Album Review: Fearless Movement by Kamasi Washington
Kamasi Washington continues to make things continue behind the jazz horizon on ‘Fearless Movement.'
Through the sheer complexity of his music, Kamasi Washington left audiences astounded when he unveiled a second groundbreaking work just three years after his initial monumental debut, The Epic. With its follow-up, Heaven and Earth, it reiterated Washington’s standing as one of the pre-eminent interpreters of jazz in contemporary times. Both of these albums transcended ordinary confines of form, content, and length, posing a significant challenge to fervent listeners. While some found it hard to partake,
Washington managed to usher in newcomers to the realm of jazz. Following a six-year hiatus from regular performances, the saxophone maestro graced 2020 by presenting the soundtrack Becoming. His most recent offering, Fearless Movement, surpasses the 80-minute threshold, presenting compelling arguments for his status as a legend in the making. An intriguing insight: Washington embarks on an uncharted odyssey across the twelve pieces, which immensely benefits the overall creation.
The virtuoso musician sets a spiritual tone by launching into a prayer in the ancient Ethiopian language, Ge’ez, in “Lesanu.” This impacting kick-off gradually escalates, illustrating Washington’s homage to a departed friend. The conception of Fearless Movement came at a time when the pandemic-induced slowdown allowed for reflective introspection and experimentation. It was during this period that his daughter Asha was born, inheriting her father’s passion for music. By two years of age, she started dabbling with the piano, persistently repeating a particular set of notes. This anecdote inspired the track “Asha the First,” an early standout on this album, with contributions from Thundercat and Taj and Ras Austin of Coast Contra.
Speaking of collaborations, Washington’s previous albums typically featured an ensemble cast of musicians, complete with orchestras and choirs. In contrast, Fearless Movement is stripped down, focused, and less flamboyant, yet loses none of its thrills. This is largely thanks to the accomplished guests who participated in the recording sessions. The influences from rap and hip-hop were expected, given Washington’s background, but their pronounced presence is more evident than ever. A notable instance is “The Visionary,” where Terrace Martin showcases his finesse, and André 3000 accentuates “Dream State” with an array of flutes. Through “Get Lit,” George Clinton and D Smoke usher in a vibrant, funk-influenced perspective. This attests to Washington’s belief in the beauty of mutual enrichment through collaborative creation.
The grand finale of Fearless Movement, a prelude dubbed “Prologue,” originally by Astor Piazzolla and barely two minutes long, delivers an exceptional closing note in over eight minutes. Here, Washington summons all his musical aptitude, with his saxophone echoing through the sonorous landscape of rhythm and pace, bringing the album to an exquisitely harmonious close. Today’s most intriguing jazz musician appears to be at his peak as he extracts every ounce of brilliance from his instrument, driving a bold, vibrant, and jubilant performance toward a thunderous climax. Perhaps this “Prologue” signals a transition to the next aspiring project from the LA native—a project for which we are more than willing to accommodate an extended wait, emanating from an artist not just revered for his saxophonic talent but lauded as a visionary who consistently break new ground musically.
Great (★★★★☆)
Favorite Track(s): “Asha the First,” “Get Lit,” “Prologue”