Step Tempest Steps Out: Early and Worthy Kenny Wheeler

Joyous Large Ensemble Music

The first time many United States jazz fans were aware of trumpeter and composer Kenny Wheeler (1930-2014) was his 1976 debut on ECM Records. Titled “Gnu High” the album found Wheeler in musical conversations with bassist Dave Holland, drummer Jack DeJohnette, and pianist Keith Jarrett (the final time the pianist would be a sideman on a jazz recording). He went on to record nine more albums for the label as a leader (and many more as a sideman) as well as leading groups on Cam Jazz, Soul Note, and other labels. A fascinating stylist, the Canadian native who settled in England in 1952 possessed a sound that owed much to Clifford Brown and Booker Little but soon became his own. He was also a fine composer and arranger whose “punny” song titles covered songs that had well-developed melodies and harmonies plus, depending on the players, left plenty of room for the soloists to explore the myriad possibilities. His musical influences ranged from Duke Ellington to Paul Hindemith to Claude Debussy.

As one digs into Wheeler’s career, you discover that he, of course, had a life before ECM. In fact, he played in all kinds of settings, from big band jazz (John Dankworth Orchestra) to free improvisation with guitarist Derek Bailey, drummer John Stevens, and saxophonist Evan Parker as part of the Spontaneous Music Ensemble. In the mid-1970s, he toured and recorded as a member of Anthony Braxton’s Quintet).

Wheeler went on to lead his own groups, to partner with pianist John Taylor and Norma Winstone in the trio Azimuth, to tour and record three albums with Dave Holland’s Quintet, record with Jane Ira Bloom, Steve Coleman, the Global Unity Orchestra, Wadada Leo Smith, and many, many others. One favorite is “Island”, a 2003 Artist House recording date co-led by Wheeler and trombonist Bob Brookmeyer plus pianist Frank Carlberg, drummer John Hollenbeck, and bassist Jeremy Allen. Though the two leaders had never recorded together the music stands out for its interplay and intelligence.

To honor Kenny Wheeler’s 95th anniversary, Greenleaf Music has issued “Some Days Are Better: The Lost Scores”. The ensemble, known as Kenny Wheeler Legacy, combines a slew of guest soloists (including pianist Shelly Berg, flugelhornists Etienne Charles, Brian Lynch, Nick Smart, and James Copus, trumpeters Ingrid Jensen and John Daversa, and saxophonists Chris Potter and Evan Parker) with the Royal Academy of Music Jazz Orchestra of London, England (Nick Smart, conductor) and the Frost Jazz Orchestra of the University of Miami, FL (John Daversa, conductor). The school ensembles do not play together but they do share charts that Wheeler created for a series of yearly BBC special concerts in the early-to-mid 1970s. Many of these scores were played once on the radio and then filed away by Wheeler. Just a few of the pieces, for example “Smatta”, show up on Wheeler’s small group albums; otherwise, this is the first time in five decades many of them have been played.

Listening to the 11 tracks on the album, one is struck by the scope, the breadth, and the challenges of this music. Smart, whose biography (co-authored with fellow trumpeter Brian Shaw) of Kenny Wheeler––”Song for Someone: The Musical Life of Kenny Wheeler” (Equinox Publishing)––will be released on Valentine’s Day of this year, worked with Wheeler’s family to acquire the composer’s archive for the Royal Academy. There are numerous highlights including the episodic title “Suite”. After a swinging introduction and fine solos from Royal Academy student Emma Rawicz (tenor sax) and Smart (flugelhorn) before the band drops out for a lively “conversation” between vocalist Winstone and the soprano sax of Evan Parker. Parker returns on “C.P.E.P” playing tenor sax for a raucous give-and-take with drummer jacob Smith. Ms. Winstone supplies the lyrics for “Sweet Yakity Waltz”, a sweet snd gentle swinger that features a strong tenor sax solo from Chris Potter as well as excellent solos from alto saxophonist Donovan Haffner and pianist Scottie Thompson (he’s on the “acoustic” keys while Josh Beck is on Fender Rhodes).

Listen below to “Smatta”. Most Wheeler fans first heard the tune on “Gnu High” but this fine arrangement allows not only the soloists to shine (Ingrid Jensen on flugelhorn and pianist Thompson on Rhodes) but displays excellent section writing. There’s also a short, unaccompanied, spotlight for Ms. Rawicz’s soprano sax. All in all, a splendid five minutes of music.

I’m of the belief that you can never get enough of Kenny Wheeler, especially his large Ensemble music. “Some Days Are Better: The Lost Scores” is a delightful addition to Mr. Wheeler’s discography––kudos to all involved with the Kenny Wheeler Legacy!

For more information, go to https://greenleafmusic.com/kenny-wheeler-legacy/.