The way in which Washington breaks the pattern of gender is impressive, and so the “spiritual” names or “fusion” are just the least unjust that it sounds when one gives play to The Epic.
Spiritual Jazz. Most of the time, we have not come across this name very often. But the work of Kamasi Washington, the name fits him perfectly. Who knows, it might even be one of the major figures of this genre of Jazz, apparently young (or small).
Just like the legend of John Coltrane (and his wife Alice) or perhaps Pharoah Sanders; pure heavyweight saxophone. This phenomenal debut Kamasi is not too far from those feats.
Of course, The Epic lasts three hours, so who ventures into this magnificent introspective journey will separate a good evening. And, of course, it will pay off.
The start of the first third of the album is exultant. The main melody of “Change of Guard” step is done in the second ten with a majesty that recalls the progressive jazz to Frank Zappa Hot Rats.
It is a ride cymbal dance guided and led by the sax of Washington. Like many cuts on the disc, the piece takes time to prove every point and say all there is to say; this, of course, through music, as most tracks are instrumental.
“The Rhythm Changes” is the first exception and its entry could not be more accurate. It comes as a relief after the overwhelming “The Next Step”, one of the most spiritual album.
Suddenly, The Epic seems to start again. After almost a minute of suspense, saxophone gets screwed, this time with much more speed in “Miss Understanding”.
For moments, because the playful melodies and their explorations, Kamasi Washington shows some Fela Kuti, the Afrobeat that monster whose relevance only put a name to their type of Jazz fusion.
After all, The Epic is a mixture of a lot, and “Re Run” helps illustrate this idea. The bass is another proof; by times mark the rhythm of the songs as expected from a more traditional jazz, but other exploits and eats the world.
The way in which Washington breaks the pattern of gender is impressive, and so the “spiritual” names or “fusion” are just less unjust than it sounds when one gives play to The Epic.
With three hours it seems easy to carry the listener on tour in history, but is also likely to fall into redundancy. Kamasi Washington, however, manages to sound relevantly during that long.
With his first film, the Californian just sealed the time- -such best jazz album of the millennium, gender returning to higher categories.
It seems incredible, but in only half a year, Kamasi is already responsible for two of the three best albums of this competitive 2015: the saxophonist and arranger jewel Kendrick Lamar, which sounds suspiciously as Jazz.
It will be reason to be aware of what you do next. At the moment, we must be attentive to their extensive world tour and fall in the closest point.
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