John Coltrane, Talking Heads and ‘Paradise Cinema’: The Work That Made Jack Wyllie
Jack Wyllie is a multi-instrumentalist with expertise spanning classical, jazz and ambient. Working with directors, brands, record labels and agencies he has scored a number of short films, adverts and documentaries.
He is a well-established and highly respected musician, having toured globally and collaborated with critically acclaimed artists such as Joe Newman of Alt J, Jamie Woon and Luke Abbott. He has produced five studio albums with his band Portico Quartet, receiving a Mercury music nomination along the way. Jack also records with Szun Waves, Xoros and his most recent project, ‘Paradise Cinema’.
The Guardian critic John Walters referred to Jack's music as “a soundworld that is original and inviting, played with flair and commitment...”
LBB> The ad/music video from my childhood that stays with me…
Jack> It’s a classic – but a classic for a reason. The Jonathan Glazer’s Guinness ad with the Leftfield soundtrack [‘Surfer’]. It’s one of those ads that just feels so unexpected but works so well. Completely original in a world of advertising that’s largely generic. Creative advertising at its finest.
LBB> The creative work that I keep revisiting…
Jack> I guess I come at this as both a commercial composer and a creative composer and performer, having released several records in collaborative projects and in my own right. So, as a composer of my own music, I love John Coltrane – not just for his musical force, but for the artistic integrity and spiritual development he represents. For me, his music is transcendent.
LBB> My first professional project…
Jack> My first professional project as a composer for film and TV was ‘Wolf Hunter’, a short film by the director James Morgan. Looking back on it – over 10 years ago now – it’s a beautiful piece of work about hunting wolves in the Arctic Circle.
As a musician, the first album I released was ‘Knee Deep’ in the North Sea with my band Portico Quartet, which went on to be nominated for a Mercury Music Prize.
LBB> The piece of work that made me so angry that I vowed to never make anything like that…
Jack> I don’t think I’ve ever had anything quite like that, to be honest. If there’s something I really don’t like that I’ve produced, I tend to just detach from it. It’s usually when a client wants to do something very different from what I’d choose artistically. But I actually enjoy the challenge of trying to make something good even if it’s not in my taste – that’s part of the craft of being a composer.
LBB> The piece of work that still makes me jealous…
Jack> Ooo, I dunno. I don’t think I really get jealous. I remember when I was younger thinking “‘I wish I could write a tune as good as ‘This Must be The Place’ by Talking Heads.” I used to find it frustrating how simple is what but also how effective! It seemed like it should be so simple!
LBB> The work that I’m proudest of…
Jack> Probably my first album in the collaborative project ‘Paradise Cinema’, where I spent six months in West Africa working with various musicians.
Also, the feature-length film I made with Anima called ‘Life on the Edge’ – a heartfelt look at depression and alcoholism set in the culturally shifting, majestic landscape of Greenland. It’s a heavy watch, but an important and beautiful film.
LBB> The recent project I was involved in that excited me the most…
Jack> A project with Luke Abbot and Lotte Betts-Dean. We had a week-long residency in Aldeburgh at the Britten Pears Arts Centre and recorded an album of modular synth, saxophone, and soprano voice. An avant-garde and experimental piece of microtonal music – if I say so myself!!!
