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Quinsin Nachoff: Magic Numbers

by AAJ Italy Staff
Quinsin Nachoff è un giovane sassofonista canadese, che - oltre ad aver collaborato con il suo illustre compatriota Kenny Wheeler - ha sviluppato un certo interesse per la musica europea. Quella di John Taylor ed Ernst Reijseger, ad esempio, con i quali pubblicherà il suo prossimo album, ma anche quella più accademica, con il calore e la melodicità di Ravel e Debussy, e la forza dirompente del primo novecento (Stravinski, Bartok, Schoenberg, Shostakovich). La musica che ci propone in questo ...
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by Jerry D'Souza
Quinsin Nachoff is an adventurer. He is not afraid of going into the unknown, making his way through the recesses and finding something new and interesting. His career has seen him in the company of musicians who are constantly looking out, far out, into the horizon for that speck they can enlarge into something meaningful. Among them are John Taylor, Kenny Wheeler, Ernst Reijseger and at home, in Canada, Tim Postgate. Put him in this situation and he is an ...
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by Troy Collins
On Magic Numbers, Canadian saxophonist Quinsin Nachoff debuts an ensemble that delivers on the promise originally offered by the Third Stream. Combining a free-wheeling, improvisational saxophone trio and a rigidly regimented but highly creative neo-classical string quartet, Nachoff has found an equitable way to integrate the best elements of both worlds.
Nachoff's compositions are lush but labyrinthine. Interwoven string parts commingle with a rhythm section of astonishing dexterity for a dynamic session that veers from hushed whispers to ...
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by John Kelman
These days, marrying improvisational collectives with units more typically associated with classical music--from intimate string quartets to full-blown orchestras--is neither a revolutionary concept nor suggestive of the syrupy jazz with strings association it once had. Recent releases--eg. pianist Billy Childs' Grammy-nominated Lyric: Jazz-Chamber Music Vol. 1 (Lunacy Music, 2005) and pianist Steve Kuhn's Promises Kept (ECM, 2004)--have proven that it's no longer simply a matter of bringing together disparate musical aesthetics, but instead broadening one's musical definitions to allow the ...
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