10 Tracks I Can’t Do Without: Kenny Wheeler

In the latest of our series where musicians consider their idols or formative influences, pianist Phil Merriman (*) picks music by Kenny Wheeler that has left its mark on him:

Phil Merriman writes: My first window into Kenny Wheeler’s music was through piano lessons with John Taylor while studying at the University of York. I have a fond memory of John putting on a record of Kenny’s music, sitting back, and smiling as he listened. At the end there wasn’t so much a harmonic analysis, as a short nod of appreciation that what we had just heard was indeed amazing.

What I hold in mind above all is that across five decades of recorded output, Kenny Wheeler successfully forged an incredibly distinctive sound (both compositionally and tonally), while demonstrating the drive to constantly explore and innovate. He was prolifically creative and productive, and continued writing, recording and releasing a plethora of projects right into his 80s when I was fortunate enough to hear him play live with a fantastic quintet at London’s East Side Jazz Club. At that time, his sound had a fragility and intimacy to it which was truly mesmerising.

Many of the tracks that I have chosen below were introduced to me through the sessions with John, some of which were within larger ensemble workshop type sessions, and some were through one to one lessons. In the way that John spoke about his long-time collaborator, there was always a clear affection for both the man and the musician – and I think that this intrinsic connection between his humanity and the musicality is what helps connect the listener so strongly with his music.

1. “Nicolette” from Angel Song (1997)

This song was my very first experience of Kenny Wheeler, and I immediately knew that I was being awoken to a whole new sonic sphere. The beautiful two-part writing and playing from this piano-less, drum-less group is haunting from the beginning. This is a prime example of how Kenny was able to take and develop an incredibly small melodic seed or harmonic idea into an entire piece.

2. “Heyoke” from Gnu High (1975)

Kenny’s first album on the ECM label features some of his most bold and energetic improvising, and demonstrates his technical proficiency – which seems to have always served his musical and creative exploration rather than the other way round. This track is a notably rare recording of Jarrett as side-man rather than leader.

3. “Foxy Trot” from Double, Double You (1984)

In this British-American collaboration album, Kenny is joined by Michael Brecker on the front line. The melodic hook feels like it could be a further development of that in “Nicolette”, which Kenny also explores in his solo. The piece is injected with lashings of energy from the all-star rhythm section: John Taylor, Dave Holland and Jack DeJohnette.

4. “Everybody’s Song But My Own” from Flutter By, Butterfly (1988)

It’s not a surprise why, with its balance in compositional structure, intriguing harmonic turns and weaving melodies, learning this piece seemed to be something of a rite of passage at Universities and Conservatoires for a time. John Taylor once told me that this was his favourite piece of Kenny’s to solo on, which explains why it would often find its way into so many of John’s live gigs.

5. “Part 2 – For H. / Part 3 – For Jan” from Music for Large & Small Ensembles (1990)

The second track from “The Sweet Time Suite” arguably repositioned the direction of big band writing. This piece encapsulates a mix of intimate, small band moments with large-scale soli-sections. Once we arrive in three-time, Kenny floats through the solo changes with incredible agility and almost dance-like weightlessness. This album remains a beacon of inspiration for so many jazz composers, and on every listen feels like there is more treasure to unearth.

6. “The Longest Day” from Départ (1980)

The small ensemble nature of the Azimuth band gave space for Kenny’s strength as an accompanying side-man to come to the forefront. While horn players are often traditionally viewed as the lead instrument, Kenny had an extraordinary ability to sit within the ensemble and support the other musicians almost as a member of the rhythm section. Philip Dizack’s playing in Shai Maestro’s quartet might be an example of how this ‘front to back’ playing has continued to be embraced.

7. “Canter N.1/Old Ballad” from The Long Waiting (2012)

The beauty of Canter No.1 is in the simplicity of the composition. The sequence is just four chords that repeat and transpose between two oscillating keys a tone apart. Even the melody contains just one or two phrases which are pushed through the changes. The open and malleable parameters of this composition have led to this tune being re-recorded in very different situations: duo, quintet and this version for big band under the baton of Pete Churchill.

8. “Iowa City” from What Now? (2006)

This drum-less album beautifully demonstrates Kenny’s rhythmic assurance and command. There is plenty of space to hear the interaction between horns and rhythm section. A drummer’s dream play-along album, this recording demonstrates how Kenny was able to seemingly float above the normal subdivisions of rhythm, whether straight or swung, while at the same time being totally and utterly grounded in rhythmic feel, transitioning with utmost dexterity.

9. “Introduction To No Particular Song” from Moon (2001)

Kenny is in no rush in this recording; he appears totally unhurried and in command of the music at all times. His distinctive sound freewheels around the harmony and characteristically explores his huge range on the flugelhorn. With elongated phrases and incredible breath control, the seven minutes of this ballad fly by in what feels like no time at all.

10. “Summer Night” from Where Do We Go From Here? (2004)

For me, this album beautifully summarises the sound of two long-term friends and colleagues spending time playing together, and enjoying each other’s company. There is zero ego-flaunting as they play this jazz standard, but instead incredible displays of dexterity and command of their instruments, while sharing rhythmic responsibility and limitless trust. They embrace creative twists and turns, weaving around each other with such light-footing that if friendship had a sound, then this surely couldn’t be far from it.

(*) Phil Merriman has worked with a wide variety of classical, world and jazz musicians. His latest album, “The Roots Beneath” features his established trio of John Williamson on bass and Simon Roth on drums. Phil describes the music as “influenced by a wide range of styles from lyrical folk melodies of Bartok to the darker harmonies of Messiaen, underpinned by shifting rhythms that provide a platform for collaborative improvisation”.