His musical visions are greater than his desire to be in the foreground: Kamasi Washington
Photo: dpa
Constantly being on the move is the neoliberal doctrine of the past 30 years. Because where there is a standstill, the marketing machinery is at an end. But the motto can also be interpreted differently. The American tenor saxophonist Kamasi Washington dares to redefine himself on his new album “Fearless Movement”, with dance at the center.
For him, dance is “movement and expression,” he recently said. As in music, you “express your mind through your body.” When you listen to Washington’s music, you have no choice but to enter a never-ending loop of movement. That was already the case nine years ago, when Washington triggered an unexpected jazz revival with his monumental debut album “The Epic”.
Over 50 musicians were involved in the recordings, and the result was almost three hours of music spread over three long-playing records. When he wanted to force jazz to be the center of attention. His self-stylization matched this: he was photographed like a jazz prophet, wrapped in loose clothing.
On “Fearless Movement” the sound is now purer, although not yet slim. The symphonic, sometimes spiritual-sounding sounds of the past records have moved into the background; instead, Washington relies on cross-connections that go far beyond the traditional jazz sound. On the album he works with hip-hop elements for the first time and draws on the support of established acts such as Terrace Martin, George Clinton, Brandon Coleman, BJ The Chicago Kid and many others.
In the opening track “Lesanu,” he paraphrases a prayer in Ge’ez, the language of the Ethiopian Orthodox Bible. An atmosphere of evocation arises before Washington and his band gradually take over the reins in a crescendo. The first half of the track is dominated by the piano and is limited to a few saxophone sprinkles. It’s only in the second half that his saxophone gets more of a role. In general, despite all his self-stylization, this seems to be one of the secrets of his success: his musical visions are greater than his desire to be in the foreground. As is well known, this is not a given in the jazz cosmos.
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In the following song, “Asha The First,” there are solos by the American bassist Thundercat, before the brothers Taj and Ras Austin shine with rap interludes. In “Computer Love,” Washington resorts to tender soul elements and the warm voice of Patrice Quinn, who ensures that the nine and a half minutes of the song – a rather moderate song length for Washington – fly by.
Despite the undisputed class of these musical interludes, the variety of stylistic elements sometimes lacks the glue that holds them together. The second half of the album, in which Washington refrains from collaborating with other musicians, appears musically more rounded. “Fearless Movement” is a very good jazz album, but not a second milestone after “The Epic”.
Kamasi Washington: »Fearless Movement« (Beggars Group/Indigo)
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