Is there anybody who’s done more to make jazz hip again in the past decade than Kamasi Washington? A virtuoso saxophonist, composer and bandleader, Washington has consistently blurred genre boundaries—fusing jazz with hip-hop, soul and funk—to chart a course that resonates with both modern audiences and purist aficionados alike. He counts Snoop Dogg, Lauryn Hill and Brainfeeder label boss Flying Lotus among his collaborators, and earned a prominent shout-out on Kendrick Lamar’s recent US #1 hit “squabble up”. Since the crossover success of his 2015 triple album The Epic, Washington has continued expanding his repertoire—scoring documentaries such as Michelle Obama’s Becoming in 2020, and delivering electrifying live shows that headline festival bills around the globe.
This month, Washington is back in Australia—performing at Vivid Sydney and headlining concerts in Melbourne and Brisbane—in support of not one but two freshly released albums. His current tour features an eight-piece band that includes longtime collaborators, new vocalists and a special appearance by his father, Rickey Washington. Ahead of the Sydney show, Washington spoke to Andrew Ford on The Music Show about composing for the upcoming anime series Lazarus, the inspiration behind his 2024 album Fearless Movement, and what he’s learned from playing alongside his daughter Asha.
Early Influences and UCLA Roots
Born and raised in Los Angeles, Kamasi Washington first made a name for himself as part of The Young Jazz Giants—a UCLA-based ensemble that also featured saxophonist-rapper-producer Terrace Martin, drummer Ronald Bruner Jr., and bassist Stephen “Thundercat” Bruner. It was in that crucible of young talent that Washington honed his sonic palette, drawing from the city’s diverse musical tapestry. “We were all around 19 or 20,” he recalls. “We’d stay up late, just playing, experimenting with everything from John Coltrane to Prince. It was a schooling like no other.”
Washington’s family has always been deeply musical. His father, Rickey Washington, a flute and soprano saxophone player, nurtured Kamasi’s early growth—often performing gospel and jazz gigs around Los Angeles. Now, decades later, Rickey joins Kamasi on tour, bringing a sense of multigenerational chemistry to the live show. “My dad has been playing with me since I was a kid,” Kamasi says with a laugh. “He’s that compass I always come back to—he just hears things in a way that reminds me where I came from.”
From The Epic to Worldwide Acclaim
Washington first burst onto global consciousness with The Epic in 2015—a sprawling, three-disc odyssey that skyrocketed to critical acclaim and commercial success. Featuring improvised passages, choral arrangements and searing saxophone solos, the album bridged the gap between jazz tradition and contemporary sensibilities. Collaborations with Snoop Dogg on “Let’s Go Get Stoned” and Flying Lotus on “Pomptina” showcased Washington’s ability to fluidly navigate genre-crossing terrain.
Following The Epic, Washington continued building his body of work—scoring documentaries (including his contribution to Becoming), collaborating with hip-hop artists, and forming the supergroup Dinner Party with pianist Robert Glasper, producer 9th Wonder and multi-instrumentalist Terrace Martin. Yet even as he expanded his creative portfolio, he remained dedicated to live performance. “For me, nothing replaces playing in front of an audience,” he explains. “It’s where everything feels alive—from the solos to the interaction with the crowd.”
“Fearless Movement”: A Dance Album with a Personal Touch
In 2024, Washington released Fearless Movement, an album he describes as a “dance record”—a tribute to rhythm, movement and communal celebration. Recorded with an ensemble of eight talented musicians, the album features an eclectic mix of guest artists: funk legend George Clinton and rapper D Smoke appear on the strutting opener “Get Lit”, while Outkast’s André 3000 contributes flute work to the evocative “Dream State”.
At the album’s core is Washington’s daughter, Asha, now four years old. In 2022, he discovered his then-two-year-old drawing out a simple melody on the piano each morning. “She would just sit there, playing the same notes over and over,” Kamasi recalls. “It was like she discovered she could ‘talk’ to the instrument. I recorded it, added harmony and lyrics, and that became ‘Asha The First’—her co-writing credit.” The track finds twin MCs Taj and Ras Austin weaving intricate rap verses over a shifting meter, while Asha’s original motif provides the guiding thread. “With rap, you often hear loops,” Washington says. “But with Taj and Ras, I wanted them to flow over a band that was alive—growing and expanding. They nailed it.”
