James Gordon Williams

Artist Information

Biography

“James Gordon Williams is nothing less than an accomplished, impressively creative pianist and composer with great depth and substance”. (Winthrop Bedford, Jazz Improv Magazine) James Gordon Williams, a native of Los Angeles, has performed in several of New York City’s finest jazz venues including Village Vanguard, Birdland, Jazz Standard, Smoke, Jazz Gallery, Knitting Factory, Kavehas, Smalls, and Cornelia Street Café. Williams recently performed at San Diego’s Anthology. Additionally, Williams has toured the world performing at such international music festivals as JAZZ a LA SEYNE, Malta Jazz Festival, Atina Jazz Festival, Switzerland’s Langnau Nights, and several other festivals.

A prolific musician, Williams has performed and collaborated with some of the leading lights in modern music including, Peter Erksine, Greg Osby, Kendrick Scott, Mark Dresser, Greg Tardy, Joseph Jarman, Warren Smith (Jazz Composers Workshop), and many more important artists Additionally, Williams performed in Charli Persip’s Supersound for four years. Recent projects have included Williams’s Duo Improvisation Series with artists Lori Bell, Anthony Davis, and Mark Dresser.

Williams released his highly acclaimed CD, Unrepeatable Life in 2005 and his CD was chosen as a top finalist in the 2006 Independent Music Awards. Williams, currently a resident of San Diego, was recently awarded the 2008 Jazz Society of Lower Southern California Award. Williams recently recorded with legendary drummer/bandleader Charli Persip on his latest CD, Intrinsic Evolution, which will be released in the near future.

Williams was chosen as Artist in Residence at American University in 2006. Williams recently completed a successful week of teaching master classes and performing at the 2008 UCSD Jazz Camp. While there, Williams performed in a highly regarded piano trio performance with Mark Dresser and Peter Erksine.

Instrumentation

james gordon williams, piano

Discography

"Sweet Intoxication", 2002
"Unrepeatable Life", 2003
"Intrinsic Evolution", 2007

Audio

Video

Photo Gallery

Press

• Review of "Unrepeatable Life" by James Gordon Williams [+ Show ]
  

  By Rusty Aceves There are no real overnight sensations in jazz, except perhaps in the most pop/...By Rusty Aceves
  
  There are no real overnight sensations in jazz, except perhaps in the most pop/crossover way, so to call James Gordon Williams a “newcomer” is a disservice to the man, but it is still a great surprise to hear an artist’s first full-length record and discover not a warmed-over collection of warhorse standards, but a sure-handed statement by a fully-formed composer and performer.
  
  Characterizing Unrepeatable Life, a word which keeps cropping up is ”diversity”—a stylistic diversity that transcends a straightahead jazz modus operandi, despite the bebop acuity of this impressive trio, which includes bassist Martin Wind, late of Bill Mays and several headlining projects, and veteran drummer/percussionist/M’Boomite Warren Smith, who is the secret weapon on this session (as he is in the jazz world in general).
  
  Williams’ writing is marked by intensely lyrical and evocative melodic elements which are sometimes staggered with pointed chordal syncopations, adding depth, dimension, and a feeling of seeming serenity against constant motion. Over the course of the record, his influences pull at each other sympathetically, creating startling, defined stylistic flashes. “Harlem Tango” benefits greatly from his joyful dichotomy, his piano accenting the dancehall dramatics with subtle gospel asides and joining the masterful Wind in breathless tutti phrases.
  
  Warren Smith shines on the Eastern-flavored opener, “Dance of the Hopeful,” with Williams’ melody spiraling in a tightly controlled descent through the deft meter shifts framed by the bass and drums, eventually lighting on a spirited call and response with the drummer. Smith simmers through it all, his cymbals alternately dancing across the bar lines and falling like a hard rain.
  
  The pianist stretches on “Eight Phrases for a Flower,” perhaps the most openended tune on the record, and the freedom from the tighter structure of other compositions allows Williams large windows to explore and showcase his formidable improvisational and technical skills. In between moments of stillness, upper-range runs explode into glittering cascades.
  
  A highlight featuring Martin Wind is the swaggering “Burno,” apparently a tribute to bassist Dwayne, as is the other bass tribute track, “Windborne,” whose opening allows Wind a lovely arco solo that gives way to fleet footed waltz suggesting a Bill Evans-esque clarity. Clearly the most striking and spiritually vibrant tune is the profound meditation “True Love of God,” featuring a deeply emotive guest vocal by Nori Nke-Aka and a suitably reverent trio.
  
