Tim Price Bloggin' For Rico- Modern Pentatonic Concepts.

This weeks blog- I will be doing a special improvisation workshop on modern pentatonic concepts. This is on the intermediate to advanced level- and not a set of licks or something like that. It is a pentatonic scale that works on over 13 chord types per key. If you take it through all twelve keys- the possibilities are endless.

But take note dear reader, this is just one of these advanced scales. I have over 15 I'm teaching and using as well. For searchers, these scales will provided a harmonic background and a path for further explorations in every type of improvised music.Do not underestimate the extent of these scales enterprise and worth. These are not just simply a musical method--They are the past, the present, the future, all in one! I take great pride and pleasure in sharing them with you.

This is a pentatonic scale based on- Root / #4, 5, natural 7 and root. If you take the time to try it against the given chord types CΔ7 , C-Δ7 , CΔ7(b5) , D7sus4 , EbΔ7(+5) , EbΔ7(b5) , E7 , F7 , F#-7(b5) , A-7 , A7sus4 , Bb7 , B7 for the key of C you are going to have endless things to play. Then, study it the way I used it starting on the different chord tones. This is the most you might learn within one lesson and it is a lot of work that will bring personal results and get you closer to some ideas and shapes you can hear of your own. Remember go slow. Play it against a band in the box chord, or some play along tracks. Then isolate a few of the progressions you already know and apply it. Remember this is not licks,its a technical approach that needs practicing and application first. To hear is to see ok?

In my private teaching in New York City, Reading, Pa and on Skype these are being taught with great success. I also do these in University workshops and it's an endless form of inspiration for the students seeking fresh agendas in modern improvisation. I have over 15 of these scales, including the basic pentatonic 1-2-3-5-6. It's a mind opener and a ear opener for personal expression. Look carefully at how the chord tone apply to how you use the scale, which degree of the chord and so on.

Special thank you very much to my long time friend Harri Rautiainen at Sax On The Web for hs great assistance, as always. Go here and follow the links. Enjoy! http://www.saxontheweb.net/Price/Feb01.html http://www.saxontheweb.net/Price/Modern-Pentatonic.pdf

IF YOU WANT TO GO TO A DIFFERENT SOUND- Again past the basic pentatonic scale. Try this exercise. http://www.timpricejazz.com/lessons/newpdfs/PentLickonb6of-7b5.pdf Your building the given scale OFF the b6, of the chord, them going from there. This is an all together different scale than I used in the above SOTW study.

Here's another built off the #4 of the chord ; http://www.timpricejazz.com/lessons/newpdfs/PentLickon4od-7b5.pdf ~ It's vital to you as a traveler of this music to be a searcher.Coltrane was a searcher. Ernie Watts sure is a searcher and life long student of the music. I am constantly looking for University's, summer camps and schools to share my knowledge. What I offer is what I've been taught by the masters to do. Musicians like Charlie Mariano,John LaPorta, Sal Nistico and Joe Viola. Plus many others.I got my info from the hands of a master- and put it to use.If you know of a situation that could use my services- I AM INTERESTED.

I HOPE YOU ENJOY THESE PENTATONICS. THANKS AND ENJOY. ~ Tim Price

Tim Price Bloggin' For Rico Reeds- FEELING GOOD & THE MOAN IN THE TONE

Tim Price Bloggin' For Rico Reeds- FEELING GOOD & THE MOAN IN THE TONE 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. 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.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.Music has that same factor and is a healing force.

Albert Ayler said it so well- Music is a healing force.But what do you listen to? There is so much, and where is the starting point? Let me help you my friends. When I was a teenager, one of the tunes you _had_to know to play any gig was " Honky Tonk" by organist Bill Doggett. The saxophonist that created the sound on that signature tune of Bills was the legendary Clifford Scott.

