Ted Nash (as, ts, ss, bs, fl, cl, piccolo), Dick Nash (tb), Tony Rizzi (g), Jimmy Rowles (p), Morty Corb, Rolly Bundock, Harry Babasin (b), Alvin Stoller, Roy Harte (d)
Reference: FSRCD 2229
Bar code: 8427328622295
The Nash brothers were born in Somerville, Massachusetts, but they were separated and brought up independently. Still, they found the same innate attraction for music and went about developing it. Teds background on flute, piccolo, clarinet, and all the saxes, and Dicks full-bodied, exciting style on trombone, made them the perfect addition to any orchestra. You can hear why in these, their only recordings together, and a fitting tribute to their reunion. They are an homage to their extensive career in the big band jazz and popular fields, and a reminder of their constant work at the Hollywood recording studios.
01. Whim Wham
02. South Of Brazil
03. Passion Girl
04. Taylor Talks
07. The Grabber
11. Less Sand And More Cement
12. Languid Latin
13. I Remember You
14. Well Be Together Again
16. Prelude To A Kiss
17. The Bad And The Beautiful
18. I Could Write A Book
19. Back In Your Own Backyard
20. For Heavens Sake
21. Cuban Verandah
22. The Nearness Of You
23. Night Soliloquy
24. You Are Too Beautiful
Personnel and dates:
Tracks #1-6: Ted Nash (as, ts, fl, piccolo), Dick Nash (tb), Tony Rizzi (g), Morty Corb (b), Alvin Stoller (d).
Recorded at Capitol Studios, Hollywood, July 1954
Tracks #7-12: Same personnel, but Rolly Bundock replaces Corb on bass.
Tracks #13-14: Ted Nash (as, ts, ss, bars, fl, cl, piccolo), Dick Nash (tb), Tony Rizzi (g), Jimmy Rowles (p), Harry Babasin (b), Roy Harte (d).
Recorded at Western Recorders, Hollywood, December 1, 1955 and April 6, 1956.
"Dick Nash, a fine swing trombonist, was the brother of tenor saxophonist Ted Nash and the father of another talented saxophonist named Ted Nash. Unfortunately, Dick matured after the end of the big band era and chose the life of a well-respected studio musician over that of a creative jazz player. Starting in 1947, Dick worked with the big bands of Sam Donahue, Glen Gray and Tex Beneke. He served in the military from 1950-52 (playing in an Army band part of the time) and after his discharge was with Billy May's popular orchestra in 1953. After leaving May, Dick settled in Los Angeles and became an in-demand studio musician. In later years Dick was often called on to recreate swing era solos (particularly those of Tommy Dorsey) but never led his own record session."
Scott Yanow -All Music Guide
"A swing-oriented reedman and studio player who was active from the 1940s to the 1980s, Ted Nash is best known for his association with Les Brown and should not be confused with his nephew Ted Nash (who was named after his uncle and was born in L.A. in 1959). Both play the tenor saxophone, but while the younger Nash has embraced hard bop and post bop and experimented with avant-garde jazz, the older one was very much a product of the Swing Era. The older Nash (whose brother is trombonist Dick Nash, father of the younger Ted Nash) starting getting busy in the 1940s, when he was a key soloist in Les Brown's big band and worked with both jazz and pop figures. While in Brown's employ, Nash played on such #1 hits of the 1940s as "Sentimental Journey" and "My Dreams Are Getting Better All The Day" (both of which featured a young Doris Day). Nash backed quite a few noteworthy singers in the 1940s, 1950s and 1960s, including Bing Crosby, Frank Sinatra, Billy Eckstine, Ella Fitzgerald, Nat "King" Cole, Nancy Wilson and June Christy. Though Nash led or co-led some sessions on Starlite, Liberty and Columbia in the 1950s, most of his income came from backing others. Nash worked with the famous composer Henry Mancini in the 1960s, and in the 1970s, he was employed by artists ranging from pop-folk vocalist Judy Collins to Quincy Jones (who used him for the celebrated Roots). Nash, who retired from music in the 1980s, turned 75 in 1997."
Alex Henderson -All Music Guide
"My Uncle Ted passed away on Thursday, May 12th. Who was my Uncle Ted? Ted Nash (my namesake) was one of the greatest saxophonist to appear on the scene during the swing band era, a mainstay star soloist in the Les Brown band in the late 1940s.
He loved playing and learning and in his early years always searched out opportunities to be where the action was, where serious playing was happening. After a gig with the Milkshake Band," as the Les Brown Band was affectionately known, he would head to the clubs where greats like Bird, Lester Young, and Lionel Hampton were playing late sets, and sit in. During this period he became quite well known as a soloist, finishing 4th in the Downbeat Critics Poll on tenor sax (right behind Lester Young).
He was also known for his use of the altissimo register (something rarely dealt with at that time). In 1949 he wrote a book called High Harmonics for the Saxophone, a book that is still available today. In fact a lot of people think it's my book (wish I could take credit for it!). Even with his success as a jazz player, he had set his sights on the blossoming Los Angeles studio scene, and settled there shortly after his stint with Les Brown.
He had a remarkable career doing TV, film and recordshe was on just about every Henry Mancini soundtrack made from the 50s to the 8Os. Frank Sinatra in an interview said Ted Nash was his favorite saxophonist. In fact, Sinatra would hire him to put together a quartet to play parties at his house, with guests like Humphrey Bogart and Judy Garland, who would always end up sitting in with the group.
By the 1980s, disillusioned with the change in the quality of the commercial music scene, my uncle retired quite young (in his 60s) and enjoyed his retirement playing tennis, spending time with his wife and walking on the beach in front of his beautiful house in Carmel, California.
Five years ago, in the midst of writing a book, a memoir of his musical journey, he suffered a stroke which seriously curtailed his ability to finish the last chapters. I flew out from New York several times to work with him on the book, now finished. It is an interesting, often humorous account of a life rich with musical and personal experiences. All we need is a publisher...
Although his settling into the studios largely removed him from the public eye, I always run into people asking about him, expressing how much he has inspired them. On my recent release, The Mancini Project," I pay homage to Uncle Ted (and my father Dick Nash) in many ways, but in particular by playing his interpretation of the bridge on Dreamsville using the same augmentation, expression and phrasing. Of course, I didn't sound like himthat would be impossiblebut it sure felt good trying!
Ted Nash (Dick Nash's son, May 2011)
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