|
skip to main |
skip to sidebar
Tim Price Bloggin' For D'Addario Woodwinds-
Part 2- "Give me 5"-
Mindi Abair -guest artist.
It has been my contention that the most valuable viewpoints come
from those who do. Thus, it’s logical to assume that any saxist who is
surviving in this field, and doing it with success, is doing something
right.
The energies we all put into our craft; The years of apprenticeship and
life-struggle, and the never ending open tuition to the school of hard
knocks is always balanced by the intense commitment to the horn, and the
pure love of playing it.That is exactly why...Mindi Abair is doing Part
2 of these special info blogs of mine called- GIVE ME 5. One of my favorite artists, I personally can not get enough of her stuff. This to me is one of the essential releases in today's music- a must have!
1 talk about your conception and how you envision the boneshakers prior to even the first rehearsals and gigs
MINDI- first met Randy Jacobs when I moved to LA. I didn’t know anyone,
and I was asked to come play with this rock band by Oliver Leiber (Jerry
Leiber’s son). I showed up and the guitarist was literally doing
backflips off the stage in mid guitar solo. It was wall to wall people…
the loudest band I’ve ever played with… and it was a party! That
guitarist was Randy Jacobs. He had started his own blues/rock band The
Bonehskakers. It was born out of Was Not Was and Bonnie Raitt’s band.
She actually said “You guys are boneshaking!” and inadvertently named
the band. I’ve always been a fan. Through the years we’ve both played
on each other’s records for years. toured on and off together and
remained close friends. Cut to about 3 years ago when The Boneshakers
were on Stage X and my band was on Stage Y for the Newport Beach Jazz
Fest. I went over to sit in with him… we’re family. I stayed for the
whole set… it was magic.. inspiring… it’s what music should feel like
every night! That day we decided we should join forces and become Mindi
Abair and The Boneshakers.
We did 3 days of
rehearsal for our first gig together up in Seattle at Jazz Alley. We’ve
done Valentines week there for a dozen or so years. I had a friend
record, as I thought the band had an intangible magic. That became our
live record that we released months later in Sept 2015.
This
is our first studio record together. It’s powerful, cohesive,
definitely blues/rock, and fun to the core. The music we wrote
showcases the talents and quirks and fun of the band. We all really
came alive in the studio and recorded everything in 5 days as a band.
It was magic, but this time it was a studio record!
There
was great inspiration all around. We were at EastWest Studios and The
Foo Fighters were in the studio next to us mixing their record. My
drummer would disappear into Dave Grohl’s car to hear rough mixes. I’d
see them out there flipping their heads back and forth to the music. It
sounded amazing. And Justin Timberlake was in the studio next to us on
the other side. Justin would hang around and vibe on our songs and
introduced himself and his wife to me near the end of our recording.
Wow, what a great guy and a great music lover. He loved my track with
Fantastic Negrito, “She Don’t Cry No More."
2-
Mindi to me you've always been somebody who which the audience with
your horn. In this band that is even more profound than ever-also you
seem to have created a niche that I do not hear happening in other
places these days. Tell me about it!
Mindi -I miss the days when saxophone was as integral of an instrument as the
electric guitar. Junior Walker, King Curtis…these guys were at the top
of the pop charts. Amazing. We’ve lost that.
Saxophone and the genre
of jazz is perceived now by many Americans as “Kenny G” and happy
elevator music. That’s not all that’s out there. My band has grit,
abandon, love, and power that they emote in every set. It’s non-stop.
It’s great musicianship, it’s real, it’s visceral and heart moving. I
wrote a lot of songs to fit this line up well and exploit everyone’s
incredible talents. Randy Jacobs and I are just riding the wave of
energy that we’ve written and cultivated with this band.
3-
I always found a vocal ability in your playing that goes back to
old-school type values and also telling the story when you played. I've
heard you play tenor and it knocked me out - there's times when you play
alto with the boneshakers I hear some of that bleeding through and it's
amazing. Do you know what I'm talking about elaborate on that for the
people.