Texas tenor saxman Clifford Scott was born June 21, 1928. Perhaps most famous for his classic solo in Bill Doggett's "Honky Tonk, Scott also played with Jay McShann, Amos Milburn, and Lionel Hampton before joining Doggett.Clifford Scott passed April 19, 1993.When I first moved to the Bronx, after graduating Berklee College of Music in 1973 I ran into a old buddy from my Pennsylvania youth named Rick Seltzer. We hung out a few times, and he heard my play and refereed me to Bill Doggett because Bill was looking for a tenor player, as Bubba Brooks was coming off the road. I wasn't to sure I was ready for this, but I needed to work, and after spending years playing Honky Tonk I went to an audition in Queens NY at the Dew Drop Inn in the afternoon. There were a few other sax players there, Bill kicked off "Honky Tonk" , not one of them knew the melody except me.I started to feel a little better, then we played a ballad. I felt even better. Then Bill took a break, talked to each player but me. Guys were leaving and exiting the audition. Bill comes over to me and sais, " You got the gig, lets rehearse we go to Pittsburg tomorrow". Twent one years old, right out of Berklee and I felt even better.Weather I knew it or not-I was prepared. In any case..that gig was about reaching people. Here is another point, the days of demonstrating were over, it was time to play. Four sets a night, playing with one of the masters of Hammond organ R&B- Jazz. Playing NOT demonstrating. I hope some of youyounger guys are with me there,ok. SO- first off- go to youtube and listen to Doggett and Clifford Scott. THAT...is what is known as - TEXAS TENOR PLAYING. The forerunner of this lineage was Herschel Evans, was known most prominently for his work with one of the premier territory bands of the time out of Oklahoma – the Count Basie Orchestra.It was from this big toned saxophonistic atmosphere that Illinois Jacquet began developing his style in Houston, Texas. Jacquet first gained prominence in the Lionel Hampton Big Band where he made a name for himself playing a recorded solo on the Hampton classic “Flying Home”. Go check that out on youtube ASAP. While Jacquet popularized the Texan sound within the jazz world, it was King Curtis that brought the wailing sound to the Rock and Roll, Soul and R&B markets during the 1960′s, coining iconic solos for,Aretha Franklin, Donny Hathaway, Roberta Flack, and John Lennon. Starting his professional career in the Lionel Hampton Big Band in 1953, a decade after Illinois Jacquet left the band, Curtis no doubt studied Jacquet’s role in the band and brought a very similar style and energy to the group.It was during these early years in New York that King Curtis made a purposeful shift towards commercial music and away from straight ahead jazz that would help define his career.Arnette Cobb had more to do with the "Texas Tenor" sound than anybody else too.AGAIN- A saxophonist playing directly into the groove, and making people feel great. Nothing more nothing less.The Texas tenor tradition is very deep. It extends from Booker Ervin,Fathead Newman,Wilton Felder,Dewey Redman,Pete Christlieb to guys like Joe Sublett and David Woodford today.To name but a few! SOUND...is everything.Pete Christlieb to me is one of the greatest players playing today, and a great guy. Plus a Rico artist as well. You need to check Pete and all the guys out I mentioned.ASAP too.

This is another unsung- master jazz saxophonist and trend setter.Texas tenor at full tilt. If you love Booker Ervin,James Clay and Wilton Felder this guy needs your ears. One of the original BlueNote legends...a player who's message was SOUL.DON WILKERSON. Don is one of them, a profound master of the groove and grit that every serious student of the tenor should hear. Tenor player Don Wilkerson recorded three sessions for Blue Note in 1962. His most well known work may be the tenor solos he played while in Ray Charles's group in 1954. His altissimo, and full throated sound are so inspirational.Go check him out too!

OK- Next is some stuff to shed. Everyone loves to play the blues.In this I've taken an in-depth approach to give you all some information, new ideas, ear training, and fresh approaches to this form. http://www.saxontheweb.net/Price/Blues1.html If your looking for more, go here; http://www.timpricejazz.com/lessons/index.html ~ There's so much more to talk about on these topics. But I'll stop here as not to overload you. Have a great week, enjoy your music and what you do. ~ ~ TIM PRICE ~~ ps- When you need some grease in you- you need a Pats Steaks in Philly. I get the peppers on it and keep rocking. Great !!

Tim Price Bloggin' For Rico- R-E-S-P-E-C-T

~ A few weeks ago a great tenor player friend of mine,Arnie Krakowsky , made a point on FB about respect. And within our own community!

