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Here's a few things that you might find interesting and also might not
be the middle of the road interests but things that the average serious
player will have to address. Recordings books and knowing your history.
When you play music it's your responsibility to have roots and not only
the music but the history to validate where your stance is. Take some
time check these out.
Any musician worth their salt is aware of who people like Dexter Gordon is
and their history which is why I'm suggesting the book here. If you
watch through the next few weeks I'll be suggesting other things that
will help you gain not only history knowledge but knowledge of the
music. We've become far too obsessive with mouthpieces and facing sizes
and serial numbers and also who plays what. That said when's the last
time you heard somebody on social media talk about Sonny Criss or talk
about a book they read about Lester Young. There's too many people not
stressing the fact that if you don't have roots and are aware of what
came before you you're dead in the water. Also I suggested A piano book
here-search it out. As always I hope this helps. Tim Price....June 2017
Musical forward motion.... Being a complete musician goes well beyond
the notes.It involves more than just getting a degree, playing your
instrument, and those aspects. More so, it includes, the day to day life
Creative thinking is the process which we use when we come up with a new
idea. It is the merging of ideas which have not been merged before. New
ideas are formed by developing the current ones within our minds. This
evolution HAS to be brought on by practice. Ongoing creative thinking is
the continuous investigation, questioning and analysis that develops
through education, training and self-awareness. Ongoing creativity
maximizes both accidental and deliberate creative thinking. It is a
quest for improvement which never ends. It is an acceptance of and a
looking for continuous change that differentiates between ongoing
creativity and mental inflexibility. Ongoing creativity takes time and
practice to become skillful. Ongoing creative Keep the channel open, and
try your best.You'll learn something special. Been talking to my
students about the many aspects of the creative mind set. Trying to just
expand more ideas and thoughts.See you next week- enjoy your music- TIM
PRICE Here's some things that I'm coming up with ; Creativity is the
bringing into being something which did not exist before, either as a
product, a process or a thought. Right? So let’s apply this to ALL
levels of saxophone playing, thought and improvisation. You would be
demonstrating creativity if you: · Played something which has never
existed before. · Reapply an existing lick or concept into a new area
musically. · Develop a new way of looking at something (bringing a new
idea into existence). · Change the way someone else looks at something.
We are all creative every day because we are constantly changing the
ideas which we hold about the world about us and our relationship with
it. Creativity does not have to be about developing something new to the
world, it is more to do with developing something new to ourselves !!
When we change ourselves, the world changes with us, both in the way
that the world is affected by our changed actions and in the changed way
that we experience the world. It’s a thought process. It’s past a
mouthpiece change..it’s a MIND SET !! Creative thinking is the process
which we use when we come up with a new idea. It is the merging of ideas
which have not been merged before. New ideas are formed by developing
the current ones within our minds. This evolution HAS to be brought on
by practice. Ongoing creative thinking is the continuous investigation,
questioning and analysis that develops through education, training and
self-awareness. Ongoing creativity maximizes both accidental and
deliberate creative thinking. It is a quest for improvement which never
ends. It is an acceptance of and a looking for continuous change that
differentiates between ongoing creativity and mental inflexibility.
Ongoing creativity takes time and practice to become skillful. Ongoing
creative thinking soon becomes an attitude not a technique. The first
step to take is to learn the creative thinking techniques so that you
can use them deliberately to come up with new ideas. You will then be at
an immediate advantage to those who do not know how to use them. You
should then practice them to increase your skill at ongoing creative
thinking. With practice you may even find it unnecessary to use specific
techniques because you may soon have too many ideas without using them
at all. The first step to take is to learn the creative thinking
techniques so that you can use them deliberately to come up with new
ideas. You will then be at an immediate advantage to those who do not
know how to use them. You should then practice them to increase your
skill at ongoing creative thinking. With practice you may even find it
unnecessary to use specific techniques because you may soon have too
many ideas without using them at all.
Musical forward motion.... Being a complete musician goes well beyond
the notes.It involves more than just getting a degree, playing your
instrument, and those aspects. More so, it includes, the day to day life
of travel, prep before you travel, making sure your ducks are in a row
on the daily agenda.Gas for the car, bus ticket, clothes and schedule.