  A subtle exoticism permeates nearly every track on Unrepeatable Life, and each is possessed of a profound weight of feeling. These are songs with stories to tell- emotion fairly dripping from each bar, akin to deep answers to simple questions. The fact that the album was named for the solo piano track dedicated to the life of his late father isn’t surprising at all. It is, after all, all about emotion. An extremely impressive debut.

• Greg Osby Four at the Green Mill [+ Show ]
  

  Greg Osby Four Green Mill, Chicago September 10, 2005 Altoist Greg Osby’s fronted a lot of terr...Greg Osby Four
  Green Mill, Chicago
  September 10, 2005
  
  Altoist Greg Osby’s fronted a lot of terrific bands over the years, but the quartet he brought to Chicago’s Green Mill for a two-night stand on September 9-10 can be listed among the best of them. On the Saturday gig of the residency, the Greg Osby Four—composed of Osby, pianist James Gordon Williams, bassist Matt Brewer and drummer Tommy Crane—combined daunting technique with a restless and fearless willingness to go pretty much anywhere. This improvisational openness was bolstered with an open-eared tightness that enabled the band to transition from one song to another with a machine-like and effortless (it sounded effortless, anyway) precision—cued by just the hint of a phrase from the leader.
  
  This kind of performance takes attention, and the band showed plenty of that. Bassist Brewer and drummer Crane are both young musicians, but they’ve played multiple gigs together with Osby and a host of other New York players, and they’ve got a thing; Brewer’s restless, neck-spanning basslines feel like the key to the band sound, but the grimacing, nervous, driving Crane (yes, he does look a bit like Austin Powers) is constantly working around those lines of Brewer’s and they combine to produce an intense, rubbery swing that’s pretty breathtaking, as evidenced by the way they stretched the rhythm like putty on the Osby original “Rising Sign.” During Brewer’s solos, the rapport between the two took on a special intensity, but no more intense than Crane’s snare bombs alongside Brewer’s walking bass on Osby’s “Makaide” (a boppish tune to which Osby kept returning the group during the first and second sets as a vehicle for some particularly inspired improvisation).
  
  Those two players fill up a lot of space, and the immobile, impassive Williams made no effort to fight for musical room. Instead, he played spaciously, laconically and rather Monkishly, dropping two- or three-note chords into the mix, keeping the proceedings harmonically grounded in the least invasive way imaginable. These sort of chordal jabs were particularly effective on a dazzling version of Duke Ellington’s “East St. Louis Toodle-oo,” the whole rhythm section showing just how exciting—and modern-sounding—stop-time playing can be. That said, Williams showed a bit less understatement on an a cappella, rubato miniconcerto in the middle of a version of Cole Porter’s “My Heart Belongs to Daddy”—the Green Mill’s Kawai grand piano just keeps sounding better and better, but somehow Williams kept the attention away from the instrument and on the music he was creating.
  
  Meanwhile, Osby played some dazzling alto (he didn’t play a note of the soprano that’s such a noteworthy part of his new trio disc Channel 3), and as always, one had to marvel at his imagination and technical mastery, whether he was making jagged, irregular phrases somehow completely lyrical on “Stella by Starlight” or turning the melody of “Nature Boy” into a personal solo of Coltraneian modality, dynamics, and outright sweetness. Meanwhile he cued the group from song to song without pauses or discussion, in effect producing a dizzying and very enjoyable cross-section of pieces associated with fellow jazz alto greats (Charlie Parker’s “Big Foot,” Lou Donaldson’s “Alligator Boogaloo,”) Osbified standards (“Stella by Starlight,” “My Heart Belongs to Daddy,” “Nature Boy”) and historic jazz (Ellington’s “East St. Louis Toodle-oo,” Fats Waller’s “Jitterbug Waltz”)—like Wynton Marsalis in its historicity, perhaps, but in its no-explanation, no-introduction, rapid-transition presentation, so much less condescending.
  
  And where does one fit the group’s brief cover of “Honeysuckle Rose” into the above categories? Nowhere, really—what Osby’s albums and this Green Mill show demonstrate is that he’s just got an ear for great songs. On this Saturday night, the Greg Osby Four played quite a few of them—while improvising on those songs furiously and memorably.

