Jack Wilkins

**West LA Jazz** · 08-15-2015, 03:17 AM

My goodness, this guy is one heck of a player! Stumbled on him by accident. A Jimmy Bruno cohort from what I'm reading.

**Groyniad** · 08-15-2015, 06:23 AM

my only ever jazz workshop was with him. he nearly killed that guitar. when he left the room his guitar came over to me and pleaded with me to help. 'there's nothing i can do' i said 'he's coming back right now...'

but i did find quite quickly that i wanted him to state some of his ideas a bit more directly and with less (awe inspiring) embellishment

like bruno he's a player whose chops i admire but whose playing i very rarely listen to

is there an early album that stands out - anyone?

**MarkRhodes** · 08-15-2015, 09:29 AM

I went to a seminar / concert of his in Miami some years ago. My teacher at the time was an old friend of his.
Jack's an amazing player. I remember him talking about his frustration at not being able to do things on the guitar that piano players do. The only books I recall him mentioning were John Mehegan's books on improvisation (which are written for piano players, but other instrumentalists use them too.)

Jack is a phenomenal player---the concert (-just him and a bassist) knocked me out---but I rarely listen to him. I'm not sure why, but as impressive as he is, I just don't find myself wanting to hear more...

**mikeSF** · 08-15-2015, 01:26 PM

so true. he is wonderful to watch and a master player.

**Cunamara** · 08-15-2015, 01:27 PM

Jack Wilkins has been a monster for many years:

1983:

I recall seeing a video on YouTube of Jack when he was like 13 or something and he played better then than I do now after 35 years of studying this stuff. ISTR that he studied with Tal Farlow.

**yebdox** · 08-15-2015, 01:30 PM

We had Jack out to our guitar society for lessons, a seminar and concert 7 or 8 years ago.... so much fun, and he can indeed, play anything and everything. So much polish, such depth and joy. Friendly, supportive and a genuinely nice person, to boot. I had more fun jamming with him, he was so open and supportive. Some people are just so relaxed and unintimidating. TDWR, definitely. Buy his stuff.

He has a couple of instructional videos as well, on Mikesmasterclasses.com.

**Patrick2** · 08-15-2015, 03:19 PM

Originally Posted by MarkRhodes

I went to a seminar / concert of his in Miami some years ago. My teacher at the time was an old friend of his.
Jack's an amazing player. I remember him talking about his frustration at not being able to do things on the guitar that piano players do. The only books I recall him mentioning were John Mehegan's books on improvisation (which are written for piano players, but other instrumentalists use them too.)

Jack is a phenomenal player---the concert (-just him and a bassist) knocked me out---but I rarely listen to him. I'm not sure why, but as impressive as he is, I just don't find myself wanting to hear more...

Probably for the same reason many others don't. He's another of those players who seem more interested with how many notes they can squeeze into a run, than actually having the run be representative of melodic phrasing. The guy is a master. I just don't get the need for the hyper speed where it's unnecessary and doesn't seem to fit the tune appropriately.

I once mentioned his name to a very well known jazz player . . won't mention any names though. This guy played with Wilkins a few times. When I asked him about Wilkins, he said . . . "speed demon" . . and nothing more. I have heard Wilkins do some mind blowing melodic improvisations. So, I'm not saying he's incapable and I certainly don't mean any disrespect to such a true jazz guitar master. But .. . . . just sayin' . . . there's more to delivering an improv than just trying to show people how fast you can play. Anyway . . that's the only thing I find that's keeping me from owning Jack's recordings

**Eric Rowland** · 08-15-2015, 03:47 PM

The first time I heard Jack he was with Buddy Rich's band burning on Nica's Dream....whew!

**mr. beaumont** · 08-15-2015, 04:59 PM

Originally Posted by Patrick2

Probably for the same reason many others don't. He's another of those players who seem more interested with how many notes they can squeeze into a run, than actually having the run be representative of melodic phrasing. The guy is a master. I just don't get the need for the hyper speed where it's unnecessary and doesn't seem to fit the tune appropriately.