Fearless Movement also showcases Washington’s love for genre fusion. His reimagining of Zapp’s ’80s electro-funk classic “Computer Love” features DJ Battlecat playing talk box, bridging past and present funk lexicons. Meanwhile, “Prologue” pays homage to Argentine tango composer Astor Piazzolla. “I’ve been a fan of Piazzolla’s melodies for years,” Kamasi explains. “They’re so powerful—a perfect example of rebellion in music. One day, Cameron Graves (our pianist) and I were messing around with ‘Prologue (Tango Apasionado)’ while Brandon Coleman was hearing a drum-and-bass beat. Suddenly, we all thought, ‘Let’s do it like that!’” The result is a genre-bending homage that retains Piazzolla’s emotional heft while injecting contemporary grooves.
Fatherhood, Washington says, reinvigorated his musical journey. “I started playing my favourite records for Asha when she was a baby—James Brown, Coltrane, Eric Dolphy’s Out To Lunch! She’d wake up and anchor her day around that soundtrack. Watching her discover music the way I did was a reset for me.” He adds, “She drove her mum crazy playing Out To Lunch! morning and night—‘Not at breakfast time!’,” he laughs. “But those moments reminded me why I fell in love with jazz and rhythm in the first place.”
Composing for Anime: A Dream Collaboration with Shinichirō Watanabe
Earlier this year, Washington released a swift follow-up album tied to the much-anticipated anime Lazarus, directed by genre-defining filmmaker Shinichirō Watanabe. For anime fans, Watanabe’s résumé includes Cowboy Bebop—the seminal series that fused big-band jazz with futuristic noir—and Samurai Champloo, which mixed hip-hop with traditional Japanese instrumentation. Growing up in the 1990s, Washington was a dedicated anime fan, seeking out Dragon Ball Z, Ghost in the Shell and Cowboy Bebop on DVD. Those early encounters helped shape his artistic sensibility. “Seeing jazz backdrops on anime screens as a teen? That stays with you,” he says.
When approached to compose for Lazarus, Washington received only written prompts rather than finished animation. “Watanabe-san would give me storylines—like, ‘There’s a group of misfits searching for this guy but hitting roadblocks’—and asked me to write music that felt like those emotions,” Washington explains. “It was a very different process from scoring to picture. I wrote tracks independently, sent him the stems, and he cut the animation to fit.”
The result is an album of original compositions that seamlessly integrate into Lazarus’ sci-fi setting: “Vortex,” with its swirling brass and choral swells, was destined to be the main theme—until Watanabe chose to use it for a high-octane chase sequence instead. The film’s opening credits, meanwhile, feature Washington’s “Vortex (Opening Sequence)”, which underscores frenetic imagery of a pirate-like crew navigating a dystopian world. “I hadn’t seen the visuals until the show premiered,” Washington recalls. “It was thrilling to finally see how he matched my music to the story—sometimes he’d edit the music, sometimes we’d tweak the animation. It was very collaborative.”
The album also includes the titular track “Lazarus”, originally intended as the theme song. In its finished form, the piece powers a prison-break sequence, setting the tone for a story about a cure-all drug that spirals into societal collapse. “I love that Watanabe-san made choices that felt surprising,” Kamasi says. “It kept me on my toes—like, ‘Oh, that’s where he used it!’ I couldn’t ask for a better director to get my first big anime project.”
“Fearless Movement” Australian Tour: Lineup, Venues and Special Guests
This month, Washington brings his eight-piece ensemble Down Under, performing at Vivid Sydney on June 8 before headlining shows at Palais Theatre in Melbourne on June 11 and QPAC Concert Hall in Brisbane on June 12. The lineup includes:
- Kamasi Washington (Tenor Saxophone, Producer)
- Rickey Washington (Flute, Soprano Saxophone)
- Patrice Quinn (Vocals)
- Cameron Graves (Piano, Keyboards)
- Brandon Coleman (Keyboards, Electronics)
- Ronald Bruner Jr. (Drums)
- Micah Heathwood (Bass)
- DJ Battlecat (Turntables, Percussion, Talk Box)
Quinn’s vocals—heard on tracks such as “Insecure” and “Get Lit”—add a fiery edge to the live set, while Battlecat’s turntables and talk-box work bring funk authenticity and modern flair. “He’s the secret weapon,” Washington grins. “When Battlecat drops his talk box on stage, it’s like you’re in the middle of L.A.’s funk scene circa 1985.”
