" thru 12
keys.

ALSO CHECK OUT FOR YOUR EAR ;
http://www.geocities.com/saxontheweb/Price/Sept01.html

This lesson , also has some ear training
via a nice line to play thru the keys by ear.
Then, as usual, a line thru all keys thru some important progressions.
Also , for those interested , start to take
the past lessons and memorize them. Then take
the lines and re-write them for yourself.

Try to use some different intervalic connections
and even the use of rests and rhythm.

Keep in mind- I teach in NYC and Pa. and
do clinics.I'm interested in
ALL aspects of education.I teach all levels
also. Just ask me- I travel worldwide.

I hope this brings some light to your shed time and also let me add,
my feeling is that if you've absorbed a lot of the known vocabulary of the
greats , then you'll naturally gravitate to looking for other things ,
or even begin to hear things of a different nature, that the basis of this is an individual wanting to create something that is personal.Personal isn't always something new and different,but sometimes it is,it's personal.Coltrane ,when he was interviewed in Downbeat in 1961 said something to the effect of : " The artist tries to convey to the listener a sense of all of the things he knows of in the universe ... " Knowledge, there is the factor as far as I'm concerned, you know! Depth and conviction should be your motivation no matter what.Conviction ,,, there's the real prize .

HERE'S A LESSON ALSO- Replace the vapid youtube videos you watch on youtube with classic jazz recordings- why not check out some Coltrane records...such as ;Complete Savoy Sessions John Coltrane, Wilbur Harden. Check THAT out!

Till next week- enjoy the fall weather and see you next week.

~ Tim Price

Tim Price Bloggin For Rico- My man Andy McGhee

2011-09-19T21:53:00.015-04:00

~ In this life..respect from a peer that is a friend and an influence and a teacher is worth it's weight. This is my story on Andy McGhee.

Today,I made a beet salad,for dinner and had gone to finish shedding some things I was working on....The phone rang, and my wife spotted caller ID which said- Andy McGhee.
'
She told Andy I was practicing. After a few laughs, a two hour conversation continued about everything from books of mine he used in his lessons with current students, which I am still totally humbled by, to just things about the life inthis world as a saxophone player.

Years ago in 1969, I had my first lesson with Andy at Berklee. It was a great day, I'll never forgot it! He set me straight. At age 17.I had yet to register for the draft and had no idea of the life long friendship that would develop, as it happened.Ditto Mariano and LaPorta and Viola. Every lesson Andy set the bar, and never let me coast.Andy never let a student become a lamb to a slaughter...he was street smart and educated. Everyone from Cecil Taylor to Percy Marion can attest to his dedication as an educator.

In ensembles, he'd school me and help me on the most hippest of things. He also taught me how NOT to be a player that gave it up. Someone who just played and never got paid. He made sure I knew not to be let any BS happen on any level. And he'd tell you. Andy mentioned me in a Boston Globe article back in 2/15/2002 by Bob Blumenthal, Globe Correspondent, as one of his students that I made all the lessons and he dug.To me that means more than anything.

As time went on...we became great friends. I never realized his birthday was November 3ed and mine was November 1st...When I told him that as we had Thai dinner with my wife years ago when I turned 50 ( It seemed like it was yesterday!!! ) He said to my wife ( who is NOT a musician ) that's because Tim is to busy trying to get to all my licks!! hahaha...Which has some truth!! LOL. Charlie Mariano was a Scorpio too, which all made sense if you know me. And Andy loved Charlie! Who don't ? Charlie is universal love!!

So today,it's just one of those things.He made my day! I used to dig the Woody Herman record with Andy and Sal and Joe Romano. Little did I ever think I'd know them, or play with them. Andy was also in the " hot seat" with Lionel Hampton. That was the hot seat of hot seats. Stand up and burn every night and not stop!! He had everyone's attention. But also he was smart.He raised a family, and had a life. Another lesson !!

The late Makanda Ken McIntryre told me that when Makanda studied with Andy....ANDY WAS THE CAT. Andy was _the guy_ at the after-hours gigs ALL the recording guys like Trane would come to sit in with Andy was- CUTTING EDGE. Plus- Makanda saw some of those sessions because he was from Boston etc...and told me that a young Andy was playing some stuff that made those guys stop and think. I have no trouble thinking twice about that...because Andy is as good as it gets. Think about it- He sat aside of Sal Nistico and Frank Foster in Woody's band.

I learned a LOT from Andy...in 1969 he got me studying Tranes solo on Oleo.
Andy defined " hip" also in a certain way,he has INNER SOUL...you can feel it.
I can't say enough about him...he is one of my favorite people and musicians.

Andy calls me,and has become a family member. He cares.Ya know I got MORE out of Berklee than my moneys worth due to guys like Andy and Joe Viola,John LaPorta and Charlie Mariano.

He talked today about my Cannonball book- and Lennie Johnson. That took ,e back to 1140 Boylston st. Lenny was the one that told me to transcribe Cannonball to chill out the tenor stuff < eg- get away from all the tenor cliche stuff > in my playing.I mention that in my book- and Nat Adderley knew who Lenny and Andy were in a NY minute.

Andy McGhee has some great books out himself thru Berklee press ; Improvisation for Saxophone and Flute: The Scale/Mode Approach and Modal Strategies for Saxophone.

Jazz...and jazz education is lucky to have someone as REAL as Andy in it's ranks ans also committed to the real thing.

A friend, teacher and world class tenor saxophonist.He's made a difference in my life. Andy McGhee, thank you for being not only real but being the essence of what this music is supposed to be!! I think a trip to Boston for some Thai with Andy is in order!

~ Tim Price

Tim Price Blogging For Rico-Seamus Blake In The house ! Seamus joins Rico Reeds.

2011-09-12T20:43:00.013-04:00

Tim Price Blogging For Rico-Seamus Blake In The house ! Seamus joins Rico Reeds.

Pat Metheny described him as "the best tenor player I've heard in a couple of years" (Jazz Times), that John Scofield hired him for his Quiet Band,calling him "extraordinary, a total saxophonist" or that he placed 1st in the Thelonious Monk Jazz Competition in February 2002, all that only attests a part of this very interesting musician's course.A long standing member of the Mingus Big Band -featuring on their recordings on Dreyfuss - and also borrows his sax to some of the most intriguing bands of the modern scene, like Bloom daddies (a funky,alternative grunge jazz. Right up my alley,and something I'm looking to hear live soon.), and last but not least the very jazz Sangha Quartet.He's busy!

My favorite Seamus CD these days seems to be " Live In Italy". Amazing music-and
Seamus is joined here by pianist David Kikoski, bassist Danton Boller & drummer Rodney Green. The entire group is in top form especially David Kikoski who takes many stand out solos from greasy shuffle funk to straight ahead post bop. One particular thing I dig about Seamus is how he utilizes electronic effects on his tenor like wah wah & echo delay but the effects never threaten to overwhelm the natural sound of the horn, rather they enhance the mood and enforce Seamus's ideas. There is a master class in itself. I can't say enough good stuff about what I've heard and the notes and tones that he's creating.And " Darn That Dream" is beautiful! To me that is worth the price of admission.

Last but not least...I've been working on some things to help students in workshops and in lessons. You got to think past your horn.Be prepared, as in knowing the music inside and out. ALSO- don’t judge yourself,get out of your own way.Stay in shape-eat right and don't be _that guy_who's hung over at a rehearsal or tired. Get your rest, this is after all your life and employment.Be responsible-nobody owes you a thing.
But really get out of the way, and let the music happen.

OK- Here's a project for you saxophonists.
Learn to play in 3/4 ! Learn some jazz melody's in 3/4, anything from " Someday My Prince Will Come" to " Up Jumped Spring" and "West Coast Blues".

Some other's I love to play, that require some work are-Monk's "Ugly Beauty", Denny Zeitlin's "I, Thou", Wayne Shorter's "Iris", Richie Bierach's "Nightlake", Sonny Rollins' "Kids Know", Herbie Nichols' "Love, Gloom, Cash, Love".

Years ago I heard Rico artist Mel Martin play " Take The A-Train" in 3/4...I liked it so much that I have been doing it since hearing him at a Sunday brunch in NYC at Sweet Basil. By the way, you should be hip to Mel. He's as great as they come.He knows the history of the music, and loves it. His music has a special quality,and he is a one of a kind saxophone player, his playing is beautiful. When he solos he tells a story, you hear a personal huge sound and he is not a cliche player.I heard him a few years back in NYC play flute on a George Russell tune and I am still thinking about it! Check Mel out- you'll love him madly!

