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Tim Price Bloggin' For D'Addario Woodwinds- Holiday thoughts- stuff to shed.
A couple of people, were asking about use of altissimo- and ways to
do it. This uses chords and a nice chord sound to get your high end chops stronger and..practical. Enjoy.
There is not just one way. BUT- To really put it to use, you got
to use it as_part of the horn_in a harmonic way. Some of my favorite
players like Joe Farrell, John Handy, Michael Brecker or Charlie Mariano
did just that! Here is a chord study using the full range of the horn.
This is NOT sight reading, You'll get results, and it will also be
useful.Take you time and go at a workable tempo- Remember Newark wasn't
built in a day  - Hope this helps.
Learning to be thankful is an essential part of
being happy. It helps us appreciate the things that we have right now.
You might feel that don’t have a lot to be thankful for. However, you
should realize that there are people out there who would want to trade
places with you.
These Thank you so much, images is one way of reminding yourself that
you have so much to be thankful and grateful for. Be thankful that you
are still breathing, that you have friends and family around you. Be
grateful for the beautiful world
around you. Smile to a random person at least once a day! It will make
you both feel better. AND- BE THANKFUL YOU CAN PLAY MUSIC...for those
dear readers who read this blog who are musicians. It's another kind of
gift.
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!
BELOW. . . Is a recipe for soup for the holidays...your going to have some fun!!!
I make this Christmas Soup for the holidays every year. In other words, it’s a tradition.
- 1 pound kielbasa, sliced 1/4-inch thick, on the bias
- Vegetable oil, as needed
- 8 cloves garlic, minced
- 1 pound dried red kidney beans, soaked for at least 4 hours or overnight
- 2 quarts chicken broth
- 1 pound red potatoes, cut into 1/2-inch cubes
- 6 ounces fresh kale, washed, rinsed and torn into 1-inch pieces
- 1/4 cup red wine vinegar
- 1/2 teaspoon black pepper, freshly ground
- Brown
the kielbasa in a 7-quart Dutch oven and set over medium-low heat until
it has rendered most of its fat, about 15 minutes. Remove the kielbasa
from the pot and set aside. If you do not have a least 2 teaspoons of
fat, add enough vegetable oil to make 2 teaspoons.
- Cook
the garlic in the fat for 1 to 2 minutes, stirring constantly to
prevent the garlic from burning. Add the beans and chicken broth and
cook, covered, for 45 minutes. After 45 minutes, stir in the potatoes,
cover and cook for 15 minutes, stirring occasionally.
- Toss the kale into the pot, cover and cook for an additional 10 minutes, or just until it is tender, but not mushy.
- Sprinkle
with the vinegar and pepper and stir to combine. Return the kielbasa to
the pot and cook just until heated through. Taste and adjust seasoning.
Serve hot.
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 ope
Enjoy the holiday and the moment. Thank you-Tim ......
A couple of people, were asking about use of altissimo- and ways to
do it. This uses chords and a nice chord sound to get your high end chops stronger and..practical. Enjoy.
There is not just one way. BUT- To really put it to use, you got
to use it as_part of the horn_in a harmonic way. Some of my favorite
players like Joe Farrell, John Handy, Michael Brecker or Charlie Mariano
did just that! Here is a chord study using the full range of the horn.
This is NOT sight reading, You'll get results, and it will also be
useful.Take you time and go at a workable tempo- Remember Newark wasn't
built in a day - Hope this helps.
Learning to be thankful is an essential part of
being happy. It helps us appreciate the things that we have right now.
You might feel that don’t have a lot to be thankful for. However, you
should realize that there are people out there who would want to trade
places with you.
These Thank you so much, images is one way of reminding yourself that
you have so much to be thankful and grateful for. Be thankful that you
are still breathing, that you have friends and family around you. Be
grateful for the beautiful world
around you. Smile to a random person at least once a day! It will make
you both feel better. AND- BE THANKFUL YOU CAN PLAY MUSIC...for those
dear readers who read this blog who are musicians. It's another kind of
gift.
