The Music of Alec Wilder: Some Personal Reflections
I first met
Alec Wilder in the spring of 1974, several months after joining the
faculty of the Eastman School of Music in Rochester, New York. During the
latter part of his life Alec divided most of his time between residences
at the Algonquin Hotel in New York City and the One-Eleven Hotel in
Rochester, the latter of which was just around the corner from the Eastman
School. When I began visiting the local jazz clubs in Rochester, which in
those days included The Rowntowner and The Top of the Plaza, I noticed
that Alec was often in the audience. He was especially faithful in coming
out to hear musicians whose music he considered special, including Marian
McPartland, Jimmy Rowles, Gene Bertoncini and Dave McKenna, among others.
As I became more active with my own groups, or as a sideman with visiting
name jazz artists, I got to know Alec through informal chats between sets
or after hours.
After we got
better acquainted, we would often see each other on chance occasions at a
small but popular diner right next to the Eastman School. Alec was an
extraordinarily interesting conversationalist, who was well read in all of
the arts, politics, history, philosophy and probably many topics which,
much to my regret, we never got around to discussing. One of many
fascinating books which he introduced me to was The Painted Word, by Tom
Wolfe, a brilliant and witty brief history and critique of the twentieth
century visual art scene. He had great respect for good, honest
craftsmanship in any field of endeavor, and a healthy suspicion of "Art,"
especially in any context which smacked of the slightest elitism.
Alec was, as
Duke Ellington would have said, beyond category. He wrote music which
other people put in the various categories of popular songs, chamber
music, art songs, symphonic works, and even children’s songbooks (Night
Songs and Lullabies, a collaboration with lyricist William Engvick and
illustrator Maurice Sendak). I was fortunate, indeed, to have had the
opportunity to play many of Alec’s songs in his presence, as well as his
Bassoon Sonata #3, his Saxophone Sonata and eight of his octets. These
octets, written in 1939 and 1940, are unique mixtures of classical, pop
and jazz vocabulary, featuring the unusual instrumentation of flute, oboe,
two clarinets, bassoon, harpsichord, bass and drums. They foreshadowed the
more recent popularization of classical and jazz "fusion" by several
decades. They also personify Alec’s constant predicament in relation to
the music business; his musical stance was too disciplined for the jazz
world and too stylistically open for the highbrow world of "serious
music."
Alec was
extremely opinionated, but his opinions were never arbitrary or
capricious. They resulted from a combination of deep reflection, personal
knowledge or experience and, usually, inarguable logic. He had unbounded
admiration for the musical creativity of jazz musicians. He was sincerely
flattered that accomplished jazz artists would choose his songs as
vehicles for their improvisations. He was certain that the general public
is quite incapable of appreciating "the miraculous chain of events which
occur when a jazz musician plays." On the other hand, he was deeply
disturbed by the presumption of jazz musicians in changing the notes of
other people’s melodies before the improvisation had begun. He knew that,
more often than not, this practice resulted more from the feeling of being
a "kid in a candy store" than from intentional rudeness or disrespect. But
I do know, personally, that Alec often took the trouble to phone or write
musicians who had performed his melodies as he had composed them, just to
thank them for their kind consideration of his musical intentions.
Alec is one of
the few musicians I have known, whose entire musical output had absolute
integrity. His book, The American Popular Song, in collaboration with
James T. Maher, is the definitive analytical work on this musical genre.
Typical of Alec’s genuine humility, he included no examples of his own
work.
I first met
Vic Juris during the early 1980’s, while working with bassist Chuck
Israels and drummer Bill Goodwin. Vic is one of the most creative and
musical guitarists I have heard, and I am delighted that he has put
together an imaginative and broadly representative collection of songs by
one of America’s great songwriters.
Apart from the
fact that Vic assembled a stellar group of musicians for this project,
there are two aspects which immediately caught my attention. First, the
tunes are relatively short, which allows for both musical conciseness and
a large and varied selection of material. This was all the more important
in the case of Alec Wilder, whose best known songs are still,
unfortunately, largely unknown. Second, Vic has utilized all the
possibilities of instrumental combinations from a guitar and drums duo to
the full quintet instrumentation. This creative use of orchestration
extends to dividing the statements of some of the melodies between two or
more solo instruments, and using the full range from harmonic and
contrapuntal textures to ensemble unison. In other words, Vic was well
prepared, and the results show it.
Since I felt
like I knew Alec’s music fairly well in advance, I was quite impressed
that Vic found three great songs which I had never heard before, "Inner
Circle" (inspired by pianist Marian McPartland), "A Long Night" (whose
rubato treatment here results in particular dramatic pathos) and
"Homework" (whose typical AABA form contains a quite atypical five measure
bridge). Some of the more familiar songs are presented in unusual
treatments. The up-tempo guitar and drums version of "Such A Lonely Girl
Am I," the fast Latin tempo which, in effect, doubles the form of "The
Winter Of My Discontent," and the brisk version of "Where Is The One,"
with sixteen measure exchanges between Dave Liebman’s soprano saxophone
and Tim Hagans’ trumpet shifting back and forth between the original key
of Eb and key of C, are obvious examples. Alec actually wrote the lyric to
"Where Is The One," with music by Edwin Finckel.
The
musicianship is world class throughout. Bassist Steve Laspina and drummer
Jeff Hirshfield offer convincing swing, confident support, creative
interaction and strong solos throughout. Tim Hagans is one of the most
commanding jazz trumpet soloists to emerge during the last decade. David
Liebman is, simply, one of the most creative improvisers in jazz today.
The rare tenor performances are an extra treat. The empathy between Hagans
and Liebman is particularly in evidence on "A Long Night." Vic’s soloing
on every tune here is, to my ears, a perfect balance of heartfelt lyricism
and thoughtful thematic development. His accompaniments are unusually
varied, including single line counterpoint, chords of every texture from
thin to thick, and the courage to lay out entirely from time to time,
ensuring that the music has the maximum potential for change of direction.
Some people
considered Alec Wilder to be gruff or old fashioned, simply because he was
uncompromising and refused to lower his standards for commercial
concessions. He was very skeptical of the idea of "progress," but never
tired in his striving for quality. Since his death in 1980, I have often
missed our conversations. The world could certainly use more souls like
his. I wish he could hear this recording. He might raise an eyebrow
occasionally at the free-spirited treatment of some of his melodies, but
he would be awed by the display of spontaneous musical creativity and
interplay, and honored by the care and attention to musical detail which
Vic and the group bring to their perspective of his work. Although there
is much here that Alec would find well worth repeated listening, his
favorite selection might be "That’s My Girl." Trumpet, guitar and bass,
playing the melody in unison, exactly the way he wrote it!
- Bill Dobbins - October, 1996 -
Bill Dobbins is currently
Principal Conductor of the WDR Big Band in Cologne, Germany. Between 1973
and 1994 he was on the faculty of the Eastman School of Music, where he
taught in the Department of Jazz Studies and Contemporary Media.
This is an interesting collection
of tunes by Alec Wilder, performed in an unusually adventursome groove. I
think Alec would be intrigued and stimulated by Vic Juris's
interpretations of some of his lesser know pieces - including two that he
wrote for me, "Inner Circle" and "Homework".
Marian McPartland
I would like to thank: Mom &
Dad, Denise, Ed Berg, Dave Liebman and Charlie Banacos for their
inspiration. Special thanks to Kate Baker for the project idea and artist
coordination.
Vic
Juris
