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My vision of music that echos humanity is that we can, and should strive to contribute to a better world through music. By bring together musicians and music lovers who are concerned about the welfare of humanity and our planet we can use music to improve the world!That way,we can enjoy the music twice. Once through listening, creating/recording/sharing and again through others enjoyment and enrichment.Music that echos humanity..is something I always felt.No matter where the musician creates and performs,we are approaching music’s singular destination every time.That state beyond the everyday sensory experience, adding something to the music and being at one with and literally becoming the music.No other job or life style contains that.Check that out..
Musicians need to add compassion,generosity and kindness to their message,that helps to start crystallizing our thoughts,to help the music reach out more to the peoples ears. I am grateful that nothing is out of the realm of possibility.
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.
Enjoy your Christmas holidays everyone...Happy New Year to you all. Tim Price Bloggin' For D'Addario Woodwinds
We as a music community need to demonstrate that through support of arts and culture we also invest in the art form's economic well-being
We as a music community ( jazz, pop, classical, students, rock, indy etc etc) need to get out and start supporting each other more. One of the most fascinating dimensions of this music, today is all the people involved in it. But, when I attend a concert, club gig or student recital, it's very shocking to see the empty seats. In the last few weeks, I noted with great interest that this was evident. In short, people need to start to support each other more. From within the ranks. We are creative people, stepping out to hear a friend or a person who's trying is an asset to all of us. Listen to what the music does, not what it doesn't. We as a music community need to demonstrate that through support of arts and culture we also invest in the art form's economic well-being. Show up for a few sets.Buy the Cd's. Take note that we need a collaborative approach to make this successful.I believe strongly that if diligently and judiciously executed,it would be of mutual benefit to everyone.Strengthen the music field and effectively recharge it from within the ranks.This is very important ! The music will grow- the musicians will foster more gigs and the scene will get stronger. A lot of us from my generation,when we were young musicians, there was an idea that we would be playing this music,or at least some of us would be playing this as our principle means of support. Now the "night club circuit" can no longer support us ( read that as "any of us" ). Education is the big portion of our income. We all do clinics, residencies and all the other educational components , let alone the high school or college positions or straight up private teaching. As a young player I would go to my mentors gigs and check out how he dealt with the reality of PLAYING. Even as a teenager, when I studied with my local heros like Joe Miller and Sam Correnti I learned a lot about the reality. At that point the reality was learning transposition from Joe and Sam. Joe would give me fake books to transpose, there was no REAL BOOK then, so it was good ol' VOL. 1. Plus other" bop" or swing books. Through doing that with Joe, I eventually learned to transpose at sight as a teenager. Yes Joe Miller, he was the best local jazz saxist I could of dreamed of as a teacher. He played King Super 20 saxes and had a great sound on alto and tenor, and he played RICO reeds! He turned me on as a kid to RICO brown box reeds on my Brillhardt mouthpiece. Joe was hip to Art Pepper and Bird and the cats.The baddest player in my home town-bar none for jazz. But the reality was , he also made a living playing dance gigs. He was great at it ! They played my high school prom. They played a few pop tunes " of the era" but mostly standards for dancing. Ok- From those relationships I would know what a jazz musician was. Later with guys like Charlie Mariano, Joe Viola and Andy McGhee at Berklee School as well, and years later Sal Nistico, Stitt and Don Christlieb etc. This is why I tell my students to attend gigs, buy Cds, listen and form bands to jam. Make it happen! Jam more, session on days your off, form "head bands" and just play. 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. REALITY LESSON !!! Knowing_MELODYS_so people could identify and dance. A life lesson there dear reader! Knowing how to play a dance gig and survival chops to make money. Joe always said, " It beats putting cans on the wall in the supermarket ! "....I never forgot that. Plus as I said, he could blow. We did the old play alongs ( before Aebersold !! ) with the Mal Waldron trio playing those blues heads Gene Ammons recorded. Joe knew the real deal, and as I said, was the best jazz saxophonist in the city. Plus a teacher of reality. His karma paid off too, years later he won the lotto. When I came in with Charles Lloyd records trying to copy the heads like " Sombreo Sam" Joe never flinched. He was that cool. Now Mr. Correnti, taught me flute. Another lesson in itself as today, the flute double is non-existant to a large degree. This was when I was in 10th grade in school too. Sam was cool, always dressed in a hip coat and tie. An old school swing man who knew a lot of the major players , and taught Gerry Muligan when he lived in the area. We used to get the David Gornstein books right from David, as Sam knew him. Sam also made me aware of being dressed right. I always was aware of the clothes a musician wore. REALITY of a very important kind. Plus- flute. Lots of lessons NOT in books.