Anything short of that in todays environment is a loss on the
player-performers game card. Yes, it's past the mouthpieces, or a five
digit Selmer and the demo CD that your uncle Ralph paid for. It's
called- day to day life. Here is a day in my life- as of May 13th. I
thought I'd share this with you all dear readers, hope you enjoy it. I
continue to explore and learn all I can in the quest to develop my own
musical voice. This is an account of a day in my life, and what’s behind
the music via a profound the effect on my musical psyche.As I said,
being a complete musician goes well beyond the notes. Keep on your path
and do something good for somebody. Be well and remember compassion is
essential with each other. See you next week. - Tim
...SIMPLICITY? Yes...Beauty is a rare thing...Ornette was right. People
play music and people LISTEN to music... 
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
 
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 interval studys on II- V.
http://www.timpricejazz.com/lessons/intervalic1.jpg
Music is a gift that is life long.
Plato once said that music “is a more potent instrument than any other
for education”. You will find many teachers of young children who would
agree with him. Recent research has found that music uses both sides of
the brain, a fact that makes it valuable in all areas of development.
Music affects the growth of a child’s brain academically, emotionally,
physically and spiritually.
Music is academic. For some people, this is the primary reason for
providing music lessons to their children. A recent study from the
University of California found that music trains the brain for higher
forms of thinking. Second graders who were given music lessons scored
27% higher on proportional math and fractions tests than children who
received no special instruction. Research indicates that musical
training permanently wires a young mind for enhanced performance.
Music is physical. Music can be described as a sport. Learning to sing
and keep rhythm develops coordination. The air and wind power necessary
to blow a flute, trumpet or saxophone promotes a healthy body.
Music is emotional. Music is an art form. We are emotional beings and
every child requires an artistic outlet. Music may be your child’s
vehicle of expression.
Music is for life. Most people can’t play soccer, or football at 70 or
80 years of age but they can PLAY the clarinet, saxophone, bassoon and
piano and sing. Music is a gift you can give your child that will last
their entire lives.
TRY THESE ASPECTS- TO ASSIST AND ENRICH.
__ Help kids go to a local concert - let them hear live music as a special thing.
__ Donate a private lesson to some in need young learners.
__ Contribute to 10+ months of instrument rentals - or donate some used instruments you buy at yard sales.
__ Provide students with private lessons -by letting them mow your lawn etc- in exchange for tuition you assist with.
__ Celebrate music yourself by sponsoring a concert.
__ Donate a record collection, music books and CD's.
OK... there are more of course but try these and make a difference.
Overall this business functions through lies, power, cheat,
ego-self-orientated, non-talented people (but also talented people, the
one I call Artists). Many people will give and do everything to succeed
in their field. That is to say, for music producers, music directors,
promotion or marketing managers, music journalist, music agent, etc., it
is a real challenge to work in this domain. What’s more, concurrence
between one another is enormous and that is the reason why many people
are mistreated, disrespectful, and sometimes inhuman. Why people have
this behavior? What encourage them to do so? What are their limits? Do they care? Maybe more time shedding their art form might be in order, just saying.
Working in the music industry is a way to put oneself forward. It is a
question of pride and self-esteem. One wants to show that he or she is
important and has values and beliefs that have to be seen. One needs
recognition so he or she can succeed in what he or she is doing. On top
of that, what motivate is.. MONEY! $$$$$$$$$
From what I have experienced and heard,people quickly realize that being
ethically honest, respectful and professional is the key to success in
the long-term. That is why one has to build up a strong reputation in
order to achieve a successful career. One builds trust on someone on the
way he or she behaves on a daily basis. And that is the thing to bear
in mind.
There are a huge number of characters in the music industry, some are
ethically correct and even push you forward but some do the opposite by
being self-fish, disrespectful and will do everything to kick you out.
If you show a positive behavior and treat people fairly that is
definitely the right path to success.
SEE YOU NEXT WEEK.....By the way ;- PLEASE REMEMBER ;
Tim Price is available for a wide variety of tours, festivals, guest
appearances and workshops. Tim Price is also available as a guest
soloist with a small group or big band, and as a jazz clinician or guest
lector. Tim is a Rico Reeds and Selmer saxophone artist. His books are
published through Hal Leonard.
