As Wilner himself puts it: “Jazz music can be the very best that mankind can offer—an uninhibited view of the open soul, for all to share and grow from.” That’s not just something he said—it’s the heart of this record.
Cellar Music Group
Spike Wilner – Piano; Paul Gill – Bass; Anthony Pinciotti – Drums; SPECIAL GUEST: George Garzone – Saxophone
Spike Wilner has always felt like one of those deeply rooted New York jazz guys—maybe not a household name everywhere, but still, a cornerstone of the scene. He’s the longtime manager and part-owner of two of Manhattan’s most beloved jazz rooms: Smalls and Mezzrow. Wilner has been at the heart of them for decades, both as a player and as a steward of the music. He’s a pianist who plays with the kind of quiet authority that says, “I’ve been here a while, and I’ve got stories to tell.”
He plays like someone telling you a story he knows by heart—swinging, lyrical, understated, but deeply expressive. There’s a little Monk in the phrasing, a dose of Barry Harris’s crisp bop logic, maybe even a hint of Bill Evans’s intimacy. But it all comes through Wilner’s own calm, conversational voice at the keys.
THE CHILDREN & THE WARLOCK is the latest release from Spike Wilner and his Trio Contrafactus, featuring Paul Gill on bass, Anthony Pinciotti on drums, and special guest George Garzone on tenor sax. The album is a heartfelt tribute to Wilner’s late mentor, Harry Whitaker—an exceptional yet underappreciated pianist known for his deep ties to the spiritual jazz movement. Whitaker’s music blended modal and avant-garde elements with soulful, melodic lines, and Wilner’s tribute channels that same spirit while honoring his mentor’s unique legacy.
The title track, ‘The Child and the Warlock,’ opens with Wilner alone at the piano, rolling through short, rhythmic phrases—some tugging behind the beat like a preacher savoring a word, others jumping ahead like they can’t wait to testify. He builds a rocking rhythm, steady and insistent, until tenor sax, bass, and drums slide in around him. There’s a definite R&B groove here, glowing with gospel warmth. As the piece unfolds, the drumming turns more aggressive, with Garzone’s sax urging it on. Wilner stays grounded, laying down beautifully voiced chords and lyrical runs. When Garzone comes back later in the tune, he’s absolutely on fire. It’s a standout track, full of energy, interplay, and deep-pocket swing from the whole band.
Wilner and Garzone’s ‘Benediction ’opens with spare, midrange piano phrases—unadorned, exploratory, like he’s feeling out each step. When the tenor sax quietly joins, Wilner’s playing shifts—growing louder, quicker, more forceful. And then, just as it gathers momentum, it fades. The whole thing moves with the grace and gravity of a hymn—plainspoken, but full of feeling.
George Garzone knows what to do and when. He’s got that rare mix of wisdom and wildness. One minute he’s whispering through the horn, the next he’s blowing the doors off. On ‘Moment to Moment,’ his tenor cries and moans, pouring out in waves—sheets of sound. There are flashes in his playing that echo Coltrane’s late period: raw, searching, almost volcanic. But where Coltrane seemed to reach skyward with spiritual urgency, Garzone feels more grounded—like he’s tunneling deep, digging through the moment rather than escaping it.
You can hear the trust between these musicians—especially between Wilner and Pinciotti, who sadly passed not long after this session. His playing here is vibrant and intuitive, a final gift full of spark and grace. It feels like everyone is tuned in to each other’s instincts, listening closely, letting the music lead.
As Wilner himself puts it: “Jazz music can be the very best that mankind can offer—an uninhibited view of the open soul, for all to share and grow from.” That’s not just something he said—it’s the heart of this record.
