Immanuel Wilkins is a 23-year-old saxophonist and composer. Though well-known to musicians since he was a teen, his excellent playing on
Joel Ross' acclaimed 2019 debut
KingMaker caught the attention of jazz fans.
Wilkins' tone is warm, but sometimes searing, and capable of expressing deep emotion with technical aplomb. His phrasing is eloquent, sometimes angular, and his compositions reflect a complex harmonic system derived equally from gospel, blues, spiritual post-bop, and the musical thinking of
Thelonious Monk and
John Coltrane.
Omega was produced by pianist/mentor
Jason Moran.
Wilkins' quartet includes pianist
Micah Thomas, bassist
Daryl Johns, and drummer
Kweku Sumbry. The tunes here reflect
Wilkins' feelings about the ongoing struggle begun by the Civil Rights movement in the 20th century and carried on by Black Lives Matter in the 21st. Lush melody and shifting tempos govern opener "Warriors." Jones takes the first solo, moving across jazz history with an expansive, swinging sensibility. The rhythm section's interplay is knotty and tight, addressing Jones' right-hand runs with physicality. "Ferguson: An American Tradition" frames the communities' reaction to the 2014 killing of unarmed teen Michael Brown, Jr. by a police officer who was later acquitted.
Wilkins offers an elegy as his intro, portraying the event in reverse. It becomes more intense as piano and percussion fire in tandem;
Wilkins' solo bridges them, its motion and rumbling dissent are colored by grief, sorrow, and immense pain. "The Dreamer," honoring James Weldon Johnson (the first executive secretary of the NAACP) is almost contemplative, with speculative piano chords, a sparse bassline, and brushed cymbals.
Wilkins' lyric statement and solo are abundant in tenderness and empathy. "Mary Turner: An American Tradition" is a turbulent, angry, and inventive composition about the brutal murder of a pregnant black woman lynched (and worse) by a Georgia mob in 1918, after publicly calling out whites for her husband's murder. "Grace and Mercy" is another respite, its lyricism finds
Wilkins and
Thomas joining in the melody before the saxist sets it aloft with his fluid solo. The album's centerpiece is a four-part suite of varying rhythmic and harmonic strategies that
Wilkins composed at Juilliard. First, "The Key" offers subdued gospel tones with single alto notes as
Johns plays chords and
Sembry dances on his cymbals. "Saudade" is knotty modern post-bop that crisscrosses modalism with swing, and allows everyone a solo. "Eulogy" is a ballad entwining sax lines with slightly staggered piano chords as the rhythm section delivers angular asides, adding tension to the sweetness. Closing movement "Guarded Heart" weds an elegant modal lyric to fiery, heated, yet always graceful group improvisation. The title-track closer comes right out of
John Coltrane's
Impressions period. Jones counters with striated Latin rhythms and comps as
Johns and
Sumbry embrace both and
Wilkins' solo buoys them in exploring outer dimensions. All told, it amounts to
Omega as an auspicious, extremely impressive debut from an artist who arrives fully formed as a bandleader. ~ Thom Jurek