The GREAT Teddy Wilson

A peek into his early creativity

There is something different about out what Teddy Wilson played in the 1930’s than at any other time in career. That in and of itself is a commonplace among artists - they change. It was only in the 30’s that the great majority of his recordings find him in spontaneous situations with a revolving roster of first-class players, with his own recordings bands, with either his name or Billie Holiday’s on the label. Wilson’s regular gig was with the Benny Goodman small groups, and although that repertoire was set and repeated, the sheer level of mastery and inspiration from his cohorts demanded inspired abandon.

The all-star sessions and the Goodman small groups showcased different aspects of Wilson’s abilities. In the latter, he was covering the bass lines on top of the higher-register variations of his right hand. As his son Theo remarked to me once, he should have received triple pay for his ability to spin three layers of counterpoint!

You’ll hear in this composite recording several versions of the Goodman Quartet played AVALON, pared down to the piano solos only. Wilson is unceasingly creative in his subtle but significant reharmonization, shifting of meter, and the overwhelming feeling of spontaneity. These are elements that define this period of his career.

On top all of this - please enjoy some of the best jazz playing ever, and some of the most influential!