ALEX WILSON 1584

he prefers quite tight structures and a careful sifting of group

sounds, as peppery as the group can becorne. The Nine Winds
Alex Wilson record (several LPs are in vinyl heaven) documents a fine edition
PIANO, SYNTHESIZER 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
Wibon moved to London in 1993, already in possession of a highly wheeling but still interesting flute work. Further Adventures In
individual blend of jazz and Afro-Cuban grooves and melodic Jazz offers a new line-up, though Curtis and Meyer continue,
ideas. He is a fine arranger and a volatile keyboard performer, with guest spots for Potter and Matassa on two tracks apiece.
destined to go places. 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
*** Afro-Saxon onds, though we play it somewhat faster here'. Some of the tunes
Candid BCCD 79201 Wibon; Jesus Alemany, Sid Gauld, Paul on both records are a bit scrappy or ragged, even for such a roist
Jayasinha (t); Mark Bassey (tb); Joe De Jesus (tb, f); Bobby ering group, and a little more finesse in the production would
Watson (as); Denys Baptiste, Paul Booth(ts); Toni Koffi (bs); have helped; that comes through on Endless Fingers, which is cer
Alfred KariBanneman, Ciyo (g); Larry Bartley, Elpidio Caicedo, tainly their best-sounding record, and the band play with their
Nico Gomez, Neville Malcolm (b); Cheryl Alleyne, Robert customary gusto. Curtis comes into her own, stealing thunder
with a high-velocity flute solo on 'Once Is Never Enough', and
Fordjour (d); Davide Giovannini (d, pere, v); Thomas Akuru-
Dyani, Bill Bland, Dave Pattman, Roberto Pla, Emrys Solis guest Chuck Stentz signs in for a couple of two-tenor blowouts.
Wilson himself is as exuberant as ever. Yet the record finally seems
(pere); Jonathan Shortaxn (dprog); Gwyn Jay Allen, Lauren
no better or worse overall than its predecessors. Maybe the group
Dalrymple (v). 98.
simply has too much fun to think about making a masterpiece.
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 Cassandra Wilson (bom 1955)
platform for guest soloists like Bobby Watson, whose feature VOICE, GUITAR
on 'My Little Suede Shoes' will melt your ceiling tiles, and Paul
Bom in Jackson, Mississippi, Wibon's emergence in the 1980s was
Jayasinha, whose flugelhorn on 'Africa Is Da Place' will bring a
smile to the dourest face. as a peripheral member of the so-called M-Base group of New
The only problem with this debut album is that it tries to do York musicians. Following a number of records for JMT, she
too much too quickly. Wilson has ideas in abundance, but per signed to Blue Note and scored major successes with her first
haps he needs a more settled context to develop them. It's to be releassesfor the label.
hoped that he will be allowed to grow at his own pace and not be
put into a forcing-frame. **(*) 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.
Bert Wilson
SOPRANO, ALTO AND TENOR SAXOPHONES, BASS ***(*) Blue Skies
CLARINET JMT834419-2 Wilson; Mulgrew Miller (p); Lonnie Plaxico (b);
Terri Lyne Carrington (d). 2/88.
Multi-instrumentalist who leads his regular band, Rebirth, *** Live
through occasional recordings of rousing free bop. JMT 849149-2 Wibon; James Weidman (ky); Kevin Bmce
Harris (b); Marc Johnson (d). 90.
*** Live At The Zoo *** After The Beginning Again
Nine Winds 0138 Wibon; Nancy Curtis (f); Allen Youngblood JMT 514001 -2 Wibon; James Weidman (ky); Kevin Bruce
(p); Chuck Metcalf (b); Bob Meyer (d). 8/88. Harris (b); Marc Johnson (d); Jeff Haynes (pere). 91.
*** Further Adventures In Jazz
***Songbook
FMO 004 Wibon; Syd Potter (t); Nancy Curtis (f); Craig Hoyer JMT 514026-2. As above JMT discs. 85-91.
(p); Peter Vinikow (b); Bob Meyer (d); Michael Obon (pere); ** Dance To The Drums Again
Greta Matassa (v). 1/92.
DIW/Columbia 472972-2 As above, except add Jean-Paul
*** Endless Fingers
Bourelly (g), Rod Williams (ky), Kevin Johnson, Bill McClellan
Arabesque AJO 123 As above, except add Chuck Stentz (ts), Dan (d). n.d.
Schulte (b); omit Potter, Olsson and Matassa. 6-7/94.
Wilson's early records contain all the seeds of the success she has
Bert Wilson and his band, Rebirth, make cheerful, passionate jazz enjoyed at Blue Note, but with one exception they rarely cohere
that is as Ufe-affirming as it is questing. The leader's alto and tenor as albums of any particularity or sustained success. Most are awk
style is an extravagant symposium of hard-bop licks and wildly ward compromises between a more traditional jazz singing role
expressive effects, trademarked by a big, whinnying vibrato that and the fimk and rap influences which dominate today's com
harks back to classic free jazz without really planting its flag there: mercial black music. Her own compositions were flavourless
1585 GERALD WILSON

