Ted Nash grew up in Los Angeles in the 60s and 70s, a time many consider to be the heyday of the film industry's outpouring of original music by great composers, one of them being Henry Mancini. Nash had the fortune to be exposed to this great music: his father and uncle, Dick and Ted Nash, were both prominent studio musicians firmly established in Hollywood's film scene.

Young Nash's first memory of being moved by music was at the age of six seeing the The Great Race, a Blake Edwards film with music by Mancini, a score that featured his father on trombone. Around the same time Nash was given a record of the Pink Panther - he would mimic Plas Johnson's memorable saxophone solo. Even before Nash knew he would be a saxophonist, he was drawn to the sound and expression of this instrument. (Years later he would perform this same piece with the Jazz at Lincoln Center Orchestra, featuring Plas Johnson himself.) It's no wonder that years later Nash would use Mancini's compositions as a base for a creative project that would explore this rich legacy.

The choice for using Mancini's music was more than a musical one: many of the songs on this recording either featured his father or uncle, or were written with them in mind. One track is "Something for Nash," which was written for his father for the movie Blind Date. Mancini often featured Nash's uncle on the alto flute to create a feeling of suspense and mystery which became one of the signature Mancini sounds. Ted plays two pieces on Mancini Project using the alto flute, paying homage to both Mancini and his uncle.

Mancini Project features Ted Nash on reeds, along with Frank Kimbrough on piano, Rufus Reid on bass, and Matt Wilson on drums, all recognized composers, bringing insight and originality to this body of work.

Mancini loved jazz and that was apparent by the approach he took to his writing. He was a pioneer in a new approach to film scores, his music moving away from the heavy symphonic treatments that had been produced by composers at that time, and instead exploited jazz motifs, using smaller ensembles. He was also known for his use of unorthodox instrumentation and his "cool jazz" sound. His music for the Peter Gunn series was the first time that a TV show featured a jazz score.The show's use of modern jazz music, at a time when most television shows used a generic, uninspired orchestra for the background, was another distinctive touch that set the standard for many years to come.

TRACKS
Theme from the Night Visitor
Dreamsville
Something for Nash
A Shot in the Dark (transition)
Lujon
Breakfast at Tiffany's
Cheryl's Theme
Mr. Yunioshi (transition)
Soldier in the Rain
The Party
A Quiet Happening (transition)
Two for the Road
Experiment in Terror
Baby Elephant Walk (transition)