Jack Wilkins’ new CD Bluesin’ (Sting Jazz) marks the first time he has recorded as a leader in the always-popular “organ trio” format. After giving it a listen, my first question was, “What took him so long?!” This is a perfect fit.

Recorded in guitarist Andy MacKenzie’s studio in Sale, England last year, Wilkins and producer Chris Burden enlisted Manchester based Hammond man Steve Wood and another local, drummer Tony Lawson for the session, Jack penned four of the album’s seven tunes, and it is partially his distinctive, somewhat quirky compositions which set this trio apart from the rest of the organ guitar pack.

“Vista” moves in and out of modal territory, finding contrast in both light and dark themes. Wood and Lawson establish and insistent, yet subtle symbiosis which gives Jack unfailing support for his extemporizations. “Awakened Sound” is a strong ballad statement which has Jack spacing its lyrical phrases with incredibly swift fills. Wood’s organ solo is romantic and steamy.

They give the blues a twist with the recurrent dissonance of “No Smokin’,” and Lawson’s “in the pocket” drumming belies the track’s emission-free title. “Mr. M.C.,” another bluesy original, is also the disc’s no-holds-barred bebop flag waver, with Jack spitting out funky, horn-inspired phrases as only he can.

The non-Wilkins’ material includes a Latin-tinged “All or Nothing at All” and an inspired reading of that favored or organists and guitarists alike, “Old Folks.”

For a change of pace, Jack picks up the electric nylon string for a run at Cole Porter’s “I Concentrate on You.” With Wood’s organ purring faintly in the background, the tune is an unusual, but highly effective study in textures, allowing both players to advance and recede in the mix. The nylon stringed instrument inspires the guitarist to alter his approach, finding a voice somewhere between Django and Rio. Again, Lawson’s no-frills approach to the drum set fits the bill perfectly.

If you dig this disc (as I’m sure you will) there is some added good news. Enough material was recorded at this session for a second CD to be released within the next year!

Jim Fisch
20th Century Guitar Magazine Oct. 1999

Jack Wilkins is one of the most sought after and versatile jazz guitarists around today and in the last decade, he is finally getting the recognition he deserves. Surprisingly, this new album from our member Chris Burden's String Jazz label is Jack's first organ trio recording. From the first few bars of the opening tune, "All or Nothing at All", this beautiful, clear, mellow sound of Jack's guitar floats over the listener and with the sympathetic backing of local Hammond organist Steve Wood and drummer Tony Lawson, one can just lie back and wallow in the music. Jack contributes four compositions, among them the beautiful ballad, "Awakened Sound" dedicated to Bob and Cindy Benedetto. Other highlights are fine renditions of the standards "Old Folks" and "I Concentrate on You."

This is the finest album I have heard from Jack Wilkins for some time and the good news is that another album "Bluesin' Two," the same lineup, will be released later in the year. Highly recommended.

Ian MacGregor

Despite the title and the instrumentation (Tony Lawson on drums, Steve Wood on Hammond), this album is more of a straight-ahead blowing session than a funky organ trio workout. Nevertheless, the New York-based guitarist plays with great skill and imagination throughout the program’s nine selections.

Of the set’s three standards, Wilkins embellishes “Old Folks” with some gorgeous counterpoint and subtly deviates from the norm by endowing “All or Nothing at All” and “I Concentrate On You” with Latin treatments that allow him to call upon his deep melodic reserves. Wilkins’ own writing covers a wide range of rhythmic feels. Particularly outstanding are “Vista,” a grooving number with effective metrical changes, and “Mr. M.C.,” a blusey uptempo burner that proves Wilkins can swing and riff on a high level.

Throughout, Wilkins falls back on his uncommonly brilliant technique, tossing off streams of perfectly executed sixteenth notes. It recalls Segovia’s response to being asked why he often played so fast: “Because I can.”

Jim Ferguson
Jazz Times 2000

Just Jazz Guitar - Nov '99

Having followed Jack Wilkins’ career for many years I have always thought that it would be great to hear him in and organ trio setting. I mentioned this to Chris Burden, the President of String Jazz Recordings, last year and was, needless to say, absolutely delighted when he decided to follow up this idea with Jack’s latest album BLUESIN’.

When I received the review copy of this album, I was initially a little reluctant to review it, on the grounds of my aforementioned involvement. On reflection, however, and idea or suggestion does not really constitute a bested interest, so with some hesitance, I will proceed with the review.

Jack arrived in England to some miserable April weather. His first impressions of the North must have been horrendous; the pre-recording gig we had set up for him was attended by 6 confirmed jazz guitar freaks. A small audience for a world class player, but then again, the Manchester football team was playing at home and the game was also broadcast on TV-c’est la vie!

For the actual recording session, Wilkins teamed up, for the first time, with local organ wizard Steve Wood and drummer Tony Lawson. With the minimum of fuss and precious little rehearsal, the seven cuts on this CD were recorded. Virtually devoid of overdubbing and second takes, the music, which is uniformly excellent, speaks for itself.

Right from the get-go, a bossa/rock rendition of “All or Nothing,” Wilkins’ big sound and monster chops take charge of the proceedings. Wood’s Hammond is to Wilkins what Mel Rhyne’s Hammond was to Wes: delicate, supportive yet biting when necessary, replete with a musical logic that can only come from years of experience. There are 4 Wilkins originals, ranging from the 6/8 Coltranesque “Vista” to the dreamy “Awakened Sound,” dedicated to Bob and Cindy Benedetto, beautifully written and, as one would expect of Wilkins, exquisitely performed. Wood’s Hammond solo on this tune is particularly memorable also.

“No Smokin’,” not the Horace Silver tune, but another Wilkins original, is a tricky head over a pseudo jazz/rock rhythm. Definitely a showpiece for Wilkins with some mind-boggling chops and bluesy bends - great for guitar nuts, but personally I find the drums a little too overpowering and rock’n’roll. Perhaps less emphasis on a persistent backbeat and more variation would have lifted the drum part above the mundane. Wilkins’ guitar, however, is so technically spectacular that most guitar enthusiasts may not even notice the obtrusive drum part!

The gorgeous ballad “Old Folks,” closely associated with Wes Montgomery and Grant Green follows providing a wonderful contrast and sense of relief. A standout reading which we can definitely add to the illustrious aforementioned list. For my money “Old Folks” and the equally sensitive “Awakened Sound” are the high spots of this CD. Mention should also be made of Wilkins’ rare use of the acoustic nylon string guitar on “I Concentrate on You.”

This CD is an absolute must for any self-respecting jazz guitar enthusiast!

Adrian Ingram
Just Jazz Guitar Nov. 1999