Ted Nash & Glenn Close
Glenn Close & Ted Nash Talk Their Multidisciplinary New Album, 'Transformation' & Where Music And Acting Intertwine
The masterful actress Glenn Close and GRAMMY-winning big-band leader Ted Nash found common ground back when Jazz at Lincoln Center Orchestra was born. Now, they have 'Transformation,' a heady new album with both their names on the sleeve
In the beginning, Wayne Brady created the heavens and the earth. Well, actually, he just described the event captured in Genesis 1:1.
"Before sea or land, before even sky/Which contains all," the "Whose Line Is It Anyway?" actor booms along with the GRAMMY-nominated acting legend Glenn Close at the top of a unique and ambitious new album, quoting Tales From Ovid. "Nature wore only one mask/Since called Chaos." Never thought you'd hear the improv comic famous for "Scenes from a Hat" dramatically plumb The First Book of Moses? Thank Close and GRAMMY-winning big-band leader Ted Nash, who invited him into their latest multidisciplinary project, Transformation.
This isn't a pairing people generally think of. Fans of Close's performances in The Natural or Fatal Attraction may not be aware of the New York multi-reedist and composer's work, or vice versa. But when they get together, it's hand-in-glove. Why? Because, as it turns out, improvising a graceful saxophone solo and inhabiting a character fires up many of the same neurons. (Same with goofing off on "Whose Line," but that's another story.) All these talents—acting, playing jazz, cracking jokes—are more similar than people think.
That's partly why Close and Nash named their new album Transformation: Personal Stories of Change, Acceptance and Evolution. Featuring everyone from Amy Irving to Wynton Marsalis to Nash's son, Eli, and underpinned by the Jazz at Lincoln Center Orchestra (JLCO), the album, which was recorded in two nights and arrives May, braids jazz with spoken-word segments, many of them derived from literary and poetic sources. And the themes, from spiritual light to the transgender experience, don't get headier—or heavier.
Transformation never gets ponderous or preachy, though. At its essence is the trust and rapport between Close and Nash; even over Zoom from her digs in Montana and his in New York, their mutual admiration radiates from the screen. GRAMMY.com caught up with the prestigious pair to discuss the making of Transformation and Close's personal account of how she got into jazz—which, if you're curious about the genre, is absolutely worth reading.
This interview has been edited and condensed for clarity.
How did you two arrive in each other's orbits?
Close: I think the first thing I ever did with you guys was a Christmas something. But the truth is, I was walking a street I lived on in the West Village and I heard this jazz music coming out of an open house. The door was open and I walked in and it was Wynton and Ashley Schiff raising money for Jazz at Lincoln Center. So, when was that? When was it founded?
Nash: It's been 30 years.
Close: So, it was 30 years ago because it didn't exist! They were raising music. I mean, raising money.
Nash: It's so interesting because Jazz at Lincoln Center started off as just a tribute to Duke Ellington. They did a series of concerts back in '89, and this woman named Alina Bloomgarden asked Wynton to be part of it. She said, "Hey, would you front the band and talk about Duke?" So, they did this series of concerts and it was so successful they started a whole thing called Jazz at Lincoln Center, which was at Lincoln Center. That's probably when you were there—when they started to raise money for it.
The thing that I remember, Glenn—and I have a couple of memories of our first [meetings]—the first was "Let Freedom Swing," or whatever it was.
Close: Yeah! Yeah, yeah, yeah!
Nash: You and Patricia Clarkson and Morgan Freeman. There were a few celebrity actors and people who came and read really beautiful pieces. We played the music. It was a very emotional experience for me at the time, I remember, just because of some of the thematic material. The idea of freedom. Having parents who were civil-rights activists. I remember we were backstage between the sets during the intermission and Wynton gave me a hug and started crying. It was so deep.
And you were there, and I remember walking up next to you backstage and I was so super-shy. I was like, "Um, hi!"
Close: You were!
Nash: I was starstruck because I just loved your work for years.
Close: I think I read that incredible Lyndon Johnson speech about civil rights. And, of course, the latest collaboration—I was invited by Ted to be on Presidential Suite.
Close: That's true.
Nash: We hung out at your house and we had a jam session where you played bongos or congas or something.
Close: The presumption is breathtaking!
Nash: It was great! It was so much fun. I still have a video of that somewhere.
Glenn Close and Wayne Brady. Photo: Frank Stewart
Close: I always got the feeling from Wynton that if we ever came up with an idea that we wanted to build an evening around, that he was very open to it. We toyed with various things. I remember, for a while, I was thinking of women in war. And then we were in this incredibly traumatizing time in our country and I thought, "No, no, no, no."
