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Val Wilmer
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Val Wilmer
Valerie Sybil Wilmer (born 7 December 1941) is a British photographer and writer specialising in jazz, gospel, blues, and British African-Caribbean music and culture. Her notable books include Jazz People (1970) and As Serious As Your Life (1977), both first published by Allison and Busby. Wilmer's autobiography, Mama Said There'd Be Days Like This: My Life in the Jazz World, was published in 1989.
Val Wilmer was born on 7 December 1941 in Harrogate, Yorkshire, England, where her family had been evacuated from London because of the outbreak of World War II. She is the sister of the poet and writer Clive Wilmer (1945–2025). As soon as the war was over, her family returned to living in London.
She began her life in the jazz world by listening to prewar recordings of jazz classics, being led to many important recordings through Rudi Blesh's Shining Trumpets, a history of jazz, and Jazz by Rex Harris. Wilmer became entranced by recordings by Bessie Smith ("Empty Bed Blues") and the singing of Fats Waller – going to the Swing Shop in Streatham, south London, at the age of 12, combing through the jazz records until she found something she wanted to hear.
Three years after these explorations in sound, Wilmer began writing about Black music, encouraged and inspired by Max Jones, Paul Oliver and others. She attended concerts accompanied by her mother, who believed her too young to go on her own. Wilmer states that it was a “tribute to [her] mother's tolerance" being allowed to explore her interests so freely, especially during a time when little girls were often informed of the limitations of their own future options: "Little girls, we are often told, want to grow up to be ballet dancers ... I don’t think it ever crossed my mind to consider the usual female options, resolutely opposed as I was to anything that smacked of feminine pursuits and did not involve going places, being and doing."
Aware of the earliest records of jazz and blues, Wilmer began to write about jazz and other African-American music, focusing on the political and social messages of the music. Her first article (a biography of Jesse Fuller) appeared in Jazz Journal in May 1959 when she was still only 17. Reflecting on how this piece originated, Wilmer states: "I was an inveterate letter writer, that's how the break with Jesse Fuller came about, me writing to him out of the blue. Woe betide any American musician who was foolish enough to have a contact address published somewhere — I'd find it and fire off a letter. The amazing thing was really, I mean really, that so many would reply! These great musicians and characters from a black culture on the other side of the world writing back to this young suburban white girl in England."
Fundamental to Wilmer's work is her keen understanding and insightful expression of the disparity between male and female music writers. Entering this world in 1959, she understood that writing about music was “something that men did. There was a penalty to pay for being a woman in a man’s world…[and] for a white woman to be concerned with something that Black people did meant to experience additional pressure." Through African-American music Wilmer was able to immerse herself in realities that would have stayed undiscovered had she remained within the margins of her comfort-zone. For her, these experiences were fundamental and life-changing. Her perseverance in this difficult sphere and her devotion to the music led her to a path of self-discovery and personal growth, and the understanding of "the potential for personal change that exists in us all." Through her writing about music, Wilmer was able to provide a voice to a transatlantic, multicultural, and multiracial dialogue, delving into a "part of history, or [what] might very soon be."
Since 1959, she has interviewed hundreds of musicians, written previews and criticism. Her work has been cited and used in research for many books, articles and films, including several biographies of major musicians. Her early interviews with Earle Warren, Lee Young, and Paul "Polo" Barnes are cited in Douglas Henry Daniels's biography of Lester Young. Interviews with Thelonious Monk, Nellie Monk and Billy Higgins are cited in Robin D. G. Kelley's biography of Thelonious Monk. Other examples of the use of Wilmer's early interviews include "Texas Trombone: Henry Coker" in Dave Oliphant's books Texan Jazz and Jazz Mavericks of the Lone Star State.
She was later to gain recognition for her interviews of saxophonists Joe Harriott and Ornette Coleman, and become a writer, music critic and photographer. Writing in 1965 of the changes in Monk's style, she says: "For the last 10 years or so, Monk's music has become easier to listen to, though it is not necessarily any simpler. What he is doing is as engaging and profound as ever, though seeming to be less provocative than when he was upsetting rules."
