~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. This is the way I learned with master players-educators like Charlie Mariano, Charlie Banacos ( I was lucky to study with Banacos since 1994 till 2010 ) Sal Nistico, Joe Viola, Andy McGhee and John LaPorta.These men were a beautiful category of a jazz pro who both knows what he is doing, and is willing to share. Thank god for them!
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.
Here's some lunch for your ears, and I'll see you next week!
COUNT BASIE & LESTER YOUNG - 'Taxi War Dance'
http://www.youtube.com/watch?v=kUZUIDhNnjY&playnext=1&list=PL3240B02C6ABAA1FB
Charlie Parker Early Recordings 1943
http://www.youtube.com/watch?v=_w6kJ9jyl7Y
Till then......BIRD LIVES!
~ TIM PRICE
http://www.timpricejazz.com/
PS;
If your in the Reading, Pa / Greater Berks- Philly areas and a student that wants to play. Please come by!
Tim Price Adventures In Jazz
JAZZ IN THE CLASSROOM AT BOSCOVS EAST.
( Rt 422 Reading, Pa In the lower store level. )
Playing jazz should be just as natural and relaxed as talking. The key to mastery of this art form is to be able to have access to all your abilities and acquire new abilities in a stress-free manner.The Tim Price Adventures In Jazz Workshop Series at Berks Jazz Festival at Boscovs East. Sunday March 27 th at 12 noon.Any student may bring their horn and sit in. ( Students only )
Bassist Bruce Ketterer will be on hand, plus a hand picked band by Tim's friend/former student and tour de force on alto sax- Nathan Bellott.The music focus is workshop style playing on blues/standards and the groove within them. Tim Price uses a core of student musicians to play-experiment and try jazz techniques.This event is free and open to all students that are interested in furthering their jazz skills. Understanding basic levels and skills are suggested.This first series Tim calls " Jazz In The Classroom- at Boscovs East" via his Adventures In Jazz Series is a token of respect to the masters he was associated with at Berklee College of Music in Boston.Tim Price and his students provide a fun and relaxing way to improve your jazz skill and increase your knowledge of jazz.Tim Price's goal is dedicated to the American art form known as jazz, his mission is to promote jazz education and performance.Join him for the adventure.
BRING TIM PRICE TO YOUR SCHOOL.
In addition to a full complement of students he teaches in New York City at the New School University, and his private studio on 46th st. As well as Reading, Pa and worldwide SKYPE students,Tim Price has put on instructional clinics around the country and in Europe. His expertise both in teaching instrumental technique and jazz improvisation makes him highly effective. His knowledge and experience as a full time player clearly permeates his method of teaching - an ability he has been officially recognized for. Tim endorses RICO REEDS at trade-shows and clinics worldwide. Call him at 610-370-1544.
All presentations are based on a school's individual needs and will meet the students at their level. Teachers may request specific topics in advance. I'm here to help you.
Monday, February 28, 2011
Tuesday, February 22, 2011
Tim Price Bloggin' For Rico- How things really are- Sound/Music and lunch for your ears.
The saxophone sound is one of the most powerful tools of expression that you have and one of the first things you should strive to make personal.
It has been the thumbprint to a players style and life. To cop a sound so close to another player shows lack of imagination, and also lack of roots. ROOTS ! Yes, lets talk about that...masters like Johnny Hodges, Ben Webster, Coleman Hawkins, Lester Young,Roland Kirk, Phil Woods,Ben Webster,Dexter Gordon,Sonny Rollins,Charlie Mariano,Eric Dolphy, George Braith, Yusef Lateef, Albert Ayler, Gato, Tina Brooks, Serge Chaloff and Cannonball Adderley. Their sounds were an integral part of their musical identity. It didn’t matter if they only played a few notes, just hearing that sound was enough to get their message across to the audience. Then there's soul. SOUL! Players like King Curtis, Jimmy Forrest, Stanley Turrentine, Fathead Newman,Gene Barge aka Daddy G, Earl Bostic, Hank Crawford and Houston Person to name a few. Their sound encompassed all the aspects of their musicianship and is a direct result of the time spent on the horn.This element needs to be addressed these days more. The sound becomes ingrained into your personal concept, becoming an essential part of the overall message that you are communicating. Ultimately, if sound is lacking, the other areas of your playing, are lost on the listener.
Listening to players like this starts the mystifying process of self-realization, self discovery that ultimately governs one’s evolution. Improvising, after all, means creating music that is spontaneous, of the moment, and uniquely your own.The instrument becomes a process of self-discovery, finding out what your music really sounds like. You develop a period of looking honestly within, stripping away the BS that we have all collected in our attempt to sound like we can play, and listening for the simple melodic voice that really is our own. It’s there, if we really listen for it. The edge is something that has to do with not only the ESP of knowing, but the "bring it on" part.