He said- " I've been in this music business for close to 45 years.What happened to the old days when musicians loved and respected each other no matter what style they played,or what age they were.The musical community is small enough and the work scene is getting smaller!!Please......try to respect one another!!!"


SO TRUE! THE OLD DAYS. Think about it.



Respect for others is based on self-respect. It really is following the Golden Rule: Do unto others as you would have others do unto you. It is the value that makes the world a more decent and civilized place.
You can show respect in many ways. You speak politely and don’t hurt people’s feelings by saying unkind things or making fun of them. You show good manners and care about other people. You treat others fairly and you think it is good to share.
You know how to show tolerance to people who share different beliefs.
As a respectful person, you see everyone as a person with rights, regardless of anything else.



Respect is perhaps the most important element in any successful long-term relationship…and that’s what we want to develop with our clients and colleagues, and even our family and friends. As they say, respect is not given, it’s earned. And there are certain things you can do to get more respect from others, and increase your professionalism and likeability in the process.We all know that we should treat others as we want to be treated, but sometimes we overlook that when we’re talking about respect. It’s definitely not a one-way street. One of the best things you can do to gain respect is to respect others by listening, and being courteous and compassionate.Another way to show respect is by being open-minded. Be willing to afford respect to everyone you encounter, not just clients or those who may be considered in a position of authority, including their opposing opinions, differences and experiences that make them who they are.






I do tell students of the "reality in my heart and spirit" but if they don't experience it it does not mean a lot. People need to play together, get into the basement and jam!! Look at each other and say yea.PLAY!!

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

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


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


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

If we want this music to continue...A personal vibe must take place.



Having confidence will make it easier to do the rest of the respect-generating activities listed here. Because confidence is a result of having strong self-respect, you will live with a power that will draw people in and lead to gaining their respect. If you value yourself, your skills and your contributions, you will set the tone for respectful relationships.Think about it- it works.

R-E-S-P-E-C-T
Find out what it means to me

R-E-S-P-E-C-T

Till next week- practice long tones everyday and make your part
of the community we so love something to respect.



THIS WEEKS BLOG- Is dedicated to Arnie Krakowsky ,a player the world should know. Check him out and enjoy his playing. He is an unsung master jazz player. And, someone I proudly respect- for not only his creative playing but his respect for the music, and people.

ALSO ; Check out WARDELL GREY. A lot!! Everything he played- deserves your attention-and respect,

Wardell Gray - Art Farmer 1952 ~ Farmer's Market

http://www.youtube.com/watch?v=nLfrDUzzw2c&feature=player_embedded




Till next week-Be creative, healthy, and kind.
~ Tim Price

Tim Price Bloggin' For Rico- Farewell to saxophone legend Andrew Love- Memphis Horns.

Saxophone players worldwide will be sad to hear of the loss of one of the masters of music. Andrew Love- saxophonist of the MEMPHIS HORNS.Love died Thursday from complications of Alzheimer's, said his wife, Willie. He was 70. What a sad loss to this world. Saxophonists everywhere should thank him inspirit for all the great music he recorded and left for us to groove on. his soul in this music- will live forever every time a horn part is played on one of the hundreds of hits he played on.

One of the true legends in the saxophone world passed, the saxophonist in the Memphis Horns Andrew Love , his work is timeless and a benchmark of excellence to all of us, with songs like "Dock of the Bay", "Knock on the Wood", "In The Ghetto","Tonight's The Night", "Shaft", "Roll With It", "Roll With It" , Al Green’s “Let’s Stay Together” and Dusty Springfield’s “Son of a Preacher Man"..and hundreds of others.

He sure did leave his mark in music. RIP Andrew.
http://www.nytimes.com/2012/04/14/arts/music/andrew-love-saxophonist-with-the-memphis-horns-dies-at-70.html?_r=1

Andrew Love was a Grammy-winning saxophonist
A member of the Memphis Horns, the Memphis native spent decades backing Otis Redding, Aretha Franklin, Elvis Presley, U2 and Neil Young.

