Legend strikes notes in history

Published: Friday, February 26, 1999

Friday, February 26, 1999

MUSIC: Composer Wilson continues legacy of jazz in classroom, albums

By Sam Toussi

Daily Bruin Contributor

Gerald Wilson may not be a household name for casual jazz fans, but in jazz circles he is almost a legend. His place in jazz history may well be as one of the greatest composers in jazz, but it is his role as historian that seems to propel him to a lofty legend status.

"The history of jazz has seen a few outstanding arrangers and composers," says UCLA's ethnomusicology department chair, Kenny Burrell. "To me, Gerald Wilson is one of the outstanding arrangers we've seen in jazz. One of the wonderful things about him is that he is still active as a composer."

Wilson indeed was there. He will turn 80 years young this September, and it will mark nearly 60 years in jazz. Over those years, Wilson has played with and composed for some of the greatest names in jazz, including Duke Ellington, Ella Fitzgerald and Thelonius Monk.

"I was right here," Wilson says. "When Jelly Roll Morton was the king of New Orleans jazz, I was listening to his records. Now I'm 80, and right at the top of the heap."

"He is now a historian as well," says Burrell. "That's an important element to me because he brings to the classroom many years of experience and knowledge. Gerald is what we call a primary source. It's not second-hand information. He was there - been there, done that and still doing it."

Despite already carving for himself a place in jazz history, Wilson remains active, spreading the knowledge of jazz he has so avidly pursued to students here at UCLA. At one of the peaks in his career, Wilson was a major jazz attraction. He was making a great deal of money but was left unsatisfied. At the height of the first Gerald Wilson Jazz Orchestra, Wilson dissolved the group.

"I said to myself, 'I've got to study, I've got to learn, I've got to grow,'" Wilson recalls. "There was so much left to learn. I wanted to write for television. I wanted to write for movies. I wanted to write for the symphonies."

Yet, it seems that the history and knowledge of jazz gives Wilson his greatest thrill. Watching him lecture is a somewhat surreal experience as he tells anecdotes and gives background on jazz legends and his own sessions. He is so lively standing before the class that people cannot help but realize how deeply Wilson feels the music.

"Being in (teaching) so long to love jazz, you've got to study. You'll never know all there is to jazz," Wilson chuckles.

This being Black History Month, Wilson reveals a long-time interest in African American history that is not surprising.

"As a child, I studied black history myself," says Wilson. "It's the history of my people, and I have great feeling for their accomplishments. It makes me feel wonderful to see our country honor them and the things they have done for the world, not just the black people. I'm very proud of that."

Though, jazz is merely one part of African American history, but it is a formidable part. It is a vital part of African American history.

"Jazz is our music," Wilson explains. "We were slaves when we began. They took these European instruments and they played it as no one had played it before. They made it their folk music. This comes natural to them just like the mariachi is natural to the Mexicans."

But Wilson also sees jazz as a factor in the desegregation of America that began long before the Civil Rights Movement. Wilson, teaching as he loves to, explains that jazz probably originated in New Orleans where only white jazz musicians played.

"In New Orleans, there they are together," Wilson explains. "Environment is very important."

More and more, whites and blacks began to play jazz together.

"The funny thing about jazz is that jazz musicians have been getting together for a long time. They integrated long ago. The first mixed recording was in 1920, a black and a white. It just kept going that way"

Wilson continues to make new music that is lauded by critics around the country. His latest album, titled "Theme for Monterey," has been nominated for two Grammys, one for best composition and the other for best ensemble.

"Each time I got a commission, I wanted to show how much I learned, just throw the book at them. But this time, I said, 'You must not look at it like that. You must first think of it as jazz, you've got to stick to the roots of jazz," Wilson remembers. "First thing, if it doesn't swing, it isn't jazz. If it doesn't make you move, then you know it's not jazz. Before we started, I told the audience that this music is going to make you move."

The album is also a departure from most jazz albums in that instead of opening with a booming intro, "Theme for Monterey" begins with a ballad, "Romance," that still manages to move and swing.

With his two Grammy nominations, Wilson looks to enjoy the ride. He has three nominations already to his credit, but he has previously not attended any of the pre-Grammy parties and has only shown up to one of the awards ceremonies. This time, however, Wilson is taking it in stride.

"You're nominated, you've won," he says. "You've already won. Your peers have selected you. That's the ultimate prize. And, oh yes, I'll be (at the party)."MAMA Records

Jazz composer Gerald Wilson has made his mark in the genre's long history.

Comments, feedback, problems?