Verve 60th Anniversary Rare Albums SHM-CD Reissue Series. Reissue with SHM-CD format. Two different sides of Verve Records in the 50s – one modern, one a bit more traditional – and both represented in live material from the Newport Jazz Festival in 1957! Side one features a stunning live performance from pianist Teddy Wilson – working in a tight trio with Milt Hinton on bass and Spec Powell on drums – and really blowing away any conceptions we might have had about Wilson being aging or flowery at the time. Instead, he's got a sharp edge and command of the keys that's amazing – and which almost seems to have a bit more bite than usual in this concert setting.
In the late '30s and early '40s, pianist Teddy Wilson was a big deal in the land of jazz. He had many opportunities to perform as a sideman, and eventually got his breaks. These sessions showcase of variety of his efforts with big bands, large ensembles, small groups, and a singer named Billie Holiday. Though none of his own compositions are credited ("Big Apple" should be,) he certainly had a hand in the arrangements, and was given space to play quite a bit of piano. The Hep label has generously provided 23 selections with Wilson and bandmates including stalwarts Hot Lips Page, Lester Young, Freddie Green, Red Norvo and Pee Wee Russell, as well as backing trombonist Benny Morton's All Stars. There are two takes of "Ain't Misbehavin'," "Just a Mood" (Blue Mood,) "When You're Smiling," and "I Can't Believe That You're in Love with Me" for contrast sake. The sound reproduction of these vintage performances is excellent, and this one can easily be recommended to both fan and novice.
Verve 60th Rare Albums SHM-CD Reissue Series. Reissue with SHM-CD format. Intimate listening from pianist Teddy Wilson, but surprisingly lively listening too – as Teddy's as fleet on the keys as ever, and maybe even more so in this well-recorded session from the 50s! The record's got a great Verve vibe – simple, unadorned presentation of the Teddy Wilson genius at its mature height – with bass and drums to help bring in a gentle bit of rhythm, but Teddy handling most of the energy himself – with an amazing command of the keyboard that really transforms these familiar tunes. The approach is like Erroll Garner at his best from the time – subtle magic from simple sources – but Teddy's lighter, and more lyrical too – especially on his flourishes on the keys.
Distinctive piano player, one of the most influential ticklers of the Swing era, fabled for work with Billie Holiday and Benny Goodman. 12 standarts, Recorded 1941-1950.
Reissue with the latest DSD remastering. Comes with liner notes. During the years 1935-1939 pianist Teddy Wilson led a series of small recording bands peppered with some of the world's most accomplished and influential jazz musicians. That's why "Teddy Wilson & His All-Stars" is an accurate heading for this collection of 16 tunes recorded between July 31, 1935 and November 1, 1939. Wilson's ability to summon many of the best improvisers of his generation yielded results that continue to delight and entertain those who take the time to savor the solos and marvel at the integrity of the ensembles. Collectively, Wilson's players as heard here included trumpeters Irving "Mouse" Randolph, Cootie Williams, Roy Eldridge, Buck Clayton and Jonah Jones, as well as trombonist Benny Morton.
2-CD Teddy Wilson Digipak set containing 47 tracks and a 20-page booklet. Almost two and a half hours of music!
Wilson was born in Austin, Texas, on November 24, 1912. He studied piano and violin at Tuskegee Institute in Tuskegee, Alabama. After working in the Lawrence "Speed" Webb band, with Louis Armstrong, and also understudying Earl Hines in Hines's Grand Terrace Cafe Orchestra, Wilson joined Benny Carter's Chocolate Dandies in 1933. In 1935, he joined the Benny Goodman Trio (which consisted of Goodman, Wilson and drummer Gene Krupa, later expanded to the Benny Goodman Quartet with the addition of Lionel Hampton).
Besides occasional appearances with Benny Goodman, pianist Teddy Wilson taught summer courses at the famous Juilliard School for music from 1946 to 1952. Despite this prestigious profession, he recorded only irregularly during these years and made most of his money as a staff pianist for WNEW. In the fall of 1952, he went on a brief tour to Scandinavia where he was finally able to record again.