HERE ARE SOME OF MY...Improvising outlines to shed.There are 6 pages here- many students that I have taught via Skype or in New York City, Reading, Pa have improved greatly by this kind of study. Write lines like mine, then based on what YOU hear. Bring the YOU out in what you do.Go slow & listen. Hope you enjoy them. Thanks! TIM PRICE   
  
RIP Bobby Keys.....RIP Bobby you rocked this place with class, soul & style.
Rolling Stones Saxophonist Bobby Keys Dies at 70
SAD NEWS. http://consequenceofsound.net/2014/1...st-bobby-keys/
Wish it wasn't true.I always loved talking to him at Roberto's. To hear him play his horn in a shop, you heard this guys depth as who he was and what a personal sound he had. You could hear LIFE in that sound- and his life. You could hear he loved to play. He will be missed.All those great things he did for Sheryl Crow- overdubs. He told me.." He just did em' "...Like that. heard him with Keith once & Keith had him playing a lot- the place was on fire due to Bobby. That pan handle Texas thing he had in sound was something special.Really a shame. RIP sir...you rocked this place with class and soul.
He had roots in bar bands, he also knew the history of the sax.NO BS or that airy fairy stuffthat sounded like everyone else-he played and the planet FELT It. HUGE LOSS.
-Listen to him on " Can't you hear me knocking"....Nasty greasy Texas tenor. LARSEN full tilt...I always loved him, but that day he said he " just did it" ....Revering to the sax quartet over-dubs on Sheryl Crows record- the room spun. My respect for him doing that, with out charts, by ear- old school, and pro'lly in one take went up a zillion notches. I know my friend Roberto...who worked on his saxes will be torn up-Bobby was a lovable dude. Great bari player too- and alto. . Just listen to those " Sun Sessions" by Sheryl. Damn!!!
RIP to a true road warrior of rock & roll and saxophone stylist.Bobby keys you rocked this place with class, soul & style.......Tim Price // D'Addario Woodwinds Blog //
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 thoughts 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.
I practice everyday, and I practice for at least 2 hours before I do anything. I don't do it because I think that Mike Stern or Sting is going to call. < I wish they would > I do it because it's the one thing in life that has been a constant for me. So few things in life ever remain the same, if any. But the saxophone < and my woodwinds > is the same every day.To me, it's the best ever deal you can make in life. If you work hard and practice at your saxophone , you get better. It's that simple! Think about it. Still grateful to be playing and learning. Looking forward to each gig and rehearsal and student, trying to stay in that vibe. And learn what I can from it. All human beings are linked together through the timeless, universal chain of history and events.The musician links to the practice room and the bandstand. Various life developments have been born in both environs. ~ The first stage of the artistic process involves absorption of principles and techniques that have already been accepted as standard in the field , the artist personalizes past and contemporary styles, meaning active participation in real world. This is why, I've always felt the need to play with all kinds of musicians, any age and of course working heavily with students to develop their "real world" skills. So- till next week - practice hard and eat more vegetables and fruit. Don't forget to do something nice for somebody too, remember compassion is essential with each other.
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. Thank you- Tim Price
- - - - This BLOG is dedicated to the beyond category friendship-to all musicians in this world- Keep on.
10% Off New York City sax study with Tim Price via Roberto's Winds.
Saxophone Coaching, with instructor-coach Tim Price ; reach your goals.
Expand your vision about what is possible in your life via- your playing.
Mention the AD...that is here and message me at timpricejazz@aol.com . .
I'll get you started.
Would you like to improve musically? Now's the time, for the saxophonist who who is interested in learning the skills. Let my experience as a player-educator work for you. -E-mail me and we will get started right away.
o How to play what you hear in your head
o Chord/Scale relationships & their use
o Scales INSIDE scales
o Important books, records .
o Jazz NOMENCLATURE & notation
o Ear Training exercises--the importance of them, how to do them
o Thorough discussion/demonstration of the Blues & Blues Scales
o Articulation-styles, how to practice them
o Discussion of SWING, BOSSA NOVA, BOP, pop and rock
o How to BUILD a solo
o Use of Play-A-Long recordings--group/individual assignments
o II-V7-I PROGRESSION
o HOW to practice/WHAT to practice
o Dealing with ballads and making them you own.
o How to practice a song so you really know it
o Piano voicing for non-pianists
o What to listen for in a jazz solo
o Jazz theory and proper application
The sessions are informal and relaxed, yet highly structured. If you are a novice improvisor or even a pro who has always felt there was more to learn, you'll truly enjoy these lessons.