Here's a great Rico video of Mel's I always tell my students to study ;

Mel Martin On Articulation http://youtu.be/ShFqZzXI-WU

Till next week...Remember to strive for tone, and enjoy life!

~ Tim Price

“If you look for the imperfections in others, you are sure to find them. But oh, life is so much better looking for the good.” -- Thich Nhat Hanh

Tim Price Bloggin' For Rico Reeds- Albert Ayler

2011-09-05T22:04:00.013-04:00

In 1969 Albert Ayler said, "Music Is the Healing Force of the Universe."

As the fall approaches us, in this beautiful September,that quote rings so true. The healing force. But how many have heard it? How many have taken the time to adjust their lives and realize what Albert was saying back then in 1969? Everyone brings to the table what they have to put on the table, others come to eat, others come to just smell the food.In this lifetime...I'm here for the music. I've seen the results.

To me Ayler's communication of a feeling is so much a part of art's deep value,that knowledge through the emotions.That is what is missing today. It just can't be taught! This essential aspect involving the heart and soul is another level. Almost beyond words! But for Ayler, words were not important because when Albert Ayler played he spoke to you. I heard his voice, and it was a different than the profound texture in his playing.

He was a transcendent master of fusing spirituality with music and a modern spiritual guide to present day music. He takes kind, gentle, hummable melodies and stretches them, he created a beautiful unique sounds that you'll never hear anywhere else.

There is a composition, " For John Coltrane"
(played by alto and strings only)
In which Albert plays only alto sax, with a string section.
It should be on > Albert Ayler in Greenwich Village.
It was done February 26, 1967, The Village Theatre, New York.
The strings are, if memory serves;
Joel Freedman (cello)
William Folwell (bass)
Alan Silva (bass)
That writing was exceptional and proved to me the genius that
Ayler had within him. Michel Sampson was on violin on many Ayler dates and within Silva and Richard Davis, there was a HEAVY string overtone.

I'm still trying to find this recording
called-
La Saga Heroique d'Albert Ayler
( on- Pathe (France) 2C.154-92337 )
I'd LOVE to get that music.
If anyone can get me a copy PLEASE do so. It's a French label.

I don't hear anybody REALLY steppin out like this.

The art form -
Albert addressed that.

His trio work on "Spiritual Unity" is something everyone should have, and listen to as much as possible.It's part of the free jazz canon by now,if you haven't, I can't recommend it enough.I say it's uplifting, the first listen might be shocking but hang in there, you'll never be the same. Ayler was supported and admired by many of his contemporaries, including 'Trane on through present day masters such as Jan Garbarek and thousands of others.

Albert Ayler - Ghosts

http://www.youtube.com/watch?v=dtiSA2RKDzc

albert ayler - new grass - heart love
http://www.youtube.com/watch?v=fJAq_1OyO7o&feature=related

Search for more Albert Ayler on you tube- and enjoy him.

Remember, "Music Is the Healing Force of the Universe."

Being a complete musician goes well beyond the notes- I learned that from listening to the music of Albert Ayler.

Keep positive and in the zone- Tim Price

Tim Price Bloggin' For Rico- Jazz Repertoire

2011-08-30T09:27:00.005-04:00

Tim Price Bloggin' For Rico- Jazz Repertoire

Listen to the You Tube video first ;

Tim Price Jazz- Jazz Repertoire
http://www.youtube.com/watch?v=4vsarjAoQtE

The following tunes are among those most commonly played by jazz musicians. I have made an attempt to categorize them based on how they are usually played. Most of the compositions are by jazz musicians, except for the ones marked "standard".

You should try to become familiar with as many of these tunes as possible. Most of them can be found in the Real Book or in Chuck Sher's books.

All Blues blues, modal
All Of Me standard
All The Things You Are standard
Anthropology rhythm changes, swing
Au Privave blues, swing
Autumn Leaves standard
Beautiful Love standard
Beauty And The Beast rock
Billie's Bounce blues, swing
Black Orpheus Latin
Blue Bossa Latin
Blue In Green ballad, modal
Blue Monk blues, swing
Blue Train blues, swing
Blues For Alice blues, swing
Bluesette 3/4, swing
Body And Soul ballad, standard
C Jam Blues blues, swing
Caravan Latin, swing
Ceora Latin
Cherokee swing
Confirmation swing
Darn That Dream ballad, standard
Desafinado Latin
Dolphin Dance modal, non-tonal
A Foggy Day standard
Footprints 3/4, blues, modal
Freddie Freeloader blues, modal
Freedom Jazz Dance non-tonal
Four swing
Giant Steps swing
The Girl From Ipanema Latin
Goodbye, Pork Pie Hat ballad, swing
Have You Met Miss Jones standard
I Mean You swing
I Remember Clifford ballad, swing
I Thought About You standard
If I Were A Bell standard
Impressions modal
In A Sentimental Mood ballad, swing
In Walked Bud swing
Just Friends standard
Killer Joe swing
Lady Bird swing
Lullaby Of Birdland swing
Mr. P.C. blues, swing
Maiden Voyage modal
Misty ballad, standard
Moment's Notice swing
My Favorite Things 3/4, modal, standard
My Funny Valentine ballad, standard
My Romance standard
Naima ballad, modal
A Night In Tunisia Latin, swing
Nica's Dream Latin, swing
Nostalgia In Times Square swing
Now's The Time blues, swing
Oleo rhythm changes, swing
On Green Dolphin Street Latin, swing, standard
Ornithology swing
Recorda Me Latin
Red Clay rock
Round Midnight ballad, swing
St. Thomas Latin
Satin Doll swing
Scrapple From The Apple swing
The Sidewinder blues, swing
So What modal
Solar swing
Some Day My Prince Will Come 3/4, standard
Song For My Father Latin
Speak No Evil modal, non-tonal
Stella By Starlight standard
Stolen Moments blues, modal
Straight, No Chaser blues, swing
Sugar swing
Summertime standard
Take The "A" Train swing
There Is No Greater Love standard
There Will Never be Another You standard
Up Jumped Spring 3/4, swing
Waltz For Debby 3/4, swing
Wave Latin
Well, You Needn't swing
When I Fall In Love ballad, standard
Yardbird Suite swing

The process of internalizing music is a matter of
slow repetition of very small segments of a piece of music or a
technique of playing the instrument. This repetition ingrains what is
being learned deeply in our subconscious. The goal is to work on
something until it seems to play itself. Once a musician has a repertoire, they can go out and play with many others.At least this is how it has worked for me,and many others through the decades. Being a complete musician goes well beyond the notes.

The first step in practicing something is to understand what areas of
the piece or scale are less familiar to us, what we used to think were
the hard parts. The next step is to spend time visiting and revisiting
those areas until our fingers, ears and breathing become comfortable and
familiar with them. Sound too simplistic? Maybe it is, but it is true.
( example B- Stan Getz playing " Early Autum". )

It may take weeks or months or sometimes years for our
bodies to allow these actions to occur without conscious thought.
One of the most important steps in this process of learning is to not
look at a printed page of music. Play things without looking at the
music You might say, I can't memorize things so easily. Well this is
NOT memorization. This is learning something very deeply. Play a small
portion of a phrase over and over. But while playing it, use your EAR
and LISTEN to the music you're playing. Then try to sing the phrase away
from the instrument. Try to play the phrase starting on different notes.
If this seems overwhelming take another approach.
Sing the first few bars of the song Happy Birthday. Now play the song on
your instrument starting on any note. Now once you figure it out and it
feel comfortable, play it starting on other notes. When this feels
comfortable playing the tune on all twelve notes you can feel confident
you know that tune.
(( example C- listen to Monk play solo
on some basic song ))

Only work with very small segments of music and don't move on
to other areas until that one area is thoroughly learned.
When we ingrain the techniques of playing an instrument and understanding the
rudiments of music so thoroughly we
remove the need for conscious thought to help us execute the music.
( This is the start of the Alpha State. )

At this point one's unique voice can be expressed through the music. Master
means to learn something so thoroughly that one always executes it
correctly - This type of
practicing can seem to take a long time.

Your the time spent internalizing something is shorter than one thinks.
Try to remember the times when you practiced a piece over and over and
there were a few passages that were always difficult which never felt
quite right. You perform the piece and kind of get through those
passages and say , glad that's over. But a month later
you have to play the piece again for a gig or and those same passages are no
easier.
If one took the time to properly internalize that music it would not
only always be with you but any of the problems that were conquered
while spending time with the piece would carry over to other pieces that
have similar challenges.
The more material which is learned in this
thorough manner, the easier music in general starts to become. When
enough stuff is gained, most music played will be done with little or
no conscious thought, thus allowing one's voice to happen.
This will happen because there will not be any technical hurdles to
conquer in the music or on the instrument.

