Review: THE FRIENDS OF ALEC WILDER'S 40th Anniversary Annual Concert at 54 Below

At a sponsored event at 54 Below on November 8, The Friends of Alec Wilder presented the 40th annual concert celebrating the life and music of composer Alec Wilder. Wilder is a name that might be largely forgotten today were it not for this organization. Though he wrote hundreds of songs, classical and jazz octets, and more, only a handful of his songs would be considered standards today, such as his most-recognized song, “I’ll Be Around.” He was very associated with Frank Sinatra, who, along with Mitch Miller, did much to introduce Wilder’s music to the world.

The show was produced by Mark Walter, whose father, Cy Walter, was a composer and pianist who died rather young, and who worked extensively with Wilder. Mark Walter has worked tirelessly to keep the memory and works of these men alive. It was hosted by Chuck Granata, a noted record and radio producer and author who has done much to preserve and restore some of the greatest albums of the Great American Songbook.

The show was essentially an intimate afternoon for ardent Wilder supporters, with only music director Jed Distler’s piano accompaniment for the singers. Also performing were the legendary cabaret pianist and singer Steve Ross, cabaret stars Jeff Harnar and Marissa Mulder, and saxophonist David Demsey.

The lovely Marissa Mulder opened the music portion with four fairly obscure songs. Interestingly, while largely known as a composer, Wilder often wrote both the music and lyrics, and sometimes only the lyrics. “The Next Time Around” (music by Cy Walter/lyrics by Alec Wilder) made for an excellent first number, with Mulder’s strong vocal and a big finish. This, and the following song, “Trouble Is a Man” (entirely by Wilder) ought to have been standards. “Time and Tide” (Cy Walter/Alec Wilder) is a haunting, delicate piece. Here, Distler had an exceptional touch at the keys. Throughout her selections, Mulder chose to perform in “recital” mode, with the mic in the stand, her arms at her sides.

Jeff Harnar, the dynamic cabaret star and noted director, performed five songs. Harnar delivered them in fine voice, with love and verve. He sang “All Of Us In It Together” (Alec Wilder and his frequent lyricist, Loonis MxGlohon) with a rubato verse, the rest as a jazz waltz. “Is It Always Like This?” (Wilder) is a Sondheimian question song. Wilder’s most well-known song, “I’ll Be Around,” had its most definitive recording on Sinatra’s 1955 “In the Wee Small Hours” album. Harnar noted that when he first heard it, he was “seduced by the melody” rather than the lyrics, perhaps because he hadn’t “lived them” until now. His brilliant choice was to first recite the lyrics as if it were a poem, in a powerful and dramatic fashion, before leaning against the piano to sing them. Modulating up, his emphatic “Perhaps you’ll see, you’re meant for me!” could not be ignored by the subject of the song. This was one of the best performances this writer has seen from Harnar.  

Harnar put his personality, using his expressions and physicality, into S’Gonna Be a Cold, Cold Day” (Alec Wilder/Loonis MxGlohon). On “Lovers and Losers” (Alec Wilder/Bill Engvick), he sang to various people in front of the stage, including an older woman who appeared to have drifted off.

Distler took a solo segment to perform one of Wilder’s “octets,” with the non sequitur title, “House Detective Registers.” He added improvised bits into the intricate page turns.

Granata returned to introduce tenor saxophonist David Demsey, whose "Demsey Plays Wilder" album highlights Alec Wilder's jazz and chamber music. Demsey “stole” Stan Getz’s 1982 arrangement of “A Long Night,” a “saloon song” composition written for Sinatra by Wilder with lyrics by Loonis McGlohon. The song is packed with pathos and emotion, made more potent by Demsey’s breathy playing. Demsey has the rare ability to perform a song as if he were singing it. As a result, one could nearly hear the lyrics, and feel the pathos and pain of the story.

The “Crown Prince of Cabaret,” Steve Ross, came up for four songs. Wearing an eye patch from a recent eye issue (he joked his new show was “Pirates of Park Avenue”), Ross took to center stage to sing the first three songs at the mic, while Distler played. The rather whimsical “Did You Ever Cross Over to Sneden’s?” (entirely Wilder) references Sneden’s Landing, a little-known, celebrity-laden hamlet now known as Palisades in Rockland County, New York. It’s the perfect choice for Ross.  “In the Spring of the Year” (Alec Wilder/Lee Kuhn) is a sweet waltz with a very “Rodgers and Hammerstein” flair, and “Plenty Good Enough For Me” (Alec Wilder/Loonis McGlohon) brought things up with a bluesy arrangement. For his final number, Ross replaced Distler at the piano. Now more in his element, he played “While We’re Young” (Alec Wilder and Morty Palitz/Bill Engvick) beautifully, and his singing here was lovely and poignant.

Distler took another solo turn on the instrumental “Walking Home In Spring,” originally written as an octet, and which he described as what you might get “if Gershwin, Wilder and Ellington had a baby.”

Mulder’s second segment was filled with great moments. On the beautiful, somewhat spiritual “A Child is Born” (Thad Jones/Alec Wilder), Mulder’s gentle, soothing voice and Wilder’s lyrics were tear-inducing. “Blackberry Winter” (Alec Wilder/Loonis McGlohon) was lovely. In an especially moving end to the event, Mulder sang “It’s So Peaceful In the Country” (entirely Wilder), accompanied by a 1942 recording of Cy Walter’s solo piano.

This unique event educated and entertained. It is clear that Alec Wilder’s music ought to be celebrated far more than it is. These songs were just a small fragment of his works. Kudos to Mark Walter for his efforts in this regard.

For more information about The Friends of Alec Wilder, visit https://www.alecwildermusicandlife.com/friends-of-wilder.

Find more upcoming shows at 54 Below on their website here.