© -Steven
Cerra , copyright protected; all rights reserved.
In her essay, Beauty By The Numbers [Smithsonian
Magazine, November 2012], Dana MacKenzie argues that the essential
requirements for mathematical beauty are simplicity, surprise and depth “ … in
the sense that the best theorems contain many layers of meaning and reveal more
as you learn about them.” [paraphrase]
Perhaps, the same
can be said about the aesthetic beauty of the Jazz piano stylings of Teddy
Wilson – he executes them in a simple, straightforward manner, he often
astonishes by going to new places in his solos and the more you listen to him
the more he reveals about the essence of a song’s structure [i.e.: it’s
“theorem,’ if you will].
Teddy Wilson was –
noticeably – the first Jazz pianist I ever heard.
I say “noticeably”
because the big band recordings that gave me my first taste of Jazz had the
occasional piano introduction by Duke Ellington, Count Basie, or Stan Kenton,
but the piano in most Swing-era big band Jazz largely functioned as a part of
the rhythm section.
Of course, there
were some notable exceptions such as Jess Stacey’s extended solo from the Benny
Goodman Band’s performance of Sing, Sing,
Sing on the famous 1938 Carnegie Hall recording, but, for the most part,
the piano player in these bands thumped out four-beats-to-the-bar along with
the other members of “the engine house” that powered Swing music.
Listening to recordings
of the trio and later the quartet performances that clarinetist Benny Goodman
featured as “the-band-within-a-band” from around 1935-1938, gave me my extended exposure to what author
Len Lyons in his book The Great Jazz Pianists has termed
“an instrument that has been central to the evolution of Jazz.”
Teddy Wilson was
the pianist in Benny first trio and quartet and I was so taken with his
approach to Jazz piano that I memorized his solos on Nice Work If You Can Get It ,
China
Boy, Sweet Lelani, Moonglow, and Nagasaki .
Teddy is rarely
discussed today with pianists such as Herbie Hancock. Chick Corea, Keith
Jarrett, McCoy Tyner and Brad Melhdau being more in vogue, but when he first
came to prominence in the mid-1930s, Teddy was quite an innovator having
developed his own style from influences derived from Earl “Fatha” Hines, Art
Tatum and Thomas “Fats” Waller.
Teddy is often
referenced by “modernists” such as Bud Powell, George Shearing, Nat King Cole
and Bill Evans as someone who had a great influence on their playing and they
in turn influenced those Jazz pianists who predominate today.
I love listening
to all Jazz pianists because as a friend was fond of saying: “When you sit down
at a piano, the entire range of music theory and harmony is in front of you in
black and white,”
Or, to put it
another way: “The piano is the most versatile and autonomous of all the musical
instruments. No more perfect tool (…) for expressing music has ever been
developed.” [Len Lyons, Ibid].
Fortunately, there
has been much written about Teddy that analyzes and discusses his piano style
including Loren Schoenberg’s essay for The Complete Verve Recordings of the Teddy
Wilson Trio [Mosaic Records MD5-173, Gunther Schuller’s chapter on Teddy in the
Swing Era [pp.502-12], an annotated description of his recordings in
Richard Cook and Brian Moron, The Penguin Guide to Jazz on CD, 6th
Ed., and a marvelous interview that Len Lyons conducted with Teddy
which is included in Len’s The Great Jazz Pianists [pp.60-74].
One of my favorite
expositions about Teddy is by Dick Katz, the late Jazz pianist and educator,
which he prepared as the liner notes to a recording that Columbia Records
issued in 1977 entitled Teddy Wilson: Statements and Improvisations,
1934-42.
This double LP was
produced in conjunction with The Smithsonian Institute when its Jazz Program was
under the direction of the esteemed, Martin Williams.
Thanks to a
Canadian internet friend, the editorial staff at JazzProfiles was able to
obtain a copy of Dick’s excellent liner notes to Teddy Wilson: Statements and
Improvisations, 1934-42 which are particular valuable because of his
pellucid comments about Teddy Wilson’s significance in Jazz history and the
salient characteristics of his Jazz piano style.
