The Creep Reviews and Interviews
You can detect various jazz alto influences in Nash's playing - Coleman, obviously, but also Charlie Parker, Cannonball Adderley and Eric Dolphy - but none to the detriment of his own musical identity and emotional bearing. JazzTimes
Ted Nash, as well as Ron Horton, are both musicians with impeccable taste, sounding like noone else in the jazz world. They listen, lead, react, are creative with their choices and never rely on cliches.Richard Kamins, Hartford Courant
Nash serves a quirky, strutting, sometimes surprising dish here, whose message may be, "while the pianist's away, the cats will play." No chords, no safety nets. It's been done before, of course, but Nash's talent makes such flings safe for a bit of self-indulgence. Horton is an invigorating foil. 4 1/2 Stars. John McDonough, Downbeat Magazine
Saxophonist Ted Nash has forged a compelling identity as a leader...His most recent album takes him further afield...his pianoless quartet produces swinging music of startling clarity and force. Paul de Barros, Downbeat Magazine
Freebop in Ornette quartet mode (sans harmonic comp), though more tightly choreographed. Lots and lots to chew on, including Horton's infinitely flexible trumpet and the rollicking Owens on drums. Like James Carter, Nash can do anything on the horn, here alto only. Superhero pantheon-wise, he's more Elastic Man than Creep. John Corbett, Downbeat Magazine
At some points it seems like an Old And New Dreams nod, and we can always use that. But singularity emerges thanks to Nash's writing and playing. His personae are many, but this freebop character is really compelling. Secret weapon: Ron Horton! Jim Macnie, Downbeat Magazine
The Creep will be a classic record in Nash's discography and challenges the industry to be just as confounding, inventive and entertaining - 5 Stars.
Stage Door review, by Jason Gladu
You have an imagination that has no quadrilateral boundaries, so that you are affected not only from the bowels of your saxophone but by the movement of your obedient pen as well -- each bearing earmarks of your motivational heart, the creative basis of everything of any consequence. You 'slap' the listener in the face with your daring and the unexpected (creating vital anticipation) at one moment, then later sooth it with even more precious, deeper feelings of the heart. Fantastic, Ted! You four are to be commended as vanguards of a well-planned future - rife with creative imagination and a votive determination.
This is a powerful and persuasive foursome...Together and individually, they possess the flexibility and focus to handle the built-in diversity of Mr. Nash's (music). Josef Woodard, Santa Barbara News-Press
Fast-fingered and articulate...with solos balancing wide open imagination with spontaneous structure-making.
The Ottawa Citizen, by Peter Hum
Nash's solos stood out to me as scarily perfect; an improviser who makes no mistakes, and has impressive ideas and also the maturity to know when to quit. His alto playing was focused and smooth, always in tune, and never overbearing.
Jazz Truth, by George Colligan
The writing is marvelous as is the playing by all. It already makes my list of best album of 2012, without a doubt. Jacques Emond, Radio Jazz Canada
Sounds of Timeless Jazz, by Paula Edelstein
Interview - The American Perspective, with Judyth Piazza
Interview - It's Your Health Network, with Lisa Davis