Since the early 1960s, Los Angeles has been acknowledged for its West Coast cool jazz sound perpetuated by the composer-pianist Dave Brubeck and the vibraphonist Cal Tjader. Another perspective is now taking shape with the presence of composer and tenor saxophonist Kamasi Washington.
Recently, at Brooklyn’s first annual BRIC JazzFest, he casually walked on stage and announced they would be playing a little “L.A. throwdown funk.” He brings lyrical havoc to the stage. His tenor saxophone roars and screeches. His swift fingering allows his notes to take musical-defying leaps that linger in your brain.
His large ensemble rallied from hardcore jazz to hip-hop riffs. Not being one to commit to conformity, Washington’s ensemble included two drummers, Ronald Bruner Jr. and Tony Austin; two keyboardists, Brandon Coleman and Jamael Dean; the bassist Miles Mosley; the trombonist Ryan Porter; the vocalist Patrice Quinn; and special guest, the alto saxophonist Rickey Washington (his father).
Washington has chosen his destined path in the tradition of John Coltrane, Ornette Coleman, Pharaoh Sanders and Albert Ayler. There is a coarseness in his sound that has a whisper of Rahsaan Roland Kirk.
Washington’s current three-CD set, “The Epic” (Brainfeeder, 2015), are some of the best jazz CDs this year. He has taken the big-band sound of Count Basie and Duke Ellington and broadened its philosophy to enhance the blues, jazz and funk (Black music) so deeply rooted in today’s society.
There is a choir accompaniment on “The Rhythm Changes,” which has a more sanctified feeling but is in the realm with Donald Byrd’s “New Perspectives” album (Blue Note), with voices directed by Coleridge Perkinson.
The tune “Leroy and Lanisha” starts off with a cool trombone conversing with Washington’s tenor before they take off into the stratosphere.
“Henrietta Our Hero” is a high mass of spiritual vocals, with the ensemble rising in spirited celebration. His arrangement of “Cherokee” is cool jazz at its best with vocals. There is “Malcolm’s Theme,” featuring Malcolm X excerpts to keep that revolutionary focus.
The Epic presents Washington’s ensemble Makin’ Changes like Jackie McLean roaring down the tracks playing Jimi Hendrix on some Buddy Miles funk, drinking “Bitches Brew” while standing “On the Corner” with the Black Rock Coalition jamming on some Lee Morgan “Cornbread” while “Out to Lunch” with Eric Dolphy.
Recently, Dr. Lonnie Smith was presented the Village Music Legends Award by Village Jazz Alive under the auspices of the Greenwich Village Chelsea Chamber of Commerce.
“Dr. Lonnie Smith is a one of a kind artist who, for the past five decades, has broken ground with his music,” stated Elizabeth Butson, Village Jazz Alive chair.
The sixth annual award presentation was held at Manhattan’s intimate Metropolitan Room, a venue for cabaret performers and jazz vocalists.
“We didn’t choose music; it chose us,” said Smith after receiving the award. “Playing music is my way of giving back.”
Previous awardees are Odetta, Randy Weston and Art D’Lugoof (the owner of the legendary Village Gate). The organization honors musicians who have helped create and sustain the music that is part of the Village’s culture.
A few audience members had never seen Smith perform. Midway through his trio with the guitarist Jonathan Kreisberg and the drummer Joe Dyson, he had captivated the entire audience.
The doctor’s Hammond B-3 organ was wailing with Buffalo street funk that had everyone moving their shoulders, and his spirited soul enticed dancing feet.
The young Dyson, a mainstay of Smith’s, has held chairs with Christian Scott and Esperanza Spalding. He says, “Playing with Dr. Smith is always a pleasurable learning experience.”
After the performance, Smith’s new fans were lined up for a quick chat and autographs.
Last week, the Association of Creative Musicians continued their 50th anniversary celebration festival at Manhattan’s Community Church of New York.
The evening featured “Steve & Iqua Colson: 40 Years in the Moment,” with music compositions by both Steve and Iqua. Band members included the violinist Marlene Rice, the bassist Reggie Workman and the drummer Andrew Cyrille.
The band played intuitively, letting the music flow as the pianist Steve Colson doubled on alto saxophone and a few percussion objects.
The vocalist Iqua Colson was prolific in song, understanding how to weave a story and make it groove. Her jazz voice is similar to Abbey Lincoln’s, which doesn’t really exist these days. Anytime Colson plays piano, it is a happening.
“George Lewis: Impromptus” followed Colson. Before beginning, the trombonist-composer George Lewis informed everyone he changed the title from “Impromptus” to “Caldera.”
“You will understand why as we play,” he stated. The quartet included the percussionists Thurman Barker and Eli Fountain, multi-instrumentalist Tyshawn Sorey and Lewis.
A caldera is a volcanic crater that has a diameter many times the size of the vent (or opening), which describes the quartet and its music composed by Lewis. Playing multiple instruments gave the impression of a much larger group.
The music at times was explosive, like a volcano erupting, a melodic movement of rhythms, soft sounds of the triangle, gospel sounds of the tambourine, loud vibrations from a Japanese gong, timpani drum, vibraphone and bass drum.
The musicians, like construction workers, built on their contributing sounds. Sorey played piano before moving to join Lewis in a trombone duet, as Fountain and Barker doubled on the vibes.
Lewis played trombone, harmonicas and chimes. Jazz was in motion at its highest form of improvisation, assigning multiple instruments to musicians, creating a moving composition that was a real exuberant journey.
The AACM will conclude its celebration at the Community Church Oct. 30, with Reggie Nicholson Solo, Unity Power, WoodOcean, Mettle17, Vibrations, Multifaceted and the AACM All-Star Ensemble, with compositions by the pianist Dr. Muhal Richard Abrams.