Wayne Wilkinson: Nary a false note and many memorable one to boot…
By David McGee
HOLLY TUNES
Wayne Wilkinson
Inspired by Joe Pass’s classic holiday long-player from 1992, Six-String Santa, with echoes at times of the Ramsey Lewis Trio’s 1961 Yuletide contribution, The Sound of Christmas (a second volume followed in 1964) and to the progressive approaches to holiday tunes jazz pianist David Ian has explored on four Christmas albums with his Vintage Christmas Trio (see the Deep Roots appraisals here), guitarist Wayne Wilkinson and two of his long-time musical compadres, bassist Andy Burtschi and drummer Scott Barbier, with the Commodores’ legend Thomas J. Dawson Jr. adding, variously, piano, string, and organ on eight of the 11 tracks, is impressive in every way in the spirit of the season they explore with near-palpable sensitivity to each other’s lanes, if you will. The result is a mellow workout that not only goes down easy, but has real staying power—listen once, and it’s likely Holly Tunes will become a regular fixture in your holiday queue for years to come.
‘God Rest Ye Merry Gentlemen,’ Wayne Wilkinson (guitar) with Andy Burtschi (bass),and Scott Barbier (drums), and Thomas Dawson Jr. (organ), from Holly Tunes
A live version of ‘Deck the Halls,’ as heard in a studio version on Holly Tunes, featuring Wayne Wilkinson (guitar), with Andy Burtschi (bass), and Scott Barbier (drums).
The album opens on a rousing note, with a frisky, multi-textured romp through “God Rest Ye Merry Gentlemen,” led by the robust, discursive melodic variations Wilkerson conjures from his Benedetto Bambino Deluxe arch-top guitar, while giving way now and then for a lively bass foray from Burteschi and a muscular flurry by drummer Barbier over the 4:17 running time. There’s humor to be found in the Wilkinson’s lighthearted skips across the melody and stop-time passages (buttressed by Barier’s subtle brush drums) in “Deck the Halls,” which unfolds into a lively conversation between bass, guitar, drums, and Dawson Jr.’s piano and organ punctuations With the rumbling bass leading the way, the group slow walks through “You’re a Mean One, Mr. Grinch,” removing the drama of, say, the Brian Setzer version, but retaining the tune’s mock menacing personality, in another humorous approach. Tender and romantic, the group’s understated approach to “A Christmas Waltz” casts a lasting spell, much as Wilkinson’s improvisational sorties up and down the neck add an undercurrent of urgency that is offset by Burtachi’s soothing bass response as Barbier brush drums again provide atmospheric grounding to it all.
‘What Are You Doing New Year’s Eve,’ Wayne Wilkinson (guitar) with Andy Burtschi (bass),and Scott Barbier (drums), and Thomas Dawson Jr. (organ), from Holly Tunes
Add in a solemn take on “Silent Night,” keyed by Dawson Jr.’s magisterial organ lead; a swinging romp through “O Christmas Tree” featuring one of Wilkinson’s most spirited tonal excursions up and down the Benedetto’s neck, with some tasty piano interjections goosing the arrangement along; and, with the steady hum of Dawson Jr.’s organ underpinning it, a warm and tender take on “What Are You Doing New Year’s Eve” featuring another of Wilkinson’s wide ranging explorations of the melody line that winds up back where the activity all began to close Holly Tunes on an introspective note. Nary a false note to be found here, and many memorable ones to boot. It’s a jolly holiday with Holly Tunes, if I do say so myself.