IN NYC...There is a special 10% off deal- ask me about it. GET TO ME AT - TIMPRICEJAZZ@AOL.COM....Thank you- Tim Price
Jennifer Hall, born and raised in Northridge, CA attended Cal State Northridge and USC as a music major. As a saxophone and woodwind player, she played on the hit TV show, Dancing with the Stars on ABC and records for the cartoon series of Family Guy and American Dad on FOX. She has also performed with the American Tenors special for PBS, the 54th Annual Emmy Awards, the American Film Institute TV specials and the Academy Awards. Jennifer has recorded with Michel Legrand, Arturo Sandoval, Jack Sheldon, Ray Conniff and many other artists. Most recently, she has performed in concert with Barry Manilow, The Temptations, Aretha Franklin, The Four Tops, and the Pacific Symphony Orchestra.Through her decades in LosAngeles front lines,Jennifer has developed a keen understanding of the symbiotic balance between the many roles a musician has to deal with and the supporting players, between the wisdom of experience and the enthusiasm of her virtuosity.
I've had the pleasure of knowing Jennifer over a dozen years, and can really say aside from her great studio skills, being an amazing bassoonist, flute player & multi-woodwind artist she is also a unsung jazz baritone artist. She would never tell you anything like that- but the truth is in the music. Music don't lie. She was a member of trumpeter Jack Sheldon's big band for a decade, subbing on the Phil Norman Tentet, Bob Florence's Limited Edition, the legendary Ann Patterson's bands (which are more world class jazz that needs to be heard )....and also quite a fantastic curved jazz soprano player. These names I mentioned are jazz royalty. Players who you can Google and get decades of information on.Jennifer was a vital part of their music, and as quiet as it's kept, a outstanding soloist as well.
YOU NEED...To check out her CD - Jennifer Hall Meets.....A West Coast Tribute to Gerry Mulligan. Or enjoy her prior CD release " Portrait...by Jennifer Hall
Jennifer's CD's are absolutely incredible!Her playing really burns it up andf is essential music for anyone who truly loves great jazz music. Real jazz, for the people who feel jazz, by a one of a kind multi-dimensional artist.Her outstanding musicianship is a breath of fresh air these days and her improvising is first class all the way.
She is without question one of the real serious jazz stylists playing these days.
Have you heard Jennifer Hall? Sure you have. If you listened to " Dancing with the stars" or " Family Guy" you sure have. She's a seasoned professional and a super cool fantastic woman.Who just happens to play extremely lyrical and beautiful jazz.I can't say enough about her. But her music speaks louder than anything I could say. She is an asset to this world of music. - - - Thank you- Tim Price / D'Addario Artist & Woodwinds Blogger.
Today's musicians – whether students, educators, or professionals – need to strive for quality of practice. Developing a sustainable routine is really a
life-long process. Young people can function off desire and youthful animal
energy. In the long run, though, the creative person needs to find a way to
maintain a level of interest and vitality in the art. This takes work and
intelligence.
The concept of daily practice is an important one, as it is the best
way to make any kind of musical progress. Daily effort keeps players finely
attuned to continuous movement and the incremental accumulation of progress.. 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 developed. First of all, it is helpful to develop physical stamina through the repeated effort. Also, from day to day, students will accumulate ideas and expand on the themes of their practice. On a topic like working Major chords; the first day might be devoted to arpeggios, and the next day might be finding some connections to other musical sources or songs. By continuing to work with focus on the same things from day to day, students will find their level of proficiency rising and expanding to include all these other sources.
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 a musician’s creativity.
There are so many variations of scales, melodies, and melodic
patterns. The only real limitations are determined by 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 or melodies. 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 the materials is a good
thing. It's like learning a language – music is a language.
Advanced Pentatonic Lessons < on Skype w/ Tim Price >
These Advanced Pentatonic Lessons highlights a positive and fun way out of the cliche dilemma.
Relevant to many chord types and rhythm ideas as well. Knowledge/methodology/approach.
These deal with theoretical as well as " hands on" work.
First, A seemingly crystal-clear concept is introduced.
Second, illustrative findings using many chord types are given.
