Dave Bass - No Boundaries

Styles: Piano Jazz
Year: 2019
Time: 72:40
File: MP3 @ 320K/s
Size: 167,1 MB
Art: Front

(5:31) 1. Lennie’s Pennies
(7:13) 2. Spy Movie End Credits
(4:40) 3. Agenbite of Inwit
(6:20) 4. If I Loved You
(6:07) 5. La Mulata Rumbera
(4:29) 6. Tango Adagio
(4:08) 7. Time of My Life
(5:24) 8. Siboney
(5:49) 9. Neither Have I Wings
(7:05) 10. Danzon #1
(5:09) 11. Swing Theory
(6:44) 12. In The Rain
(3:55) 13. Hallucinations

In 2015, Dave Bass retired from the Office of the Attorney General of California after twenty years of service and returned to his first professional love playing the piano, a career that a wrist injury forced him to abandon about thirty years ago. No Boundaries is the third release, and second for Whaling City Sound, in Bass' comeback. "My first two CDs were recorded while I was still working as a lawyer, during whatever vacation time I could amass," he explains.

Bass seems intent on proving the title of No Boundaries by opening and closing it with tunes by two of modern music's most challenging pianists. "To my mind, Lennie Tristano and Bud Powell are connected, which is why I begin and end with their compositions," the pianist explains. "Just the linear approach in the heads show how they spent a lot of time playing classical repertoire, then went their own way." The oddly shaped melody of "Lennie's Pennies," which Bass has been playing since the 1970s, illuminates the colorful rhythmic and harmonic connections between his piano, Carlos Henriquez's bass and Jerome Jennings' drums. And Bass hauls piano ass through the closing "Hallucinations" like a jackrabbit with its tail on fire, tangling and untangling complicated and crackling lines like electric lightning.

Three tracks that swap Jennings out for percussionists Carlos Caro, Mauricio Herrera and Miguel Valdes pull No Boundaries into Latin jazz, but it's no stretch. "All three are from Cuba," Bass says, "and their rhythm is so strong that you can play anything on top of them." In "Siboney" and especially "La Mulata Rumbera," Bass illustrates precisely that, driving his piano through two different active lines simultaneously, twinkling and wrinkling the upper register while his left hand stomps out rhythm with flamenco fury simply great Latin jazz piano.

Bass just keeps pushing (stylistic) walls down: A cinematic moody brooding with saxophonist Ted Nash titled "Spy Movie End Credits" because it "just sounded that way"; channeling bop pianist Elmo Hope through the thick, knotty James Joyce nod "Agenbite of Inwit"; and a gorgeous "If I Loved You" that showcases Karrin Allyson's simply breathtaking vocal from the Rodgers/Hammerstein songbook.

Multi-instrumentalist Nash contributes saxophones, clarinets, and flutes, and co-produced No Boundaries with Bass. "I don't generally produce other people's records, but I really think that Dave is an evocative composer and I believe in his vision," suggests Nash. "I love his passion. He has the enthusiasm of a college student, plus maturity, and he's hearing very personal sounds." By Chris M. Slawecki https://www.allaboutjazz.com/no-boundaries-dave-bass-whaling-city-sound

Personnel: Dave Bass - piano Ted Nash - flute, alto flute, clarinet, bass clarinet, soprano sax, alto sax, tenor sax (all tracks except 13), Karrin Allyson - vocals (tracks 4, 7) Carlos Henriquez - bass Jerome Jennings - drums (all tracks except 5, 8, 10) Carlos Caro - guiro, bongos, bell (tracks 2, 4, 5, 8, 10) Miguel Valdes - bata, conga (tracks 5, 8, 10) Mauricio Hernandez - timbales, maracas (tracks 4, 5, 8, 10)

No Boundaries

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Ted Nash, Steve Cardenas, Ben Allison - Somewhere Else: West Side Story Songs

Styles: Saxophone Jazz
Year: 2018
Time: 49:50
File: MP3 @ 320K/s
Size: 115,9 MB
Art: Front

(5:36) 1. Jet Song
(4:47) 2. A Boy Like That
(4:04) 3. Maria
(4:00) 4. One Hand, One Heart
(4:00) 5. Tonight
(5:18) 6. America
(3:19) 7. I Have a Love
(6:09) 8. Something's Coming
(4:16) 9. Cool
(5:21) 10. Somewhere
(2:55) 11. Somewhere (Reprise)

When NEA Jazz Master Ron Carter was asked why he so often plays standards when so many musicians insist on writing their own tunes, he was typically succinct. “Artists are not necessarily the best writers, and the proof of that is that the only people who play their material is them. When the new guys write better tunes, then maybe I’ll play them.”

