Three Stars: Thad Wilson
One need not dig too deep into our city’s jazz scene before coming across the name Thad Wilson. Since coming to D.C. in 1997, Wilson has become a mainstay in the jazz clubs of U Street and beyond by consistently performing with passion, intensity, and consummate artistry in a variety of settings. In addition to his own considerable abilities, his groups feature some of the finest players in the D.C. area.
A native of Fort Dix, New Jersey and raised in Montgomery, Alabama, Wilson began studying the trumpet at age 12. He went on to receive performance awards throughout high school and eventually majored in Music Education at New Jersey City University. There, he studied with Jimmy Owens, an alum of Dizzy Gillespie’s Big Band. His playing is influenced by all of the greats, including Miles Davis, Clifford Brown, and Freddie Hubbard. As a composer, he has written for numerous ensembles with varied instrumentation. This resume as a solo artist and band leader is already very impressive, but it becomes even more so considering his experience as a sideman, where he has played with George Benson, Cecil Bridgewater, Roy Hargrove, and others.
Wilson most often performs with his Ugetzu Big Band, an offspring of the Thad Wilson Jazz Orchestra, as well as his chordless trio, Lazarus-3. Wilson’s big bands have been the only large jazz ensembles to hold residence at clubs around town. The Thad Wilson Jazz Orchestra held court at the legendary One Step Down before it shut down and now his Ugetzu plays most Mondays at Bohemian Caverns. The trio plays every Thursday Jojo’s, another venue that has become a friend to D.C.’s jazz scene. His latest project involves performing a live soundtrack to Louis Malle's classic film Ascenseur pour l'échafaud, or "Elevator to the Gallows", whose original soundtrack was scored by Miles Davis. Whether it is with his chordless trio, his big band, or as a sideman, Thad Wilson is a local talent that any D.C. jazz fan should hear.
Visit Thad on-line at: www.thadwilson.com
Buy Thad’s music at: CD Baby
Questions for Thad:
You play in a number of projects around town, most notably your chordless trio and big band. Who are the musicians you feature in these ensembles?
The Trio consists of Lenny Robinson and Ameen Saleem. We have been together for about 3 years and the sound is finally coming togther. The big band consists of Brian Settles, John Kokur, Sam King, Russell Carter, Gerald Pennerman, Dupor Georges, Steven Shaw, Joe Teeche, Joe Brotherton, Mark Chuvala and Eric Wheeler. This group is really playing well and working really hard on my material. Collectively, this is the best group I have ever worked with playing my original material.
What is your approach to music, in terms of both playing and composing? How does the ensemble you are working with affect your mindset?
I try to play and compose music from an organic/inspired place. After years of performing/writing I have come to a place where if I think so much about what it is I should write or play, it really feels cold and contrived. I went to school to study, therefore, now I should be executing those ideas in an unconscious way. As far as the musicians are concerned, with the big band, I write with the same focus as Duke Ellington did. I write the parts with a musician in mind. As far as the trio is concerned, I use this group as a vehicle to expand my vocabulary and deal with more spatial elements like time and tempo, trying to make these things more elastic or pliable. Without a chordal instrument, you have to think differently about harmony and rhythm so you need to know more to keep the sound cohesive and not make it sound like it's missing something.
What inspired you to assemble the big band? How do you go about choosing material for the group?
Duke Ellington inspired me, need I say more. I mean, we live in a town where the music I play was made possible largely because of this man's contribution. I took the big band on as a personal mission. Almost a way of saying that we should never forget about our ancestors. especially those who brought beauty and peace to this really troubled world. It is necessary to keep his legacy going because he and his music is so hip and timeless. The material I choose for the band is really an extension of where I am in my own musical development. when I put the group together 10 years ago, I was really focused on writing original material so I opened up the book to anyone in the band who wanted to write. Now, I write with the direct intent of having a unit sound. Like Duke's band, or Count Basie, or Earth, Wind, and Fire, you know those groups from the first note they play.
One of your most interesting projects was your live performances of the soundtrack to Elevator to the Gallows. How did this project come about and is there anything in store for it?
Miles Davis was the first cat I ever connected with as a jazz musician and artist. I put the film project together because I was trying to push the envelope of what I think I know and what I know. This was my first feature length effort. I had written scores for a couple of short films but there wasn't any real dialogue that I had to maneuver through. This movie is so great and the way in which the film was put together made me wonder, "Could I do that?" It's like when I first started to learn jazz. You have to emulate one of the masters before you can find your own voice. The next big performance we are working on is the National Gallery of Art in Summer '08. You may see it around town again at places like HR-57, Busboys & Poets, and 87Florida Gallery.
What are your short and long term plans as far as your music is concerned? Any recording or touring in the works?
In the immediate is the big band at the Bohemian Caverns every Monday. We are also working on a new CD due out in early spring. Long-term is touring. We are headed to Boston and New York in January. Also looking at Mexico City in the spring.
What are your thoughts on the state of D.C.'s local jazz scene? Who are the musicians you most enjoy?
D.C. is a great place to live and work. I would like to see more art gigs/venues rather than entertainment gigs/venues. I think people have grown accustomed to putting jazz in a box. It has been put out there as a music to help you eat your dinner or set a good mood for a party. If you walk into a place and there is music there and you leave because you can't hear yourself talk, why did you go in there in the first place? Because of the music. Stop. Sit Down. Relax and Listen.
I am a huge fan of Nasar Abadey and Gary Thomas' groups. When Nasar performs, if you listen long enough, it actually has a therapeutic effect on you. It is very healing and medicinal. Gary Thomas is probably one of the most thourough improvisationalists alive. He can fit his ideas into whatever context he is playing in. It is amazing listening to him. Also, The Young Lions. Pure positive energy, and the cats are the most versed cats on their instruments. They were actually members of my group, Kindred Soul, before they put that group together.
Do you have any notable gigs coming up soon?
We, the big band, are celebrating our 10-year anniversary at the Bohemian Caverns, Jan 19 -21. We are celebrating all weekend with a reunion concert with all, or most, of the cats who came through the band. Cats like Nasar Abadey, James King, Antonio Parker, Doug Pierce, now teaching at Ohio State, Aaron Walker, now residing in Deleware, Greg Boyer, now performing with Prince, McNeal Anderson, who's with Millie Jackson, and many others.
Image courtesy of Thad Wilson