|
skip to main |
skip to sidebar
 ~ A few words ....About Friday's Liberty Tap Room Gig in Reading, Pa via Berks Jazz Fest. This band is special. Why? Because the vibraphonist Randy Sutin & I have played jazz in Berks-Reading area on & off for over 29 years. In between my gigs, teaching & workshops. To play, search the music & make a living too. The picture below is from art least 27 years ago- in a cool biker bar that a few like minds tried to set up as a local jazz society. We had professional guests ( Scott Andrew Silbert the great tenor player/arranger for one! ) and more. Our agenda musically was simple...PLAY. We'd play " Joes" in Trenton, The base jazz club at Ft Dix on Sundays to name a few. And wake up the next day- and do our jobs in life. We also had Tuesdays at the then Shearton Hotel ( aka- pre; 18 years Veaslys Jazz Base ! )a few times a month to great crowds. In those days, I had no endorsements but also didn't think I was of the " level" to be asking. Years later they came without me asking , and I am grateful thousands of times over. Yet- after years of bringing top name leaders to " guest" with me at Berks Jazz Fest like Richie Cole ( 2 times! ), Lew Tabackin, Bill Goodwin, Rachel Z, Al Grey, Budessa Bros w/ Chuck Zeuren ,Bobby Zankel to name but a few- it's always great to continue to play with Randy Sutin. Not because he brings a set of Tibetan nipple gongs to the gig ( LOL !! ) , but because he's a world class vibes player & my friend that knows the deal. If you want to play jazz....it's something you HAVE to do. Not just once in a while, but it's your " jones ". Your life in a way. Expansion don't always happen in a major city either, it can go down anywhere. But you got to play. We've had so much fun too, at Ft Dix when I first met him- we were playing with the great baritone saxophone & flute be-bop legend Cecil Payne!! We've had some mega-fun & paid our dues driving turnpikes home at 3:30 in the morning , sometimes getting in at the butt crack of dawn. This Friday joining us are two masters who I welcome warmly- they are friends and fellow travelers in the music. The great Jack Hegyi on bass, and Sean J. Kennedy on drums. Sean recorded one of my tunes with Yellowjackets saxst Bob Mintzer, he is a warrior & great educator. Jack is a bassist who I know from Cape May Jazz Festival & he has that thang- real grit in his bass feel and a great person to boot. Thinking on Cape May Fest- I did that 8 years, two times a year, and did workshops & features and the jams. Sad to see it go like it did- I hope it returns. Without venues that I might not of ever met Jack! Get my drift ? To play. Forget the gossip, the FB yak..it all goes away when the tune is counted off. And Friday we hit at 9:00. Come on by and hear why I call it Jazz-A-Delic !! SUPPORT LIVE MUSIC! See you there. ( Thanks for reading this too BTW- It's been on my mind. ) ~ Tim Price DON'T FORGET THESE CLINICS... 
