Fred Wesley's straight ahead jazz playing is quite different. Although he is not as recognised as a jam player he does have a deep rooted love of jazz. With his father being a big band leader he was in a jazz environment from an early age. He says he was trained jazzically as opposed to classically and in his formative years he concentrated on his jazz soloing. I have heard it said that he is not thought by some to be the smoothest player over a set of jazz changes and his self taught technique is perhaps the reason. He may not have the grace of his major trombone influence J.J.Johnson but very few have. He still has a fluidity and agility that becomes quite apparent when listening to tracks such as Blue Monk or On Green Dolphin Street. I feel that, perhaps as a result of his funk playing, his jazz solos are more lyrical and have a certain sing-a-longable quality to them that I feel is absent from a lot of jabs solos. The transcription of his solo in Blue Monk, shows he has a more than capable understanding of jabs music theory. In the sleeve notes of his latest album 'Full Circle - From Be Bop to Hip Hop..' he offers this eulogy to one of his sources of his musical knowledge, mentor and great influence, Eddie Harris.

"Eddie Harris, the great saxophonist and musicologist, spent hours talking to me about chords, scales, intervals and general music theory. I don't think he realised now much his offhand conversations taught me and many other musicians.'

In Blue Monk, Wesley pulls the timing of his solo around with practised ease that shows how comfortable he is in the jazz thing. A trait from his funk playing does appear in his jazz playing; that of not playing on beat one. This is evident in a lot of his jazz solos but this is an observation rather than a criticism. When I asked him if he considered himself a jazz trombonist who plays funk or a funk trombonist who plays jazz he replied,

"What used to be a hard question. But I've come to a decision now and I 'd say I have a pretty good answer for it. I am a trombone player who plays whatever it is necessary to play at the time. Sometimes I play jazz funky and sometimes I play funk jazy. It's always me playing whatever I play. It's a Fred Wesley style. A combination of jazz and funk."

Certainly his solo on On Green Dolphin Street from the album 'Comme Ci Come Ca' has elements of both in it. He is not averse to playing pure jazz tunes at funk gigs either. On 26 March 1998 I went to see Fred Wesley play at the Roadhouse in Covent Garden, London. It was the last date on a European tour promoting the album 'Full Circle' and essentially a funk gig. Halfway through the set he sent the rest of the band off stage and then played a solo rendition of Benny Golson's I Remember Clifford. It was beautifully played but largely unappreciated by the audience who, I think, were there for his funk thang. The tune is one of Wesley's favourites.

"I just learned 'I Remember Clifford'. For a long time I couldn't get past the hrst eight bars without the tears running out of my eyes. The song is so pretty that even when I think about it, it fills me up "

I do think that the reœption of I Remember Clifford at the Covent Garden gig is somewhat indicative of the wider perception of Wesley; that he is a funk and not a jabs man. This was the case when he decided to do his first jabs album.

"I was turned down by every label I know about in the States. I got, Yeah, Fred, it's really nice, man, but give us some of that funk."

Wesley has very limited experience in playing classical music. I asked him about this in the interview.

"...two months ago I did a classical piece with the pianist at my church. We vowed to do more of that kind of thing. She played accompaniment for me and it was very interesting. I can do that but it takes another kind of dedication and another kind of discipline which I admit that I don't have much of. It's very interesting and it's very helpful to keep your chops strong too. I'm gonna try and do more in the future."

Another side to Wesley's performance is his vocals. I would not describe him as having a silky smooth jazz voice. What it lacks in craft and training it more than makes up for in friendliness. Songs such as 'House Party', and 'Bop to The Boogie' were written by Wesley. His vocals on them project such a 'good time' feel that it is not surprising that they are favourites with his audiences.