Blindfold Test: Dan Wilson

Interview, From the Magazine, Dan Wilson

By Ted Panken I Dec. 30, 2025

“That silky tone, the tonal clarity. It’s like hearing a relative’s voice; you know it immediately,” Wilson said of Kenny Burrell.
(Photo: Shane Wynn)

The first-ever live DownBeat Blindfold Test at September’s Pittsburgh International Jazz Festival was also the maiden-voyage Blindfold Test for its artist in residence, guitarist Dan Wilson. Based in nearby Akron, Ohio, Wilson’s fourth leader album was the recently issued Things Eternal (Mack Avenue/Brother Mister), following consequential sideperson experience during the 2010s with Christian McBride and Joey DeFrancesco. Wilson, 41, addressed 10 selections — all by guitarists from Western Pennsylvania and Northern Ohio.

George Benson

“Naima” (Guitar Man, Concord, 2011) Benson, guitar; David Garfield, piano; Ben Williams, bass; Harvey Mason, drums.

George Benson playing seven-string guitar tuned to D with his thumb. I’ve never heard him play “Naima.” [afterwards] I remember when this came out. His technical ability with the pick is so great, I think sometimes he played with his thumb just to challenge himself. He can sing all those intricate lines he plays. He literally sings through his instrument, which separates him from a lot of other guitarists.

Ahmad Jamal/Ray Crawford/Israel Crosby

“New Rhumba” (Chamber Music Of The New Jazz, Argo, 1955) Jamal, piano; Crawford, guitar; Crosby, bass.

No mistaking Ahmad Jamal. But I cannot remember the the guitar player’s name. [afterwards] The conga beat he played on the guitar body stood out. He did that on Ahmad Jamal’s arrangement of “Billy Boy,” which Miles Davis liked so much that on Milestones he gave it to Red Garland, Philly Joe Jones and Paul Chambers as a trio feature. My dear friend Russell Malone did that, and I always loved it. Joey DeFrancesco couldn’t stand it. I’d say, “Man, what’s wrong with you?”

Joe Negri

“It’s A Beautiful Day In The Neighborhood” (Uptown Elegance, MCG, 2004) Negri, guitar; Marty Ashby, acoustic guitar; Dwayne Dolphin, bass; Roger Humphries, drums; Jay Ashby, percussion; Fred Rogers, composer.

Joe Diorio? [Are you thinking of another Joe?] I meant Joe Negri. That’s interesting, to hear the Mister Rogers theme song on a samba. He was the Handyman! He’s a Pittsburgh legend. I’ve never heard Roger play a samba. He sounded great. The vocabulary is authentic. Joe Negri had the stuff you want to hear vocabulary-wise, the beautiful lines, but what really strikes me is his super warm tone. You can tell he’s playing a big jazz box, but the sound he gets just from his hands is really inviting.

Paul Bollenback

“Cat’s Eye” (Double Gemini, Challenge, 1997) Bollenback, guitar; Joey DeFrancesco, Hammond B-3; Jeff “Tain” Watts, drums.

I’m stumped. [afterwards] Wow. I know all those guys well. Paul has a particular attack and comping style that Joey loved. He actually taught me how to comp behind Joey, because I was lost in the sauce. [You were with Joey DeFrancesco from 2015 to 2020.] It was a great run. I got a serious butt-kicking. The song sounded like a standard. It was beautiful.

James Emery

“Lotus Blossom” (Inside Outlier, Independent Release, 2024) Emery, acoustic guitar.

“Lotus Blossom.” When it started, I thought it might be an oud. I’m not sure who it is. I loved it, especially the punchy sound of the low notes, and the rubato timing, which is tough to master — when you play out of time, you still have to think about where your phrases land.

Sheryl Bailey

“East To Wes” (A New Promise, MCG, 2009) Bailey, guitar; Jay Ashby, trombone solo; MCG Orchestra.

At first, the octave playing made me think of Jimmy Ponder. But that soli was very aligned with the horn. To double a horn like that and get all the articulations is really difficult, and they nailed it. Great balance with the horns. I don’t know the tune. [afterwards] We played a duo at Stanford. We have the same picking technique, so we really connected.

Jimmy Ponder

“Mr. Magic” (James Street, High Note, 1997) Ponder, overdubbed guitar; Dwayne Dolphin, bass.

“Mr. Magic.” I played so many bad versions of this song on those ’hood gigs I used to do, it’s tough for me to listen to it. This version was cool. I don’t know if I wanted to hear it on two guitars. [afterwards] Jimmy Ponder? No way! I love them both.

Bern Nix Trio

“Just Friends” (Alarms And Excursions, New World, Counter-Currents, 1993) Nix, guitar; Fred Hopkins, bass; Newman Taylor Baker, drums.

Not my favorite. He has a tendency to rush, a little on top of the beat. I like the phrases more settled. My favorite players — Grant Green, Wes Montgomery — sit in the middle. [afterwards] I don’t know Bern Nix.

Jim Hall/Pat Metheny

“Django” (By Arrangement, Telarc, 1998) Hall, Metheny, acoustic guitars; Scott Colley, bass; Terry Clarke, drums.

I love “Django.” Two guitarists. I hear scatting, singing the lines in the background. I like that type of eighth-note feel, in the middle of the beat. It makes it swing a little harder. I can tell the guitarist favors downstrokes from how they hold the pick; the attack is very percussive. The arrangement was excellent, with everything you want, all the sections done sensitively, good comping from the second guitarist. I’m not sure who it is. [afterwards] No way! I’ve got some listening to do.

Kenny Burrell/Stanley Turrentine

“Chitlins Con Carne” (Midnight Blue, Blue Note, 1963) Burrell, guitar; Turrentine, tenor saxophone; Major Holley, bass; Bill English, drums; Ray Barretto, conga.

Kenny Burrell. He seems to favor downstrokes, too. That silky tone, the tonal clarity. It’s like hearing a relative’s voice; you know it immediately. I was so locked into Kenny, I didn’t focus on the tenor saxophone. Ah, Stanley Turrentine. [laughs] The same thing. A couple of notes, and you know it’s him. DB

The “Blindfold Test” is a listening test that challenges the featured artist to discuss and identify the music and musicians who performed on selected recordings. The artist is then asked to rate each tune using a 5-star system. No information is given to the artist prior to the test.