Dwain

• Immanuel Wilkins second Blue Note feature is one that comes with critical acclaim and a sense of spirituality. There are some interesting and well done aspects of the album and a few players that shine throughout, but this album misses the high mark set forth by some critics in my opinion. The compositions on the album are sometimes interesting such as “Fugitive Ritual, Selah” (yet this track lacks any true solo sections) but at times suffers from a lack of direction or musical development.

• I think there is a higher emphasis being placed on the spirituality and free-spirited nature of the recording than the musicality of the tunes themselves. There seems to be an innate desire for this in the modern jazz landscape especially amongst critics of the music who seem to be drawn to things that are “different” or “spiritual”.

• Giovanni Russonello, a critic from the NY Times, said that the album was “blues-based and gospel-infused” which I have strong disagreements with and would say that this draws much more from classical elements and free-jazz (avant-garde) influences. It leads me to question if this critic has any idea what he is talking about.

• With all of this being said, I think there are some nice elements to the album. The players have unique styles and Kweku Sumry and Elena Pinderhughes playing does stand out. Kweku seems to find a way to make tracks that have little development or direction more interesting with his feel, style, and approach and I certainly applaud him for that.

• Immanuel Wilkins is obviously talented and proficient as a player but the musical directive on this album just doesn’t seem to do it for me although I will continue to check out his music because there’s enough here to interest me as to what he is capable of. The 26 minute track “Lift” is almost worth skipping all together and I think the album is fine without it but this track leaves a sour taste in my mouth.

Overall score: 5.7/10

Max

• The second Blue Note release from Immanuel Wilkins is certainly an undertaking which deserves some appreciation. The collection of songs is meant to be seen as a big-picture, 7-part musical journey that attempts to portray a sense of moving spirituality that is present amongst the players. Some musical moments tend to drag on without much development and there are questionable arrangements at times throughout. Drummer Kweku shines on “Lighthouse” and “Emanation,” while the flute playing of Elena Pinderhughes on “Witness” is another shining, satisfying feature. Wilkins delivers what he seemingly intends to deliver, yet it is not always ‘on-the-money’ for me. His tone can occasionally be too light and wispy, while at other moments he is screeching and distracting from other parts in certain collective improv sections. Wilkins’ approach is unique and certainly has a number of varying influences, likely including Ornette Coleman, Kenny Garrett and Wayne Shorter. Some neat compositional ideas are well-executed on this album, yet the 26-minute “Lift” leaves me with more to be desired.

• Critics seem to adore these types of recordings due to their differing nature; however, some of this music leaves me unfulfilled. I appreciate the odes to African music and religious traditions, and the intention outlined from Wilkins’ efforts; yet, I take umbrage with the notion that in order to perform music that emphasizes spirituality, you have to play ‘freely’ and in the way some of the music on The 7th Hand is performed. Why isn’t God present when playing a funk song? What about great ballad-ending cadenzas? What about open solo sections inserted in the middle of tunes? Isn’t there a sense of spirituality present in those musical moments? This treatment of musical exploration in order to reach a higher power or the spirit realm seems overdone and slightly cliché. I will likely not be going back to this album any time soon.

Overall score: 5.0/10