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- - What it is...Is hard work and commitment.Commitment to your chosen
art form, and desire to do just that.Creativity and responsibility are
twins in art. One cannot claim to be truly creative without being
responsible. However, the commitment of an artist to a cause should
never be blind commitment. The artist should always retain the right to
question motives. In that way the artist will remain faithful to both
creativity and social responsibility.If all art is a form of
communication, all art is produced with an audience in mind. The
process of artistic creation is an exercise in communication and as all
communication must be able to communicate, it therefore follows that the
process of artistic creation entails the responsibility to communicate.
It can therefore be argued that there is no necessary contradiction
between creativity and responsibility in art. I know that there are
philosophies like art for art’s sake, which can be contrasted to say the
literature of commitment. But I say you cannot be truly creative
without being responsible. The moment you stop being responsible you
stop being truly creative.
IT DON'T JUST HAPPEN. You got to work.< all
art is produced with an audience in mind >
~ You do it, and keep doing it. That is.....what it is.
Being a complete musician goes well beyond the notes.It involves more
than just getting a degree, playing your instrument, and those aspects.
More so, it includes, the day to day life of travel, prep before you
travel, making sure your ducks are in a row on the daily agenda.Gas for
the car, bus ticket, clothes and schedule. Anything short of that in
todays environment is a loss on the player-performers game card. Yes,
it's past the mouthpieces, or a five digit Selmer and the demo CD . It's called- day to day life. As I said, being a complete musician goes well beyond the
notes. I’m grateful for that......As you read, Putting life together-
and dealing with it. I'm glad I'm doing things I enjoy.
The world is out there go find it.Live music
needs your support! I continue to explore and learn all I can about all
music in the quest to develop a voice.The more I know about what’s
behind the music the more profound the effect is on my musical psyche. I’m grateful for the era that I came up in, and the teachers,
musicians that made me aware of these values. Balance!
I hope my words
on this issue, in the process inspire people to do the right thing.Go
hear some live music, support the people playing NOW, be part of it.
Till next week be in the moment and make every moment the best it can
be
~ Tim Price
PS- - THIS LADY...PLAYS HER AZZ OFF!!!!! D'Addario artist Mindi Abair and I at one of the Holiday shows she did a year ago or so- She is one of today's ultimate performers and players. If you see her concerts or CDs - get to them immediately- she is all that and more.
Proud to know her and call her a friend too. . one of the real ones today!
Today is the day on the D'Addario Blog that we remember the great
instrumentalist Rashaan Roland Kirk
Rahsaanapolis awaits you!
Today on the Rico Blog is the day we remember the great instrumentalist
Rashaan Roland Kirk, who was born on August 7th ( yesterday) 1935.
He was one of the most important musicians in jazz, now then and always. Check his history here :
As a assignment for ALL those interested, please go buy -
Rip, Rig & Panic
How can you miss with this band!
Roland Kirk - Tenor Saxophone, Stritch, Manzello, Flute, Siren, Oboe, Castanets
Jaki Byard - Piano
Richard Davis - Bass
Elvin Jones - Drums
You can even get a 2-for CD here; At CD Universe. Downloads too!
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
Roland Kirk - Alfie
Buddy Guy, Jack Bruce, Roland Kirk, Jimmy Hope & Ron Burton Supershow Live
Just a few weeks ago vibraphonist , leader, educator and jazz icon Gary
Burton step back from the bandstand and went into retirement. I'd like
to use today's blog to thank him for the multitude of recordings and
direction and inspiration he's provided. His history should be obvious
to any jazz fan, if it's not immediately obvious, please google him and
make it a point to take some time and get familiar with him.
Gary
was discovered first by iconic innovative jazz educator-master musician
John LaPorta at a summer band camp. From what I remember from what John
told me, it was one of those Stan Kenton camps. That said; Gary's career
from a teenager to his final concerts always were bright spots
and bright moments. In a world of music this man not only stands tall ,
but set an incredible benchmark for those who care to partake. His bands always had the highest level players. Manny had been
introduced to the jazz audience for the first time and stepping forward
displaying what they have to offer. Gary's bands were always spot on,
starting on time with a focus set and a forward
motion and development of the music. Music for music sake at the highest
level.
For me before attending Berklee I had heard Gary's first
recordings that were new to me of course called " Duster" and " Tong
Funeral" and of course I was lucky enough to hear him play live as a
side man with jazz legend Stan Getz. The venue that I heard Gary play
with Stan was the Lambertville music tent in Lambertville Pennsylvania.
In the summers Lambertville would have jazz in this theater in the
round. I have great memories in that era of hearing not just Stan but
the Woody Herman band with Sal Nistico, Dave Brubeck and the MJQ. Places
like that reinforced my fortitude and wanted to become a musician and
also hearing how it was done a few feet from my face while I was still
in high school. Stan's band had Gary, Steve swallow and Roy Haynes.
Again the route was rehearse music and music of the highest level. They
went from tune to tune like the established pros they were. This was of
course before Gary's RCA records and I believe the only record and I had
at that time was something called " New Vibes man in town". I quickly
made it a practice to make sure when something came out with Gary on it ,
or one of his own recordings, I got it. And my ears and my knowledge were
better for it. One of my favorite records was " Throb" which had
violinist Richard Green on it and also a drummer who I later would have
the joy of playing with, and having a great friendship named Bill
Goodwin. Recordings that are timeless gems and stand tall in the direction of the art form of jazz.
