The chord progression is non-functional. It moves: | Eb-7 | Ab7sus | DbMaj7#11 | G-7(b5) | . There is no ii-V-I relationship. An inexperienced reader will try to force a cycle (e.g., "Is that Ab7 going to Db?"), but Wilkins deliberately avoids resolution. The #11 on the Db chord makes it sound like it is floating away from the G-7b5.
Wilkins describes his quartet as a conduit for a higher power. His lead sheets are designed to "chip away" at the band until they reach a state of collective improvisation. immanuel wilkins lead sheet work
: The goal of his notation is to provide a "real" foundation that doesn't feel overly manicured, allowing for a nonchalant yet intense performance. 4. Sourcing and Studying the Work IMMANUEL WILKINS "THE 7th HAND" - Blue Note Records The chord progression is non-functional
Wilkins’ work, particularly on albums like The 7th Hand and Omega , leans heavily on the concept of "compositional environments." A lead sheet by Wilkins often serves as a set of constraints designed to liberate the soloist. An inexperienced reader will try to force a cycle (e
Complex triads over foreign bass notes to create tension.
Huge swaths of the page are left empty. This isn't laziness; it’s an invitation. He writes for his quartet—Mikey Sheman, Daryl Johns, and Kweku Sumbry—knowing their specific "sounds" will fill the silence.