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!
BELOW. . . Is a recipe for soup for the holidays...your going to have some fun!!!
I make this Christmas Soup for the holidays every year. In other words, it’s a tradition.
- 1 pound kielbasa, sliced 1/4-inch thick, on the bias
- Vegetable oil, as needed
- 8 cloves garlic, minced
- 1 pound dried red kidney beans, soaked for at least 4 hours or overnight
- 2 quarts chicken broth
- 1 pound red potatoes, cut into 1/2-inch cubes
- 6 ounces fresh kale, washed, rinsed and torn into 1-inch pieces
- 1/4 cup red wine vinegar
- 1/2 teaspoon black pepper, freshly ground
- Brown
the kielbasa in a 7-quart Dutch oven and set over medium-low heat until
it has rendered most of its fat, about 15 minutes. Remove the kielbasa
from the pot and set aside. If you do not have a least 2 teaspoons of
fat, add enough vegetable oil to make 2 teaspoons.
- Cook
the garlic in the fat for 1 to 2 minutes, stirring constantly to
prevent the garlic from burning. Add the beans and chicken broth and
cook, covered, for 45 minutes. After 45 minutes, stir in the potatoes,
cover and cook for 15 minutes, stirring occasionally.
- Toss the kale into the pot, cover and cook for an additional 10 minutes, or just until it is tender, but not mushy.
- Sprinkle
with the vinegar and pepper and stir to combine. Return the kielbasa to
the pot and cook just until heated through. Taste and adjust seasoning.
Serve hot.
Enjoy the holiday and the moment. Thank you-Tim ......
Following is a step by step, organized way
to approach transcribing.
TRANSCRIBING
1. Begin with short forms,
simple solos. Prez < Lester Young > is a perfect starting player to study.
2. Look for a tune for which you
know the progression when possible, or try to find the progression in good legal
fake book.
3. Check your turntable/cassette
deck with a piano or tuner to assure proper pitch and key.
4. Tape your selection in order to
make re-listen- ing to a particular phrase easier to do.
5. Re-play problem (or fast) passages
at 1/2 speed (7 1/2 to 3 3/4 IPS on tape or 33 to 16 1/2 on a turntable). This
lowers the pitch one octave and reduces the tempo.
6. It is best to use your own instrument
to transcribe with, rather than a piano (unless you are a pianist). It is sometimes
helpful to use a piano to solve questions about the harmony.
7. On a sheet of manuscript paper,
mark off the number of measures (using double bars to delineate sections if
you desire) and write the chord changes above the measures. Use slash marks
to indicate where chords fall in measures where there are two or more chords.
During this process you should be listening to become aware of the form of the
tune, identifying "guideposts" (number of bars in each section, recurring
rhythmic figures, recurring phrase patterns, etc.) which might help you as you
progress to the "note by note" process of the transcription.
8. On a separate sheet of paper begin your transcription of the solo line. Begin
by putting the pitches in each measure or phrase using only note heads; fill
in the beams and stems (rhythms) after completion of each few bars.
Be sure to refer back to your chord/form
sheet ,knowledge of the harmony might be helpful in identifying " not heard
pitches" in the solo line.
9. If you encounter problems in identifying
the pitches in order.Many times, identifying the more easily heard pitches in
a measure or phrase will make the mystery notes easier to find.
10. Play back phrases or sections
at regular speed to check for accuracy; play along with the recording.
11. Play along with the whole solo
as much as you can, without the music. If you have used your own instrument
to transcribe the solo you will be surprised at how easy it is to play the solo
from memory.
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.pdffor info on tune study; look here; http://www.timpricejazz.com/lessons/learningatune.htmlreed info, look here; http://www.timpricejazz.com/lessons/dealingwreeds.html sax players food for thought:look here; http://www.timpricejazz.com/lessons/creativepurity.htmlA 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.htmlIf you check my web page- you'll find some intervallic studys on II- V. http://www.timpricejazz.com/lessons/intervalic1.jpgFor 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
A couple of people, were asking about use of altissimo- and ways to
do it. This uses chords and a nice chord sound to get your high end chops stronger and..practical. Enjoy.