When practicing, don't try to conquer an entire work at once. Live with
a small passage until it becomes easy.

If a mistake is made, then go back and spend more time working the passage
slowly until you don't have to think about what you are doing.

Have patience,listen to what you play-find the problem areas and
fix them via slow repetition. Also enjoy the process of practicing
and the sounds you produce.

Jazz is food for the soul and this
includes music made while practicing.

Think about it- it's THAT easy !

Be thankful for another day on the planet.Music and life are a gift!
Put positive energy out there, and be glad you have the ability to play music and enjoy your life.

Till next week- strive for tone-and do something good for someone else- Tim Price

Tim Price Bloggin' For Rico- Todays student needs substance !

2011-08-22T18:24:00.004-04:00

~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. I wish I had arrived at these ideas earlier in life. It would have saved me a lot of unnecessary toil. But like it is sometimes said, you are ready when you are ready. These are very important topics- are YOU ready?

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!

Today's 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 WILL LAST YOUR ENTIRE CAREER!

Also check out the new ... TIM PRICE JAZZ VIDEO...captured/recorded and filmed last Monday by great friend/ former student Nathan Bellott. ENJOY!

http://www.youtube.com/watch?v=h4LFnzsMYW0&feature=share

Till next week- Put positive energy out there!

~ Tim Price

www.timpricejazz.com

Tim Price Blogging For Rico-Baroness Pannonica de Koenigswarter- " Nica's Dream".

2011-08-14T13:12:00.011-04:00

It’s a misty night in 1969 in Boston, I'm standing outside the Jazz Workshop on Boylston Street waiting to go see Thelonious Monk. A silver Rolls-Royce parks right in front of the club, behind the wheel is a beautiful brunette, a chinchilla stole draped over her shoulder and a cigarette holder between her teeth. Before she turns the Rolls off she takes a long hit from a silver flask, she exits the car and down the steps into the famed " Jazz Workshop". The Jazz Baroness has arrived!

As a teenager, I read liner notes on records, and articles in Down Beat about this famed woman of jazz and there she was before my eyes. As I remember back to that week of hearing Monk every night for a week! ( Charlie Rouse put me on the guest list, that's another blog unto itself. He's one of my hero's as you might have known.)

The Jazz Baroness was raised in fairy-tale splendor, Kathleen Annie Pannonica Rothschild de Koenigswarter (known as “Nica”) piloted her own plane across the English Channel, married a French baron, fought in the French Resistance, and had five children. Then she heard a recording of Thelonious Monk’s “Round Midnight.” Inspired by the liberating spirit of jazz, Nica left her family, moved to Manhattan, and began going to the city’s jazz nightclubs non stop.

The tabloids first splashed her name across the headlines after Charlie Parker died in her hotel suite—a scandal that sadly cast a dark shadow over parts her life. Press be dammed,she became a legend as the major force as a woman she was. Not only a woman that was immensely beautiful, but strong emotionally, mentally brilliant beyond words, and a complete positive force for those she cared about! What a brilliant one of a kind woman! Wow!! Nearly a score of jazz compositions have been written in her honor, including two of the most beloved classics of the genre: Horace Silver’s “Nica’s Dream” and Monk’s “Pannonica.” Any jazz student or musician worth their salt, should know those tunes, without a lead sheet, by the way. Also some other amazing tunes written for her ; " Nicas' Tempo"" by Gigi Gryce, Sonny Clark- " Nica", Kenny Dorham " Tonica", Freddy Redd " Nica Steps Out", Kenny Drew " Blues For Nica". One of her abstract paintings was even used as the cover art for Bud Powell’s 1961 album " A Portrait Of Thelonious" - That Bud Powell recording might be one of the greatest Monk tributes I ever heard.

As an avid fan of 1950s jazz, I had read about "the Jazz Baronness," Pannonica de Koenigswarter, an heir to the Rothschild fortune, in numerous articles and books about the people who populated the New York jazz scene in those days. When I read about the publication of "Nica's Dream," the first book-length biography devoted this patron of modern jazz, I downloaded the book to my Kindle and looked forward to a great read. Having finished it yesterday, I have to say I am so inspired by this book. I am going to buy the hard copy too.

This is a must read! There are some genuinely interesting episodes and adventures as well as touching anecdotes that demonstrate her genuine affection and esteem for the many great musicians she befriended. But it is that very episodic quality, which continues throughout the book, that ultimately makes it an interesting read rather than a great one.

In this book, " Nica's Dream" author David Kastin has spent the last few years immersed in the world of "Nica" - as those who knew her well referred to the jazz baroness. His biography is beautifully written, endlessly fascinating.

It is Nica's connections to the jazz world - to sax legend Parker, to the fabled keyboardist and composer Monk, to Art Blakey, to Bud Powell, to a veritable Who's Who of bebop and modern jazz players - that drew Kastin to his subject.

March 12, 1955, after several days of convalescence the baroness (with periodic visits from the hotel physician), Parker collapsed and died. "Bird" was 34. The tabloids went wild: "Bop King Dies in Heiress' Flat!"

At the moment she first heard a recording of Monk's "'Round Midnight" - on a 1951 visit to New York from Mexico City, where her husband, Baron Jules de Koenigswater, served as France's ambassador - Nica's life changed. "I couldn't believe my ears," she said almost 35 years later, recounting how she asked her friend, pianist Teddy Wilson, to play the record over and over and over again. "'Round Midnight' affected me like nothing else I ever heard."

Nica left her husband in Mexico and moved to New York with the oldest of their five children, a teenage daughter, Janka. They took lavish digs at the Stanhope Hotel. Nica began frequenting the jazz clubs, became friends with the promoters, the owners, the musicians. Before long, the "Jazz Baroness" - chic and sophisticated, free-thinking and free-drinking - was hosting jam sessions in her suites, sneaking the hungry, often broke, artists up the hotel's service elevator.

Soon after Parker's death, Nica was asked to leave. She found a similarly luxe living situation in a hotel on the opposite side of Central Park.

The baroness' "moveable feast" of a jazz salon resulted in more than 400 hours of annotated and archived recordings: Sonny Rollins, John Coltrane, Charles Mingus, Sun Ra, Lionel Hampton, Donald Byrd, Horace Silver (whose song, "Nica's Dream," Kastin took for his book's title) - they all played for Nica. It's an epic and extraordinary aural document. The "Pannonica Collection" remains in the hands of her heirs, and has, until now, been unavailable.

"Nica's Dream" would make for a great movie - although there's so much here that a miniseries might be more accommodating. But it certainly makes for a great book. Kastin has served his subject well, offering a rich and tumbling portrait of a force to be reckoned with - no dilettante or groupie or interloper, but a woman who was inspired by, and in turn inspired, many of the reigning figures of the jazz universe.

I think any author would have had difficulty with the organizational problems inherent in telling 'Nica's story. There are only so many ways you can tell the reader that she was a Rothschild, that she drove a Bentley at breakneck speeds with a cigarette holder clenched between her teeth helping musicians get to gigs or get out of trouble, and was a decent and caring human being. In this case, it is enough to make for an interesting and sometimes engaging read. a great biography.

Beyond her long cigarette holder, leopard skin coat and infamous Bentley. These objects by which she was identified were not symbols of her glamour but of her mystique, speaking not of who she was, but of the world she left behind. She made jazz a better place and she stood for something without putting a spotlight on herself !

~ You owe it to yourself to read " Nica's Dream" by David Kastin

Till next week- Tim Price

PS ;

THAT SAID,

In the 1950s, 60s, and 70s, Pannonica de Koenigswarter, known as Nica, was a constant and benevolent presence on the thriving New York jazz scene. Known as the Jazz Baroness (she was born into the wealthy Rothschild family and later married a French aristocrat) she befriended such giants as Thelonious Monk, Charlie Parker, Barry Harris, Art Blakey, Miles Davis, Bud Powell, and many more. She inspired over twenty jazz compositions, bailed musicians out of jail, and even acted as a booking agent.

I literally could not put this book down. It is fascinating, well-written, and immensely entertaining. It may be the best jazz "biography" I've read.

She also collected wishes. Over the course of a decade, Koenigswarter asked three hundred musicians what their three wishes in life were, jotting them all down in a notebook. At the same time she took hundreds of candid photographs, saving them all. In Three Wishes, Koenigswarter’s forays into the psyches and lives of these legendary jazz artists are made available in America for the first time. GET THIS BOOK TO DEAR BLOG READER!