Mindi- I definitely think as a singer. And saxophone is the closest instrument
to the human voice. It has so much nuance and range of sound. I grew
up listening to Tina Turner and wanting to be her. Nancy Wilson from
Heart had that cool leg kick during her guitar solos. I thought Heart
was amazing. I started school band playing a saxophone because I’d
watched my father play sax growing up on the road with his band. It
looked like he was having a great time playing it knocking his knees
together and shimmying out notes. When I was in college I practiced
playing to records of singers… gospel ensembles, Stevie Wonder, etc. I
loved their phrasing. I feel that saxophone is a beautiful extension of
who I am. It amplifies the emotion I can put out in every way.
4-what
are some things that you expect to be happening in the future with this
particular band and also the music. And also discuss some of the songs
on the new CD and the directions they are headed and where they came
from.
Mindi- This record is a blast. It’s pure energy from every band member. I
wrote about 50 songs and pared it down to 11 for the recording. We
recorded at EastWest Studios in Hollywood. We did 5 days with the Foo
Fighters in the studio behind us and Justin Timberlake in the studio
beside us. Now that’s some great mojo. My drummer would be listening
to Foo Fighters mixes in Dave Grohl’s car on breaks! It’s an amazing
studio, and we had so much fun recording “old school” as a band for 5
days. There were no fixes and overdubs. If we went in to do a
tambourine track over the top, the rest of us would go in and sing
backgrounds and keep it a gang vibe. It was all of the band all of the
time. So much fun.
5-
is there anything else that you would like to talk about? I could ask
you another 50 questions and I know you would have amazing answers. But
this one's open to you. Is this something that you would like to add to
all of this.?
Mindi- I wrote a song for the record called “Pretty Good For A Girl.” Joe
Bonamassa came in and recorded it with us. He was incredible. The song
speaks about my journey as a woman in a man’s world, and that phrase
“Pretty Good For A Girl” has become a motivating call for me.. a mantra.
I built a website where we feature women that are doing amazing things
http://www.prettygoodforagirl.net
There are so many women accomplishing amazing things in music and
beyond. We’re asking women to submit video clips to be in my music
video for the song “Pretty Good For A Girl." I think it’s great to
uplift the women out there who are breaking glass ceilings daily. I
didn’t think twice about being a woman playing saxophone. No one told
me there were glass ceilings to break out there, but I think it’s pretty
incredible to be a part of shattering some of those that are left.
There you have it dear reader Part 2 - Of GIVE ME 5 With Mindi Abair.
Please take note of her answer on question 2 and I quote-
" I miss the days when saxophone was as integral of an instrument as the
electric guitar. Junior Walker, King Curtis…these guys were at the top
of the pop charts. Amazing. We’ve lost that."
From the mouth of a master player and someone who is out there and knows. Listen and learn!
I couldn't agree more- As I say in the start of this blog - " It has been my contention that the most valuable viewpoints come
from those who do. Thus, it’s logical to assume that any saxist who is
surviving in this field, and doing it with success, is doing something
right." Mindi is laying knowledge out- listen and check it.
Her
CD to me is a breath of fresh air- The very best music on today's scene
and all the players in the " Boneshakers" are world class legends!
Thank you so much Mindi for your time, soul and being you. - Tim Price-
D'Addario blogger.
It has been my contention that the most valuable viewpoints come
from those who do. Thus, it’s logical to assume that any saxist who is
surviving in this field, and doing it with success, is doing something
right.
The energies we all put into our craft; The years of apprenticeship and
life-struggle, and the never ending open tuition to the school of hard
knocks is always balanced by the intense commitment to the horn, and the
pure love of playing it.That is exactly why...Mindi Abair is doing Part 2 of these special info blogs of mine called- GIVE ME 5.
