Jick Nakassian was born in Athens. At the age of fourteen, while studying at the 2nd grade of highschool, he bagan mentally composing melodies, without the help of any musical instrument. He could imagine the sounds of musical instruments without really knowing what they were, as, at the time, he was only aware of the basic rythmic instruments like bass, guitar, drums and piano. By 1967 he had mentally "written" 125 songs/melodies, that he managed to memorize by constantly repeating them in his head. In October of the same year he got his first guitar and by using two or three chords he wrote various pop melodies. A year later he already had 305 songs in his personal record. He was determined to learn to read and write music since 1968, so during the summer of ‘69 he studied basic Music Theory on his own and then he moved on to Music Harmony by secretly attending music theory and instrument lessons since his parents wouldn’t hear about it. His fast progress and his huge learning appetite forced his tutor into contacting his parents and informing them of his talent in the summer of 1970. In September 1970 he was introduced to Klelia Terzaki by another composer. Her knowledge and tutoring in ear training, rythm and harmony were invaluable. Within six to seven months he was able to write music scores without the help of musical instruments and with Klelia Terzakis’s support he enrolled at the National Conservatory. There he studied under Leon Zoras and graduated with a Harmony Degree in the winter of 1971.

In October 1971 he begins his service in the Navy. Before this, he wins a scolarship and continues his studies in Counterpoint and Orchestration under professors Menelaos Pallantios and Konstantinos Kydoniatis respectively, at the Athens Conservatoire. During his service he makes excellent use of his time by learning and developing his skills and excels in his written examinations. At the same time he makes the orchestrations for the 8-member Navy Orchestra which gives him the opportunity to practice on popular songs of that time. This experience and the fact that he used the time of his 27-month military service very productively, will turn out to be very useful. In Christmas of 1973 he is released from the Navy having a complete four-hour music program in his resume. He had already been awarded the diplomas in Counterpoint and Instrumentation since June 1974 and sent three songs to the Thessalonica Festival. One of them, the “ WHEN THE RAIN CAME” (with file number 367 and written in 1970) orchestrated by him, performed by Eirini Raikou and directed by Kostas Kapnisis will be among the 20 finalist songs. It is his first song to be recorded. In the Festival rehearsals the exarch of the orchestra raises from his music-stand and he asks who wrote the instrumentation. His sound has an individuality, with western and european influences, becomes quite popular with the audiences and as a result record comanies show interest in the 24 - year - old, whom they want to hire as an orchestrator. The sound of his orchestra gradually becomes familiar and recognisable. In the summertime of 1975 he submits another one of his own songs to the Thessalonica Festival. It is called “I BEGOFYOU”, and is performed by Elpida a pop star of the time. This time he both orchestrates and directs the orchestra. The song gets recorded by the record company Polygram and is placed 1st in order on the A' side of an L.P. album while the song “LIKE A DREAM” is recorded 1st on the B' side. In September 1975, in the Thessalonica Festival, "LIKE A DREAM" wins while "I BEG OF YOU" comes third. That disappoints him, so he decides to never submit a song of his own to the competition again. During the winter of 1975-1976 he works on recordings of his own songs and writes orchestrations for popular artists. It is in the next year, however, that the Thessalonica Festival appears that it vindicates him with the first special award for his instrumentation in a song titled "A SWEET MUSIC" which was proposed to him by Thessalonican composer Stelios Tsamados . His appearance for this song as conductor and his absolutely original sound with 3 flutes, marimba, strings and vocals, become henceforth the key and conscience, not only in the musical and record company circles but also in the public. From 'then on he participates almost each year in the Thessalonica Festival but also in festivals abroad. Known artists from the Greek pop scene ask for his orchestrations. Thus he participates in the Festivals of Tokyo, Austria and others, since at the time the song contests were particularly popular. In 1978 he wins the special award of Best Instrumentation once more competing with respected colleagues. He also receives his first work proposal from a popular night-club named “NOCTURNO” (currently “13 Moons”). Meanwhile he works in the record industry and in the summertime of 1978 he writes songs for Aleka Kanellidoy, Manos Chatzidakis (Corfu Festival), Giorgos Koinousis, Bessy Argyraki, and Lakis Giordanelli. It is also in 1978 that Manos Chatzidakis proposes that he directs 50-member Variety Music Orchestra  of the Hellenic Radio and Television Company (E.R.T.). Up to 1990 he will have completed more than 300 instrumentations. He also takes part in 30 L.P. albums as an orchestrator.