Three Wishes: An Intimate Look at Jazz Greats by-
Pannonica de Koenigswarter

.
Pannonica over course of a decade, collected wishes from some 300 musicians; alongside vibrant, smoky Polaroids, these wishes--though plenty go to money, health and more wishes--provide a brief glimpse into each subjects' dreams: Julian "Cannonball" Adderley wishes for a jazz artists' subsidy organization; Dinah Washington wishes for triplet girls; and Charles Mingus wishes for "enough to pay my bills, but that's absolutely all." Not everyone wishes deep: Bill Hardman wishes for "a crazy old lady". Many wished for money.

Sonny Clark wanted “all the Steinways”, Oscar Peterson wished he could “play the piano the way I want to”, while Miles Davis simply answered, “to be white”.

The person to elicit these extraordinary and intimate responses was Baroness Pannonica Rothschild de Koenigswarter, or Nica as she was known. Friend, landlady, muse and manager to some of the greatest jazz musicians of the twentieth century, Nica remains somewhat of a mythical figure.
Her name ghosts through the jazz canon.She dedicated her life to giving musicians a voice and helping to end both the fingerprinting of nightclub musicians and the controversial ‘New York Cabaret Card’ system, an obligatory performance permit, which could be revoked on the smallest infractions. And yet, hers was also a name once tainted by association with rumour and scandal.

I encountered Nica once in Philadelphia, outside of the long gone " Grendels Lair" club on South St in 1975.

I was outside talking to Wilbur Ware after a set, that he did with Barry Harris. The club turned over and everyone had to leave. Ware was also a Monk musician, and as I was talking to him he was speaking to Nica. She was amazingly cool and friendly, for sure she was the driver for the Barry Harris band from NYC. So we are passing Nica's flask around, talking. They head back in and she said, come on follow me. She just goes past the door guy, gets me a seat at the bar right aside of the band. A better seat than I had before! She buys me a scotch, and heads back to the corner to talk to Barry and Charles McPhearson. As I passed her on the way out, I said to her thank you so much. I wanted her to know how much I appreciated it, and she smiled and said " Your very welcome". What a wonderful asset to this world she was, and what she did for music.

This world needs more people like Baroness Pannonica Rothschild

de Koenigswarter.

Tim Price Blogging For Rico Reeds-Bright Moments For Rahsaan Roland Kirk. A trip to Rahsaanapolis ! Get your rip, rig & panic on.

2011-08-08T09:32:00.008-04:00

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 :

http://en.wikipedia.org/wiki/Rahsaan_Roland_Kirk

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!

http://www.cduniverse.com/search/xx/music/pid/1177275/a/Rip,+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 say...it 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

http://www.youtube.com/watch?v=uMg6Cy1Kh3o&feature=related

Roland Kirk - Alfie

http://www.youtube.com/watch?v=47VSwCMhZ8I&feature=related

Roland Kirk - Slippery, Hippery, Flippery

http://www.youtube.com/watch?v=t7WvonH_Oxc&feature=related

Buddy Guy, Jack Bruce, Roland Kirk, Jimmy Hope & Ron Burton Supershow Live

http://www.youtube.com/watch?v=eW7mCDmP644&NR=1

Tim Price Bloggin For Rico- " All The Things You Are".

2011-08-01T21:09:00.004-04:00

.

Tony Martin introduced “All the Things You Are” in Jerome Kern’s last Broadway musical, Very Warm for May, which opened November 17, 1939, and closed after only 59 performances. As a result of bad and spiteful

reviews, the Alvin Theater was kind of empty on the second night. But from this emerged what many regard as Kern’s finest composition.

No mater who you play with, study or listen to, this tune is a jazz standard. If you can't play this, you can't play jazz. It's that simple.

If Bach had written a melody like this, chances are it would have been a “cantus firmus” in the bass with counterpoint.

Johnny Griffin - All The Things You Are

http://www.youtube.com/watch?v=MEePC7GjSpo

Dave Brubeck - All The Things You Are - 1972

http://www.youtube.com/watch?v=g_sREYEBeNg&feature=related

Joe Pass - All the Things You Are

http://www.youtube.com/watch?v=aWa6aChSf1w&feature=related

Charlie Parker - All the things you are

http://www.youtube.com/watch?v=UTORd2Y_X6U&feature=related

All The Things You Are - Frank Sinatra

http://www.youtube.com/watch?v=oQAzOyUAquw&feature=related

Pat Metheny Group - All The Things You Are (live '80)

http://www.youtube.com/watch?v=XC_-Tmp3mOw&feature=related

Jerry Bergonzi - All the things you are

http://www.youtube.com/watch?v=Z5Dj4eXNl1M&feature=related

Coleman Hawkins - All the Things You Are

http://www.youtube.com/watch?v=73wpo2Mn_7Y&feature=related

All The Things You Are - Dexter Gordon Quintet

http://www.youtube.com/watch?v=M3DwNnJFtBU&feature=related

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

Tim Price Bloggin' For Rico- Learn To Hang In there.

2011-07-25T21:02:00.011-04:00

~ 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.

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.

Till next week-Tim Price

Tim Price Bloggin' For Rico Reeds- Our Imaginations Take us to / The creative spirit of Bob Mover.

2011-07-18T08:18:00.008-04:00

OUR IMAGINATIONS TAKE US TO.....

~ Check the words on the wall drawing from PS 11 in New York City. That was a beautiful start to a Saturday in NYC of mine teaching and playing jazz. IMAGINATIONS! Your imagination allows you to not only see mental images in your mind – You can also imagine physical sensations, feelings and emotions. According to the Dictionary.com: > Imagination – “The faculty of imagining, or of forming mental images or concepts of what is not actually present to the senses.”

“Forming mental images” – now that’s something most of us can relate to. We form mental images in our heads all of the time – How to decorate our home; What our vacation will be like; What we plan on doing over the week-end etc.

OK- Now as musicians, students and educators...Everyone has an imagination.

So why doesn't everyone use it for their own benefit? Imagination in jazz improvising is vital to the personal sound you should be looking to develop. By developing a strong imagination you will be strengthening your creativity. It's what I term with my students and fellow musicians as- IMAGINE THE SOUND! It's that easy, and that fun. Those students in PS 11 know- and know the deal of using your imagination. Your imagination is the search engine of your thoughts - It is where creativity begins.

Saturday night in New York City- we had a great gig. The3ed tune of the first set I called "Yesterdays" by Jerome Kern. On my my favorite tunes. After my solo, I heard a familiar voice next to me. BOB MOVER!! He wanted to play "Yesterdays " with me.

Bob comes up- we immediately get into a counterpoint between the two of us. Inspiration and deep mutual respect. I know Bobby sense 1970!) take hold and it is on! Bob wanted to sit in on a few tunes, the vibe on the bandstand/music was right there for him.He asked " Tim is it ok if I blow some more?"...I said play as much as you want Bobby. HE HUNG ALL NIGHT AND PLAYED TILL 3:00 WITH US. Kim Garey, Ryan Anselmi and Kerong Chok all had a great inspiration time on Saturday. Check the photos below this blog please.

This is where it all begins. You have to play, you have to involve the music with your thougfhts and dreams. And- IMAGINATION! Bob and I used to play in Boston, at a pianists pad named Rick Aronson. Long days urned into nights that never ended- Bob hipped me to guys like Nicky Hill the great Chicago tenor sax legend as well as our conversations were always so memorable. A treasured soul and life long brother in jazz.

The instant energy/inspiration and simpatico...I tell Ryan Anselmi and my people a lot about. It can't be taught in a book- the bandstand is the only place for it to be done. We played 4sets and it was beautiful. Drummer and musician of highest standards Kim Garey is pictured behind Bob in 2ed picture.

FYI- Bob played with Chet Baker, Mingus, Walter Bishop Jr and recorded with Lee konitz among others. You get my drift I hope :)

TO ME- this is what is most important.
I've known Bob Mover from 1970 on....this is a great thing when you can play and share on the bandstand. It's what what I strive for...and sometghing that CAN NOT be taught in a classroom or book. It's a shared life long experience. THANKS BOB MOVER...he is a beautiful human being/life long friend.

Thanks to Bob Mover and " Soulful Tenor Madness" and those students of PS11. Keep your dreams alive my friends.

~ TIM PRICE

THE STUDENTS OF PS11...KNOW THE REAL DEAL!

