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Distinguished SOTW Columnist and Saxophonistic Art
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Discussion Starter · #1 ·
Thought I would share this....

Here's an MP3 from the Tim Price audio page at my web sight. From Long Island NY jam session 'bout 1986 or so. In any case, I felt good that day & the music was fun & loose. ( As it should be!)

Big thanks and kudos to Brian Falkowski for transcribing this solo on " Softly As A Morning Sunrise"- HE DID A GREAT JOB! The transcription is here as well.

I got a real laugh out of his Email telling me he was only 2 when I did this. He said he's off to take it thru 12 keys so I'm excited about that.

Hope you guys really enjoy it.

For the tech minds out there; I was using a Lawton 10star-bb mouthpiece and Rico brown box #5 reeds. Remember those great reeds??! Enjoy!

Solo is here; http://www.timpricejazz.com/audio/tenorjam1.mp3

I could of played better/more so I felt good but you always feel like there's things that_SHOULD OF_and could of been better....Though I felt good about where this went.

Hope you enjoy it.

Thanks to Brian Falkowski too....GREAT TRANSCRIPTION.
 

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[Big thanks and kudos to Brian Falkowski for transcribing this solo on " Softly As A Morning Sunrise"- HE DID A GREAT JOB! The transcription is here as well.
That's great! As I've mentioned elsewhere (just a month ago!), that particular clip of yours is chock-full of wholesome goodness, and was on my sooner-or-later list of stuff to transcribe -- I guess I can retire it from the list... Hats off to Brian and you!
 

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Tim, do you realize how happy a man you have just made me?!! I was planning on beginning to transcribe this same solo next month. It IS a great solo, so don't be too humble about it :)
A 10* mpc with a #4 reed??? WOW! I can barely manage a 7* with a 2.5... You really amaze me, man! :headbang:
 

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I could of played better/more so I felt good but you always feel like there's things that_SHOULD OF_and could of been better....Though I felt good about where this went.

Hope you enjoy it.

Thanks to Brian Falkowski too....GREAT TRANSCRIPTION.
Golly, I made the mistake of clicking on the mp3, and now I have to print out the transcription and try to learn at least the front 98 bars of it (i.e. to end of page 3). As Kelly has mentioned, it is chock full of goodness indeed! I especially liked the bits where you went out. I've been wanting to learn that for decades now. If I get out inadvertently, I usually can't find my way home lol.. I'm sure you could have played it 'better', but it is excellent as it stands.

I don't know if it might be possible for you to make that clip downloadable via a link on your site or something. It would be invaluable aid for those of us interested in working on the transcription.

Thanks again for sharing yet another nugget. You are a generous gent!
 

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Wow, what a great solo, Tim. Beautiful tenor sound and flowing ideas. The chromaticism moments were Frank Tiberi-esque.
Excellent job on the transcription, dude!
 

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Discussion Starter · #7 ·
Wow, what a great solo, Tim. Beautiful tenor sound and flowing ideas. The chromaticism moments were Frank Tiberi-esque.
Excellent job on the transcription, dude!
Yo Steve- Thanks my friend. There was a open end in the rhythm section- via using a guitar- so thee was my doorway. Again, I get into where a_BAND_sits then TRY to go from there. Tiberi!? I WISH! LOL...I love Ti' but the thing your hearing is a long association with Boston jazz teacher the late Charlie Banacos. Plus- I kinda ws starting to think more vertical there...as I say starting.That said, IF YOU LOOK AT THE INTERVALS...AND THE INTERVALLIC WAY THE LINES ARE...you can catch my vertical suggestion. Also-that stems from a huge study of Eric Dolphy. Not "licks" but shapes.
It's an up hill thing, day to day and I'm trying.

NEXT TIME, I'm in LA for sure we gotta hang and session-It would be a great joy.
 

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Discussion Starter · #8 ·
Tim, do you realize how happy a man you have just made me?!! I was planning on beginning to transcribe this same solo next month. It IS a great solo, so don't be too humble about it :)
A 10* mpc with a #4 reed??? WOW! I can barely manage a 7* with a 2.5... You really amaze me, man! :headbang:
More so a #5...tho' in my recent years I think I was working to hard. Or so I thought. My " Monday Morning Quarterback" at times thinks to often for a low wage employee-haha.

Thanks and I knew you guys would enjoy it. :lick:< Don't forget to do a lot of Sonny Stitt, BIRD, Wardell Grey, Fathead,JR Monterose, Sal, Moody,DOLPHY, Jug, Wayne, Illinois John Gilmore and early Trane too! Those guys are some my hero's > The GREAT thing about music is that it's bigger than all of us! I got to keep practicing, that's what I know.

