Kamasi Washington
Fearless Movement
(Young)
★★★

WITH 2015’s The Epic and then Heaven and Earth in 2018 — both triple albums! — Kamasi Washington established himself as the visionary figurehead of contemporary US jazz.

As these album titles suggest, the LA-based saxophonist and composer makes ambitious, visionary music, huge in scope and sound, taking in a myriad of genres including soul, funk and classical.

Washington has been describing Fearless Movement as a “dance record,” with commentators noting a hip-hop influence (he played on Kendrick Lamar’s 2015 To Pimp a Butterfly record). Both feel exaggerations to me, with his trademark expansive, symphonic jazz still dominating.

And while there are many interesting moments — the start of Computer Love is a deadringer for late ’50s-era Miles or Coltrane, the funky Get Lit features George Clinton on vocals — overall there feels less to distinguish the mighty Washington from his peers.

Ruth Theodore
I Am I Am
(River Rat)
★★★★★

I’M new to Ruth Theodore, and her new record confirms I’ve been missing out on something very special indeed.

Chockful of irresistible energy, I Am I Am is a dazzling set of British alt-folk. Ani DiFranco’s influence is present — Theodore has recently signed to the folk-rock icon’s Righteous Babe Records in the US.

But it’s the rapid fire street poetry of Rory McLeod which seems to provide the key inspiration, especially on the set’s two upbeat tracks — the trespassing Barbed Wire Fence and hometown drama of People People.

I’ve listened to both countless times already, the latter taking in a reunion, the Windrush scandal, protest memories and quoting Peggy Seeger lyrics.

Along with the top-quality songs, what makes the album so good is Theodore’s infectious persona and the warts and all joie de vivre that imbues her music.

Christian McBride & Edgar Meyer
But Who’s Gonna Play The Melody?
(Mark Avenue)
★★★★

WHAT a striking album this is.

US musicians and composers Christian McBride and Edgar Meyer are both masters of their chosen instrument — the double bass.

McBride is very much a jazz musician (do check out his 2020 set dedicated to African-American icons, The Movement Revisited), while Meyer has previously focussed on bluegrass and classical.

But Who’s Gonna Play The Melody? marks the first time they have played together on record, and considering it’s just the two of them playing acoustic bass (and sometimes piano) there is an improbable variety of genres and moods to get lost in.

McBride’s soulful Philly Slop is a real highlight, a slinky number that is amusingly playful. Elsewhere their take on Bill Monroe’s Tennessee Blues kicks in with some intense riffing, while the cover of Rodger and Hart’s Bewitched, Bothered and Bewildered is wonderful.