ALEX WILSON
he prefers quite tight structures and a careful sifting of group
Alex Wilson
PIANO, SYNTHESIZER
Wibon moved to London in 1993, already in possession of a highly
individual blend of jazz and Afro-Cuban grooves and melodic
ideas. He is a fine arranger and a volatile keyboard performer,
destined to go places.
*** Afro-Saxon
Candid BCCD 79201 Wibon; Jesus Alemany, Sid Gauld, Paul
Jayasinha (t); Mark Bassey (tb); Joe De Jesus (tb, f); Bobby
Watson (as); Denys Baptiste, Paul Booth(ts); Toni Koffi (bs);
Alfred KariBanneman, Ciyo (g); Larry Bartley, Elpidio Caicedo,
Nico Gomez, Neville Malcolm (b); Cheryl Alleyne, Robert
Fordjour (d); Davide Giovannini (d, pere, v); Thomas Akuru-
Dyani, Bill Bland, Dave Pattman, Roberto Pla, Emrys Solis
(pere); Jonathan Shortaxn (dprog); Gwyn Jay Allen, Lauren
Dalrymple (v). 98.
Part of Candid's Big City showcase of new talent, Afro-Saxon
introduces an extravagant young talent who is both a boilingly
percussive player and a genuinely inventive arranger with a gift
for complex metres and cross-rhythms. He also provides a launch
platform for guest soloists like Bobby Watson, whose feature
on 'My Little Suede Shoes' will melt your ceiling tiles, and Paul
Jayasinha, whose flugelhorn on 'Africa Is Da Place' will bring a
smile to the dourest face.
The only problem with this debut album is that it tries to do
too much too quickly. Wilson has ideas in abundance, but per
haps he needs a more settled context to develop them. It's to be
hoped that he will be allowed to grow at his own pace and not be
put into a forcing-frame.
Bert Wilson
SOPRANO, ALTO AND TENOR SAXOPHONES, BASS
CLARINET
Multi-instrumentalist who leads his regular band, Rebirth,
through occasional recordings of rousing free bop.
*** Live At The Zoo
Nine Winds 0138 Wibon; Nancy Curtis (f); Allen Youngblood
(p); Chuck Metcalf (b); Bob Meyer (d). 8/88.
*** Further Adventures In Jazz
FMO 004 Wibon; Syd Potter (t); Nancy Curtis (f); Craig Hoyer
(p); Peter Vinikow (b); Bob Meyer (d); Michael Obon (pere);
Greta Matassa (v). 1/92.
*** Endless Fingers
Arabesque AJO 123 As above, except add Chuck Stentz (ts), Dan
Schulte (b); omit Potter, Olsson and Matassa. 6-7/94.
Bert Wilson and his band, Rebirth, make cheerful, passionate jazz
that is as Ufe-affirming as it is questing. The leader's alto and tenor
style is an extravagant symposium of hard-bop licks and wildly
expressive effects, trademarked by a big, whinnying vibrato that
harks back to classic free jazz without really planting its flag there:
1584
sounds, as peppery as the group can becorne. The Nine Winds
record (several LPs are in vinyl heaven) documents a fine edition
of Rebirth, marked out as much by the intelligent work of the
rhythm section as by Wilson's howling solos and Curtis's less free
wheeling but still interesting flute work. Further Adventures In
Jazz offers a new line-up, though Curtis and Meyer continue,
with guest spots for Potter and Matassa on two tracks apiece.
Wilson's affection for hard-bop virtuosity is often worn on his
sleeve: he describes 'Happy Pretty' as '12 keys in 12 bars in 12 sec
onds, though we play it somewhat faster here'. Some of the tunes
on both records are a bit scrappy or ragged, even for such a roist
ering group, and a little more finesse in the production would
have helped; that comes through on Endless Fingers, which is cer
tainly their best-sounding record, and the band play with their
customary gusto. Curtis comes into her own, stealing thunder
with a high-velocity flute solo on 'Once Is Never Enough', and
guest Chuck Stentz signs in for a couple of two-tenor blowouts.
Wilson himself is as exuberant as ever. Yet the record finally seems
no better or worse overall than its predecessors. Maybe the group
simply has too much fun to think about making a masterpiece.
