With his new record It’s Alright With Three (Criss Cross), saxophonist and composer Will Vinson presents guitarist Gilad Hekselman and drummer Antonio Sanchez in a fresh, dynamic, bass-less trio setting. Each of the three musicians shines in his own way, exploring a balance of originals and standards with open interplay and spontaneity (and as to be expected, much effect pedal wizardry from Hekselman).
Born in London and based in New York, Will Vinson has been featured on stages around the world as a bandleader as well as with artists from Ari Hoenig, Kurt Rosenwinkel, and Miguel Zenón to Sufjan Stevens, Sean Lennon, and Rufus Wainwright. Vinson is also a member of the acclaimed OWL Trio, alongside guitarist Lage Lund and bassist Orlando Le Fleming. In a recent phone conversation, Vinson had much to say on the joys and constraints of making his new record on a tight timetable with a brand-new trio.
The Jazz Gallery: Your upcoming performance at The Jazz Gallery is the release show for this album. How much playing had you done with Gilad and Antonio before this project?
Will Vinson: Individually, quite a lot over the last several years. In this trio configuration, about ninety minutes [laughs]. We did a short rehearsal the day before the recording, and that was it. I’d done some gigs with Antonio’s band, he’d done some gigs with mine. The same with Gilad, who I met playing with Ari Hoenig not long after Gilad moved to New York. I don’t think Gilad and I had ever played on a record together, though Antonio and I appeared on Orlando Le Fleming’s first record. In New York, we all have our projects, we all gravitate toward doing a certain thing, but there’s a whole other cast of musicians who we each occasionally play with: Often, you can go years without properly collaborating with an artist.
The impetus with this record was getting a call from producer Gerry Teekens from the Criss Cross label. The way that Criss Cross often operates is that they call you at relatively short notice to do a record, and you come up with your personnel. Normally for a record, you have a project in mind and you try to make it work, but with Criss Cross, it works the other way around. So of course, given an opportunity like that, why not record with people I wouldn’t otherwise have? At the time I got the call from Criss Cross, I was having a parallel idea to do a bass-less trio record. Gilad clearly seemed the person for that, and I’d wanted to record with both Antonio and Gilad for a while. Miraculously, they were both available at six-weeks’ notice, so I took that as a sign. Well, as a sign of their availability, anyway [laughs].
TJG: Clearly, it was destined to be! Tell me about the balance of originals and standards on the album.
WV: One of the things I like about this short-notice recording session is that you don’t have endless months to ponder what you’d do on your next project. Instead, it’s much more spontaneous. I did write one tune for the record, which is called “The Pines.” We dug out an old tune from a record I’d made a long time ago, and in general, I just thought of tunes that would be fun to play in this context. Without a bassist, there are limitations and opportunities in trying to bring out the right aspects of a trio like that. I definitely wanted to have originals, but I wanted us to play in a way that was relatively free and unselfconscious, to have a good time. Between the bass-less constraint and the short timeline, those limits dictated to a large extent the material we played.