Recordings

Anthony Hamilton
Aquablue
Band of Oz
Billy Scott
Bill Deal
Bonnie Bramlette
Breeze Band
Candlewyck
Darryl Johnson
Daryle Rice
Dip Farrel and the
True Tones
Faction
Finger Poppin'
Floyd Brothers
Geoff Smith
George Hoar​​
Jackie Gore
John Eric Booth
John P. Kee
John Pikes
Kelly Collins
Marc Hoffman​

Mary Prankster
Mr Groove
Music Minus One
Pocket Songs
Pat Carpenter
Queen Latifah
Raggs Kids Club Band
Reference Jazz Etc.
Reinaldo Brahn
Root Doctors
Sea Cruz
Sound Choice Accompaniment Tracks
The Band Of Oz
The Carolina Boys
The Fantastic Shakers
The Four Tops
The Holiday Band
The Montuno Jazz Orchestra
​The John Brown Orchestra
Jim Brock
The Poor Souls
Trip Rogers
Up&Up SOLO PROJECT
Vanessa Bell Armstrong
Wayne Reynolds

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Industry Veteran Ricky Schultz says...

"The measure of a musician is their body of work.  It's what seperates the men from the boys.​

Credentials --- the company you keep. It takes time, opportunity, and in the end-real talent do such a thing. You have to put in many thousands of hours--you can't fake the funk.

What makes a body of work? Twenty years with both The Temptations and The Four Tops. Like a rock.

Having worked with a list of artists so deep, (Google it) from so many genres, that suddenly it hits you--TIM GORDON is one of those players--one of the clutch, go to saxophonists in contemporary music.

Dedicated to his art, Tim is a connoisseur-level musician. His dedication is apparent when you hear his sound. And suddenly it hits you again--you've probably heard him before, maybe even seen him along your musical journey.

SOULFUL, hip-smart, and technically brilliant. What else could you ask of a saxophone player?

Encyclopedic range, comfort with any kind of music, and besides all that? He's a real nice guy.


You're in for a real treat here. Tim Gordon has finally made a record of his own.

Enjoy,
Ricky Schultz

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Using Synchronous Formative Feedback to Facilitate Student Growth

Music Educators Journal, Volume 107, Issue 2, Page 51-57, December 2020. <br/>Music educators regularly provide students with real-time formative feedback in the classroom, but there are frequent opportunities to improve its utility and effectiveness. This article presents a model for examining synchronous formative feedback (SFF), offering music teachers tools to explore and enhance the feedback they share with students. In considering dimensions such as timing, specificity, and valence, music teachers can examine their own practice to refine SFF, improve efficiency, and enrich student learning.

Take Note: New Normal, with a Hefty Dose of Compassion

Music Educators Journal, Volume 107, Issue 2, Page 4-4, December 2020. <br/>

A Note from the Academic Editor: The Sunshine File

Music Educators Journal, Volume 107, Issue 2, Page 6-7, December 2020. <br/>

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