Anthony Wilson

By Levy, Adam | Guitar Player, September 1998 | Go to article overview

Anthony Wilson


Levy, Adam, Guitar Player


When you think of guitarists playing in big bands, a few archetypes come to mind. There was the great Freddie Green, whose acoustic rhythm guitar powered the legendary Count Basie band. There was Charlie Christian, who made a handful of groundbreaking electric guitar recordings with Benny Goodman between 1939 and 1941. And there was Wes Montgomery, whose classic Verve albums set the standard for modern big band jazz guitar.

Anthony Wilson doesn't fit any of those molds. The 29-year-old guitarist is closest in musical spirit to Montgomery, but there is a substantial difference that sets Wilson apart from Montgomery and the others: He arranges all of the music for his nine-piece jazz ensemble himself. And Wilson is not just putting a few saxophone riffs here and there to serve as backgrounds for his solos--he's a serious composer/arranger whose heavyweight writing chops earned him first prize in the 1995 BMI/Thelonious Monk Institute of Jazz Composers competition. Wilson sees writing as a way to extend his musical vision beyond the limits of the guitar. "There are certain things I hear that I can't get at on the guitar--particular voicings and contrapuntal ideas," he says.

Wilson's 1997 debut album Anthony Wilson [MAMA] is a solid, swinging record that showcases his Montgomery- and Burrell-inspired guitar lines, as well as his aptitude for composing in a variety of styles. Every song sounds different, from the swaggering funk of "Fargas Shuffle" to the gorgeous ballad "Leila," to the dark waltz "Monsignor." Looking back on the release, Wilson muses that perhaps the album covered too much ground: "It was my first record as a leader, so I wanted to show all of the things I could do."

His second album, Goat Hill Junket [MAMA], is more focused. "I wanted to make a record that would hang together better as a whole," says Wilson. "I also wanted to write a little bit prettier and simpler. I wanted to write tunes that people Could hum and remember."

Wilson's compositional approach isn't the only thing that has changed on his new record. His guitar has taken on a new, bigger and bolder tone. "We did a couple of things differently this time," he reveals. "The main difference is the guitar itself. I had been using a '63 Gibson ES-345. It's a good instrument, but I wasn't totally satisfied with it. For Goat Hill Junket, I used a '58 Byrdland, and that guitar changed everything. It had exactly what I wanted: a little bit of that traditional hollowbody sound, but with a really meaty electric tone. …

The rest of this article is only available to active members of Questia

Upgrade your membership to receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • A full archive of books and articles related to this one
  • Ad‑free environment

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Upgrade your membership to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited article

Anthony Wilson
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
Items saved in your active project from this article
  • Highlights & Notes
  • Citations
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Upgrade your membership to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Search by... Author
    Show... All Results Primary Sources Peer-reviewed

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.