Just some thoughts....... Bird had incredible ears and gifted depth of creativity he picked out the hip ideas that other musicians were playing and then added his own to make those incredible new lines of his. He was mostly using his ears! THINK ABOUT THAT- the guy was ultra-melodic.Very very easy to hear. Another way is that a musician can learn to improvise let's look at the COLTRANE thought process. Trane was the opposite of Bird. He didn't stop practicing and studying. He slept with his horn so that he could start practicing the moment he got out of bed. He practiced on the breaks at gigs and every other free moment he could find. He was a searcher. He searched for new scales and modes from all over the world. He studied out of violin books and harp books. He used the Slonimsky book of scale patterns. Trane learned by studying as well as using his own incredible ears! As Charles LLoyd said to me " Bird invented the atom.....TRANE smashed
it." So we have two very different ways of learning the mechanics of improvisation but, and here's the big but, when Bird or Trane got on the bandstand to perform neither of them spent much time "thinking"! In performance they were both in the same state of incredible self-awareness. The mechanics became unimportant on the bandstand and the emotional side of their improvisations took precedence. They played from their heart and soul. This is the key to their greatness. They both had an incredible natural gift for being able to open themselves up to their inner creativity and let out their amazing ideas with wonderful ease, excitement and wonder. In fact of all the hundreds of bands I've played in not one has ever said to me, "play a mixolydian scale here" or lets only play a diminished scale there. Never! LETS REMEMBER.....jazz is personal expression. :REMEMBER ~ you do not have to reinvent the wheel !!! :::: Virtually all of Bird's solos have already been transcribed.Go study some. My personal favorites though are "Nows The Time " and "The Song Is You ". There are transcriptions of those solos around too. I'm sure if you TRY to sing them along when driving in your car...you'll got the SHAPE and HARMONIC PARTS in your ear. By analyzing the already transcribed solos, you'll save yourself a lot of time if your main intention is to "learn more about his vocabulary".You'll find that Bird used a lot of the same priniciples and tricks over and over. After a couple of years study you should have a decent handle on the underlying concepts and then it's all about putting those principles to use in finding your own voice. I think any kind of transcription work you do well benifit your ear. These are just some thoughts on this.Maybe it hits ya maybe it don't. But most of all keep trying-playing-listening. That is MOST vital to personal growth. For those of you in the Reading, Pa area - Stop by my saxophone workshops this Friday and Saturday.  TILL NEXT WEEK- Keep on and long tones is the ticket! ~ Tim Price ALSO- Don't forget ; Jazz Education.... With Tim Price Study with Tim. ( in nyc or pa ) http://www.timpricejazz.com/study.html Bring SELMER artist Tim Price to your college or school for clinics and materclasses http://www.timpricejazz.com/clinics.html On line lessons; http://www.timpricejazz.com/lessons.html Articles on the masters; http://www.timpricejazz.com/lessons/insightarticles.html Books for sale thru Amazon; Great Tenor Solos; Cannonball Collection. ~Bird-ology Studies to Improve Time, Phrase Lengths, and Intensity Levels Feel free to print out all the lessons to so you have them- there is a massive bunch of information of mine on there. http://www.saxontheweb.net/Price/Nov01.html
 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. ( smile) 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. Check out this masterclass I did... Tim Price's interview featured on BestSaxophoneWebsiteEver.com! Tim Price Interview www.bestsaxophonewebsiteever.com Coming up...I got ; Berks Jazz Festival- March 30th Tim Price's Jazz-A-Delic @ Berks Jazz Festival FRIDAY March 30th.....Sets @ 9:00 Tim Price Jazz-A-Delic ....includes ; Randy Sutin- vibes- Jack Hegyi- bass Sean Kennedy- Drums ~And yours truly on saxes/ woodwinds/electro-bassoon @ The Liberty Taproom 237 Prospect St Reading, Pennsylvania 19606 ALSO TWO WORKSHOPS DURING THE JAZZ FESTIVAL ; SAXOPHONE WORKSHOPS @ Berks Jazz Fest of mine at ZESWITZ MUSIC. Friday, March 30 and Saturday, March 31. ( free) Tim Price will host a special Saxophone Workshop at Zeswitz Music Store, located at 100 Gibraltar Road in Reading, at 4 p.m. (FREE) PLEASE..If your a teacher in my area or a interested student...come and listen. Studying music enhances children's ability to perform better at other subjects, improves coordination and boosts self-esteem. They learn to harmonize with others not just on a musical level. Music was part