Multireedist Ted Nash, it should be noted emphatically, is a highly accomplished composer and arranger for ensembles both large (the Jazz at Lincoln Center Orchestra; his own big band) and small (his quintet and trio). His gorgeous 2016 Presidential Suite deservedly won him two Grammy Awards.

With no pressure to prove himself as a composer, Nash now takes on the daunting challenge of interpreting one of the 20th century’s greatest musical treasures, West Side Story. The songs that Leonard Bernstein and Stephen Sondheim wrote for it, steeped in the sounds of New York jazz and Latin music, have been played in jazz interpretations before, but the creativity that Nash and his trio-mates guitarist Steve Cardenas and bassist Ben Allison bring to the task are exceptional. They transform this passionate material into both a tribute to and a meditation on the songs’ surpassing beauty and power.

With just guitar, bass, and Nash alternating between tenor saxophone and clarinet, the trio deftly captures the expressive power of the Bernstein orchestrations with a few bold strokes, then riffs organically off them in constantly surprising ways. Whether it’s the relative complexity of the improvised, three-voice counterpoint with which they open “Tonight,” or the simplicity of Cardenas wrapping gorgeous improvised lines around Nash’s pure statement of the melody on “One Hand, One Heart,” the album is a revelation; three superlative musicians reveling in the Bernstein score’s most emotional moments with tenderness and candor. One has to believe the maestro, who loved the kind of jazz energy and imagination on display here, would have approved.
By Allen Morrison https://downbeat.com/reviews/detail/somewhere-else-west-side-story-songs

Personnel: Ted Nash: saxophone; Steve Cardenas: guitar; Ben Allison: bass.

Somewhere Else: West Side Story Songs

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Glenn Close & Ted Nash - Transformation

Styles: Vocal And Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 77:23
Size: 178,8 MB
Art: Front

( 8:07) 1. Creation, Pt. I
( 5:13) 2. Creation, Pt. II
( 7:03) 3. Dear Dad/Letter
( 3:32) 4. Dear Dad/Response
( 5:37) 5. Preludes for Memnon
(11:18) 6. One Among Many
( 8:39) 7. Rising Out of Hatred
( 8:05) 8. A Piece by the Angriest Black Man in America
( 8:37) 9. Forgiveness
( 3:13) 10. Wisdom of the Humanities
( 7:54) 11. Reaching the Tropopause

Transformation is a multi-disciplinary work from saxophonist/composer Ted Nash, and iconic actress Glenn Close, exploring the multi-faceted and abstract theme of transformation. The works included examine the theme from both universal and individual conceptions. Music and literature at its best is clearly transformative for anyone experiencing it. Transformation is by essence, the highest and most illuminating expression of change. Nash embraced the project by creating a colorful and illustrative collection of pieces, embracing Close's curated literary selections recited by the fiercely talented cast of Wayne Brady, Amy Irving, Mathew Stevenson and Nash's son, Eli Nash. In doing so, he has brilliantly utilized the full range of sounds and full spectrum of colors of his collection of voices from the Jazz at Lincoln Center Orchestra.

Close's attraction and motivation to delve into the idea of transformation grew from her observation of the collective human psyche of current times. She explains, "I am acutely aware of the amount of violence, cynicism, stress and anxiety being pumped into our collective nervous systems. We are so fractured and in need of healing. I want to create an experience from which people are comforted, but also inspired, to discover their shared humanity."

The opening two connected pieces, "Creation Parts 1 and 2," take on transformation at the very beginning of the creation of matter and our world. Close chose "Tales From Ovid," by Ted Hughes to illuminate the conception, recited by both Close and Brady. Nash's musical framework for the piece is accented beautifully by alto saxophonist Sherman Irby, and trumpeter Wynton Marsalis. "One Among Many" shifts the focus from the primordial, to the individual, telling the story of Judith Clark's transformation from prison life to freedom in New York City. Amy Irving's recitation brings this stirring tale to an emotive clarity. Wayne Brady recites his own text on "A Piece By the Angriest Black Man in America (or How I Learned to Forgive Myself for Being a Black Man in America." Beginning with a finger snapping rhythm, Brady tells his very personal experience as a black man in modern America, with his well known humorous and whimsical wit and intelligence.