I once mentioned his name to a very well known jazz player . . won't mention any names though. This guy played with Wilkins a few times. When I asked him about Wilkins, he said . . . "speed demon" . . and nothing more. I have heard Wilkins do some mind blowing melodic improvisations. So, I'm not saying he's incapable and I certainly don't mean any disrespect to such a true jazz guitar master. But .. . . . just sayin' . . . there's more to delivering an improv than just trying to show people how fast you can play. Anyway . . that's the only thing I find that's keeping me from owning Jack's recordings

So, you know Jack's playing from YouTube?

You should check out the stuff he did with Bob Brookmeyer. Chops...taste...total package.

**StanG** · 08-15-2015, 05:49 PM

is there an early album that stands out - anyone?

Yes, there is: Merge, with Michael and Randy Brecker, from 1979? Killer version of invitation.

**Patrick2** · 08-15-2015, 05:51 PM

Originally Posted by mr. beaumont

So, you know Jack's playing from YouTube?

You should check out the stuff he did with Bob Brookmeyer. Chops...taste...total package.

No . . . I've seen Jack perform live 3 times. Got nothing but respect and admiration for him. Quite a nice man too. Very approachable. I've also heard many recording of him as well. Very tasty indeed!!

I just have an issue with people who tend to play way too fast for no apparent reason other than . . to play fast. Heard him playing in a trio setting with Bruno and Vignola. It turned into a dick measuring contest of chops. (which Bruno won, by the way). Bruno is one of the few guys I can torerate when he's burning at hyper speeds. Because, even at hyper speeds . . he's usually saying something.

**mr. beaumont** · 08-15-2015, 11:24 PM

Pretty much my take is, unless the two guitar players are named "Raney," or "Ferre",I'd rather hear ANYTHING than a multiple guitar lineup.

**vinnyv1k** · 08-16-2015, 01:15 AM

Don't forget people like Benson, Martino, DiMeola, McLaughlin, Coryell etc.. Love to play fast. You won't ever get sleepy listening to any of those guys. Jack is one of my favorite guitarists. He is also a super nice guy and very approachable. I email him all the time with questions and he always emails me back same day. He is 71 and still has monster chops. I started losing my speed when I hit 55. I know where you are coming from Patrick. BB King summed it up best saying it is not how many notes you can play but what note you play and how and when you play it. Jack and Howard Alden play very well together as does Jack and Peter Bernstein. You are right though Patrick. Jack can only do chord melody so long before he has to belt out a blazing fast run. Just his nature. Like people that love to drive cars really fast. He has some fantastic pics on his website but you need a good hour to see them all but well worth the look.

**Sam Sherry** · 08-16-2015, 06:01 PM

Originally Posted by mr. beaumont

You should check out the stuff he did with Bob Brookmeyer. Chops...taste...total package.

The record is "Bob Brookmeyer Small Band" a/k/a "Live at Sandy's." You might have to search twice to find more.

I wore it out when I was a kid, partly because Michael Moore was my bass teacher at that moment. Mr. B is spot-on. This group takes a ton of chances all night long and makes every second sound easy. Equally to the point, this record is a textbook in the highly-overlooked skill of effectively arranging for a jazz quartet -- you'll hear just about every possible combination of players, all in service of deeply swinging music.

Here ya go. Sorry if you have to suffer through an ad:

**sgcim** · 08-16-2015, 07:12 PM

I bought that LP on vinyl when it first came out, and I loved it for all the reasons everybody mentioned.
That's why I was surprised when a student of JW's from the NEC called me up, because Joe Maneri told him I had an old D'A, and the caller said he would 'take it off my hands for $1,000'(!).
After putting that guy's ass in line, I asked him about the JW LP with BB, and the guy said that JW told him that the album sucked, and it wasn't a 'serious' album like the ones he made under his own name.'

I was shocked by this comment, considering that BB and MM were two of my fave players.
I then caught JW live three times, and then I understood where the comment was coming from...