Findings – the vital importance of the “ cliche dilemma " may trigger further research on your own- in short you'll have lots to practice. For a long time.
EG- C, Eb , E, F#, G#, C - Works on- C7 alt, Bbminor7 b5
Or- C, Db, Eb, Fb, Gb, C - Works on C7, Eb7 and A7
And- C, D, G, A, b , C Works on D7 sus 4, D minor 7.
These are just a few of the hundreds...tim price
PHOTO BY LARRY KOCH- Reading, Pa.
Check it out and enjoy.... also- for some more ideas....check through these ; IF...you want some ideas on ii-v's...look here; http://www.timpricejazz.com/lessons/iiV.pdf '
If your looking for a nice warm up / sax sound study-look here; http://www.timpricejazz.com/lessons/sax_warmup.pdf
for info on tune study; look here; http://www.timpricejazz.com/lessons/learningatune.html
reed info, look here; http://www.timpricejazz.com/lessons/dealingwreeds.html sax players food
for thought:look here; http://www.timpricejazz.com/lessons/creativepurity.html
A nice jazz line using II-V. http://www.saxontheweb.net/Price/Dec00.html And a I-VI-II-V...of course http://www.saxontheweb.net/Price/Jul01.html
If you check my web page- you'll find some intervallic studys on II- V. http://www.timpricejazz.com/lessons/intervalic1.jpg
For those interested in some Bird & bop to shed...check out; http://www.saxontheweb.net/Price/Bird-ologyStudy.html http://www.saxontheweb.net/Price/Bird-ologyStudy.html
Enjoy~ TIM PRICE
BERT WILSON
INSIGHTS...
Tim: Bert, you knew Sonny Stitt; reflect on his tenor style.
Bert: You have to study and compare how he played tenor saxophone and how he played alto saxophone. He played alto sorta like a Bird style; but not totally Bird. On tenor he blended Lester Young’s influence with Charlie Parker’s. Then he did it and his approach influenced every tenor saxist for a long time including John Coltrane! Stitt’s style taught me to blend influences, in listening to more than just one artist. I could blend all of the influences into my playing and become Bert Wilson.
When you hear Sonny Stitt on tenor he does not sound like Lester Young; nor does he sound like Bird on tenor, ’cause when you listen to Bird when he played tenor, the closest person to that would be Sonny Rollins-tonally and especially rhythmically. Stitt’s style taught me how to take the approach of learning from all of the great artists in the music and blend their influences into my personal playing. All the young saxists should listen to Sonny Stitt; it will really help your style.
Tim: As a force in modern day sax, what drew you to Colman Hawkins?
Bert: Everybody says Hawk was the daddy of the tenor sax. And as much credit as they give him, I feel they don’t give him enough. Hawkins invented jazz tenor saxophone. It was through Hawkins’ studies playing cello and piano as a child, and working out his own approach to the horn. Hawk said there were others that were earlier than him who played the saxophone, but they all played the instrument like it was a clarinet! And Hawks figured out how to play it like a sax; he gave it its own voice and its own style. We all wouldn’t be around if it weren’t for Colman Hawkins. If not for Hawkins we might all sound like Bud Freeman. What drew me to Hawkins was his terrific beat! The way his sound leaped off the record into your ears. As soon as Hawkins blew, the music became supercharged with energy, reached a new level of creativity, and a total feeling of command. It just grabbed me! His harmonic feel was just so advanced, and all over the horn. It was totally and wonderfully Colman Hawkins; it was something special. Throughout his life, Hawkins would pick out the parts he liked and add them to his style, sound more like Colman Hawkins than ever, and drop the rest. What a great genius! Every note, every solo is something special. It tingles my ears and wakes me up.
One more thing needs to be said about Coleman Hawkins is that everybody talks about Colman Hawkins and not enough people listen to him, and they should. There’s a universe of music to listen to in his music.
Tim: When did you first hear Stan Getz?
Bert: Around when I was 11 or 12; in about 1951 or ’52 I heard the Royal Roost records. The disc jockey in Chicago played Johnny Smith’s “Moonlight in Vermont” every night. I had no doubt in my mind it was Stan Getz.
I had listened to Lester, and you could hear Lester in Stan Getz, but even the young Getz was himself. Stan’s sound and special placement of tone in the horn were so beautiful; he was very special.
