Wilkins developed as a strong musician when he initially learned how to play piano and violin before taking up tenor saxophone in his teenage years.
"[3] He later studied music formally at Wilberforce University in Ohio, where he honed his skills and began to understand the nuanced styles of jazz arrangement and composition.Wilkins enlisted and served in the U.S. military during the 1940s.
[3] Wilkins's first major arrangement for Basie in 1955 was “Every Day I Have the Blues”, a song originally written for vocalist Joe Williams that became a defining hit and one of the best-selling jazz records of all time.
Other tracks like “Teach Me Tonight” and “Roll ’Em Pete” brought a fresh, energetic sound to Basie’s band, helping to revive its reputation and influence in the 1950s jazz scene.
Ernie Wilkins provided the arrangements for The Count Basie/Sarah Vaughan Sessions which featured Frank Wess, Joe Newman, Snooky Young, Billy Mitchell, Al Grey, Freddie Green and Marshal Royal, along with Jones and Foster.
[2] Wilkin's work during this period displayed his ability to tailor arrangements to the specific strengths of each band and artist, a skill that earned him widespread respect in the jazz community.
Many stopped offering him work due to his struggles, but Clark Terry continued to support him by inviting him to collaborate on several projects throughout the 1970s in his group Big B-A-D Band.
His move to Europe represented both a fresh start and an opportunity to contribute to Copenhagen’s jazz scene, which was vibrant with both local and expatriate musicians.
The Almost Big Band performed extensively, including a co-led Copenhagen gig Live at Montmartre (Storyville) in June 1975, with Horace Parlan on piano, Mads Vinding on bass and Bjarne Rostvold on drums.
Wilkins was responsible for orchestral arrangements on 1972's self-titled album by Alice Clark (Mainstream Records), a highly sought-after collectible today.
[8] Ernie Wilkins style as an arranger used the swing of traditional big bands with that rhythmic drive in combination with the straightforward power of the blues.
His arrangements were described as “punchy, crackling, and as emphatic as exclamation marks,” breathing new life into big band jazz at a time when the genre was struggling to stay relevant.
His arrangements often used call-and-response patterns and dynamic contrasts to build tension, allowing each section of the band to shine individually while contributing to a cohesive whole.
Christian McBride mentioned Wilkins among his favorite arrangers, highlighting his role in post-swing big band music alongside figures like Gil Evans and Thad Jones.
His arrangements, particularly those written for Dizzy Gillespie’s big band in the 1950s, are still performed and celebrated, showcasing Wilkins's enduring role in jazz culture.
[12] With Count Basie With Louis Bellson With DR Big Band With Rob Franken With Maynard Ferguson With Dizzy Gillespie With Al Grey With Joe Newman With Ernestine Anderson With Count Basie With Ray Brown With Kenny Clarke With Jimmy Cleveland With Al Cohn With Eddie "Lockjaw" Davis With Maynard Ferguson With Dizzy Gillespie With Freddie Green With Milt Jackson With Harry James With Quincy Jones With Sam Jones With Mark Murphy With Charles McPherson With Joe Newman With Herb Pomeroy With Rex Stewart and Cootie Williams With Sarah Vaughan and the Count Basie Orchestra With Dinah Washington With Eddie "Cleanhead" Vinson With Charles Williams