**PMB** · 08-16-2015, 07:24 PM

There is a second CD of tunes from those gigs, weirdly enough released on a different label:

http://www.amazon.com/Quartet-Bob-Br.../dp/B0009J4OHM

**Sam Sherry** · 08-19-2015, 02:43 PM

Originally Posted by sgcim

I bought {Live at Sandy's} when it first came out, and I loved it . . . . That's why I was surprised when a student of JW's from the NEC . . . said that JW told him that the album sucked, and it wasn't a 'serious' album like the ones he made under his own name.

Jack Wilkins was the guitar teacher at New England Conservatory when I started there in 1979. I lent my buddy the "Live at Sandy's" record to get to 'know' Mr. Wilkins before he started lessons.

My friend said that Wilkins said he "couldn't play like that anymore." It's an odd thing to say given that the record was recorded in 1978-79 and the statement was made in 1979.

I think what Jack may have been talking about is, "Sandy's" is that only time I have heard Jack turn the guitar down and literally strum -- not chord, not walk, but strum. It's some of the most effective guitar moments on the record and it influences the way I comp on guitar.

Ah well. Back to my cave!

**rpjazzguitar** · 07-24-2017, 11:48 PM

Just heard Jack Wilkins at Zinc Bar.

He got a big warm sound and played great.

I'm wondering if anybody knows what gear he was using. The guitar was a thin one, like a 335, but it wasn't a Gibson headstock. It looked like he was going through a tiny amp, which was not mic'ed. I might be wrong about that. He might have had a line into the PA, but that speculation. Whatever he was doing, it sounded huge.

Anybody know?

BTW, there were three other players, Joe Cohn, Vic Juris and Mark Whitfield. All great. I especially loved Mark's comping and Vic's overall sound using some processing.

**wintermoon** · 07-25-2017, 12:10 AM

Sounded like a good night.
They're all good, I especially like Cohn.
First saw him w Al Grey a long time ago, he stole the show
(Al didn't seem too happy about that)

**guido5** · 07-25-2017, 06:39 AM

Must have been a wonderful show! I got to hear Wilkins and Cohn a few times in the early eighties when they came to the Boston area. Amazing stuff... Pity they don't get up this way that often any more...

**David B** · 07-25-2017, 06:59 AM

Jack's been playing a Comins CGS-1 for the last couple of years.

**rpjazzguitar** · 07-25-2017, 12:21 PM

Originally Posted by David B

Jack's been playing a Comins CGS-1 for the last couple of years.

Thanks! That's the one. I took a picture of it -- and the asymmetrical headstock nails it.

Any idea of the amp? It wasn't much bigger than a lunchbox and it wasn't mic'ed. It sounded so full, though, that I wondered if I was missing something.

Anybody play there? Do they mic amps, run into the PA, or is it just you and your amp?

**rpjazzguitar** · 07-28-2017, 12:45 PM

WILKINS & ALDEN CONTINUE TO AWE | Benedetto Guitars

The link above shows a picture of the amp, but I can't identify it.

The amp I saw at Zinc was very small (maybe a foot high, maybe 14 inches wide, 6 or 8 inches deep -- very roughly) and it had the controls on top.

I couldn't see the maker's name. It was dark and I didn't want to go onto the stage to get close enough.

**Hep To The Jive** · 07-28-2017, 12:51 PM

Looks like Compact 60 to me?

**neatomic** · 07-28-2017, 03:05 PM

you nailed it hep

from their site-

The Compact 60 is played by the world's top professional guitarists

The outstanding performance of the Compact 60 has won it admirers the world over. Great acoustic guitarists such the legendary Tommy Emmanuel and John Renbourn perform with the Compact 60. Among Gypsy jazz guitarists, the Compact 60 has become the choice for amplification. Stochelo Rosenberg, Romane, Bireli Lagrene, Dorado Schmitt, and so many other greats of the style use this amp.

Although marketed as an "acoustic amp," the Compact 60 is used by many archtop jazz guitarists. Gene Bertoncini, Jack Wilkins, Russell Malone, and Martin Taylor have replaced much larger tube amps with the light weight and great sounding Compact 60!

cheers