© -Dick Katz/The Smithsonian Institute,
copyright protected; all rights reserved.
“Anyone who has
involved himself with that beguiling, consuming presence called "jazz
piano," either as player or listener, probably has his own list of
innovators and essential contributors. But it seems to me that Teddy Wilson
should be .included on anyone's list as one of the most significant artists.
As a jazz pianist
myself, and one who was fortunate enough to have been Teddy Wilson's pupil, my
remarks on his work are necessarily somewhat subjective. In any case, it will
be best first to establish some historical reference points in order to gain
some perspective on his sizable contribution.
We will not deal
with the body of ragtime music developed by Scott Joplin, James Scott, Joseph
Lamb, and others, but begin with the great keyboard improvisers (ragtime was
not an improvisational music). My list goes like this: James P. Johnson; Willie
"The Lion" Smith; Fats Waller; Earl Hines; Art Tatum; Teddy Wilson;
Count Basic; Duke Ellington; Nat "King" Cole; Erroll Garner; Thelonious
Monk; Bud Powell; Bill Evans; McCoy Tyner.
Each of these men
added new dimensions and they are the names I hear discussed most among other
pianists as key influences.
Of course, Chick
Corea and Keith Jarrett are names mentioned today, but at this writing it is
perhaps too early to assess their impact on the future. Oscar Peterson is also
a favorite topic but the jury is still out on whether the content of his
playing matches his technical prowess. And there are many other pianists, of
course—Hank Jones, Al Haig, Horace Silver—who perform with excellence and have
exerted a considerable influence.
Reducing this list
to those whose innovations have proven essential, and to those, each of whom
have created a whole "school" of playing, we get:
James P. Johnson,
"the father of stride piano." Earl Hines, the father of horn-like
piano concepts and the first true rhythmic virtuoso. Teddy Wilson, the father
of elegant, subtly swinging, lyrical playing. Art Tatum, every pianist's father
and mother, inasmuch as he covered it all. Count Basie, the father of modern
"comping," who also showed us the importance of knowing what not to
play and how to use silence effectively, as did Thelonious Monk later. Bud
Powell, the father of "bop" piano and pioneer of the long,
across-the-bar-line, single-note melodic line on the piano. Bill Evans, who
enriched the standard song with fresh harmonies and voicings and who helped
add a new suppleness to the rhythmic line. McCoy Tyner, who seems at this date
important because he applied the modal concepts of John Coltrane to the piano
successfully —i.e., a running, "sheets of sound" right-hand against
an insistent, stabbing left-hand accompaniment, using chords often voiced in
fourths.
The records in
this collection offer examples of Teddy Wilson's work between 1934 and 1942. By
1934, Art Tatum had thoroughly shaken up every musician within earshot,
including many outside jazz. Teddy, too, was forever smitten by Tatum's
genius. Earl Hines, who was then probably the most famous jazz pianist, led a
scintillating big band and was exerting his monumental influence on most
pianists, including the young Teddy Wilson. Count Basie was still plain Bill
Basie, and had not yet burst onto the national scene with his innovative rhythm
section. Boogie woogie piano was all but unknown except to black patrons in
rural and big city gin mills and rent parties and to a few white record
collectors. Many were still under the spell of Fats Waller and the stride piano
masters. Cecil Taylor was one year old. Herbie Hancock wasn't yet born.
Except for Duke
Ellington's work (which, to use a phrase he never applied to himself, was
always "beyond category"), piano accompaniment in the jazz ensemble,
large and small, usually took the form of rather relentless, stiff (to today's
ears) left-hand-right-hand-left-hand-right-hand "oom-pah" thumping,
regardless of tempo. This often resulted in an intense kind of rolling
swing—but it became a rhythmic box, and was quite limiting to many horn
players who were beginning to want a looser, more sensitive background for
their improvisations.
