The trial of the Tiny Desk is not one to be taken lightly. The allure of its intimate setting can equally prove a threat as artists either try and squeeze musicians in the “tiny” space or make the difficult decision of who to cut from the cast. Perhaps unsurprisingly, when Kamasi Washington and co. took to the stage (or desk, now not so tiny) late last month, they rose to, nay, obliterated the challenge.
It is difficult to appreciate a live performance when you are not present, feeding on the energy that the musicians are handing out, and in turn providing them with the sustenance and support to explore their musical potential. However, from the first breath of the opening tune Lesanu, it was clear with this performance that Washington and his exemplary band (including his father Rickey Washington, on flute and soprano sax) were there to provide all the energy.
As with all of Washington’s projects, each piece felt intentionally placed to take you through the highs and lows of the performance. That is why you have got to watch it from start to finish. No skips. Although… if you are to skip to a particular piece, the closing number – ironically, Asha the First – has to be where you jump in. Exemplifying a powerful blend of electronic and acoustic sounds, this number has everything that you could ask from the band. You can hear this from the outset; the scratch sequence from DJ Battlecat blends so seamlessly into the emphatic continuation of the song by the live band. Perhaps even more notable (for me at least) is the aggressively bowed double bass solo. Hearing the double bass occupy such a large space in its solo was like nothing I have heard. The use of an envelope filter and/or overdrive provides a timbral identity somewhat akin to Tom Morello, if that is at all useful in helping you imagine (just listen to it!).
Patrice Quinn’s vocals and stage delivery on The Rhythm Changes cannot be described as anything but spiritual. Partiality is admittedly out of the window with this one, as this number is by far my favourite from his 2015 album The Epic. That being said, it cannot be ignored that she really sells the story here. Even as I write this, her voice steals my attention. I think I will just leave it there for you to experience yourself.
Needless to say, Washington and his band managed to fit a colossal sound on such a small stage. If this is what he can do with NPR’s Tiny desk, played through my computer screen, then I cannot wait to hear what he does with the space available at Sage One, The Glasshouse International Centre for Music, this coming April. Expect a twenty-page review for that one. That is if I am not speechless.
Waxing Lyrical 