Almost 20 years ago, I read Michael Fremer's review of Anthony Wilson's Our Gang, a new audiophile album recorded and produced by Ying Tan of Groove Note Records. I have always respected Ying for spending so much time and money to record new audiophile music. At Mobile Fidelity Sound Lab, it's pretty easy for us to know going in that albums by the likes of Miles Davis, Bob Dylan, Dire Straits, and so many other great artists will do well. It's another thing entirely to take big risks and record new works.

Anyway, a little more about Our Gang. Wilson is an incredible guitarist who can play any style with equal aptitude. You might know his playing; he has been a part of Diana Krall's band for some time. But on this guitar/organ trio date, he performs a mix of originals and standards. The whole album shines. "Chitlins Con Carne," the opener on Kenny Burrell's amazing Blue Note set, Midnight Blue, emerges as a standout. Another is a standard written by a little-known duo named Lennon/McCartney. Indeed, "I Want You (She's So Heavy)" is what really blew my mind. It's such a creative cover. Listen to the way the song builds, and the magnificent soloing by both Wilson and organist Joe Bagg.

Over the years, I have been extremely fortunate to call a small number of artists I admire both customers and friends. I am not in possession of the chromosome that makes one "cool" around artists, and I tend to gush about their records when we get a chance to see each other or speak on the phone. Upon meeting Anthony, I might have gone a little overboard expressing my love for Our Gang. I told him he should make an entire album of his favorite rock tunes reimagined as jazz standards. While artists are usually not interested in hearing input from casual acquaintances about their career, Anthony politely listened as I expounded on what I wanted to hear—and what I thought customers would want to buy. Ugh.

One day, I was talking to Anthony about his turntable that needed a new cartridge, and I mentioned I was obsessing over a certain big-band album I found at The Last Bookstore, an iconic used book/record store in L.A. The energy of the musicians, the arrangements, and the fact the band included the dynamite sound of the great organist Richard "Groove" Holmes mesmerized me. I wasn't used to hearing all these characteristics on big-band records. The album? You Better Believe It, by writer, arranger, and conductor Gerald Wilson.

As I spoke, I heard a chuckle on the other end of the phone. Anthony told me Gerald was his father. Holy crap. How did I not know that? Instantly embarrassed, I had to tell him how much I loved the album, and how I thought he should make one just like it. Like I said before, I'm not too cool when conversing with artists I respect. But we talked about the record in great detail. And I think it made Anthony happy to discuss his father's music. What a strange coincidence, and one that really made me smile.

Today's Pick: Gerald Wilson You Better Believe It
When I discovered this album of intensely arranged jazz, it changed the way I thought about big-band music. I've always been a small-setting guy, preferring to hear every instrument set distinctly apart from one another and clearly spread out in the soundstage of my listening space. Some big-band music sounded overdone for my tastes—a little dry or, dare I say, a bit boring. Those records never got my motor running. You Better Believe It set me off on a path to experience some of the big-band arrangers I really love, like Oliver Nelson and Quincy Jones.

Gerald Wilson became a trumpeter and arranger at a very young age, and played with a big band that included Clark Terry in World War II. He had some success in the late 40s, but didn't really start to make noise until 1960, when he put together his own ensemble for the Pacific Jazz label in L.A. He recorded albums under his own name, and arranged dozens of great records for artists like Sarah Vaughan, Les McCann, Nancy Wilson, and Johnny Hartman. Later in his career, he was a much-beloved professor at UCLA, held guest posts with the Lincoln Center Jazz Orchestra and the Carnegie Hall Jazz Band, and got named a NEA Jazz Master by the National Endowment of the Arts.

On You Better Believe It, Wilson's prodigious skills as composer, arranger, and conductor are all evident, allowing him to take us on a most enjoyable ride. Every cut feels unique, with Wilson letting his soloists stretch out over tight grooves. This ain't your grandpa's big band, that's for sure. The sound is fresher, the organ adds a scent of funkiness, and the horn section just blows and blows. Try to sit still. I dare you. The album has given me immense pleasure since the first day I put it on my platter.

The band on You Better Believe It is comprised of Wilson's 17-piece jazz orchestra, including the lead soloist, Richard "Groove" Holmes, who puts his own special sauce on top of everything. (For those unfamiliar with Holmes, I suggest digging a little deeper into his own albums and several of his sideman projects.) Check out the opening "Blues for Yna Yna." The groove hits hard, and the horn section, led by Harold Land's saxophone, brings the heat. Dynamic swings come at you from out of nowhere. Music builds, gets quiet, then explodes out of the loudspeakers. Even on slower numbers, the ballads take on an interesting aura reminiscent of soundtrack fare. It all sounds extremely evocative of the early 1960s. I feel hipper just playing this LP.

The pressing I am playing tonight is a stereo original from Pacific Jazz, and the album has memorable cover artwork depicting Wilson conducting. He looks like he's in his happy place. The LP has a few ticks and pops throughout, no doubt from being played many, many times over the last six decades. I have mono pressings, stereo pressings, and a Japanese pressing on red wax. There is no end to my quest for a better, cleaner version of this extremely special LP.

Initially, I was hesitant to write up this incredible title. I've been holding on to it too tightly, and buying as many copies as I could find to give to friends and other music lovers. It's always a thrill to turn someone on to something they have never heard. I've been trying to find an original with perfectly clean surfaces for years, but that's all part of the fun. Now, I'm going to be competing for mint pressings with you. It's time let this gem out of the box. Happy hunting!