Kamasi Washington - Heaven and Earth

[JSngry]

It’s the digital age, consonantal redundancies fazing out.

[kh1958]

He's playing in Dallas and Houston for the first time on September 29 and 30; however, when you click on the ticket link from his website, you find a link to a concert of Florence and the Machine. Apparently he is the opening act, but you have to click a couple of times to find that buried information. Given that tickets with a seat are $100, I'm skipping it.

[Hot Ptah]

I was thinking about this some more. Kamasi Washington is not mining an area of pop music in a cynical fashion. I am surprised that his music has gained any audience.

What a lot of his music sounds like to me is an early 1970s Pharoah Sanders album with strings and a chorus added. Kamasi is not as good as Pharoah at playing the saxophone. Some of Kamasi’s sidemen are quite good though.

in this era of dance-pop with electronic backgrounds, country/pop, and rap, it is NOT a commercialized move to resurrect the spiritual jazz of the early 1970s and add strings and choruses to it.

in fact, I can hardly think of a less likely way to build an audience today.

To me, Kamasi has had a very flukish lucky break, and there is no need to be mean to him or attack him.

 

 

 

 

5 minutes ago, kh1958 said:

He's playing in Dallas and Houston for the first time on September 29 and 30; however, when you click on the ticket link from his website, you find a link to a concert of Florence and the Machine. Apparently he is the opening act, but you have to click a couple of times to find that buried information. Given that tickets with a seat are $100, I'm skipping it.

That is a very medium level price for a pop concert these days. I suspect that much of the audience will not be in the venue for Kamasi’s opening set, or that they will ignore it if they happen to be there.

Edited July 15, 2018 by Hot Ptah

[Ken Dryden]

What I find strange is when jazz journalists hop on the bandwagon of a new artist and then some of them imply you are unworthy if you don't join the crowd. One veteran writer made such a gripe about fellow writers during the annual JJA poll who omitted Nicole Mitchell from their annual nominating ballots. I reminded him that unless one is serviced by every label or artist, it is hard to justify voting for someone one hasn't heard or investing in their music. I don't make a habit of constantly researching unfamiliar music online, as I have a huge backlog of music awaiting an initial hearing, there aren't enough hours in the day even though I've been retired from full time work for over three years. To this day I've yet to receive any of Kamasi Washington's releases and from what I've read I probably would not be interested in any of them.

That said, I don't begrudge anyone who enjoy's Kamasi's music and champions him as among the best on his instrument.

 

Edited July 16, 2018 by Ken Dryden
Fixed typos

[Scott Dolan]

I personally find the whole damned thing to be much ado about nothing. 

I’ve heard his work. He’s a talented cat, but his music isn’t for me. 

I don’t feel the need to trash him, or his audience. 

Reminds me of people trashing Wynton because of the way he was propped up in the industry. 

Oh well. 

[Hot Ptah]

7 hours ago, Ken Dryden said:

What I find strange is when jazz journalists hop on the bandwagon of a new artist and then some of them imply you are unworthy if you don't join the crowd. One veteran writer made such a gripe about fellow writers during the annual JJA poll who omitted Nicole Mitchell from their annual nominating ballots. I reminded him that unless one is serviced by every label or artist, it is hard to justify voting for someone one hasn't heard or investing in their music. I don't make a habit of constantly researching unfamiliar music online, as I have a huge backlog of music awaiting an initial hearing, there aren't enough hours in the day even though I've been retired from full time work for over three years. To this day I've yet to receive any of Kamasi Washington's releases and from what I've read I probably would not be interested in any of them.

That said, I don't begrudge anyone who enjoy's Kamasi's music and champions him as among the best on his instrument.

 

This post makes an interesting point.

There is Kamasi and his music. Then there is a different topic, jazz journalists’ reactions to his music.

Are we discussing his music itself, or are we discussing journalists’ reactions to his music?

From what I can tell, I am the only one who has posted on this thread who has actually listened to all of his albums many times. 