BOB MOVER SITTING IN WITH " SOULFUL TENOR MADNESS" ON SATURDAY IN NYC ;

Tim Price Bloggin' For Rico- Selecting A Teacher

2011-07-11T20:57:00.003-04:00

SELECTING A TEACHER

Initially you probably will need a teacher to steer you in the right direction; to give you some sense of the quality of your sound and performance; some feedback to help orient you in the right direction.

Let us not forget- Analysis of classical piano scores or playing with classical CD'S is another source of ideas. You might see the way Shostakovitch creates his harmonic fabrics.... Or whatever is interesting to you. By continuing to work with focus on the same things from day to day, by following the thread of your explorations, you will find that your level of proficiency has risen and expanded to include all the sources you have examined. At this point you have LONG TERM GAIN. Just as playing every night results in the development of style, practicing every day results in the acquisition of technique, musical knowledge and intelligence, improved tone, and stamina. A general panacea. Just the quest to continuously find something to practice will increase your creativity. It always amazes me when someone says "I don't have anything to practice" or "I don't know what to practice". There are so many variations of scales, melodies, and melodic patterns, not to mention 12 keys. So many sounds to make, articulations, songs to learn, music to listen to and analyze, technical problems to sort out. The only limitation is your focus, consistency and inventiveness. At this point it would be good to point out that there are certain proficiency which are generally expected of an accomplished musician.To one degree or another, a musician is understood to have the following skills: Good intonation and ability to blend with other instruments, 2-3 octave range(saxophone), technique in all keys, accurate articulation and rhythm, some reading ability (this varies greatly), knowledge of harmony and familiarity with the keyboard, the ability to improvise over different types of thematic material, a beautiful melodic tone, A teacher can instigate this and inspire you to go beyond your own visions.

The teacher will mirror your playing , pointing out and hopefully giving you the means to continue working on your own. A good teacher will also demonstrate when necessary to provide inspiration. Watch out, however, for instructors who keep a student in a state of dependency. Perpetual students who don't achieve the ability to work and progress on their own are the unfortunate result of poor teaching and possibly the desire for a long term source on income on the part of the instructor. Kind of like a psychiatrist keeping you feeling crazy so you have to keep coming. This why development of a DAILY PRACTICE is the first and most important goal of study. The ability to maintain this practice is the most important indicator of you development as a musician, so select a teacher who will help you work toward this goal. Your teacher should be strict but gentle, capable of great support and enthusiasm for your work.

Any suggestions, comments and input- please drop a few words on these thoughts.

Till next week- stay cool calm and collected- Tim Price

Tim Price Bloggin' For Rico...The Mysticism of Sound and Music / What A Wonderful World.

2011-07-04T10:55:00.004-04:00

The Mysticism of Sound and Music/ What A Wonderful World....Tim Price Blog For Rico Reeds.

This book is a compilation of the teachings of Hazrat Inayat Khan. Born in India, Khan was a firm believer that life responds to sound as vibration. All else flows from this.

The book contains chapters on topics such as: the music of the spheres, color and sound, music in Indian culture, music of the dervishes, dance and music, music and psychology, the healing powers of music, memory, will, reason, intuition and dreams, the Ego, inspiration, and the value of repetition. FWIW- Khan did not write these selections as a book; instead, they were collected and organized from various lectures and articles that he prepared dating from about 1913 to 1926. The editors have managed to create a cohesive text from very disparate sources. Some ideas are presented repeatedly, but unlike so many similar compilations of articles by other authors, the presentation of Khan's ideas in this book are consistent each time they are mentioned.

I picked up this book because align with many other books musicians talked about be it Hindemith's theory of harmony or The Horn by John Clellon Holmes..this book by Khan seemed fascinating. When I first read it a few decades ago, I loved the content but some went by me.

There is a picture on the cover of Khan playing the vina. Reading this book has given me a much greater understanding of and appreciation for how music is central to Indian practices and beliefs. Which many esoteric musician authors draw from,the book is full of little surprises, it is an insightful study into the spiritual meaning of music.

It is wonderful book that should be read by any musician and/or student of music.

HAPPY 4TH OF JULY TO ALL YOU READING THIS BLOG- ENJOY THIS GREAT WEATHER.

Till next week-

I quote the great LOUIS ARMSTRONG –“What a Wonderful World”.

~ Tim Price

Tim Price Bloggin' For Rico- Staying positive..and standing on your own feet.

2011-06-27T22:05:00.006-04:00

Do you ever find yourself avoiding being positive(optimistic) about something until you are positive(confident and fully assured) about it?

The other problem with this sort of approach is that it cuts us off from the vital “spice of life” called variety. Life very rarely unfolds in straight lines. I’m willing to bet that if you look back on your life, some of your best experiences happened by “accident”, or maybe you now look back and see them as “coincidences”.

There are many people who always need to be fully assured about the success of the outcome before they make a move. To them, it would be irresponsible or even foolish to make decisions and take actions based on a sense of raw optimism. After all, what sort of plan is that for success? Take these steps- and watch what happens!

Challenge Yourself
Stand On Your Own Feet
Live The Moment
Have Respect
Do Some Good
BUT IN MUSIC...Fear and many times that fear holds a person back. It's to your advantage to get past this. Now!

Sometimes this fear manifests itself in unproductive ways, such as procrastination. You find that you’re not following your map or making any progress towards your goals. If you "can’t get motivated," fear is probably at the root of your procrastination.
In most cases where you find fear is causing inaction, the “cure” is taking action.
You see, usually you feel so overwhelmed that you don’t even know where to start. But if you can just get started somewhere – anywhere – you’ll find that your fears start to melt away. Soon you’ll be able to take more focused, productive action.
It sounds circular, doesn’t it? Fear is causing inaction, but the solution is to take action. How can that be?
That means that in order to use action to cure fear, you need to let go of one major fear: specifically, the fear of taking the wrong action.
Once you do that – once you give yourself permission to move forward even if things don't seem quite right – you’ll be able to progress faster on your goals and make those positive changes.
Another way to stay motivated is to surround yourself with supportive people and accountability partners.
Sometimes fear manifests itself as imagined productivity. For example, you may be taking a lot of actions but going absolutely nowhere.
However, keep in mind what we discussed earlier with regards to choosing toxic friends and partners. Ensure that they truly are supportive.
Note: Once in a while some of your own friends and family won’t believe in your dreams. If you talk about your goals, they’ll laugh and make it clear they think you’re foolish.
If this happens to you – and if it’s someone that you need to see on a regular basis – then don’t talk about your dreams any more with this person. If they try to “bait” you or ask you to talk about your goals, answer politely but don’t give them any “ammunition” to fire back at you. Think on your own feet as I said before!
Now is the time…AS CHARLIE PARKER ONCE SAID!
This is just the beginning for you. Chances are, you feel energized and ready to take on anything.
Your next step is to move now. If you wait, I promise you won't do "it."
Imagine yourself accomplishing it. How will you feel? Why is this goal so important to you?
Imagine people congratulating you. Think of the future, not the past.
Once you’ve done that, create your road map. How will you reach your goal? What tangible steps will you take to get there?

Next it’s time to observe and listen. How do you feel as you start working on your road map?
Finally, find supportive people and reward yourself.

And remember this: once you begin and continue, you deserve it!
YOUR ASSIGNMENT IS...Surround yourself with like minds. People who have goals and visions. Get started and remember to have fun!
Till next week- stay on your path and stay positive!
~ Tim Price

Tim Price- Listening to What the Music DOES

http://www.youtube.com/watch?v=l-lDH9GuByI

Tim Price Bloggin' For Rico- The Joy That Clarence Clemons brought to the world through his music.

2011-06-20T23:01:00.011-04:00

Clarence Clemons was born to be a sax player....that was what he was sent to this planet to do. His music was for everybody.What you hear is what you got. It was universal love, and his music radiated through the world.

But in hearing Clarence I realized, as I have since I heard him in the beginning that what he brought to everyone was also his joy of happiness in his life and music. Clarence was a great example of a man who did not need to acquire happiness because he already had it. His approach to everything he did was a direct expression of happiness-in his career and his life.

When put the horn is his mouth that vibe charged through into the music like a bolt of lightening. From his extensive work with " The Boss" to his recent solos on the Lady Gaga C.D.

If a saxophone player wants a real lesson,there it is! It's that simple.

Clarence found true happiness, because he followed his inner voice. You can hear it when he spoke to people and also in the music. He played from THE HEART and aligned everyone with it.

