‘Fearless Movement’ from Kamasi Washington is A Majestic Album

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Each album release from Kamasi Washington is cause for celebration in my book. Ever since his first triple CD album ‘The Epic’ (what a name for a debut!), his music evokes a tremendous sense of awe, with a spiritual, mystical and ethereal quality. 

‘Fearless Movement’ is more down to earth according to the press notes, due to Kamasi’s change in perspective based on the birth of his daughter, Asha. Nevertheless, it’s still epic (yes, I did that) and a majestic collection of tunes that add to the fantastic legacy of this still-young, legendary composer and saxophonist. As usual for Kamasi, the album is long, at over 80 minutes and it has extended guest list of luminaries including Andre 3000 and George Clinton!

Here’s my take on the album, track-by-track, with every cut evoking a different set of feelings and enriching the world we live in one movement at a time.

Lesanu is titled and written in memory of a fallen friend of Kamasi. It starts with prayer session that yields to a rich horn-driven, upbeat melody with rhythmic clapping in the A section. There’s a fast-tempo piano solo from Cameron Graves that’s an excellent centerpiece of the song. Kamasi’s up next with a powerful, rapid-fire solo that takes flight amidst another round of hand-claps. He scorches the ending with incredible breath strength. The main theme comes back for the ending with Kamasi’s classic orchestral arrangement style. It’s a stunning opener.

Asha The First starts with the lyrics “Now My Heart is Free, Staring Back At Me” and is written about Kamasi’s daughter who actually wrote part of the lyrics. It’s part of the album’s thematic focus on family. It features an amazing bass solo from Steven ‘Thundercat” Bruner that precedes a searing solo from Kamasi himself. Kamasi’s solos always astound from the basis of speed, tonality and pulsing emotion.  The song also features incredible rap from Taj Austin. For me, the chorus is most memorable and indelible among the great Kamasi tunes in his catalog.

Computer Love is a more downtempo ballad, with lyrics that seem a bit tongue in cheek. They talk about finding a love via the computer screen, long-distance or no-distance relationship that can not come to fruition despite modern technology. It’s likely a reflection of the time of isolation as much of the album was compiled in the midst of the pandemic when all interaction was electronic and detached.  Anyway, Terrace Martin has a sleek alto sax solo in the midsection of this one including some controlled squeaks that always get the adrenaline flowing for me. The keys work of Brandon Coleman and always beautiful vocals of Patrice Quinn are high points for this one, a lot of fun.

The Visionary is a short 1 minute mixture of horn play with a touch of piano that essentially serves as a dreamlike fanfare that transitions right into the next tune.

Get Lit is one of the most fun tunes on the album featuring the legendary George Clinton of Parliament/Funkadelic fame. Clinton sings the chorus and damn if it doesn’t bring back all the great memories. D Smoke hits with the rapped lyrics. Kamasi’s dad Rickey, who is also a long time member of the touring band, puts some icing on the cake with his flute solo. The collaboration of the band’s regulars and the guests is so seamless, it feels like a family reunion.

Dream State fees aptly named from the get go. It has Andre 300o of Outkast on flutes, immediatly on the heels of his own flute album release “New Blue Sun.” After the opening, Kamasi and Andre 3000 intertwine with some pulsing synth work in the background that simulates a helicopter sound.  The flutes come back in the lead and with the sax more clearly form the theme. The vibe is definitely dreamy and this is one of the minority, non-vocal tunes on this album, somewhat of a reversal for Kamasi. 

Together has a soft supply choral lyric to it and some great solo work first by Ryon Porter on trombone and then of course Kamasi. Kamasi absolutely soars on his solo – it’s always tantalizing to hear him peak and then so smoothly descend back to buttery softness. I adore Patrice on vocals – every song she’s done with Kamasi becomes a favorite of mine, and I particularly enjoy watching her emote during the live performances. 

The Garden Path sounds like such an uplifting tune but the lyrics belie the feeling –

“Bright minds, with dark eyes
Speak loud words, tell sweet lies
Lost without a trace of a way, to get out of this misery”

Kamasi takes the first solo followed by Dontae Winslow with a high speed trumpet solo. Ryan Porter matches Winslow with a supersonic trombone solo. It definitely feels deceptive, some treachery in the lyrics with sweetness in the music…maybe being led down “The Garden Path.”

Road to Self (KO) possibly is the closest to the sound of Kamasi’s previous albums. It’s another ethereal insrumental with an other worldly feal with spacey synth, an echoing sax solo and the always excellent upright bass work of Miles Mosley.  Cameron Graves work on piano provides and excellent space for Kamasi’s driving lead here. I always love when Kamasi blasts into orbit as he does here and drops down for reentry. Mosely takes charge on the bass midway – he’s another member of the touring company that is incredible at the live shows. I believe it’s Woody Aplanalp with a space shot of a guitar solo on this one as well. It’s gorgeous right up to the wind-chiming sound of the piano to close.

Interstellar Peace (The Last Stance) ahas an orchestral horn + piano led opening. Faintly in the background there’s an audible chatter that sounds like a NASA command center. Coupled with the enchanting lyics, this one sounds like it could be a sci-fi soundtrack, as you’d expect from the title. It’s another power piece from Kamasi, in the middle you can heard a windstorm swirling to accentuate the flightly nature. Dontae Winslow, Ryan Porter and Kamasi play off each other to great effect. Right now, this is one of my top tracks of the collection.

Lines in the Sand begins with a trombone and trumpet clarion call and some some soulful background chants. The lyrics follow the title’s them of boundaries and crossing boundaries to become free. Among contemporary artists, I find listening to Kamasi’s work particularly inspiring, always a great feeling from the music with the extra oomph from the words. Kamasi’s solo building gives a feel of fighting through a challenge. He’s followed by Cameron Graves with a bright piano solo.

Prologue feels like a epic cinematic journey, perhaps crossing a mountain range. It has a driving horn theme to open with Dontae Winslow handling the trumpet solo deftly in this 166 bpm tune. It’s an album highlight for sure. Kamasi steps up next and is mesmerizing, his most powerful solo on the album. It’s an absolute aural explosion at sonic levels rarely heard. There’s a bridge with some great percussion from Kahlil Cummings before the entire ensemble returns to the main theme for a sensational finish to this sensational album, maybe a prologue for the next…can’t wait!

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