1 talk about your conception and how you envision the boneshakers prior to even the first rehearsals and gigs
MINDI- first met Randy Jacobs when I moved to LA. I didn’t know anyone,
and I was asked to come play with this rock band by Oliver Leiber (Jerry
Leiber’s son). I showed up and the guitarist was literally doing
backflips off the stage in mid guitar solo. It was wall to wall people…
the loudest band I’ve ever played with… and it was a party! That
guitarist was Randy Jacobs. He had started his own blues/rock band The
Bonehskakers. It was born out of Was Not Was and Bonnie Raitt’s band.
She actually said “You guys are boneshaking!” and inadvertently named
the band. I’ve always been a fan. Through the years we’ve both played
on each other’s records for years. toured on and off together and
remained close friends. Cut to about 3 years ago when The Boneshakers
were on Stage X and my band was on Stage Y for the Newport Beach Jazz
Fest. I went over to sit in with him… we’re family. I stayed for the
whole set… it was magic.. inspiring… it’s what music should feel like
every night! That day we decided we should join forces and become Mindi
Abair and The Boneshakers.
We did 3 days of
rehearsal for our first gig together up in Seattle at Jazz Alley. We’ve
done Valentines week there for a dozen or so years. I had a friend
record, as I thought the band had an intangible magic. That became our
live record that we released months later in Sept 2015.
This
is our first studio record together. It’s powerful, cohesive,
definitely blues/rock, and fun to the core. The music we wrote
showcases the talents and quirks and fun of the band. We all really
came alive in the studio and recorded everything in 5 days as a band.
It was magic, but this time it was a studio record!
There
was great inspiration all around. We were at EastWest Studios and The
Foo Fighters were in the studio next to us mixing their record. My
drummer would disappear into Dave Grohl’s car to hear rough mixes. I’d
see them out there flipping their heads back and forth to the music. It
sounded amazing. And Justin Timberlake was in the studio next to us on
the other side. Justin would hang around and vibe on our songs and
introduced himself and his wife to me near the end of our recording.
Wow, what a great guy and a great music lover. He loved my track with
Fantastic Negrito, “She Don’t Cry No More."
2-
Mindi to me you've always been somebody who which the audience with
your horn. In this band that is even more profound than ever-also you
seem to have created a niche that I do not hear happening in other
places these days. Tell me about it!
Mindi -I miss the days when saxophone was as integral of an instrument as the
electric guitar. Junior Walker, King Curtis…these guys were at the top
of the pop charts. Amazing. We’ve lost that.
Saxophone and the genre
of jazz is perceived now by many Americans as “Kenny G” and happy
elevator music. That’s not all that’s out there. My band has grit,
abandon, love, and power that they emote in every set. It’s non-stop.
It’s great musicianship, it’s real, it’s visceral and heart moving. I
wrote a lot of songs to fit this line up well and exploit everyone’s
incredible talents. Randy Jacobs and I are just riding the wave of
energy that we’ve written and cultivated with this band.
3-
I always found a vocal ability in your playing that goes back to
old-school type values and also telling the story when you played. I've
heard you play tenor and it knocked me out - there's times when you play
alto with the boneshakers I hear some of that bleeding through and it's
amazing. Do you know what I'm talking about elaborate on that for the
people.
I definitely think as a singer. And saxophone is the closest instrument
to the human voice. It has so much nuance and range of sound. I grew
up listening to Tina Turner and wanting to be her. Nancy Wilson from
Heart had that cool leg kick during her guitar solos. I thought Heart
was amazing. I started school band playing a saxophone because I’d
watched my father play sax growing up on the road with his band. It
looked like he was having a great time playing it knocking his knees
together and shimmying out notes. When I was in college I practiced
playing to records of singers… gospel ensembles, Stevie Wonder, etc. I
loved their phrasing. I feel that saxophone is a beautiful extension of
who I am. It amplifies the emotion I can put out in every way.
4-what
are some things that you expect to be happening in the future with this
particular band and also the music. And also discuss some of the songs
on the new CD and the directions they are headed and where they came
from.