The loss of Clarence Clemons in this life and music is really upsetting because in hearing his solos with Lady Gaga, I remarked to a lot of musician friends that Clarence was doing something very important in those solos. That was playing melody's! In this "era" that element is really something that the music needs, in addition to the soul and grease Clarence laid on Gaga's tracks.

All thru his life, on the bandstand, that ability to bring the melodic to the front of the saxophone solo was his thumbprint! Go back and listen to his solo on "Paradise By The C" with Bruce Springsteen. Beautiful!

God bless Clarence Clemons, he was more that just a saxophone player,entertainer and vocalist. He took people by the hand and brought them into the music and shared his joy of happiness with them.World wide, just like they walked in off the strip in Asbury Park New Jersey. That power in his music was beyond anything words could describe- and something we'll all never forget. His giant sound will always live on and continue to be be an inspiration for the world. In that way he is truly immortal.. Being a complete musician goes well beyond the notes- you taught everyone that my friend- thank you.

Rest In Peace Clarence, you touched many lives-you will always be a messenger of peace, happiness and soulful saxophone playing . You will be missed.

Clarence Clemons was part of the Rico family, he was a proud Rico artist. He played Rico #3 Plasticover Reeds. His music will live forever. He really rocked the house.

Check him out here;

http://www.youtube.com/watch?v=BvgB8RqWQcU&NR=1

OR;

http://www.youtube.com/watch?v=DsfZpMugrNk&NR=1

All the very best to all of you out there- Tim Price

Tim Price Bloggin' For Rico- Making The Most Of Your Skills & Bob Rockwell ideas,

2011-06-13T14:53:00.006-04:00

Being a well-rounded saxophonist and making the most of your ultimate musical skill, which is the melody:

Let's start with looking at the market place today from a professional standpoint. I feel your training and education must be at a very high professional level. There are few college-level teaching positions and sometimes even fewer gigs, so our key in the marketplace is being well-rounded.

One of the basic approaches to this, I found, is keeping an open mind. Don't shut

yourself off to saxophone quartets, rhythm and blues gigs, teaching beginning students, or playing in big bands. By doing these and embracing many styles musically, you will start to develop skills that are as diverse as they are vital to your survival.

If you can play the Omnibook of Charlie Parker solos, you should also work with

Guy Lacours (28 Etudes), which all are on altered dominant scales. I use it a lot in my teaching.

Those are some key things to consider before I start my main topic of melodic

improvisation below.

Learning to Use Basic Melody

Music is communication. In order to communicate your ideas to others, you must speak the same language. Whether you choose to speak with slang, proper English, or beatnik poetry, there are certain spelling and grammatical conventions required to talk musically.

When musical phrases are constructed of basic elements such as chords or scales,

they are organized into ideas and sentences much the same way that speech is just a combination of spelling and grammar. Phrases, like sentences, have beginnings and endings. This is one of the most important aspects. We separate our phrases with space and pauses. We punctuate our ideas with accents and rhythms. The tools and tech of music are there to help us express our ideas in much the same way language helps us speak. Melodic Possibilities Within Personal Musical Style

There are as many melodic possibilities as there are people to play and hear them.

The beauty of jazz and improvising is that you should be able to communicate your own ideas. That is the difference between reciting someone else's story and telling your own.

Learn to believe in yourself and let your own musical personality enhance the melody.

Whether it's the melody of a tune or your improvisation.

Tracking is the ability to listen to yourself. This is one of the most crucial things

in melodic playing. Tracking is the ability to identify your own ideas and build on them.

Music is not the combination of as many different ideas as possible in the shortest

amount of time, (e.g. playing a lot of notes fast and all over the place) but, the flow and

elaboration of a few ideas in a logical and coherent manner.

The secret of tracking is to listen to yourself. Again, each idea should have a

beginning and an end. Pause and listen to your last idea. Your next idea should be related to the last. Whether you repeat a rhythm, note, shape, or even stop and begin with

a new idea, this will help you to direct your lines and phrases into a specific area.

What you will hear coming out of yourself will be your own musical ideas. They

are shaped by your feelings and the interactions of the people you are playing with, as

well as your technical condition. All this will grow richer as you study more and practice

harder and learn the repertoire.

The secret is to create in the now, and not simply play all your memorized licks.

The more you practice, the more you will be able to hear, and your abilities as a jazz

improviser will grow and expand. Remember, what you hear is more important than

what you know.

The Three Aspects of Melody

#1- The Melodic Curve

#2- Harmony

#3- The Melodic Rhythm

The melodic curve is a melody's linear or graphic structure. A melody is basically a line

of notes that can move up or down by step or by skip. It can be primarily horizontal or

very vertical in shape. The melodic curve is the horizontal and vertical shape of the

melody.

The melody- harmony relationship refers to the relationship of the melody note to

a chord progression. This aspect of melody corresponds to the concept of modality. The

melody notes we use should have varying degrees of consonance or dissonance within

the harmony.

Melodic rhythm refers to the length and time feel of the melody and the phrasing.

Melodies tend to sound like sentences and tend to have pauses in between ideas. The

pauses and space between ideas can also be a form of rhythm as it defines the larger

pattern of the phrase relationships. Play in phrases. Try to use speak like rhythms.

Practicing These Concepts

Try to create melodic-type exercises by focusing on different aspects of the

melody. For instance move upward or downward. Create a climax. Work deliberately with scale-wise motion or skips. Learn to play into the beat with pick-up notes. A

terrific exercise is to play the first bar as a whole note, the second as four quarter notes,

the third as whole, the fourth as four quarters, etc. Hear the exercise as a series of pickups to the whole note target notes. This melodic movement can be called "playing into

the beat."

Final Thoughts

Melody making is the ultimate art of music. No matter how far out or far in, or

what kind of music you are playing, there must be melody. Everything you know and hear goes into your choice of notes or melodies. The creation of an expressive personal melodic style is the long-range goal and reward of studying improvisation and musicianship. Good luck, and remember...when you practice work and when you play.....PLAY !

NEXT- BOB ROCKWELL !

I'm a huge Bob Rockwell fan, and I consider Bob one of the greatest living players today.

For starters, look for this stuff in used shops:

Albums
(1996) Shades of Blue
(1995) Light Blue
(1994) Born to Be Blue
(1990) Reconstruction
(1990) Trio
(1989) The Bob Rockwell Trio
(1985) No Rush
(1985) On the Natch
(1974) Androids ( vinal)

And these are killing as well....more available.
Bob Rockwell Quartet | The Danish Radio Jazz Orchestra |
The Organisers | Repertory Quartet |
“Ambiance” Da Capo (DCCD 9417) 1993
Featuring Niels-Henning Orsted Pederson
“But Beautiful” Stunt Records (STUCD 19404) 1994
IN SHORT,,,,,
This guy is a MAJOR tenor voice...
Sad that he lives in Denmark where he makes a healthy living and has non of
the BS and jive that this country ,where he is from , hands out to artists.I'm
not being bitter here-its a cold fact. Otherwise things would be WAY different
for all.
Bob has played with Thad And Mel...
When both were living...plus Bob has had innovative exploratory bands sinse
the 70's. Eg-Check out " Androids" that was right up there with Wether Report
and Herbie.
I think he stands shoulder to shoulder with ANYONE in the public eye/media.
I knew his teacher Eddy Berger from Minneapolis and have spent time on the
bandstand with Berger and heard how intense Rockwell was a a serious student of
this art form.
ANYTHING that has his name has to be potent.This guy is very pure and original.
I hope someday he gets a week at the VANGUARD in NyC to show everyone what
he's about.The REAL people know, the players know....THIS GUY IS FANTASTIC.

Till next week- practice your long tones everyday-

Tim Price

(Tim teaches in New York City and Pennsylvania.As well as SKYPE!

He can be contacted for clinics, masterclasses, private teaching , gigs, and concerts by e-mailing him at : TEP251 SAX@AOL.COM . )

Tim Price Bloggin' For Rico-Ya got to love it.

2011-06-08T13:42:00.005-04:00

Ya got to love it, that's the long and the short of it.

For one reason or another there has to exist enough desire to maintain a practice for the long
term. It's true in any field. Of course it's not all a bed or roses, but the returns have been satisfying for me -

-and continue to be. Actually, as I get older, there is more of a feeling of appreciation for the skills and talent
which I've developed.

Perhaps and expansion of your practice into some more enjoyable areas would
spice things up for you. Concentrate for a while on things you enjoy--also,
some type of physical exercise is sometimes necessary to balance and
complement your musical practice since music can tend to be like a desk job at
times. The saxophone is not really a solo instrument in the same way that a
piano is-so the rewards of playing the sax only really come in
performance......recording and things like that. Then of course, there is the
money issue. How to make a living playing music---always an interesting
subject.