One of the true legends in the saxophone world passed, the saxophonist in the Memphis Horns Andrew Love , his work is timeless and a benchmark of excellence to all of us, with songs like "Dock of the Bay", "Knock on the Wood", "In The Ghetto","Tonight's The Night", "Shaft", "Roll With It", "Roll With It" , Al Green’s “Let’s Stay Together” and Dusty Springfield’s “Son of a Preacher Man"..and hundreds of others.
He sure did leave his mark in music.





I for one am thankful to Mr. Love for providing a place in music for horns. Many a weekend, I have played " Knock On Wood" and countless other tunes at gigs that Andrew played horn parts on. Without the Memphis Horns- a lot of us would of been playing less gigs via horn sections! THANK YOU ANDREW LOVE. You and your beautiful soulful saxophone sound will be missed.

"If you've ever heard the brilliant unison horns that play the starting phrases on records such as 'Knock On Wood,' 'Hold On, I'm Comin' ' or 'In the Midnight Hour,' then you've experienced the excitement that the Memphis Horns can stir when opening a song," fellow Memphis studio stalwart Booker T. Jones said while presenting them the lifetime achievement award.

If you call the Memphis Horns, you know what you're going to get: solid horn lines and warm, flowing harmonies that are perfect.The Memphis Horns were a staple of much of the music made at Stax Records, the celebrated studio and record company that was one of the most important R&B and soul labels ever!

Andrew Love was born Nov. 21, 1941.He studied psychiatry at the University of Tulsa in Oklahoma. But having grown up playing sax with the gospel band in his father's church, he was strongly drawn to music.Love was working in Memphis when Jackson first heard him play. Jackson had grown up across the Mississippi River in West Memphis, Ark., and had been a member of the Mar-Keys, a instrumental group that scored a Top 5 hit with "Last Night" for Satellite Records, which soon became Stax.

Take sometime today and listen to the horn parts on Otis Redding's soul classic "Try a Little Tenderness." Sweet soul music.

RIP Andrew.

~ TIM PRICE

Tim Price Bloggin' For Rico Reeds- Hotel Chelsea NYC- a Legend in our time.

THE CHELSEA HOTEL......New York City.
A destination, a duty free gift for the traveler.
A home for eulipions,musicians, poets, friends and people with
the goal of forward motion.





THE HOTEL CHELSEA....The Hotel Chelsea, also known as the Chelsea Hotel, or simply the Chelsea, is a historic New York City hotel and landmark, known primarily for its history of notable residents.

Located at 222 West 23rd Street, between Seventh and Eighth Avenues, in the Manhattan neighborhood of Chelsea, has been the home of numerous writers, musicians, artists, and actors, including Bob Dylan, Virgil Thomson, Charles Bukowski, Janis Joplin, Leonard Cohen and Larry Rivers.

As of August 1, 2011, the hotel has closed for renovations.
Arthur C. Clarke wrote 2001: A Space Odyssey while staying at the Chelsea, and poets Allen Ginsberg, and Gregory Corso chose it as a place for intellectual inspiration, brainstorming and educational exchange. It is the place where the writer Dylan Thomas was staying when he died of pneumonia on November 9, 1953.The building has been a designated New York City landmark since 1966, and on the National Register of Historic Places since 1977.








In May 2011, the hotel was sold to real estate developer Joseph Chetrit for US $80 million dollars.As of August 1, 2011 the hotel stopped taking reservations for guests in order to begin renovations, but long-time residents remain in the building, some of them protected by state rent regulations. The renovations prompted complaints by the remaining tenants of health hazards caused by the construction. These were investigated by the city's Building Department,which found no major violations.In November 2011, the management ordered all of the hotel's many artworks taken off the walls, supposedly for their protection and cataloging, a move which some tenants interpreted as a step towards forcing them out as well. I'm hoping that nothing happens in this hotel- it has the essence and grit of American artistic history.





During its lifetime Hotel Chelsea has provided a home to many great writers including Mark Twain, Herbert Huncke- Who's rent was paid every year by the Grateful Dead, Dylan Thomas,Arthur C. Clarke, William S. Burroughs, Gregory Corso,Leonard Cohen, Arthur Miller, Allen Ginsberg, Jack Kerouac (who wrote- On the Road there), Robert Hunter, Jack Gantos, Brendan Behan, Simone de Beauvoir, Jean-Paul Sartre, Thomas Wolfe, Charles Bukowski, Raymond Kennedy, Matthew Richardson, and René Ricard.
Charles R. Jackson, author of The Lost Weekend, committed suicide in his room on September 21, 1968!




