Immanuel Wilkins - Blues Blood (Blue Note). Coverart
Blues Blood. It’s a powerfully evocative title, a quote from African-American Daniel Hamm, a member of the Harlem Six (a group of young boys falsely accused of murder in 1964) who was describing injuries sustained during a prison guard beating and accidentally said “blues” instead of “bruise.” It speaks to the emotional history of the African diaspora, especially in the United States – a legacy of finding beauty through pain, pulling artistic triumph out of societally imposed suffering. Saxophonist Immanuel Wilkins is well aware of the weight of that phrase – not only for its impact on Black history, but also in the blues’ status as one of the foundational pillars of jazz. It forms the basis of his third album, on which he knew he needed assistance in order to fully tell the story. Here, Wilkins is backed not only by his regular band (pianist Micah Thomas, bassist Rick Rosato,, drummer Kweku Sumbry) but by a series of vocalists – a first for him.
Cecile McLoren Salvant integrates her distinctive personality into “Dark Eyes Smile,” creating a haunting ballad that’s a LP standout. June McDoom croons breathily on the dreamy, insistent “Motion,” and blends into the environmental ambience of the floating “Matte Gaze” – grounding both tunes in pure emotion. Ganavya soars and soothes on the intense “Everything,” providing counterpoint to the samples of brooding poetry. The keening Yaw Agyeman, alongside guest drummer Chris Dave, helps put “If Blood Runs East” in a sonic territory that sounds like Peter Gabriel performing jazz. Agyeman also joins guest guitarist Marvin Sewell on the swinging, burning title track. The entire vocal ensemble comes together on the appropriately ghostly “Apparition” and the atmospheric, complex “Afterlife Residence Time,” a one-two punch of ethereal power at the center of the record.
Wilkins’ band takes an almost purely supportive role here, allowing the tracks to be conversations between the singers and the leader’s supple, soulful alto. The vocalists augment rather than supplant Wilkins’ swirling, often exploratory melodies, as the saxophonist and producer Me’shell Ndeocello keep all the elements in place for a dense but airy tapestry of sound. Wilkins’ most ambitious album both in theme and artistic endeavor, Blues Blood is a truly remarkable work that could well define the saxophonist’s legacy for years to come.
