WILDER DEITZ
MUSICIANS:
Isaiah Agnew: Trumpet
Matt Allen: Drums and Percussion
Jacob Bicknase: Drums and Percussion
Bobbie Briggs: Vocals
Alex Charland: Saxophone
Mitch Deitz: Guitar
Wilder Deitz: Piano, Electric Piano, Analog Synthesizers, Guitar, Banjo, Accordion, Backing Vocals
Sam Galligan: Bass Guitar
Dan Haschke: Soprano saxophone
Deja Mason: Vocals
Chance Stine: Flute and Tenor Saxophone
Chakari Woods: Vocals
all compositions by Wilder Deitz
"See Go" contains a variation on a Richard Davis theme
Recorded January 2019 in Rhinelander, WI
"Meditation On Compassion (for Rev. John Hicks)" recorded live at the Stoughton Opera House, Stoughton, WI October 2, 2015
Additional recording in Oregon, WI and Madison, WI
Artwork: "The Key" by Phyllis England
Produced by Wilder Deitz and Bruce Kasprzyk
Released January 23, 2020
The first great album of the new year, and therefore, this brand new decade has arrived and to make this accomplishment even more special, is that the album was placed directly into my hands by the man himself!
Over these past five years or so, my journey into the Madison music community has only proven itself to being enormously fulfilling with each discovery prying the breadth and depth of the artists and musicians that populate it even wider in my perceptions, enlightening and enthralling me each time. At this time, I turn my attention to Wilder Deitz, a member of a richly musical family located upon Madison east side and includes his Father, Ritt Deitz, singer/songwriter/guitarist and folk musician as well as his younger brother Mitch Deitz, singer/songwriter/guitarist and member of Post Social, now on hiatus as he is pursuing documentary filmmaking while based in Chicago, IL.
It feels more than fitting that Wilder Deitz's music is now the focus as Post Social was unquestionably and beautifully my first step into this luxurious music community. For Wilder, a pianist and composer who studied extensively under the tutelage of none other than jazz legend Richard Davis, who himself is now a retired Professor of jazz history, improvisation and European classical and jazz bass performance at my alma mater, the University Of Wisconsin-Madison, a position he began in 1977, my introduction into his musical world has been audaciously enriching as his own sense of community has been as wide reaching in its inspiration and ultimate embrace.
Deitz's debut album "Child's Play" (released June 7, 2016), was an intoxicating calling card for me, a sharp and sophisticated collection of jazz workouts and R&B songs that ran in confident contrast to the primary indie rock scene of Madison. But it was his second release, the extremely rare "Summer Mixtape 2017" (released August 2017 on a limited run of CDs given away at performances) that truly made me sit up firmly at attention.
Again, the album ran in direct contrast to the dominant music scene of this city with its rich amalgamation of jazz, R&B, strong detours into Madison's hip-hop community and even a spiritual. But what was most striking to me about the mixtape was its undeniable sense of BLACKNESS. Indeed, as I drove around the city listening to the mixtape in my car, I often said to myself in amazement, "DAMN!! This is soooo BLACK!!!"
And brothers and sisters, it...was...beautiful!!
Now, I would not be surprised if you are wondering why this impression on my part is notable. You see, Wilder Deitz happens to be Caucasian and yet his compositions are steeped within the musician and conceptual arenas of Black music and therefore, the Black experience itself. What struck me so powerfully, and especially as the topic of cultural appropriation is an essential and appropriately difficult part of our current societal conversation of race and representation, is that his work at no point felt to be derivative, exploitative, disrespectful and mostly, inauthentic. This music felt to be so much of him that what was heard by my ears was nothing less than pure in intent and execution. And it was through that purity that I knew instinctively that Wilder Deitz was an artist I had to keep my eye upon.
I met Wilder Deitz for the first time at a Post Social album release concert a few years ago and our conversation was instantly fruitful as his presence was as warm as his music. We kept in touch, and through my association with WVMO, I had the pleasure and privilege of introducing him and his band at an annual local neighborhood festival. Now, we arrive in 2020, and the joy of having him arrive to personally hand me a copy of his latest album was palpable and in retrospect, it was fully indicative of the music the album contains.
Wilder Deitz's "Y'ALL," itself a dedication to Deitz's Southern roots, is an album of inclusion. Indeed, we are again treated with compositions that are malleable enough to seamlessly house, jazz, soul, hip-hop, funk, classical and even country elements but through the lyrics and the full presentation, we are gifted with the sound of community--from the musicians to each other and to all of us listening.
Side One of this vinyl only release opens with a "Dedication." Invitingly sung by Chakari Woods, this brief, finger snapping opening feels like the spoken grace before a sumptuous family meal.
The relaxed, unaffected R&B swing of "Sweatin' The Joneses," on which Vocalists Deja Mason and Bobbie Briggs proclaim "I ain't sweatin' the Joneses/I don't get jealous and I don't get mad for the things that I never had," the count your blessings sentiments flow with meditative ease as also expressed through Deitz's electric piano, the rhythm section of drummer Matt Allen and Post Social bassist Sam Galligan (who plays brilliantly throughout the album) and Chance Stine's free as a bird flute solo.