vehicles for her style, marked by rambling melodies, vaguely pre ***(*) Traveling Miles
scriptive lyrics and rhythmical staggers; the early records (up to Blue Note 54123-2 Wibon; Olu Dara (c); Steve Colerkan (as);
Blue Skies) are an occasionally exciting but often unfocused Vincent Henry (hca); Eric Lewis (p); Regina Carter (vr); Doug
attempt at finding a balance. She shows a marked Betty Carter Wamble, Marvin Sewell, Pat Metheny, Kevin Breit (g); Stefon
influence rhythmically, but the timbre of her voice is cloudier, Harris (vib); Cecilia Smith (mar); Dave Holland, Lonni 'Plaxico
and it can throw an interesting spin on otherwise familiar songs. (b); Marcus Baylor, Perry Wibon (d); Jeffrey Haynes, i\ lino
Blue Skies is the least typical but easily the best of her JMT records: Cinelu (pere); Angelique Kidjo (v). 12/97-9/98.
though made up entirely of standards with a conventional There's always going to be a preening quality in Wilson's vocals,
rhythm section, the recital finds Wilson investing the likes of and non-believers will probably find it as hard to ws to this
'Shall We Dance?' with a wholly unfamiliar range of inflexions record as to her previous sets. But as a tribute to Miles Dlavis, this
and melodic extensions which is captivating. Her third-person seems like the most creative and thought-throughl of t tie many
version of'Sweet Lorraine' is peculiarly dark and compelling and,
genuflections to the master since his passing. For once although
while some of the songs drift a little too far off base, it's a remark even this seems self-conscious at times - Wilson seemj less like
able record, and it makes the ensuing Jumpworld (now deleted), the epicentre of the music and more like a graceful sour id which
a return to self-consciously 'modern' music, sound all the more drifts through a record that is, as usual, heavy on texture and feel
contrived. The live session confirms that Wilson can sustain a and light on improvisational input. There is no trumpi ;t on the
concert set which is essentially a seamless, ongoing vocal improv record at all - Dara's cornet makes only a couple: o f ghostly
isation, but the slipshod attention to quality-control, as far as the appearances - and most of the weight is carried by the gtiitarists.
material is concerned, is a point which seems to afflict most of It seems strange to hear the likes of'Run The Voodoo Down'and
what she does. After The Beginning Again is one of her strongest 'Blue In Green' adorned with lyrics, although Wilson's joetry is
studio dates - 'There She Goes' is a haunting tune, built round more useful as atmosphere than as substance. But this is surely
Wilson's yearning tag-line, and there's a memorably downcast the best singing she has put down on record, wistful without
treatment of 'Baubles, Bangles And Beads' - but Dance To The becoming studied, and 'Time After Time' is a pop interpretation
Drums Again sounds flat and tired, leaving Wilson apparently which surpasses any of those she tried on the previous Blue Note
stranded in a creative impasse. albums. Since the record was far from a runaway : :ess in
commercial terms, it'll be interesting to see what shei tn is next.
*** 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
Gerald Wilson (bomi9i8)
T R U M P E T, B A N D L E A D E R
(b); Lance Carter, BillMcClellan (d); Cyro Baptista, Jeff Haynes,
Kevin Johnson, Vinx (pere). n.d.
Studied in Detroit then joined Jimmie Lunceford, before forming
Wilson's debut for Blue Note was hailed in many quarters (mostly own band. Has worked in Los Angeles music ever since, ar ranging,
by rock critics) as a masterpiece, and it's certainly a clear step for accompanying, bandleading in many kinds of music.
ward from her recent records: Brandon Ross's production clari
fies all the colours of her voice for the first time, and the inventive *** Gerald Wilson, 1945-1946
textures involving Dara, Byron, Burnham and Baptista create Classics 976 Wilson; James Anderson, Emmett Berry, Ikobart
digital fantasies on country blues and string-band forms. Yet Wil Dotson, Red Kelly, Fred Trainor, Snooky Young (t); Rai} h
son again makes peculiar labour out of some of the songs: Joni Bledsoe, Vic Dickenson, Robert Huerta, Melba Liston, Is
Is\aac
Mitchell and Robert Johnson tunes stagger under her manner Livingstone, Alton Moore (tb); Edward Hale, Leo Tramm il,I, Floyd
isms, and it's on the simpler, more straightforward arrange Turnham (as); Eddie Davis, Vernon Slater, Olis Westt(tr);I;
ments, such as a lovely glide through Van Morrison's 'Tupelo Maurice Simon, Charles Waller (bs); Jimmy Bunn (p); Williams
Honey', that it all comes together. Edwards, Buddy Harper, Benny Sexton (g); Arthur Ea\ ards, irds,
Robert Rudd (b); Henry Tucker Green (d); Estelle Edson, Dick
*** New Moon Daughter
Gray, Pat Kay, Betty Rochi, Thrasher Sisters (v). 5/45-^6.
Blue Note 837183-2 As above, except add Graham Haynes,
Butch Morris (c), Gary Breit (org), Kevin Breit (g), Mark Gerald Wilson joined the Jimmie Lunceford Orchestra just
around the time America joined the Second World Wai. After a
Anthony Peterson (b), Dougie Bowne (d); omit Dara, Byron,
stint in the Navy, the talented young trumpeter and composer
Davis, Carter, McClellan, Johnson, Vinx. 95.
decided to form his own band. It was a progressivet outf t whose
The same again, only more polished, a shade more inventive, as faintly experimental air has long since been eclipsed by Stan
well as a fraction more arch: 'Last Train To Clarksville' was a cute Kenton's more abrasive approach, but these early recorojings are
idea for a cover, and Wilson takes it over, but her improvisation full of interest.
on the fade suggests that she doesn't really know what to do with As often with Classics releases, much of the interest lieslin iden-
it. 'Strange Fruit' is harrowing in a deadpan, designerish way, and tifying stars of the future in embryo. Melba Liston del uts as a
the Robert Johnson tunes again don't fit. Where she really puts soloist on a reading of'Come Sunday', recorded for Exqelsior in
her mark on the music is in her own writing: the calm, serenely 1945, while the irrepressible Snooky Young features on a rather
pretty 'Until' is outstanding, and so are 'Memphis' and 'Find later 'One O'clock Jump'. Wilson's own contributions a player
Him'. Jazz as art-song, and pretty damn accomplished. are less dramatic. He also features on 'Come Sunday' urbane,