• CD Review(Unrepeatable Life) [+ Show ]
  

  By Dennis Hollingsworth Every so often a recording is produced that has very significant per...By Dennis Hollingsworth
  
  Every so often a recording is produced that
  has very significant personal meaning for the
  artist. The difficulty comes in translating those
  sentiments through the music to the listener. On
  Unrepeatable Life, pianist James Gordon Wil-
  liams tackles that task with purposeful vigor. The
  disc is dedicated to William’s late father, a pian-
  ist who inspired son James’ lifelong interest. In
  addition, Robert Williams added his financial
  support to this disk. That passing alone would be
  enough to add a taste of wistfulness to the pro-
  ceedings. Yet another of William’s friends and
  mentors, Dr. Nori Nke-Aka, who passed away in
  2004, is featured as vocalist on one cut. With
  that backdrop listening to the playing takes on a
  rather sobering character.
  Williams, whose background includes stints
  at The New England Conservatory and NYU, is
  joined by drummer Warren Smith and bassist
  Martin Wind for this trio recording. Although
  not a working unit prior to the record, the group
  negotiates the eleven Williams originals in com-
  fortable fashion. One would be hard pressed to
  decipher any major problems as a result of this
  young history.
  “Dance of the Hopeful,” begins the set in
  medium up 3/4 with an ever so slight lean to-
  wards a Latin feel. The tune’s customary struc-
  ture is executed with subtle rhythmic shifts in the
  melodic line, giving it a freshness that might
  otherwise have been missed. Compositionally, it
  contains hints of both Corea and Tyner. Williams
  displays his nimble solos chops before vigor-
  ously comping as Smith stretches with interest
  and control.
  Matisse once stated that his paintings were
  meant to bring joy first and foremost. With the
  Latinesque “Why Must I Pursue this Dream”
  Williams is following that credo. Do not be sur-
  prised if visions of country roads in a convertible
  enter your mind with this one! A fine combina-
  tion of tempo, easy melody and carefree playing
  distinguishes the trio here. There is nothing too
  risky or groundbreaking, but the tune is pleasant
  to be sure.
  On “Harlem Tango” both Wind and Smith
  handle the chore of establishing the proper feel.
  Smith’s use of snare rolls is particularly effective
  in communicating this mood. Williams also uses
  a similar technique when stating the melody.
  Besides the obvious dance-like character, the
  quirky melody and curious harmony imbue the
  tune with a dramatic quality. This one might
  easily fit as accompaniment for theater or film.
  As mentioned before, Nke-Aka adds his
  voice with lyrics here. Absolutely rooted in tradi-
  tional Christian worship songs, the tune conveys
  its spiritual flavor and message in precise terms.
  Nke-Aka’s baritone voice is alarming in its crys-
  tal tone, quite unlike what is usually heard in
  jazz. In the areas where lyrics are missing, his
  voice dances along with Williams in colorful
  manner. The trio moves with delicacy, playing
  enough to portray a reverence for God without
  being too blatant. Wind does commendable work
  on a simple but perfectly chosen solo. After re-
  peating the main verse again and leading the tune
  to its close, Nke-Aka brilliantly inserts falsetto
  notes as if demanding our attention. The last few
  chords are both expected and hip at the same
  time. Great work.
  The title cut is Williams alone on piano,
  surely thinking of his Dad as he waxed this one.
  A melancholy atmosphere combined with classi-
  cal style harmonic phrasing defines the message.
  Williams chooses to play this tune with refined
  technique, using careful spacing instead of need-
  less forays. A plethora of influences, from the
  local church to the modern conservatory can be
  heard. Listen carefully and you might even no-
  tice a touch of blues. Most conspicuous is a
  sense of introspection and reverence, qualities
  that are hard to quantify but plainly there.
  “Eight Phrases for a Flower” opens with
  Smith intuitively outlining the coming theme
  with delicate cymbal work. Williams and Wind
  join in the development of the moody 3/4 mel-
  ody, driven by a strong harmonic underpinning.
  The phrasing is subtle yet written with deliberate
  unison passages and breaks, bringing an exqui-
  site moreover graceful air.
  On “Genesis of Svengali’s Gimmick,” Wil-
  liams truly exhibits his technical skills and ad-
  vanced rhythmic conception. Tunes in 5/4 are
  certainly not new to jazz, but always welcome,
  as they allow a kind of swinging feel not cap-
  tured with other signatures. Although not the
  tightest cut of the set, it satisfies nonetheless.
  Most impressive is William’s use of polyrhythm
  in his solo. Employing Wind and Smith as an-
  chors for expanding the meter, he adeptly blurs
  the bars. Fans of the great pianist John Taylor
  will like this one.
  “Windborne” is a tune in three, almost
  hymn-like, featuring Wind in both arco and piz-
  zicato styles. Smith’s technique on brushes is
  also prominent. There is illusiveness at work
  here, as the melody seems to shift gears ever so
  slightly, pulling the listener in without being
  blatant. Like the oeuvre of the painter Matisse,
  one feels somehow uplifted by the entire combi-
  nation of sounds. This is one you can go back to
  again and again.
  “It Feels Good to Play” needs little explana-
  tion, as the tune is exactly that. A medium up
  swing tune with rather ordinary changes, the
  group is afforded the option to simply converse
  within a comfortable format. All jazz players
  need this kind of respite and it fits in the context
  of the set’s nice variety.
  For “Reprise” Williams moves back to the
  melody of “True Love is God.” This time
  around, his unaccompanied presentation is even
  more church-like, albeit he plays with all the
  skill of an accomplished jazz practitioner. Would
  that every house of worship sounded so fine!
  The self produced disc (Williams) was well
  recorded at Acoustic Recording Studio by engi-
  neer Michael Brorby. The trio sound is correctly
  acquired, with good stereo mix to boot. At over
  60 minutes of recording time, the set will be a
  welcome addition to any collection of piano
  trios.
  
