Were it not for the complete and total absence of
Lester Young, this would, in fact, be a truly quintessential
Teddy Wilson retrospective. The liner notes are informative and the diversity of material is impressive. Saxophonists include
Ben Webster,
Chu Berry,
Coleman Hawkins,
Benny Carter,
Hilton Jefferson,
Johnny Hodges,
Harry Carney,
Tab Smith,
Gene Sedric,
Rudy Powell, and even
Wardell Gray. But where is
Lester Young? This is a puzzling omission, given the crucial role
Young played in
the Teddy Wilson Orchestra and the work both men did with
Billie Holiday's Orchestra in 1937, 1938, and 1940. Given the fact that each disc contains roughly one hour of music, there should have been plenty of room for Pres, who is conspicuously absent. It is the only flaw in an otherwise enjoyable compilation.
"Once Upon a Time," recorded in 1933 by an ensemble calling themselves
the Chocolate Dandies, shows off
Wilson's unique way of handling the piano as well as the warmth and charm of
Max Kaminsky's trumpet.
Wilson's piano solos are well-represented, beginning with
"Somebody Loves Me" from 1934. There's more than a little evidence here of
Wilson's influence on
Art Tatum, or
Tatum's influence on
Wilson. (The obvious point is that they influenced each other.) Several tracks from 1937 illustrate how integral
Teddy Wilson was to the evolution of
swing.
"Fine and Dandy" finds
the Teddy Wilson Orchestra sporting an
Ellingtonian front line of
Cootie Williams,
Johnny Hodges, and
Harry Carney. Most exciting for collectors is the inclusion of the legendary
"Just a Mood," a
blues in two parts starring
Harry James,
Red Norvo, and
John Simmons. The
Billie Holiday selections are lovely, but anyone familiar with this music will sorely miss the presence of
Lester Young.
"Liza," dating from 1939, showcases
Wilson's accelerated piano technique in front of a rather large and loud band. Drummer
J.C. Heard joins bassist
Al Hall in rigorously supporting
Wilson's lively
improvisations during a pair of trio stomps from 1941.
Wilson vocally introduces a delightful 1943 V-Disc quartet performance of
"How High the Moon." Unfortunately, this appears to be the only included example of
Wilson's remarkable collaborations with clarinetist
Edmond Hall. As the turbulent decade of the 1940s unfolded,
Wilson continued to challenge himself by sitting in with the very progressive
Coleman Hawkins (the example from Hawk's
Keynote catalog is a smoker), and leading a series of small ensembles in suitably modernized updates of the
swing tradition. If
Roy Eldridge,
Bobby Hackett,
Buck Clayton, and
Jonah Jones were the perfect choices earlier on,
Charlie Shavers is about as advanced as a
swing trumpeter could get in 1945 without emulating
Dizzy Gillespie.
Wilson's 1946 piano solo,
"Cheek to Cheek," reveals harmonically advanced ideas, which are in step with the times. As if to emphasize the point,
bop legend
Wardell Gray appears on
"Cookin' One Up," an aircheck from 1948. The leader on this track is
Benny Goodman; his trios and quartets appear throughout this compilation, and the aircheck works well as the last word on
Wilson's important work with
Goodman. This is a wonderful bundle of exciting and endlessly rewarding
jazz from a period with which many Americans are all too unfamiliar. Once again, the French have done an excellent job of reissuing our music. The question, however, remains: Why does
Lester Young not appear on this important quintessential history of
Teddy Wilson? ~ arwulf arwulf
