Personnel:
Gerald Wiggins (p), Gene Wright, Joe Comfort (b), Bill Richmond, Bill Douglass (d), Jackie Mills (d, perc)
Reference: FSRCD1141
Bar code: 8427328611411
Gerald Wiggins (1922-2008), also known as Jerry Wiggins or affectionately as “Wig,” was a long-respected but often overlooked jazz pianist. He greatly esteemed for his accompaniment work with luminaries like Lena Horne, Helen Humes, and Kay Starr, rather than his substantial jazz prowess. Being an exceptional accompanist for singers required the sort of sensitivity, the type of warm and helpful personality, the courage to sublimate that personality momentarily in the interests of a good performance.
He was the kind of jazz musician who is unspectacular, who was not a brash innovator nor in any sense a flamboyant character. Yet it was musicians like him who provide the great body of jazz music with its virtues.
His idol was Art Tatum, and he held a strong affection for both Teddy Wilson and Oscar Peterson. His playing also resonates with echoes of modernists and stylists, including Erroll Garner and Duke Ellington.
His variety of jobs in the profession ranged from accompanying singers to playing in big bands, including those of Louis Armstrong, Benny Carter, Gerald Wilson, Jerry Fielding, and Harry James. Wiggins showcased his versatility in trio and solo performances in small clubs, leaving his mark on various recording dates in different roles. This is precisely the sort of jazz musician Gerald Wiggins was.
The essence of Wiggins’ music lies in its powerful swing, infused with sensitivity and a delightful sense of fun. These Trio Sessions from 1956-1957, aim to spark a broader appreciation for Wiggins’ talent, offering jazz for every emotion, mood, degree of concentration, and listening preference, inviting listeners on an enjoyable musical journey.
—Jordi Pujol
CHOC Jazz Magazine
"Gerald Wiggins, plus connu sous le diminutif de Gerry, né à New York en 1922, mort en Californie en 2008, a laissé dans l’histoire du jazz une empreinte durable. Ces enregistrements rendent pleine justice à son talent. Sa carrière bien remplie, entamée auprès de célébrités comme Louis Armstrong ou Benny Carter, s’est poursuivie avec des musiciens de styles divers, tels Buddy Colette, Tal Farlow ou Illinois Jacquet. Un parcours, à première vue, quelque peu atypique.
Il témoigne de son adaptabilité. Ainsi, grâce à une technique éprouvée et à son sens de l’improvisation, n’eut-il aucune peine à prendre le virage du bop et à emprunter le sillage de Bud Powell ou d’Horace Silver. Son accompagnement de chanteuses telles Lena Horne, Dinah Washington ou Anita O’Day a contribué à asseoir et à accroître sa notoriété.
Mais c’est surtout à la tête de ses propres trios qu’il s’est fait connaître, écumant concerts et festivals dans le monde entier. Un itinéraire évoqué avec précision et maestria dans le livret signé Jordi Pujol, “Monsieur Fresh Sound Records” il permet d’évaluer l’envergure du pianiste et de le situer à sa juste place. Toucher ferme et précis, swing omniprésent, parfaite maîtrise de l’improvisation, sens des nuances.
Ses divers partenaires contribuent à mettre en valeur ces qualités sur un répertoire où standards éprouvés (Satin Doll, Laura, Love For Sale) voisinent avec des compositions originales du pianiste (Gerald’s Train, All That’s Good). Compositeur attachant, la saveur de ses mélodies contribue à la réussite de l’ensemble. À écouter sans modération."
—Jacques Aboucaya
Jazz Magazine
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Listening to these trio sides from the fifties it’s obvious that Wiggins was a talented versatile musician
"You may not be familiar with the pianist Gerald Wiggins, but if you're a fan of the piano trio you should give this incredible musician a listen. Fresh Sound Records has released a terrific 2CD set of some of Wiggins classic trio sessions from the fifties.
The set includes the albums RELAX AND ENJOY IT!, WIGGIN’ WITH WIG, REMINISCIN’ WITH WIG plus five tracks from a compilation record and four from a fifties TV show.
Wiggins was known for his flawless technique, discriminating phrasing, and his creativity at the piano. His playing style showed that he understood the different jazz genres. He easily added in elements of swing, bebop, and rhythm and blues.
He was best known for backing singers like Lena Horne, Kay Starr, Dinah Washington, Helen Humes, and Anita Day.
Wiggins started playing classical music at age five. He wasn't crazy about it but then someone played an Art Tatum record for him. He said that was when he became passionate about music.
