Multi-Reed Artist Ted Nash and his Quintet at Dizzy's Club Coca Cola

Ted Nash Qunitet live at Dizzy's Coca Cola  Plastic Sax Records

Often musicians come from musical families and so is the case with the saxophonist/composer/arranger Ted Nash. Both his father and uncle were accomplished jazz and west coast studio musicians. Father Richard “Dick” Nash’s work can be heard on albums by discriminating arranger/composers like Lalo Schifrin, John Williams and Pete Rugulo. Perhaps his most important association was as Henry Mancini’s favorite trombonist, playing with the maestro for over forty years from 1959 through 2000.  Ted’s uncle and namesake, Theodore Malcolm “Ted” Nash, was also a studio musician who played with Les Brown and was also favored sideman in Mancini’s band. Here is a recording the brothers did together.

With this pedigree, it is no wonder that our now modern-day Ted, a seasoned fifty-eight year old professional musician, should follow in these imposing footsteps. Not only has Nash made his own mark as a first call multi-reed artist - for the last nineteen years he has been a key member of Wynton Marsalis' Jazz at Lincoln Center Orchestra- He has established himself as a top rate composer and arranger. In 2010 Nash's Portraits in Seven Shades, a creative work of seven movements, each depicting the modern painters Chagall, Dali, Matisse, Monet, Picasso, Pollock and Van Gogh, was nominated for a Grammy. In 2017 his ambitious Presidential Suite: Eight Variations on Freedom won two Grammy awards, one for Best Large Jazz Ensemble Album and one for "Spoken At Midnight" for Best Instrumental Composition. 

Nash is the consummate musical explorer, he has never let his love for big band music get in the way of his playing creative improvised music in a myriad of settings. He has been an integral part of projects like his work with bassist Ben Allison on The Herbie Nichols Project or the trio with Allison and guitarist Steve Cardenas that celebrates the music of Jim Hall and Jimmy Giuffre on Quiet Revolution.  Not to be pigeonholed as a pure traditionalist he made his own free jazz explorations of the music of Ornette Coleman on his Quartet album The Creep.

With such an unquenchable thirst for ever expanding his musical horizons its nice to hear Nash play “live” on his latest album Ted Nash Quintet live at Dizzy’s Club Coca-Cola. The line up is superb with trailblazers like Warren Wolf on vibes, Gary Versace on piano, Matt Wilson on drums and the glue that holds it all together the veteran bassist Rufus Reid.

Nash and company offers up seven delightful compositions two of which, the opener “Organized Crime” and the next to last song “Sisters” are Nash originals. The remaining fare is a thoughtful assembly of songs by Chick Corea, Herbie Nichols, Thelonious Monk, Johnny Mandel and Henry Mancini.

The pace quickens right from the opening lines of Nash’s “Organized Crime.” Reid’s bulbous bass notes accentuating the rhythm under Wilson’s polyphony of bombs and crashes. Wolf offers a distinctive solo before Nash plays a searing, Coleman-esque alto solo.  Wilson’s playful antics are fill the air with electricity. The energy is palpable.

The band moves on to Corea’s masterpiece “Windows,” this time with Nash on flute reminiscent of the work on this by the great Hubert Laws. Wolf’s vibes and Versace’s piano lend an airy feel to this as Reid’s steady hand is probing with authority. Nash has wonderful intonation on the instrument. Versace, a pianist who deserves greater recognition, dances with superb sensitivity along with Reid in a gorgeous display of intuitive grace that is a highlight of the album.

Herbie Nichols, a cult figure on the piano known for his unique style, composed the next tune “Spinning Song.” Nash on alto and Wolf on vibes play the main theme in step. As the song changes to a slow swing Wolf again shows why he is a master of invention. The song has interesting breaks which the group navigates with effortless polish. Nash’s alto tone is rich and luscious as he trades notes with a lone Reid holding the line. Nash finds a delicate balance between a classic and modern tone. His playing brings you to the precipice at times but you never feel like you re in danger of falling off. 

What would a set list be without at least one Monk tune. The one Nash chooses is “Epistrophy,” brilliantly lead off by Wilson and Reid and played in unison by Versace, Wolf and Nash on alto. Monk would be shaking his leg in approval. Nash wails on his alto expressing a deep affection for the changes here and showing how well he has absorbed the tradition. Wolf loosens up the tune with his own excursion, a fountainhead of ideas, while Reid relentlessly lays down the powerful bass line. Versace’s piano solo is a marvelously twisted piece of invention as Wilson lands bombs and crashes behind him. This one is just a delight.

Nash takes to the microphone to explain how the next piece, Johnny Mandel’s beautiful ballad “Emily” is a dedication to his transgender daughter once Emily now Elias. This is a special moment for Nash, a man publicly acknowledging his unconditional love for his child. Played gorgeously by Gary Versace in duo with Nash’s transcendent clarinet, this one is special. Nash and Versace make beautiful music together and from Nash’s reaction that is caught on mic, Versace surprises him at times with his spontaneous and nuanced inventiveness. 
I recently praised a duo album by Fred Hersch and Anat Cohen using the same isntrumentation where I thought the two showed remarkable afinity for each other. Nash and Versace reach that same unfathomable simpatico here and it is just a treat to behold. You can tell by the complete and utter silence that the two command the room. The audience is spell bound. Bravo gentlemen!

Another Nash original, "Sisters," finds the saxophonist returning to his alto with relish and gusto on this quick paced swinger. Reid's bass line is in double time and flawless. Nash, Wolf and Versace all take turns burning down the house with their fleet, adreniline-paced inventions. 

