TIM PRICE - Lynyrd Skynyrd, Rachel Z, Bill Goodwin


The DATTA, KALI and DURGA are the most extraordinary metal mouthpiece I have ever played. They create a grace and freedom that is just perfect. The pitch is super even on varied horns and it does NOT exasperate your chops at all like other metals.The GAIA is deep, full, and huge. It's got a vibe I'm loving. Man is it strong.Theo has created mouthpieces that are totally profound! The originality of these new pieces, such as the KALI, DURGA and GAIA, shows Theo's culminating work in his distinguished career. They are beyond my dreams. He truly is one of today's innovators! I urge you to check out these savvy new mouthpieces by Theo, and be ready to embark on a prolific and creative journey.


Tim Price, a Berklee College of Music graduate, is one of the country's foremost woodwind artists. Also as one of the Selmer Company's most requested clinicians, Tim travels worldwide performing with and teaching student and professional jazz ensembles. Tim teaches jazz saxophone at the New School University in New York City, one of the best jazz schools in the world too.

Tim's bands feature world class stellar players like Lew Tabackin, Rachel Z, Allison Miller, and Scott Lee. His North Sea Jazz Festival backup band consisted of Bennie Green on piano, Ray Drummond on bass, and Carl Allen on drums with special guest superstar tenor titan Hans Dulfer. He has played with musicians like Bennie Green, Ray Drummond, George Russell Orchestra, Jon Mayer, Greg Bandy, James Gadson, Butch Morris Conduction Orchestra,Don Patterson, Billy James, Major Holly, Alan Dawson, Bill Doggett, Jack Mc Duff, Cecil Payne, Richie Cole, Ernie Watts, Charlie Watts from the Rolling Stones, Gary Burton, Doc Severinson, Dr. John, Phil Woods, Charlie Mariano, Shirly Scott, Trudy Pitts, Sonny Stitt and Ernie Krivda, Sue Terry, and John LaPorta. He's spent years in the trenches with the big bands of Tommy Dorsey under both Murray McEachern and later Buddy Morrow, Glenn Miller under Buddy DeFranco, Cab Calloway and Harry James. In addition, he's done various soul and rock gigs with folks like Aretha Franklin, Billy Paul, The 5th Dimension, Lou Christie, Four Tops, Lynyrd Skynyrd, Bob Weir & RATDOG ( as a special guest) as and many many others from that idiom.Tim has a CD with Sue Terry and two releases under his own name this year. As a clinician Tim has instigated a 'Tribute To Oliver Nelson' in Saint Paul, MN as well as been a favorite as a clinician and artist at the prestigious Cape May Jazz Festival.

Tim has also been a feature writer for " Sonic" magazine which is published in Germany. ( But also in Dutch as well) Doing extensive improvisational saxophone workshop articles for them for over 8 years, as well as a 20 year span of journalism with Saxophone Journal which was instigated by his mentor Joe Viola. Tim's writing is also featured on over 67 sets ( and counting! ) of liner notes on CD and records by artists like Jerry Bergonzi, Ray Pizzi, David S. Ware, Bert Wilson and many other artists. He was also part of the " Planet Hope" project with long time friend and jazz legend drummer-composer Artt Frank ( Chet Bakers life long drummer) along with actress Sharon Stone and her sister Kelly Stone.

Tim is available for worldwide travel involving concerts, workshops, recording and teaching.

Contact him for concerts/workshops and clinics at; timpricejazz@aol.com.


Why did you choose to become a musician?
It's easy, the music chose me. When somebody has a situation where they're playing music at an age like I was in 8th grade. At that particular time there were only 3 TV stations. I had no distractions, I had already gotten the sports bug out of my system due to a bout with scarlet fever I had as a kid. So for a few weeks I was restricted from sports, at that same time I had started saxophone lessons in 8th grade. A woman who worked with my mother at the telephone company was a Gerry Mulligan fan, she had given my mom a Gerry Mulligan record for me with Chet Baker and Chico Hamilton. My attention span was captured by that music. A few days later I found a radio station in Philly that was on all the time. I heard Lee Morgan play the " Sidewinder" . I had no idea who Lee Morgan was and no idea that I was listening to Joe Henderson until I saw his name. Something in the music, whether it was the freshness of how Mulligan or Lee Morgan played or something else that I couldn't put my finger on drew me in. From then on I was listening to the radio, taking my saxophone lessons, and playing in school bands in Junior High. I saw an ad for Berklee in a Downbeat. I realized that at that particular point in time I had to go there. From then on I realized where my path was.

