Guitarist Tony Wilson played his final concert in Vancouver this weekend.
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The Canadian jazz world has taken a major hit with the passing of artist Tony Wilson, 66.
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The Hornby Island-based jazz musician described by Down Beat Magazine as “a talismanic West Coast figure” died on June 6 in his sleep. He had been a fixture in the local, national and international scene for decades. As both a bandleader and sideman, his rich tone and feel made his contributions to any project utterly essential.
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Few players could move so seamlessly between different sounds and scenes the way Wilson could, making him impossible to pin down stylistically or thematically. This wide-ranging knowledge of all kinds of music and passion for playing made him the sort of artist who commanded a passionate following among artists from many different disciplines.
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Candid about challenges he faced in life, he brought passion and understanding to endeavours such as The Homeless Project, his multimedia presentation looking at the struggles of Canada’s unhoused population.
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The presentation built upon 2015’s A Day’s Life book by the musician. This fictionalized account of a crack-addled musician living and busking on the streets of the Downtown Eastside contained elements of Wilson’s own difficult days. He didn’t shy away from the truth, which only made his art better.
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Tony Wilson discusses A Day’s Life project in the Vancouver Province. (photo: Chris Cameron)
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Wilson was well-known for working in multimedia settings such as at his final performance in Vancouver on June 5.
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Titled Butoh Jazz, the show at KW Studios paired Wilson and a quartet collaborating with a trio of dancers from Vancouver’s Kokoro Dance company. The guitarist was scheduled to play at Tyrant Studios on Saturday night as well.
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His occasional trips to town from his Hornby Island home tended to pack as many different performing configurations as possible into each visit. Local promoter Tim Reinert of Infidels Jazz recalls how Wilson would approach bookers.
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“Tony would reach out to local promoters, often all of us, and announce what days he would be in town and query if we had a place for this or that project and it always worked out,” he said. “He would sell out a standards show at Frankie’s, then do something like the Albert Ayler the next night for me, and something entirely different after that. There simply is no one else doing that, like that.”
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Diane Kadota Arts Management had represented Wilson for a number of decades. Kadota recalled that he had arrived from Ottawa to pursue musical studies at Malaspina College in Nanaimo, where he studied with Pat Carpenter. He would go on to receive instruction from such luminaries as bassist Dave Holland and guitarist John Abercrombie, among others, at the Banff Centre for the Arts. Wilson was a lifelong student, always expanding his musical knowledge and chops.
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“I’m still trying to collect my thoughts about this incredible artist, who was one of the most real people that I’ve ever known,” said Kadota. “He did things because he believed in them, not for any external reasons. His feeling for the music, or the pursuit, came out of his personal drive and his deep respect of those who came before him.”
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Besides the mark he left on the Canadian jazz scene, Wilson was an essential part of the Hornby Island arts and cultural scene. He had lived on the island almost continuously since 1978, starting the annual No Horses Music Festival in 2015. He posted the following comments on the event last year.
