The usual progression of jazz piano goes along the lines of beginning with Fats Waller stride to Earl Hines right hand “trumpet” soloing to Teddy Wilson’s swinging digital prowess, leading the way to the bebopping fast left hand of Bud Powell. Therefore, this 7 cd set is of major historical (and musical) importance, as while it takes some historic perspective to truly appreciate how much ground Wilson broke during these recordings, they also provide a cache of the style of music that still influences today’s sounds, that being a mix of swing and lyricism that has influenced a pantheon of pianists to this very day, naming Kenny Barron as the most well known current disciple.
At the tender age of 22, pianist Teddy Wilson threw down the gauntlet with a collection of piano solos (in 1935-37) that are still high water marks in the jazz canon. Pieces such as “Liza” and “Rosetta” are a perfect meld of technical virtuosity and fervent rhythm. This set sprinkles other solo tunes such as “These Foolish Things” and “Smoke Gets In Your Eyes” which, as opposed to Wilson’s recordings of 20 years later, have a vitality that mixes with the cocktail room charm.
Mosaic wisely decided not to include the voluminous sessions with Billie Holiday, as though they are important, they have been reissued a surfeit of times, and the lesser known sessions have a delightful value all their own. Wilson’s Orchestra included such heavyweights from guys that took a few days off from their bosses like Basie and Ellington such as Ben Webster/ts, John Kirby/b, Cozy Cole/dr, Johnny Hodges/as, Hilton Jefferson as well as Goodman Big Band members Chris Griffin/tp, Lionel Hampton/vb, Harry James/tp, Vido Musso/ts and even Benny himself (who contributes some HOT solos). Benny Carter and Roy Eldridge are just a pair of the leaders themselves who took a day off for some quick cash for a recording.
The “Orchestras” tended to be bands ranging in size from 6-8, and each piece is a casual delight. Wilson was a perfect gentleman with his selection of vocalists, with vocals by Ella Fitzgerald on “All My Life” and “Melancholy Baby” capture the nascent lady at her innocent and youthful best. Helen Ward is lovely on “You Came To My Rescue” “There’s a Lull in my Life” “Embraceable You” and “There’s Love In Your Eyes.” Even the lesser known vocalists such as Midge Williams, Frances Hunt, Nan Wynn and Thelma Carpenter sound impressive as Wilson creates a perfect framework on tunes such as “Right or Wrong,” “You Brought a New Kind of Love To Me” “Alone With You” and “This is the Moment” respectively.
As far as the instrumental pieces, Wilson had an ability to make each song feel like a late night relaxed after hours jam session, even when they were arranged by the likes of Edgar Sampson. Delightful ditties such as “Sailin’” “I’ll See You In My Dreams” “Coquette” are sublime bon mots of bouncy rhythm and sound, with each 8 or 16 bar solo a delectable wintergreen mint to savor.
There are also a handful of trio and quartet sessions that are as exquisite as they are rarely heard. One with big toned trumpeter Harry James and Red Norvo (on vibes and marimba) creates a fervent “Ain’t Misbehavin’” and a hip “Just a Mood” while some ’41 trio recordings with Al Hall/b and JC Heard result in “I Know That You Know,” “Body and Soul,” “I Can’t Get Started,” “Them There Eyes” and “Love Me Or Leave Me.” There’s a collection of previously unreleased takes as well as some rehearsal sounds collected both here and on other sessions, but his session is reportedly one of the first, if not the first “albums” which were essentially a portfolio of 78s bound together. There’s not a nanosecond of music here that isn’t percolating with the pulse of what made The Swing Era the only time in America that her best music was also her most popular. The other take away from this boxed set was that whether in solo, small group or “orchestra,” the music of this era presented by Wilson bubbles over with an enthusiasm and joyful feel of experimentation while exploring new lands that percolates over with an enthusiasm that is sadly missing in today’s performers.
This limited edition set also includes an impressive booklet with vintage photos and an essay by Teddy Wilson student Loren Schoenberg. You’ll get tired of listening to these songs the same way you get tired walking through a redwood forest.
Mosaic Records