His songs have been sung by known artists from the pop scene: Aleka Kanellidoy ("You Forgot Me", "We Sing"), Elpida ("Please", "It Has To Be", "Just Once" e.a.), Bessy Argyraki ("Endless Life", "Tell Me Where To Find"), Paschalis ("A New Love", "Years"), Eirini Raikou ("The Rain Came"), Lakis Giordanelli ("Talk To Me", "Years" e.a.), Terris Chrysos ("Why", "What My Heart Wants"), Anna Vissi ("Autostop"), Marrista ("Time Flows", "Bohemic Life" e.a.). A lot of singers have collaborated with him like Tania Tsanaklidoy, Michalis Kalogiannis, Manolis Mitsias, Harry Klynn, Giorgos Koinoysis, Filippos Nikolaou, Yannis Vogiatzis e.a. In 1979-80 he becomes music director at the best night club of that time "NEA DEILINA". That same year his song "AUTOSTOP", sung by Anna Vissi, gets chosen to compete among 12 finalist songs for the 76th competition of E.R.T. and finally gets to represent Greece in the EUROVISION Contest. The song gets translated in German and sung by Wenke Myhre, who includes it in her personal album "LEBEN". In the summer of 1980 he participates in the "Rose d' Or" festival, held at Kallimarmaro stadium, with his song "TU T' EN VAS", which was poorely performed and orchestrated by the French arranger...

In the winter of '81 he decides to move to the United States of America. He writes new songs with english lyrics and in October he goes to New York. He works with 2 production companies up until August 1983, returning to Greece for a short time in April 1982. The interest in this collaboration evaporates in the fact that the production companies cease to financially support his extended stay in New York and thus he returns to Greece. He continues his work with the Music Orchestra of E.R.T. as Conductor as well as with record companies and the company “LYRA” in particular. It is in 1984 that he creates some very special albums such as “THE HONOURABLE GENTLEMAN GIANNIDIS”, “THE RED ROLLER-SKATES” with Margarita Zorbala as well as the acclaimed “NIGHT ROUTE" of Aphrodite Manou, “THE TOUCH OF LOVE” with M Antoniou and others. He also works with Dionyssis Savopoulos (Acharnes), and at the same time he writes music for the plays “GEORGE DANTIN”, “SERVANT OF TWO MASTERS”, “MRS WARRENS PROFFESSION” as well as for the television adaptation of the children's play “ANNIE”. He collaborates with the Thessalonica Festival up to 1997. In 1990 he makes three more albums with Giorgos Margaritis (“CONCENTRATE”), with Yannis Vogiatzis - Takis Antoniadis - Bessy Argyraki (“SPAGHETTI A LA GREEK”) and with Yannis Poylopoylos in the songs “Heads or Tales” and “That is to say”. Ιn1992 a journalist encourages him to participate in an anthem competitionso he writes three anthems for the Navy, the Army and the Air Force. These three anthems are among twelve finalists, written mostly by military musicians. The one for the Air Force “WE ARE AVIATORS” comes 2nd from the 3 that will receive an award in a special ceremony. When he is asked how he got there he answers that in his twenty-seven month long military service in the Navy, he played trumpet in the band. The anthem is played by the Bands of the Greek Air Force until today. He also works as a music director and orchestrator in popular night clubs of Athens and Thessalonica such as NOCTURNI, NEA DEILINA, ATHINAIA, TABOO, RODOLFO, PALAIS ROYAL, LA PLAYA, BELLE HELLENE as well as DIVUS (for 2 years) and ADVANTAGE in Thessalonica.

During the period 1998-2000 he creates and runs his own music club, named “PASSAGE”. The earthquake of September 9th 1999 in Athens, forces him to close it up in March 2002. In 2002 he stops working as an orchestrator for other artists. He is too tired of being a "sound-decorator" for other people's music.

