Herbie Nichols Project/Ted Nash Double Quartet New School Jazz Performance Space, New York City November 18, 1999 The house is packed here at downtown Manhattan's New School Jazz Performance Space. Approximately two hundred people have gathered to hear the Herbie Nichols Project and the Ted Nash Double Quartet, two bands from the roster of the Jazz Composers Collective, a support network for like-minded jazz musicians. At the door is a student recruit handing out programs with band member bios and a listing of the evening's selections. This is very much a recital, not a club gig. The Collective takes presentation seriously, you see. There's an aura of intelligence surrounding their music, their events, even their promotional literature. But their seriousness is not to be confused with stuffiness. Saxophonist Ted Nash may be wearing a suit, but bassist Ben Allison is wearing a T-shirt. Nash, Allison, pianist Frank Kimbrough, and drummer Tim Horner are in both of tonight's bands. Rounding out the Herbie Nichols Project are Ron Horton on trumpet and fluegelhorn and Billy Drewes on tenor and soprano saxophones. (Drewes is subbing for Michael Blake, who plays on the group's new CD.) The other half of Nash's Double Quartet is actually a quintet, and an unusual one for jazz: Miri Ben-Ari and Joyce Hamann on violins, Ron Lawrence on viola, Tomas Ulrich on cello, and Erik Charlston on vibes and percussion. In his other life, Nash graces the sax section of Wynton Marsalis's Lincoln Center Jazz Orchestra. Marsalis in turn graces two selections on Nash's new CD, Rhyme and Reason (Arabesque). Contributing to the anticipation in the room is the fact that Marsalis will be the featured guest on the same two selections here tonight. Loosely speaking, Marsalis and the LCJO tend toward traditionalism while the JCC favors an avant-garde sensibility. But the presence of Marsalis and Nash in each other's groups illustrates just how slippery these categories can be. We're going to witness a meeting of the minds, an encounter between disparate but entirely compatible jazz philosophies.
Kimbrough and Allison formed the HNP to honor pianist and composer Herbie Nichols, who died in obscurity in 1963. The group has recorded two CDs on the Soul Note label, 1996's Love Is Proximity and 1999's Dr. Cyclops' Dream. The first disc primarily features material which Nichols himself recorded. But the new release contains something quite novel: tunes and/or fragments of tunes that were unearthed in lead sheet form and have never seen the light of day until now. As Allison explains from the stage, "A lot of this music has no precedent."
The group, therefore, had little choice but to grant itself wide creative liberties in preparing this music. Allison freely admits that he and his bandmates brought their own compositional, orchestrational, and aesthetic sensibilities to bear on Nichols's work. "We have no right to do this, we're just doing it," says Allison. "No one's asking us to do it," he continues, and before he can finish the thought, Nash grins and interjects, "but no one's asking us to stop."
Nash, Horton, and Drewes begin the set by playing "Crisp Day" and "Blue Chopsticks" simultaneously, i.e., two horns play one melody while the third horn plays the other. This juxtaposition appears on Love Is Proximity as an arrangement for the full band; here the horns perform it alone as a brief and irreverent fanfare. Then Allison sets up "Swan Song," an infectious melody which the band superimposes over a slightly ominous 5/4 vamp. Drewes, Horton, and Horner solo.
Off to an inspiring start, the set continues with the fabulous, Mingus-like "Bartok" and the dark, opaque ballad "Dr. Cyclops' Dream." Kimbrough and Horton lay out for a bluesy tenor battle on "Beyond Recall." "Valse Macabre" features the arresting front line of Nash's alto flute, Horton's fluegelhorn, and Drewes's soprano. And the up-tempo finale, "It Didn't Happen," contains a dramatic highlight: The band drops out while Drewes blows soprano over knotty changes laid down by Kimbrough. Drewes's soprano sound is breathy and tactile; you can practically reach out and touch it. Drewes and Nash also bring richly complementary tenor approaches to the band. Their playing is equally modern in content, but Nash's tone is bright and of Mintzer/Berg vintage, while Drewes is more old school, with a round, velvety sound.
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid. For some reason I remember an arrangement of Hey Jude they did. My first real exposure was Stan Kenton in the Smithville, MO high school gym. Kenton and the band director there were old friends, so he would play there from time to time. My dad took me without telling me where we were going and it was the only show he ever took me to. I remember that Bobby Shew played Send In Clowns and I damn near levitated I was so excited. The huge sound and amazing chords floored me. I believe I was 13 at the time. I immediately started practicing and taking lessons. Music became a passion and nearly a career. I also listened to Dick Wright's Jazz Show on KANU every night. I can't even start to explain what I learned lying in bed listening to Dick talk about jazz. I met him once when I was struggling to put together a solo for Joy Spring playing in a combo at KU. Stopped by his office and asked for recommendations. He showed up at my jazz ensemble rehearsal the next day with a tape with example solos. What a kind man Dick Wright was.
My advice to new listeners is to stop worrying about what music is important and focus on music you like. I spent quite a bit of my music life listening to important music I didn't necessarily like. Must say I have quite a bit more fun now listening to music that I deeply enjoy. Some of it is even important.
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