This month: Immanuel Wilkins
The declamatory sound of young Philadelphian alto saxophonist Immanuel Wilkins was a powerful therapeutic for jazz lovers during lockdown. Wilkins burst onto the scene in 2020 with a quartet recording on Blue Note, Omega, that explored the wild borderlands of post-bop and free jazz.
The 24 year-old grew up hearing Blue Note records featuring altoists like Jackie Mclean and Cannonball Adderley at home with parents who encouraged him to play by enrolling him in local programmes like the Clef Club of Jazz & Performing Arts. Wilkins explains: ‘The Clef was founded by members of Local No. 274, Philadelphia’s African American musicians’ union. It provides old school mentorship and takes younger musicians under their wing – a lot of my growth came from there.’
Wilkins gained attention as a sideman while still studying at New York’s Juilliard School, playing with diverse artists from Wynton Marsalis to Bob Dylan. But his new album as leader, The Seventh Hand, sees him exploring free improvisation as a means of describing the Black experience in America. The seven movements combine a hymn-like fervour with more contemplative interludes. He says he’s always been interested in the avant garde. ‘Song X’ by Ornette Coleman and the late Coltrane piece ‘Offering’ were reference points for the new album’s climax: ‘I wanted to create a similar rolling ball of energy that you hear in those two pieces.’
As he explains, the Black avant garde has multiple coded levels where the meaning is under the surface, discoverable to those who can hear the message amid the dissonance: ‘It’s like speaking in tongues in church. It’s also an opportunity for the listener to practise empathy.’
Looking into the future, Wilkins is contemplating bringing together singers, dancers or other soloists to explore the traditional music of West Africa with his quartet. Before that, there’s a gruelling 20-date European tour coming up in March:
‘It will be intense but the band’s rapport is super special – and we’re all young.’ Garry Booth
‘The Black avant garde is an opportunity for the listener to practise empathy’