So there is another interesting aspect of music--competition. It exists. Whether or not you get caught up in it

depends on many things. Let's first assume that everyone is independently wealthy--no money problems. It's difficult to separate out this "pure" love of music from the other.

But, what is really the alternative. A practice offers psychological benefits

which, in the long run, greatly enhance ones ' quality of life.

...Tim Price

Tim Price Bloggin' For Rico- JOHN GROSS ! Innovative master.

2011-05-30T21:55:00.008-04:00

JOHN GROSS- Innovative master saxophonist.

HAPPY BIRTHDAY JOHN GROSS...Thank you for the decades of inspiration.

An artist is a person who attempts to be in touch with the inner self in order to communicate in an abstract endeavor (i.e. music). An artist’s body of work is autobiographical and, at the same time, a means by which the artist communicates both individual and universal experiences that people will share. Of course there's your craft. So in essence it's a matter of balance mixed with control and freedom. The challenge is to use both aspects at the right moments. So in jazz, the art form itself says you're supposed to individualize it , that's the point . All that's understood, but your goal is not to repeat or to objectify this thing. It's to take it and have it be a living thing that you put your personality on.

I feel that the music speaks absolutely louder than any dogma, any words can speak at all. And in the end, the music is connected.It's about how music ties into the "realms" and everything like that. It's just an understood, it's a given.

In my thinking it is an artist's duty is to try to get in touch with that vibe through his work. It's the work and it's the art that will do. SO.. it's freedom, individual creativity.

It is obviously possible, and one of my hero's in this has always been saxophonist John Gross. I heard John on a Shelly Manne recordings-

Shelly Manne and His Men, “Outside”,
Shelly Manne and His Men, “Live in London”
Shelly Manne, “Mannekind”,

What struck me first about John was the inside-out way he was playing. One big difference though was he was melodic. He knew how to construct a solid melody. From there...anything could happen, and it always did. As I followed his playing, and really wondered why Miles Davis never hired this guy,I realized he had a multi-phonic thing going on. Very deeply controlled and really resonate with the music he was creating.

Aside from Bert Wilson in jazz, and of course Coltrane this was rare. To be done as a part of the inner workings of not only the solo but the tonality. As time passed I got to know John via the " net" and talking to him on the phone.

He's a very interesting guy, and one of my favorite players ever. In a class with anyone great you can mention. He's recorded with so many jazz legends during his Los Angeles period-Gross spent five years (1967–1972) as house band member at Shelly Manne's Hollywood club, “Shelly’s Manne-Hole,” playing opposite such jazz greats as Miles Davis, John Coltrane, Sonny Rollins, Bill Evans, Thelonious Monk, Art Blakey, Abby Lincoln,Muddy Waters, Gary Barone, Mike Wofford, and Dave Parlato. He toured Europe with Manne in 1970 playing on “Alive in London” recorded during a fondly remembered residency at Ronnie Scott's club in London.
Gross spent four years (1979–1983) touring worldwide with Toshiko Akiyoshi’s big band, including a gig at Carnegie Hall. The Toshiko Akiyoshi – Lew Tabackin Big Band was known for its wild “tenor battles” between Gross and Toshiko’s husband Lew Tabackin.

Among the countless other musicians Gross has played, toured and/or recorded with are Earl Grant, Oliver Nelson, Don Ellis, Gerald Wilson, Bill Holman, Alan Jones Sextet, Piotr Wojtasik, and Gordon Lee.
He has also performed with Rosemary Clooney, Nancy King, Diana Krall, Freddie Hubbard, Larry Young, Donald Bailey, Drew Gress, Dave Holland, Russ Morgan, Kay Kyser, Lennon Sisters, Roger Williams, Ernie Andrews, Gladys Knight,Stevie Wonder, Brad Turner, Carol King, Belinda Underwood, Glen Moore, Gary Versace, Israel Annoh, Pat Coleman, Alain Jean-Marie, The Hitchens Consort, Larry Koonse,The Belmondo Brothers, and Francois Theberge.

Gross received a preliminary Grammy nomination (best jazz album and best jazz soloist) for his 1990 trio album Three Play with bassist Putter Smith and guitarist Larry Koonse. ( Thank you Wikipedia for the time link- and link to careers within. )

His book- Multiphonics for The Saxophone- A practical guide- should be in the hands and minds of every serious saxophone player. The book is a life work of one of the greatest and most creative players we have in this music.

Over 40 years ago- I picked up a record by Shelly Manne with John Gross on it and from there have been listening to him, and someday I want to take a Multiphonics lessons with him- and also play for a few hours/days with him and Billy Mintz the drummer. His music has touched me deeply- and he is a true artist and I feel it would be of paramount importance to get him playing in NYC a few times a year too. He'd blow peoples minds- and that's a fact! He also has a saxophone SOUND that is very powerful and loaded with evocativeness.

I included some YOU TUBE videos here as well.

http://www.youtube.com/watch?v=yCW9q11dvgQ

http://www.youtube.com/watch?v=SxM8LgYn-Fo&feature=related

http://www.youtube.com/watch?v=V4bISns5WZw

http://www.youtube.com/watch?v=7bDS-1Rpr-I&feature=related

http://www.youtube.com/watch?v=M6x879Yyfic

HAPPY BIRTHDAY JOHN GROSS...Thank you for the decades of inspiration.

With respect- Tim Price

Tim Price Bloggin' For Rico- Check list for the University bound saxophonist ; you need to know this!

2011-05-23T08:07:00.004-04:00

In the course of teaching and getting students ready for many situations, I thought this lesson would open some eyes to some of the elements and instrumental requirements I feel are necessary for a good proficiency level to function in jazz study. Or for that matter, some general strong saxophone skills. The student should have all these aspects together if they want to get into a good music school, or function as a professional, or just make their basic skills as strong as possible. These are elements that everyone should have under their belt at some point. I'll share them with you.

All major scales

All minor scales (natural, harmonic, ascending melodic)

All (2) whole-tone scales

Pentatonic scales

Blues scales

All diminished scales

Chromatic scales

Bebop scales (ionian add #5; mixolydian add Maj.7; melodic minor add #5; mixolydian b2 b6 add Maj.7; dorian add Maj.7; locrian add Maj.7)
All of the above scales in 15 keys (7 sharp keys, 7 flat keys and the key of C)

All dom 7th, min 7th, maj 7th, half dim 7th, dim 7th (and in versions)

Dominant 7th arpeggios chromatically

ii-V progression arpeggiated from the root

ii-V pattern chromatically

ii-V pattern moving up in minor thirds

Flat 5 substitutes in all keys

Scale fragments (i.e. 1231/1235/1b761/1b765) - play in cycles of 5ths, chromatically, minor 3rds, etc.

Repertoire for performance goals

Play "basic blues" in all keys (i.e. Bags Groove, Blues In The Closet, Buzzy, Bluebird, Now's The Time, Cool Blues, Straight No Chaser, and other melodies)

Play "rhythm changes" at least three keys

Memorize three jazz standards, other than the blues, which are of a complex nature, i.e. "Donna Lee", "Confirmation", etc.

Be able to play with other musicians, keeping consistent time, keeping track of song form, and interacting.

Sight reading and Concentration

Be able to read and perform parts, both classical and jazz idioms with accuracy of tempo, intonation, dynamics and articulation.

Be able to read melodic lines that emphasize continuous 16th or 8th note passages with varying intervallic movement and swing feeling.

Sound

Be able to perform throughout the entire register of the instrument with full and even sound at any dynamic level.

If your college bound, via a school jazz program, and play saxophone use this blog as your check list. You should be able to do a lot on here-and also get started on the weak spots ASAP.

Also- Check my friend- Jeff Coffin showing some love, my former student Erin Stroup sends me a TV clip on education w/ Jeff Coffin that made it on you tube.
http://www.youtube.com/watch?v=U8G0dWqReiI

Check out what Jeff Coffin said about me at 1:45-1:46 on you tube. And shows not only those of us who are fighting in the trenches and that a student of mine has made a difference in a school system!!

Hope this is a help- Tim Price

PS- Sax Study w/Tim Price...SKYPE/ NYC or PA.

I provide you with specific projects that will challenge you at your present level without overwhelming you. I will also help you gain the ability to do that.As a working professional who teaches at one of the top jazz schools ( New School University- NYC) , and also does clinics for Rico Reeds, this is what I'm here for. Let me help you. It's that simple- it's that fun.Any level-any style.