String bass
technique was (except for a small few players) far behind that of the other
instruments in jazz and the bass had mainly a percussive, timekeeping
function. It is interesting to contemplate what direction the music might have
taken if bassist Jimmy Blanton had arrived five or ten years earlier than 1939.
For examples of pre-Blanton rhythm sections, listen to early records by the
Fletcher Henderson orchestra or by Fats Waller's ebullient little band.
In such a milieu
Teddy Wilson shaped a more sophisticated way both to accompany and to solo in
the jazz ensemble.
Born in Austin , Texas , Wilson was raised from the age of six in Tuskegee , Alabama , where his father was head of the English
Department at Tuskegee Institute and his mother, chief librarian. He dutifully
studied both violin and piano and went on to major in music theory at Talladega College , also in Alabama . Early exposure to classic jazz recordings
like Louis Armstrong's West End Blues, Fats Waller's Handful of Keys, and the
Bix Beiderbecke-Frankie Trumbauer records had a great impact on him. After
moving to Detroit in 1929 and hearing the touring bands
there, he made his commitment to be a full-time jazz musician. Early experience
with Milton Senior's band took him to Toledo , where he met and came under the awesome
spell of Art Tatum about 1930. From 1931 to 1933 he worked in Chicago with several well-(continued inside) known
bands, including Louis Armstrong's.
One night in 1933,
John Hammond, that irrepressible jazz super-fan who became the music's first
and most active patron and benefactor, heard Wilson on a radio broadcast with Clarence Moore's
band from the Grand Terrace in Chicago . Hammond knew that alto saxophonist and
composer-arranger Benny Carter needed a pianist.
He secured Teddy
the gig and facilitated Wilson 's subsequent move to New York . Hammond also supervised an important recording
session with the "Chocolate Dandies" (imagine an all-black jazz
group with that name today!) that featured both Carter and Wilson.
Once Teddy was in New York and was widely heard, opportunities to
play and record became plentiful. He made records with Red Norvo's group and
records accompanying singer Mildred Bailey, and these did much to attract a
wider, well-deserved attention.
It was also
Hammond who arranged for Teddy to lead the all-star recording groups that
featured Billie Holiday. By now it is almost superfluous to point out how marvelous
and timeless these records are. They used the very best players available,
including Lester Young, Ben Webster, Jo Jones, Buck Clayton, Roy Eldridge,
Johnny Hodges, Benny Goodman, and others. And on them, Wilson achieved a recorded legacy that is
indispensable to anyone who is serious about jazz. Two of these collaborations
are happily included in this album— These Foolish Things and More Than You
Know—and notice the dates, 1936 and 1939 respectively.
For the larger
public, however, the real emergence of Teddy Wilson came with the birth and the
impact of the Benny Goodman Trio, and later the Quartet when vibraphonist
Lionel Hampton joined. The Trio was informally conceived at a party at Mildred
Bailey's apartment in June, 1935, and it seems that fate fortuitously brought
together two of the most technically adroit performers since Louis Armstrong
and Earl Hines collaborated in 1928. Prodded by Gene Krupa's "hot"
brushes, Goodman and Wilson took collective improvising to a new level of
clarity and precision, and attracted listeners who had previously thought of
jazz (quite wrongly, to be sure) as a crude and even primitive musical idiom.
Aside from
Goodman's obvious virtuosity and keen sense of the jazz pulse, what really made
the Trio unique was Wilson 's vitalizing and strikingly original concept of contrapuntal
harmonic movement. He revised the conventional stride left-hand by outlining
the harmonic structure of a piece with an uncannily well-placed series of both
consecutive and "walking" tenths. This produced many interesting
voice leadings and meshed beautifully with the work of the soloists. Against
this smooth, flowing left-hand constant, his right hand in his solos spun out
stunning, metrically immaculate, and exceedingly lyric melodies in single-note
lines or feather-light octaves. All this with a mellow, pearly touch. As Earl
Hines before him had successfully adapted much of Louis Armstrong to the
keyboard, so did Teddy absorb the messages of major figures like Benny Carter,
Ben Webster, and Roy Eldridge.
