Harmony of Difference

At the end of the video for Kamasi Washington’s new single, “Truth,” the words “Harmony of Difference” flash across the screen.  All of our fundamental truths are different, yet they are interconnected.  These are still capital-T Truths, inalienable Truths that - while expressed and manifested in different forms - form the basis of what humans need to be part of the world and to make sense of the beautiful, disastrous and chaotic time we live in.

“Truth” is Art in the Age of Mechanical Reproduction.  We cannot ascertain its aura from the spliced montage of scenes, separate events that connect into one grand scheme.  This interconnectedness is unclear from the get-go; with a lack of narration and an absence of words or text (except for the final shot) the viewer must search for the meaning within the video’s 14:15 duration.  That’s the tricky part about truth anyway; it’s something we have to search for, something gleaned through experience and engagement, not presented as dictated facts.  

“Truth” is a steady build, yet never lacks momentum.  The two-and-a-half minute wait for Washington’s saxophone melody to cut through the rhythm section riff is designed to acquaint the viewer/listener with the tune’s religiosity.  For “Truth” is a religious experience, a sermon of shared and singular spirituality.  In “Truth,” we see all forms of religion manifested, from the healing powers of a women’s prayer group to the communion experienced between two street fighters in the barrio, each move of theirs choreographed as an offering to powers greater their physical experience.  We see baptism in the opening scene, where a young boy - standing on a carpet in his living room while his mother looks on - splashes his face with water.  We see baptism in the closing scenes, where a young man wearing raw denim purifies himself in the ocean, evoking the manner in which the head is dunked in the baptismal font.  We are not all religious, but we all seek out these fundamental experiences - no matter their shape or form - based on human need.

Washington’s bright yet round tone is pure jazz, while his lyrical soloing is rooted in the soul tradition.  The ensemble tightens up as Kamasi blows and relies on a series of octave-based patterns reminiscent of the solo language from ‘80s pop hits.  Washington doesn’t steal his stylings from Michael Brecker or Phil Woods, however; he is an individualist, with the wisdom of the teacher and the charisma of the preacher.  While Washington’s knowledge of jazz is deep, he has brought new listeners to jazz because his solos are lyrical and singable, thus relatable and spreadable in an age where the artist’s value comes from their ability to distill complex ideas into approachable fragments.

“Truth” is abstract.  We cannot describe it, yet we can sense it.  “Truth” is far away, something we cannot touch but that we can make sense of through keen observation.  The title of George Duke’s 1975 album The Aura Will Prevail said it all, even with the impossibility of capturing it through mechanical reproduction.  To view “Truth” is to understand this aura and forces us to ferret out its essence by connecting the separate scenes of the montage together, which validate each individual’s or group’s truths as an inalienable part of capital-T Truths we all hold dear.  For “Truth” is spiritual and is a communion of all peoples throughout the world in an age where we need to feel more whole - and more part of a whole - than ever.