OK- Next I want to talk about a CD that you all must listen to. Just get it right away and start listening. That CD is..." I talk With The Spirits" by Roland Kirk. YOU GOT TO HEAR THIS! Recoded in 1964, "I Talk with the Spirits" is one of Roland Kirk's most revered albums. It was the first and only time that the innovative multi-instrumentalist would focus entirely on flutes. The result is this hip otherworldly album on which beautiful ballads, blues-inflected jazz with a serene, celestial frequency. Kirk delivers a mixed bag of classics ("We'll Be Together Again," "People," and "My Ship") plus brilliant originals, like "Serenade to a Cuckoo". Something here I always felt about Kirk was his unsurpassed integrity. This CD is a must to hear- it sets a mood you will enjoy and also is one of the greatest jazz flute CD's in the world. You hear that sound like I was talking about before, that extra ingredient that makes music special, to make you feel nothing but good all over and constantly musical.
This CD, I always truly felt was something that was influential to many musicians outside of jazz as well. Take a listen and you'll hear whatI mean.
Another CD I think is a must is- Everybody Digs Bill Evans by Bill Evans.His style style became the blueprint for jazz musicians to follow, and his work has been cited as an influence on Herbie Hancock, Pat Metheny, Chick Corea and so many others. Bill's telepathic musical communication, perfect music from the first note to the last. This CD and the Kirk CD demonstrate a benchmark that exists in jazz- IF you hear it. A certain level that was the call of the day-and an excellence amoung those who played.The quality of his work is astonishing, deep, swinging and high quality- his ability to project the inner essence of a song is unmatched.
On a personal note- I'm looking forward to my Berks Jazz Festival concert coming up in March 2011. We kick off the Berks Jazz Festival at Gerald Veasley’s Jazz Base at the Crowne Plaza. With Tim Price, Ryan Anselmi’s Soulful Tenor Madness.
Info here;http://www.berksjazzfest.com/artistsprofiles2011.htm#Tim_Price,_Ryan_Anselmis_Soulful_Tenor_Madness
Also- I'm looking to expand my base of operations thru the summer and future. If you know of summer festivals, summer workshops, University sax camps and anything in that mind set-pass my name on to the people in charge, and also give me a heads up on contact information.Get tome at- timpricejazz@aol.com . I'm looking to expand my teaching/playing/education ideas further.
If you think of someone who might enjoy what I do please tell them to go here for info:
http://timpricejazz.com/clinics.html
http://timpricejazz.com/booking.html
OR; http://www.youtube.com/user/TimPriceJazz#p/u/11/YGaAWGW5gWo
Also- I'm very excited about this CD that the great Bob Mintzer played on, and played my tune " Twins Of Spirit" , with drummer Sean Kennedy.
Please take a listen and enjoy my composition.
Bob Mintzer, tenor- Performing "Twins of Spirit" Composed by-Tim Price
YouTube - Bob Mintzer with The Sean J. Kennedy Quartet
http://www.youtube.com/watch?v=yhPCZHY8hVw&feature=player_embedded#at=38
from the disc QUEEN ANNE'S REVENGE by The Sean J. Kennedy Quartet
~ OK- See you next week. This is what's on my mind the week of February 21, 2011.
Remember to strive for tone, and enjoy life!
Tim Price
It has been the thumbprint to a players style and life. To cop a sound so close to another player shows lack of imagination, and also lack of roots. ROOTS ! Yes, lets talk about that...masters like Johnny Hodges, Ben Webster, Coleman Hawkins, Lester Young,Roland Kirk, Phil Woods,Ben Webster,Dexter Gordon,Sonny Rollins,Charlie Mariano,Eric Dolphy, George Braith, Yusef Lateef, Albert Ayler, Gato, Tina Brooks, Serge Chaloff and Cannonball Adderley. Their sounds were an integral part of their musical identity. It didn’t matter if they only played a few notes, just hearing that sound was enough to get their message across to the audience. Then there's soul. SOUL! Players like King Curtis, Jimmy Forrest, Stanley Turrentine, Fathead Newman,Gene Barge aka Daddy G, Earl Bostic, Hank Crawford and Houston Person to name a few. Their sound encompassed all the aspects of their musicianship and is a direct result of the time spent on the horn.This element needs to be addressed these days more. The sound becomes ingrained into your personal concept, becoming an essential part of the overall message that you are communicating. Ultimately, if sound is lacking, the other areas of your playing, are lost on the listener.
Listening to players like this starts the mystifying process of self-realization, self discovery that ultimately governs one’s evolution. Improvising, after all, means creating music that is spontaneous, of the moment, and uniquely your own.The instrument becomes a process of self-discovery, finding out what your music really sounds like. You develop a period of looking honestly within, stripping away the BS that we have all collected in our attempt to sound like we can play, and listening for the simple melodic voice that really is our own. It’s there, if we really listen for it. The edge is something that has to do with not only the ESP of knowing, but the "bring it on" part.
OK- Next I want to talk about a CD that you all must listen to. Just get it right away and start listening. That CD is..." I talk With The Spirits" by Roland Kirk. YOU GOT TO HEAR THIS! Recoded in 1964, "I Talk with the Spirits" is one of Roland Kirk's most revered albums. It was the first and only time that the innovative multi-instrumentalist would focus entirely on flutes. The result is this hip otherworldly album on which beautiful ballads, blues-inflected jazz with a serene, celestial frequency. Kirk delivers a mixed bag of classics ("We'll Be Together Again," "People," and "My Ship") plus brilliant originals, like "Serenade to a Cuckoo". Something here I always felt about Kirk was his unsurpassed integrity. This CD is a must to hear- it sets a mood you will enjoy and also is one of the greatest jazz flute CD's in the world. You hear that sound like I was talking about before, that extra ingredient that makes music special, to make you feel nothing but good all over and constantly musical.
