Open Season Presents Kamasi Washington

12th Jun 2025

QPAC Concert Hall

 

Dr Gemma Regan

Washington and his ensemble were superb with a unique hip hop spin on BeBop funky jazz

 

2025’s Open Season’s Music for Brisbane heated up the chilly evening at the QPAC Concert Hall with Emmy and two-time Grammy nominated jazz legend Kamasi Washington mellowing the audience with his 7-piece ensemble for an eclectic night to remember. 

 

Washington founded the funky jazz supergroup Dinner Party, and the West Coast Get Down Collective, some of whom were playing in the concert. He even composed the score for Michelle Obama's documentary Becoming and has worked with jazz legends Kendrick Lamar and Herbie Hancock. He also recently composed the score for the 2025 Japanese anime television series Lazarus, directed by Shinichirō Watanabe, an idol of Washington.

 

There was an eclectic mix of soul, jazz and hip-hop as he played a selection of songs from his highly acclaimed fifth studio album, Fearless Movement, released in 2024 to showcase the individual musicians of the collective. “We’re all born elastic, and if you don’t use it, you lose it”, serving as a metaphor for musical flexibility. “The dance album is not literal,” Washington said. “Dance is movement and expression, and in a way, it’s the same thing as music, expressing your spirit through your body.” 

 

The album was also highly influenced by the birth of his first daughter, who is now four and enjoys playing her piano for her Daddy. In Asha the First, Washington used the 10-note melody composed by his daughter to create a jazzy disco piece highlighting the piano skills of Brandon Coleman, accompanied by a 90’s hip-hop scratched jive from DJ Battlecat.

 

Washington’s incredible virtuosity on the tenor sax was unique and vibrant, much like the orange patterned kimono he wore. His incredible solos could only be matched by his father, Rickey Washington, on the flute and saxophone. 

 

Washington introduced the BeBop electronic piece Lie in Memory as “stuff you don’t want to do” from his new Lazarus soundtrack, which featured a lovely flute solo from his father and a rocking drum solo from Tony Austin. Singer Patrice Quinn provided husky vocals on a few of the tracks, although the sound mix was not loud enough to do her voice justice.

 

Each musician was superb when they took turns free-forming with the three-minute songs, combining DJ Battlecat’s hip-hop scratching with voluminous jazz BeBop. The red beret-wearing Miles Mosley was superb on the double bass, slapping, plucking and bowing up a storm to the delight of all. Lazarus was a musical highlight of the show, although it seemed more commercial, with less free-form riffing than many of the other songs.

 

Washington and his collective are an impressive addition to the jazz arena of Herbie Hancock and the Jazz at Lincoln Centre Orchestra, with their squelchy genre of contemporary jazz, funky soul and 90’s hip hop.