After an absolutely stellar performance from St. Vincent with the Montreal Symphony in the Salle-Wilfrid Pelletier, I raced outside to witness my first-ever Kamasi Washington performance at the Scène TD. It was kind of a big moment for me as I’ve missed Kamasi Washington every time he has played Jazzfest and his solo Montreal shows for the last five years, and I listen to his cosmic jazz epics while writing quite frequently.
The 45-year-old jazz saxophone god was dripping in style, wearing a black kimono, and clutching his tenor saxophone like a child in awe while watching singer Patrice Quinn absolutely belt out some vocals about space and the universe. She was finishing up the 12-minute song, which really stretched into 15, “Askim,” from the 2015 album The Epic. Washington led the song to a close with a spirited saxophone squeal, which seemed to stretch out for minutes. The lungs on this man are insane.
Next was “The Pslamnist,” from my personal favourite album, Heaven and Earth, which featured live solos on trumpet by Ryan Porter, thundering Double bass from Miles Mosley, and rapid drum work by Ronald Bruner Jr. (brother of Stephen Bruner aka Thundercat). Washington’s saxophone mastery is a marvel in itself to witness, but his not-so-secret weapon is his band. Every player could easily lead their own band. Take Cameron Graves’ beat-to-beat keyboard opening with Bruner. You could joke that this is just as good as Domi and JD Beck, honestly. “Any anime fans out there?” Washington asks the crowd of 10s of thousands.
The track is “Lazarus,” a song that Washington hoped would be the opening to the newer anime by Shinichirō Watanabe, Lazarus. Instead, Watanabe chose “Vortex,” but we are feeling the monolithic “Lazarus.” The backing vocals, led by Quinn, are this track’s true formula for success. Washington’s otherworldly saxophone is also, again, unreal. Mosely also unleashed a fierce bass solo on his double bass, his fingers moving like frenzied airplanes as he switched on a phaser pedal. I’ve never seen a double bass solo actually rival one of the electric bass. Mosley is another god of his craft.
After a wonderful and extended cover of “Prologue” by the Argentinian Tango composer, Astor Piazzolla, Kamasi said he will be back in Montreal soon. This was Washington’s third Jazz Fest performance, so I have no doubt we will see him again.
Photos by Victor Diaz Lamich
