CURATION
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from this page:
by Augmented Matrix
The Integrated Global Creative Economy
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Name:
Immanuel Wilkins
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City/Place:
New York City
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Country:
United States
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Hometown:
Philadelphia, Pennsylvania
Life
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Bio:
Immanuel Wilkins is a saxophonist, composer, educator, and bandleader from the greater Philadelphia area. While growing up, Wilkins honed his skills in the church and studied in programs dedicated to teaching jazz music like the Clef Club of Jazz and Performing Arts. After moving to New York in 2015, he proceeded to earn his bachelor’s degree in Music at Juilliard (studying with the saxophonists Bruce Williams and the late, great Joe Temperley) while simultaneously establishing himself as an in demand sideperson, touring in Japan, Europe, South America, The United Arab Emirates, and the United States and working and/or recording with artists like Jason Moran, the Count Basie Orchestra, Delfeayo Marsalis, Joel Ross, Aaron Parks, Gerald Clayton, Gretchen Parlato, Lalah Hathaway, Solange Knowles, Bob Dylan, and Wynton Marsalis to name just a few. It was also during this same period that he formed his quartet featuring his long-time bandmates: Micah Thomas (piano),Daryl Johns (bass)and Kweku Sumbry (drums).
Being a bandleader with a working group for over four years has allowed Wilkins to grow both as a composer and as an arranger — and has led to him receiving a number of commissions including, most recently, from The National Jazz Museum in Harlem, The Jazz Gallery Artist Residency Commission Program (A collaboration with Sidra Bell Dance NY, 2020 ) and The Kimmel Center Artist in Residence for 2020 ( a collaboration with photographer Rog Walker and videographer David Dempewolf). Being emerged in the scene at a young age and sharing the stage with various jazz masters has inspired Wilkins to pursue his goal of being a positive force in both music and in society. This includes quite an impressive resumé as an educator. In addition to teaching at NYU and the New School, he has taught and given master classes and clinics at schools/venues like Oberlin, Yale and the Kimmel Center. Ultimately, Wilkins’ mission is to create music and to develop a voice that has a profound spiritual and emotional impact.
By studying the humanity and the cultural specificity of jazz, Wilkins aspires to bring people together through his art. His debut recording, Omega —produced by Jason Moran— was released by Blue Note Records in 2020 and has received uniformly rave reviews. In addition to being voted “Best New Jazz Artist” in the JazzTimes Critics’ Poll and “Best New Talent of 2020” by Musica Jazz, Wilkins’ Omega has appeared on numerous “Best of 2020” lists -- most notably,” it was named NPR Music’s “Best Debut Jazz Recording of 2020” and the New York Times number one Jazz Recording of 2020. Wilkins began 2021 on a very positive note. He was nominated for a NAACP Image Award (Best Jazz Instrumental album) and won the prestigious LetterOne Rising Stars Jazz Award.
Contact Information
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Management/Booking:
Management & Booking:
Mariah Wilkins Artist Management LLC
315 East 86th Street, Suite 3UE
New York, NY 10028
Telephone: +1 212.426.3282
Email: [email protected]
Website: mariahwilkins.com
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Record Company:
Blue Note
Clips (more may be added)
When creators curate people (and entities) for what they do and where they do it, a matrix is generated.
Following human society, by the mathematical magic of the small-world phenomenon, all inside such a matrix tend to within degrees of all others inside.
And by logical extension, to within degrees of all humanity.
It is almost completely unknown that the Recôncavo of Bahia was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind’s existence on this planet.
And widely unknown that Brazil — a repository of African deities now largely forgotten in their lands of origin — absorbed over ten times the number of Africans taken to the United States of America.
And unknown that Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil’s national music — the pandeiro — was almost certainly brought to Brazil by these people).
Across the parched savannas of the interior of Brazil’s culturally fecund nordeste/northeast (where wizard Hermeto Pascoal was born in Lagoa da Canoa — Lagoon of the Canoe — and raised in Olho d’Águia — Eye of the Eagle), much of Brazil’s aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.
Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth.
This matrix began here and opens pathways from everywhere to everywhere.
Recently accessed from:

"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze (LOS ANGELES): manager, Kamasi Washington
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
"Very nice! Thank you for this. Warmest regards and wishing much success for the project! Matt"
—Son of Jimmy Garrison (bass for John Coltrane, Bill Evans...); plays with Herbie Hancock and other greats...
Ground Zero for the project was the culture born in Brazil's quilombos (in Angola a kilombo is a village; in Brazil it is a village either founded by Africans or Afro-Brazilians who had escaped slavery, or — as in the case of São Francisco do Paraguaçu below — occupied by such after abandonment by the ruling class):

...theme for a Brazilian Matrix, from an Afro-Brazilian Mass by
Milton Nascimento
I opened the shop in Salvador, Bahia in 2005 in order to create an outlet to the wider world for magnificent Brazilian musicians.
David Dye & Kim Junod for NPR found us (above), and Kareem Abdul-Jabbar (he's a huge jazz fan), David Byrne, Oscar Castro-Neves... Spike Lee walked past the place while I was sitting on the stoop across the street drinking beer and listening to samba from the speaker in the window...
But we weren't exactly easy for the world-at-large to get to. So in order to extend the place's ethos I transformed the site associated with it into a network wherein Brazilian musicians I knew would recommend other Brazilian musicians, who would recommend others...
And as I anticipated, the chalky hand of God-as-mathematician intervened: In human society — per the small-world phenomenon — most of the billions of us on earth are within some 6 or fewer degrees of each other. Likewise, within a network of interlinked artists as I've described above, most of these artists will in the same manner be at most a handful of steps away from each other.
So then, all that's necessary to put the Brazilians within possible purview of the wide wide world is to include them among a wide wide range of artists around that world.
If, for example, Quincy Jones is inside the matrix, then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.
...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers...everywhere — do also. Artificial intelligence not required. Real intelligence, yes.
Years ago in NYC (I've lived here in Brazil for 32 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd (for his rights in Bob Marley compositions; Clement was Bob's first producer), Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein (managed The Beatles, The Rolling Stones, Ray Charles) called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).
But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great.
Greatness and fame are too often conflated. The former should be accessible independently of the latter.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
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