Mulgrew Miller Quintet - Wingspan (Landmark/32 Jazz, 1987)

This post is by Scott and Dan

Mulgrew Miller (p); Kenny Garrett (sax, fl); Steve Nelson (vib); Charnett Moffett (b); Tony Reedus (d); Rudy Bird (perc)

Recorded on May 11, 1987

Wingspan was the name of Mulgrew Miller's first official group and Wingspan was the name of their first album. The title makes indirect reference Charlie Parker, commonly known as Bird. Wingspan is not a repertory group for Parker (like Supersax) but rather spread their wings in the manner of many post-bop quintets. The primary distinction is the inclusion of vibist Steve Nelson in place of a second horn. This gives the quintet a more open sound that we find very appealing. Rudy Bird's percussion on three tracks augments the basic quintet.

Miller and Nelson shared a long history of playing together, beginning on Bobby Watson's Jewel album on the Swedish Amigo label (1983) and reissued on an Evidence CD that is well worth searching for. The format matches that of Wingspan, minus extra percussion, so fans of Wingspan would also like Jewel. Miller and Nelson played together on at least nine additional albums between 1993 and 2010, including Wingspan - The Sequel (MaxxJazz, 2002). 

Close musical partnerships between vibes and piano players are not uncommon, but they are more likely to be formed by duet partners than quintets. Chick Corea and Gary Burton are perhaps the most obvious example. Vibes and piano may clash because they are both essentially keyboard instruments pitched at the same frequencies. Duets can avoid clashing by engaging in controlled dialogue. Quintets can also avoid clashing by playing in unison. (The classic George Shearing sound is a prime example of unison playing by piano, vibes, and guitar.) Bobby Hutcherson also found ways to complement pianists including McCoy Tyner, Andrew Hill, George Cables, and many others.

On Wingspan, Miller and Nelson find their own solution to this issue. When playing together, they seem to read each other's moves and provide perfect complements every time. Listening to their interplay on "Soul-Leo" is a great lesson in group playing, which is repeated on every track of Wingspan.

Kenny Garrett's alto is also a prominent voice in the ensemble of Wingspan. Born in 1960, Garrett was in strong demand during the 1980s, playing with many more established artists and forming his own quintet two years before Wingspan was recorded. His solo work is always energetic and impressive. 

Miller and Nelson were especially close bandmates. Born one year apart (1954 and 1955) they enjoyed a sympathetic connection, according to Nelson. After Miller's death from a stroke in 2013 at age 57, Nelson dedicated his album, Brothers Under the Sun (HighNote, 2017) to Miller's memory. In the booklet notes, Dan Bilawsky writes:

"Kinship, in its truest state, isn't defined by genes. Rather, it's a concept measured through life's sympathetic vibrations, illuminated in the spirit of concordant individuals who run parallel in character and purpose." 

As two "brothers," Miller and Nelson shared much of their respective careers as partners in recording studios and bandstands. The quality of their music is clearly evident and no doubt traceable to their sympathetic connection. 

We include this backstory because it reminds us that jazz artists are human beings who forge close meaningful relationships with their fellow musicians. Relatively few professions offer such opportunities for close collaboration, but it's beautiful when it happens. 

Wingspan is a great album, regardless of the backstories. It's a high point in Miller's very productive career and evidence of the value of sympathetic musical relationships to the quality of jazz performance.