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- Summary: The fifth full-length studio release from jazz saxophonist Kamasi Washington features guest appearances by Andre 3000, Ras Austin, Taj Austin, George Clinton, Brandon Coleman, D Smoke, DJ Battlecat, Terrace Martin, Patrice Quinn, and Thundercat.
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- Record Label: Young
- Genre(s): Jazz
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Score distribution:
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Positive: 15 out of 15
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Mixed: 0 out of 15
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Negative: 0 out of 15
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Apr 30, 2024Ultimately, Fearless Movement bolsters Washington’s prowess as a jazz bandleader engaged in cultural and musical curation. Rather than transforming the actual language of composition or harmony or improvisation, he stacks his influences and relationships to form an ensemble sound that is monumental, and thoroughly his own. In or out of jazz, that means so much.
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Apr 30, 2024On this latest opus, Washington and company are a tightened-drum of an ensemble that effortlessly flit between an intense focus and a playful freedom, and the results are stunning.
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May 7, 2024With Fearless Movement, his third great record in a row, Washington once again demonstrates his commitment to innovation, cementing his place in the great jazz canon. He’s reigned in the runtime, but the ambitions remain.
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May 2, 2024‘Fearless Movement’ feels like more of a personal piece than ‘Heaven and Earth’, leaning more towards humanism than the spiritualism that has so enraptured Washington in the past. The key to his appeal, though, remains unchanged; he makes music that’s apparently limitless in scope and yet joyously immediate, even to the casual jazz listener.
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May 3, 2024Bereavements and recent fatherhood have led Washington to ponder mortality. But there is little dread in these 12 rich and versatile tracks, which touch sensually on Zapp’s Computer Love and examine the Road to Self via a 13-minute workout.
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May 2, 2024t's ultimately perhaps telling that the most compelling departures from set templates are more naturally aligned with the territory of Washington’s past triumphs.
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May 7, 2024Fearless Movement’s first half is filled with guest vocalists delivering songs that attempt awkwardly to be soundtracks for both revelry and deep contemplation. The album gets better when it dispenses with its noncommittal relationship to party music, freeing Washington to pursue the heroic high drama that’s still his strong suit.