percussion. The reverse side, “Young Generation,” a call for youths to guide a war- and race-obsessed nation toward peace, showed for the first time that Wiley could also sing. The 45 was recorded for Na-Cat records, a small Philadelphia imprint owned by Nate and Cathy Strand. By 1960, Wiley had given up the road altogether, becoming a machinist and taking local and regional gigs. But he still appeared with many of Philadelphia’s leading jazz and R&B exponents of the day, including trumpeter Johnny Coles, and singers Harold Melvin, Billy Paul and Teddy Pendergrass. His Na-Cat release would be his last recording for the next nine years. From 1971 to 1984, Wiley – now with seven children to support – played only in church on Sunday mornings. Later years In 1980, he recorded a gospel LP, My Tribute. The album, on the Chattanooga, Tenn.-based Forward in Faith label, featured his wife on a bluesy original vocal, "Isn't It Wonderful"; his oldest son, Ed III, on percussions; and his next-to-oldest son, Duane, on drums. The uneven recording – a mixture of tunes that included everything from a Black gospel choir to a classically trained White singer – got little radio exposure outside of a few Christian-oriented stations. But by the mid-1980s, Wiley, then recently divorced, began touring again. In 1993, he teamed up with former Jazz Messenger bassist Charles Fambrough, who produced Wiley's first recording in more than a dozen years, Until Sunrise, on Swing Records, a label founded by Ed III. In addition to Fambrough, the date included other noted jazz musicians, such as drummer Bobby Durham and Kool & the Gang trombonist Clifford Adams. But it was 1995's "In Remembrance," also on Swing, that marked Wiley's re-emergence as a force in the music world. The recording brought together a who's who of jazz greats, including his longtime friend Shirley Scott; bass veteran Milt Hinton and bass newcomer David Ephross, Durham and Mickey Roker on drums; Wycliffe Gordon on trombone; and trumpeter Terell Stafford. On this offering, Wiley connects the Black musical experience, from the Negro spiritual to bebop. Following the release, USA Today called Wiley "jazz's comeback kid," adding that few match his "guttural sound. …He's honed a rich, gospel-like sax tone that also borrows from R&B and jazz." Two months later, The Washington Post noted, "Whether he's playing the blues, counting his blessings or paying homage on 'In Remembrance,'