From time to time, I remind myself – and I remind myself – that if the very soul of jazz is to not only survive, but also be nurtured and thrive, it must continue to move and evolve. As soon as it becomes stale, stagnant or blocked, it creates big problems.

I’m not interested in trying to “define” what jazz is. Want to open a Pandora’s box? Have a discussion about what does and does not fall within gender boundaries. One person’s treasure is another person’s trash; Or is one person’s trash another person’s treasure? Either way, it’s a yellow brick road you don’t want to take.

The aesthetic of jazz’s evolution through the ages has not only served it well but, save for a few bumps in its 125-year road, has served it superbly. It’s perhaps one of music’s greatest attributes: Proud Mary just keeps on rolling.

Enter Immanuel Wilkins, a much-heralded alto saxophonist-composer who continues to rise in the jazz world. Still in his twenties, the native of North Darby, Pennsylvania — read Philadelphia — said on WBGO-FM’s ‘The Checkout’ that he started playing the violin at age three, then tried the piano , then singing. Eventually, as he put it, he “harassed” his parents for a saxophone.

By the time Wilkins was in high school, he began to seriously compose, experiment, and learn the odd time signatures and, like previous generations of Philadelphians such as Christian McBride and Joey DeFrancesco, participated in the Clef Club of Jazz & Performing Arts. .

Wilkins moved to New York in 2015, joined Juilliard and almost immediately rose to popularity and turned heads, performing at many of the city’s major jazz venues, working alongside a host of players – at both those close to his age and those that predate his arrival by a generation or more.

Among those Wilkins cites as important to his development is trumpeter Ambrose Akinmusire (himself in his early thirties 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 wide range of artists, including Solange Knowles, Wynton Marsalis, Gerald Clayton and Joel Ross, appearing on the vibraphonist’s rising star Blue Note 2019 debut. “Maker of Kings”.

A year later, the saxophonist, with Moran as producer, released an audacious debut recording as a leader. “Omega” (blue note) is a captivating collection of 11 originals. Wilkins, whose playing is mature and technically accomplished, has used the platform to create music historically drawing inspiration from the civil rights movement and the spiritual teachings of the black church – which has been a focal point throughout of his life.

His piece “Ferguson – An American Tradition” is an obvious reflection on racial justice, or 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] can happen to anyone.”

Throughout “Omega,” Wilkins shows a clear mastery 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 voices without interruption, Wilkins often mentioned those who came before him, the importance they play and the influence they 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 – with whom Wilkins studied – and drummer Tony Williams , had a huge impact on his music and the music of many of them. peers. He also added that Thelonious Monk “is still in my music”.

It’s hard to believe, but Wilkins’ quartet of pianist Micah Thomas, bassist Daryl Johns and drummer Kweku Sumbry have been touring, recording and creating together since they were teenagers.

“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 seem to be the case when it comes to Wilkins.

Later this month it will release “The 7th Hand”, his next effort for Blue Note Records. The label released a video for a pair of joint compositions: “Emanation”/”Don’t Break”; the 11 minutes of music offer a significant insight into an hour-long seven-movement suite. The core quartet of Thomas, Johns and Sumbry return, complemented by guest appearances from flautist Elena Pinderhughes and the Farafina Kan Percussion Ensemble.

Wilkins entered the fray, regardless of the definition of jazz. It is a brilliant light that adds to the dynamic history and tradition of the music.

Jon W. Poses is executive director of the “We Always Swing” jazz series. Contact him at [email protected]