We talked about it and we thought the best thing would be to try to articulate what transformation meant. Pre-COVID, it's kind of stunning that we actually did it, because this has all been about transformation—this whole last year. Do we transform to what's happening around us? But that's how it started. We found these pieces.
Nash: Yeah, we came up with the concept. And I agree with you. I think our first idea was very attractive because it was going to be dramatic, and maybe sort of cinematic. I was thinking about all the ways I could write, underscoring. We could invite either readers or actors to do something. I liked that idea, but as we started talking about it, we agreed that we needed to embrace something that would inspire people toward change. You always talk about how we need this—how people need this.
Close: The comfort. So that they walk out of the theater being surprised, which they certainly were. Hopefully inspired.
Nash: And challenged. Glenn curated this so beautifully. She chose pieces that involved prose or poetry or different concepts and created this beautiful art for the evening that embraced all sorts of different themes, from transgender to racial issues to religion. People trying to find themselves in different ways. The creation of the world—going to heaven. It was all in there.
It was a lofty and ambitious program, but the pieces you picked were, I thought, right on. Right on.
Close: You were on fire when you wrote it. I've been doing interviews, and I think people who are part of the trans community are so completely blown away.
Nash: I'm so happy to hear that.
Close: Totally blown away and so moved by what you and [your son] Eli did together.
Nash: For me, that is the most poignant and personal part of the evening. I almost didn't keep it together while I was playing. It was so personal. I remember Danny Gorman, our director—when Eli showed up and we did a soundcheck and Eli began to read some of his letter, Danny couldn't even work. He was so emotional. You were there.
And Eli was so cool. Eli's studying to be a doctor in medical school. And he came in and read that piece—he was not nervous.
Close: He had never performed like that before. That's what I loved about it. You don't know when you pass somebody in the street. You wouldn't know, if you passed Eli in the street, what his story is. Every day, I'm aware. Whenever I see somebody, I say, "What is their story?" To come together again, I think our only hope is to listen to other peoples' stories without judgment. I think that's the basis of what this evening is about.
[astonished] And how about Wayne? I'm embarrassed! I didn't know that Wayne was talking about his mother!
Nash: When I first read the piece, I read it a couple of times because I wanted to make sure that was what I was seeing. Talk about forgiveness. [exhales through pursed lips] You have to forgive yourself before you can forgive everybody else. That's what his piece is about. To forgive yourself for feeling the way you do about yourself, [so] that you can forgive people for giving you a hard time.
We're so quick to judge people. I think one of the beautiful things about getting older, for me, is that I start to realize that what's more important than money or success or fame or any of this kind of stuff—I've never had a tremendous amount of any of it—is connecting with people. And you hope that your art is inspiring.
As a musician, when we're younger, we're always trying to impress people with our craft, and then we get to a certain point of realizing we want to move somebody emotionally with what we do. These stories—Judith Clark's, Matthew Stevenson's, Brade's, my son's—were so personal, and yet you can imagine, all over the world, that people are judging because they're anti-trans or racist or don't like Jews or whatever.
But look at the example that Matthew Stevenson gave us. Who could have more excuse not to like somebody than in [his] story [of] Derek Black, for being a white supremacist—almost a neo-Nazi, really. What does that teach us? You know?
Close: That we're capable of transforming.
Nash: We are.
Close: We're probably the only animal that can.
Nash: In a short amount of time.
Eli Nash. Photo: Frank Stewart
Where do you both feel this co-billing will go in the future?
Close: We'll do something! We'll have to think of something to do next! It's such a luxury. I used to be totally intimidated by jazz.
Close: I never listened to it. It's like [how] I was intimidated by poetry in college. There's always some smart kid who knows the meaning, you know? Jazz seemed the same way. It was kind of heady and cerebral. But I tell you, getting to know the Jazz at Lincoln Center guys, I now feel that jazz is probably the truest expression of the human condition. I honestly do.
Nash: I love that.
Close: I actually love it now. I can go into it. I get out of it what I get out of it. But when I think of the dissonance of what it means to be human—sometimes, we come together and play together, and then somebody will go out—it's just so fing human. Even the way you guys perform is inspiring because it's so organic. I mean, holy s! How do you know who's going to come out next? And the way you support each other. If somebody makes a mistake, you wouldn't in a million years know it. It changed my life, in a way. It opened it up as far as what that kind of music is.
Nash: You touched on something about what jazz is, which I think is the same in acting at the high level: trust. You talk about a mistake, and yes, a mistake can be something where we have a written note and we play the wrong one. There are choices you make that might be incorrect or not appropriate for a time, but when we get to a higher level, we feel that thing. We're all listening. We're all trusting. We're responding in a way that feels organic. That's what I love about jazz: It is mostly improvised. And I think a lot of people don't even understand that.