This CD, I always truly felt was something that was influential to many musicians outside of jazz as well. Take a listen and you'll hear whatI mean.
Another CD I think is a must is- Everybody Digs Bill Evans by Bill Evans.His style style became the blueprint for jazz musicians to follow, and his work has been cited as an influence on Herbie Hancock, Pat Metheny, Chick Corea and so many others. Bill's telepathic musical communication, perfect music from the first note to the last. This CD and the Kirk CD demonstrate a benchmark that exists in jazz- IF you hear it. A certain level that was the call of the day-and an excellence amoung those who played.The quality of his work is astonishing, deep, swinging and high quality- his ability to project the inner essence of a song is unmatched.
On a personal note- I'm looking forward to my Berks Jazz Festival concert coming up in March 2011. We kick off the Berks Jazz Festival at Gerald Veasley’s Jazz Base at the Crowne Plaza. With Tim Price, Ryan Anselmi’s Soulful Tenor Madness.
Info here;http://www.berksjazzfest.com/artistsprofiles2011.htm#Tim_Price,_Ryan_Anselmis_Soulful_Tenor_Madness
Also- I'm looking to expand my base of operations thru the summer and future. If you know of summer festivals, summer workshops, University sax camps and anything in that mind set-pass my name on to the people in charge, and also give me a heads up on contact information.Get tome at- timpricejazz@aol.com . I'm looking to expand my teaching/playing/education ideas further.
If you think of someone who might enjoy what I do please tell them to go here for info:
http://timpricejazz.com/clinics.html
http://timpricejazz.com/booking.html
OR; http://www.youtube.com/user/TimPriceJazz#p/u/11/YGaAWGW5gWo
Also- I'm very excited about this CD that the great Bob Mintzer played on, and played my tune " Twins Of Spirit" , with drummer Sean Kennedy.
Please take a listen and enjoy my composition.
Bob Mintzer, tenor- Performing "Twins of Spirit" Composed by-Tim Price
YouTube - Bob Mintzer with The Sean J. Kennedy Quartet
http://www.youtube.com/watch?v=yhPCZHY8hVw&feature=player_embedded#at=38
from the disc QUEEN ANNE'S REVENGE by The Sean J. Kennedy Quartet
~ OK- See you next week. This is what's on my mind the week of February 21, 2011.
Remember to strive for tone, and enjoy life!
Tim Price
Tuesday, February 15, 2011
Tim Price Bloggin For Rico- Using your mind and ear in improvising.
This week on the blog,I would like to focus on ear training, the ability of being able to hear various intervals and melodies in your musical mind without having an instrument in your hands. Start with simple things like scales, arpeggios, and patterns. Hear them in your mind and ear.
Try to hear a standard tune. Hear the drums, the bass, and piano. Imagine the sound, think of how yuor favorite players sound- shape your imagery towards that.Another nice form of ear training involves reading music without an instrument. Take a standard,or etude, and try to hear the sound and shape of the music in your head. The first thing you might observe is the form (AABA, AAB, etc etc). Next, see what the melody does. Does a particular phrase repeat in a sequential fashion? How does one 4 or 8 bar phrase lead to the next, and what are the common threads? Once you get the hang of what these qualities are, you will have a broader understanding to hear what is going on.Your music will sound healthier, and you will be better able to bring your music to the public. This is a form of practicing without your instrument as well. You'll enjoy it and grow musically as well. Many times at clinics and workshops I really focus on this aspect of our education.
ALSO- As an educator, it is easy finding the spirit of imagination in my teaching. On the bandstand, different values get focused on. Via commercial-industrial strength rock & roll playing or playing jazz. I'm always looking to find ways to isolate and capture this spirit via constant checking and re-checking of techniques-thought patterns , as it leads it's way closer.This will help you to develop natural confidence, by knowing information that you need to know. Remember your vision and keep your forward motion.
Till next week, eat well, exercise and walk as much as you can, and do what is meaningful in your daily routine. This is the best you can do.
~ Tim Price
www.timpricejazz.com
Try to hear a standard tune. Hear the drums, the bass, and piano. Imagine the sound, think of how yuor favorite players sound- shape your imagery towards that.Another nice form of ear training involves reading music without an instrument. Take a standard,or etude, and try to hear the sound and shape of the music in your head. The first thing you might observe is the form (AABA, AAB, etc etc). Next, see what the melody does. Does a particular phrase repeat in a sequential fashion? How does one 4 or 8 bar phrase lead to the next, and what are the common threads? Once you get the hang of what these qualities are, you will have a broader understanding to hear what is going on.Your music will sound healthier, and you will be better able to bring your music to the public. This is a form of practicing without your instrument as well. You'll enjoy it and grow musically as well. Many times at clinics and workshops I really focus on this aspect of our education.
