Alec Wilder’s music is a unique blend of American musical traditions – among them jazz and the American popular song – and basic “classical” European forms and techniques. As such, it fiercely resists all labeling. Although it often pained Alec that his music was not more widely accepted by either jazz or classical performers, undeterred, he wrote a great deal of music of remarkable originality in many forms: sonatas, suites, concertos, operas, ballets, art songs, woodwind quintets, brass quintets, jazz suites – and hundreds of popular songs.

Many times, his music wasn’t jazz enough for the “jazzers,” or “highbrow,” “classical,” or “avante-garde” enough for the classical establishment. In essence, Wilder’s music was so unique in it’s originality that it didn’t fit into any of the preordained musical slots and stylistic pigeonholes. His music was never out of vogue because, in effect, it was never in vogue. It’s non-stereotypical specialness virtually precluded any widespread acceptance.

Steven Woomert, trumpet
James Spragg, trumpet
Audrey Good, horn
Vanessa Fralick, trombone
Mark Tetreault, tuba
Rachael Kerr, piano