The “West Coast Jazz”, and “Diz and Getz” records are just dynamite. Everyone should hear those, especially that one called “For Musicians Only”. A total class of music by itself. How many hundreds of us would like to sound like Stan Getz. Oh boy, I wish I could. Coltrane even loved Getz. Because Getz played so smooth, so pretty, his playing was accessible and commercial to the extent that he could play any style.
Here’s a good example of Charlie Parker’s influence on the tenor sax. Getz’s drops and the way he ran through changes are you can tell the difference between Stan and Lester. Lester often chose common tones and held across the bar and across the chord and hold one note there.
Getz could do that, but run the chords in a way that was both vertical and horizontal. He would make a line that involved the melody using all the notes in the chords; and the color changes would be really outstanding like they were in be-bop. Plus this lyrical beautiful line that was more across the bar; very much his own.
Tim: You know John Coltrane’s music; you played with him. Can you reflect on his playing?
Bert: I don’t want to do just another technical analysis; that’s been done over and over. I don’t want to talk about his sainthood ’cause that’s been done over and over. John Coltrane taught us all how important practice was! What dedication really means. He gave his life, body and spirit to it.
He was in the forefront of an entire cultural movement! It changed the entire face of art in this country and in Europe. Because of his young death, the bottom fell out of the profit margin that people who ran the record industry were seeing in the new music, the creative way of thinking, the new approach.
Because of what happened to the culture at that time, at least an entire generation of jazz musicians went undocumented, unaccounted for, unappreciated to the point where now there’s a whole raft of musicians who range in age between forty and sixty who are totally unknown, who should have been the leaders of that new movement in jazz.
The fact that I happen to be one of those doesn’t in any way make it more important to me ’cause I’m one of a crowd that includes Sonny Simmons, Barbera Donald, Zitro, Michael Cohn -- fantastic musicians who should have been the great artists of this generation.
Smiley Winters, Perry Robinson, Henry Grimes, Jim Pepper, Albert Stinson -- all of those people should have been leaders in a big way. Trane was a wonderful person; not only that dogged resolve to practice his instrument-no matter what, bt he had a warmth about him, too. He always made time to talk to a young musician, time for help, time for a word, a question, anything. Trane would make time for everyone. As a result, everyone loved him, myself included. He was a wonderful guy. One night at Shelly’s Manhole in Los Angeles he just knocked out the entire audience. Occasionally someone in the audience would scream because of the intensity of the music, myself included. So I went backstage to tell John how much I loved it. And I told him how much he moved me, and he said, “I can’t get anything going tonight. I practice so hard; I don’t understand.” That’s a perfect example of the artist hearing what goes in and the listener hearing what goes out, and it’s always, most always, unrelated - Unrelated!
It’s all a matter of perspective. It’s spirit; that’s what makes us musicians. We feel it inside. Because nobody could pay us for the kind of spiritual awakening we can get from the act of making music. That whole sharing thing between creatures.
A lot of people who only imitate Coltrane missed out on a lot by only digging Coltrane. They missed Lester Young, Don Byas, Wardell Gray, Hawkins, Sonny Rollins and Lucky Thompson. So we got three generations of players who sound like they only listen to John Coltrane and are trying to copy Trane too hard. And they missed Lester and Hawk, or Budd Johnson, Zoot Sims and Al Cohn, Benny Golson; and Johnny Griffin.
There’s the problem that evades and invades jazz today; because people won’t do that; they miss the real tradition of jazz, the real creative process. One style seems to be the trend now, which is that funk R& B style, mixed with Coltrane. There’s so much more than that! Dedication, understanding and study by a young musician is what creates a young musician. Study of the jazz history and hours of listening to masters. Not cloning in on a trendy style. You can’t do it that way. Its deeper. There’s a spirit, and the work. You got to get them from yourself inside.
Tim: When’s the first time you heard Sonny Rollins?
Bert: On that radio show in Chicago. It was very overwhelming to hear, I could see between Coltrane and Sonny Rollins they were reinventing saxophone-ology. And in a very complete way. Sonny Rollins plays like a dancer. And because of my early training as a dancer, I really heard Sonny’s rhythm and the tapping, bouncing dancing way he has. I bet one of Sonny’s influences is Fred Astaire! It’s quite plain to hear.
Sonny Rollins knows more about the saxophone than anyone who’s alive today! He can control two lines at once. People need to study Sonny Rollins for the spirit, the heart and the creativity.
Tim: What about Sonny Simmons? What space does he hold?