ALSO- As an educator, it is easy finding the spirit of imagination in my teaching. On the bandstand, different values get focused on. Via commercial-industrial strength rock & roll playing or playing jazz. I'm always looking to find ways to isolate and capture this spirit via constant checking and re-checking of techniques-thought patterns , as it leads it's way closer.This will help you to develop natural confidence, by knowing information that you need to know. Remember your vision and keep your forward motion.
Till next week, eat well, exercise and walk as much as you can, and do what is meaningful in your daily routine. This is the best you can do.
~ Tim Price
www.timpricejazz.com
Tuesday, February 8, 2011
Tim Price Bloggin' For Rico- The musical world of Lorenzo Squillari- bansuri master & flute maker.
~ I have been very fortunate to have had opportunity to listen to some great music when I was growing up in the 60's. Some of which had a strong influence from India. I woke up every day to some great music. I got opportunities to listen to maestros like Charlie Mariano, Charles Lloyd, Coltrane, John Handy, and in high school at this same time period I discovered Pandit Ravi Shankar. I had the pleasure of hearing him live while at Berklee in Boston three times! And then as well, I got an opportunity to learn from Charlie Mariano and got plenty of opportunities to watch him perform. Charlie as many of you know is my main inspiration. Charlie helped me get into Indian music and the music of India deeper and also sold me his spare Nadaswaram when I was 18 years old, then teaching me how to play it. I am of a firm belief that I owe a lot to listening to this great music of India. It has expanded my ears and creative base so much, that my thinking around many musics became more mature and effective.
~ In a recent conversation with my friend Roberto Romeo on Saturday, we were talking about a great musician and flute maker named Lorenzo Squillari. Lorenzo Squillari used to make visits to Roberto's NYC shop on 46th street and sell his beautiful flutes, as well as many other exotic flutes made of stone. I own many of his flutes, and play them on many of my gigs. They are an asset to my musical vision.
He is from Italy and is a master flute maker and musician! One summer I had the pleasure of meeting Lorenzo in person, as Roberto introduced him to me. ( Thank you Roberto! ) His musicianship and creative being was amazing! Not only could he play raga based musics of India but also jazz on the bansuris. I never forgot this remarkable man from Italy with a boundless imagination and inspirational creative spirit. On Saturday Roberto, Hyun Joo and I checked out his videos on you tube and were knocked out! Lorenzo has his own approach to musical expression- and it travels through many musics. Lorenzo's playing struck me through its variety, its flexibility, its colour and above all its liveliness.This striking effect can be heard on his videos listed below.
Let this Rico Blog help this gifted innovator- flute maker gain a a wider prominence to the readers of this blog. Spread the word my friends!
In closing,whatever your passion, keep at it, and keep listening. Keep reaching out to people with a spirit of love, friendship and compassion. As Sonny Rollins said
" Music Is A Open Sky."
See ya'll next week - TIM PRICE
http://www.flauto.tk/
Hariprasad Chaurasia vicenza Maj 07 with Lorenzo Squillari
http://www.youtube.com/watch?v=poVZ1oL8b5E&playnext=1&list=PL252E59F719005078
Lorenzo Squillari - Roma 27/02/10 - Workshop Bansuri.wmv
http://www.youtube.com/watch?v=0xUJTn6NcKM
Idea Jalsa Pandit Hariprasad Chaurasia
http://www.youtube.com/watch?v=_oBUjD4gT_w&feature=related
In closing, no matter what music you play, remember this ;
" Music is a universal language. The sound of the melody touches everyones heart and mind. Those people who have never heard this music take a few minutes to feel it, then they enjoy it in their own way."
~Ali Akbar Khan
FYI ;
The Bansuri flute may be seen in many sacred pictures of Lord Krishna and Saraswati, goddess of music.The Bansuri is a transverse flute made of a single length of bamboo and has six or seven open finger holes.There are no keys to produce sharps and flats, therefore all accidentals and microtones, as well as meend (glissandi) and other ornaments, so important to Indian classical music, are produced by a unique fingering technique. The Bansuri with its pastoral association and the chosen instrument of Lord Krishna, is one of the oldest musical instruments of India: it is mentioned in the Vedas and is depicted in the Buddhist art of 2,000 years ago. One Sanskrit verse credits the Bansuri as the source of swarajnana - the knowledge of music. Although the Bansuri is among the most ancient musical instruments of India, its status as a concert instrument for north Indian classical music is a relatively recent phenomenon. This favorite instrument was brought into the fold of Hindustani classical music by the legendary maestro the late Pandit Pannalal Ghosh .
~ In a recent conversation with my friend Roberto Romeo on Saturday, we were talking about a great musician and flute maker named Lorenzo Squillari. Lorenzo Squillari used to make visits to Roberto's NYC shop on 46th street and sell his beautiful flutes, as well as many other exotic flutes made of stone. I own many of his flutes, and play them on many of my gigs. They are an asset to my musical vision.
He is from Italy and is a master flute maker and musician! One summer I had the pleasure of meeting Lorenzo in person, as Roberto introduced him to me. ( Thank you Roberto! ) His musicianship and creative being was amazing! Not only could he play raga based musics of India but also jazz on the bansuris. I never forgot this remarkable man from Italy with a boundless imagination and inspirational creative spirit. On Saturday Roberto, Hyun Joo and I checked out his videos on you tube and were knocked out! Lorenzo has his own approach to musical expression- and it travels through many musics. Lorenzo's playing struck me through its variety, its flexibility, its colour and above all its liveliness.This striking effect can be heard on his videos listed below.
Let this Rico Blog help this gifted innovator- flute maker gain a a wider prominence to the readers of this blog. Spread the word my friends!
In closing,whatever your passion, keep at it, and keep listening. Keep reaching out to people with a spirit of love, friendship and compassion. As Sonny Rollins said
" Music Is A Open Sky."
See ya'll next week - TIM PRICE
Check these out!!!
Lorenzo Squillari - Italy
http://www.myspace.com/lorenzobansurihttp://www.flauto.tk/
Hariprasad Chaurasia vicenza Maj 07 with Lorenzo Squillari
http://www.youtube.com/watch?v=poVZ1oL8b5E&playnext=1&list=PL252E59F719005078
Lorenzo Squillari - Roma 27/02/10 - Workshop Bansuri.wmv
http://www.youtube.com/watch?v=0xUJTn6NcKM
Idea Jalsa Pandit Hariprasad Chaurasia
http://www.youtube.com/watch?v=_oBUjD4gT_w&feature=related
In closing, no matter what music you play, remember this ;
" Music is a universal language. The sound of the melody touches everyones heart and mind. Those people who have never heard this music take a few minutes to feel it, then they enjoy it in their own way."
~Ali Akbar Khan
FYI ;
The Bansuri flute may be seen in many sacred pictures of Lord Krishna and Saraswati, goddess of music.The Bansuri is a transverse flute made of a single length of bamboo and has six or seven open finger holes.There are no keys to produce sharps and flats, therefore all accidentals and microtones, as well as meend (glissandi) and other ornaments, so important to Indian classical music, are produced by a unique fingering technique. The Bansuri with its pastoral association and the chosen instrument of Lord Krishna, is one of the oldest musical instruments of India: it is mentioned in the Vedas and is depicted in the Buddhist art of 2,000 years ago. One Sanskrit verse credits the Bansuri as the source of swarajnana - the knowledge of music. Although the Bansuri is among the most ancient musical instruments of India, its status as a concert instrument for north Indian classical music is a relatively recent phenomenon. This favorite instrument was brought into the fold of Hindustani classical music by the legendary maestro the late Pandit Pannalal Ghosh .
Monday, January 31, 2011
Tim Price Bloggin'For Rico- NAMM SHOW 2011- Tim Price Unleashed in California
Here are my impressions of NAMM 2011... held this month in Anaheim, Calif. I went out as a endorsing artist for my good friend and one-of-a-kind mouthpiece artist Theo Wanne. We performed two times with the Saxophones Unleashed project. The players and the mood of the gigs fit right in with the perfect California weather and excellent audiences NAAM provided. Let it be said that in this world of manufacturers and endorsements that Theo puts his heart and soul into the music that he loves and also totally backs and loves all of his endorsers. To say Theo is a cool guy is an understatment. THE BEST!
The concerts featured a wide variety of styles. Everyone was given features and everyone was given a chance to play together. It was totally enjoyable. For me, getting a chance to finally play with Keyan Williams, Keith McKelley, Eddie Bacus Jr. with the first class Los Angeles rhythm section was just plain out of sight. Video should be coming and also some in-booth videos of me and Keith playing spontaneously improvised duos in the booth and the Saxophones Unleashed crew playing with some backing tracks. The variety of styles and musical agendas showed the vast artistic dimensions of Theo's mouthpieces within the players' personal styles.
One of the other reasons this NAMM show was so important was it gave me some time to network with my many friends on the West Coast, and demo and talk about the most innovative mouthpieces today by Theo. Meeting the crew of Matt Ambrose and Jim Scimonetti was a great honor- fantastic human beings and musicians.
Some well needed hang time with Rico's own Rob Polan was another highlight. Rico always has the coolest new products for NAMM- and is the real deal in modern tech. on reeds. There is no reed on the market that has the cane quality of a Rico. The new RESERVES are killin', and you owe it to yourself to be checking out the current products. Rob is the cat- and one of the bright spots in todays music business. Oh yeh!