of mainstream education throughout most of history. Through junior high upwards music is just as or even more important in the people's continuing education. Music is_THE_ universal language. By doing this students can pursue passions and learn how to share their thoughts with others directly in a healthy and peaceful way. Music is a way of sharing and indeed experiencing the deepest aspects of our cultures. Education/ band in all forms of music has been essential in students most important moments, a part of life to be treasured. Daniel Boone has always had a stellar music program, with a framework that encourages and rewards commitment to personal growth! What I teach in Saxophone Workshops is things I've learned through a life long study of music. This is NOT in books. SUPPORT LIVE MUSIC...Hope this helps. ~ Tim Price
 Charlie Parker (Bird) passed away in 1955 – 57 years ago TODAY. ALSO - BIRD LIVES- is the title of Ross Russell's biography of Charlie Parker too.With few exceptions,Bird is a player you have to listen to and just enjoy because he was so great. As for the music, Bird was in a league of his own. He didn't really play music, he intuited it from somewhere else. Someone once asked Bob Dylan how he wrote all those great classic songs, and he said they just came to him.WELL- Bird woodshedded to get the chops, and he was a technical master of the alto sax, but what he played didn't come from long hours of practice. He was his own influence.There are many things and thoughts here as well. Take some time today- and this week and celebrate Charlie Parker.Also read Ross Russell's book on Bird- you have to! In his brief career, Charlie Parker transformed jazz, spontaneously extending the harmonic and rhythmic range of the music in his fluent improvisations. Only Louis Armstrong and John Coltrane have had as dramatic an influence on other musicians. Broadly considered as one of the greatest saxophonists of all time, he was crucial in the development of the bebop movement. Many of his compositions have become standards including "Billie’s Bounce", "Ornithology" and "Confirmation". Two of his albums, Jazz at Massey Hall and Charlie Parker with Strings, have received the Grammy Hall of Fame award.His playing was highly acclaimed during his lifetime and to me, he was the most inspirational and beautiful saxophonist ever. To me, Bird was a great blues player as well. He had a way of playing the blues that not only inspired thousands of saxophonists but helped many of us hear a newer way to be expressive on our horns.Be it emotionally or technically. It reads like a fun, well-written novel, the main character of which is a fascinating and charming--musical genius. Parker was a man of vast appetites to match his gifts, and Ross Russell relates the offstage antics which were marked by chronic defiance: throwing his saxophone out of a hotel window, walking into the ocean wearing a new suit, standing up the promoter of a Paris jazz concert, eating twenty hamburgers at a sitting, riding a policeman's horse into a prominent Manhattan tavern, and accommodating the steady stream of women who threw themselves at him. Parker mastered his craft while a teenager. Every record collection deserves " Bird with strings". I always loved the records where Bird was playing tenor with Miles as well. Something special about that music- a essence and grace that Bird had. Milestones Half Nelson Sippin At Bells M. Davis (Tpt) C. Parker (Ten) John Lewis (P) Curley Russell (B) Max Roach (D) Aug 1947 Savoy S3440-42-43 Little Willie Leaps Milestones Half Nelson Sippin At Bells M. Davis )Tpt) Charlie Parker (Ten) John Lewis (P) Nelson Boyd (bs) Max Roach (D) S3440-41-43b Aug 1947 These recording are on the "Immortal Parker" set, 5 Vols and the Complete Savoy set. ALSO- Phil Schaap's morning radio show "Bird Flight." He features the music of Charlie Parker every weekday from 8:20am till about 9:45am. I don't know where you're located, but internet call letters are www.wkcr.org. If you're in the NYC area, it's WKCRfm, 89.9. Phil does do a very thorough job of presenting Bird's music. A tribute Bird record I always loved was " Birds Night Out". A really well done memorial for Charlie Parker – cut with Cecil Payne on baritone sax, Phil Woods on alto, and the great Frank Socolow on tenor – all jamming on 4 of Bird's best known compositions! Burning and stretching out in freely creative lines and working here with a rhythm section that includes Duke Jordan on piano, Wendell Marshall on bass, and Art Taylor on drums. The album was recorded live at the Five Spot – and titles include "Parker's Mood", "Steeplechase", "Buzzy", and "Scrapple From The Apple". Woods is in classic high form, and Cecil sounds out of this world. One of the best Bird tributes- kind of hard to find but worth it. At a point in a conversation with composer