From picturesque Norwegian tram rides to late-night London listening sessions, Kamasi Washington’s music has soundtracked moments of stillness, heartbreak and growth for musician and radio presenter, Rowan Flack. As she traces the spiritual and emotional depth of Washington’s discography, she tells the story of how his work proved pivotal in shaping a clearer sense of her own voice and sound.
As I recall living in Norway’s Southwestern coastal city, Bergen, there is dainty, wooden houses, achingly beautiful mountains and rain – lots of rain. But amongst the countless rainy days, one memory remains vivid – the Bybanen, a tram-like transport system that winds from the airport, through the rocky suburbs into Bergen’s City Centre to the final stop, ‘Byparken’.
Looking out the window, passengers are inundated with beauty. A soft and melodic Norwegian voice recites each stop, followed by a short, sweet, atmospheric melody differing for each station. And through headphones, the soundscape is enriched by the work of American arranger, composer and saxophonist, Kamasi Washington.
The LA-born artist has four bodies of work to date—The Epic; Harmony of Difference, Heaven and Earth, and Fearless Movement as well as two albums written for film: Becoming, and Lazarus. Washington studied Ethnomusicology at UCLA, and this influence is clear to see in his playing, creating strong narratives through percussive, folkloric drum elements driving throughout the repertoire.
There is a profound level of spirituality in Washington’s playing, inspired by the masters of this field like Pharoah Sanders, Sun Ra and Alice Coltrane. Their ethereal, cosmic improvisation forms the foundation of his sound, and it is this spirituality that resonates so deeply, weaving together the soft textures of personal growth with the harsh realities of change. There is an eerie incongruence between the transcendental melodies and hard-hitting percussion, set against the silent, serene mountains on the other side of the tram’s moving glass.
- Song For The Fallen
After leaving London’s bustling jazz scene and the confines of Trinity Laban Jazz Conservatoire, the move to Scandinavia brought tall, dramatic landscapes and a wave of inspiration. Over five months, time was spent transcribing, arranging and writing vocalese to the record Belonging – by Jan Garbarek and Keith Jarrett, resulting in the creation of the EP New Light Dwelling.
I could dedicate the record to the ECM artists who inspired this first release, back in 2019, however, a part of me knows Kamasi Washington also played a significant role, providing this burst of excitement, positive inspiration.
Thrashing percussion, tear-inducing chorality of voices and total chaos, Song For The Fallen was the morning soundtrack to journeys on the Bybanen—– it brings light to my days and it’s a song I’ll never skip. It solidified the concept, that an arrangement can last if it needs, if it feels natural. In a foreign city that slowly felt like home, Kamasi’s music was more than a soundtrack — it was a companion.
- Change of the Guard
Almost ten years ago marked the beginning of a journey through jazz school. The first two years brought challenges in finding my musical identity, even in defining the kind of music—or jazz—that truly resonated. Discovering artists such as Kamasi proved pivotal in understanding in shaping a clearer sense of sound, despite his output differing greatly from my musical outcomes. Inspiration can often stem from elements far removed from one’s style, supporting an outpour of feelings. I have a vivid memory of listening to Change of The Guard whilst unpacking boxes and moving into a first shared house—a significant transitional point—echoing how spiritual jazz can resonate intensely with growth and change.
- Truth
Truth is the first song from the EP Harmony of Difference, defined in the liner notes as a “six-movement suite” exploring the concept of counterpoint. This is explored both in the music, and philosophy As cliché as it sounds, this song became the soundtrack to a long-term break-up. The leading melody line feels ever-lasting—melancholy and haunts all the right notes. Not many tracks leave an imprint the way this one has.
- Becoming
Written for the Netflix Original Documentary, Becoming, this song was released in 2020. As Washington’s first soundtrack project, it’s a masterpiece. This title track feels intimate and almost like a picnic on a bright summer day. However, the Netflix documentary offers an intimate look into the life of former First Lady Michelle Obama, sharing stories of her upbringing in Chicago, and balancing the challenges of public life with family.
- Journey
“Hallelujah, Joy Spring”—Ah. There is a sigh of release when listening to these beautiful lyrics. Washington’s transitional melodies inspire self-development and this track perfectly illustrates how lyrical content and melodic sentiment can fully align in harmony.
- Final Thought
“Final Thought” was a later discovery. It somehow got a few skips when I’d previously listened to the album, “The Epic”. However, in 2022, embarking on a journey into broadcasting, and presenting, led to producing a live show entitled Astral Travelling. Trailing back to this album, I fell in love with it all again, this track specifically. This track found its place comfortably alongside artists like Aja Monet, John Coltrane, Alice Coltrane, and even Chick Corea and although It’s arguably the most tame track on the album, its alien-like keys solo and frenetic drums still depict mayhem.
- Prologue
Moving on to Fearless Movement, Kamasi’s latest album, this track is the favourite. The energy is electric, and wouldn’t sound out of place, with festival moshers, or amongst heavy ravers. The album moves away from the dream-like space Washington used to occupy, and in line with lots of the modern 2025 jazz scene, drives a new ‘dance-led’ feel. It is almost impossible to not move your whole body to this song and becomes pretty crazy towards the end. This is saved, by the descending, saxophone lines, bringing a sense of clarity to the final head.
- Ooh Child
The Choice EP was released as an extension to his fourth studio album, Heaven and Earth, and although personally, these songs do not capture the same attention in the same way his previous albums did,they are still outstandingly beautiful pieces of work. Kamasi’s rendition of Ooh Child—originally by The Five Stairsteps—begins with a mysterious synth and bass-led intro which moves into a soft, soulful vocal performance from Steven Wayne and Matachi Nwosu, with lyrics exploring themes of liberation.
- Dream State
Dream State almost feels like a calling. This meditative improvisation by Washington and Brandon Coleman on keyboards does what it says on the tin, taking the listener into a dream-like, spiritual state. A pulsing bass underpins the atmospheric instruments for what feels like a necessary length of time, slowing down before driving back up, for the groove to settle in.
- Will You Sing
The powerful chorale of voices in the gospel-infused Will You Sing resounds in a solemn state—only to be abruptly usurped by a funk groove, in a striking contrast. As the song moves between this squelchy synth bass and Clavinet and contemplative, sacred sound, the track as a whole feels other-worldly.
As the final song on Heaven and Earth, the meaning behind the lyrics feels imperative.
“With our song one day we’ll change the world, will you sing”—The message falls back to this continuous idea flowing throughout Washington’s music—one of moving forward, of growth, of freedom and necessary change.