Hotel Chelsea's history has been by the musicians who have resided or stayed there when in New York City.
Some of the most prominent names include The Grateful Dead, Tom Waits, Patti Smith, Virgil Thomson, Jeff Beck, Chick Corea, Dee Dee Ramone, Bob Dylan, Janis Joplin, Jimi Hendrix, Canned Heat, Sid Vicious, Abdullah Ibrahim/Sathima Bea Benjamin and of course Leonard Cohen. Madonna lived at the Chelsea in the early eighties, returning in 1992 to shoot photographs for her book, Sex, in room 822.
Over the years I stayed at the Chelsea as well. You could get a " roomette" which was a small room, with a shared bathroom, more so on the corners of the hotel. A friend turned me to this when I needed a place that was safe to stay at in New York City.Depending on where you were, it was ok to practice. The hotel was very secure, and musician friendly. I stayed there in the 70's, 80's on through now, though I have the use of a great loft to crash at right down the street of a dear like minded eulipion friend. To me the Chelsea is a part of the music.





A PART OF THE MUSIC.

Yes, because when there is a place that you can relax at sometimes without
the hassle of a hotel, your peace of mind can roam free. Here is where I had quite a few memorable conversations with Virgil Thomson.
Virgil Thomson was an American composer and music critic. He was instrumental in the development of the "American Sound" in classical music. He has been described as a modernist or neoclassicist composer of "an Olympian blend of humanity and detachment" and a neoromantic. Talk about a label!
He was a profound writer.To encounter this man, once when I was practicing my bassoon and tenor saxophone in my room mid-day was quite a trip. I found out as we spoke that he forged relationships with James Joyce, Ernest Hemingway, e. e. cummings, Aaron Copland, Ezra Pound, Igor Stravinsky, Pablo Picasso, Orson Welles and Gertrude Stein. He studied with Nadia Boulanger and became a fixture of "Paris in the twenties." Following the publication of his book The State of Music he established himself in New York City. He told me once, and it was a known fact of his that his definition of music was "that which musicians do ". He even made a point to let it be known that the style a piece was written in could be most effectively understood as a consequence of its income source ! He was bold and a great interesting man. Knowing who he was, and being in your room working on bassoon reeds, studying bassoon studys and, in my case, applying jazz to the instrument brought me face to face with Virgil Thompson mid-day in his sleeveless T-shirt.( In Brooklyn known as a "wife beater.")
He and I had some great conversations, and his knowledge was inspiring to say the least. Let alone an education to me as well, via his associations with manyof my hero's that he knew that were writers.



The hotel has been featured in movies: Chelsea Girls by Andy Warhol, was shot at the Chelsea Hotel.

Sid & Nancy (1986) by Alex Cox

Midnight In Chelsea (1997) directed by Mark Pellington, a video to a track from the 1997 Jon Bon Jovi solo album Destination Anywhere

You'll see many references to the hotel in films a lot- and stages that are set to look like the Chelsea.One of Bennie Wallaces record covers with Chick Corea is shot in front of the Chelsea! Yes- Rico artist Bennie Wallace. One of the most innovative players ever! He has something very special- hear him.It is called The Bennie Wallace Trio with Chick Corea. It has with bass player Eddie Gomez and drummer Dannie Richmond.



The hotel is also featured in numerous songs, including:

"Sara" by Bob Dylan

"Chelsea Girl" by Nico

"Hi-Fi Popcorn" by The Revs

"The Chelsea Hotel" by Graham Nash

"Chelsea Hotel " by Leonard Cohen

"Hotel Chelsea Nights" by Ryan Adams


The Leonard Cohen song is famous.The Chelsea Hotel in New York city is where Cohen lived when he wasn't at his home in Montreal or his cottage on the Greek Island of Hydra. He chose the Chelsea because he heard he would meet people with a similar artistic bent, which he did. When introducing this song in concert, he would often tell a story about meeting a famous singer in an elevator of the Chelsea, which led to the sexual encounter he describes in this song.