This record is a blast. It’s pure energy from every band member. I
wrote about 50 songs and pared it down to 11 for the recording. We
recorded at EastWest Studios in Hollywood. We did 5 days with the Foo
Fighters in the studio behind us and Justin Timberlake in the studio
beside us. Now that’s some great mojo. My drummer would be listening
to Foo Fighters mixes in Dave Grohl’s car on breaks! It’s an amazing
studio, and we had so much fun recording “old school” as a band for 5
days. There were no fixes and overdubs. If we went in to do a
tambourine track over the top, the rest of us would go in and sing
backgrounds and keep it a gang vibe. It was all of the band all of the
time. So much fun.
5-
is there anything else that you would like to talk about? I could ask
you another 50 questions and I know you would have amazing answers. But
this one's open to you. Is this something that you would like to add to
all of this.?
I wrote a song for the record called “Pretty Good For A Girl.” Joe
Bonamassa came in and recorded it with us. He was incredible. The song
speaks about my journey as a woman in a man’s world, and that phrase
“Pretty Good For A Girl” has become a motivating call for me.. a mantra.
I built a website where we feature women that are doing amazing things
http://www.prettygoodforagirl.net
There are so many women accomplishing amazing things in music and
beyond. We’re asking women to submit video clips to be in my music
video for the song “Pretty Good For A Girl." I think it’s great to
uplift the women out there who are breaking glass ceilings daily. I
didn’t think twice about being a woman playing saxophone. No one told
me there were glass ceilings to break out there, but I think it’s pretty
incredible to be a part of shattering some of those that are left.
There you have it dear reader Part 2 - Of GIVE ME 5 With Mindi Abair.
Please take note of her answer on question 2 and I quote-
" I miss the days when saxophone was as integral of an instrument as the
electric guitar. Junior Walker, King Curtis…these guys were at the top
of the pop charts. Amazing. We’ve lost that."
From the mouth of a master player and someone who is out there and knows. Listen and learn!
I couldn't agree more- As I say in the start of this blog - " It has been my contention that the most valuable viewpoints come
from those who do. Thus, it’s logical to assume that any saxist who is
surviving in this field, and doing it with success, is doing something
right." Mindi is laying knowledge out- listen and check it.
Her CD to me is a breath of fresh air- The very best music on today's scene and all the players in the " Boneshakers" are world class legends! Thank you so much Mindi for your time, soul and being you. - Tim Price- D'Addario blogger.
This is a omnibus I use to add focus on reed making-kind of like a hands on reed adjusting and focus- You might know it and know the end results- But worth it for...review.
Learning how to scrape bassoon reeds can be
a long process as much of how you learn will be based on trial &
error.
The purpose of this section on Bassoon reeds is to help
people get a better handle and understanding on the adjustment and the techniques
of coming to grips with these double reed issues
Dig this- it just takes some basic common knowledge issues. Plus don't be afraid to make a mistake.
You can either use a file or a knife which must be kept very sharp using a sharpening stone for scraping the reed. When scraping the reed insert a bassoon plaque to support the reed
and your knife / file. When scraping bassoon reeds only take a minute
amount of cane off at a time and then try playing the reed before doing
more editing. This is important as once you have scraped the reed you
cannot reverse what you have done!
Below are some very generalized areas of the reed in which you can scrape to hopefully
achieve the desired effect. The following points are very generalized
as each reed is very different to the one before due to factors
including the density of cane, when the cane was picked, direction of
the grain, etc... and so how you scrape each reed and how it reacts will
vary.
Generalized Effects After Scraping this Area:
A: Freer & flatter low register
B: Softer reed
C: Flatter low register
D: Easier tonguing & easier ppp in high register
E: Less resistant low register & overall flatter
F: More freedom & flexibility BUT weaker "sound" & stability
G: Makes sound brighter, more flexibility & easier tonguing
Tips
-
When played loudly the reed doesn't play E or C# in the stave in tune. The E and / or C# dip flatter. After making sure the reed is balanced (see above) and the 2nd wire is tight clip off a very, very
small amount of the tip of the reed off at a time. Then try the reed
playing those two notes very loudly, continuing to clip until you no
longer have a flat & unstable E.
