"Nash's fusion works because all the styles he gravitates toward for his Odeon project share an openhearted romanticism and a hearty sense of humor -- qualities that transfer undiminished to Nash's music.” –Aaron Steinberg, Jazz Times

When the Lincoln Center Jazz Orchestra’s tenor master Ted Nash arrives in Minneapolis this week, it will mark not only his first appearance here as a guest artist, but also the world premiere of his first commissioned work for jazz ensemble and dance company. An accomplished multi-instrumentalist named “Rising Star” by Downbeat critics in 2003, Nash was inspired by the great sax players of the 50s and 60s—Parker, Rollins, Coltrane, Pepper, Mulligan. His work with the Herbie Nichols Project, Jazz Composers Collective, and his own bands reflects his passion for innovation and composition, both of which will be on display in the work to be unveiled this week when the Jazz Is Now! Ensemble joins forces with the Zenon Dance Company at the Illusion Theater, April 29-May 8^th. Nash will be on hand for the opening night performance, following a guest artist appearance with the full Jazz Is Now Orchestra on April 28^th at the Dakota. [Click here to read about the Jazz Is Now and Zenon Dance Company collaboration.]

Jazz Police. Have you worked with dance before? How does your work with dance complement your work as a musician (composer and performer)?

Ted Nash. This is actually the first piece that I have been commissioned to write specifically for a choreographer.  I have had several of my compositions used for performances that involved dance, but they had been chosen after the pieces were recorded.  When I met with Jeanine Durning [choreographer], she told me this was the first time she was to work directly with a jazz composer for a new piece, so we were both exploring new ground, and I believe both a little curious as to just how it would come together.  We understood immediately we would both need to be somewhat flexible for it to work.

Photo by Andrea Canter

Historically, music has always been used to support dance, whether ceremonial, artistic, or just for fun.  If you can’t move to the music, there is something missing.  For me, the opportunity to work with a choreographer and dancers just expands my experience as a composer.  It also brings me closer to the roots of what music is all about. 

JP. Tell us about this particular work: How did you develop a jazz composition for a dance performance--what special challenges are involved? What elements have you brought together? How is composing for dance different from composing for jazz ensemble alone?

TN.

Photo by Andrea Canter

As I worked on the music, I began to project some of my own ideas about the movement of the dancers, and it was interesting to see how Ms. Durning interpreted the music. 
During the “workshop” phase, we changed a bit of the music to support the ideas she had developed.  The order of the different sections of the music was changed.  It still works musically, but I think if I were to perform the piece without dancers, I might stick to the original form as I had originally composed it. 

JP. You had some amazing opportunities in your early career---Lionel Hampton, Louis Belleson, Gerry Mulligan. How did these experiences shape your work as performer and composer?

TN. They were all great experiences, all having different effects on me and my development.  In Lionel Hampton I saw absolute passion.  He could play a two-and-a-half hour set, and have to be pulled off stage.  Gerry Mulligan showed me diligence and commitment: he was always working on arrangements, and was very particular about the way he wanted it played by his band.  Louis Bellson was amazingly supportive.  He recorded my first composition, “Tristemente” on his album Raincheck, on which I played with the great trumpeter, Blue Mitchell.

JP: Tell us about the music you have recorded with your group, Odeon. 

TN (providing excerpts from his liner notes in response). The music on La Espada de la Noche (Palmetto, 2005) shows my appreciation for the beauty and diversity of the cultures in this world, particularly Latin culture. I find its music to be very passionate.  It expresses warmth, humor, ultra-seriousness, romance, tragedy.  It is life.  Although jazz music can tend to be quite intellectual, it is also very expressive and the perfect base with which to combine these elements. 

I find that more and more I am drawn to music that not only causes me to think, but also makes me feel.  When I first heard the tango, I almost laughed because of how dramatic it was.  But I realized that it wasn’t without some sense of humor.  Years later, when I stepped onto the dance floor of a late night tango club in Buenos Aires, it probably was other people who were laughing, but I was having fun.  The music and the whole experience moved me (literally).  Today, as the world gets more connected with TV, Internet, satellite radio, etc., there is a great opportunity to explore sights and sounds that would have several years ago been difficult to experience. 

What is beautiful in this world are the differences between people.  We look different, think differently, eat different foods, and believe in different gods.  To some this is a reason for war, for others it is a reason for peace.  When it comes down to it, we are basically the same: we’re human.  Instead of using the differences to separate us, we should appreciate them and be drawn to them as a way of learning, growing, and showing love.  

It has been my goal to express many different emotions on this recording.  There is humor on “Tunisia,” romance on “Sebago,” urgency on “Tico Tico,” passion on “La Espada,” optimism and tragedy on “Concierto de Aranjuez,” and playfulness on “Walk This Way.”
   
Sidewalk Meeting (Arabesque, 2001) is about chance encounters on the street -- people previously unknown to each other as well as old friends.  It combines the influences of the music of the street, including New Orleans second-line rhythms, as well as some of the melodic concepts of Klezmer music, using the expressive combination of the clarinet and violin.  Sidewalk Meeting was the first recording of my new group, Odeon, a project I debuted at a Jazz Composers Collective concert in New York City in May 1999.

Ted Nash will perform at the Dakota in downtown Minneapolis with the Jazz Is Now! Orchestra on Thursday, April 28^th, first set at 7 pm. No reservations; see www.dakotacooks.com. On April 29^th, the Jazz Is Now! Ensemble and Zenon Dance Company will premiere a commissioned work by Ted Nash at the Illusion Theater, 528 Hennepin Avenue, with Nash as guest artist. Zenon and Jazz Is Now will perform the work throughout the remainder of the Zenon spring concerts, April 30-May 8. For tickets visit www.zenondance.org. Ted Nash returns to New York and a series of concerts with the Lincoln Center Jazz Orchestra throughout May. For additional information about Ted Nash and his tour schedule, visit www.tednash.com.