Please contact Tim at: TimPriceJazz@aol.com
Phone ; 610-370-1544
I TEACH IN NYC- READING, PA AND ON SKYPE.
SKYPE MUSIC STUDY WITH TIM PRICE
These SKYPE sessions with Tim Price are informal and relaxed, yet highly
structured. If you are a novice improvisor or even a pro who has always
felt there was more to learn, you'll truly enjoy these lessons.
Hands-on "Real World" Learning , you'll more than simply learn-you'll
do. By gaining new knowledge you'll create momentum that can transform
your musical future. You'll sustain results. You'll discover multiple
ways to produce real, sustainable results.
Take advantage of Tim Price's 35 plus years of teaching, performing,
recording & writing experience. Step by step online videos to help
you improve your playing at a logical pace. On screen spoken help
explaining how to reach your next level.
Timpricejazz@aol.com for most current fee info.
Once upon a time back in the late 60s…… I bought a record called
introducing Eric Kloss. I was curious, Who was the teenage young blind
saxophone player from Pittsburgh Pennsylvania. Recording with people
like Don Patterson Billy James and Pat Martino. His sound on alto and
tenor intrigued me. He was not that much older than me and was a fully
developed player not only with style but with soul and commitment.
I
watched this young man develop, let's be clear at that stage in the
late 60s he was already more developed than most seasoned pros are now.
No joke this guy was ready! He was on the bandstand with people like
Booker Ervin, Vic Juris, Mike Nock, Terry Silverlight, Groove Homes and very shortly recordings following with
Miles Davis is rhythm section of Chick Corea Dave Holland and Jack
DeJohnette.
Upon a quick listening to any of his records, and
truthfully I have all of them everything I could find. This guy was a
walking fountain of inspiration. Not only did you have a beautiful style
on alto fully formed with roots off-the-wall ideas that were routed in
the blues but originality. His tenor playing was in the same area.
Without a doubt he could easily play with Miles, without a doubt that
was part of him that would've fit Miles Davis like a glove. Yet at the
same time as style was fresh- This man stood
his own 2 feet, and he stood for something.
As the years went on, he
stayed close to Pittsburgh.Taught at the local University and kept playing amazing jazz. The recordings that he made with people like
Chick Corea or Pat Martino and to this day challenge much of the music
being played even though it was recorded 35+ years ago.
The part
of the business of music, and especially jazz, has always bothered me
when a person like this is ignored. There seems to be in overindulgence
of hero worship for somebody who had enough money to pay a support
system of a press agent may be a fashion photographer, and more. The
cold reality of the changing art form and also a change in culture
surrounding the music. Clubs and audiences that supported people like
Eric have changed and I can admit that. Those kind of clubs and
environments you'd know if you we're not playing! The audience would let you know if you were not.You had to be coming
up with something-and most times it was three or four sets not an hour
and 20 minutes like today.Too often people flock today towards one
musician or a small handful of those people, then they are everywhere-it's almost
of overkill for the artist in the long run. Guys who stand the test of time get ignored- or a person who invents themselves on social media become a brief reality- so it goes.
The values of originality a
commitment to an art form not just being popular Have by the wayside. I
can easily point to A recording he did with Barry Miles it was all
duets. I can point you towards every single one of those recordings-go
search them out on YouTube. Listen to the soul that he played the
saxophone with-also listen to the personal agenda he had his sound and
ideas. That's a lesson right there. Again it's a sad thing when artists
get ignored or pushed to the back of the room because people just don't
know who they are or don't take the time to listen and find out. Years
ago that was something that people prided themselves on, I'm talking
about the people with in the music that handled things musically. My
words might be a bit spicy here, but somebody's got to bring attention
to these type of values before it's too late. The musicianship of Eric
will inspire people for decades and decade's. At one point he even
wrote a few read preparation articles for Rico! Somewhere I'm going to find one and
re-print it so everyone can see it too.
Let this current blog be a
polite wake up call to investigate this mans playing- and also realize
there was a time. That meaning there was a time when jazz festivals had
musicians like this and the Village Vanguard had musicians like this.
There are so many recordings of his that I could say right off the top
of my head make it a point as this blog closes out on Eric that you
investigate yourself and spend some time and
listen to at least half a dozen to a dozen of these recordings over the
course of the next few weeks. And you'll realize the expression and
also… Title of one of his tunes called "to hear is to see". You'll hear
and see why I instigated this weeks blog. Thank you for your time and I
was always the very best to everyone-keep the music real.
- - - Tim Price Blogging For D'Addario Woodwinds- -
What it is...Is hard work and commitment.Commitment to your chosen art
form, and desire to do just that.Creativity and responsibility are twins
in art. One cannot claim to be truly creative without being
responsible. However, the commitment of an artist to a cause should
never be blind commitment. The artist should always retain the right to
question motives. In that way the artist will remain faithful to both
creativity and social responsibility.If all art is a form of
communication, all art is produced with an audience in mind. The process
of artistic creation is an exercise in communication and as all
communication must be able to communicate, it therefore follows that the
process of artistic creation entails the responsibility to communicate.
It can therefore be argued that there is no necessary contradiction
between creativity and responsibility in art. I know that there are
philosophies like art for art’s sake, which can be contrasted to say the
literature of commitment. But I say you cannot be truly creative
without being responsible. The moment you stop being responsible you
stop being truly creative.
Music can teach us to listen carefully and without prejudice. It can
also teach us to cooperate and interact with others outside preconceived
goals and benefits. It can offer insights into expressions of selfhood,
as a key player in the construction of subjectivity.
However, on the
other hand, music also plays an important role in the disciplining and
controlling of human beings. In that sense, music has ‘unethical’ sides
as well. 9 times out of 10...a person with an attitude of a hustler or " enlightened savior" runs a short course in the long term. Absurdities abound in these people and take a second to realize...who is jiving whom!
THE TERM...Intellectual shucking and jiving describes it all. Only
thing as a player, that can change YOU as a player is to work, study,
and keep working and studying your art. Stay positive and when you can,
remember your knowledge is the tool most vital. NEXT- Is your ear.
Instead of buying a thousand dollar mouthpiece- Why not buy a thousand
dollars worth of recordings of great players and listen. Get an AMAZON
ECHO TOO....All I say to my ECHO is ALEXA ...play Eric Dolphy and I've
got hours of Eric Dolphy to hear in my home.
IT DON'T JUST HAPPEN.
Being a complete musician goes well beyond
the notes.It involves more than just getting a degree, playing your
instrument, and those aspects. More so, it includes, the day to day life
of travel, prep before you travel, making sure your ducks are in a row
on the daily agenda.Gas for the car, bus ticket, clothes and schedule.
Anything short of that in today's environment is a loss on the
player-performers game card. Yes, it's past the mouthpieces, or a five
digit Selmer and the demo CD that your uncle Ralph paid for. It's
called- day to day life.
See you next week. - Tim Price
There's been a lot of talk about the circle Trane drew- when you first
look at it it looks like a Poly-gram. There are geometric shapes, but they
cannot be drawn into the standard circle of fifths or fourths or
chromatic circle . I've heard people referred to this is the Coltrane
star or chromatic circle.
If you look at this as a variation of
circle of fifths or fourths this circle that he created was
also evident in Yusef Lateefs book the "repository of scales and melodic patterns". When you look at this this, it is another way of seeing
things. That said- if you look on the inside of the circle at the top where it says
C B C# it would be 12 o'clock… if you look at this and make it
simple there's an outer ring that's displaying a six next to tonic
or whole tone scale. C- d- E--Gb- Ab- Bb- -C. That is the circle on the
inner side that displays a hexatonic scale.OK- if you look at these
carefully and go clockwise between the tones of the scale of the rings
they're contained in, it turns out to be a circle of fourths and then
counter clockwise circle of fifths.
Many times when we look at
this we see the tones that are circled… If you look at those you're
going to see some super tonic's and leading tones, perhaps there's
even more to that than meets the eye, and ear.
In my opinion any Coltrane devotee knows that he liked using the diminished scale or basically
the double diminished at it as it was called , good example of that is
his solo on " moments notice" and in the 74th measure explicit use of a B-flat seven diminish scale pattern that is probably
one of the most influential in the Trane language. One that I always
liked, and I also think is right out in front of your face, is his solo on " Epistrophy" on the live Carnegie Hall recordings with Monk.
I
think this was his way of trying to look at things in a clear concise
manner. The possibilities are really
endless and I think that is something that he noticed by drawing this. People know there are 13 intervals from the
tonic to the octave, these intervals are unison- minor second- major second- Minor 3rd- major third- fourth -tritone -5th, minor sixth -major sixth- minor
seventh -major seventh and the octave. There's a lot of tones in between yes! But keep on mind- there's also a lot of references in clockwise and counterclockwise motion. Shapes and things to come, if you will. To me this is the
beautiful part of music… The study in pursuit. In the grand scheme of course- this is just
my opinion.I've also seen other drawings that
were based on this-that makes sense too.
The drawing on the tone
circles will always be a fascination to saxophone players and musicians
and jazz musicians for decades and centuries to come. After all that is
why we are all here aren't we?
The outlines and concepts of this hopefully will enable the soloist to think further ,and go past the
normal outlining the changes at the same time as the rhythm section.
That is something that can become very redundant. Remember you're
creating something not repeating something! Remember overall sound and
shapes and tones is what you're after. Delving in heavily to intervallic and sequential playing will assist you to eventually develop a vocabulary of your
own that moves to new areas, that you might not of played before. The
keyword is direction!
When you are approaching concepts like
this make sure you're playing them in swinging time and practice slow. Think
about what your playing and remember the further into the cosmos that
you go- The harder you should be swinging.
Check out Coltrane on "Sunship" or
some of the Yusuf Lateef records and also ALL the Booker Ervin books. EG- The Freedom Book- The Space Book- The Song Book.
Intuition is your friend use
it!
Good luck and I hope this helps you all.
Thank you....Tim Price
Tim Price Bloggin' for D' Addario Woodwinds- Coltrane / Prestige 7105
http://ricoreeds.blogspot.com/2016/03/tim-price-bloggin-for-daddario_28.html
Tim Price Bloggin' For D'Addario Woodwinds- The pantheon of great jazz masters- and like minds. Trane & Slominsky.
http://ricoreeds.blogspot.com/2016/03/tim-price-bloggin-for-daddario_28.html
THANK YOU.... Tim Price
Tim Price Blogging For D'Addario Woodwinds- Shoe Shine Boy transcription- and a study of Lester Young.
LESTER YOUNG !This weeks blog is a study on Lester Young.
You gotta have roots- there's no short cuts Andy McGhee used to tell me- AND HE WAS RIGHT.
I acquired my knowledge not just as a student, but from decades of practical experience on the road. Every night you go to work, you're going to school to a certain extent.
As I work on a tune/solo with students, I stop a lot to iron out trouble spots.
I pull apart a tune to show its different intricacies. By the time we
finish, we have really wrung it dry.I want students to leave my studio
understanding exactly everything they played and feeling good about
that.
I'm very serious about it because that's how I learned.
What I learned in the classroom was one thing, what I learned on the
bandstand was another. I bring this to my students and they are
better for it.
Learn every Prez solo you can. This solo is found here-https://www.youtube.com/watch?v=HINtSlaauYI
Study his lines and shapes.
In addition, keep in mind the tempo and phrasings- very modern to this day as well.
The solo is below- your goal is to get the solo in tempo and memorize it.
NEXT- - On your own transcribe Lester Young solo on " Taxi War Dance"...it should be fun and pretty enlightening. Get started now!
I suggest this book on Lester Young-
I love
Lester Young and had read of this book in another biography and have
been enjoying every page. Pres was so important and it is great to get
this compendium of so many interviews and views in one place. It's a great start to a young learner who needs to learn more about a classic legendary innovative saxophonist.
Till next week- Enjoy the blog on Lester Young and keep studying his playing and style. Prez forever.
See you next week- Tim Price
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