"Dear Dad/Letter," and "Dear Dad/Response" is a narration of the coming out letter for Nash's transgender son, Eli, and a father's loving response of love and support. Recited with poise and humor by Eli himself, the two pieces are beautifully honest and demonstrative of the very best of the human spirit. Nash delivers a father's loving response with his composition, but more importantly, with playing a response instrumentally on soprano saxophone that is as graphic and understandable a narrative as any spoken word performance could ever be. His son's personal transformation in a very powerful way illuminates the stated inspiration for all of the works skillfully created and performed in this collection. Nash's very colorful and visual compositions are reason enough to take on Transformation as a listener. His well crafted orchestral jazz is highlighted by the fine individual work of JALC members Tatum Greenblatt, Obed Calvaire, Victor Goines, Carlos Henriquez and the aforementioned Nimmer, Irby and Marsalis. Like so many recordings arising out of this period of history surrounding the worldwide Covid-19 pandemic, the recording is offered as an expression of transforming forms of hardship and despair into hope and light.By Paul Rauch
https://www.allaboutjazz.com/transformation-ted-nash-tiger-turn

Personnel: Ted Nash: saxophone; Glenn Close: voice / vocals; Wayne Brady: voice / vocals; Amy Irving: voice / vocals; Matthew Stevenson: voice / vocals; Wynton Marsalis: trumpet; Obed Calvaire: drums; Sherman Irby: saxophone; Marc Phaneuf: saxophone, baritone; Victor Goines: woodwinds; Mark Lopeman: saxophone, tenor; Paul Nedzela: saxophone; Ryan Kisor: trumpet; Tatum Greenblatt: trumpet; Marcus Printup: trumpet; Vincent Gardner: trombone; Elliot Mason: trombone; Christopher Crenshaw: trombone; Dan Nimmer: piano; Carlos Henriquez: bass.

Additional Instrumentation: Eli Nash - spoken word

Transformation

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Herbie Nichols Project - Strange City

Styles: Bop, Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 53:53
Size: 124,1 MB
Art: Front

(5:49)  1. Moments Magical
(5:21)  2. Enrapture
(7:29)  3. Delights
(4:43)  4. Blue Shout
(4:38)  5. Strange City
(5:11)  6. Karna Kangi
(3:36)  7. The Happenings
(5:23)  8. Change Of Season
(6:39)  9. Some Wandering Bushmen
(5:00) 10. Shuffle Montgomery

Since 1992, the Herbie Nichols Project has been dedicated to performing the music of a gentleman who in his lifetime was sadly neglected but who left behind a body of work just as idiosyncratic and distinctive as that of Thelonious Monk. Following their two previous releases, Dr. Cyclop’s Dream and Love Is Proximity, the group now makes their debut on the Palmetto label with Strange City, a program made up almost exclusively by tunes that Nichols never recorded himself. Arguably, this set contains some of the ensemble’s finest moments on record to date. There’s much to discover here and the variegated program moves from the almost classical sounding “Moments Magical” that opens the disc to the quintessential “Shuffle Montgomery” that acts as a closer. Along the way there are ample opportunities not only to luxuriate in the compositional genius of Nichols, but also to admire the strong ensemble passages and the individual voices that make up the ensemble. Trumpeter Ron Horton is darkly lyrical on the title track, drummer Matt Wilson is intensely musical during his solo spot on “Blue Shout,” and pianist Frank Kimbrough taps the Nichols genius in a splendid trio take on “Karna Kangi.” These are just three highlights among a great program that not only interprets and extends the Nichols legacy but also speaks highly in regards to each group member’s individual muse. ~ C.Andrew Hovan https://www.allaboutjazz.com/strange-city-herbie-nichols-palmetto-records-review-by-c-andrew-hovan.php
 

Personnel: Frank Kimbrough (piano), Ben Allison (bass), Ron Horton (trumpet & flugelhorn), Ted Nash (tenor saxophone), Michael Blake (soprano saxophone), Wycliffe Gordon (trombone), Matt Wilson (drums)

Strange City

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Kristen Lee Sergeant - Smolder

Styles: Vocal 
Year: 2019
File: MP3@320K/s
Time: 48:04
Size: 110,5 MB
Art: Front

(4:50)  1. True
(5:17)  2. Balm / Burn
(5:50)  3. Afterglow
(4:16)  4. I'm Beginning to See the Light
(5:36)  5. Midnight Sun
(4:38)  6. It's All Right with Me
(3:58)  7. Show Me
(5:08)  8. Sconsolato
(4:59)  9. Smoke Gets in Your Eyes (These Foolish Things)
(3:28) 10. The Best Is yet to Come

