With hip-hop dominated pop charts and pop becoming it’s own genre, there’s been a vibe on the streets that some genres like jazz are dead. Kamasi Washington is just one of the infinite reasons to remember that jazz is not dead. Not in the slightest! From frantic melodies and wicked solos to collaborating with an outstanding array of artists, Washington is a master of the genre. Whether it’s his rapid swing or laid-back hip-hop-inspired tracks, every note is designed to get you hooked. On May 10th, I was fortunate enough to witness the Kamasi Washington experience at Thalia Hall. In support of his latest album Fearless Movement, Washington and his band showcased jazz in its latest, exciting form.
On a personal note, Kamasi Washington along with his trombonist, Ryan Porter are musical heroes of mine. As a jazz trombone player in high school, I even played his rendition of “Clair de Lune” off 2015’s The Epic. His music is just genuinely inspiring to me. It’s amazing how he maintains his distinctive sound while continuing to reinvent himself. Seeing him for the third time on the Fearless Movement tour was like seeing a new version of the tenor saxophone player. The latest album took a lot more inspiration from hip-hop and funk, featuring artists like BJ the Chicago Kid and George Clinton.
Going in, I knew the funky freshness would elevate the set.
For the nearly two-hour performance, each musician had the chance to solo and showcase their talents. Miles Mosley’s ever-epic double bass skills are enough to make your face contort in impressed approval. The DJ/percussionist kept the party going, especially during the song “Get Lit,” (which included him playing Outkast’s “Elevators.” Meanwhile, their drummer created all sorts of mesmerizing grooves and rhythms all night, keeping the audience hooked.
Despite mostly being instrumental, Washington made sure his songs had meaning. When introducing “Asha the First,” he told a story about how his 3-year-old was picking up music and came up with a melody that inspired the song. Ending his show with the song “Prologue,” the jazz maestro told the audience the beginning of something new is the end of something old. It’s as if each composition was meant to elicit an emotional response from the audience. In my case, it definitely worked.
Admittedly, Kamasi Washington’s music can be a bit frantic at times.
The existence of multiple elements, be it two percussion players or other-worldly tempos, I can understand how it can be a turn-off to some. While a somewhat valid complaint, there’s no denying his sincere energy defies personal taste and opinion. On that front, he just makes it make sense. I think the live show solidifies that. It all blends in to create a one-of-a-kind experience. An experience only enhanced by witnessing the beast that is Kamasi Washington in a live setting. It’s these kinds of experiences and risks that keep jazz alive. And without question, I can honestly say jazz was definitely alive that night.
All photos by Oscar De Leon