Anybody who knows me knows that I'm a firm believer in networking and sharing within the musical community. Be it jazz, or rock, or even people who are branching off it into some more personal areas where boundary lines have faded. I myself am a fan of faded boundary lines. With that said, one of the first people that was at the booth was my longtime friend and incredible saxophone player Sam Phipps. Sam, as many of you know, is a mainstay on the Los Angeles scene. He was the saxophone in the Oingo Boingo Band for years - if you remember Oingo Boingo you might remember somewhere mid-set a saxophonist playing "Body and Soul" like Coleman Hawkins. That was our man Sam - Sam is also one of the most unsung rock 'n' roll saxophone players on the planet. As Thursday started to develop, the booth got swarmed. Fun was being had. Theo realized the game was on and he and his cool brother Tom became more and more excited as the energy developed. Some of the other people that came to the booth to hang, try mouthpieces, and say hello was Ernie Watts. A long time friend and inspiration, it's always inspiring to hear Ernie and hang. Ernie tried my horn and sounded absolutely incredible on it. Theo measured his Link mouthpiece and we all realized it was larger than Ernie thought it was. Since Ernie plays a mouthpiece that is huge, this was pretty hysterical. At the same time, Marty Krystall had taken residency in the booth and added to the rapport. Marty, as many of you know, is one of the most unique tenor saxophone players in jazz. A longtime Los Angeles studio player specializing in woodwinds, Krystall has the velocity in his improvisations of a Steve Lacy. That's right, he's that good. Krystall also is on hundreds of motion picture soundtracks and part of the historic playing in LA with jazz legend Buell Neidlinger. It was also cool to have Rick Keller show up and knock us all out with his personal sound and soulful playing. Robert Kyle I had never had the honor of meeting before, and we hit it off instantly, I had heard of Robert's playing over the years, and finally was able to converse with him and realized how close we are to so many things we love. Aviva, who many of you know as the purple saxophone playing goddess with The Monkees, came by and shared with me a new CD of hers, which is beautiful. Aviva has that boundary line between just great music and accessibility taken care of. She's funky and has the roots that go all the way back to the masters, but once you hear her, you know who it is for life. A definite asset to Davy Jones' and The Monkees' music. Eddie Baccus Jr. was on hand trying mouthpieces and just enjoying himself like crazy. What a great guy.
Lots of other saxophone players like Ann Patterson, Carol Chakin, John Yoakum, John Reilly,Vinny Golia, Brad Rambur , Jack Prybylski, Benny Maupin, the great Marion Meadows and so many others, that I know I'm forgetting a few.Not to mention friends like Bob Weir, Tom Scott, Dweezil Zappa & family, the beautiful Nancy Huang & cool Jennifer from RDG Woodwinds in LA. It's great to have friends that support. Ya'll rock!!
One of the highlights of the NAMM show for me was meeting people that I had not had the chance to meet before but had conversed with through the years online. These kind of things are important to me because, for those of us in the musical community, we must keep the blood of the brotherhood flowing. That said, Prybliski took a stroll to look at some horns over at the Buffett /Keilwerth booth - my friend Laurie Orr greeted us and it was sure nice to see this snazzy well-dressed New York City woman in California doing what she does best, which is helping people with the great products she represents. Laurie is an asset to this business and a long time NYC friend. As Jack and I were checking out some of the tenor saxes, Jack spotted Tom Politzer. As many of you know, that are Tower of Power fans, Tom has held the hot seat on tenor saxophone for a good many years now and as he's doing it plays his ass off every night. Tom was quick to inform me about something that changed my life that instant. No sax fans, it wasn't a five-digit vintage horn, nor was it anything of the sort. It was a small little bar called REEDGEEK (http://www.reedgeek.com/). This is one of the most profound reed-adjustment tools I've ever had in my life. All I can say is, buy it. It is designed by Mauro Di Gioia and probably one of the greatest investments any single reed player can make in his life. Tom adjusted one of my reeds that had started to swell at the back from the change in climates, with a few single strokes the reed was back to normal and I was a happy camper. Mauro not only is a forward thinker but somebody who is very concerned with what can happen to a reed as it's being played and also balancing it within that life period. The REEDGEEK is something I can't live without now.
Another cool thing was on Saturday night, running into my New York friend tenor titan Tim Armcost and also finally meeting Danielle Mays - a terrific woodwind player and totally hip funny woman. There's so many things that I'll be adding throughout the next few weeks that happened at the NAAM show that I'll share with you. This is just some of the highlights. Some other highlights will be some in depth talks with John Klemmer on this blog. Stay tuned!
On Sunday as the show calmed down and closed out, I was taken to dinner by Los Angeles baritone sax - woodwind studio friend Jennifer Hall. For those of you who are fans of the cartoon show Family Guy and Dancing With the Stars - those are two of Jennifer's studio gigs that have put her on the map recently. She took me for some great Italian food that was some of the best Italian food I've ever had. Mangia Mangia was the experience in Huntington Beach! Trust me, I'm a frequent visitor to Little Italy in New York City, which Jennifer has accompanied me to, when she's on the East Coast, and she couldn't wait to see what I thought of this food. It was incredible. Her mission was accomplished. That event made the journey home, which took me from Orange County, Calif, to Philadelphia on United Airlines all day. Thank god I was smart enough to party all week and make sure that I went to bed by about 5 a.m. and wake up before 10 a.m. for a brisk walk around Disneyland so that the travel time could be spent sleeping and not getting annoyed at the incompetence of air travel these days. That said, the NAAM show was a success and Theo and I and his uber-cool brother Tom are already doing a countdown till next year's show.
I've listed CD's by the guys who recently laid copys of their current recordings. Look for my friend Brad Rambur too- he's got a great one out there! As well as Keyan Williams, Keith McKelley and Jack Prybylski. These guys are the new cream of the crop- and a must for your ears! Find their stuff in Itunes and CD Baby. Beautiful players all!