Bert: He shoulda got the crown when Coltrane died. Sonny Simmon’s music was ready. He was one of the first saxists to play the new way. His music - the shapes and the way he played form without a preset form - it was much a part of what some other musicians and I were doing that it just set the whole pace for us. We all went that way when we heard Sonny. It put it in focus for all of us!
Simmons has the best parts of Bird, Dolphy, Coltrane, Ornette wound tightly into a personal experience that is his alone. He has a natural amazing facility on the instrument. He taught himself how to play alto saxophone after studying classical oboe and English horn for quite a long time; as a child. He picked up the sax on his own. He was a rock ’n’ roll star in his teens playing tenor, walking the bars in Oakland.
During the early parts of the free jazz movement is when Sonny committed himself to the thing that he was doing all along.
Sonny also studied out of the Nicholas Slominsky book of scales and melodic patterns, and also had been studying Schillinger composition and theory out of the Schillinger books and really coming to grips with the fact that there were more than 8 notes in each scale, and ways to relate them together, and exploring those sounds. He also pushed the constraints and limits of the instrument.
He was a very advanced player. He taught me a lot. We played together all the time. The one record I’m on with him -“Music of the Spheres”- which was done in 1966, is not even close of how far we took it.
Simmons had the most exciting, together, well-formed and most swinging; it was a perfect example of how a unique voice was created from many voices of influencing one person. When you listen to the best musicians and learn from each, you come up with your own voice. He absorbed be-bop totally, before he became influenced by people like Trane and Ornette and Eric Dolphy. What he did was draw the things that he heard the best in his own ears and mind and blend and combine them into what sounds to all of us like Sonny Simmons. Like anyone can do if they try, they’ll come up sounding like themselves, not who they studied, because that’s what happens when you study the masters.
Tim: What about some solos on records you’ve done over the years that you really like?
Bert: The first records I did in 1966 and 1967 have only recently been reissued on CD on the E.S.P. label with the fact that they’ll be out at the same time with my CD called “Further Adventures in Jazz”. There is some very interesting correlations when comparing these discs with the music that first came out and the music that’s happening today. One thing that’s happening is that if you go back to those E.S.P. discs, I used several sounds on sax during that period that had never been on records before. At that time Albert Ayler, Phariah Sanders and a lot of people, including Coltrane, were using extensive sounds that had never been used in this music before. Each one was different and highly personal so it really wasn’t noticed at that time during the entrance of my solo on the “Zitro” record (on E.S.P.) that I played eleven tone clusters in a row that were all melodically and harmonically organized. It didn’t get noticed at all at the time it came out. It will be interesting to see today if those sounds get noticed in context.
I did a double record in 1968 for Arhoolie label in California in Berkley. It was called “Smiley Etc”. On that record, which is still available by the way, there’s a track called “Love is Enlightenment”, and I played a lot of things on soprano sax at that time, a lot of which had never been used at that time, such as tone clusters, overtones and extended ranges.
On one track, called “Two Tranes”; which is a tune of mine, I played several melodic quotes in tone clusters including one which is a direct quote from Wayne Shorters “Nite Dreamer” which I voiced in tone clusters, melodically and harmonically, and exact.
It’s interesting nobody ever noticed that! On the new recordings we’re much more in the context of straight be-bop tunes with order, changes and melody, in swing time in the regular way. But my thing is that I use all of those extended techniques in the music still. You can hear those sounds on “Ionic Implant”or “Happy Pretty”. There’s places in the melody of “Truth” where you can hear multiphonic clusters against the melody. On the earlier record, “Kaleidoscopic Visions” there’s a piece that’s conceived as a study in multiphonics; song and solo are chock full of clusters and multiphonics. Both records are available through North Country, Cadence Magazine. (Write: Cadence, c/o Cadence Building Redwood, NY USA 13679). The title tune is what I’m referring to, it covers a lot of sounds and harmonic areas.
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- I think everyone needs to seriously check Bert out....Do it - -Tim Price
~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.
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.
Todays 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 last for your career.
Just some thinking on subjects we all love and are close to our agenda.TIM PRICE
....Living a life of purpose reflects who you are deep inside, your beliefs, values and passion for living. It is about following your heart and doing what you love to do with passion and purpose. This may initially feel overwhelming and go too "deep" but that's exactly where you need to go - deep into your heart, beyond the busy, superficial day-to-day chores and demands of life. Beyond the fast paced day of the modern mom who typically deals with her career, various children's activities, computer viruses, proverbial household cleaning, - overall role of superwoman who never had or has had a chance to do some real soul searching for real meaning in her life. Do you feel like you're spinning of the hamster wheel and getting nowhere? Just talking...and talking.Do you wonder if your life counts for anything?
