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In December 2023, Shabaka Hutchings performed at Saint John at Hackney church in London, playing a rendition of the highly regarded 1964 album A Love Supreme by John Coltrane. Despite taking a unique approach to playing this spiritually charged music, the audience responded with great enthusiasm. Instead of having a traditional group rehearsal, Hutchings sent a lengthy email to his bandmates, delving into the concept of spiritual jazz. He expresses frustration that people often use the term without truly understanding its meaning. For Hutchings, being “spirited” means having a powerful force that motivates and energizes, as opposed to feeling stuck and unmotivated. He sees the opposite of spirit as depression, which can hinder forward movement.
The narrator then continues on a lengthy, yet intriguing tangent that delves into various topics such as non-western spiritual practices, the concept of energy orientation, how indulging in “trashy TV” can impact one’s vitality, and how experiencing discomfort while on stage mirrors the discomfort we face in society as a whole.
The speaker explains that the type of jazz being played is focused on capturing and highlighting its passionate and spiritual essence. This is achieved by each individual connecting personally to the music, and collectively creating music that evokes powerful emotions. The performance had no set structure and was free-flowing, symbolizing a journey into the unknown. The speaker reflects on this experience with a smile, noting that it was a successful and enjoyable experience.
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The concept of spirit, the direction of energy, and the connection between improvisation and society have been topics of discussion that our conversation often strays into. Unfortunately, due to limitations in space, I am not able to fully reproduce these intriguing tangents. Sitting in an office near Dalston’s Vortex jazz club, every question I ask Shabaka Hutchings – a highly influential musician in the UK’s vibrant jazz scene – is met with a wealth of diverse ideas and reflections. At one point, a seemingly simple inquiry about the progression of his career prompts him to delve into his musings on artistic integrity, “dynamic reciprocity”, the cyclical nature of life, and even the story of Adam and Eve. Engaging in conversation with him is simultaneously captivating, motivational, and slightly overwhelming. I have yet to encounter a musician who has devoted such profound thought to…well, being a musician, like Shabaka Hutchings.
He has a unique mindset that has led him to surprising conclusions. For instance, he has decided that the Love Supreme concert will be his final performance as a saxophonist. He is choosing to put aside the instrument that has been the foundation of his well-respected reputation in order to focus on the flute, particularly the shakuhachi. This traditional Japanese bamboo flute, which has been around since the 16th century, requires extensive dedication and patience as it takes six months to a year just to produce a sound and seven to eight years to master the technique required for playing its repertoire. You may have heard the distinctive sound of the shakuhachi in movie soundtracks or the synthesized version of it that was popular in 80s pop music, such as Peter Gabriel’s “Sledgehammer”. However, it is not a widely used instrument in the world of jazz.
Hutchings is determined to alter this trend. His initial album, Perceive Its Beauty, Acknowledge Its Grace, which heavily features the flute, is set to debut soon. It is extraordinarily lovely, slightly enigmatic (its indirect song titles are meant to be read like poetry) and showcases an impressively talented group of collaborators, including Floating Points, Lianne La Havas, ambient icon Laraaji and André 3000 – Hutchings appeared, playing the shakuhachi, on the former Outkast member’s own recent album of flute-focused instrumentals, New Blue Sun.
Hutchings’ career has taken a sudden change in direction, moving from the renowned British jazz education program Tomorrow’s Warriors to his current prominent position in the music scene. He has been part of multiple acclaimed bands, sometimes at the same time, such as Melt Yourself Down, Sons of Kemet, the Comet Is Coming, and Shabaka and the Ancestors. However, he has either left or the bands have disbanded, with the Comet Is Coming announcing a hiatus until their return is needed by the music world.
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I am curious about the response to his decision to stop playing the saxophone. Those who are not musicians that I have spoken to seemed puzzled, thinking “You must be crazy to give it all up.” However, the key to maintaining the spark that led to your success in the first place is to follow your artistic instincts. Even though my bands, Sons of Kemet and the Comet Is Coming, have been nominated for the Mercury prize and our music is satisfying, I cannot afford to ignore my intuition. Otherwise, the music will eventually become dull. I do not want to be a performer solely recognized for my past achievements. I want people to experience the excitement in the present moment, not just reminisce about how they partied in 2018.