Studios in NYC, Reading, Pa and I teach on SKYPE.

( Also let your band teachers know I do workshops/clinics.I travel and will

be glad to make this work for you & your school )

Get to me at ; timpricejazz@aol.com

THANKS- Tim Price

Check out my Sax Lessons -NyC-Pa-or SKYPE http://timpricejazz.com/study.html

Tim Price- On the Road (Promo)

http://www.youtube.com/user/TimPrice.../2/YGaAWGW5gWo

Info on SKYPE SAX STUDY W/ Tim

http://www.timpricejazz.com/skype2.html

STUFF TO SHED ON SOTW from Tim

http://www.saxontheweb.net/Price/

Tim Price Bloggin'' For Rico CD REVIEW --Bacana Beat Club by CLIVE STEVENS ...VISIONARY AND SPIRIT OF THE SAXOPHONES AND COSMIC GROOVE ~

2011-05-19T13:13:00.009-04:00

There are many roads to success in music. This is an art form of the highest degree here!
Artistic integrity is something that many players deal with. Everybody has a different agenda .Clive Stevens is a man of great integrity and amazing vision.

~This music of Clive Stevens is like taking a bath in the river Ganghes, a cleansing of the spirit again..

The spiritual nature of this disc is evident, it is beyond just a new CD it is a divine commitment to the highest creativity. Words escape me on this new CD because Clive has created a Mona Lisa of a artistic statement.Virtually all of the tracks have a strong initial melodic "hook" and a highly satisfying outcome.

Take note that the outcome is not only excellent but comfortable and expected. This music makes you feel good! As Clive states in his words- This is a transformative album that blends future jazz, dance, electronica, downtempo, lounge, and world. dub and spoken word into a new fusion of contemporary global beats and sounds.

I urge everyone on my blog- to buy this CD and not only enjoy it but tell a friend and write into this blog with your views-this CD is a MUST.

This is truly a collaboration & amazing musical journey brought to you by very blessed talents. Let's hear more Clive.

What a profound and creative human being Clive is- Tim Price

RICO REEDS BLOG/ MAY 2011

http://www.cdbaby.com/cd/MANDORLA2

NEW CD "BACANA BEAT CLUB" BY MANDORLA AVAILABLE AT CDBABY.COM/MANDORLA2,WWW.CLIVESTEVENS.COM AND WWW.PLANET8RECORDS.COM ALSO MY BOOK "STARDUST TRANSMISSIONS" AVAILABLE AT AMAZON.COM

Tim Price Bloggin' For Rico- A DAY IN THE LIFE....

2011-05-16T07:33:00.012-04:00

.... 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 that your uncle Ralph paid for. It's called- day to day life. Here is a day in my life- as of May 13th. I thought I'd share this with you all dear readers, hope you enjoy it. I continue to explore and learn all I can in the quest to develop my own musical voice. This is an account of a day in my life, and what’s behind the music via a profound the effect on my musical psyche.As I said, being a complete musician goes well beyond the notes. I’m grateful for that.

May 13th, was the last semester day at New School University, in NYC where I teach. I woke up at 5am, and got my stuff together, coffee,shower, horns, music for the car ride and my material for the teaching day. I hit the highway, I usually bus from Kutztown ,Pa but Friday was so beautiful I had a agenda if the weather stayed ok. I got into NYC in about 2 hours and 20 minutes. I parked the car across the street from the Blue Note club in the "Village". I told the attendant my in and out as far as later I would grab stuff from my car before my gig. They are cool, there and he got the message. ( 40 dollars all day-you can't beat that! ) I was off to my favorite java hang before work- Caffe Reggio NYC – Greenwich Village’s Oldest Coffee House! After a double espresso macchiato and toast I was ready. The Reggio is my favorite, along with the coffee houses in San Fransisco's North Beach scene.Waiting at our marble bistro table for the stuff to arrive it's was fun to absorb all of the details of the small space, with the antique lighting and stained glass, tin roof and antiques, all giving off the vibe that they had been there forever. You can’t buy patina like this. I found out about the Reggio, in the 70's when a beautiful woman, I knew for ever named Marietta, told me about it. Been going there ever since. Ok-So I'm off walking over to 13th street and 6th ave with my tenor on my back in my Bam case. Put in my class time and at 3:00 head uptown to teach a few more students at Michiko on 46th street. The subway was fast on Friday and I was doing great time.

I arrive at Roberto's and find next to my studio an on going TV documentary with Al Jarreau, Kurt Elling and Jon Hendricks. To cool ! My students come and it's 6:30 and I'm ready for dinner. Not just any dinner mind you but my running buddy and good friend Sweet Sue Terry has invited me out to dinner before my " Garage" gig. Sue shows up at Michiko and wants to play with me and my last student that day Avi. Her clarinet was just repaired by everyone's favorite woodwind repair person in NYC.... Kristan Bertrand. After looking at Sue's clarinet and giving her my 2 cent lecture on plastic reeds- I am off to dinner.

Sue and I decide to walk to Ichi Umi on 32ed street and talk. The conversations always with Sweet Sue can be inspiring and earth shaking. We always speak of the unsung friends we share who are-PLAYERS OF THE HIGHEST CALIBER- but not media / household names. EG- Melba Liston and people like Patience Higgins. AKA- Count Gigula!! Patience is the king- he has gigs on the way to gigs!! He gigs in places where gigs don't exist!! Hence my nickname for him- Count Gigula. I love that guys playing- he's like a Lockjaw Davis or Jerome Richardson. Sue and I get to Ichi Umi, and it's jumping. It's a sushi seafood buffet- and I haven't eaten since the Reggio. I am starving- and we proceed. Dinner is amazing and my battery is re-charged thanks to Sweet Sue Terry!

It's 9:00 and I cab over to my car- grab my change of clothes at the garage. Change quick in the mens room- and brush my teeth and refresh. Toss my day clothes in my car- and I'm off to the gig!! I walk over thru the " Village" and quickly decide before the walk-it might be cool to get a cafe from Reggio for the walk. Hey, why not??? haha- So I'm off and to the gig!

Tim Price & Ryan Anselmi Soulful Tenor Madness with Grease has been on the Greenwich Village jazz scene at the " Garage Jazz Club" for over three years with steady once a month bookings. It's a fun gig, great vibe in the club and we play real jazz.

The gig is fantastic as always,check us on GIGMAVEN too.http://gigmaven.com/TimPriceJazz?f=c

We've been really fortunate to get great press on the music from the jazz magazines. Check it ;

"Tim Price and Ryan Anselmi Soulful Tenor Madness is emerging as one of the brightest new bands in jazz with a distinctive accent of their own.”
--- Down Beat (2011 )

" The band is one of the strongest today,due to Tim Price's roots and commitment to swinging jazz. Very compelling playing by Tim,Ryan Anselmi and Tom Abbott. Hear them! "
- The Village Voice (2011)

SO- The gig goes great- and it's 2:30 in the morning! What a great time and the special place that this music takes us too. I go to the garage- get my car and a double capp' from Reggio for the highway. It's as I expected-weather is beautiful. I go through the Lincoln Tunnel and it's mine! Three cars at about 3:05...and as I hit the highway on route 78 going aside of Newark New Jersey- there might be 4 or 5 cars on that Rt 78 total- it's great. The vibe and a late night plane going into Newark lighting up the sky. I ride with my sun roof open, at first no music, just drinking coffee and enjoying the silence. The trip goes great and I am truckin' into Pennsylvania in less than an hour! No traffic and as I ride into the last leg in Jersey- The sky is changing from black into a very cool color of purplish-light blue as the sun is on the way. Time for some sounds! I let the CD player hit and get my ears on some Portuguese Fado Singer sounds with Don Byas.

I head 'round Allentown, Pa and get my exit into Reading, Pa- I take scenic route through farm country and the sun is coming up-by this time- it's time for some Bill Withers soul on the CD player ( with my man James Gadson on drums!! ) and I pull into my driveway- at 5:53. Not bad! Not to shabby dear reader.

.....As you read, this might be a long day for some. But it's part of the day in the life. Putting life together- and dealing with it. Days like Friday May 13th happen. It's like two days in one! Right? With the right mind-set and_KNOWING_that you either do what's there and be glad in this place that the world is in- that your GLAD to be working. I sure am- and I'm glad I'm doing things I enjoy.

I'm a lucky guy! As I said before... being a complete musician goes well beyond the notes. I’m grateful for that.

See ya next week- keep it real.

~ Tim Price

www.timpricejazz.com