What is your experience when you feel connected into the music?
This question could be answered a number of ways. I'll be blunt-THERE'S NOTHING LIKE IT IN THE WORLD! There's a euphoria and a feeling of deep interaction with what you're creating. You're inside something. I'm not standing there trying to be someone else by playing someone else's style or licks. My goal is to start from zero and try to add something to the music. This is something I've learned and been influenced by studying with masters such as Charlie Mariano, who has a great internalization of not only saxophone command but commitment to creativity. You have to understand even if you're playing simple triadic rock n' roll or the most harmonically ad vanced stuff. You're going for a groove. I have an unreleased CD that's called " Bombay Bar Walking" , and the vibe is no matter if you're at a corner bar in Philly and you're playing tenor in the pocket or you're sitting crossed legged with a tabla player to your right-no matter what you're going for that zone. I also stay neutral to all musical appetites.It's a personal thing.Personal is of supreme importance to me. That means to be oneself in any given setting.I am an unabashed eclectic, meaning interested in many different musical idioms.This goes back to my formative years, when I was exposed to all styles of music which I was involved in. Great rock & roll bands, playing creative jazz everyday at Berklee where I graduated from,playing organ group funky jazz in the " Combat Zone",backing "soul" acts and big bands. Also sitting in the same room with my mentor Charlie Mariano playing, studying and getting life lessons from that master innovative genius. I was always attracted to many diverse areas of music and when I began to construct my own musical landscape I found a "zone" within' the path I was seeking. That's where its at. That zone that everyone looks for is as important as anything. That is my spring board.

What is your experience of when you don't feel connected to your music?
When you don't feel connected or things start to feel out of focus, I immediately start to leave a little bit more space so people can start to listen. By doing that the music will start to gel in a different way, its like a rug. If the rug has too many patterns and too many intense colors, like black/orange/brown, nobody, even the rug maker will be able to see the design. I urge all musicians to always let simplicity stay in their back pocket. Its a necessary tool and applicable to all music's.

Where does your inspiration comes from? What does it feel like?
My inspiration comes from the masters. And by that I mean having respect for what came before me and the people who created it. There's nothing in this world that's more inspiring than listening to Dexter Gordon play a blues. The average person walking the street has no idea who Dexter Gordon is and no clue to what sitting down and listening to an artist like that can do for you. That might be more of a therapeutic thing for the human race than handing out hand fulls of prozac and riddelin  . When I was a kid I would kick back and put on a record in the mid-60's when I was in high school of Sonny Stitt and Gene Ammons, that music came from such a great place emotionally that no matter what happened that day I was chilled out.Hearing Charles Lloyd opened my mind as well- his message is still in my ears.To take it a step further I've been very lucky in my life that the tenor saxophone has been part of my DNA.  It's an inspiration that goes far beyond any words I can say. Hopefully its something people will hear in my music.

What is your experience while improvising? Does it relate to any spirituality you may practice in your life?
My experience can be summed up into something I heard Stan Getz refer to as the "Alpha State". This is a frame of mind and again something similar as I've described earlier about being in the zone. It's a very important mind set, not something that just happens. As musicians we should all be grateful that we can pick up our instrument and create. And that goes for just finding a reed, playing some scales to get loose, or rehearsing with friends just to play. There's a spirituality like no other in getting together with like minds and going into a room for the pure sake of playing and just looking at each other and saying... yeah; and letting the music transcend.

Where does your inspiration while composing come from? What is your experience of that inspiration like?
When I improvise, I try to keep in mind what pianist Paul Bley said about composition, "Improvising is composing in real time." If you're writing a lot it becomes a lot easier compositionally. I try to find a certain point in the day and just jot down four or more measures, or a sequence of notes I like in my notebook. For over 20 years I had the honor of studying with Charlie Bacanos. he prepared me for this kind of mind set. Keep in mind I was touching on it before, but I got more focus from Charlie. My inspiration comes from daily preparation and practice. It helps me move faster and also not lose track of what I'm hearing in my minds ear.

Do you have any fun stories of inspirational moments to share?
A few years ago, I had the honor of playing a Coltrane tribute at Loyola University in New Orleans with my friend Tony Degradi on saxophone and a great band that included drummer Stanton Moore from the band Galactic. This concert was done on Trane's birthday, a year before Katrina. We had a great program of music prepared. The night before we played at The Snug Harbor Club to a packed house. It was great feeling being in New Orleans and playing with these musicians. As the gig started I felt a very deep connection within the music. We were playing Trane based music, obviously. I had rearranged some of the tunes like "Ole" for me playing electro-bassoon and Tony on Soprano Sax. In addition we were hitting some two Tenor things that just gave me chills. As the gig went on everything was where it was suppose to be and just kept going and going fantastically. At the end of that gig I had a feeling from being in New Orleans where there's a very deep spiritual vibe and playing this concert on Trane's birthday-something I've never felt in my life, it was really cool to say the least.