During the lockdown, Hutchings, a musician who appears to be energized by movement, had an unexpected idea. However, this was not the case. His work ethic was driven by the necessity to survive in the modern world as a jazz musician, even with his high fame. He expresses that this is a misconception and has caused him constant grief. Having a music-centered job requires a constant stream of opportunities, but he does not find fulfillment in constantly running around. Although he has managed to do it through sheer determination, it has been a challenging experience.
It’s an interesting phenomenon because initially, the goal in pursuing a career in music is to have a lot of performances and travel on tour. However, once you are fully immersed in it, it becomes challenging to maintain a high level of creative energy and be open to change. In my opinion, it is crucial for creativity to be able to recognize when it’s time to try something new, but when exhaustion from constant touring sets in, it’s hard to make that decision. Ultimately, you have to rely on the opinions of others, but once you reach a certain level of success, it’s inevitable that everyone will praise your music and choices. He laughs, “You can never fully trust anyone!”
According to him, he had additional tasks to complete before lockdown occurred, such as performing Aaron Copland’s Clarinet Concerto with the Britten Sinfonia, a bold chamber orchestra that has collaborated with various artists from Brad Mehldau to These New Puritans. During the extra time available due to the lockdown, he realized that he did not want to practice the etudes. This made him contemplate on what he truly wanted to practice, leading him to remember the shakuhachi flute he had purchased in Japan the year prior. He then decided to focus on learning to play the instrument instead.
He characterizes the experience as transformative, although it may seem excruciating: playing individual notes for extended periods of time, mastering a method that Hutchings likens to “spitting out rice, one grain at a time”, and building a new level of muscle endurance in his mouth. He recorded the entire process on social media, stating that it was something he had hoped his musical idols would have done when he was first starting out.
He appears to be completely fixated, not only on the shakuhachi, but on flutes in general. He expresses enthusiasm for instruments from Africa and the Middle East, as well as clay flutes from South America; he even talks about growing his own bamboo to make flutes. He claims that practicing with the shakuhachi has improved his saxophone playing, and he does not seem to have any doubts about his decision – “Not at all!” He also does not seem worried about how his audience will react. He believes that music is not about producing the same thing over and over again and becoming bigger, but rather about staying true to oneself and not becoming diluted.
Afterwards, he makes his way to the vortex to play music, with a bag of flutes hanging from his shoulder.
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I will next encounter him towards the end of February during a virtual meeting on Zoom. He is sitting outside, enjoying the sunny weather in Paraty, which is 125 miles south of Rio de Janeiro. He has been in Brazil for the past two weeks, spending time in Salvador, participating in a carnival parade in Recife, and meeting a flute maker in Maceio.
And Brazil is just his first stop, he says. He’s decided that he wants to “lift off from the sense of having a consistent base in London” and live a completely peripatetic existence instead, travelling with his partner and “about 60 flutes in all these hard cases”.
I came to understand that home is not just a physical location, but rather, what makes up the concept of home? It’s a space where one feels safe and comforted, allowing for relaxation and rejuvenation. For me, the source of rejuvenation and relaxation was returning to my musical instruments at home. Being on tour means limited access to instruments, so having them with me while travelling feels like bringing a piece of home along.
According to him, his upcoming destination is Barbados. He mentions that his mother has recently relocated there and he intends to dedicate his time to practice for 14 hours a day over the course of three weeks. His future travel plans include Mauritania, as he has developed a strong interest in their flute music, followed by Senegal and Morocco. He believes that he will be prepared to devote more consistent time in Japan, approximately two years from now, to further his skill on the shakuhachi by studying under a renowned player.
He admits it is unusual to do this while promoting a new album: leaving for a different country and getting rid of his phone in order to focus on his music. But in a sense, it’s simple: he’s attempting to find a place where he can feel inspired. “You have to mentally challenge yourself to create that atmosphere.”
According to the speaker, life is similar to most issues, including political ones. Instead of finding a solution, there is often a deadlock that requires a creative approach. However, those in positions of power seem more focused on following the same methods rather than being innovative, resulting in recurring crises. This is why the arts hold significant value – it teaches individuals about the essence of creativity. When faced with a challenge, one must step back and examine it from a different perspective rather than continuously attacking it.
Source: theguardian.com
