This paper asks how a contemporary African American jazz improviser-composer—who embraced Islam and Sufi devotional practices in the early 2000s—mobilizes improvisation as a practice of healing. Drawing on ethnographic interviews, correspondence, and audiovisual analysis of public performances, I show how a Sufi-informed discipline of attention and Yusef Lateef’s concept of autophysiopsychic self-cultivation—articulated in mid-twentieth-century Black Muslim musical thought—shape the artist’s listening habits, rehearsal routines, and improvisational decisions. While scholarship on Islam in jazz has largely framed conversion as public political critique within civil rights–era struggles, I argue that healing functions here as a practical method for inner repair and spiritual endurance amid intensified Muslim legibility—marked by heightened public visibility and racialized scrutiny—in the post-9/11 United States. Through close listening, I identify audible features—especially breath-centered phrasing and calibrated silence—that render this disciplined attention audible in performance, even as the artist negotiates “jazz” as a contested category. By treating healing as method rather than metaphor, the paper connects religious practice to sonic technique and positions spiritual transmission as a form of musical knowledge, contributing to ethnomusicological debates on embodiment, ethics, and religion in performance.