There is not just one way. BUT- To really put it to use, you got
to use it as_part of the horn_in a harmonic way. Some of my favorite
players like Joe Farrell, John Handy, Michael Brecker or Charlie Mariano
did just that! Here is a chord study using the full range of the horn.
This is NOT sight reading, You'll get results, and it will also be
useful.Take you time and go at a workable tempo- Remember Newark wasn't
built in a day - Hope this helps.
Learning to be thankful is an essential part of
being happy. It helps us appreciate the things that we have right now.
You might feel that don’t have a lot to be thankful for. However, you
should realize that there are people out there who would want to trade
places with you.
These Thank you so much, images is one way of reminding yourself that
you have so much to be thankful and grateful for. Be thankful that you
are still breathing, that you have friends and family around you. Be grateful for the beautiful world
around you. Smile to a random person at least once a day! It will make you both feel better. AND- BE THANKFUL YOU CAN PLAY MUSIC...for those dear readers who read this blog who are musicians. It's another kind of gift.
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!
BELOW. . . Is a recipe for soup for the holidays...your going to have some fun!!!
I make this Christmas Soup for the holidays every year. In other words, it’s a tradition.
- 1 pound kielbasa, sliced 1/4-inch thick, on the bias
- Vegetable oil, as needed
- 8 cloves garlic, minced
- 1 pound dried red kidney beans, soaked for at least 4 hours or overnight
- 2 quarts chicken broth
- 1 pound red potatoes, cut into 1/2-inch cubes
- 6 ounces fresh kale, washed, rinsed and torn into 1-inch pieces
- 1/4 cup red wine vinegar
- 1/2 teaspoon black pepper, freshly ground
- Brown
the kielbasa in a 7-quart Dutch oven and set over medium-low heat until
it has rendered most of its fat, about 15 minutes. Remove the kielbasa
from the pot and set aside. If you do not have a least 2 teaspoons of
fat, add enough vegetable oil to make 2 teaspoons.
- Cook
the garlic in the fat for 1 to 2 minutes, stirring constantly to
prevent the garlic from burning. Add the beans and chicken broth and
cook, covered, for 45 minutes. After 45 minutes, stir in the potatoes,
cover and cook for 15 minutes, stirring occasionally.
- Toss the kale into the pot, cover and cook for an additional 10 minutes, or just until it is tender, but not mushy.
- Sprinkle
with the vinegar and pepper and stir to combine. Return the kielbasa to
the pot and cook just until heated through. Taste and adjust seasoning.
Serve hot.
Enjoy the holiday and the moment. Thank you-Tim ......
Compulsive reading!
The book is a page turner till the very end.
Plenty of twists and turns. Makes for a great read that is hard to put down. Looking for a book that not only is fresh and well written but also so real that you start to assume that a movie will be bound to follow.
Nicholas Bradley is a skilled writer and he takes you on a fast paced and wild ride.
Nicholas characters are always interesting, yet all still believable.Highly recommended and I sure hope there are more to follow for this one of a kind gifted writer with a true sense of realism, conflicts, successes and mystery that develops like a well paced jazz solo.
Rickie Trujillo- a must read and get yourself to amazon.com ASAP.
https://www.amazon.com/Rickie-Trujillo-Nicholas-Bradley/dp/0998490628/ref=sr_1_1?s=books&ie=UTF8&qid=1510799953&sr=1-1&keywords=Rickie+Trujillo
Even though Rickie Trujillo is a novel, it is very reminiscent of my childhood experiences, with baseball being the only thing that kept me out of trouble.
