In the last week there has been some confusion surrounding the mortality of jazz pianist and composer Jack Wilson. Inactive for the last decade or more, several online sources have stated that Jack passed away on Friday, October 5th in New York City of natural causes. Despite these reports, I have yet to find an official obituary to substantiate the claim, adding to the mystery and my own uncertainty . For now, the announcement appears to be unfounded, although it is quite conceivable that it was Wilson's heath that has kept him off the bandstand in recent years. All of this has induced me to devote this week's post to the extremely talented, if understated Jack Wilson who has quietly forged an very unique footprint in the Los Angeles and New York jazz communities. Living or deceased, Jack's music deserves recognition for it's strength, tastefulness, swing and finesse.

Wilson is a musician who has traveled many miles on many roads, serving as pianist for Dinah Washington, Sarah Vaughn, Nancy Wilson, the Gerald Wilson and Charlie Barnett orchestras, as well as small groups led by Sonny Stitt, Jackie McLean and Clark Terry. Add to this, his prolific work in television scores and leader of his own trio and you've got a man whose talents are wide and varied.

In 1977, Wilson found himself at a significant crossroad with the release of 'Innovations,' his first of three recordings for Discovery Records*. Recuperating from an auto accident that nearly ended his career, he was returning to the piano bench for the first time after losing the ability to utilize his left hand for nearly a full decade. Additionally, Wilson was arriving at a new musical destination and sound; two pianos simultaneously, one acoustic, one electric. The combination changed the basic structure of the conventional trio, allowing new dimensions of color, texture, volume and timbre to enter without the need for additional instruments.

The expansion of his trio's scope is evident throughout 'Innovations,' particularly on 'Autumn Sunset,' 'Our Waltz, ' 'Baby Blue' and 'Kunta Kinte.' With bassist Allen Jackson and drummer Clarence Johnston contributing a special sensitivity to the unusual requirements of the sound, they help to create a solid underbrush beneath the lush harmonics of Wilson's double-edged attack. The result is a rewarding demonstration of one musician's recovery, self-discovery, inspiration and innovation, evident in the twelve selections recorded and listed below.

Years ago, I met Jack on an engagement at Todd Barkin's legendary Keystone Korner, the long defunct San Francisco jazz club that once hosted the likes of Miles Davis, Rashaan Roland Kirk, Dexter Gordon and a mind boggling list of jazz luminaries. Memorable not only for the musical giants that graced it's stage, the Keystone was also a room the size of a postage stamp and directly adjacent to the very active North Beach Police Station, a mere alleyway separating the two doorways! It was a surreal, but humorous image to spot the occasional rhythm section huddled outside the service entrance, sharing a joint between sets as police officers came and went about their business, turning a blind eye to the recreational activities of their musical neighbors just a few feet away. The night of our meeting, Wilson swung wholeheartedly and steadfast. Carrying himself with an understated elegance, Jack was immaculately dressed, soft spoken and extremely gracious in his interaction with his audience. Backstage, I'll always remember his low-key, almost bashful demeanor and was charmed. There under a scarfed overhead ceiling light, Jack Wilson stood alone with quiet dignity, secure in his own artistry and seemingly wanting for nothing. I had come face to face with a nobleman, a true gentleman of jazz.