Here are the albums of new music from 2018 that grabbed me on first or second listen, then compelled repeated plays. I’m not gonna rank them except for those that achieved Top Favorite status, which I’ll save for the very end. The others are listed alphabetically by artist. (Old school style, that is — last names first where necessary!) Links to the ones I’ve previously reviewed are embedded in the album titles. But first, a graphic tease …
“There are dark parts to life. We all want to tuck our heads down and cry somewhere. But there’s a lot that’s really beautiful. It’s amazing, a blessing, that we have all these influences. That’s what this album is saying: you don’t have to be overwhelmed.” — Kamasi Washington, quoted in July 2018’s MOJO magazine.
If you take mainstream American media seriously (just once, for fun), Kamasi Washington is the latest Savior Of Jazz. Leading a vanguard of hot young musicians from South Central Los Angeles, Washington has been everywhere at once since he emerged in 2004, working in the bands Young Jazz Giants and Throttle Elevator Music, playing with R&B/hip-hop stars like Snoop Dogg and Flying Lotus, even writing string charts for Kendrick Lamar’s To Pimp a Butterfly.
In 2015, Washington unleashed his first solo statement, The Epic, and the jazz world was understandably blown away. The 3 hour, 3-CD concept album, performed by The West Coast Get Down (Washington’s 13-piece, double-rhythm section band) with strings and choir, channels the “spiritual jazz” of 1960s heroes like John Coltrane and Sun Ra into a fluid, expansive historical survey of black consciousness. One example of the man’s range and ambition: Disc Three, subtitled The Historic Repetition, whipsaws from Charlie Parker’s “Cherokee” through Claude Debussy’s “Clair de lune” to Terence Blanchard’s “Theme for Malcolm,” moving from a whisper to a scream, contentment to anguish, simplicity to maximum overdrive with seemingly effortless mastery and power.
Crossing over to a wider public, Kamasi Washington had it all, and everyone wanted him on their side (critic Greg Tate, riffing on Washington’s work with Kendrick Lamar, tagged him as “the jazz voice of Black Lives Matter”). After The Epic, the floodgates opened: Washington composed a suite for New York’s Whitney Biennial, guested across the modern musical spectrum, and toured worldwide — including a stop in Ann Arbor, where I heard his 8-piece band The Next Step live in 2016.
So when you’re on top of the heap, or in the center of the storm, where do you go next? With Heaven and Earth (only a double album — but hold that thought!) Washington makes a classic move, diving deep into a personal take on African-American spirituality, with new music informed by the gospel tradition and the blues. As he said to the British magazine Dazed:
The inspiration for that is this idea I had that the world is the way we imagine it to be, but it’s also informed by the way we experience it … The journey, you realise, is one and the same: how you imagine the world affects how you experience it. The world your mind lives in, lives in your mind.