But there's more of a bloggin' reason here dear reader.
As time moves on, these creative environs and places that can be
a safe home for creative souls are being either left to rot- or just destroyed.
I am watching this on the Chelsea. It is not only a great hotel but I'm glad they
are keeping up with it.Places like San Francisco's North Beach/Telegraph Hill or the older hotels that are gone when I was on the road in the 70's and 80's. You'd hit the jazz club- set up and walk across the street to the Hotel Milner where they'd give you a weeks room deal because you were a musician. Ditto the Maryland Hotel in Chicago.

You'd learn things about life, music and the world in these places.
Today- this is sorely needed. To develop not only the music/art
but the maturity of the people/players.Players who are in the search.
Looking for more than to sound like someone,to be inspired through inspiration not imitation. Growth, study and culture.

In the words of Kurt Vonnegut "I want to stand as close to the edge as I can without going over. Out on the edge you see all the kinds of things you can't see from the center." Think about that!

So there you have it my friends.All that said, I wish you all a
great week,and productive musical one at that, with lots of gigs and good notes!

~ Tim Price

Tim Price Bloggin' For Rico- TONY LAKATOS- HOMETONE...A must hear.

Ok- one word says it all, buy this record. Amazing,amazing,amazing.Tony with Billy Drummond(Drums)Bob Hurst(Bass)Robi Botos(Piano) and Axel Schlosser(Tr).You can't ask for more.

It's on - Hometone ( SKP-9109-2 ) 2012

Since I first heard Tony on " Blues for the Last Punk" I was a fan.
This recording was done in a New York studio.A major work for Tony in that each track is a soundscape with the most personal sounds of resonating real jazz.The CD
moves through shifting sequences of textures:with a profound tenor statement by Tony on each. His commitment, direction and thoughtful mastery of personal direction is inspiring. If you know his style, there's no way you could imagine this was anyone else. To me this CD is superbly recorded, every nuance of this very sound-conscious band apparent, I feel like the tenor is in the room with me. His sound is a lesson for every saxophonist playing today. A message! BE YOURSELF- AND DO IT WITH STYLE.

That's where he came from, I can hear his deep roots and love of the masters but also he sure isn't on a bender to fool anyone with a lok at me style. He's playing right from the heart and soul.This would be the kind of CD I'd play for my friend the late Frank Lowe, the tenor player, and he'd go wild talking about it to everyone for months! Well, It's that good friends. So much on it that is right there for you.

For instance-Robi Botos.He's the pianist whose work drew praise from the master musician Oscar Peterson.You can hear why. His comping is so internalized, his chord voicing I just want to transcribe and study. He knows where to play for Tony and set him up. His solos are memorable like landmarks. Each solo has structure, and a great line. What a sound too! Of course we all love Billy Drummond, what can you say? Bassist Robert Hurst has such a sound, and defination in his time. The hook between him and Billy is just beautiful.Billy to me is a master of the melodic too, and I always loved his cymbal feel. Check track track 4-Leonard. You'll hear what I mean. The voice of trumpet and flugelhorn player reminds me of someone who knows where is really going, and taking his time to get there. I like his sound a lot, and am reminded of his CD called "Touching The Moon". There's a Freddy Hubbard tune on there that introduced me to him, and I'm glad for it. He has that thing with Tony in the two horn blend.There's no holding back, no merely "cool" or "playful" licks, no "hip" cliches. Axel Schlosser is all about risk, passion, soaring lyricism.

Back to Tony! Check track 5- "It Has Been Agreed". It'll knock you out.
He is on fire, just unbelievable.Post-Bop, Hard-Bop, call it whatever you like, this is some of the most exciting music you're ever likely to hear. The direction that Tonys sound has within the music is really something special.Today, to many plays lack that sound. The personal part! Tony Lakatos got it.He's got so much detail and presence in everything he does.

Every single cut on this album are just true jewels.You need this! This is music that has to be heard, and by a player who commands your attention. Thank you Tony.

This CD is a testimony to a spiritual joy that can accompany disciplined mastery of jazz. This is music that speaks to both head and heart. Wow!

~ Tim Price