Louisiana-born vocalist Patrice Quinn first collaborated with Washington during a Los Angeles residency. “Her voice is so raw and soulful,” Kamasi says. “She takes these jazz-inflected melodies and just commits—like she’s singing for her life.” Meanwhile, Micah Heathwood, a longtime sideman, provides a solid rhythmic foundation alongside drummer Ronald Bruner Jr., whose dynamic style earned him a standing ovation during last year’s Coachella set.
Rickey Washington’s presence completes the familial tapestry. “My dad playing flute interludes when I solo? That’s my favourite moment of the night,” Kamasi confides. “We trade licks like we used to when I was 10.” The intergenerational rapport has become a focal point of the Australian shows—audiences have been eager to witness a father-son duo that effortlessly bridges decades of jazz tradition.
Vivid Sydney attendees will be treated to a truncated but potent set—an introduction to Washington’s sonic universe. In Melbourne and Brisbane, the full eight-piece band will explore deep cuts from Fearless Movement, selections from the Lazarus soundtrack, and fan favourites from The Epic and subsequent releases. Expect extended solos, collective improvisation and surprise guest appearances. As Washington teases, “We might slip in a little Eric Dolphy somewhere—it’s a family show, but let’s keep them guessing.”
Reactions and Anticipation
In the weeks leading up to the tour, ticket sales have soared—reflecting Australia’s long-standing appreciation for Washington’s immersive live experiences. Bluesfest audiences first encountered him in 2016, and since then, each return has seen larger venues and more enthusiastic crowds. Festival bookers have consistently pegged Washington as a must-have act for jazz and crossover lineups, from MONA FOMA to Listen Out.
Critics praise Washington’s ability to balance complex arrangements with visceral grooves. “He can shift from ethereal, cosmic textures to funk-driven breakdowns in the blink of an eye,” wrote one Melbourne arts blog. “With Fearless Movement, he cements his role as a boundary-pushing bandleader who honours jazz’s roots while leaping into uncharted territory.”
Fans on social media—particularly those who witnessed Washington’s recent performance at the New Orleans Jazz & Heritage Festival—have posted clips of him ripping a fiery soprano sax solo onstage, to which Washington quipped, “That was just us warming up.” Such lighthearted confidence only heightens anticipation for the Australian shows.
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Looking Forward: Projects on the Horizon
Even as Washington gears up for his Australian tour, his creative calendar is bustling. The Lazarus anime is set to premiere later this year, with Washington’s soundtrack already generating buzz among anime and jazz communities. Meanwhile, Washington and Dinner Party members Robert Glasper, Terrace Martin and 9th Wonder are rumored to be working on a collaborative album—though details remain under wraps.
Washington himself is exploring new sonic frontiers—experimenting with modular synthesizers, collaborating with global percussionists and developing an EP of ambient compositions. “I’ve always believed that music is a journey,” he reflects. “After twenty years in this business, I still feel like I’m just scratching the surface of what’s possible.”
Final Thoughts: Jazz’s Revival and Washington’s Legacy
In an era where musical genres often blur beyond recognition, Kamasi Washington stands as a bridge between tradition and innovation. His commitment to improvisation, community and cross-cultural dialogue has helped reintroduce jazz to younger generations—positioning it not as a relic of the past, but as a vital force that pulses at the heart of contemporary creativity.
As his Australian tour approaches, Washington’s focus remains on connection—connecting with his band, his audience and the unexpected moments that arise when music flows freely. “Every night on tour is like a new conversation,” he says. “And that’s what I love. Whether it’s my daughter’s piano melody, Watanabe-san’s anime prompts, or the energy of a Melbourne crowd—I’m always listening, always responding.”
For fans and newcomers alike, Kamasi Washington’s upcoming performances promise to be more than concerts: they are gatherings where rhythm, improvisation and fearless exploration intersect—echoing jazz’s original spirit of rebellion and renewal.
