Secrets From the Sun

Album review

As one of the main proprietors in the New York City loft jazz scene (the Ladies Fort) of the mid-'70s, Joe Lee Wilson was known more as a facilitator than being a fine jazz singer. Sporting a boisterous voice somewhere between Leon Thomas and Joe Williams, Wilson worked with many jazz greats, but had few opportunities to record. The rough-and-tumble swing he employed is faithfully produced on this collection where Wilson is also featured as a lyricist, fronting his quartet with the fantastic pianist Bobby Few, bassist Jack Gregg, drummer Al Levitt, and woodwind player Steve Sax -- not the L.A. Dodgers infielder, but purported and suspected (never confirmed) to be someone else contractually obligated to another record label. It's a sure thing that when you hear Wilson's distinctive voice, it is immediately recognizable. There's a soulful, honest, and heavy human cry in his definitive tribute to John Coltrane during "Mode for Trane," a signature hard bop tune where Wilson's lyrics speak of the way the saxophone icon "paved the way of freedom," and that he was a "prince of peace." Sax's soprano identifies "Dedicated to My Father," a Coltrane/Archie Shepp-like idea with switchback speedy starts and bluesy slowdowns holding tension and alternating at will. Also in a frothy up and completely down mood, the title track reflects the roller coaster ride that can be untempered love. There is a sweet version of "Over the Rainbow" and a tribute to the ladies on "Nice and Easy" from a poor boy perspective admiring glamorous women, while the light and playful bossa "Come and See, a Sparrow Singing Jazz" reflects the amorous side of Wilson's devil-may-care persona. The only misstep is a rushed, somewhat sloppy version of "Jazz Ain't Nothin' But Soul," popularized by Betty Carter but here in need of what should have been a better take. Bobby Few sounds as good as gold, and though he accompanied Steve Lacy in a more progressive setting, he is very comfortable with Wilson's challenging style. Perhaps his voice might take getting used to, but once acclimated, you can easily appreciate this unsung wordsmith, who deserves much more credit as a leading exponent of vocal jazz. This recording was long overdue for a CD release, but is now available in that format.
© Michael G. Nastos /TiVo