Cassandra Wilson

Cassandra Wilson (born December 4, 1955) is an American jazz singer, songwriter, and producer from Jackson, Mississippi. She is one of the most successful female jazz singers and has been described by critic Gary Giddins as "a singer blessed with an unmistakable timbre and attack [who has] expanded the playing field" by incorporating blues, country, and folk music into her work. She has won numerous awards, including two Grammys, and was named "America's Best Singer" by Time magazine in 2001.

Cassandra Wilson is the third and youngest child of Herman Fowlkes, Jr., a guitarist, bassist, and music teacher; and Mary McDaniel, an elementary school teacher who earned her PhD in education. Her ancestry includes Fon, Yoruba, Irish and Welsh. Between her mother's love for Motown and her father's dedication to jazz, Wilson's parents sparked her early interest in music.

Wilson's earliest formal musical education consisted of classical lessons; she studied piano from the age of six to thirteen and played clarinet in the middle school concert and marching bands. When she was tired of this training, she asked her father to teach her the guitar. Instead, he gave her a lesson in self-reliance, suggesting she study Mel Bay method books. Wilson explored guitar on her own, developing what she has described as an "intuitive" approach. During this time she began writing her own songs, adopting a folk style. She also appeared in the musical theater productions, including The Wizard of Oz as Dorothy, crossing racial lines in a recently desegregated school system.

Wilson attended Millsaps College and Jackson State University. She graduated with a degree in mass communications. Outside of the classroom, she spent her nights working with R&B, funk, and pop cover bands, also singing in local coffeehouses. The Black Arts Music Society, founded by John Reese and Alvin Fielder, provided her with her first opportunities to perform bebop. In 2007, Wilson received her PhD in Arts from Millsaps College.

In 1981, she moved to New Orleans for a position as assistant public affairs director for the local television station, WDSU. She did not stay long. Working with mentors who included elder statesmen Earl Turbinton, Alvin Batiste, and Ellis Marsalis, Wilson found encouragement to seriously pursue jazz performance and moved to New York City the following year.

In New York, Wilson's focus turned towards improvisation. Heavily influenced by singers Abbey Lincoln and Betty Carter, she fine-tuned her vocal phrasing and scat while studying ear training with trombonist Grachan Moncur, III. Frequenting jam sessions under the tutelage of pianist Sadik Hakim, a Charlie Parker alumnus, she met alto saxophonist Steve Coleman, who encouraged her to look beyond the standard jazz repertoire in favor of developing original material. She would become the vocalist and one of the founding members of the M-Base collective in which Coleman was the leading figure, a stylistic outgrowth of the Association for the Advancement of Creative Musicians (AACM) and Black Artists Group (BAG), that re-imagined the grooves of funk and soul within the context of traditional and avant-garde jazz. Peter Watrous in an article for The New York Times states:

The M-Base group in Brooklyn, working with both jazz and pop forms, makes music that at first sounds like funk from the 1970s. Like the music played by Mr. Marsalis (and his brother Wynton) the music made by M-Base - Steve Coleman, with Greg Osby, Cassandra Wilson and Geri Allen – is, at its best, filled with subtle ideas working behind the mask of popular music. In Mr. Coleman's group a singer is supported by an electric bass, guitar, drums and electric keyboards, a shiny musical mix that has familiar rock and funk references; yet, because of all its rhythmic and metric manipulations, sounds new.

Although the voice – typically treated as the focal point of any arrangement in which it is included – was not an obvious choice for M-Base's complex textures or harmonically elaborated melodies, Wilson wove herself into the fabric of these settings with wordless improv and lyrics. She can be heard on Coleman's debut as a leader Motherland Pulse (1985), then as member of his 'Five Elements' on On the Edge of Tomorrow (1986), World Expansion (1986), Sine Die (1987), and on M-Base Collective's sole recording as a large ensemble Anatomy of a Groove (1992).