Close: We only did three performances, unfortunately, but I did notice that the orchestra started responding. Sometimes, just a single musician to a single word. They'd pull it out. I've had people say, "It would be great to do this again." It would be wonderful to do it again because we could get other people—whoever's free, you know?
Nash: I would love to do it again, certainly.
Glenn, you hit on something that is kind of the bane of my existence as a jazz writer. This music is for everybody. You don't need to read a manual. You don't need accreditation. Get into the swing, get into the bluesiness of it, and enjoy it. When that's lost in jazz journalism, it pushes people out, right when we need new blood in this community.
Close: Jazz is so deeply American. I always think of baseball when I think of jazz. And baseball is a sport that's full of names. You don't know how fabulous they are until you actually see them play. I think of jazz in the same way.
Nash: A lot of newbies in the jazz listening world will be like, "I walk in a record store…" [scoffs] I'm dating myself. "I don't know what to look at! I don't know where to begin!" That's a question with a lot of people. "Where do I start? Where do I start?"
There are all these go-to records. "Well, start with Kind of Blue." We give a few examples of what some of the parts of jazz music are without being too heady or over-the-top. I think if people just gave it a chance … and one thing Jazz at Lincoln Center is doing a lot is showing people what this music is and allowing them to see it, stream it and all that.
Close: I love what Jon Batiste said when he won his Oscar: "We were given 12 notes."
Ted Nash. Photo: Frank Stewart
Is there anything else you'd like to express about the making of or intention behind Transformation?
Nash: I would. The process of working with Glenn was so revelatory to me. I don't know if you realize this, Glenn, but when I was small-talking with you about your process as an actor—because it's so deep, how you can have all these roles where you transform yourself so beautifully—I said, "What's your method? Are you a method actor? What's your technique?" and all this stuff.
And you just said, "You know? I don't really think about that. I just use my imagination. That's the most important thing." It was a very simple answer, but that was the deepest thing. Because I went home and I started thinking about imagination, and I realized that I do use my imagination when I compose. A lot of times, I'm still stuck in technical things like chords and scales, not just closing my eyes, sitting back and imagining where this piece could go.
Now, I talk about this a lot with students, but this piece, in particular, required a big imagination for me. Using what you said to me and applying that to that composition process, I found voices inside myself I had never found before.
Photo: Carlos Alvarez/Getty Images
Rosalía Announces First Solo North American Tour
El Mal Querer Tour, named after the Spanish pop star's latest album, will come to Los Angeles on April 17 in between her Coachella performances
Rosalía is set to perform at some of the most popular music festivals around the globe, including Primavera Sound in Spain, Lollapalooza (Argentina and Chile) and Coachella, but the Spanish pop star isn't stopping there when she gets to the States. Now, she has announced her first solo North American Tour with a string of dates that will bring her to select cities in the U.S. and Canada.
El Mal Querer Tour, named after her latest album, will come to Los Angeles on April 17 in between her Coachella performances. Then she'll play San Francisco on April 22, New York on April 30 and close out in Toronto on May 2.
"I’m so happy to announce my first solo North American tour dates," the singer tweeted.
Rosalía won Best Alternative Song and Best Fusion/ Urban Interpretation at the 19th Latin GRAMMY Awards in November and has been praised for bringing flamenco to the limelight with her hip-hop and pop beats. During her acceptance speech she gave a special shout-out to female artists who came before her, including Lauryn Hill and Bjork.
Rosalía has been getting some love herself lately, most notably from Alicia Keys, who gave the Spanish star a shout-out during an acceptance speech, and Madonna, who featured her on her Spotify International Women's Day Playlist.
Tickets for the tour go on sale March 22. For more tour dates, visit Rosalía's website.
Walk, Don't Run: 60 Years Of The Ventures Exhibit Will Showcase The Surf-Rock Icons' Impact On Pop Culture
The exhibit, opening Dec. 7, will feature late band member Mel Taylor's Gretsch snare drum, a 1965 Ventures model Mosrite electric guitar, the original 45 rpm of "Walk Don't Run" and more
Influential instrumental rock band The Ventures are getting their own exhibit at the GRAMMY Museum in Los Angeles that will showcase the band's impact on pop culture since the release of their massive hit "Walk, Don't Run" 60 years ago.
The Rock Hall of Fame inductees and Billboard chart-toppers have become especially iconic in the surf-rock world, known for its reverb-loaded guitar sound, for songs like "Wipeout," "Hawaii Five-O" and "Walk, Don't Run." The Walk, Don't Run: 60 Years Of The Ventures exhibit opening Dec. 7 will feature late band member Mel Taylor's Gretsch snare drum, a 1965 Ventures model Mosrite electric guitar, the original 45 rpm of "Walk Don't Run," a Fender Limited Edition Ventures Signature guitars, rare photos and other items from their career spanning six decades and 250 albums.