--Danny Arambulo, Sergeant, Los Angeles Police Department
About the Author
Nicholas Bradley worked as an English and ESL
teacher in junior high, middle, and high school in Los Angeles
throughout his thirty year career. The schools where he taught were in
the center of neighborhoods of poverty and crime, gangs, drugs and
graffiti, the setting of his novel, Rickie Trujillo. Many of the
students he taught and tutored during his career were, like Rickie,
active gang members and/or taggers.
During the ten years in Los
Angeles preceding his teaching career, Bradley worked as a road
musician, truck driver, messenger, and pianist.
- Paperback: 200 pages
- Publisher: Upper Hand Press LLC; 1 edition (September 11, 2017)
My philosophy about personal musical growth is that musicians should
learn how to think, listen and talk about music. Likewise, I pass this
on to my students of all ages. IT'S WORKING! If your in 5th grade or a
Doctor studying jazz clarinet with me for fun. There's something we all
have. It's this criteria: brain, ears, and voice. Naturally, these three
are interrelated. If you think about music, then it follows that you
can easily talk about it. Listening is the most important part. Without
ears, music would not exist. If I had to pick the most valuable musical
tool for shaping musical growth, it would be personal taste. Always
visualize only favorable and beneficial situations.Music helps with
this.Try to use positive words in your inner dialogues or when talking
with others. Once a negative thought enters your mind, you have to be
aware of it and endeavor to replace it with a constructive
one.Persistence will eventually teach your mind to think positively and
ignore negative thoughts.It does not matter what your circumstances are
at the present moment. Think positively, expect only favorable results
and situations, and circumstances will change accordingly. It may take
some time for the changes to take place, but eventually they do. A
student once asked me if a particular note "worked" in a particular
setting; my response was, "only if you like it". Take it a step further
Bob Dylan plays the same C7 chord that Pat Martino does. Same 4 notes,
likewise when Sonny Rollins hits a D minor 7th, it's the same chord that
Jeff Beck might play or Keith Jarrett. It's how YOU deliver it. Lots of
cooks use tomatoes and basil you dig? Same deal.Keeping a open mind can
create a path for a student. There's a big difference between Bud
Powell and Duke Ellington. But they both have a message. Think about
it.Personal musical taste expands infinitely. This allows for musical
evolution. Just live it. Go for it. Play it. Write it. Above all, use
your own personal, ever growing, musical taste. Hence, music is the real
teacher. Share the music and propagate it as much as you can. As
always,strive for tone and help your school music programs, in every way
you can.
 For the shed; I have some very interesting concepts here, and things
that are fun and provoke some fresh ideas on II-V. II-V-I Patterns:
Starting on the Tonic of the II Minor 7 Chord.
This lesson in seven
parts: 1 2 3 4 5 6 7 , August 2002 This is a very clear and useful
lesson using II-V. Lots to play/study. http://www.saxontheweb.net/Price/II-V-I-Patterns1.html
I've taken a basic study and then moved it through six steps. Then I
included one of my own based on a variation of some of the first six. I
think it's always good for all of us to go back to a basic pattern study
to clear our ears and refresh our chops. Look at all six shapes. As you
start to hear the line, go back and write something of your own based
on mine. Minor 7b5 to Dominant 7b9 August 2001 http://www.saxontheweb.net/Price/Aug01.html 2 Bar II-V Phrases - via Entire Range of the Sax.http://www.saxontheweb.net/Price/Sept01.html This is designed to assist you in using your saxophone fully! Full range! HAVE FUN.
This might help add some new ideas to your playing and keep your shed time fun. Enjoy~
On
You Tube- There is so much great music out there. I recently heard
Henry Grimes, Andrew Cyrille and Paul Dunmall taking it all the way out.
Saxophonists NEED to listen to Paul Dunmall- he is fantastic and just a
joy to hear.Wonderful!
Till next week, Keep an open mind.
BE VIGILANT! Think about others more than yourself!
Enjoy- Tim Price
66.years in the Scorpio lane.
Making a living with a horn in my hand!
Today I turn 66, and you know what? I'm glad I'm the era, and
foundation as a person that comes from the dues that comes with that
age.
As a young man I was taught to respect experience, listen and
learn. God knows I did! Otherwise I would not be here writing these
blogs !
I came up in the time period when I'd go to hear
Count Basie and couldn't wait to hear Marshall Royal and Lockjaw Davis.
Sure they were older men, but that was where the music was. The real
essence of time spent at a craft, and hard work. You listened and you
learned. The results were there but you had to take the time to find,
listen and apply. Same as with my Berklee education, I was with the
masters. Guys who were in the field, and earned stripes. I carried that
vibe all through my life and guess what? IT WORKED.
So many
times, and I note with extreme interest that people feel the need to
juggle the numbers in their age. Why? Let your experience and dues paid
lead
the way.The years post-Berklee as I say many times here, riding through
the South in Motown band buses with acts like Billy Paul, Lloyd Price,
Chuck Berry on
through major road big bands, where you were living
on the bus for months and months traveling,and major rock bands.Gigs in
Boston as a student,when you were EXPECTED to be inside the gig,playing
with musicians two times your age,dealing and learning. Experience that
could never be bought, on AND OFF the bandstand.Think about it.
As
a teen- my years were way different. I was playing high school dances,
and later bars by the time I was 16, the thrill and the chase of getting
into bars like my friends was kind of old hat after a few dozen working
gigs. Going drinking was something different, and meeting women was
immediate.You learned fast on both counts- or the dues would haunt you
big time.I came to play,to learn and as I found out years later survive.
Rehearsing big bands in local bars where stale beer and tobacco
smell was the call of the day. I also did some theater things, but I
was working three nights a week and playing shore points in Jersey in
the summer or Philly suburbs. The bands paid higher and I needed back up
cash for Berklee- as I was dead set on going there. The summer gigs
were a ball, most times from 8 to 2. There was more after hours places,
that ran from 11 at night to 6 in the morning.You held your schedule,
and stayed on track. The bands always car pooled, or in the summers
had comp rooms at shore points. The money was excellent! It sure beat
the alternative, I was working with older players, in places where I had
to conduct myself, and be responsible to be on the sets on time.
Plus-
knowing all the music without a Ipad in front of you, or a real book
touch screen for a tune you should of known before you took any gig.It
still baffles me how a University level tenor saxophonist can not know
the bridge melody to " Body & Soul"! Those kind of things when I was
18 you had to know, There was no excuse. There was NO coddling, I
just could see John LaPorta's face with some things these days.But as I
grew ,through my saxophone, I could gain entrance into another world
that most never dreamed of. ~ AKA-Making a living with a horn in my
hand!
I embrace getting older.I walk proud. I'm getting
stronger, more experienced, learning to live our life to the fullest,
it's actually a process of continual mental development. Each day is
better.
I will always have the sense of freedom I had in my 20's.
The older I get, the less I care about what others think of me.
Therefore, the older I get, the more I enjoy life.It works that way with
the music also.Teaching as well.
I'll leave you with a quote that sums up what I 'm after ;
Anyone who stops learning is old, whether at twenty or eighty. Anyone who keeps learning stays young.
The greatest thing in life is to keep your mind young.
Henry Ford
Learning
to live stress free and without negative thoughts, is the key to
staying positive.The key to staying positive, is living through a
lifetime of stressful and negative situations with a positive outlook.
I choose early on to be positive, it works.
BY THE WAY- The picture at the top of the Blog is me when I was 19 at Berklee
At
that time, we'd session every Tuesday-Thursday on the 2ed floor. In
this great room that Hal Grossman ( Saxophonist Steve's brother )who was
Berklee faculty and a great friend made sure I had access to. In other
words a key for myself! That room was the best, great piano, sound etc.
Many times other Berklee faculty would come by and join us. Many times Steve Grossman and Junior Cook would come by when in town and we'd
know we had much more work to do! LOL. Understanding that in my late
teens was an asset for realizing the sun didn't rise and set when I
wanted. I had to work for it- I was never feeling entitled. The music is
bigger than all of us anyhow!