multi-instrumentalist/ film composer Gil Melle, Gil told me that Bird wanted to record with Edgard Varese. I can only imagine what that would of sounded like! A TRUE MUSICAL GENIUS. BIRD LIVES....Listen to Charlie Parker and enjoy his music. Till next week- Tim Price Don't play the saxophone. Let it play you. Charlie Parker I realized by using the high notes of the chords as a melodic line, and by the right harmonic progression, I could play what I heard inside me. That's when I was born. Charlie Parker If you don't live it, it won't come out your horn. Charlie Parker Music is your own experience, your own thoughts, your wisdom. If you don't live it, it won't come out of your horn. They teach you there's a boundary line to music. But, man, there's no boundary line to art. Charlie Parker They teach you there's a boundary line to music. But, man, there's no boundary line to art. Charlie Parker You've got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail. Charlie Parker 
 We have all remarked when an innocent child speaks their mind and reveals something candid, with no worries about consequences, failure, or judgment that makes us think. We also know there is something envious about that special quality; raw freedom to express with no fears or hang-ups. When a young student drums on a desk, draws on a paper, or sings, sincerity is at its best. And it’s all valid because it’s sincere. Our attraction to music is a personal one. Sure, there are peer pressures, and multi musical purposes, but somewhere in our hearts we have our own musical tastes. To step forward and play what you feel might be your best move.I feel it’s tragic to not explore music and life through creativity and self development. I respect the ideal of traditional development of needed musical skills but not at the cost of creativity. No one should have to wait some undetermined amount of time to compose something or even think about composing something.Ditto with improvisation. Same with any writing or art. It’s sincere. It’s in the moment. The path of a true "artist" is a rocky road. It's like walking up wet glass at times but after a while it's fun.It is your business to keep the channel open.You have to keep open and aware directly to the urges that motivate you.You'll note a slow emergence almost imperceptible. it will be something you never forget. Now's the time tell a genuine story, speak the truth, and someone will appreciate it.It is part and parcel of being an artist. 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. 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. By the way...The picture at the top of the blog is me and Hank Crawford- from the early 1980's. Hank Crawford was a friend who I met in Chicago in the 70's. I played the Jazz Showcase in Chicago opposite Hank & Calvin Newborn when I played w/McDuff. Hank at a point had small big band- that was very effective for his excellent arranging that he hired me for a lot. He picked great tunes too from things of his to the Isley Brothers & Carol King and Bird. Playing with him on gigs was an education.Hank Crawford....always sent me a Christmas card & when I got married he sent a card as well. To me those kind of things go past money, fame or anything....he defined the word soul in just being Hank. By the way sax equipment heads- his mouthpiece had no name. Just a plain rubber piece with teeth marks & a LaVoz reed. The picture below was in "Swing Journal" in the early 80's. Been thinking of him a lot- great inspiration and friend. Thanks, and keep on your path. ~ Tim Price Some good things coming up- hope to see you there!!! Tim Price's Jazz-A-Delic @ Berks Jazz Festival March 30th Sets @ 9:00 Tim Price Jazz-A-Delic ....includes ; Randy Sutin- vibes Jack Hegyi- bass Sean Kennedy- Drums ~And Tim on saxes/ woodwinds/electro-bassoon @ The Liberty Taproom 237 Prospect St Reading, Pennsylvania 19606 By the way...a special heads up on the guys close to my area. SAXOPHONE WORKSHOP Zeswitz Music Store | 100 Gibraltar Road Reading, PA 19606 | 610‐406‐4300 | FEATURING TIM PRICE MARCH 30 & MARCH 31, 2012 ZESWITZ MUSIC STORE FREE AND OPEN TO ALL MUSICIANS AND GENERAL PUBLIC Part of BERKS JAZZ FESTIVAL. Friday, March 30th 4:00PM Topics Include: - Sound production - Using the right gear - Harmonics and Altissimo - Jazz Improvision - Practicing Techniques - Creating Melodic Shapes - Sight Reading Saturday, March 31st 1:00PM Jazz Clinic Focusing on ‘real time’ improvisation With guest bassist Bruce Ketterer