  
  

• UNREPEATABLE LIFE—CD REVIEW [+ Show ]
  

  James Gordon Williams Dance of The Hopeful; Why Must I Pursue This Dream; Har- lem Tango; True ...James Gordon Williams
  
  Dance of The Hopeful; Why Must I Pursue This Dream; Har-
  lem Tango; True Love Is God; Unrepeatable Life; Eight Phrases For A Flower; Burno; Genesis of Svengali’s Gimmick; Windborne; It
  Feels Good To Play; Reprise
  PERSONNEL: James Gordon Williams; Nori Nke-Aka,voice; Martin Wind, bass; Warren Smith, drums.
  
  By Winthrop Bedford
  
  Unrepeatable Life. The title speaks to what improvised music is about. Just as no two lives are alike, and no two snowflakes are
  alike—no two interpretations of the same piece of music are alike. Every solo is, like a life, also unrepeatable. That goes for whether
  the solo is pedestrian, good or great—and pianist James Gordon Williams delivers an album full of great.
  Williams, like many artists, writes that he wants his music to transcend labels. Unrepeatable Life is his debut album and effec-
  tively explores his aforementioned desires. The album opens with a fascinating original, “Dance of the Hopeful.” It leaps and lopes
  through cross accented passages. The music evidences attentive listening and interaction between drummer Warren Smith and
  Williams, bolstered by solid support by Martin Wind’s bass lines. Williams soars on his solo evidencing a highly integrated, and im-
  pressively developed understanding of syncopation, melody and harmony. His solo on this first track is at once highly technical and
  rhythmically-compelling—a toe-tapper.
  “Why Must I Pursue This Dream” is a brief and lively excursion whose underpinning of Brazilian sensations and Bossa groove,
  provide a solid platform for several minutes of Williams’ tasteful piano. “Harlem Tango” certainly has a tango-like foundation. Wil-
  liams, however, takes it in several directions, in brief compartments—with delightful simple lines, deep dark chords, and as a foil to
  Smith’s drum solo, chord clusters, and single notes expressed subtly, responsively, and most eloquently, rhythmically.
  The late Dr. Nori Nke-Aka, a friend of Williams, is featured on “True Love Is God,” a hymn-like piece, within the expression of
  the melody. The composition evolves rhythmically into a two-beat jazz groove. Williams solo is swinging, heartfelt, and apropos.
  Williams is all alone on the title track, “Unrepeatable Life.” This is a thoughtful ballad, with spaces for contemplation and wonder.
  The brevity of the piece is magnificent, like life itself. Indeed, as a result, at its ending it also leaves the attentive listener with questions
  to be answered—which is a good thing.
  Some reader might ask who Williams influences are on piano. Who does he sound like? He sounds like himself. It sounds like an
  easy way out to say that. Yes, you might hear some of the elements in his playing, of piano players that preceded him—Hancock, Ja-
  mal, Tyner, and many others. Williams has deftly built a conception that certainly draws on the musical wisdom of his predecessors,
  without being overshadowed by them. Williams prefers to approach music with the concept that there ought not be any musical
  boundaries or categories. Williams cannot control what the listener might think he hears or how he might decide to categorize the mu-
  sic. None of us can control that result. What Williams can and does control is a clearly healthy attitude, and his own efforts be a more
  complete and expressive artist from day to day. In the meantime, James Gordon Williams is nothing less than an accomplished, impres-
  sively creative pianist and composer, with great depth and substance.
  

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