The pianist Jack Wilson has had some problems keeping his life separate from the Jack Wilson who traversed jazz territories in England. So, in any reading of the Chicago born, bop key player, there seems to be some misguided reference to that other gentleman from oh so far away. This fact alone points to the manner in which Wilson’s catalog has been ignored. None of these words will rectify the situation, but that can’t diminish the hard soul jazz that the pianist was able to crank out on the few dates as a leader. They each deserve a great deal more attention and a proper march towards re-mastering. If that’ll happen can’t be known, but the inclusion of a young Roy Ayers on vibes for a few of those outings can’t hurt the cause.

After gigging around the Midwest and New York, Wilson was eventually prompted to move to Los Angeles where he would come into contact with some of the progenitors of soul jazz – Eddie Harris, Lou Donaldson and the like. But also Wilson would play with Jackie McLean. And while that last figure’s style wouldn’t be passed down, the appearances on Wilson led dates that the sax player made added an element of forward thinking jazzboism that might have been lacking otherwise.

The first date that the pianist led in ‘63, as well as the better known Ramblin’ from ’66, that included Ayers as a side man, gave the world a few glimpses at what a ghostly vibes player was able to add to any given ensemble. Wilson might not have been the best song writer in the genre, but the arrangement of his own “Ramblin’,” which so prominently featured the percussion instrument, ranks as one of the high points of early ‘60s bop and soul jazz. These recordings wouldn’t allow Wilson to forgo working in other’s groups, but he eventually was granted a few opportunities to record for Blue Note.

Easterly Winds, coming in ’67, found Wilson in the company of Lee Morgan as well as McLean and Billy Higgins. The date featured some decent bop settings, but the absence of Ayers by this point could have been easily noticed if not for the inclusion of McLean’s sax. That’s not to say that Morgan was a non-entity on this date, but he’s pretty easily over shadowed by the elder sax player.

While, as the session leader, Wilson obviously takes his fare share of solos, it’s McLean’s workout on the title track that lends the disc its teeth. His presence is immediately felt as he helps introduce the initial verse in a sort of even keeled Pharaoh Sanders impression that lasts only a few moments. Morgan grabs the first solo with McLean following and beginning slowly, but eventually moving between a quickened conception of bop and avant-garde prior towards working back into the verse.

The focus never completely moves towards Wilson, although his playing is more than suitable. And in such company, the dominance of these other performers isn’t surprising. Showcasing other’s talents might not be the legacy that Wilson would have wanted – but grabbing Ramblin’ might be a better place to start than on Easterly Winds, although, both sport more than a bit enlivened playing.