Ageless Gerald Wilson Full of Vigor, Imagination

Watching Gerald Wilson in action, hearing the fiery explosiveness and the gentle lyricism of his big band compositions, is a bit like experiencing a living history lesson. The 81-year-old veteran has been an active participant in the jazz world since he first began playing trumpet and writing arrangements for the Jimmie Lunceford band in the late ‘30s, and his stops in between have ranged from writing for Count Basie’s orchestra and Duke Ellington, to leading his own numerous ensembles.

His Grand Performances appearance Friday night at the California Water Court was an opportunity for a downtown audience to share the musical enthusiasm of an artist whose vigor and imagination are still in peak form. White hair flowing, arms akimbo, he was a study in musical leadership as he urged an 18-piece ensemble through a program of mostly original material.

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The centerpiece of the program was “Theme for Monterey,” a multi-part suite composed two years ago for the 40th anniversary of the Monterey Jazz Festival. (Introducing the piece, Wilson noted that he also had done a piece for the 20th anniversary, adding, “I guess they like me.”) The work is based upon a brief melodic motive that is taken through a series of transformations and developments, from an elegant ballad to a romping jazz waltz to a sheer, strutting swing number.

During the course of the piece’s segments--as well as during other numbers, especially those from his “State Street Sweet” album--Wilson’s long, musical overview triggered passages reminiscent of the hard-driving swing of Lunceford, the groove of Basie and the lush harmonies of Ellington. But, in each case, the influences were filtered through Wilson’s own fertile imagination. It was a compelling example of a musical master at work, aided by some sterling soloing from, among others, alto saxophonist Randall Willis, trumpeter Carl Saunders and Wilson’s son, guitarist Anthony Wilson.

Unfortunately, the presentation was marred considerably by abysmal sound reproduction. Constantly pushing the level of piano, bass, guitar and drums well beyond that of the horns, it rarely allowed the music to be heard with its proper dynamic relationships. More appropriate for a rock concert, the audio essentially denied the enthusiastic audience the opportunity to properly hear the full musical range of the Wilson Orchestra.