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Val Wilmer
Valerie Sybil Wilmer (born 7 December 1941) is a British photographer and writer specialising in jazz, gospel, blues, and British African-Caribbean music and culture. Her notable books include Jazz People (1970) and As Serious As Your Life (1977), both first published by Allison and Busby. Wilmer's autobiography, Mama Said There'd Be Days Like This: My Life in the Jazz World, was published in 1989.
Val Wilmer was born on 7 December 1941 in Harrogate, Yorkshire, England, where her family had been evacuated from London because of the outbreak of World War II. She is the sister of the poet and writer Clive Wilmer (1945–2025). As soon as the war was over, her family returned to living in London.
She began her life in the jazz world by listening to prewar recordings of jazz classics, being led to many important recordings through Rudi Blesh's Shining Trumpets, a history of jazz, and Jazz by Rex Harris. Wilmer became entranced by recordings by Bessie Smith ("Empty Bed Blues") and the singing of Fats Waller – going to the Swing Shop in Streatham, south London, at the age of 12, combing through the jazz records until she found something she wanted to hear.
Three years after these explorations in sound, Wilmer began writing about Black music, encouraged and inspired by Max Jones, Paul Oliver and others. She attended concerts accompanied by her mother, who believed her too young to go on her own. Wilmer states that it was a “tribute to [her] mother's tolerance" being allowed to explore her interests so freely, especially during a time when little girls were often informed of the limitations of their own future options: "Little girls, we are often told, want to grow up to be ballet dancers ... I don’t think it ever crossed my mind to consider the usual female options, resolutely opposed as I was to anything that smacked of feminine pursuits and did not involve going places, being and doing."
Aware of the earliest records of jazz and blues, Wilmer began to write about jazz and other African-American music, focusing on the political and social messages of the music. Her first article (a biography of Jesse Fuller) appeared in Jazz Journal in May 1959 when she was still only 17. Reflecting on how this piece originated, Wilmer states: "I was an inveterate letter writer, that's how the break with Jesse Fuller came about, me writing to him out of the blue. Woe betide any American musician who was foolish enough to have a contact address published somewhere — I'd find it and fire off a letter. The amazing thing was really, I mean really, that so many would reply! These great musicians and characters from a black culture on the other side of the world writing back to this young suburban white girl in England."
Fundamental to Wilmer's work is her keen understanding and insightful expression of the disparity between male and female music writers. Entering this world in 1959, she understood that writing about music was “something that men did. There was a penalty to pay for being a woman in a man’s world…[and] for a white woman to be concerned with something that Black people did meant to experience additional pressure." Through African-American music Wilmer was able to immerse herself in realities that would have stayed undiscovered had she remained within the margins of her comfort-zone. For her, these experiences were fundamental and life-changing. Her perseverance in this difficult sphere and her devotion to the music led her to a path of self-discovery and personal growth, and the understanding of "the potential for personal change that exists in us all." Through her writing about music, Wilmer was able to provide a voice to a transatlantic, multicultural, and multiracial dialogue, delving into a "part of history, or [what] might very soon be."
Since 1959, she has interviewed hundreds of musicians, written previews and criticism. Her work has been cited and used in research for many books, articles and films, including several biographies of major musicians. Her early interviews with Earle Warren, Lee Young, and Paul "Polo" Barnes are cited in Douglas Henry Daniels's biography of Lester Young. Interviews with Thelonious Monk, Nellie Monk and Billy Higgins are cited in Robin D. G. Kelley's biography of Thelonious Monk. Other examples of the use of Wilmer's early interviews include "Texas Trombone: Henry Coker" in Dave Oliphant's books Texan Jazz and Jazz Mavericks of the Lone Star State.
She was later to gain recognition for her interviews of saxophonists Joe Harriott and Ornette Coleman, and become a writer, music critic and photographer. Writing in 1965 of the changes in Monk's style, she says: "For the last 10 years or so, Monk's music has become easier to listen to, though it is not necessarily any simpler. What he is doing is as engaging and profound as ever, though seeming to be less provocative than when he was upsetting rules."