Up untill that time he has written more than 1200 melodies and lyrics for most of them, but only 50 have been formally recorded. He's been very dissapointed by many otherwise acclaimed artists for their sloppy performances of his songs. He therefore decides to never again offer songs to male singers. He recalls unforgettable people from the Greek Record industry like Alekos Patsifas of "Lyra Records" and Italian Binotti of "EMI", who with the intervention of the then young Ioannis Ieronimidis suggested that he sung his
own songs himself. “I denied at the time… for you cannot direct an orchestra and sing simultaneously. Then however, came the era of computers and samplers (that I too use today, I believe with discretion, knowing the real orchestra very well from experience) and turned us obsolete. We are not needed in festivals, discography or anywhere anymore. See the most brilliant element of the Eurovision Contest show, the orchestra, having been replaced by playback, while the profession of the orchestrator-conductor in modern music practically ceased to exist.”

In 2002 he decides to create a home-studio. He writes 12-15 orchestral pieces, and a musical play for children for the Greek National Theater. It was about to be realised with the aid of academic Mr Korres and Mrs Tsatsos, then director of the National Theater. It was however cancelled, right after Mr Kourkoulos took over from Mrs Tsatsos… He then began to experiment in his studio, on his own music, lyrics and vocals. “It is all about giving your soul in it; many performers merely sing, but a soulful, a warm and meaningful performance is a totally different matter. I am moved by composers who can sing and play guitar or piano at the same time.”

In time he realises that audiences welcome his sound, he gets used to hearing his own voice in the songs (melodies-verse) and spontaneously writes many songs from 2004 onwards. In 2009, 22 of these songs stand out and finally he chooses 15 for which he records vocals, piano, keyboards and guitar, with the help of 2 female vocalists and fellow musicians (drums, percussion - saxophone - trumpet and solo electric guitar). He completes the work in his own studio and finishes with the remixes in May 2010 in Top Studio, Athens. The production gets completed by the end of June 2010, and hopefully in a reasonable amount of time he will have his first personal album published, after so many years!

“I am not easily discouraged; I write each song with passion, as if it was my first. I do not consider myself to be a singer, I simply perform my songs as I "hear" them with my soul when I create them. If you ask me of their style, well, they do not have bouzouki hence they are not pop with the meaning given to it by most people in Greece. However pop songs are not written today as they used to, there is this pop-folk mixture, the "two-month" songs that cannot write history like the good pop songs of the '60s and '70s did. I am afraid that they will be forgotten pretty soon. I want to write songs that last through time, songs I will not be ashamed of in five or ten years from now. If people listen to the songs that will be published early in 2011, they will be listening to  Blues, Latin, Ballads, Pop or Jazz without being bothered by anything, I believe, without having to label them, understanding that they all have their own specific style, always related to the lyrics and their meaning. How, for example, can a song that speaks of a veteran actress from Rio and her life not have a latin, a brazilian character? Or a sad love song not be "blue"? The social - erotic content of the lyrics, that derives mostly from my life's experiences, makes my melodies "difficult" for the audience or non-commercial; or so they are accused of. I have been hearing this since the beginning of my career: “You write difficult songs, difficult melodies” they kept telling me. Yes, this is real meaningful music, no two-month hit, and its roots span from the 60' s up to today. The “wooden” sound of instrumentation combined with electric and acoustics guitars, electronic and acoustic piano, vocals, six-seven and eight note harmonies, are not what one would call "easy listening". I am not trying to create difficult music on purpose.  This is the way it comes to me, the way I feel it. My music is [Harmony-Counterpoint] and in times of musical "simplicity" this is considered difficult. In other countries music is considered easy listening, simple, with sentiment and a wealth of sounds. That was the case in Greece from 1950 until 1980, then things took a turn to the worse, with the intervention of politics. Basically, I want to write music as I feel, without the misery of writing cheap commercial music, but rather offering what I really am; I consider this honest and I feel proud to write music for so many years without being the composer of  the commercial two-month song!”