The Nash-Mancini connection is inescapable and so it was appropriate to end the set with Mancini's playful "Baby Elephant's Walk." Nash plays the piccolo, an instrument rarely heard in jazz. Like the legendary Pied Piper, Nash leads the group on this rousing blues with joyful abandon, ending the show and the album on the perfect high note.

Live albums can at times be spoty or unisnpired, but Ted Nash Quintet live at Dizzy's Coca Cola is one of those rare recordings that has captiured a special moment in time, a moment when all things were working at the highest level and the only regret is that you weren't there to witness this for yourself.

Atlanta Drummer Dave Potter's "You Already Know"

Dave Potter You Already Know  Summit #705

The Atlanta based drummer, Dave Potter, has recently released an album, You Already Know, on Summit Records, and this auspicious debut is making its way up the jazz charts. On this album he proves he has absorbed the tradition and developed a powerful sense of swing that he carries to any band that he plays with.  

Potter, a graduate from Florida State University’s Jazz Studies program, studied with the pianist Marcus Roberts. After graduating in 2005 he was chosen to work in The Louis Armstrong Quintet at The University of New Orleans, but his stay in Louisiana was cut short when hurricane Katrina hit the Crescent City. In 2006 he was awarded a scholarship to prestigious Julliard School of Music to continue his studies, but instead chose to return to his alma mater to get his master’s degree, which he completed in 2008.

Along the way Potter has enjoyed working closely with Roberts, a mentor, both at school and in the pianist’s working trio. The drummer caught the discerning eye of Robert's drummer/percussionist Jason Marsalis and Potter began working and touring with him in 2009. Since Marsalis began playing the vibraphone more regularly, Potter has taken over the drum chair and can be heard on two of Marsalis’ recordings Music Update and 21^st Century Trad Band.

On You Already Know, Potter has chosen to use three distinct rhythm sections, each made up a stellar cast of musicians, that in concert realize his musical vision. The ease with which he adapts to these three different bands is a testimony to his versatility as accomplished drummer. He molds himself to the need of whatever group he is in.

The program opens with Wayne Shorter’s “Night Dreamer,” manned by Jason Marsalis on vibraphone, Will Goble on bass and pianist Austin Johnson; essentially the Jason Marsalis Vibe Quartet working band. Potter and Goble lock into a bubbling rhythmic groove as Marsalis’ and then Johnson are featured over the changes. Potter can be heard erupting when needed or gently pulsing forward as the music requires.

On Marcus Roberts’ hard-charging “Country by Choice” Potter’s explosive drums are joined by Roberts on piano, bassist Rodney Jordan and the front line of Miguel Alvarado on tenor and Darren English on trumpet. The incendiary Nashville based Alvarado launches into an impressive barrage of fiery lines in his open salvo and Roberts dazzling keyboard work is equally exciting. Bassist Jordan’s solo, pulses on adrenaline and Potter’s drums percolate like bubbling lava in a caldera. This one cooks.

Potter wisely takes the temperature down a notch with the 1927 pop classic “My Blue Heaven.” Marsalis, Johnson and Gobles airing out the music on this bouncy stroll through memory lane. Potters easy shuffle in lock step with Gobles walking bass.

Potter injects some of his own compositional acumen into the mix with “Ratio Man.” This line-up includes pianist Louis Heriveaux, the bassist Craig Shaw and a returning Alvarado on soprano saxophone. Heriveaux is the one to listen to here as he spins serpentine lines through the maze of rhythmic changes provided by Shaw and Potter.

The same band returns to the more traditional straight-ahead jazz tackling Benny Golson’s classic “Whisper Not,” with the front line of Alvarado on tenor and Andy Sioberg on trumpet. Heriveaux’s sparse comping is a delight and his solos revelatory without any flash. Soiberg’s trumpet a bit tentative to my ears and Alvarado lays back for the most part.

The same group tackles Bobby Watson’s “Beatitudes” later on in the album. Heriveaux, again shines on a shimmering solo and Potter allows himself a brief roiling drum solo over the repeating drone of the two horns.

On Monk’s “Played Twice” Potter returns with Marsalis, Goble and Johnson to attack this quirky tune. The in-sync intuition of this group is apparent as they navigate Monk’s musical chicanery with practiced ease. Johnson’s piano is light and fluid, no doubt strongly influenced by Marsalis’ equally effervescent vibraphone style. Through it all Potter finds a way to add his own accents-stabs, splashes and rolls- at complimentary points.

Bassist Rodney Jordan’s plucky bass opens Potter’s “I’m Going to Heaven and You A’int” a lowdown dirty blues that features Jordan and pianist Roberts showing some soulful playing. Potter’s work here is restrained, a ghostly timekeeper, allowing these two masters to wring the emotional guts out of this song.

Potter returns with another original “Puppet Master” with Roberts, Jordan, Alvarado and English back. English, a promising talent on the trumpet, draws first blood. His solo a combination of bright jabs and slinky slurs. Listen to how well this group interacts; Alvarado’s deep-throated tenor solo sets out a line of notes that Robert’s quickly picks up; the tenor and piano finding common grounds for discussion. When Alvarado erupts it ignites Potter to respond with his own pyrotechnics in true simpatico.

Marsalis’ “Bells of Ascona,” the most evocative song on the album, is a hauntingly beautiful composition that features Marsalis’ tubular vibes ringing like the Church Bells they evoke. Johnson’s piano solo is particularly sensitive. Potter is all brush here and the group is for the most part reverent until Marsalis interjects an excerpt from a Christmas Carol partway through his solo, lightening it up for a brief second.

“Last Tune” is an under two-minute vocal summation by Potter, where he introduces the names of his bandmates while the group plays on in the background.  

Here is a video of Dave with The Jason Marsalis Quartet: