By Melina Paris, Music Columnist
The show started one hour late.
Maybe it was jet lag from a just-concluded world tour or that he was on crutches. Yet, the moment saxophonist Kamasi Washington and his 29-piece band hit the stage, the audience’s frustration vanished. The Dec. 10 party, at Club Nokia, was on.
I’m reluctant to call the assortment of talent assembled in support of Kamasi “his band” because, as he has explained, the eight core musicians — known as The Next Step — are his early childhood friends. They grew up together in South Central Los Angeles. Each one of them has projects, but they frequently come together to play events. Kamasi was a significant part of albums released by Flying Lotus and Kendrick Lamar this year.
This collective is more a gathering of bonded musical souls, which is evident on Kamasi’s record, The Epic. Hearing them come together live is a spirit-raising musical elixir. It’s a free expression of sound and energy embodied in jazz but traversing through funk, rock, acid jazz, classical and global music. It is performed by some of the best young musicians in Los Angeles.
The eight-piece string section — violins, violas and cellos — was led by multi-instrumentalist, arranger, composer and producer, Miguel Atwood Ferguson. Behind them was an eight-voice chorus, one of them coming from Nia Andrews. The stage was also populated with a disc jockey, drummers Tony Austin and Ronald Bruner Jr., Stephen “Thundercat” Bruner on electric bass, Miles Mosely on upright bass, Brandon Coleman on keyboard, Cameron Graves on piano, Ryan Porter on trombone, Rickey Washington on sax and flute, Dante Winslow on trumpet, and the vocals of Patrice Quinn.
And, those crutches? Washington offered a cartoonish account of the event then afterward, he joked, “That sounds better than ‘I tripped and fell on a cobblestone street.”
Washington propped his leg on a stool as he opened with “Change of the Guard,” one of 17 songs on his new recording, and it sounded just like the record, enhanced times 10. The audience signaled approval with bopping heads and raised hands.
Despite the number of instruments making music, the mix allowed each player to be heard distinctly, especially Washington. Anyone who’s heard him knows how his horn can pervade a room. He blows so powerfully the music seems to course through you. But his is not just a loud horn. Washington’s sax has a large, beautiful tone. His projection is vigorous, potent and intense, somehow grabbing more of your attention, although you thought you had given it to him fully.
Backed up with not only an orchestra but a chorus felt like riding ocean waves, buoyed by beautiful chords, scales and changes filling the atmosphere.
Henrietta Our Hero followed. Patrice Quinn has a voice of velvet. Washington wrote the song for his grandmother, and this rendition featured his father, Rickey Washington, on flute. Quinn captures the deep respect this composer has for his elder as she sang,
Can I tell you a story
Of a lady, so near
From her battles alone with love.
Had no armor, no weapons,
No desire to flee.
But a power so deep inside,
Brings life to us all
Henrietta our hero shining fearless and bright
Can you see her?
Her light is here.
This band of players is generous, openly sharing the spotlight. Cameron Graves on keyboard followed with his own number called, The End of Corporatism. The funky number blended orchestra, synthesizer and vocals starting with powerful staccato beats. It morphed into a psychedelic vibe reminiscent of Edgar Winters’ Frankenstein then transformed again into exotic sounds, as if the band were speaking another language, foreign, funky and free, and entirely as one.
A masterful combination closed the first set. A live DJ spun with a bass and clap as the band provided a back beat of rousing funk. Floating above it all, a crystal clear, passionate, flamenco stylized viola was featured.
This is where tonal vibrations arise from the stage. In our interview this summer in RL, Washington described moments like this, of freedom that The Next Step has when they perform together.
In the second set, special guest Terrace Martin on alto sax joined the band, performing For Free off Kendrick Lamar’s To Pimp a Butterfly.
Washington took a moment to talk about To Pimp a Butterfly. He remarked on how blown away he is by all of his friend’s talent right before featuring a wickedly funky solo with Miles Mosely on upright bass. Mosely, using his hands on the bass this time, transformed that upright into a rough and raw electric guitar.
This was followed by The Epic’s The Magnificent Seven opening with a long interlude from both drummers. Austin on the right, Bruner on the left played simultaneously, first in a call and response followed by perfectly timed synchronization. We were immersed in surround sound, as if the two were one amazingly powerful set of drums.
Closing with the beautiful number, The Rhythm Changes, Washington began with a solo, Graves followed on piano. Quinn’s vocals radiated the captivation expressed in this song. The lyrics soothe and inspire. If one wonders what or who Washington is talking about in this number, could it simply be, the rhythm?
Our minds, our bodies, our feelings
They change, they alter, they leave us
Somehow, no matter what happens
I’m here.
The time, the season, the weather
The song, the music, the rhythm
It seems, no matter what happens
I’m here.
Details: www.kamasiwashington.