Jazz Saxophonist Ted Nash Performs a Tribute to Henry Mancini
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Thrill to the stirring sounds of Vaughan Williams' cantata Dona Nobis Pacem at majestic Carnegie Hall. Written between the World Wars in 1936, the British composer's melodic plea for peace not only draws from the traditional mass, but also from a trio of powerful poems by Walt Whitman. Accompanied by the New York City Chamber Orchestra, the Masterworks Festival Chorus sings this stunning work, with solos by soprano Inna Dukach and baritone Markus Beam, under the baton of guest conductor James Rodde. The National Festival Chorus also takes the stage for favorites like How Can I Keep from Singing, Dickau's If Music Be the Food of Love and the spiritual My Soul's Been Anchored in the Lord. Learn More
Ted Nash- Alto Sax
Frank Kimbrough- Piano
Jay Anderson- Bass
Matt Wilson- Drums
Born in Los Angeles, multi-instrumentalist Ted Nash’s interest in music started at an early age. Exposed to music and encouraged by his father, trombonist Dick Nash, and uncle, reedman Ted Nash – both well-known studio and jazz musicians – the younger Nash started playing the piano when he was seven. By the time he turned 12, he had started playing the clarinet; a year later Nash had picked up the alto sax.
Nash’s first gig came when he was only 16. At that young juncture he played a week in Hawaii with legendary vibraphonist Lionel Hampton. The same year he won an audition to play lead alto with the Quincy Jones band, and by the time he was 17 Nash had toured Europe, appeared on three records, and was performing regularly with the likes of Don Ellis, Louie Bellson and Toshiko Akiyoshi, as well as leading his own quintet.
When he turned 18, Nash moved to New York City. It wasn’t long before he had recorded _Conception _(Concord), his first album as a leader. During his first three years in New York Nash became a regular member of the Mel Lewis Jazz Orchestra, an association that would last ten years.
DownBeat Magazine _recognized Nash as a Rising Star in the alto and tenor saxophone categories in 2003, 2004, 2005, 2006 and 2008. Still Evolved (Palmetto) earned mention on the magazine’s ‘Best CD list’ as well. Odeon, one of Nash’s current groups, likewise has garnered much attention in the jazz world and received features and in-depth mentions from publications such as The New York Times, Village Voice, Boston Globe, and New York Newsday.
Said the Los Angeles Times after hearing this group at the Jazz Bakery, one of the area’s best clubs: ‘You say jazz is having trouble these days finding a creative focus? Don’t believe it. Go to the Jazz Bakery tonight to hear saxophonist Ted Nash’s marvelous group Odeon, and any doubts will quickly be dispelled. What this Los Angeles native is demonstrating with Odeon is the fact that — far from being on a down slope — jazz is in a period of extraordinary opportunity.’
In addition to leading his own groups, Nash has been very instrumental in the New York-based Jazz Composers Collective. Nash has also been intricately involved with Jazz at Lincoln Center, and during tenure there has contributed to a great deal of the orchestra’s repertoire, including his acclaimed work “Portrait in Seven Shades.”
Writing in The New York Times, critic Nate Chenin noted that ‘Mr. Nash came to the band with a wellspring of jazz experience,’ but that it ‘took a while to adjust,’ given his modern leanings with the Composers Collective. ‘It didn’t take long for Mr. Nash to lay claim to what Mr. Marsalis calls ‘the wildcard chair’ in the band.’ Chenin would then quote Marsalis as follow: ‘He plays, on a virtuosic level, all of the reed instruments. He plays them all perfectly in tune, and has a personality on each one that’s different.’