Also I urge you to listen to these artists listed below and friends new projects- every CD has a destination of it's own- and a beautiful story.
Marty Krystall- " Mojave" ( Gunsmoke)
Ernie Watts- " Four Plus Four"
AVIVA- " Reed MyMind"
Bob Sheppard- " Close Your Eyes"
Ron Dziubla- " Some Strange Blues"
Till next week- keep on truckin'...Tim Price
http://www.facebook.com/search.php?q=Jerry%20Lacroix%20&init=quick&tas=0.5343706750233063#!/photo.php?fbid=491074894772&set=a.75018284772.75917.738199772
The concerts featured a wide variety of styles. Everyone was given features and everyone was given a chance to play together. It was totally enjoyable. For me, getting a chance to finally play with Keyan Williams, Keith McKelley, Eddie Bacus Jr. with the first class Los Angeles rhythm section was just plain out of sight. Video should be coming and also some in-booth videos of me and Keith playing spontaneously improvised duos in the booth and the Saxophones Unleashed crew playing with some backing tracks. The variety of styles and musical agendas showed the vast artistic dimensions of Theo's mouthpieces within the players' personal styles.
One of the other reasons this NAMM show was so important was it gave me some time to network with my many friends on the West Coast, and demo and talk about the most innovative mouthpieces today by Theo. Meeting the crew of Matt Ambrose and Jim Scimonetti was a great honor- fantastic human beings and musicians.
Some well needed hang time with Rico's own Rob Polan was another highlight. Rico always has the coolest new products for NAMM- and is the real deal in modern tech. on reeds. There is no reed on the market that has the cane quality of a Rico. The new RESERVES are killin', and you owe it to yourself to be checking out the current products. Rob is the cat- and one of the bright spots in todays music business. Oh yeh!
Anybody who knows me knows that I'm a firm believer in networking and sharing within the musical community. Be it jazz, or rock, or even people who are branching off it into some more personal areas where boundary lines have faded. I myself am a fan of faded boundary lines. With that said, one of the first people that was at the booth was my longtime friend and incredible saxophone player Sam Phipps. Sam, as many of you know, is a mainstay on the Los Angeles scene. He was the saxophone in the Oingo Boingo Band for years - if you remember Oingo Boingo you might remember somewhere mid-set a saxophonist playing "Body and Soul" like Coleman Hawkins. That was our man Sam - Sam is also one of the most unsung rock 'n' roll saxophone players on the planet. As Thursday started to develop, the booth got swarmed. Fun was being had. Theo realized the game was on and he and his cool brother Tom became more and more excited as the energy developed. Some of the other people that came to the booth to hang, try mouthpieces, and say hello was Ernie Watts. A long time friend and inspiration, it's always inspiring to hear Ernie and hang. Ernie tried my horn and sounded absolutely incredible on it. Theo measured his Link mouthpiece and we all realized it was larger than Ernie thought it was. Since Ernie plays a mouthpiece that is huge, this was pretty hysterical. At the same time, Marty Krystall had taken residency in the booth and added to the rapport. Marty, as many of you know, is one of the most unique tenor saxophone players in jazz. A longtime Los Angeles studio player specializing in woodwinds, Krystall has the velocity in his improvisations of a Steve Lacy. That's right, he's that good. Krystall also is on hundreds of motion picture soundtracks and part of the historic playing in LA with jazz legend Buell Neidlinger. It was also cool to have Rick Keller show up and knock us all out with his personal sound and soulful playing. Robert Kyle I had never had the honor of meeting before, and we hit it off instantly, I had heard of Robert's playing over the years, and finally was able to converse with him and realized how close we are to so many things we love. Aviva, who many of you know as the purple saxophone playing goddess with The Monkees, came by and shared with me a new CD of hers, which is beautiful. Aviva has that boundary line between just great music and accessibility taken care of. She's funky and has the roots that go all the way back to the masters, but once you hear her, you know who it is for life. A definite asset to Davy Jones' and The Monkees' music. Eddie Baccus Jr. was on hand trying mouthpieces and just enjoying himself like crazy. What a great guy.
Lots of other saxophone players like Ann Patterson, Carol Chakin, John Yoakum, John Reilly,Vinny Golia, Brad Rambur , Jack Prybylski, Benny Maupin, the great Marion Meadows and so many others, that I know I'm forgetting a few.Not to mention friends like Bob Weir, Tom Scott, Dweezil Zappa & family, the beautiful Nancy Huang & cool Jennifer from RDG Woodwinds in LA. It's great to have friends that support. Ya'll rock!!
