Dwain

• Kamasi Washington’s latest release “Fearless Movement” dials the energy up with a dance and groove filled hour and a half journey. Kamasi never tends to shy away from the full-band epic shred fest and this release is no different. At times this can lead to some of the compositions getting in their own way and feeling like the album is taking us around in circles. Kamasi’s ability and prowess are without question and is on display on nearly every track here on Fearless Movement. The album also features some great additions of other artists at times and brings in many great R&B and Hip-Hop elements which help to make the album have a fun dance block-party feel to it at times. The track “Asha The First” showcases bassist Thundercat with a ripping solo as well as a great hip-hop feature from Raj Austin. Although these are both great features and I like the melody and groove on this track, it as many others on the album can feel cluttered at times and might get in their own way just a little too much at times.

• I feel as this album may leave the listeners with similar feelings to the ones I had. The music is without a doubt epic and extremely well-played but also failing to make a major impression overall. The power packed hard hitting shred sections from Kamasi are epic but may at times get a little redundant and can lead to that cluttered feeling. With all of that being said, there are some epic tracks and epic moments throughout the recording that are very deserving of praise and attention. Tunes such as “Garden Path”, “Lesanu”, and “Interstellar Peace” are unique spotlights on the album that stick in my mind whereas I sometimes feel lost in compositions such as “Road To Self” that struggle to keep me engaged.

• “Fearless Movement” is without a doubt deserving of a listen and getting to see what Kamasi brings to the table with this release. There are a lot of fun, hard-driving grooves and enjoyable tracks. Kamasi’s playing throughout the album shines through and he is undoubtedly a modern legend. This album is certainly a good album and a fun listen but in my opinion maybe shouldn’t spark album of the year conversations. I am excited to hear what Kamasi has in store for the future as I think we all are.

Overall score: 7.3/10

Max

• The epic tenacity and the many engrossing sounds of Kamasi Washington are somewhat predictable at this point. You know you’re going to get roaring sax galore mixed with cool grooves, great musicians and moments of catchy melody. The same is delivered here with Kamasi’s latest record Fearless Movement. Don’t get it wrong though; there are quite a few unexpected moments on this record, as well as a nice variety of tempos and overall feels or ‘vibes.’ He seems very comfortable and visionarily focused on this latest feat. These sonic concepts seem full and complicated, yet usually groovin’ and crystal clear at the same time. It’s great to see Kamasi recording with Thundercat on this record, along with half of all the musicians in LA (just kidding!). A laundry list of musicians collaborated on this one, but it mostly works to the music’s advantage. Once in a while, the vast array of people can be cluttering. A killer horn section is present, complete with Dontae Winslow on trumpet and Ryan Porter on bone, while Patrice Quinn delivers awesome vocals on “Computer Love” and bassists Miles Mosley, Ben Williams and Thundercat are featured nicely throughout the album. Drummer Ronald Bruner Jr. (Thundercat’s brother) is a nice touch too!

• Kamasi states that he focuses on dance and movement with this record. I get the sense that this body of work is more of a statement on movement through life, with song titles like “Dream State,” “Lines in the Sand,” and “Road to Self.” Also present are instances of spiritual emphasis and almost chant-like vocalizations, as heard in the opening track entitled “Lesanu.” Another key element are the moments of overdriven intensity in the middle of Kamasi’s sax solos, where the saxophone and its accompaniment follow one another into a driving vortex. This definitely happens in “Road to Self” and “Computer Love.” Speaking of the latter, “Computer Love” has catchy vocal lines present, as does “Lines in the Sand.” The ensemble has an overall nice take on the funk band Zapp’s “Computer Love.” The tune “Dream State” seems to have a large number of Spotify plays, as it incorporates repetitive rhythmic accompaniment, catchy bass lines and synthesized ostinatos or sounds, as well as a lengthy, somewhat soulful sax solo. It’s as if the listener is following the movement into a dream, and we hear what the dream sonically exudes as it fades out into the abyss. “Together” serves as the album’s ballad while maintaining an R&B influence. “The Garden Path” is the most straight-forward, hard-driving musical display that coalesces a lot of the important musical aspects included on this record. All 3 horns deliver awesome solos alongside an energetic backdrop, filled with inspired drum accents and lengthened, syncopated piano harmonies. “Interstellar Peace” effectively illustrates a sense of ‘being in the stars,’ almost sounding like part of a movie soundtrack. That brings me to my main critique: some tracks lend themselves more naturally to be repeatedly listened to than others. One personal, perhaps unexpected, highlight to me is “Get Lit,” a fun track featuring George Clinton and D Smoke that includes great alliterative wordplay and clean, interspersed horn lines. “Asha The First” seems a bit cluttered, yet features a killer bass solo from Thundercat along with great vocals and raps from Taj and Ras Austin. Cameron Graves and Brandon Coleman also  play a ‘key’ role on piano and keyboards throughout the album. “The Visionary” acts as an intro into the catchy “Get Lit;” yet, may seem unnecessary. “Prologue” is a nice way to end the record, featuring a hyperactive drum groove mixed with a longer-note melody and screaming trumpet. It also makes sure to end the record with one final performance of the inevitable sonic vortex that occurs on a Kamasi album, here expressed with an ultimate climax right before the 6-minute mark. The tune’s ending is not the most appealing as it ends with electronic garble and almost chair-squeaking noises.

• I commend Kamasi Washington on this latest work. It incorporates an array of emotions, grooves, feels, instrumental solos, and catchy vocal phrases. Kamasi seems right at home here, giving way to a sense of unencumbered freedom. The product seems slightly lighter and tends to breathe more than his previous releases, yet the music is also cluttered and overly busy at times. Perhaps, there are occasions of one too many percussive instruments or synth sounds. Despite these instances, I dig a lot of great moments present on Fearless Movement. There is conceptual vulnerability tied to an emphasis of motion, providing a statement on life’s many movements. While certain tracks like “The Garden Path” speak more to me than others, there is a little something here for most people. It is worth it for you to check this album out on your own; you’ll have to decide which tracks speak to you for yourself.

Overall score: 7.5/10