ing as much as any other job I could have had at that age.” The banks stopped
flying in after the 2008 recession, “so I made a conscious effort to estab- lish myself more online, which has paid off.” Talent is nice, and Wilson thinks he offers a “warm, pleas- ing tone and a song-like, expressive quality — a shaping to the phrases.” But there’s lots of talent in the world. “I’m always thinking, How are people going to find me?” For starters, “There are a lot of event sites, places like GigSalad and Wedding- Wire. You post your photo and your sound samples, and you get reviews from past clients.” Today, “Ninety five percent of my performance work comes because people Google and find me on one of those sites. I do about 25 gigs a year, mostly wed- dings. It’s not my main
source of income, but it’s a big part.” Besides perform-
ing, “almost everybody teaches at some level. I teach three days a week for about 15 hours; half kids, half adults. I get students mostly by word-of-mouth,” thanks in part to his role as co- founder (with Pupping) of the Encinitas Gui- tar Orchestra. “We have 35 to 40
players, ranging from professionals who act as coaches to people still struggling to read music.” Participants pay a fee and commit to 12 rehearsals, with a public concert at the end. “It’s a wonder- ful educational tool. The students get to perform without being the sole focus; they learn from the players around them; and they learn to play in time. And it supports the teach- ing, because if you’ve got to play a concert for your
SAN DIEGO PREMIERE
The mural in the lobby of downtown’s Symphony Towers hints at the hidden Copley Symphony Hall hidden within.
friends in three weeks, you’re going to practice.” But 15 years ago,
before the orchestra, he used to post flyers. “My office is still up in Encinitas, and I dropped a stack in a laundromat situated right next to Ran- cho Santa Fe.” A retired financial man picked one up, “became my student, and went on to become
my patron. Through the lessons and experiencing my music, he became a believer in what I had to offer. He saw what I was doing with the orchestra and with my solo playing as promoting the guitar in San Diego — a direct application of his money to the arts. He helped the orchestra record an album; he bought me a
concert-level guitar; he paid for my [garage] stu- dio and a lot of my record- ing equipment.” All told, “in the neighborhood of $15,000.” The studio and equip-
ment allowed for further sponsorship from other believers in what Wil- son had to offer. He has made his last two albums with funding from Kick-
“Old-fashioned musical
comedy magic” – USA Today
, CENTURY p mu
MAR 9 - APR 30 Directed by Sean Murray
m e
Betty Comden and Adolph Green Music by Cy Coleman
Book and Lyrics by
starter; the first, a series of Spanish dances by the Spanish composer and violinist Pable de Sarasate that Wilson arranged for guitar and performed ($2750); the second, a collection of original fla- menco pieces for guitar and ukulele entitled Fla- mencolele ($2503). In both cases, the goal was to cre- ate “something remark- able that pushes things forward and advances the art. People are interested in what’s new. Everything I’ve ever done that’s been even marginally success- ful has had that quality to it.” The Sarasate dances had never been played on a guitar. “And there are a handful of people who have recorded clas- sical Spanish guitar on a ukulele, but not flamenco. I thought, Let’s take this and see if there’s interest in having this type of music done on what is right now a very popular and
San Diego Reader February 9, 2017 37
PHOTOGRAPH BY ANDY BOYD
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