Kelly thanks...I dig how this guy transcribed the 8th notes. CLEAN!!!! EXACT!!
 

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Discussion Starter · #10 ·

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I’m studying the transcription of the solo and I have a question regarding the improvisation from bar 75 to bar 82.
In these bars it seems to me that Tim is playing “outside”: he starts and finishes the bars on Dmin7 but in the middle he superimposes Ebmin7 chord on Dmin7 chord (and related II-V).

Is it correct?

Thanks
Maurizio
 

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Discussion Starter · #12 ·
I'm studying the transcription of the solo and I have a question regarding the improvisation from bar 75 to bar 82.
In these bars it seems to me that Tim is playing "outside": he starts and finishes the bars on Dmin7 but in the middle he superimposes Ebmin7 chord on Dmin7 chord (and related II-V).

Is it correct?

Thanks
Maurizio
Maurizo-cool thinking! ALSO- My stream of thought when I solo, is based on the ideas/concepts I study- but also on the ability as I call it - TO HEAR IS TO SEE. That "section"
you mention is case in point. As a student at Berklee Steve Grossman's brother Hal, had me checking out Freddy Hubbard solos, where Freddy was doing things like this. ( Check Freddy playing with Trane and on the Impulse records )

Years later there were _TONS_of chord substitutions that Charlie Banacos had me doing. NOW-Check what I'm going to tell you- I was hearing things to play, and still do ( if I'm lucky- and study hard enough!!) but NOT in a "lick to lick" thing. More HARMONIC or INTERVALLIC. Got it? Study the_SHAPE_of that solo. You'll hear whatI mean- then look at the lines and where the lines arch and get vertical- then you'll see how I was thinking. AT THAT MOMENT.

If you want to get more into this....LISTEN FIRST THEN TRANSCRIBE THESE;

But most of all LISTEN TO ENJOY and understand shapes ;

Joe Henderson " Night & Day " from INNER URGE

Joe Henderson " Passion Dance" from THE REAL McCOY

Coltrane- " Little Old Lady" from COLTRANE'S SOUND

Coltrane- " MR PC " From - GIANT STEPS

Wayne Shorter- " Footprints" from MILES SMILES

ANYTHING BY- BERT WILSON , AND ALSO VINCE WALLACE.

In my book- Great Tenor Sax Solos a transcription book there is a John Coltrane solo on the tune "Bye Bye Blackbird" from a live European tour in 1962. This solo displays some classic Coltrane. If you check with guys who are worship Trane via his stature as a Idolo < A cool Italian word I learned for Idol. Kinda am diggin' it) - It's a given that that solo in my book is NOT easy to notate! As a life long student of this music, that solo IS a major source for harmonic information on John Coltrane. Also the alternate fingerings I use on " Softly" are based on that, BUTALSO, Those same fingerings I use when I play Rhythm & Blues or Rock! Let us remember Trane was a great blues man as well. That last half of that solo, and " the tag" in particular had a extreme impact on my realization of harmonic superimposition. II-V's in minor, Dom7 subs and so- which also were explained deeply to me via Banacos. Ditto many solos from early Pat Martino records that were easily playable, yet exhibit very good coloration and excellent phrasing.

Many times, a ii-V progressions in a minor key could be sounding too diatonic. For example- a ii-V progression in A minor might consist of | Bm7b5 E7 | Am-maj7 |. If we try to build a ninth chord from the E7, we see the that the F natural in the key of A harmonic minor generates an E7b9 chord, with no special alterations, this progression could imply B locrian, E HW diminished, and A melodic minor. The things you can apply once you get thinking, are endless.

If you need more details- Email me I'll be glad to share.

ALSO-Listen to Beethoven's Fur Elise. Listen to the chords! HAVE FUN!! :)

HOPE THIS HELPS! :)
 

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Discussion Starter · #13 ·
I'd like to thank the folks, who like Kelly Buchegere & the others that brought my attention to this point in my playing. Also Brian's beautiful transcription.

Via that period- The other cut- " Someday My P.W. Come"..is a shorter solo-Tenor hits at @340 in.
This is a different rhythm section at the jam-as the guitarist is kinda over playing, but ok.
Tho-this makes me go thru my tapes and think about putting some more in-if they are in tact.
http://www.timpricejazz.com/audio/tenorjam3.mp3

So, It got my mind rolling. I was going thru older files today. A local friend, started a small short lived local " Jazz Society" then. My core group in in the enclosed PDF picture.

Randy Sutin- Vibes ( one of the greatest 4 mallet players )

Cedric Jensen - Drums ( Who I know sinse Berklee in 1970)

Chris Laugh- Bass ( sp? ) A swingin' young cat at that point. This 23 years ago.

