Artist: Kamasi Washington
Album: Fearless Movement
Reviewer: Thomas Metzger

There’s a case to be made that Kamasi Washington is the most crucial figure in modern jazz. Born in February 1981 in Los Angeles, he had a musical upbringing that consisted of a professional saxophonist/high school music teacher dad and a flutist/chemistry teacher mom. Washington graduated from the Academy of Music of Alexander Hamilton High School and in 2004 from UCLA’s Department of Ethnomusicology, which is the study of music of different cultures (usually non-Western).

Washington’s musical catalog and credits continue to expand and astound, proving his education certainly paid off, from forming the jazz collective West Coast Get Down to arranging and playing saxophone on the critically acclaimed Kendrick Lamar album To Pimp a Butterfly. In addition to that, he also has released a trio of solo albums: 2015’s The Epic, 2018’s Heaven and Earth and this year’s Fearless Movement.

Fearless Movement is, in a grand theme, an album about dance. Not only the love of the art of dance but how it imitates life. “Dance is movement and expression; in a way, it’s the same thing as music — expressing your spirit through your body. That’s what this album is pushing,” says Washington. 

While The Epic and Heaven and Earth explore various sounds and sonic tapestries, they largely stay within the realm of what we recognize as jazz. With Fearless Movement, Washington dives headfirst into worlds of funk, rap, soul, rock and, at some points, controlled chaos. The silky smooth production and performance on the Zapp and Roger cover of “Computer Love” brings forward hints of vocoder and an awesome synthesizer solo, guaranteed to make you feel like you are simultaneously floating through the clouds and riding those cool Light Cycles in Tron. The party-banger “Get Lit” features the stankiest groove under an awesome hook from George Clinton. D Smoke contributes the verses, rapping about his thankfulness for his life and birth and his appreciation for dancing, tying back to the album’s theme.

The following track “Dream State” delivers more textures not often explored by Washington: ambient and new age combined with the funky groove and the smooth lead saxophone. It also includes a performance by André Lauren Benjamin, better known as rapper-turned-new-age-flutist André 3000. Their chemistry is immediately apparent on the track, as they take turns dancing around the sparse atmosphere of new-agey synth pads, neither overpowering nor overshadowing each other. Later, when the groove really kicks in, they join forces to convey a patient yet harmonious lead line. 

“The Garden Path” is a more uptempo track, featuring nasty wah guitar and what I can only describe as an active drum workout from drummer Ronald Bruner Jr., complete with soaring gospel harmonies and a fiery solo from Washington. 

And if you’re worried that Washington may be straying too far from the jazz roots you know and love, well, do not fret. Washington incorporates elements of John Coltrane’s powerful free-jazz, Ascension-era horns on tracks such as “Asha the First,” which also features a spectacular performance from fellow To Pimp a Butterfly collaborator Thundercat. He also dives into the light, airy elements of cool and vocal jazz on tracks such as “Together,” which add wonderful vocal harmonies from BJ the Chicago Kid. Moments on the album also recall the late-60s era of Miles Davis, but Washington adds his own flair with cool synths and rappers. 

Tracks like “Interstellar Peace (The Last Stance),” “Road to Self (KO),” and “Lines in the Sand” deliver a more recognizable part of Washington; they harken back to the sounds and playing of albums like The Epic and Heaven and Earth: more “jazz-oriented,” you could say (as if jazz isn’t always evolving its sound). However, they weave these sounds into the album’s concepts: they are upbeat and force you to get off your feet and dance.

Overall, the album is a celebration of life and the eternal dance that comes along with it. You can easily groove and get down to many of these tracks, while still being able to dive into the depth of tone and musicianship this album delivers. These tracks contemplate the meaning and appreciation of life. You can feel Washington’s passion in each of his albums, whether it sounds like his saxophone is about to blow up, or the attention and care he takes when picking out textures and crafting tracks that make you feel cozy. It’s clear that Washington’s upbringing and education culminate in a melting pot of influences, whether it be spiritual jazz, funk, rap, rock, whatever, he will take it all.

Kamasi Washington is arguably the leading figurehead in modern jazz, so when he asks you to dance, you better get up and move.

Favorite tracks: “Computer Love,” “Get Lit,” “Dream State,” “Together”

RIYL: To Pimp a Butterfly, John Coltrane, Daft Punk, dancing and/or grooving, glistening music production

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