One of the highlights of the NAMM show for me was meeting people that I had not had the chance to meet before but had conversed with through the years online. These kind of things are important to me because, for those of us in the musical community, we must keep the blood of the brotherhood flowing. That said, Prybliski took a stroll to look at some horns over at the Buffett /Keilwerth booth - my friend Laurie Orr greeted us and it was sure nice to see this snazzy well-dressed New York City woman in California doing what she does best, which is helping people with the great products she represents. Laurie is an asset to this business and a long time NYC friend. As Jack and I were checking out some of the tenor saxes, Jack spotted Tom Politzer. As many of you know, that are Tower of Power fans, Tom has held the hot seat on tenor saxophone for a good many years now and as he's doing it plays his ass off every night. Tom was quick to inform me about something that changed my life that instant. No sax fans, it wasn't a five-digit vintage horn, nor was it anything of the sort. It was a small little bar called REEDGEEK (http://www.reedgeek.com/). This is one of the most profound reed-adjustment tools I've ever had in my life. All I can say is, buy it. It is designed by Mauro Di Gioia and probably one of the greatest investments any single reed player can make in his life. Tom adjusted one of my reeds that had started to swell at the back from the change in climates, with a few single strokes the reed was back to normal and I was a happy camper. Mauro not only is a forward thinker but somebody who is very concerned with what can happen to a reed as it's being played and also balancing it within that life period. The REEDGEEK is something I can't live without now.
Another cool thing was on Saturday night, running into my New York friend tenor titan Tim Armcost and also finally meeting Danielle Mays - a terrific woodwind player and totally hip funny woman. There's so many things that I'll be adding throughout the next few weeks that happened at the NAAM show that I'll share with you. This is just some of the highlights. Some other highlights will be some in depth talks with John Klemmer on this blog. Stay tuned!
On Sunday as the show calmed down and closed out, I was taken to dinner by Los Angeles baritone sax - woodwind studio friend Jennifer Hall. For those of you who are fans of the cartoon show Family Guy and Dancing With the Stars - those are two of Jennifer's studio gigs that have put her on the map recently. She took me for some great Italian food that was some of the best Italian food I've ever had. Mangia Mangia was the experience in Huntington Beach! Trust me, I'm a frequent visitor to Little Italy in New York City, which Jennifer has accompanied me to, when she's on the East Coast, and she couldn't wait to see what I thought of this food. It was incredible. Her mission was accomplished. That event made the journey home, which took me from Orange County, Calif, to Philadelphia on United Airlines all day. Thank god I was smart enough to party all week and make sure that I went to bed by about 5 a.m. and wake up before 10 a.m. for a brisk walk around Disneyland so that the travel time could be spent sleeping and not getting annoyed at the incompetence of air travel these days. That said, the NAAM show was a success and Theo and I and his uber-cool brother Tom are already doing a countdown till next year's show.
I've listed CD's by the guys who recently laid copys of their current recordings. Look for my friend Brad Rambur too- he's got a great one out there! As well as Keyan Williams, Keith McKelley and Jack Prybylski. These guys are the new cream of the crop- and a must for your ears! Find their stuff in Itunes and CD Baby. Beautiful players all!
Also I urge you to listen to these artists listed below and friends new projects- every CD has a destination of it's own- and a beautiful story.
Marty Krystall- " Mojave" ( Gunsmoke)
Ernie Watts- " Four Plus Four"
AVIVA- " Reed MyMind"
Bob Sheppard- " Close Your Eyes"
Ron Dziubla- " Some Strange Blues"
Till next week- keep on truckin'...Tim Price
http://www.facebook.com/search.php?q=Jerry%20Lacroix%20&init=quick&tas=0.5343706750233063#!/photo.php?fbid=491074894772&set=a.75018284772.75917.738199772
Wednesday, January 26, 2011
Tim Price Blogging For Rico Reeds-NAAM- Ernie Watts and a heads up for next weeks blog.
YouTube - Ernie Watts trying out Tim Price's Selmer Series III
http://www.youtube.com/watch?v=yxpKBvJXzk0
This was from NAAM last week- in California- and Ernie Watts loved my
Silver Selmer serie 3 tenor. HE SOUNDS GREAT!!!
I got to get to Matt at Theo Wanne that did this because there's a spot in one of the videos with Ernie Watts- playing " I Want To Talk About You"....Killin'!!! Ernie is a long time friend and we always have a ball!!!
Ernie was also doing some great " triad pairs" at the Theo Wanne booth- on my Selmer.
But stay tuned my friends- because next weeks RICO REEDS BLOG will be about my trip to the NAAM SHOW and the people and cool things that went into making it a great trip!! Blog will be Monday January 31!
STAY TUNED~ Tim Price
http://www.youtube.com/watch?v=yxpKBvJXzk0
This was from NAAM last week- in California- and Ernie Watts loved my
Silver Selmer serie 3 tenor. HE SOUNDS GREAT!!!
I got to get to Matt at Theo Wanne that did this because there's a spot in one of the videos with Ernie Watts- playing " I Want To Talk About You"....Killin'!!! Ernie is a long time friend and we always have a ball!!!
Ernie was also doing some great " triad pairs" at the Theo Wanne booth- on my Selmer.
But stay tuned my friends- because next weeks RICO REEDS BLOG will be about my trip to the NAAM SHOW and the people and cool things that went into making it a great trip!! Blog will be Monday January 31!
STAY TUNED~ Tim Price
Tuesday, January 25, 2011
Tim Price Blogging For Rico Reeds- Winter Stuff To Shed
WINTER STUFF TO SHED FROM TIM PRICE....
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
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
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