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Howard Alden and Jack
Wilkins are jazz heavyweights. All they need is their instruments
and a pleasant place to play and they create musical magic.
The Manhattan-based guitarists, who have been offering occasional
duo performances for about three years, were spectacular during
their second set Thursday in the cozy dining room at Glen Rock Inn
in Glen Rock, enrapturing a packed house with their bountiful
gifts. The affair, produced by Shelly Rosenberg for owner Victor
Quinn, was part of an on-going five year series at the restaurant
and lounge.
The two jazz vets, who play custom-designed Bob Benedetto arch-top
guitars (Alden's is dark brown with hues of red, Wilkins’ has a
pale, golden color) – have distinctive approaches and sounds, but
they share several aspects. They both are technical demons, they
deliver rich melody at any tempo, they swing like mad, and they
have a remarkable ability to anticipate what the other will do –
finding the perfect response in an instant.
On a six-song set, the pair constantly swapped lead roles, one
playing the melody of a tune or soloing, the other accompanying
with chords or walking bass lines. The opening “Autumn Leaves”/“Cry
Me a River” medley was characteristic of their compelling
program.
The guitarists each played parts of the “Leaves” theme, with the
other accompanying. Wilkins soloed first, playing passages of
alluring melody and some vibrant chords as well, all with a warm,
sometimes dusky sound. With him, Alden played walking bass notes
that sometimes segued into a natty line to end a section.
When Alden soloed,
laying out ideas song-like, Wilkins comped with hearty chords,
recalling the great Freddie Green with Count Basie. Alden’s sound
had a ring to it, and when he held notes, they gleamed. At one
point, Wilkins shifted to walking lines, and Alden played some
beautiful chords as melody. Throughout it all, the familiar theme
was never far away.
As the medium fast rendition closed, Wilkins played hints of the
ballad “Cry,” and without as much as a nod, the pair went right
into it. Key, rhythm, melody – all were on the money. As they each
took turns with the theme, the way their lines dovetailed, one
picking up where the other left off, was enthralling.
In one solo spot, Wilkins scored with speedy squibs of tonal color
and held notes that sounded like they were melting. Alden backed
him with chunky, engaging chords. Warm applause followed the
medley, and greeted each subsequent exposition.
The fast “How About You?” found both men playing swing and bop-bent
lines with remarkable fluidity and hefty rhythm. At the close, they
soloed simultaneously, at one point delivering sequences of dancing
chords.
The evocative bossa “Estate” featured Wilkins with sweet lines and
bluesy remarks. Alden dazzled with ringing harmonics, where he
grabbed four notes with his left hand and tapped high on the fret
board with his right, a la Tal Farlow. The artists closed the piece
cleverly with bits of Monk’s angular “Friday the 13th.”
Also heard were Bill Evans’ winsome waltz, “Very Early,” and a
bullet-train ride through “Tico Tico.”
Upcoming performances, all by guitarists unless noted, include Dr.
Frank Forte, Thursday; Lou Pallo and saxophonist Muzzy Napadano,
Apr. 6; Roni Ben-Hur and bassist Earl May, Apr. 13; Wilkins and
Sheryl Bailey, Apr. 20; and Dave Stryker and Jim DeAngelis, Apr.
27.
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Howard Alden and Jack Wilkins - Newark Star Ledger - March 2006 