Immanuel Wilkins, a young American alto saxophonist, is making waves with his latest album, “Blues Blood,” co-produced by Meshell Ndegeocello. Having already established himself as a formidable force in the jazz scene with his previous two albums, Wilkins blends tradition with innovation, drawing inspiration from artists such as Kenny Garrett while exploring the depths of “sacred music.” In an exclusive interview, he shares his vision for this ambitious project, which showcases several female vocalists and a diverse range of styles.
Wilkins aims to channel the ancestral Black experience through his music, likening it to a “psychic raid on Jung’s collective unconscious.” He believes that music possesses “alchemical properties,” allowing it to heal and transform. This philosophy shapes the 14 tracks on “Blues Blood,” featuring short impressionistic interludes that create a textured listening experience.
The album begins with “Matte Glaze,” an upbeat alto sax romp accompanied by Micah Thomas’s ethereal piano work, a lively tone echoed in the track “Motion.” As the album progresses, listeners encounter more complex pieces like “Afterlife Residence Time,” characterized by its haunting, drawn-out notes that convey a range of emotions from solemnity to anguish. Notably, the title track “Blues Blood” draws inspiration from a harrowing 1964 court case involving police brutality, shifting from a lively start to moments of striking violence and pain.
Further showcasing the album’s depth is “Dark Eyes Smile,” featuring the nostalgic vocals of Cécile McLorin Salvant, which brings a sense of dignity to the soundscape. Contrarily, “Moshpit,” despite its title, presents a more contemplative atmosphere. While some may argue that Wilkins is overreaching, his bold expression and artistic vision undeniably mark him as a talented musician to watch.
To get a taste of his latest work, check out the video for “Matte Glaze” by Immanuel Wilkins.
