Reprinted from http://jazzwax.com
Ernie Wilkins [above] was busy in 1962. Wilkins, of course, was always busy, but '62 was a crescendo year for the big-band arranger. He worked steadily for the Verve and Riverside labels in the first six months, writing charts for albums by Harry James, Mark Murphy, Illinois Jacquet, Oscar Peterson, Milt Jackson, Cannonball Adderley, Count Basie and Sam Jones. Then the bubble burst as his drug problem spiraled out of control and sent him into rehab until 1969, when he began working again, with Clark Terry.
As his brother Jimmy Wilkins told me yesterday, "Ernie had to get his stuff taken care of—he was so overworked, day and night, trying to please everyone. The pressure was too much. Fortunately he cleaned himself up."
Perhaps Wilkins' finest arrangements of '62 were for Ray Brown With the All-Star Band (Verve), recorded in January of that year. The slam-bang album featured a stellar lineup: Nat Adderley (cnt); Ernie Royal, Joe Newman, Clark Terry (tp); Jimmy Cleveland, Melba Liston, Britt Woodman, Paul Faulise (tb); Cannonball Adderley, Earl Warren (as); Budd Johnson, Seldon Powell (ts); Yusef Lateef (ts,fl); Jerome Richardson (bar,fl); Hank Jones (p); Ray Brown (bass/cello); Sam Jones (b) and Osie Johnson (d).
Brown even plays cello on several tracks (My One and Only Love, Two for the Blues and Baubles, Bangles and Beads). The cello gave Brown a higher solo voice and provided the listener with a chance to hear him distinctly and marvel at his remarkable technique. Meanwhile, Cannonball Adderley handled the reed solos.
Wilkins' charts are first rate (as are a handful by Al Cohn). Dig how Wilkins frames Two for the Blues, Baubles Bangles and Beads and It Happened in Monterey. The beauty of Wilkins is that he gave each section of the band a different personality while holding them together with an intelligent core. The trumpets had enormous power but on top sounded like tinkling chandeliers. The trombones were for punctuation, body and color—often on the bottom. And the reeds hummed along like the engine of a new luxury car weaving in and out of traffic. Wilkins often added a flute or two for chrome effect—a little something extra in the shine department to counter the heft down below. [Photo above of Cannonball Adderley]
Ernie Wilkins [above] was one of the finest big band arrangers in the LP era whose dedication to giving orchestras his very best left him little time to raise his profile. Ultimately, he was a musician's arranger and wouldn't have thought of having other arrangers ghost his projects. Unfortunately, in the LP era of the 1950s and '60s, if you were spectacular, that was the only way to earn a solid living without burning out on the demands. But what you hear on every one of Wilkins' arrangements for this album and others is a tiger giving you everything he has. Wilkins died in 1999.
JazzWax tracks: You'll find this Ray Brown album on Busting Out: 
Ray Brown and the All Stars, which includes the album Wilkins arranged for Oscar Peterson and a big band in June '62. Go here.
Ray Brown and the All Stars, which includes the album Wilkins arranged for Oscar Peterson and a big band in June '62. Go here.
JazzWax clips: Here's Ernie Wilkins' arrangement of It Happened in Monterey with Cannonball Adderley on alto saxophone. Dig how the sections interact and how Brown, Richardson on baritone sax and Faulise on bass trombone anchor the bottom...
Used with permission by Marc Myers
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