[Kevin Bresnahan]

16 hours ago, Ken Dryden said:

What I find strange is when jazz journalists hop on the bandwagon of a new artist and then some of them imply you are unworthy if you don't join the crowd. One veteran writer made such a gripe about fellow writers during the annual JJA poll who omitted Nicole Mitchell from their annual nominating ballots. I reminded him that unless one is serviced by every label or artist, it is hard to justify voting for someone one hasn't heard or investing in their music. I don't make a habit of constantly researching unfamiliar music online, as I have a huge backlog of music awaiting an initial hearing, there aren't enough hours in the day even though I've been retired from full time work for over three years. To this day I've yet to receive any of Kamasi Washington's releases and from what I've read I probably would not be interested in any of them.

That said, I don't begrudge anyone who enjoy's Kamasi's music and champions him as among the best on his instrument.

 

Looking at this DownBeat's annual Critic's Poll for Album Of The Year ( http://www.downbeat.com/digitaledition/2018/DB1808_CriticsPoll/_art/DB1808_CriticsPoll.pdf ), I would go one step further - it's seems as if many of today's critics only vote for a new recording if it's new and/or unusual. Straight-ahead Jazz does not seem to get much critical acclaim, certainly not at the "voting booth". My favorite Jazz label today is Smoke Sessions Records. Even though they put out several 4 & 5 star rated sessions this past year, not one of them made it into the critic's top 25 or 50 or whatever it is. The label was completely ignored.

[Scott Dolan]

1 hour ago, Kevin Bresnahan said:

Looking at this DownBeat's annual Critic's Poll for Album Of The Year ( http://www.downbeat.com/digitaledition/2018/DB1808_CriticsPoll/_art/DB1808_CriticsPoll.pdf ), I would go one step further - it's seems as if many of today's critics only vote for a new recording if it's new and/or unusual. Straight-ahead Jazz does not seem to get much critical acclaim, certainly not at the "voting booth". My favorite Jazz label today is Smoke Sessions Records. Even though they put out several 4 & 5 star rated sessions this past year, not one of them made it into the critic's top 25 or 50 or whatever it is. The label was completely ignored.

That’s odd. I kinda get the opposite feeling. Aside from the outstanding Jaimie Branch album (which I would have put at number one on this list), most of that stuff is pretty straight-ahead fare, is it not? 

I’ve certainy heard a lot of fantastic Free Improv albums this year, and none of them showed up, again, aside from the Branch album. 

What are some of your favorite Smoke Sessions albums? I can’t say for certain whether I’ve heard anything from that label. 

[Kevin Bresnahan]

Just going buy what could have made this year's poll, Harold Mabern's "To Love And Be Loved", which was issued late last year, is very very good. It's certainly my favorite recording of the past year. A "making of" video here:

Recently, Smoke Sessions issued a recording by Buster Williams, "Audacity", that's getting good reviews. I don't own it yet, but I've heard a few tracks. Here's one:

Peter Berstein's "Signs Live", which may fall outside outside of this poll's view (issued in late july 2017), is also a great recording.

And finally, Renee Rosnes' "Beloved Of The Sky", while not one of her best dates, is certainly worthy of mention. It's garnered several 5 star reviews across the web, but DB only gave it 3 or 4.

Enough hijacking poor Mr. Washington's thread....

[Guy Berger]

51 minutes ago, Scott Dolan said:

That’s odd. I kinda get the opposite feeling. Aside from the outstanding Jaimie Branch album (which I would have put at number one on this list), most of that stuff is pretty straight-ahead fare, is it not? 

I’ve certainy heard a lot of fantastic Free Improv albums this year, and none of them showed up, again, aside from the Branch album. 

Depends on what you call straight-ahead.  You're right - there isn't a lot of hard-core avant-garde stuff on there.  But there also isn't a lot of stuff that would have been considered "mainstream" in pre-1960 jazz.

[Hot Ptah]

Does anyone take the Down Beat Critics Poll seriously? I gave up on it literally decades ago. I do not have any reaction to any of the choices in the Down Beat Critics' Poll, because I have long thought that it was pretty much a joke.