And whereas Hines
was a musical tightrope walker, Wilson purred along like a finely tuned Rolls
Royce with soul, imparting to the listener a sense of security and balance. He
was the first authentically cool and controlled—but deeply involved—solo and
ensemble pianist. He proved, as did Lester Young, that understatement can
swing. But when called upon, Wilson could also generate terrific heat, as his
fast, florid, and flag-waving pieces vividly demonstrate.
It is evident that
Teddy's interest in "classical" piano and his diligent study and
practice of keyboard techniques were an essential part of his development. Like
Waller and Tatum, he helped explode the myth that, to be authentic, jazz
pianists had to sound self-taught and crude. That he was able to adapt something
as foreign as the "pianoforte" methods of Tobias Matthay to jazz verifies
Wilson 's resourcefulness and dedication to
self-improvement.
Teddy, like Art
Tatum, brought about a natural amalgam of European and Afro-American musical
practices. In this regard, Benny Goodman said of playing with him, "What I
got out of playing with Teddy was something, in a jazz way, like what I got
from playing [Mozart] with the string quartet." Certainly Wilson expressed his ideas with a delicacy and a
symmetry otherwise then unheard in jazz. He was years ahead in his skill in
sustaining a flowing melodic and harmonic line that perfectly complemented the
soloist both in ensemble and solo. True, Waller and Tatum (one can't get away
from those two) performed with great control and polish. But they completely
dominated any situation in which they might have been found, primarily because
they were soloists who usually sounded best when they played alone.
Teddy's style
immediately caught on and captivated pianists everywhere. Even Tatum, his
idol, incorporated some Wilson into his own work—for example, the running
tenths and some of Teddy's right-hand octave passages —and Wilson is naturally very proud of that fact.
Indeed, I believe that Art Tatum's medium-tempo conception and even his
approach to ballads was also affected by Teddy's graceful way with the pulse,
by his flowing sense of phrase and legato touch. Tatum was a self-contained,
one-man orchestra. His impact was rather like the fallout from a huge musical
explosion—no one could get close to the center, but everyone was touched.
Teddy's methods were more accessible, so long as your left hand could negotiate
tenths easily. Thus, Wilson 's influence is in some ways just as far-reaching as that of Hines
or Tatum.
It is my opinion
that the two pianists who came closest to sounding like Teddy, both in content
and spirit, were the late Sonny White and the Mel Powell of the middle and late
1940s. Clyde Hart was also a pianist who creatively assimilated much of Wilson , particularly the left hand, and was on
his way to becoming an important and original piano voice in the burgeoning bop
movement at his untimely death. And I am certain that younger pianists like
Hank Jones, Al Haig, and Tommy Flanagan, among many others —and, to be quite
immodest, myself—owe so very much to the Wilson magic.
The eight years
represented here, from 1934 to 1942, span most of the swing era. In 1934 Teddy
was unknown except to a few perceptive musicians, and by 1942 he was probably
second only to Tatum as the world's most esteemed jazz pianist. Only Count
Basic (basically a traditional stride player) enchanted the public anywhere
near as much, mostly because of his deceptive simplicity and ability to imply,
both of which he best expressed within his rhythm section of Jo Jones, Walter
Page, and Freddie Greene.
It was only a few
short years until Wilson 's all-pervading influence finally gave way to the revolutionary
flights of Bud Powell and the "new" music.
I am fully aware
that all styles overlap to some extent, but I believe that there was a strong
link between Teddy Wilson and Bud Powell in Nat "King" Cole during
his years as a jazz pianist.
[And because] … Cole
was a major force in their own stylistic development. He managed to distill the
substance of both Hines and Wilson … [in the styles of many contemporary
pianists such as Tommy Flanagan, Hank Jones, George Shearing and Bill Evans] ….”