Cassandra Wilson (bom 1955)
VOICE, GUITAR
Bom in Jackson, Mississippi, Wibon's emergence in the 1980s was
as a peripheral member of the so-called M-Base group of New
York musicians. Following a number of records for JMT, she
signed to Blue Note and scored major successes with her first
releassesfor the label.
**(*) Days Aweigh
JMT 834412-2 Wibon; Steve Coleman (as); Rod Williams (ky);
Jean-Paul Bourelly (g); Kevin Bruce Harrb, Kenneth Davb (b);
Marc Johnson (d). 5/87.
***(*) Blue Skies
JMT834419-2 Wilson; Mulgrew Miller (p); Lonnie Plaxico (b);
Terri Lyne Carrington (d). 2/88.
*** Live
JMT 849149-2 Wibon; James Weidman (ky); Kevin Bmce
Harris (b); Marc Johnson (d). 90.
*** After The Beginning Again
JMT 514001 -2 Wibon; James Weidman (ky); Kevin Bruce
Harris (b); Marc Johnson (d); Jeff Haynes (pere). 91.
***Songbook
JMT 514026-2. As above JMT discs. 85-91.
** Dance To The Drums Again
DIW/Columbia 472972-2 As above, except add Jean-Paul
Bourelly (g), Rod Williams (ky), Kevin Johnson, Bill McClellan
(d). n.d.
Wilson's early records contain all the seeds of the success she has
enjoyed at Blue Note, but with one exception they rarely cohere
as albums of any particularity or sustained success. Most are awk
ward compromises between a more traditional jazz singing role
and the fimk and rap influences which dominate today's com
mercial black music. Her own compositions were flavourless
1585
vehicles for her style, marked by rambling melodies, vaguely pre
scriptive lyrics and rhythmical staggers; the early records (up to
Blue Skies) are an occasionally exciting but often unfocused
attempt at finding a balance. She shows a marked Betty Carter
influence rhythmically, but the timbre of her voice is cloudier,
and it can throw an interesting spin on otherwise familiar songs.
Blue Skies is the least typical but easily the best of her JMT records:
though made up entirely of standards with a conventional
rhythm section, the recital finds Wilson investing the likes of
'Shall We Dance?' with a wholly unfamiliar range of inflexions
and melodic extensions which is captivating. Her third-person
version of'Sweet Lorraine' is peculiarly dark and compelling and,
while some of the songs drift a little too far off base, it's a remark
able record, and it makes the ensuing Jumpworld (now deleted),
a return to self-consciously 'modern' music, sound all the more
contrived. The live session confirms that Wilson can sustain a
concert set which is essentially a seamless, ongoing vocal improv
isation, but the slipshod attention to quality-control, as far as the
material is concerned, is a point which seems to afflict most of
what she does. After The Beginning Again is one of her strongest
studio dates - 'There She Goes' is a haunting tune, built round
Wilson's yearning tag-line, and there's a memorably downcast
treatment of 'Baubles, Bangles And Beads' - but Dance To The
Drums Again sounds flat and tired, leaving Wilson apparently
stranded in a creative impasse.
*** Blue Light Til Dawn
Blue Note 781357-2 Wibon;OluDara (c);DonByron (cl); Tony
Cedras (ace); Charles Burnham (vn); Gib Wharton (steel g);
Brandon Ross, Chris Whitley (g); Lonnie Plaxico, Kenny Davis
(b); Lance Carter, BillMcClellan (d); Cyro Baptista, Jeff Haynes,
Kevin Johnson, Vinx (pere). n.d.
Wilson's debut for Blue Note was hailed in many quarters (mostly
by rock critics) as a masterpiece, and it's certainly a clear step for
ward from her recent records: Brandon Ross's production clari
fies all the colours of her voice for the first time, and the inventive
textures involving Dara, Byron, Burnham and Baptista create
digital fantasies on country blues and string-band forms. Yet Wil
son again makes peculiar labour out of some of the songs: Joni
Mitchell and Robert Johnson tunes stagger under her manner
isms, and it's on the simpler, more straightforward arrange
ments, such as a lovely glide through Van Morrison's 'Tupelo
Honey', that it all comes together.