Despite the many resources of self-help tools available today via magazines, books, tapes, videos, and seminars, many still feel unfulfilled and lacking purpose in themselves, family and career. What ever happened to just getting together- making some coffee and playing some standards ad blues.Life is about choices - good, bad, happy, unhappy, purpose filled or void. It is important to intentionally and passionately seek to pursue joy, fulfillment and purpose despite the situations or people who may seem to be trying to take it away from you. Your choices should be reflective of who you are and what you believe in vs. the standards and beliefs of someone else.Are you really hearing the music- or going for just who's popular? The following are wide sweeping key components that require considerable processing in their own right in order to most fully develop your own true purpose and are full length topic discussions within themselves - please be sure to process them in your own time and according to your specific needs.Each person holds unique and very individualized gifts. Allow yourself to really explore your current and past skills - even some you may not even be aware of yet. But also....Recognize them, write them down and then think of how you could integrate your most compelling skills into an area of your life now. MEANING AND PURPOSE...ok.
When you are clear about your purpose, then it becomes much easier to say no. No matter how "good" it sounds, how much validity it holds - if it doesn't further your purpose then the answer is No. Don't let those ceaseless requests pull you away from your goal and lose focus on where you find meaning.Thoughts and plans are all well and good, but if they don't get into action, they aren't much good after all. So put those thoughts, plans, and skills into action! Identify the best place to start - typically with one small task that leads to another small task = success=more energy and motivation= more done. The snowball effect of getting the ball in motion will require less energy to move. Enjoy the ride!
Weekly encouragement, support and accountability have proven to be the best way to keep you energized and moving. Focus on what your purpose in and the meaning behind it will serve as a motivator itself and you can look at the past week to see just what you have accomplished.The possibilities are endless. Till next week....work hard and study, practice to be the best YOU......Tim Price
THIS...Recording....Coltrane / Prestige 7105...Is my favorite Coltrane recording ever. ( I love all the other Trane records, but this onejust speaks to me. It has for decades too.)
Coltrane's career didn't begin when he signed to Impulse! (contrary to what the label sometimes tries to imply), nor did it begin when he signed to Atlantic....John Coltrane recorded so frequently for the Prestige label during '56-'58 that it's tough to figure out where to start. This May 1957 recording, coming just after his departure from the Miles Davis Quintet, is a pretty good initiation; a great session of hard bop with plenty of Coltrane's powerful, intense playing. The album's peaks are two ballads "Violets for Your Furs", "While My Lady Sleeps" -- Coltrane was already an incredible ballad player by this time. The other tracks are all crystallized hard bop of the highest level ever. the rhythm section (Mal Waldron and Red Garland on piano, Paul Chambers on bass, Al Heath on drums) is excellent, Johnny Splawn (trumpet) and one of my very favorite baritone saxophonists ever Sahib Shihab.
Before both of these labels, he was on Prestige recording a bunch of albums which tend to get overlooked nowadays.
"Bakai" opens the set and is very close to "Dakar", theme wise,with Shihab laying down an afro-centric beat; Trane and Splawn harmonizing over it. Red Garland slides off a cool,swinging,mood-changing opening solo. Trane solos next,sounding very serious;driving moderately. Shihab's solo comes off LIKE A GEM, containing slight elements of r&b, before the close. "Violets For Your Furs" is a ballad. A premier balladeer, Trane handles the theme. Red gives off a beautiful solo, followed by Trane's warm,sincere expressions. The other horns are not heard. "Time Was" is typical John Coltrane, coming out swinging. An up-tempo track, Trane blows that 'good stuff' so very well. He doesn't do a lot running,here; just cookin'. Paul Chambers and Al Heath keep Red's solo swinging. Paul lays down a pretty sharp solo of his own, before Trane closes. Good track. "Straight Street" < one the the Trane tunes that NEEDS to be played more is a medium-tempo that brings back the rest of the horns. Trane solos first,at ease and steadily flowing. Splawn is next. Johnnie is like too many good trumpeters....underrated. His solo,here,swings with know-how and experience.SO GOOD! Paul and Trane lay down the mood for the hauntingly,bewitching "While My Lady Sleeps", a super-laid-back MONSTER that Trane keeps under rein with the help of Mal Waldron. Excellent song choice. "Chronic Blues" is just that...the blues.Knocks me out of the park with the way they just play.