"Darbo Worthington Davis," a song whose title references an east side Madison street that was recently re-named in honor of Richard Davis, itself a passion project of Deitz's, raises the tempo and the heat, suggesting a vibrant block party on its namesake, with Mason's vocals and Mitch Deitz's subtle funk guitar leanings and Wilder's piano solo, which itself is augmented by his analog synth dressings perfectly evoking the mood and setting.
The behind the beat funk of "Sun Dance (For Cooper)," with its combined guitar work from the Deitz brothers, excellent drum and percussion work from both Allen and Jacob Bicknase (who has also performed with Madison's Thompson Springs and Kainalu) and downright nasty saxophone solo from Alex Charland conjures up a sultry Summertime strut.
Side One of "Y'ALL" concludes with two instrumentals which deftly showcase the agility of Deitz's compositions and the playing that exemplifies the musical skills of himself and his bandmates. The speedy workout of "Workin' On Em," finds Wilder Deitz, alongside Bicknase, Charland, Galligan and trumpeter Isaiah Agnew locked together in a tight, streetwise groove while the stunning, glistening "Spirit's Lullaby (For Ikal)" practically floats above the city as if it is the warm breeze itself carried gently along by Charland's saxophone which dances around the cloud like softness of Deitz's electric piano.
At this time, as I am about to recount Side Two to you, I have to mention an album "Y'ALL" began to remind me of, regardless of the fact that the two albums do not even remotely sound like each other in any discernible way. The album in question is The Police's "Synchronicity" (released June 17, 1983), and it is a work that completely defined the musical Summer of 1983 for me as I was 14 years old and wore that album out to the point where I had to purchase a second copy. It too is an album of dynamic musical diversity but it was upon Side Two of that album where its greatness was only elevated by four songs that felt like universes unto themselves but combined into an ambitious, succulent whole.
The second side of Wilder Deitz's "Y'ALL" accomplishes the exact same feat as we also have four songs that are completely different from each other musically yet congeal almost magically and therefore, brings the album to a certain ascension.
The soul ballad "2 In Love," which suggests 1970's era Carole King by way of Stevie Wonder, finds Deitz and Deja Mason in perfect harmony as Chance Stine's flute solo and Alex Charland's saxophone solo beautifully augment.
The six minute plus instrumental "See Go" is a flat out stunning escapade of jazz fusion carried valiantly by Sam Galligan's outstanding bass work onto which Deitz, Isaiah Agnew, Alex Charland, Dan Haschke, Jacob Bicknase and Matt Allen all contribute startling, high flying solos on piano, trumpet, saxophones, drums and percussion respectively.
"Country Dance" was the album's most audacious moment as it is indeed as described, a country song (complete with Deitz's banjo picking), yet one with a R&B soulful spirit as delivered via Deja Mason's enveloping vocals on which she graciously offers salutations with a "Hello brother...Hello Mother, Father, sister, friend" and continues with the grace of communion for all who enter.
The album closes with the sublime, ethereal "Meditation On Compassion (for Rev. John Hicks)," a solo piano performance by Deitz. This track truly made me pause and almost hold my breath with each of Deitz's passing piano phrases, all of which feel like contemplative thoughts themselves and soon, I even felt my own heartbeat slowing yet expanding as if receiving the spirit of the music at the fullest of its intent. I felt those inexplicable chills upon its end and a deep sigh being released from my breath in exhale. It was the sound of grace itself as found within Wilder Deitz's finest recorded moment. Just beautiful. Absolutely beautiful.
Wilder Deitz's "Y'ALL" is the very first album of this new year that I have heard and it is already one of its best. It is an album that carries an almost nostalgic 1970's era vibe yet feels so firmly of this very moment in 2020. It rewards the listener with repeat listening which I strongly feel you will treat yourselves to immediately upon the album's conclusion for you will wish to hear it all over again as soon as possible.
I think what amazes me most about the work is that despite the fact that his name is splashed largely upon the album cover and that all of the music and lyrics were composed by him, it is an album of tremendous generosity. Much lie every musicians that I have experienced within this community, Deitz's album is executed without a shred of ego as the music itself is the star and to that end, Deitz is more than willing to have the spotlight shown vibrantly upon his bandmates, especially Deja Mason, as his sense of collaboration has allowed the musicians that have joined him the freedom to stretch, fly and be celebrated (hearing Post Social's Mitch Deitz and Sam Galligan in a completely different context and genre than their own band was especially marveling).
Ultimately, Wilder Deitz's "Y'ALL" is an album of refreshing rejoice, as gracious as a firm and (yes again) warm handshake given in friendship. It is a tender, passionate work that feels like it is existing as an antidote to the speed and rancor of the everyday world in this turbulent 21st century. It is music for the spirit at rest and in thankfulness as well as for the embrace of community and communion.
It is the sound of the feeling I had when Wilder so generously placed this album into my hands as a gift. When you hear it, allow it to be a gift to all of you.
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