 

Edited July 16, 2018 by Hot Ptah

[Scott Dolan]

9 minutes ago, Guy Berger said:

Depends on what you call straight-ahead.  You're right - there isn't a lot of hard-core avant-garde stuff on there.  But there also isn't a lot of stuff that would have been considered "mainstream" in pre-1960 jazz.

OK, I get what you’re saying. 

And thanks, Kevin. I’m going to give all of those a spin. 

[Kevin Bresnahan]

28 minutes ago, Scott Dolan said:

OK, I get what you’re saying. 

And thanks, Kevin. I’m going to give all of those a spin. 

If you're an Amazon Prime member, most of the Smoke Sessions catalog is free to stream.

[Scott Dolan]

22 minutes ago, Kevin Bresnahan said:

If you're an Amazon Prime member, most of the Smoke Sessions catalog is free to stream.

Thanks, but no need. I’ve already found all four of them on Apple Music.  

[Kevin Bresnahan]

See if they have Bobby Watson's "Made In America" listed there. Another nice Smoke Sessions recording that would've been eligible for this poll but was ignored. While I like Bobby's older stuff a bit more, this is well worth spinning at least once.

[kh1958]

Also, both Heads of State Smoke  Sessions releases are good.

[Scott Dolan]

They do, Kevin. 

Currently enjoying the Mabern set. Alexander is a really good tenor man. 

[felser]

Picked up the Washington and listed through it today - really enjoyed it.  Getting to the hidden disc was a pain - what dumb packaging!

[Hot Ptah]

7 hours ago, felser said:

Picked up the Washington and listed through it today - really enjoyed it.  Getting to the hidden disc was a pain - what dumb packaging!

I am glad that you listened to it and gave it a chance.

[Hot Ptah]

If Kamasi Washington is reaping some shower of great fortune due to unwarranted good critical publicity, you can;'t tell it in Kansas City. I just found out from an email from another Organissimo forum member, that Kamasi Washington is coming to Kansas City for the first time, on Monday night, October 29, at The Truman.

The Truman is a 1,400 seat "standing room only" alternative rock club, which usually features rock bands which I have never heard of, the underground rock bands of very limited popularity. .

I have never been to The Truman.  From the outside, It looks like a run down little building in an old industrial area. Tickets were $32 each. There has been no publicity for the concert that I am aware of.

This is hardly a bonanza of good fortune for our man Kamasi.

[JSngry]

Do you know where he’s booked both before and after the KC gig? It could be that this is an otherwise “in between” night booking taken because it’s almost always better to gig than to not gig.

[medjuck]

https://www.kamasiwashington.com/tour/    Doesn't look like he's doing badly.   

[jlhoots]

I'm too old to STAND for this type of "show".

[erwbol]

AUG 6

 

MON

Openluchttheater Caprera Bloemendaal

Bloemendaal, Netherlands

 

 

Next to Haarlem. Looks like a nice place for a concert, but €41 for a ticket is too expensive, I think.

 

 

Edited July 26, 2018 by erwbol

[Hot Ptah]

12 hours ago, JSngry said:

Do you know where he’s booked both before and after the KC gig? It could be that this is an otherwise “in between” night booking taken because it’s almost always better to gig than to not gig.

Good point. Checking the schedule it looks like he is playing in college towns before and after (where the University of Colorado and University of Iowa are located). 

His touring schedule looks impressive. I wonder if he is the opening act st some of the larger venues?

Speaking of in between night bookings, Milwaukee has a jazz club in the late 1970s and early 1980s, the Jazz Gallery, which presentsd only “in between” gigs by touring jazz groups. There really wasn’t enough of a jazz audience in the city to support major venue jazz concerts, but artists would play there at this small club on a weeknight, to small and enthusiastic audiences.  Some of the artists I saw there on weeknights were Sam Rivers, Anthony Braxton (solo alto sax), Muhal Richard Abrams Trio, Joe Pass (solo guitar), McCoy Tyner, Clifford Jordan/Barry Harris, Bobby Hutcherson, Art Blakey and the Jazz Messengers.