Immanuel Wilkins, Blues Blood Review
by Steph Cosme
Immanuel Wilkins’ latest album, Blues Blood, marks a significant evolution in his artistic journey, blending ancestral memory, spirituality, and community. Co-produced by Meshell Ndegeocello, the record is as ambitious as it is intimate, offering a multimedia experience that transcends the typical jazz album. The project builds on the foundations Wilkins laid with Omega and The 7th Hand, but with this third release, he ventures deeper into uncharted emotional and sonic territories, reflecting a personal and collective history.
The opening track, “MATTE GLAZE,” sets the tone with a reflective, almost tender introduction, immediately signaling that Blues Blood is a different jazz experience. Gone are the bristling energy and explosive compositions of his previous albums; in their place is a meditative exploration of memory and legacy. The track evokes the feeling of being in a living room, surrounded by familiar faces, where the past and present intertwine to create a setting for the most sacred of activities—cooking, reminiscing, and sharing. June McDoom’s vocal contribution on this track and Micah Thomas’ gentle piano work wrap the listener in a warm, almost nostalgic embrace.
Wilkins’ concept of ancestral memory finds its most potent expression in “AFTERLIFE RESIDENCE TIME.” Inspired by Christina Sharpe’s writings on the Transatlantic Slave Trade, Wilkins uses this track to explore the lingering presence of history in the present, with haunting lines floating above an immersive rhythm section. Kweku Sumbry’s drumming here is particularly compelling, driving the piece with a subtle, almost subconscious propulsion that mirrors the way memory flows through generations. The track invites the listener to engage with the weight of history—not as a distant story, but as something alive and present.
This album marks the first time Wilkins has incorporated vocalists so prominently, adding layers of meaning and texture. Ganavya, June McDoom, Yaw Agyeman, and Cécile McLorin Salvant all contribute distinct vocal expressions that highlight different facets of the Black experience and heritage. Salvant’s performance on “DARK EYES SMILE” with grab you with her voice rich with melancholy and hope as she sings of ancestors and reflection. The interplay between Salvant’s voice and Wilkins’ alto sax feels like a conversation across time, and Wilkins’ ability to phrase his saxophone ideas lyrically is outstanding.
Wilkins himself likens the voice to the saxophone—both air instruments that breathe life into sound—and this parallel is particularly apparent in tracks like “EVERYTHING,” where Ganavya’s raga-infused vocals elevate the piece into a spiritual realm. The vocal elements are not just embellishments; they are central to the album’s thematic structure, creating a communal atmosphere where multiple voices coexist, sometimes in harmony, sometimes in tension.
A key theme throughout Blues Blood is the juxtaposition of pain and healing. Wilkins draws on the blues as a genre and a symbol of survival and transformation. In “IF THAT BLOOD RUNS EAST,” Yaw Agyeman and Chris Dave tap into the brutal history of the Harlem Six, using Hamm’s famous quote about “blues blood” to invoke the resilience of Black bodies and souls. The music here is raw yet soothing, channeling both the anguish and the strength that comes from confronting brutal truths. The sound of Chris Dave’s drumming is powerful yet restrained, holding space for reflection rather than overwhelming the listener.
Wilkins takes a notable risk with Blues Blood, leaning into an open-ended compositional style that leaves much to be shaped by the moment. Tracks like “MOSHPIT” and “APPARITION” highlight the quartet’s ability to embrace the unknown, relying on improvisation and atmospheric soundscapes. While these moments may feel more abstract and less structured than the album’s lyrical core, they serve as crucial counterpoints, reminding us that the process of healing and remembering is not always linear or comfortable.
If there is a critique to be made, it’s that some of these more experimental tracks might feel overly meandering to some listeners. “MOSHPIT,” in particular, doesn’t quite hit the same emotional depths as the other compositions, relying heavily on repetition without enough variation to sustain interest. But even in these moments, there is something to be said for Wilkins’ willingness to surrender control, inviting his bandmates to co-create in real-time.
Blues Blood is Immanuel Wilkins’ most expansive project yet. It is an album that is looking forward in its ambitious melding of jazz, blues, gospel, and experimental elements. By embracing the voices of his collaborators and engaging deeply with the past, Wilkins has created a work that speaks to the collective experience of memory, pain, and healing. Blues Blood offers a rewarding listening experience. That’s the short of it!
Connect with Immanuel Wilkins: Website |
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