Wilson lays down an intriguing calling card that promises much for the future
Whittington Records: WR002CD/LP
Jack Wilson (tenor saxophone & compositions); Billy Marrows (electric guitar); Max Kahn (double bass); Jack Yardley (drums)
Recorded at Lightship 95, London on 28/29 October 2025 After releasing his self-titled EP in 2024, London-based saxophonist Jack Wilson now presents his debut full-length album The Bear And The Wolf, offering an extended portfolio of new work. Seven of his original compositions are delivered here by his long-standing quartet with Billy Marrows’ electric guitar providing chorded accompaniment, Max Kahn on bass and Jack Yardley on drums.
The album draws upon a range of eclectic influences, linked by Wilson’s compositional vision and their styled interpretation by the band. Individually, the band members provide more than textured colourings, each afforded time to unwind and shine; and together, they present a compelling narrative that reflects their time working together and close understanding. Wilson has a lyrical style with a range that is able to flex with conviction from ‘in the tradition’, through to folk and rock stylings.
The album is programmed much like a live set, with the opener ‘Cascade’ neatly setting out the band’s stall and Wilson stretching out over Marrows’s lightly falling notes. On ’Prelude For The Departed’ the inspiration is the spiritual nature of Coltrane’s Classic Quartet, with Wilson blowing over ripening textures and all feeling like the set-up for a significant piece. But this is literally a prelude and at around two minutes it is all over, just when you want the number to take-off. Thankfully, the following ‘P&P’ provides some continuity through Wilson’s Coltrane-like stylings, before it all breaks into more rock-infused territory.
The gently flowing ‘Lullaby’ centres upon a delightful waltz-paced melody that is carried on sax, guitar and bass. Positioned at the centre of the album, the track also marks something of a mood threshold, ushering in some of the strongest tracks on the album that follow.
The title track is the longest and the most complex, switching between two contrasting themes with Wilson and Marrows soloing with increasing intensity. ‘Södermalm’, named after an island district of Stockholm, clearly brings happy memories and is constructed around a loping folk theme played irresistibly by Wilson with some lovely Frisellian touches from Marrows. And ’Mr Fox’ wraps things up nicely with a high energy rock-infused piece that is sure to leave them crying out for more at gigs.
Across this album, Wilson lays down an intriguing calling card that promises much for the future. An album launch date at Pizza Express, Soho should be one for the diary.