There's some great Coltrane stuff on Prestige, "Settin' The Pace" with a ridiculous Trane solo on "Little Melonae", and some great work by Red Garland, "Lush Life", with a lovely Milesish statement of "Like Someone in Love" and some brilliant drum performances from Art Taylor, particularly on "I Love You". BUT THIS RECORD- Coltrane / Prestige 7105
Has inspired me for over 5 decades...and still does. Right off the bat it's clear that musically Coltrane and his new sextet are on a musical mission of a very different sort than he had been playing with Miles Davis, musically positioning himself somewhere between the internationally expansive hard bop sound and the sound and stepping towards what many call " Post Bop".
This is a stellar example of how an artist who has roots and knowledge brings the culture of jazz to an absolute zenith. ~ TIM PRICE
Feel free to share the info. via TIM PRICE CLINICS-WORKSHOPS with
like minded college professors/ University teachers who will be interested. Contact Tim Price via timpricejazz@aol.com
I'm currently booking clinics- workshops and mini-residency's for 2014-2015 and thought I'd pass the info on here. I've got some_new_ideas and music for the performances as well as some very cool ideas to share that have a contemporary focus for the student.I continue to enliven a passion for jazz in students, and teach the vital musical building blocks using a unique methodology from over 40 years experience as a performing jazz musician and woodwind artist.Students leave my classes with a stronger understanding of the jazz language and therefore with more confidence as they participate in the music. Thank you Tim Price
Also enjoy the HEADHUNTERS & Herbie Hancock sax-woodwind player Bennie Maupins quote about me; it made my decade!:)
"Tim Price continues to explore and develop his deeply personal approach to music. Through the years his persistence, determination and passion has enabled him to create a stellar reputation as a multiple woodwind master, composer, producer, author and last but not least educator. Tim is one of the best musicians active today and I'm happy to say he's my friend...."
-Bennie Maupin
OR - JEFF COFFIN'S WORDS...About what I do ; "Tim Price has captured my imagination on many occasions with his forward thinking arrangements and wonderfully captivating playing. He is a unique musician made more unique because he has searched and found his own voice. Truly a rare find in music."
~ Jeff Coffin
- EDDIE SHU.....This guy is beyond words- and swinging like wild.A true Jazz genius https://www.youtube.com/watch?v=7T64pb4pMl4&feature=youtu.be
MORE VIDEO- Of Eddie Shu here- https://www.youtube.com/watch?v=ffm4rt-Uks0&feature=youtu.be . . . .
- What it is...Is hard work and commitment.Commitment to your chosen art form, and desire to do just that.Creativity and responsibility are twins in art. One cannot claim to be truly creative without being responsible. However, the commitment of an artist to a cause should never be blind commitment. The artist should always retain the right to question motives. In that way the artist will remain faithful to both creativity and social responsibility.If all art is a form of communication, all art is produced with an audience in mind. The process of artistic creation is an exercise in communication and as all communication must be able to communicate, it therefore follows that the process of artistic creation entails the responsibility to communicate. It can therefore be argued that there is no necessary contradiction between creativity and responsibility in art. I know that there are philosophies like art for art’s sake, which can be contrasted to say the literature of commitment. But I say you cannot be truly creative without being responsible. The moment you stop being responsible you stop being truly creative.IT DON'T JUST HAPPEN.
Musical forward motion.... 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. Keep on your path and do something good for somebody. Be well and remember compassion is essential with each other. See you next week. - Tim Price
 
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My vision of music that echos humanity is that we can, and should strive to contribute to a better world through music. By bring together musicians and music lovers who are concerned about the welfare of humanity and our planet we can use music to improve the world!That way,we can enjoy the music twice. Once through listening, creating/recording/sharing and again through others enjoyment and enrichment.Music that echos humanity..is something I always felt.No matter where the musician creates and performs,we are approaching music’s singular destination every time.That state beyond the everyday sensory experience, adding something to the music and being at one with and literally becoming the music.No other job or life style contains that.Check that out..
Musicians need to add compassion,generosity and kindness to their message,that helps to start crystallizing our thoughts,to help the music reach out more to the peoples ears. I am grateful that nothing is out of the realm of possibility.
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.
Enjoy your Christmas holidays everyone...Happy New Year to you all. Tim Price Bloggin' For D'Addario Woodwinds
