Ryan Middagh: reimagining standards, honoring traditions

One of the intrinsic elements of artistic appreciation is the reinvention of a work. The fantasy of imagining how something can be elevated or reimagined is universal and accessible to all. However, only a few will be capable of successfully transforming a piece that the public has defined as classic. Those who transform standards share the elements of alchemy: they have nurtured their creative spirit with wonder and understand that mastery emerges not from perfection but from the endless dialogue between practice and curiosity.

At the heart of reinvention lies the possibility that, at this very moment, somewhere in Nashville, Ryan Middagh is crafting a way to elevate the impact of a song: "As an arranger, I want to do something different and unique with a standard—something that’s refreshing but also approachable. The music I write is meant to be enjoyed by jazz aficionados, but I also want non-jazz listeners to enjoy it. Every once in a while, I’ll write something super esoteric, and that’s fun, but really, part of having a big band and being a musician is about connecting with an audience." His words resonate deeply with the compositions behind his second album, Tenor Madness, with which he makes it clear that his music not only seeks to honor the jazz tradition but also to introduce a modern vision that appeals to those in search of new sounds.

Behind the six tracks of Tenor Madness are two main elements from which Ryan draws inspiration: Nashville and the saxophone. These go beyond where he lives and the instrument he plays; they reflect the music scene he knows best. In his words, "Jazz in Nashville is alive and well. It's been great to assemble a big band—my jazz orchestra in this city. I almost consider my group a collaborative band because I write music for the people in it. I'm fortunate that everyone sounds uniquely themselves. For instance, there's no single Nashville sound for a saxophone player, and since this is a saxophone feature record, you can hear how distinct everyone is."

This sense of individuality and collaborative energy is reflected not only in the participation of saxophonists like Alex Graham, Jovan Quallo, Jeff Coffin, Don Aliquo, Joel Frahm, Kevin Shinskie, and Jimmy Bowland but also in the spirit of the album’s title, which nods to Sonny Rollins' iconic album Tenor Madness, a landmark in the evolution of the instrument.

Middagh is known as a composer, arranger, or baritone saxophonist, and listeners would agree that he’s also a master selector, blending the perfect elements. "I constantly think about my musicians and how they're going to shine. In the song Tenor Madness, people might notice the solo section for Joel Frahm is very different from the solo section for Jeff Coffin. I worked to curate their solos in a way that would highlight their unique musical personalities." As a bandleader, he’s not just identifying people who will sound great together; he’s also finding those eager to collaborate and create as a cohesive unit.

Once Ryan decides which musicians will be featured in the track, the creative process begins. "Where I start is truly in my mind, where I try to get the biggest picture of the piece humanly possible. Once I've developed the idea, I write things down; I have a process where, on one side, I'm mapping out the big picture of the composition or arrangement. This includes more formal aspects, like the introduction, orchestration, and structure—written in words rather than musical notation." He continues, "On another sheet, I write down goals, influences, or stylistic elements I want to incorporate. It’s like a color palette I can pull from, keeping me focused on the character of the music." In his mental map, every aspect of the song comes with a justification. For instance, in the arrangement of Waiter, Make Mine Blues, featuring Jenna McLean, he wrote notes like bluesy, lots of scoops, and lead trumpet solo.

To me, jazz is a truly inclusive umbrella, one that embraces a variety of influences and pathways within the art form.

The balance between established notes and improvisation is genuine, with each piece infused with an element of surprise—what Ryan calls tension and release. He elaborates, "I want to add as much color as possible to my music; I focus on musical tension. For example, in the arrangement of This Time the Dream’s On Me, especially the intro where Jeremy Wilson is featured on trombone, each voice adds a different color, layer by layer. It’s not even a traditional orchestration. I build tension delicately, adding subtle voices to create something unique."

Middagh believes that when arrangers or writers don't spend enough time playing, they miss out on the musician’s perspective. From the player’s seat, where he also reimagines music, he does not dissociate from his personal life: "I’ve always wanted to arrange the song This Time the Dream’s On Me, for many reasons. But when I came to terms with being a father, I thought about the lyrics of that tune. It clicked for me. It felt like the kind of lullaby a parent might sing to their child. It’s about dreaming of what life will be like as a parent and hoping for the best for your children. I think of that arrangement as a lullaby for my kids." This belief shapes the way he reimagines music, and it’s reflected in his deeply personal reinterpretation of a standard becoming a lullaby.

With Tenor Madness, Ryan Middagh built a bridge that allows a journey between the present and the past. The musicians accompanying him have made these reinterpretations potential candidates to become the next classics. It is a tribute not only to Nashville and the saxophone but, above all, to the imagination that dares to believe exceptional pieces can be reimagined through new rhythms, inventive melodies, and fresh time signatures.