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ALBUM REVIEWS

Ted Nash Big Band: Presidential Suite (Eight Variations on Freedom)

Read "Presidential Suite (Eight Variations on Freedom)" reviewed by Karl Ackermann

As we live through the most contentious and divisive political cycle in US history, the Ted Nash Big Band Presidential Suite: Eight Variations On Freedom couldn't be more relevant. The significance hits home quickly and pointedly as former Connecticut State Senator Joe Lieberman follows the opening “Overture" with words of JFK that say, in part: ..."civility is not a weakness...." Nash is well known for his role in Wynton Marsalis' Jazz at Lincoln Center Orchestra, an association that ...

INTERVIEWS

Ted Nash: The Goal Is Creativity

Read "Ted Nash: The Goal Is Creativity" reviewed by R.J. DeLuke

A New York City morning often starts early, sometimes 6 a.m., for this musician who is trying to elongate the hours available in a day. There's a lot to get to. Practicing the saxophone or flute. Sitting down to go through the elusive and demanding task of writing music worthy of the plateau, which these days seems to be a lot about commissioned work.Ted Nash is in demand.On the heels of his striking, and Grammy nominated, ...

NEW YORK BEAT

The Ted Nash Quintet at Dizzy's

Read "The Ted Nash Quintet at Dizzy's" reviewed by Nick Catalano

It seems just yesterday that Wynton Marsalis filled the chairs in the new Lincoln Center Jazz Orchestra with young unknown musicians. But here it is 2010 and most of the initial personnel have gone on to become important jazz figures leading their own groups and recording prolifically.

Among the most notable of these is Ted Nash. Born and raised in L.A. under the early tutelage of his father trombonist Dick and his uncle reedman Ted, young Nash played piano at ...

ALBUM REVIEWS

Ted Nash: Portrait in Seven Shades

Read "Portrait in Seven Shades" reviewed by David Adler

The Jazz at Lincoln Center Orchestra (JLCO) is often derided as a bastion of conservatism, although it's not clear what is conservative about an epic like trumpeter Wynton Marsalis' Congo Square (Blue Note, 2007), with its volleys of Ghanaian percussion and ensemble-singing in the Ga and Fante dialects. For that matter, the JLCO accommodates boundary-pushing musicians like Ted Nash, who holds a multi-woodwinds chair while still doing offbeat work with the likes of bassist Ben Allison and pianist Frank Kimbrough--not ...

ALBUM REVIEWS

Ted Nash: The Mancini Project

Read "The Mancini Project" reviewed by Douglas Payne

While Henry Mancini (1924-1994) borrowed plenty from jazz, he returned in kind by contributing a large body of fine, memorable music worthy of the melodic jazz tradition. Much of Mancini's best film music--particularly those scores from the early 1960s--sprang from the “cool jazz" of the 1950s West Coast Scene and featured some of the era's best players. Aside from insanely catchy music, Mancini brilliantly fused instrumental colors and devised some of the cleverest musical patterns imaginable. Oddly, though, Mancini never ...

MEGAPHONE

Portrait in Seven Shades

Read "Portrait in Seven Shades" reviewed by AAJ Staff

By Ted Nash“Different themes inevitably require different methods of expression. This does not imply either evolution or progress; it is a matter of following the idea one wants to express and the way in which one wants to express it. - Pablo Picasso About two years ago, Wynton Marsalis, artistic director of Jazz at Lincoln Center, asked me to compose a long-form piece to be performed at some future date by the Jazz at Lincoln ...

ALBUM REVIEWS

Ted Nash and Still Evolved: In the Loop

Read "In the Loop" reviewed by Brian P. Lonergan

Ted Nash and his Still Evolved quintet's thoroughly appealing In the Loop opens with a strong whiff of the early to mid-'60s Blue Note era, as if the wind which filled the sails of Maiden Voyage stirred again to nudge Nash's embarkation. The opening original “Kensington High, with its misty atmosphere of cymbals and snare rolls and its minor key modal feel, features an appropriately contemplative solo by pianist Frank Kimbrough and the first evidence of Nash's robust, firm and ...

ALBUM REVIEWS

Ted Nash & Still Evolved: In the Loop

Read "In the Loop" reviewed by Jim Santella

Ted Nash's modern mainstream quintet creates impressions that let your mind run free. Like his band's eponymous Palmetto debut from 2003, In the Loop features the leader's compositions in a creative, emotional affair. Much of the program resembles the work that Nash does with Wynton Marsalis and the Lincoln Center Jazz Orchestra, mixing tradition and invention together in one adventurous melting pot.

Nash, 46, has a creative tenor style and enjoys the freedom that this format allows. There's ...

ALBUM REVIEWS

Ted Nash: In The Loop

Read "In The Loop" reviewed by Troy Collins

For In The Loop, tenor saxophonist Ted Nash reconvened his mainstream quintet, last heard on Still Evolved (Palmetto, 2003). Trafficking in fresh interpretations of straight-ahead jazz, Nash's quintet may not be as conceptually unorthodox as his global jazz ensemble, Odeon, but his freewheeling aesthetic flourishes regardless of the setting.

Nash is no stranger to traditional forms of jazz, having spent his formative years playing with Lionel Hampton, Gerry Mulligan and Louie Bellson, among others. Currently a member of ...

ALBUM REVIEWS

Ted Nash: La Espada De La Noche

Read "La Espada De La Noche" reviewed by Budd Kopman

The first thing you notice on “A Night in Tunisia, which opens the wonderful La Espada De La Noche, is the accordion, which is not the most heavily used instrument in jazz, to say the least. The next thing is Ted Nash's beautiful, soft, caressing sax sound, followed by the “full band, which excludes a bassist but includes Clark Gayton's tuba and Nathalie Bonin's “straight violin. The main theme is then treated as a tango mixed with a Eastern European ...

MULTIPLE REVIEWS

A Love Supreme and La Espada de la Noche

Read "A Love Supreme and La Espada de la Noche" reviewed by Joel Roberts

For years, jazz artists have shied away from A Love Supreme, treating it as somehow too iconic, too hallowed or at least too uniquely tied to its composer to cover. Who would dare try to improve on the perfection the Coltrane quartet achieved on their legendary 1964 Impulse! recording? Wynton Marsalis, that's who. And it's a good thing. As one of the most important, popular and magnificently realized works in the jazz pantheon, A Love Supreme deserves its place in ...

ALBUM REVIEWS

Ted Nash & Odeon: La Espada De La Noche

Read "La Espada De La Noche" reviewed by Chris May

Best known for his work within straight-ahead classic jazz--from early apprenticeships with the Lionel Hampton and Quincy Jones bands through today's collaborations with Wynton Marsalis--Ted Nash has used his Odeon projects to show another, more outward looking and, some might say, more interesting and innovative aspect of his musical interests. With Odeon, Nash weaves tango (and a dash of East European street music) into the New Orleans to Lincoln Center straight-ahead tradition to create an inventive, lyrical, and frequently playful ...


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