ALSO- I WAS PLAYING RICO BROWN
BOX #5 REEDS. Great times- great reeds and this was about 1970. I used
5's on Bari too! LaVoz medium hard on alto. Those LaVoz boxes from that
era-the black and green box. THE HOLY GRAIL OF ALTO REEDS!
I never had to work a day in my life,because I love what I do! And I say that all the
time- good times or bad.
Till next week- Tim Price
THINK ABOUT...YOUR SOLO.
Opening your thoughts to the unknown realms of your own
imagination. At this point in time in jazz, everything seems to be published and
everything seems to almost be written down. We are in a great
educational state. But where are the people who are really reaching
within and trusting themselves to their own creative muse? This is the
element that I am addressing here.
A cohesive solo flows together and has a sense of logic to it. Each
part builds upon the last, whether rhythmically or melodically, as it
guides you to the end of the solo. The sense of cohesion makes you feel
like the solo is a deliberate and well-constructed piece of music.The
opposite of a cohesive solo is one that meanders without any sense of
direction or purpose. When listening to such a solo you'll probably
wonder if the player is lost (i.e. doesn't know where they are in the
song form), or maybe you'll keep wondering when they're going to stop
playing. By the way, there is a syndrome amongst beginners that typically occurs when playing a meandering solo.
You're unhappy with your ideas, but you keep playing chorus after chorus
with the thought that maybe the next chorus will be "the one". If
you've ever done this, or if you've listened to others doing it, you
know how things typically turn out...
MOTIF DEVELOPMENT!! TRY IT YOU'LL LIKE IT.There are several ways to
build a cohesive solo, but I think the easiest method is through the use
of motif development. A motif is a musical phrase that is repeated
through the course of a solo. To avoid sounding like we're just playing
the same phrase over and over again, we gradually alter that phrase
rhythmically and/or melodically. This gradual development creates a
cohesive solo because each phrase logically moves to the next; creating a
sense that everything is connected.You can use motif development in a
variety of ways when creating a solo. For instance, you could use one
motif that you develop over the duration of your solo, or you could
develop one motif for a while and then start another, or you can start
with a motif and then play some random ideas, then come back to your
motif. The possibilities are endless, and are ultimately determined by
your own style and musical tastes.Motifs are also a great way to start a
solo. I don't know about you, but I don't always know what I want to
play when I put the horn to my mouth and start my solo (my best ideas
come to me while I'm soloing). When this happens, I find it's best to
just play a simple 3-5-note motif and develop that for a while. If I
have a better idea during the development of the motif, then I (try to)
smoothly transition to the new idea and go with it. If I don't come up
with anything better, then I just stick to the motif.
Most people fixate on theory because it's relatively straightforward to
learn and teach. This stems from its similarity to the subject of
mathematics. Like math, theory forces us to learn a bunch of rules and
formulas. The notation even looks mathematical, with its use of numbers,
roman numerals, various symbols, and plus and minus signs. So, on this
level, it's familiar territory and somewhat palatable to those of us who
did well in math class. You read it, memorize it, and move on to the
next chapter.I'm not saying jazz theory is easy to master. I'm just
saying that for most people, it's easier and faster to learn than ear
training skills. In a few months you could learn everything you need to
know about theory (at least the basics), yet it might take several
years/decades to similarly develop your ears.Adding to its unpopularity
is the fact that ear training is unpredictable. While you'll certainly
improve with practice, that rate of progress will differ greatly from
one person to the next. You'll have good days and bad days.If you're
serious about learning jazz improvisation, then I strongly suggest that
you learn at least some jazz theory.
