Quasi-New Album Release: Kamasi Washington's "The Epic"

[LMD]

So, this album was released about a month ago so not really a "new" release. But, its been garnering a lot of acclaim throughout the music world and has had some crossover success due to Washington's work with Kendrick Lamar on "To Pimp a Butterfly." The thing spans 3 albums (hence the title. It also features some grandiose sounding strings and choirs that go towards establishing the name too, though the strings and choir have been very hit or miss from what I've seen.). It's quite an endeavor as you don't really see 3 album sets of new music being released these days. The general consensus I've seen is that it's impressive that he got 3 albums worth of music that is all good, and that it's a good-great album, though he doesn't really do anything that hasn't been done before in the world of jazz.

Allmusic gave it 4 stars and had this to say about it:

The Epic is saxophonist Kamasi Washington's aptly titled, triple-length, 172-minute debut album for Brainfeeder. He is a veteran of L.A.'s music scene and has played with Gerald Wilson, Harvey Mason, Flying Lotus, and Kendrick Lamar (his horn is prominently featured on To Pimp a Butterfly), to name but a few. Most of his bandmates have played together since high school, and it shows. There are two drummers (including Ronald Bruner), two bassists (including Stephen "Thundercat" Bruner on electric), two keyboardists, trumpet, trombone, and vocals (Patrice Quinn). In various settings, they are supported by a string orchestra and full choir conducted by Miguel Atwood-Ferguson. Washington composed 13 of these 17 tunes; he also meticulously arranged and produced them. At just over six to nearly 15 minutes, the jams leave room for engaged improvisation. The Epic is based on a concept, though it's unnecessary to grasp in order to enjoy. The music reflects many inspirations -- John Coltrane, Horace Tapscott's Pan-African People's Arkestra, Azar Lawrence's Prestige period, Donald Byrd's and Eddie Gale's jazz and choir explorations, Pharoah Sanders' pan global experiments, Afro-Latin jazz, spiritual soul, and DJ culture. A formidable soloist (he plays his ass off here), Coltrane is his greatest influence, but his tone is rawer, somewhere between Sanders and Albert Ayler. Disc one's "Change of the Guard" is an overture that commences with confident modal piano, a labyrinthine ensemble head, testifying choir, and bright, expansive solos from piano, trumpet, tenor, and upright bass, creating openness and drama. There's balladic progressivism ("Isabelle"), strident Afro-Latin grooves ("Final Thought"), and Central Avenue roots ("The Next Step"), before it turns toward soulful futurism on "The Rhythm Changes," with vocals from Quinn. Disc two features the carooming electric post-bop of "Miss Understanding" with explosive choir, nasty Rhodes piano, and killer solos by Washington and trumpeter Igmar Thomas. "Re Run" emerges as sun-kissed spiritual jazz with trilling strings and choir before it evolves swinging, with a funky swagger amid popping keys, fleet electric bass, and trombone solos and strident breaks. "The Magnificent 7" contains an obvious cinematic reference with its swirling kinetic strings and airy chorale, but the ground is roaring electric, spiritual jazz-funk courtesy of Thundercat and Brandon Coleman's organ and Rhodes. Disc three features the groove-drenched single "Re Run Home." Its head is straight on; Horace Silver and Harold Land come to mind, but the body spirals and turns left toward South L.A. funk. Traditions are bridged by a sunshiny soul cover of Ray Noble's standard "Cherokee," Terence Blanchard's poignant "Malcolm's Theme" (a gorgeous duet between Quinn and Dwight Trible), and a lithe read of Debussy's "Clair de Lune" before closing with the propulsive, Latin-tinged, funky vanguardism of "The Message." The Epic isn't fusion, retro, or remotely academic. It's 21st century jazz as accessible as it is virtuosic -- feel matters to Washington. Holistic in breadth and deep in vision, it provides a way into this music for many, and challenges the cultural conversation about jazz without compromising or pandering.

Source: http://www.allmusic.com/album/the-epic-mw0002838338

Any of you guys listen to it? I've been busy with finals and now studying for the bar, so I have yet to truly sink my teeth into it to see if it's something worth buying. I've thrown it on on youtube a couple times though and I've dug what I've heard so far.

A small sampling;

https://www.youtube.com/watch?v=NtQRBzSN9Vw

https://www.youtube.com/watch?v=NCnP5Z7Vn1E

[CRAZY-HORSE]

I listened to the full twelve minutes of the first track....
Its not really my thing but I think that Jazzbo would probably appreciate it

[jazzboCR]

I listened to the full twelve minutes of the first track....
Its not really my thing but I think that Jazzbo would probably appreciate it

He does indeed and thanks for the shout-out. There are enough varied elements in his work to keep my at least background attention. * Ethereal chorus and strings balanced against honk-and-squeak and skin bashing, soloing with ensemble playing, tempo changes--quite good and I wish all concerned the best.

* "BG attention" is putting this on and the reading the Sunday papers or maybe a spot of ironing.

[SteveO]

Thanks for introducing me to Kamasi, LMD ! I love this stuff! Good luck on your exams...we have a lawyer in our midst!