This era I just spoke of, was a departure. I changed horns and mouthpieces. I had a Guardala tenor/ and a bunch of great custom pieces. I also remember I was selling, thru ads in sax journal " Charpen" reeds. As my "other" reed via the brown box Ricos. < Guardala hated those reeds, but then again, he wasn't playing them I was. And I made that clear, and he was cool.>

This band played standards, re-harmonized tunes I did via my lessons with Banacos, and free playing. We played clubs between Jersey/ Trenton Eg- Joes Mill Hill in Trenton, a club in Ft Dix on Sundays- often with Cecil Payne, joints here where I reside in Reading,Pa and also places in Newark and Wilmington. You get the idea. WE WANTED TO PLAY. We NEVER played for the door- we always kept a fee going. Usually about 90 bucks a man, and we got it. But NEVER for the door- to me that kicks every cat in the testys.

POINT IS- To induce forward motion, this music MUST be performed. I urge people of all ages to get out there and play live gigs. Get a core band - put some tunes together YOU want and go for it. if you wanna play jazz...play jazz. Try, try and keep trying.

Anyhow- Other thoughts are in my mind, but I got a deck, and garden bed full of pepper plants so....I gotta go water em'. I just had a great home grown fried pepper in oil and egg white on 5 grain bread for breakfast after I mowed my grass this AM. So I'll post, a Re-har here. But wanted to get guys thinking forward- DO IT.

Ya know- DO IT!!

Enjoy the re-har on " Violets For Your Furs" - I was on a big JR Monterose thing then- and his version of this was my inspiration. Concert part.

ALSO- A few pepper plants on my deck! These are a groove! Yum!:mrgreen:
 

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2:58 - 3:02 made me think of Warne Marsh. He'd play somethin like that and hang on an out note like that. Hip. I don't know what happened theoretically but the feeling is there.

You're goin for it man. I appreciate the enthusiasm you have for the music and for sharing. It's wonderful to see.
 

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Tim, the peppers look awesome. What size of them are you using, a 10?
 

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Discussion Starter · #16 ·
Tim, the peppers look awesome. What size of them are you using, a 10?
Habanero and Thai chilies can go as high as 60,000.:mrgreen:

I also have a large stash of Mole' going too, really interesting pepper,classic mole version is that variety called mole poblano. Very popular in Mexican food dishes and an asset to the pepper family.

The Thai chilies, are also some of my favs-I planted thai dragon chiles as well.
I have a recipe for an Glass Noodle Salad aka-Nigella Lawson that the dragon chilies are perfect with.

HUNGRY YET?:bluewink:
 

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Discussion Starter · #17 ·
2:58 - 3:02 made me think of Warne Marsh. He'd play somethin like that and hang on an out note like that. Hip. I don't know what happened theoretically but the feeling is there.

You're goin for it man. I appreciate the enthusiasm you have for the music and for sharing. It's wonderful to see.
Thank you...if you hold back when you solo you have gained nothing. Improvising is a NOW thing....as we all now. The area you spoke of...hangin' a note out there...it has be heard as it's played. As I said the -NOW.

ThANKS FOR THE KINDS WORDS...
 

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Habanero and Thai chilies can go as high as 60,000.:mrgreen:

I also have a large stash of Mole' going too, really interesting pepper,classic mole version is that variety called mole poblano. Very popular in Mexican food dishes and an asset to the pepper family.

The Thai chilies, are also some of my favs-I planted thai dragon chiles as well.
I have a recipe for an Glass Noodle Salad aka-Nigella Lawson that the dragon chilies are perfect with.

HUNGRY YET?:bluewink:
yumee, yumee
 

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Mole Poblano is WHERE IT'S AT. With bitter chocolate, y'all!
 

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Discussion Starter · #20 ·
Mole Poblano is WHERE IT'S AT. With bitter chocolate, y'all!
BEAUTIFUL!! You guys are making me seriously..consider peppers n' toast for breakfast- LOL!!! Bitter chocolate, now your talking but NOT to much. We need that ying n' yang in the taste buds:lick:

But also check my peppers on yesterdays hot dog!! One had onions that WERE RAW AND COOKED AND THE OTHER TOTAL PEPS!!! À BON ÊTRE VRAI!


OK- FWIW- Here's a new Rico Blog ; A book I firmly believe in. Enjoy.
Tim Price Bloggin' For Rico...The Mysticism of Sound and Music / What A Wonderful World.
The Mysticism of Sound and Music/ What A Wonderful World....Tim Price Blog For Rico Reeds.

This book is a compilation of the teachings of Hazrat Inayat Khan. Born in India, Khan was a firm believer that life responds to sound as vibration. All else flows from this. http://ricoreeds.blogspot.com/2011/07/tim-price-bloggin-for-ricothe-mysticism.html
 

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