GRAMMY-nominated alto saxophonist Immanuel Wilkins is poised to release his debut live album, , with Immanuel Wilkins Quartet: Live At The Village Vanguard. The ambitious three-volume project captures a performance within the historic walls of the New York City jazz club, offering a deep dive into the quartet’s improvisational skills and a connection to the venue’s legacy.
The album isn’t simply a recording of a performance; it’s presented as an attempt to embody the spirit of the Village Vanguard, a space that has hosted generations of jazz icons. Wilkins, alongside Micah Thomas on piano, Ryoma Takenaga on bass and Kweku Sumbry on drums, navigates his original compositions with a dynamic interplay rooted in the improvisational traditions of the club.
A first single, a rendition of Alice Coltrane’s “CHARANAM,” provides a preview of the album’s energy and depth. The track showcases the cohesion of the quartet and the creative tension inherent in live jazz performance. As Tina M. Campt writes in the album’s liner notes, the recording represents a “practice of improvisational sounding, congregational listening, and devotional ritual.”
The Village Vanguard itself is positioned as a central element of the project. The club’s history is rich with performances by jazz giants including John Coltrane, Sonny Rollins, Bill Evans, Dizzy Gillespie, and Dexter Gordon. Wilkins’ decision to record there isn’t merely a logistical one; it’s a deliberate act of placing his work within that lineage.
Live At The Village Vanguard Vol. 1 will be available on LP, CD, and digital formats. Subsequent volumes are scheduled for digital release on , and , according to announcements from Blue Note Records and Universal Music Canada.
Immanuel Wilkins’ ascent within contemporary jazz is noteworthy. This release marks a significant moment in his career, solidifying his position as a leading voice in the genre. The album’s conception as a three-volume set suggests a desire to present a comprehensive and nuanced portrait of the quartet’s performance, rather than a curated selection of highlights.
The choice of “CHARANAM” as the lead single is also telling. Alice Coltrane’s work is deeply spiritual and often incorporates elements of Eastern musical traditions. Wilkins’ interpretation suggests an interest in exploring similar themes within his own music, and a reverence for Coltrane’s innovative approach to jazz composition and improvisation.
The album’s focus on improvisation is central to understanding its artistic intent. Jazz, at its core, is a music of spontaneous creation, and the Village Vanguard has long been a haven for musicians who embrace that principle. By recording live, Wilkins and his quartet are not simply performing pre-composed material; they are engaging in a real-time dialogue with each other and with the audience.
The project’s ambition extends beyond the musical performance itself. The liner notes, as described by Campt, frame the recording as a ritualistic practice, suggesting a deeper engagement with the cultural and spiritual dimensions of jazz. This approach aligns with a growing trend within contemporary jazz to explore the music’s roots in African American religious traditions and its potential for collective healing and transcendence.
The release of Live At The Village Vanguard Vol. 1 arrives at a time when live music is regaining prominence after a period of disruption. The album serves as a reminder of the power of live performance to create a unique and immersive experience for both musicians and audiences. It also highlights the importance of preserving and celebrating historic venues like the Village Vanguard, which continue to play a vital role in the evolution of jazz.
While the album is presented as a sonic exploration, the technical aspects of the recording itself – the microphones used, the mixing techniques employed – remain largely unaddressed in available information. However, given the Village Vanguard’s reputation for excellent acoustics, it’s reasonable to assume that the recording was engineered with a high degree of fidelity, capturing the nuances of the quartet’s performance with clarity and precision.
The success of Live At The Village Vanguard Vol. 1 will likely depend on its ability to resonate with both longtime jazz fans and a new generation of listeners. Wilkins’ previous work has demonstrated a willingness to push boundaries and experiment with different sounds, and this album appears to be a continuation of that trend. The combination of a historic venue, a talented quartet, and a spiritually-informed approach to improvisation suggests a project with the potential to make a significant contribution to the contemporary jazz landscape.
