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.

Flautist Nestor Torres enriches the repertoire with his "Jazz Flute Traditions"

Nestor Torres Jazz Flute Traditions

I have always enjoyed listening to jazz flute, so much so that in 2016 I wrote an article where I  documented some twenty-five performances that I felt were particularly noteworthy of the genre. You can link to that article here. The list was never intended to be all inclusive, just my personal compilation of some great jazz played on flute. I still feel the list represents a good cross-section of some of the best jazz artists on the instrument. But once you pull on a thread you never know where it may take you, and so when I recently received flautist Nestor Torres’ latest Jazz Flute Traditions it was like I was revisitng a history lesson in jazz flute.

Torres is a virtuoso whose work I had been previously unaware of. Originally from the island of Puerto Rico, he and his family emigrated to New York in 1975 when Torres was eighteen-years old. He studied classical and jazz flute at the Mannes School of Music in New York as well as at the New England Conservatory of Music in Boston. In 1981, he moved to Miami where he continues to reside. He was well on his musical path, gaining wider popularity after his debut album, Morning Ride, quickly rose on the Billboard charts. Then tragedy struck in 1991. Torres was injured in a boating accident that left the flautist with multiple broken ribs, a shattered clavicle and a collapsed lung. After a long and tedious recovery that found him divorced and near destitute, he discovered solace in the spiritual practice of Nicherin Buddhism and made his way back to the music. Torres, a four-time Latin Grammy nominee and one-time Latin Grammy winner, has been sometimes pigeonholed in the smooth jazz category. But having played with the likes of Herbie Hancock, Arturo Sandoval and Tito Puente to name a few, his credentials as a bona fide jazz artist are secure and have only been reinforced with this latest album Jazz Flute Traditions.

Recorded live at Miami’s WDNA-FM Studios, Torres is joined by a superb core rhythm section of Silvano Monasterios on piano, Jamie Ousley on bass, Michael Piolet on drums and Jose Gregorio on percussion. Guest artists Ian Munoz on alto saxophone, Miguel Russel on percussion and Marcus Grant on drums are also heard on a few selections. 

Torres demonstrates his total understanding of the jazz flute tradition with his thoughtful selection of some of the genre’s most influential repertoire on this new album.  He starts the program with Moe Koffman’s “Swingin’ Shepherds Blues” made famous by the Canadian flautist back in 1949. Torres giving Koffman’s early treatment a little more punch and a little hum, easily showing his facility at a multiplicity of styles.

The flautist follows with the Herbie Mann classic “Memphis Underground” from Mann’s 1969 album of the same name. The group takes the audience on this pulsing drive, back to the late-sixties and the cool, hip sound Mann famously created. Torres evokes the chilled funk this song demands with equal aplomb.

One of the more interesting time travels on this album is Torres’ re-creation of the great flautist and band leader Esy Morales’ composition “Jungle Fantasy” from 1948. With its ostinato bass line, driving percussion and haunting flute lines, Torres plays tis one with wild abandon. Monasterios is a marvelously percussive pianist who shines on this one. The music just cooks and you can feel the audience bouncing in their seats.

Classical composer Joaquin Rodrigo’s “Adagio from Concierto De Aranjuez” was popularized by the Miles Davis/Gil Evans collaboration Sketches of Spain released in 1960. It also became a vehicle of jazz flute interpretation when the pianist Chick Corea used it as a lead into his composition "Spain" from his Light as a Feather album from 1973. On that album, multi-instrumentalist Joe Farrell created an enduring jazz flute performance for the ages. Torres honors that performance with his own thrilling take on this masterful composition. Torres uses elements of his classical training to create a poignant intro before unleashing his Latin roots driven solo work on "Spain", dancing over Corea’s nimble lines with the grace of a gazelle. Ousley’s bass lines echo resoundingly and Monasterios is again propulsive.

No flute complilation would be complete without acknowledging the pioneering approach of the great Yuseff Lateef. Torres captures the maestro’s spiritual, eastern-inspired tone. With his masterful control, he is able to evoke a sense of profound beauty and peaceful reverence that Lateef surely would have appreciated.

One of the most controversial flute players of his time was the brilliant multi-instrumentalist Rahsaan Roland Kirk who often accentuated his playing with breathy accents and vocal hums. Torres does justice to Kirk’s raspy technique on the quirky “Serenade to a Cuckoo.” The version features Ousley’s walking bass lines and a nice alto solo by Ian Munoz.

Composer Luciano Berio and multi-instrumentalist/composer Eric Dolphy among others were inspired to write homages to the virtuoso Italian classical flautist Severino Gazzeloni. In artfully combining Berio’s “Sequenza” with Dolphy’s “Gazzelloni” Torres proves just how adept a student of the jazz flute he is. Torres classical chops are intact as he navigates Berio’s passages with skill and sensitivity, but he is just as adept at the more Avant-guarde approach that Dolphy employed during his Out to Lunch period. The ability of Torres to switch styles so seamlessly is a testament to the man's virtuosity.

“Cute” is a Neal Hefti composition written for Frank Wess when he was with the Count Basie Orchestra. The uplifting melody is played with verve and playful abandon. Guest drummer Marcus Grant offers some stellar brush work before Torres goes off in flight. His airy tone is a delight, buoyant and elevating, the band really swinging on this one.

Perhaps Torres most impressive work is on the composition “Windows,” from the Chick Corea 1968 album Inner Circles. The song was written by Corea for the master flautist Hubert Laws who played on the album. Laws was a huge influence on Torres and here he plays with a reverence that is palpable; a spellbound weaver spinning magical lines like wispy golden threads. His tone is pure, liquid and transcendent. The band responds in kind with a sensitive and moving supporting performance.

Cole Porter’s ballad “So in Love” is performed as a slow, sensuous lament. I’m unaware of the history of this song as part of the jazz flute repertoire (I did find the great Sam Most played it on his Organic Flute album from 2010 and the Canadian flautist Bill McBirnie on his 2015 album Find Your Place ), but clearly Torres does a masterful job making it a sensitive staple of his in this genre.

The finale is a cha-cha originally associated with bandleader Xavier Cugat’s Orchestra titled “Miami Beach Rhumba.” Torres’ trilled notes at the opening sets the stage for this Latin-inspired rhumba. The infectious beat keeps the crowd shaking. Monasterios is again at his best as Torres fires out high-pitched notes, like a stream of bullets over rousing fusillade of Latin percussion. 

Nestor Torres is a force to be reckoned with, anyone who loves jazz flute or is a serious student of the jazz flute repertoire should find his Jazz Flute Traditions a thoroughly enjoyable experience and a must have. Torres is a remarkable player and this ‘live’ recording just reinforces the excitement this fine musician can generate on his instrument.