Sometimes it takes an entire album, or even a few, to appreciate an artist's depth. But in the case of vocalist Kristen Lee Sergeant, you can get there in a song. Her morphing take on '80s new wave outfit Spandau Ballet's "True," revealing a theatrical streak and some pure and pliable pipes, does the job and then some. As an arranger Sergeant paints with beauty and perspective there, matching Ted Nash's alto flute to Jeb Patton's piano and making artful use of Jody Redhage Ferber's cello; and as a singer she balances passion and poise in her uncovering of the song's hidden angles and inner truths. It's a real achievement, and the first of many smart performances on Smolder. Regardless of what material she's working with, Sergeant makes her mark by molding a song and owning its intentions with wisdom and clarity. On "Balm/Burn" she works a seam that soothes and seduces all at once. Through "Afterglow" she explores post-romance in ruminative fashion, with Nash's alto saxophone shadowing her mood and upping the ante. During "I'm Beginning To See The Light" she shows a lighter side and more flexible phrasing, connecting with bassist Cameron Brown's supportive lines. And during the reduced-gravity introduction of "Midnight Sun," her vocal certainty in the face of the unknown helps to light the way. With the exception of Jimmy Woode's bossa-ballad "Sconsolato," the second half of the album focuses on classics that should be largely familiar to jazz-loving ears. But familiarity breeds a stretch here, as Sergeant expertly toys with form and flow. "It's All Right With Me" changes tempos and makes some sharp turns, with drummer Jay Sawyer steering with style and Sergeant stopping and shifting on a dime. And "Show Me" is twisted and tweaked, too. A shifting of gears and a play on moods carries the song to unexpected places. The parting selections further illustrate Sergeant's vision of personalized narrative embedded within known quantities. Binding "These Foolish Things" and "Smoke Gets In Your Eyes," she creates an unbroken ideal laced with cello charms. And adding Afro-Cuban sway to "The Best Is Yet To Come," she raises a glass to optimism on her way out. With insightful offerings and stylish arrangements, Smolder truly stands apart. Kristen Lee Sergeant is most certainly deserving of greater recognition. ~ Dan Bilawsky https://www.allaboutjazz.com/smolder-kristen-lee-sergeant-plastic-sax-records-review-by-dan-bilawsky.php

Personnel: Kristen Lee Sergeant: vocals, arrangements; Jeb Patton: piano; Cameron Brown: bass; Jay Sawyer: drums; Ted Nash: alto flute/alto saxophone; Jody Redhage Ferber: cello; Rogerio Boccato: percussion.

Smolder

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Ted And Dick Nash - The Brothers Nash

Styles: Saxophone And Trombone Jazz
Year: 2000
File: MP3@320K/s
Time: 30:18
Size: 70,8 MB
Art: Front

(2:47)  1. I Remember You
(2:38)  2. We'll Be Together Again
(2:54)  3. Juntos
(2:26)  4. Prelude To A Kiss
(2:39)  5. Bad And The Beautiful
(2:01)  6. I Could Write A Book
(2:09)  7. Back In Your Own Backyard
(2:27)  8. For Heaven's Sake
(2:34)  9. Cuban Verandah
(2:25) 10. The Nearness Of You
(3:05) 11. Night Soliloquoy
(2:08) 12. You Are Too Beautiful

Features Ted Nash on a variety of saxes, and Dick on trombone plus a group with Tony Rizzi on guitar, Jimmy Rowles on piano, Harry Babasin on bass, and Roy Harte on drums. Tracks are mostly familiar numbers, but inventively arranged by Frank Comstock and others and Ted really increases his range of reed work here, blowing on tenor, alto, and soprano sax plus flute, alto flute, piccolo, clarinet, and bass clarinet! Titles include "Juntos", "We'll Be Together Again", "I Remember You", "Cuban Veranda", "You Are Too Beautiful", "For Heaven's Sake", and "The Nearness Of You. ©1996-2019, Dusty Groove Inc .https://www.dustygroove.com

Personnel: Alto Saxophone, Tenor Saxophone, Soprano Saxophone, Baritone Saxophone, Flute, Alto Flute, Piccolo Flute, Clarinet, Bass Clarinet – Ted Nash ; Trombone – Dick Nash; Bass – Harry Babasin; Drums – Roy Harte; Guitar – Tony Rizzi; Piano – Jimmy Rowles

The Brothers Nash

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Wynton Marsalis - Big Train & The Lincoln Center Jazz Orchestra

Styles: Trumpet Jazz, Big Band
Year: 1999
File: MP3@320K/s
Time: 52:50
Size: 122,1 MB
Art: Front

(5:48)  1. All Aboard
(5:05)  2. Observation Car
(5:52)  3. Union Pacific Big Boy
(5:08)  4. Smokestack Shuffle
(2:50)  5. Northbound-Southbound
(2:23)  6. Dining Car
(2:24)  7. Night Train
(6:38)  8. Engine
(3:50)  9. Bullet Train
(3:27) 10. Sleeper Car
(2:10) 11. Station Call
(7:08) 12. The Caboose

All Aboard. In keeping with the Duke Ellington precedence, Wynton Marsalis has been composing longer and longer jazz pieces, music that approximates suites. Starting with The Majesty of the Blues (Columbia, 1989) and proceeding through Blue Interlude (Columbia, 1992), Citi Movement (Columbia, 1993), In This House, On This Morning (Columbia, 1994), Jump Start and Jazz (Columbia, 1997), and the Pulitzer Prize winning Blood on the Fields (Columbia 1997). Add to this list Big Train. Big Train is perhaps Marsalis most cogent and consistent composition in the suite genre. It is precisely composed and performed. Happy Go Lucky Special. The overwhelming influence here is Ellington. The rhythm of this disc is saturated with his unique saxophone express. What Marsalis brings to the mix is a more judicious use of space and the rhythm section. Ellington may never have written a note that was not necessary, but his compositions are busy pieces, even if blindingly brilliant. Marsalis, through the LCJO's rhythm section sets up an easy rhythm, sometimes chugging, sometimes walking, always propelling forward. If you find that hard to believe, compare "Union Pacific Big Boy,"Northbound-Southbound," and "Engine." But Ellington is not the only influence. "Smokestack Shuffle" is as much a Thelonious Monk piece as is "Friday the 13th." This disc is also quite instrument specific. As typical of a Marsalis composition, the listener is drowning in plunger-muted brass. Always a fan of the clarinet, Marsalis has written a good deal of clarinet into this piece with all of his reed players contributing on clarinet. This is a fun ride. The Big Train Reprise. Big Train is the fourth installment in the eight volume Swinging into the 21st Century set. It continues the provocatively creative trend that Marsalis has begun with the release of his Standards Volume 5 collection of Monk tunes. Marsalis is (not so) quietly creating a body of work within traditional jazz that should endure the future nicely. ~ C.Michael Bailey https://www.allaboutjazz.com/big-train-wynton-marsalis-columbia-records-review-by-c-michael-bailey.php?width=1920

Personnel: Wynton Marsalis: Trumpet and Director; Seneca Black: Trumpet; Ryan Kisor: Trumpet; Marcus Printup: Trumpet; Riley Mullins: Trumpet; Wayne Goodman: Trombone; Wycliffe Gordon: Trombone, Tuba; Ronald Westray: Trombone; Wessell Anderson: Alto and Sopranino Saxophone, Clarinet; Ted Nash: Alto and Soprano Saxophones, Piccolo, Clarinet, Bass Clarinet, Flute; Walter Blanding, Jr.: Tenor, Alto, and Soprano Saxophones, Clarinet; Victor Goines: Tenor, Alto, and Soprano Saxophones, Clarinet, Bass Clarinet; Joe Temperley: Baritone Saxophone, Bass Clarinet, Soprano Saxophone; Farid Barron: Piano; Rodney Whitaker: Bass; Herlin Riley: Drums; Roland Guerrero: Percussion; Doug Wamble: Guitar and Banjo.

Big Train

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Ted Nash Quartet - Out Of This World

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 76:59
Size: 176,5 MB
Art: Front

(14:05)  1. Out Of This World
(12:05)  2. Hope
(11:37)  3. City Hall
(12:16)  4. Sixteen And Eighteen
(16:04)  5. Sadness
(10:49)  6. Necessary Risks

Recorded live at the Carroboro Arts Center in Carroboro, NC in 1991, Out of This World finds Ted Nash's early 1990s quartet playing melodic and mostly "inside" hard bop and post-bop but going "outside" a few times with likable results. The performance marked the end of a three-week tour by the quartet, which included Nash on tenor sax, Frank Kimbrough on piano, Ben Allison on bass and Tim Horner on drums. Except for the opener, "Out of This World," this CD favors Nash and Kimbrough's own material over standards. The playing is mostly "inside" on "Out of This World," Kimbrough's pensive "Hope" and Nash's vibrant "City Hall," but more of an "inside/outside" approach is taken on Kimbrough's 15-minute "Sadness." Influenced by both Thelonious Monk and Charles Mingus, this angular piece finds the quartet alternating between bluesy testifying and dissonant "outside" playing. 

The set isn't as adventurous as some of the concerts that Allison's Jazz Composers Collective would hold in New York in the mid-to-late 1990s (some of which included Nash and Kimbrough). Still, this is a decent offering from a foursome that was cohesive and certainly swinging. ~ Alex Henderson https://www.allmusic.com/album/out-of-this-world-mw0000625930

Personnel:  Saxophone – Ted Nash; Bass – Ben Allison; Drums – Tim Horner; Piano – Frank Kimbrough

Out Of This World

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Wycliffe Gordon - The Search

Styles: Trombone Jazz
Year: 2000
File: MP3@320K/s
Time: 65:22
Size: 150,2 MB
Art: Front

(6:37)  1. Cheeky
(5:52)  2. What Is This Thing Called Love
(3:25)  3. He Looked Beyond My Fault (Danny Boy)
(5:29)  4. Frantic Flight
(7:16)  5. The Search (Part I and II)
(5:42)  6. Touch It Lightly
(4:31)  7. Georgia on My Mind
(2:49)  8. Sweet Georgia Brown
(5:14)  9. Blues for Deac'n Cone
(5:43) 10. Sign Me Up
(5:05) 11. Stardust
(5:22) 12. Ba-Lue Bolivar Ba-Lues
(2:12) 13. Rhythm-A-Ning

Nagel Heyer knows a good thing when it sees or rather, hears it. It has brought trombonist Wycliffe Gordon to the studio or captured him at live performances several times during the year, either, as here, as a leader or as a sideman with other Nagel Heyer jazz artists. Judging from the play list expand Gordon's recorded output. Consequently, the CD's agenda includes not only some classic standards, but modern music by Thelonious Monk, a couple of blues things and five originals by Gordon. Gordon and his colleagues clearly enjoy the diverse list they have been asked to perform. There's musical testifyin' on the traditional Sign Me Up where Gordon displays his agility on the Tuba. Then comes the dripping corn pone, chicken gravy Southern blues on "Blues for Deac'n Cone" with the piano of Eric Reed and the bass trombone of Roger Floreska getting important air time. We also hear Gordon on the didgeridoo. So what's a didgeridoo? This long, straight instrument has been used for many years in the playing of traditional aboriginal music. It's a big thing in Australia to the point of being the subject of several of its own web sites. It is the main instrument on Gordon's "The Search" and variously sounds like a mouth organ, drum, a tightly strung fiddle and some others I can't quite place. But it is unique and when used in combination with other instruments like Winard Harper's drum, it is important to the statement Gordon wants to make through this composition.  Other to note include a beautiful haunting rendition of "Stardust" by Gordon and Reed with their contrasting styles giving some new life to this classic tune and a swinging Gordon composed "Cheeky". Confident in his expertise as a trombonist, Gordon is not averse to inviting other significant players of that instrument to join him on this CD. All these trombones recall those J. J. Johnson/Kai Winding Octet recordings from the 1960's. The trombone choir approach is used effectively on "Danny Boy". This is a top flight album of excellent music skillfully arranged and played with imagination and verve. Highly recommended. ~ Dave Nathan https://www.allaboutjazz.com/the-search-wycliffe-gordon-review-by-dave-nathan.php?width=1536

Personnel: Wycliffe Gordon : trombone, tuba, didgeridoo; Marcus Printup: trumpet; Ron Westray: trombone; Delfeayo Marsalis: trombone; Jen Krupa: trombone; Dave Gibson: trombone; Roger Floreska : bass trombone; Victor Goines: tenor saxophone; Walter Blanding, Jr.: tenor saxophone; Ted Nash: alto saxophone, flute; Eric Reed: piano; Rodney Whitaker: bass; Winard Harper: drums, percussion; Herlin Riley: drums, percussion.

The Search

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Ted Nash Quintet - Live At Dizzy's Club Coca-Cola

Size: 137,8 MB
Time: 59:34
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. Organized Crime (Live) ( 8:25)
02. Windows (Live) ( 8:20)
03. Spinning Song (Live) ( 7:37)
04. Epistrophy (Live) (10:12)
05. Emily Introduction (Live) ( 1:21)
06. Emily (Live) ( 8:37)
07. Sisters (Live) ( 7:31)
08. Baby Elephant Walk (Live) ( 7:32)

Feat. Warren Wolf, Gary Versace, Rufus Reid and Matt Wilson.

Two-time Grammy winning composer and saxophonist Ted Nash releases his first live recording in over 25 years. Known for his larger works (Presidential Suite, Chakra, Portrait in Seven Shades) this much anticipated release provides an opportunity for Nash to share his improvisational side. His inspired solos are impassioned and interactive. On this album he finds new areas of expression that will excite and move you. Ted Nash - alto sax, clarinet, flute & piccolo, Warren Wolf - vibraphone, Gary Versace - piano, Rufus Reid - bass and Matt Wilson on drums. 'These three nights at Dizzy's were electric for me. I think you'll hear in it the combination of great players, with history letting loose on music that has grown with me over the course of my career. On this album we share not just a night of music but the history of collaboration. This performance was also a chance to revisit a couple original compositions in an entirely new context, and re-explore music by some of my favorite composers. ' - Ted Nash

'Nash is the most compelling soloist - bracingly melodic while keenly aware of harmonic possibilities. ' --- Village Voice

'Excellence in jazz is all about the freedom to musically explore with an open mind and heart to ultimately find one's voice. . . Ted Nash achieves that plateau of performance. ' --- Billboard Magazine

Live At Dizzy's Club Coca-Cola

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Pete Candoli - Blues, When Your Lover Has Gone (Remastered)

Bitrate: MP3@320K/s
Time: 43:25
Size: 99.4 MB
Styles: Bop, Trumpet jazz
Year: 1963/1986
Art: Front

[3:42] 1. When Your Lover Has Gone
[3:08] 2. Blues In The Night
[4:02] 3. Frankie And Johnny
[4:50] 4. Lonesome Lover Blues
[3:21] 5. Careless Love
[3:37] 6. Cry Me A River
[4:33] 7. Feelin' Mean And Lowdown
[3:40] 8. Misty
[2:58] 9. Lost Lover Blues
[4:39] 10. Willow Weep For Me
[4:49] 11. Empty Mattress Blues

Bass – Red Mitchell; Drums – Alvin Stoller; Guitar – Al Hendrickson; Piano – Jimmy Rowles; Saxophone – Ted Nash; Trombone – Milt Bernhart; Trumpet – Pete Candoli. Recorded at United Studios in Hollywood, 1961.

Considering his long career, trumpeter Pete Candoli has led relatively few sessions. He did cut four albums from 1959-1961, but has only headed one set since then. This out-of-print but worthy LP features Candoli with fellow L.A.-based studio players (trombonist Milt Bernhart, tenor saxophonist Ted Nash, pianist Jimmy Rowles, guitarist Al Hendrickson, bassist Red Mitchell, and drummer Shelly Manne). Although ostensibly a program of blues, half of the songs are merely bluesy rather than actual blues. Candoli sounds fine and is heard in prime form throughout the relaxed set. ~Scott Yanow

Blues, When Your Lover Has Gone (Remastered) mc
Blues, When Your Lover Has Gone (Remastered) zippy

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Georgie Auld - Swingin' In The Land Of Hi-Fi

Styles: Saxophone Jazz
Year: 1955
File: MP3@320K/s
Time: 68:18
Size: 158,6 MB
Art: Front

(4:17)  1. In The Land Of Hi-Fi
(2:27)  2. For You
(2:24)  3. Until The Real Thing Come Along
(3:12)  4. Tippin' In
(2:27)  5. Sunday Kind Of Love
(3:56)  6. I May Be Wrong
(3:07)  7. Swingin' In Moore Park
(2:49)  8. If I Loved You
(2:37)  9. Dinah
(2:49) 10. They Can't Take That Away From Me
(3:00) 11. My Blue Heaven
(3:00) 12. Love Is Just Around The Corner
(2:55) 13. (Back Home Again In) Indiana
(2:29) 14. Blue Lou
(2:47) 15. Too Marvelous For Words
(2:47) 16. Sweet Sue
(2:29) 17. Laura
(2:14) 18. I Get A Kick Out Of You
(2:54) 19. Rosetta
(2:31) 20. Sweet Lorraine
(2:27) 21. Old Rockin' Chair
(2:33) 22. Got A Date With An Angel
(3:06) 23. Prisoner's Song
(2:51) 24. Frankie And Johnny

Georgie Auld was an accomplished saxophonist, who cut his musical teeth with Bunny Berigan's band in 1937 then moving on to The Artie Shaw Orchestra in 1939, he also served with Jan Savitt & The Benny Goodman sextet. Musicians in the Georgie Auld orchestra & on this disc include Maynard Ferguson, Skeets Herfurt, Frank Rosolino, Si Zentner & Barney Kessel to name a few. When 'In The Land Of Hi-Fi' was originally issued which makes up the first half of this disc, it was described as a jazz classic.~ Editorial Reviews https://www.amazon.com/Swingin-Hi-Fi-ORIGINAL-RECORDINGS-REMASTERED/dp/B000FEBVXQ 

Personnel:  Georgie Auld - tenor saxophone, bandleader;  Maynard Ferguson, Conrad Gozzo, Mannie Klein, Ray Linn - trumpet;  Tommy Pederson, Frank Rosolino, Si Zentner - trombone;  Skeets Herfurt, Willie Schwartz - alto saxophone;  Ted Nash, Babe Russin - tenor saxophone;  Chuck Gentry - baritone saxophone;  Arnold Ross - piano;  Al Hendrickson, Barney Kessel - guitar;  Joe Mondragon, Joe Comfort - bass;  Alvin Stoller, Irv Kottler - drums.

Swingin' In The Land Of Hi-Fi

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Ted Nash - The Mancini Project

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 64:30
Size: 148,2 MB
Art: Front

(5:52)  1. Theme From The Night Visitor
(6:30)  2. Dreamsville
(4:53)  3. Something For Nash
(1:31)  4. Shot In The Dark
(6:28)  5. Lujon
(7:27)  6. Breakfast At Tiffany's
(3:09)  7. Cheryl's Theme
(1:24)  8. Mr Yunioshi
(4:58)  9. Soldier In The Rain
(6:25) 10. The Party
(1:38) 11. A Quiet Happening
(6:11) 12. Two For The Road
(6:17) 13. Experiment In Terror
(1:42) 14. Baby Elephant Walk

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 inspired the great wealth of jazz tributes that composers such as Gershwin, Jobim or Ellington motivated over the last several decades. Of the few that have surfaced over the last few years, none were as inspired as the music being honored. Ted Nash's exquisite The Mancini Project is a most pleasurable exception. This fine tribute finds the reed player exploring 14 of Mancini's compositions, including at least two of the composer's very best ("Lujon" and "Dreamsville") and several surprising and satisfying choices ("Theme From Night Visitor" and "Cheryl's Theme"). Nash is joined by three like-minded partners of the highest order, pianist Frank Kimbrough, bassist Rufus Reid and drummer Matt Wilson. Together, and not always at once, they breathe beautiful life into Maestro Mancini's music.

Nash, who has become well known for his considerable contributions to Wynton Marsalis' Lincoln Center Jazz Orchestra as well as the Jazz Composers Collective, charts a path that's very much his own. He's more inspired here than ever before. This is due, perhaps, to his special connection to the music. Both his father and uncle were part of the Mancini aggregates which recorded the original versions of songs heard here. Indeed, "Something For Nash," featured in Blake Edwards' 1987 film Blind Date and covered here, was written by Mancini for Ted's father. Nash sounds lush throughout, primarily but not exclusively on tenor sax. The Kimbrough/Reid/Wilson triumvirate responds in kind with some marvelously melodic and truly creative complicity. This is especially evident on the moodiest pieces, notably "Night Visitor," "Lujon" and "Experiment in Terror." The trio's take on "Breakfast At Tiffany's" moves beyond mood toward pure inspiration, where Nash bravely hints at the motions and emotions David Murray has expertly explored. 

The remarkably funky "The Party," elsewhere an odd rock-ish number highlighting an odd Peter Sellers film, is given great resonance by Kimbrough's strong-as-church gospel foundation. Nash finds a niche on soprano for the lovely, swinging "A Quiet Happening" and "Two For The Road" and finesses the flute on the equally enchanting "Something For Nash," "Soldier In The Rain" and "Baby Elephant Walk." Surprisingly, Nash gives several of the more familiar titles ("Shot In The Dark," "Baby Elephant Walk") a refreshing sprite, but disallows any sort of improvisation and keeps them well below the two-minute mark. But it's hard to fault this collection which could easily stretch into multiple volumes for its attempt at a most beautiful tribute. Nash and company give this timeless music the sense of essential it most surely deserves. ~ Douglas Payne https://www.allaboutjazz.com/the-mancini-project-ted-nash-palmetto-records-review-by-douglas-payne.php

Personnel: Ted Nash: tenor sax, alto sax, soprano sax, alto flute, piccolo; Frank Kimbrough: piano; Rufus Reid: bass; Matt Wilson: drums.

The Mancini Project

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Ted Nash Big Band - Chakra

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 49:41
Size: 113,9 MB
Art: Front

(4:56)  1. Earth
(8:05)  2. Water
(9:43)  3. Fire
(5:34)  4. Air
(7:15)  5. Ether
(7:08)  6. Light
(6:58)  7. Cosmos

In Chakra , in addition to the already known instrumental skills, Ted Nash highlights his originality as a composer and orchestrator. The seven compositions gathered in the form of a suite give the listener a great cornucopia of suggestions. They constitute the enchanting musical translation of the seven energy centers which, according to the Indian traditions of yoga and Ayurvedic medicine, govern organic and mental functions. Trait d'unionthe disc is the assertion of a culturally inclusive attitude in human life as a first step towards fantasy and creativity. In the foreground, swinging orchestral games with a very mobile vocabulary, which contrast with the serene serenity of the philosophical themes put in place. Unlike what could be expected from the title, the US multi-instrumentalist demonstrates how you can touch the deeper chords of the listener without resorting to new age or musical esotericism. Thanks to the contribution of extraordinary musicians, the orchestral form is always remarkable, characterized by rich timbric mixes. In particular "Fire" well summarizes the essence of the project and indirectly the jazz aesthetic, using contrasting meters and atmospheres. Chakra offers a fascinating fresco where Afro-Cuban-Caribbean and European influences indulge the inspiration of a complete composer, in search of a communion of cultures.~ Maurizio Zerbo https://www.allaboutjazz.com/chakra-ted-nash-plastic-sax-records-review-by-maurizio-zerbo.php

Personnel: Ted Nash, Ben Kono, Charles Pillow: alto and soprano saxophone, flute, clarinet; Dan Willis, Anat Cohen, Paul Nedzela: tenor and baritone saxophone, clarinet; Kenny Rampton, Alphonso Horne, Ron Horton, Tim Hagans: trumpet; Alan Ferber, Mark Patterson, Charley Gordon, Jack Schatz: trombone; Christopher Ziemba: piano; Martin Wind: double bass; Ulysses Owens: battery.

Chakra

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