On the eve of Valentine’s Day, the city of Miami was gifted the most loving present ever: Kamasi Washington.
Playing at the Knight Concert Hall, it was Mr. Washington’s debut show in Miami. We are not the only ones who think Kamasi Washington is one of the most important jazz artists of today. Facts. We think this dude is legit like the John Coltrane of today, yet completely himself and original. Just spiritual and out of this world. And being able to see him live in Miami was church.
We believe the last time Mr. Washington played South Florida was 2016 at the debut Okeechobee Music Festival, which might have been one of the best music festivals of this century. Look at that lineup and let’s debate it.
The Miami show was the first concert resuming the Fearless Movement Tour, which was postponed last September due to a back injury sustained by Washington. The show, in some ways, was a one-off in the States (although they are playing a festival in St. Augustine tonight), before they head to Europe and then Japan.
Sometimes Miami does not know or appreciate certain elements of culture. Sometimes Miami would rather see a cookie cutter pop-star or a middle aged deejay than refined culture. It’s that vapid, hollow influencer-based part of our DNA that bleeds fakeness, clogging up our arteries with ghost condos and shallow shills. Therefore, we were not surprised that the Kamasi Washington show did not sell out, even after local hipster party promoter Poplife (whom we love at The Jitney) stepped in to help promote the show.
Whatever. Less is more. Quality over quantity.
It was still very crowded in there.
And it was time to go to church.
Kamasi Washington in Miami
“Are your bags packed?” asked Washington, at the start of the show. “Well, all right then.”
His nine-piece band put their trays and seats in an upright position, wheels up, and away we go…
Turntablist, stand up bass, drummer, piano, keyboardist, trombone, a singer, a soprano sax / flutist and on sax Washington.
From the moment Washington took the stage, the energy was palpable. His synergy with his ensemble was evident as they effortlessly navigated complex compositions and improvisational passages, jamming and weaving a symphonic soundscape that is both sophisticated and immersive. From the jump, it was an intellectual and sensory delight.
Washington’s saxophone prowess is next level and nothing short of extraordinary. Each note imbued with emotion and mastery, like the pen of a novelist drawing the audience into the narrative of each piece. When he goes off. Woof. When he goes there. Pow. Doper than Charlie Parker’s veins. Sicker than COVID. More lit than a pyromaniac.
The setlist, featuring selections from his critically acclaimed works, highlighted his versatility and virtuosity, with intricate harmonic progressions and rhythmic ingenuity.
They played two hours, no intermission.
To be a little critical, maybe they spent too much time isolating individual solos and not enough full orchestral compositions with the full roster.
But it was a lovely show.
This article was published with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners.
