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SOMEWHERE ELSE: WEST SIDE STORY SONGS Album Notes Ted Nash - tenor sax, clarinet Steve Cardenas - guitar Ben Allison - bass 1) Jet Song - 5:36 2) A Boy Like That - 4:47 3) Maria - 4:04 4) One Hand, One Heart - 4:00 5) Tonight - 4:00 6) America - 5:19 7) I Have a Love - 3:19 8) Something’s Coming - 6:10 9) Cool - 4:17 10) Somewhere - 5:21 11) Somewhere (Reprise) - 2:56 All songs by Leonard Bernstein Arrangements by Ted Nash, Steve Cardenas and Ben Allison Recorded December 17 & 18, 2018 Recording engineer - Marc Urselli 2nd engineer - Duﬀ Harris Recorded at East Side Sound, NYC Mixed by Ben Allison Mastered by Doug Schwartz, Mulholland Music Produced by Ted Nash Cover Illustration by Mary Elizabeth Huber Graphic design by Exponent Collaborative Thank you: Ben and Steve for your incredible musicianship; Doug, Marc, Ben and Duﬀ for creating such a beautiful sound; D’lynne and great team at Exponent Collaborative for everything visual; Mike and Eric for your guidance; Cathy for your talent in connecting people and making things happen; and Kristen for your creativity, insight, honesty, vision and mostly for your love. Ted Nash uses D’Addario reeds and Beechler mouthpieces. Visit www.tednash.com Label - Plastic Sax Records Catalog number - PSR-5 Recording © 2019 ———————————————- There was a moment backstage when I wiped a bead of sweat from my temple and glanced over at Steve and Ben. We shook our heads and laughed. It was the only way to express the gratitude and sheer joy we felt about the interplay and trust we just experienced during the past hour on stage at the Havana Jazz Festival. Our set, comprised of songs from West Side Story, was foremost a celebration of Leonard Bernstein’s centennial, but also an opportunity for the trio to continue the tradition we have created interpreting wonderful songs by composers we love. (Our previous release, Quiet Revolution, was dedicated mainly to the music of Jim Hall and Jimmy Giuffre.) We were welcomed this particular evening equally by a persistent humidity and an enthusiastic crowd, many of whom lingered at the edge of the stage to connect with us as we gathered our gear a little later. ‘You have to record this music,’ the group implored. And it is because of their insistence we bring the songs to you on this album..

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Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot.
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Los Angeles: Recorded Magic (1945-1960)
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