“It’s such an honor to have an exhibit dedicated to The Ventures at the GRAMMY Museum and be recognized for our impact on music history,” said Don Wilson, a founding member of the band, in a statement. "I like to think that, because we ‘Venturized’ the music we recorded and played, we made it instantly recognizable as being The Ventures. We continue to do that, even today."
Don Wilson, Gerry McGee, Bob Spalding, and Leon Taylor are current band members. On Jan. 9, Taylor's widow and former Fiona Taylor, Ventures associated musician Jeff "Skunk" Baxter and others will be in conversation with GRAMMY Museum Artistic Director Scott Goldman about the band's journey into becoming the most successful instrumental rock band in history at the Clive Davis Theater.
"The Ventures have inspired generations of musicians during their storied six-decade career, motivating many artists to follow in their footsteps and start their own projects," said Michael Sticka, GRAMMY Museum President. "As a music museum, we aim to shine a light on music education, and we applaud the Ventures for earning their honorary title of 'the band that launched a thousand bands.' Many thanks to the Ventures and their families for letting us feature items from this important era in music history."
The exhibit will run Dec. 7–Aug. 3, 2020 at the GRAMMY Museum.
Photo by Isabel Infantes/PA Images via Getty Images
Alicia Keys Unveils Dates For New Storytelling Series
The artist will take her upcoming 'More Myself: A Journey' biography on a four-city book tour
After performing her powerhouse piano medley at the 62nd Annual GRAMMYs, R&B superstar, GRAMMY-winning artist and former GRAMMY’s host Alicia Keys has revealed that she will set out on a four-stop book tour next month. The storytelling tour will support her forthcoming book More Myself: A Journey, which is slated for a March 31 release via Flatiron Books and is reported to feature stories and music from the book, told and performed by Alicia and her piano, according to a statement.
Part autobiography, part narrative documentary, Keys' title is dubbed in its description as an "intimate, revealing look at one artist’s journey from self-censorship to full expression." You can pre-order the title here.
The book tour will kick off with a March 31 Brooklyn stop at the Brooklyn Academy of Music. From there, Keys will visit Atlanta’s Symphony Hall on April 5 and Chicago’s Thalia Hall with Chicago Ideas the following day, April 6. The short-run will culminate on April 7 in Los Angeles at the Theatre at Ace Hotel.
Pre-sales for the tour are underway and public on-sale will begin on Friday, March 6 at 12 p.m. Eastern Time. Tickets for the intimate dates and full release dates and times are available here.
Keys won her first five career awards at the 44th Annual GRAMMYs in 2002. On the night, she received awards in the Best New Artists, Song of the Year, Best R&B Song, Best R&B Album and Best Female R&B Vocal Performance categories respectively. She has received a total of 29 nominations and 15 GRAMMYs in her career.
This year, Keys will also embark on a world tour in support of Alicia, the artist’s upcoming seventh studio album and the follow up of 2016’s Here, due out March 20 via RCA Records.
Photo: C Brandon/Redferns/Getty Images
Brittany Howard, Brandi Carlile, Leon Bridges, 2 Chainz & More Join Small Business Live Benefit Livestream
Proceeds from the event will be go toward loans to small businesses founded by people of color, with additional support to women-owned and immigrant-owned businesses, via Accion Opportunity Fund
This Saturday, June 20, artists including Brittany Howard, Brandi Carlile, Leon Bridges, 2 Chainz and more will come together for Small Business Live, a livestream fundraiser event for small businesses facing challenges from the COVID-19 pandemic.
Proceeds from the livestream will go to Accion Opportunity Fund to support small businesses founded by people of color, with additional support to women-owned and immigrant-owned businesses.
“Entrepreneurs of color are denied credit more often and charged higher rates for money they borrow to fund their businesses. We need to accelerate support to underserved businesses in order to reach our full potential,” Accion Opportunity Fund CEO Luz Urrutia said. “We have to decide what we want our Main Streets to look like when this is over, and we must act decisively to keep small businesses alive and ready to rebuild. This is a fun way to do something really important. Everyone’s support will make a huge difference to small business owners, their families and employees who have been devastated by this pandemic, the recession, and centuries of racism, xenophobia and oppression.”
Tune in for Small Business Live Saturday, June 20 from 4:00 p.m. to 10:00 p.m. EDT on smallbiz.live. The site also provides a full schedule of programs and links to watch the livestream on all major digital platforms. To learn more about Accion Opportunity Fund, visit the organization's website.