I practice everyday, and I practice for at least 2 hours before I do anything. I don't do it because I think that Mike Stern or Sting is going to call. < I wish they would > I do it because it's the one thing in life that has been a constant for me. So few things in life ever remain the same, if any. But the saxophone < and my woodwinds > is the same every day.To me, it's the best ever deal you can make in life. If you work hard and practice at your saxophone , you get better. It's that simple! Think about it. Still grateful to be playing and learning. Looking forward to each gig and rehearsal and student, trying to stay in that vibe. And learn what I can from it. All human beings are linked together through the timeless, universal chain of history and events.The musician links to the practice room and the bandstand. Various life developments have been born in both environs. ~ The first stage of the artistic process involves absorption of principles and techniques that have already been accepted as standard in the field , the artist personalizes past and contemporary styles, meaning active participation in real world. This is why, I've always felt the need to play with all kinds of musicians, any age and of course working heavily with students to develop their "real world" skills. So- till next week - practice hard and eat more vegtables and fruit. Don't forget to do something nice for somebody too, remember compassion is essential with each other. Here's some things to work on also ; 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 ~ TIM PRICE 2-2012
We as a music community ( jazz, pop, classical, students, rock, indy etc etc) need to get out and start supporting each other more. One of the most fascinating dimensions of this music, today is all the people involved in it. But, when I attend a concert, club gig or student recital, it's very shocking to see the empty seats. In the last few weeks, I noted with great interest that this was evident. In short, people need to start to support each other more. From within the ranks. We are creative people, stepping out to hear a friend or a person who's trying is an asset to all of us. Listen to what the music does, not what it doesn't. We as a music community need to demonstrate that through support of arts and culture we also invest in the art form's economic well-being. Show up for a few sets.Buy the Cd's. Take note that we need a collaborative approach to make this successful.I believe strongly that if diligently and judiciously executed,it would be of mutual benefit to everyone.Strengthen the music field and effectively recharge it from within the ranks.This is very important ! The music will grow- the musicians will foster more gigs and the scene will get stronger. A lot of us from my generation,when we were young musicians, there was an idea that we would be playing this music,or at least some of us would be playing this as our principle means of support. Now the "night club circuit" can no longer support us ( read that as "any of us" ). Education is the big portion of our income. We all do clinics, residencies and all the other educational components , let alone the high school or college positions or straight up private teaching. As a young player I would go to my mentors gigs and check out how he dealt with the reality of PLAYING. Even as a teenager, when I studied with my local heros like Joe Miller and Sam Correnti I learned a lot about the reality. At that point the reality was learning transposition from Joe and Sam. Joe would give me fake books to transpose, there was no REAL BOOK then, so it was good ol' VOL. 1. Plus other" bop" or swing books. Through doing that with Joe, I eventually learned to transpose at sight as a teenager. Yes Joe Miller, he was the best local jazz saxist I could of dreamed of as a teacher. He played King Super 20 saxes and had a great sound on alto and tenor, and he played RICO reeds! He turned me on as a kid to RICO brown box reeds on my Brillhardt mouthpiece. Joe was hip to Art Pepper and Bird and the cats.The baddest player in my home town-bar none for jazz. But the reality was , he also made a living playing dance gigs. He was great at it ! They played my high school prom. They played a few pop tunes " of the era" but mostly standards for dancing. Ok- From those relationships I would know what a jazz musician was. Later with guys like Charlie Mariano, Joe Viola and Andy McGhee at Berklee School as well, and years later Sal Nistico, Stitt and Don Christlieb etc. This is why I tell my students to attend gigs, buy Cds, listen and form bands to jam. Make it happen! Jam more, session on days your off, form "head bands" and just play. I do tell students of the "reality in my heart and spirit" but if they don't experience it it does not mean a lot. People need to play together, get into the basement and jam!! Look at each other and say yea. REALITY LESSON !!! Knowing_MELODYS_so people could identify and dance. A life lesson there dear reader! Knowing how to play a dance gig and survival chops to make money. Joe always said, " It beats putting cans on the wall in the supermarket ! "....I never forgot that. Plus as I said, he could blow. We did the old play alongs ( before