In the study of jazz improvisation (both in books and schools), there
are two major components that rarely get the recognition they deserve:
ear training and rhythm. Instead, the bulk of jazz education focuses
mostly on theory -- learning what notes to play over which chords. While
knowing jazz theory will help you to become a better player,
I think
(much) greater advances are possible through  strengthening ones ear and
rhythmic skills.
lunch for your ears- You should listen to this stuff. Start
here- and go through my list ;“Porgy and Bess” (Miles Davis),
“Ascension” (John Coltrane), “The Jazz Composer’s Orchestra” (Michael
Mantler), “Live in San Francisco” (Archie Shepp)Listening/tunes:
“Walkin’” and “Mysterioso” (J.J. Johnson), “Freddie the Freeloader” and
“Flamenco Sketches” (Miles Davis), John Coltrane Plays the Blues (all
tracks), “Cousin Mary” and “Mr. P.C.” (John Coltrane), “Sack O’ Woe”
(Cannonball Adderley), “Now’s the Time” (J.J. Johnson), any blues record
by Charles Mingus, Milt Jackson, Charlie Parker, Dizzy Gillespie,
Horace Silver, Jimmy Smith, Wes Montgomery.Then listen to- “Milestones”
(Miles Davis), “Fat Girl” (Navarro); Bird: The Savory Recordings/Master
Takes: Miles Davis’ solo on “Half Nelson”...Then isolate your ears with
recordings by Bud Powell, John Lewis, Horace Silver, Thelonious Monk,
Oscar Peterson, Wynton Kelly, Tommy Flanagan, only piano.
Using your intuition and feelings when improvising is most important be
it at the most advanced level or just a basic beginner. To thoroughly
approach this as an art form and something that has deep meaning is most
important. The masters when they played, be it Johnny Dodds or Sidney
Bechet or Bud Powell on through the greats like Wayne Shorter or Charlie
Mariano all came from a very deep place. At times, this place is
something that you must go to in a natural way. Nothing cosmic about it,
it's almost like a trance. It's almost like when your telling someone a
story and you close your eyes and you're taking them somewhere with
you. Art Pepper wrote a song about this called "The Trip." Stan Getz
called this frame of mind the "alpha state."Whether its experienced in
dreams, altered states, or simply sitting in solitude, the artist must
be aware of the visionary realm.
Opening your thoughts to the unknown realms of your own
imagination. Many times musicians inquest to unlock the force behind
this theory of the eye has shadowed their colleagues throughout ancient
history. What I'm getting at here is nothing cosmic or
nothing too whacked out...what I'm trying to bring your attention is
music needs all the imagination from an individual it can get. When
unconscious-unspoken communication, traveling at the speed of thought,
becomes the only or at least the truest form of communication, you just
know everything is clicking just like it should ... the energy is like a
ball and bounces around through glances and body communication.It is
awesome, it's the inner spirit of your mind in it's highest form.
At this point in time in jazz, everything seems to be published and
everything seems to almost be written down. We are in a great
educational state. But where are the people who are really reaching
within and trusting themselves to their own creative muse? This is the
element that I am addressing here. As a student of music, take some time
to think about using your intuition. As Bird said, "First you master
the music, then you master your horn, then you forget all that shit and
just play!"We need to keep that in the front part of our minds and make
that a slogan similar to the many people who look to their "third eye."
As you see, I'm trying to point out a parallel in creative paths. It's
not easy. But it is easy when you bring it into your own consciousness
and try to practice these aspects. Sure, licks, lines, inversions, and
all that good stuff is of paramount importance.
But let us not forget to
keep the magic in the music.
Give all that you have and you shall receive more than you can imagine
experiencing when playing jazz!Your gratitude empowers others to play
even better. Remember fear destroys the souls ability to create. So
start now and use the power of love to encompass all your decisions so
fear has no room to exist in your life. Remove fear from your thoughts
and you remove and limitations. All is illusion and all illusion is
yours to control. So be connected. Everything happens for a reason.
Chance is limited to a coin. Decision is limited to free will. We are
limited to our decisions.....So there you have it. See you next week
and hope some of this hits you.
Play with others as much as you can.
Music is a personal experience, - TIM PRICE
Saxophone Study ...NYC, Skype & Reading, Pa. email me for details & to get started. Timpricejazz@aol.com
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.
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