Wiggins played a lot of other people's compositions but he was a fine writer as well. I was impressed with his self-penned tunes from a Crown Records compilation.
Criss Cross sounds like a train coming down the tracks with a boogie-woogie beat. You don't hear Wiggins using his left hand for just block chords and bass lines. He plays melody off of what his right hand is doing so it can sound like two people are sitting at the piano.
Grey Skies is a great example of how a piano trio should play a ballad. Gene Wright's bass lines are warm and resonant. Drummer Bill Richmond's gentle brushwork make for some sparse and thoughtful fills; nothing flashy or busy. I like the way Wright's bass adds counter melodies to the pianists lines.
Wiggins also used Joe Comfort on bass and Jackie Mills or Bill Douglass on drums during this period. X-15 is an uptempo bop tune with bluesy phrases and intricate melodic lines.
Listening to these trio sides from the fifties its obvious that Wiggins was a talented versatile musician. He began his career as a musician accompanying comedian Stepin' Fetchit. He worked with Louis Armstrong and Benny Carter. In the 1960s he worked in film and television. He was even vocal coach for Marilyn Monroe."
—Tim Larsen (March 7, 2024)
https://jazzviews.net/
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Ringer of the Week ★★★★★
"Because of the abundance of studio jobs for TV and movies for musicians, LA was a hotbed for musicians. How can you beat steady work, no travel and great weather?
The plethora of pianists during the 50s-70s was an embarrassment of riches, with the likes of Pete Jolly, Lou Levy, Victor Feldman and as presented here, Gerald Wiggins filling in the rhythm section at the local clubs like The Lighthouse, Concerts By The Sea or Donte’s. This two disc set has Wiggins in trio sessions with bassist Gene Wright (of Dave Brubeck fame) or Joe Comfort, with drummers Bill Richmond, Jackie Mills or Bill Douglass on drums. The music is uniformly classy, swinging and exciting.
Wiggins also had a good touch with the pen, as the February, 1956 session features his originals like the bopping “Criss Cross” and fervent “Gerald’s Train”. He throws a handful of originals in with the rest of the sessions, such as the clever “A Fifth For Frank” which includes Jackie Milss on congas. He is elegant on “Laura”, delicate on the more obscure “The Man That Got Away” and clever on a sly read of the more arcane “Merry Old Oldsmobile” and “Ma, She’s Making Eyes At Me”. But that is actually the joy of Wiggins, as most pianists in the lounge would try out a few ringers every now and then just to perk up the people in their naugahyde booths. LA lounge lizard at his best."
—George W. Harris (February 1, 2024)
https://www.jazzweekly.com/
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"Gerald Wiggins (1922-2008) was a Southern California legend for decades. Early on he worked in the big bands of Louis Armstrong and Benny Carter and by 1947 had settled in Los Angeles. He worked with the Gerald Wilson big band, became an accompanist for a long line of singers (most notably Lena Horne, Kay Starr and Eartha Kitt), was employed as a vocal coach for some actresses (including Marilyn Monroe), and was a constant at L.A. area jazz clubs, both as a pianist and as a member of the audience cheering on others.
Wiggins first recorded as a leader while in Paris in 1950. This double-CD from the Fresh Sound label has all of the music from his next four opportunities to lead his own albums: five songs from a Crown Lp that he shared with others along with Relax And Enjoy It, Wiggin’ With Wig, and Reminiscin’ With Wig. The pianist heads trios with either Eugene Wright or Joe Comfort on bass and Bill Richmond, Jackie Mills or Bill Douglass on drums. Dating from 1956-57, these sessions feature Wiggins at times showing the influence of Erroll Garner (and to a lesser extent Art Tatum) but mostly displaying his own swinging musical personality and consistently coming up with fresh ideas and infectious riffs. There are also some witty moments along the way particularly on some of the more vintage songs included on “Reminiscin’ With Wig.”
In addition to the four albums, this twofer includes three of the songs that the Gerald Wiggins Trio performed on the Stars Of Jazz television show and a rare alternate take of “In My Merry Oldsmobile” that was only originally available on a reel-to-reel tape.
Another Fresh Sound Gerald Wiggins CD (Modern Jazz Renditions) includes Wiggins two other 1950s albums (The King And I and Around The World In 80 Days). Otherwise the pianist only led two other albums (one on organ) until 1974.
While his recordings from later years are quite worthy, Classic Trio Recordings 1956-1957 is the Gerald Wiggins set to get, featuring the pianist at his very best."
—Scott Yanow (February, 2024)
Los Angeles Jazz Scene