Aebersold !! ) with the Mal Waldron trio playing those blues heads Gene Ammons recorded. Joe knew the real deal, and as I said, was the best jazz saxophonist in the city. Plus a teacher of reality. His karma paid off too, years later he won the lotto. When I came in with Charles Lloyd records trying to copy the heads like " Sombreo Sam" Joe never flinched. He was that cool. Now Mr. Correnti, taught me flute. Another lesson in itself as today, the flute double is non-existant to a large degree. This was when I was in 10th grade in school too. Sam was cool, always dressed in a hip coat and tie. An old school swing man who knew a lot of the major players , and taught Gerry Muligan when he lived in the area. We used to get the David Gornstein books right from David, as Sam knew him. Sam also made me aware of being dressed right. I always was aware of the clothes a musician wore. REALITY of a very important kind. Plus- flute. Lots of lessons NOT in books. That's a lot more those days of "learning vocabulary". I think that was a better way but it is not today's reality.When I started Berklee I was prepaired from Joe and Sam. Friends I met from the beginning in Boston, like Joe Lovano, Roger Rosenberg, Ross Konikoff, Jeff Lorber, Scofield, Hal Grossman/ Saxist Steve's brother, Arnie Krackowsky and Rick Wald all shared this sympatico. We could play a blues without music and also play Basie charts. THINK ABOUT THAT REALITY. ( 1969! ) This is why I tell my students to attend gigs, buy Cds, listen and form bands to jam. Make it happen! Jam more, session on days your off, form "head bands" and just play. I do tell students of the "reality in my heart and spirit" but if they don't experience it it does not mean a lot. People need to play together, get into the basement and jam!! Look at each other and say yea.PLAY!! Players used to network on bands and at clubs neither of which exist to any degree. Turn the TV and computer off and get in the life lane! Clubs and concerts are in need of people in the room, and listening to the music.Go and enjoy, I say " Listen to what the music does, not what it doesn't ". It is very important that we, as musicians, come out and support each other on the scene as much as possible. I try my best to mentor my students, and anyone else in the music who approaches me with questions. It's important to also encourage students to attend their peers recitals/gigs. I did that ALL THE TIME when I was in school, that's when you actually have the time to do it! We all have a responsibility to keep it going, creating, and putting postive energy out there. I am hopeful that the economy will bounce back and we will start filling seats again too!
It's time for stronger community and a vibe that transcends money, politics, ego and anything else. This is art!Reality. Reality can change,MUST CHANGE, that's what I'm talking about. We establish ourselves in a consciousness of perfection to step forward, not be stuck in the mud. Musicians are _supposed to be_ connected to inner wisdom and peace.When you live with optimism you achieve optimal results Purpose is something greater than your self. It changes who you are into who you are in to! Motives is your destination driving wheel- this is 2012- not 1959 ! If you will it... it will BE If you see it... you can do IT if you hear it... you can express IT MUSICIANS ARE CREATIVE PEOPLE TOO. MUSICIANS HAVE A HIGHER CONSCIOUSNESSES.For where thoughts travel your energies do follow! I have an agenda. ~ Tim Price WWW.TIMPRICEJAZZ.COM The below picture is my hero of hero's in this life John LaPorta! I knew him from day one at Berklee to decades after I graduated- he stayed in touch with me as a friend and mentor.From 1969 till the year he passed- that is some kinda cool and hip person. THE BEST!
The picture was taken at a Joe Viola birthday party-outside Boston. John and his lovely wife and yours truly. John was the greatest educaor, person and player ever. When he saw me at the party- right off he said, " So Tim man, are you still hittin' on that crazy bassoon or what baby." He is a daily inspiration- the planet is not the same without him.
If your not hip to him -now's the time on that too. The most creative clarinetist of his era and then some,he played with Charlie Parker, Dizzy Gillespie, Miles Davis, Duke Ellington, Gunther Schuller, Herb Pomeroy, Billy Eckstine, Kenny Clarke, Lester Young, Max Roach, Hank Mobley, Bill Evans, Buddy Rich, Bill Harris, Fats Navarro, Oscar Pettiford, Helen Merrill, Neal Hefti, Johnny Mathis, and the big band Orange Then Blue. He was also impressive as a classical soloist, performing under Bernstein, Stravinsky, Stokowski and the Boston Pops.
BUT- In Berklee he set us all straight because he cared and loved the music. THIS WEEKS BLOG IS DEDICATED TO HIM. Thank you John from me and thousands of others for being there. 
|
|