*** New Moon Daughter
Blue Note 837183-2 As above, except add Graham Haynes,
Butch Morris (c), Gary Breit (org), Kevin Breit (g), Mark
Anthony Peterson (b), Dougie Bowne (d); omit Dara, Byron,
Davis, Carter, McClellan, Johnson, Vinx. 95.
The same again, only more polished, a shade more inventive, as
well as a fraction more arch: 'Last Train To Clarksville' was a cute
idea for a cover, and Wilson takes it over, but her improvisation
on the fade suggests that she doesn't really know what to do with
it. 'Strange Fruit' is harrowing in a deadpan, designerish way, and
the Robert Johnson tunes again don't fit. Where she really puts
her mark on the music is in her own writing: the calm, serenely
pretty 'Until' is outstanding, and so are 'Memphis' and 'Find
Him'. Jazz as art-song, and pretty damn accomplished.
GERALD WILSON
***(*) Traveling Miles
Blue Note 54123-2 Wibon; Olu Dara (c); Steve Colerkan (as);
Vincent Henry (hca); Eric Lewis (p); Regina Carter (vr); Doug
Wamble, Marvin Sewell, Pat Metheny, Kevin Breit (g); Stefon
Harris (vib); Cecilia Smith (mar); Dave Holland, Lonni 'Plaxico
(b); Marcus Baylor, Perry Wibon (d); Jeffrey Haynes, i\ lino
Cinelu (pere); Angelique Kidjo (v). 12/97-9/98.
There's always going to be a preening quality in Wilson's vocals,
and non-believers will probably find it as hard to ws to this
record as to her previous sets. But as a tribute to Miles Dlavis, this
seems like the most creative and thought-throughl of t tie many
genuflections to the master since his passing. For once although
even this seems self-conscious at times - Wilson seemj less like
the epicentre of the music and more like a graceful sour id which
drifts through a record that is, as usual, heavy on texture and feel
and light on improvisational input. There is no trumpi ;t on the
record at all - Dara's cornet makes only a couple: o f ghostly
appearances - and most of the weight is carried by the gtiitarists.
It seems strange to hear the likes of'Run The Voodoo Down'and
'Blue In Green' adorned with lyrics, although Wilson's joetry is
more useful as atmosphere than as substance. But this is surely
the best singing she has put down on record, wistful without
becoming studied, and 'Time After Time' is a pop interpretation
which surpasses any of those she tried on the previous Blue Note
albums. Since the record was far from a runaway : :ess in
commercial terms, it'll be interesting to see what shei tn is next.
Gerald Wilson (bomi9i8)
T R U M P E T, B A N D L E A D E R
Studied in Detroit then joined Jimmie Lunceford, before forming
own band. Has worked in Los Angeles music ever since, ar ranging,
accompanying, bandleading in many kinds of music.
*** Gerald Wilson, 1945-1946
Classics 976 Wilson; James Anderson, Emmett Berry, Ikobart
Dotson, Red Kelly, Fred Trainor, Snooky Young (t); Rai} h
Bledsoe, Vic Dickenson, Robert Huerta, Melba Liston, Is
Is\aac
Livingstone, Alton Moore (tb); Edward Hale, Leo Tramm il,I, Floyd
Turnham (as); Eddie Davis, Vernon Slater, Olis Westt(tr);I;
Maurice Simon, Charles Waller (bs); Jimmy Bunn (p); Williams
Edwards, Buddy Harper, Benny Sexton (g); Arthur Ea\ ards, irds,
Robert Rudd (b); Henry Tucker Green (d); Estelle Edson, Dick
Gray, Pat Kay, Betty Rochi, Thrasher Sisters (v). 5/45-^6.
Gerald Wilson joined the Jimmie Lunceford Orchestra just
around the time America joined the Second World Wai. After a
stint in the Navy, the talented young trumpeter and composer
decided to form his own band. It was a progressivet outf t whose
faintly experimental air has long since been eclipsed by Stan
Kenton's more abrasive approach, but these early recorojings are
full of interest.
As often with Classics releases, much of the interest lieslin iden-
tifying stars of the future in embryo. Melba Liston del uts as a
soloist on a reading of'Come Sunday', recorded for Exqelsior in
1945, while the irrepressible Snooky Young features on a rather
later 'One O'clock Jump'. Wilson's own contributions a player
are less dramatic. He also features on 'Come Sunday' urbane,