Notes and tones: Immanuel Wilkins is one of jazz's bright lights

Every so often I am reminded — and remind myself — that if jazz’s very soul is going to not only survive, but also be nourished and thrive, it must keep moving and evolving. The minute it becomes stale, stagnant or stuck, spells big trouble.

I’m not interested in trying to “define” what jazz is. You want to open a can of worms?Have a discussion about what does and doesn’t constitute falling within the boundaries of the genre. One person’s treasure is another person’s trash; or is it one person’s trash is another person’s treasure? Either way, this is one yellow brick road you don’t want to go down.

The aesthetic of jazz’s evolution through the ages hasn't just served it well but, save a few bumps in its 125-year road, served it superbly. It is perhaps one of the music’s greatest attributes: Proud Mary keeps on rollin’.

Enter Immanuel Wilkins, a much-heralded alto saxophonist-composer who continues to rise in the jazz world. Still in his mid-20s, the North Darby, Pennsylvania — read Philadelphia — native said on WBGO-FM’s “The Checkout” that he began playing the violin when he was three years old, then tried the piano, followed by singing. Eventually, as he said, he “badgered” his parents for a saxophone.

By the time Wilkins was in high school, he began composing in earnest, experimenting and learning about odd time signatures and, like previous generations of Philadelphians such as Christian McBride and Joey DeFrancesco, participated at the Clef Club of Jazz & Performing Arts.

Wilkins moved to New York in 2015, entering Juilliard and almost immediately gaining traction and turning heads, performing at a number of the city’s main jazz venues, working along side of a host of players — both those close to his age and those who pre-date his arrival by a generation or more.

Among those Wilkins cites as important to his development are trumpeter Ambrose Akinmusire (himself just in his early 30s at the time), who helped him navigate the jazz scene. He also met pianist-composer Jason Moran (in his 40s), who invited Wilkins to join his band and go on tour. Wilkins has since worked with a diverse range of artists including Solange Knowles, Wynton Marsalis, Gerald Clayton and Joel Ross, appearing on the fellow rising star vibraphonist’s 2019 Blue Note debut "KingMaker."

A year later the saxophonist, with Moran serving as producer, released an audacious debut recording as a leader. “Omega” (Blue Note) is a riveting collection of 11 originals. Wilkins, whose playing is mature and technically accomplished, used the platform to create music drawing historically from the Civil Rights movement and the spiritual teachings of the Black church — which has been a focal point throughout his life.

His piece "Ferguson — An American Tradition," is an obvious reflection upon racial justice, or the lack thereof, in America. Describing his feelings in a Downbeat interview, Wilkins noted, “Ferguson hit me specifically because Michael Brown and I were close in age. And I realized that [what happened to him] could happen to anybody."

Throughout “Omega,” Wilkins shows clear command of his dexterity and intensity, but hopes his music also reflects his humility. On “The Checkout,” the podcast where musicians discuss, explain and offer samples of their work, describing everything in their own voice uninterrupted, Wilkins often mentioned those who came before him, the importance they play and the influence they have had on him.

At one point he talks about Miles Davis’ second great quintet and how the ensemble’s rhythm section, which included pianist Herbie Hancock, bassist Ron Carter — who Wilkins studied with — and drummer Tony Williams, have greatly impacted his music and the music of many of his peers. He also added that Thelonious Monk “is always in my music.”

It’s difficult to believe but Wilkins' quartet, comprised of pianist Micah Thomas, bassist Daryl Johns and drummer Kweku Sumbry, has been touring, recording and creating together since their teens.

“Omega” received a load of recognition, including NPR’s “Best Debut Jazz Album of 2020,” and landed on The New York Times’ “Best Jazz Albums of 2020.” Sometimes the hype isn't warranted or is overblown, but that doesn’t appear to be the case where Wilkins is concerned.

Later this month, he will release “The 7th Hand,” his next effort for Blue Note Records. The label has released a video for a pair of joined compositions: “Emanation”/”Don't Break”; the 11 minutes of music offers a meaningful glimpse into what is an hour-long suite composed in seven movements. The core quartet of Thomas, Johns and Sumbry returns, augmented with guest appearances by flutist Elena Pinderhughes and the Farafina Kan Percussion Ensemble.

Wilkins has entered the fray, no matter what one’s definition of jazz is. He’s a bright light who is adding to the music’s dynamic history and tradition.

Jon W. Poses is executive director of the “We Always Swing” Jazz Series. Reach him at jazznbsbl@socket.net.

This article originally appeared on Columbia Daily Tribune: Notes and tones: Immanuel Wilkins is one of jazz's bright lights