For a bassoon reed
to work at it's best (vibrate at its optimum level) it needs the be
correctly balanced. This means that the reed should have the same
thickness of cane on both front and back blades and on each half of both
blades (see diagram below).
If you are having a problem with
your reed(s) the first step should be to check that it is correctly
balanced as this quite often will solve the main problems with the reed.
Below are 2 methods to use to check if the reed is balanced and if it
is not, find where the issue is and correct it. For all of the tests
you will need a very sharp reed making knife or diamond coated file to correct the issues.
The following tests involve cane being removed from the reed.
Therefore it is important to note that once you have removed the cane
you can not put it back, thus only take a little cane off at a time! NOTE; So much info on these is compiled here. This is some ideas- techniques that are tried and true. I sure didn't invent these- I'm passing info/ pictures and thoughts out there.
Bubble Test
In this test you are aiming to have the opening at the tip of the
bassoon reed, the 'bubble', symmetrical at all times. Place your index
finger on one side of the bassoon reed and your thumb on the other so
that they are both in the center back of the blade (so that if the
bassoon reed wasn't there your thumb and index finger would be
touching). Now gently press the fingers towards each other so that the
reed starts to close at the tip (Try to keep the pressure of your finger
and thumb equal).
Ideally, when you are applying pressure to both sides the bubble at
the tip of the bassoon reed will close equally on both sides so that
when quite a lot of pressure is used both blades at the tip will touch
at the same time. If they do, you need not do any more to that part of
the bassoon reed.
If the reed doesn't close symmetrically then note the side of the
blade where the tip has the larger asymmetrical opening. Then go
directly towards the back of the reed until you are in line with your
finger and remove a small amount of cane from this area. Then redo the
test with your finger and thumb in the same place and remove more cane
if necessary until the reed begins to close more symmetrically and is
thus more balanced.
Repeat the whole process, each time moving your finger and thumb
closer to the tip of the bassoon reed and then start at the back of the
reed again but on the side of the reed and work forward again until your
fingers have touched every area if the bassoon reed blade.
Testing the reed ;
This test uses a bassoon plaque & is very simple to carry out.
Place the plaque in between the blades of the bassoon reed and then
pull the plaque gently to one side of the reed so that you can see the
longer edge of the plaque (diagram, right). Once you have done this you
will be able to compare the edges of the blades of the reed. If one area
is thicker than it is on the blade directly opposite from it, use the
reed making knife or diamond file to remove cane from the thicker side.
Once the one side has been checked pull the plaque to the other side and
repeat the same process.
This is the end of this info based blog- I'm trying to keep this info on tap so you younger folks have a " go to" to answer immediate question and TRY to get a result. The availability of books and help is becoming low so ...if this helps you that's WHY I did it...Have fun and don't give up- this world needs more bassoonists- Tim Price
- Here are 2 sources of amazing information I love and drew much knowledge from- find them and study ok?!
Although making your own bassoon reeds
sounds impossible, this is not the case. I suggest with the help of a teacher-
and these two books you try to get started as soon as you can.
Bassoon Reed Making by Mark Popkin
and Loren Glickman is one of the top bassoon reed making books available.
Topics covered: bassoon reed making from tube to finished reed, instrument repair
and maintenance and approaches to bassoon playing.
Basic Reed-making, A Basic Technique
by Christopher Weait -The book goes from tool selection all the way
through making and finishing reeds from tube to final reed. An excellent book
used by every bassoonist.
Tim Price Bloggin' For D'Addario Woodwinds- STUFF TO SHED....
looking within.
~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.
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
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.
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 below...handwritten example- is a set of hybrid scales to try on So What-Impressions changes ;
You might like them- LISTEN. 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. See you next week- Thanks for reading this blog- hope you dig the shed- Tim Price 
|
|