As that was developing in the music-in my third and
fourth years at Berklee I had Gary for improvisation classes and
ensembles. He was a no-nonsense teacher and you left with knowledge and a
firm grip of what he was teaching you. To this day I'll never forget
this man's commitment to what he did for us as students, he came in the
room knew all of us by name the second class. This was before computers
and before passing out printouts. He would go to the blackboard and
write out on the board within seconds cord progressions and scales that
he wanted us to investigate and study. Many times and ensembles there
was printed music that we've never seen from Mike Gibbs or Carla Bley.
He'll pass out a concert sheet, and if you were a saxophonist or
transposing instrument you were required to transpose that music on the
spot. I remember a few times he also played piano in the ensembles, and
his piano playing was very inspiring. In short he was a teacher that was
of great assistance to me at that point in my life but also somebody
who propagated and displayed musicianship that I had to be attained. A
very friendly human being to. Let me say that his " Berklee On Line" classes are something that had it's own importance as well. ANYONE...going to Berklee today worth their salt in any shape or form, should make it their business to listen and study Gary's playing but also his career. ( read his book too!)
There are many people in this
business that came to Gary's bands as sidemen that have careers today
that are untouchable. There was a certain ambiance about Gary's four mallet technique and his choice of music was
always the best. Always fresh tunes and as I said before well rehearsed
and totally professional from the first tune to the last whether he
played a concert or a club. Is bands always started on time! You never
waited for Gary Burton to start a set. That says everything especially
with the way the level has slipped today and the opposite has taken
place which we won't get into. I have find memories of hearing Gary and
also fun memories of the period that I encountered him while a student
at Berklee. There was another thing I thought I'd mention-a few times
and ensembles he say to people what would you like to play? I remember
one time somebody called Sonny Rollins is tune " Airegin".... Gary Play
the tune without any kind of second-guessing or anything, in the period
of the Steve swallow tunes some of those tunes were very tricky to
people who had not been playing songs with nine bar phrases or cord
progressions that had stepped out of the bebop cycle. Being around Gary
and hearing him play these and demonstrate these on a professional level
within a few feet of you with some of the best education you could get.
As I say, to hear is to see!
I admire somebody who created such a
benchmark in the music in so many ways I'm sure I'm
missing a few as I write this blog. Things that today don't exist in the
same level, like having a working band constantly, employing a band, a leader that had his
skills together so that the band move smoothly and concentrated on the
music.
Burton has been an innovator on several fronts: virtuoso soloist as well
as influential bandleader and educator. He’s discovered one future star
after another for his bands: Larry Coryell, Pat Metheny, Kurt
Rosenwinkel, and, in his current quartet, the guitarist Julian Lage.
Burton also ushered in the new wave of “jazz-rock fusion,” preceding
Miles Davis by a couple of years. Meanwhile, as a teacher and
administrator at Berklee for 33 years, he transformed the curriculum,
bringing rock into the program, expanding the use of digital technology,
and, more recently, initiating the school’s online education program.
I applaud Gary Burton for the career and more keys left
in this music in many ways in many shapes. Also for the integrity that
he has had as a human being musician educator an innovator. And that's a
word that is used to freely today but yes indeed Gary Burton was a
stone cold innovator. Thank you sir for touching this music so deeply
and I wish you nothing but the best in your retirement. Health happiness
and lots of sun and good times you've earned it. I bow deeply in your
direction as somebody who has followed your career from not only a fan
but a student who heard your message and the music, let this blog be a
thumbs up and a huge thank you. Thank you Gary Burton!
Tim Price Bloggin' For D'Addario Woodwinds 2017
The music always has an infinite history and
fertility, inexhaustible vitality, and at the same time, a seductive power
of temptation - which inspires all of us who play – and offers the
open-ended invitation to create as much as we can. The results, the waiting,
the practicing at all hours, the talking of the music and constant study
gives the music a breath of spirit, endless in motion and evolution. This
will always be a source of awe and wonder to the fan or player. The legacy
of the sax is a never ending landscape, at all times finite and infinite,
both temporal and spiritual. The following players below are life long friends- we all hang study and play a lot- If you do NOT know them you should. If you play the saxophone these guys are the ones who will set your ears straight. Take a chance and find out who they are. Get started now- old school. Seek and ye shall find.
You aware of this book? If not get it;
YOU KNOW THIS TUNE? Sam Rivers is also someone you should know- start now.
LEE MORGAN'S TUNE....get it together.
TRI- TONE SUBS....the good bad and ugly - on one page.
THIS BOOK....Was suggested to me by none other than the great late Von Freeman- if you don't practice out of it- you should .
STUDY WITH ME...Skype NYC and Reading Pa....
Working the new Sax Dakota straight tenors out with my man Joe Lovano in NYC last week in NYC.
Trane study's on your favorite progression. You dig?
Suggested listening....if you are NOT listening you are NOT learning.
HAVE A GREAT JULY 4TH....Drink plenty of water and be cool. Practice like a boss and listen to the cats I'm telling you to. Battle stations!! Thanks- Tim Price for D'Addario.
THAT'S IT FOR NOW....YOU TALKIN TO ME???!!?!??!!?!?
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