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In December 2023, saxophonist Shabaka Hutchings performed John Coltrane’s A Love Supreme at Saint John at Hackney church in London. Despite playing the revered text with his own unconventional style, the performance was highly praised. There was no group practice session; instead, Hutchings sent a lengthy email to his bandmates discussing the meaning of spiritual jazz. He believes that the term is often used without truly understanding its essence. To him, being “spirited” means having a force that motivates and animates a person, while the opposite – depression – leaves one feeling stuck and unable to move forward.
Afterward, he delves into a long yet captivating tangent that covers a range of topics, such as spiritual practices from non-western cultures, the concept of energy orientation, the impact of watching “trashy TV” on one’s vitality, and the correlation between pushing oneself out of their comfort zone on stage and the societal pressures we all face.
“This jazz genre aims to bring attention to and elevate the energy and spiritual vigor within the music. Rather than rehearsing extensively to perfect it, we focus on developing a personal connection to our performance and then come together to create music that uplifts. There is no specific structure or plan, just an hour of free-flowing music without any limitations or restrictions. And that, he grins, was the performance.”
The concept of inner essence, the direction of force, and the correlation between spontaneity and society: our conversation frequently delves into fascinating subjects beyond the scope of this writing, and this is not the first nor final instance. Sitting in an office near Dalston’s Vortex jazz club, Shabaka Hutchings – a highly influential figure in the vibrantly creative jazz scene of the UK – expounds upon my questions with a flurry of diverse ideas and musings. At one point, a seemingly basic inquiry about his career progress leads him to ponder upon the concepts of artistic integrity, “dynamic reciprocity”, the cyclical nature of life, and the tale of Adam and Eve. Engaging in conversation with him is simultaneously captivating, motivating, and a touch overwhelming. I have never encountered a musician who has devoted such profound contemplation to, well, being a musician as Shabaka Hutchings.
He has adopted a unique mindset that has led him to some unexpected conclusions. For instance, he has decided that the Love Supreme concert will be his final performance as a saxophonist. Despite his reputation being built on this instrument, he is choosing to focus on the flute, specifically the shakuhachi. This Japanese bamboo flute dates back to the 16th century and requires extensive time and effort to master. According to Hutchings, it takes six months to a year just to produce a sound and can take up to eight years to develop enough technique to play its repertoire. While you may recognize its sound from movie soundtracks or synthesised versions in 80s pop songs like Peter Gabriel’s “Sledgehammer,” the shakuhachi has not made much of an impact in the world of jazz.
Hutchings is determined to alter that. He is about to launch his debut album, Perceive Its Beauty, Acknowledge Its Grace, which emphasizes the flute. It is exquisitely stunning and holds an air of intrigue (its enigmatic track names are meant to be read as a poem). The album also boasts an impressive roster of featured artists, including Floating Points, Lianne La Havas, renowned ambient musician Laraaji, and hip hop star André 3000 – Hutchings recently collaborated with the former Outkast member, playing the shakuhachi, on his own album of flute instrumentals, New Blue Sun.
It also represents a dramatic left turn in a career that’s taken Hutchings from fabled British jazz education program Tomorrow’s Warriors to his current lofty position in the scene. He’s been a member or leader of a succession of lauded bands, often concurrently – Melt Yourself Down, Sons of Kemet, the Comet Is Coming, Shabaka and the Ancestors – all of which he has either departed or have now split up or, in the case of the Comet Is Coming, have announced a hiatus “until the stars align and the planet needs us”.
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I inquired about the response to his choice to stop playing the saxophone. People who are not musicians that I informed seemed to be puzzled, thinking, “You must be crazy to give that up.” However, the key to maintaining the spark that led to success in the first place is to trust your artistic instincts and follow wherever they may lead. Despite the success of his bands, Sons of Kemet and the Comet Is Coming, being nominated for the Mercury prize, if he does not follow his intuition, the music will eventually become stagnant. He does not want to become a performer who simply relies on their previous achievements, with people only attending shows to reminisce about the past.
According to Hutchings, his inspiration for the idea occurred during lockdown, a time that I assumed would be extremely frustrating for him, as a musician who seems to flourish from constant movement. However, as he explains, my assumption was incorrect. His strong work ethic is largely influenced by the need to financially support himself as a jazz musician in the modern era, despite his high profile. He explains that this is a common misconception. Contrary to popular belief, he does not thrive from constantly being on the go and it has actually caused a lot of hardship for him. He notes that in order to have a stable career in music, one must have a steady stream of opportunities. However, he does not enjoy constantly being in motion as it does not allow for true artistic rejuvenation. He has managed to make it work through sheer determination, but it has not been easy.
It’s a conundrum because when you first enter the music industry, you want a lot of performances, to be on tour, live that lifestyle. But once you’re in it, it’s challenging to maintain a high level of creativity and be open to changing directions. In my opinion, creativity is about recognizing when it’s time for something new, but constant touring can make it difficult to make that decision. You end up relying on others’ opinions, but at a certain point, everyone will just praise your music and the path you’re on. He laughs, “It’s impossible to trust anyone!”
According to the individual, he had multiple projects lined up prior to the lockdown, including a performance request to play Aaron Copland’s Clarinet Concerto with the Britten Sinfonia, a daring chamber orchestra that has collaborated with a wide range of musicians from Brad Mehldau to These New Puritans. However, during the free time that lockdown provided, he came to the realization that he did not want to practice the set etudes. Instead, he decided to focus on learning the shakuhachi flute that he had purchased the year before in Japan.
He characterizes the experience as transformative, despite its daunting nature: practicing individual notes for extensive periods of time, mastering a skill that Hutchings likens to “spitting rice out of your mouth, one grain at a time”, and building a brand new muscular strength in his mouth. He chronicled the entire process on social media, believing that “that’s what I desired my beloved musicians had done during my earlier days in the field”.
He appears to be completely fixated, not only on the shakuhachi, but on flutes in general. He is passionate about instruments from different regions such as Africa and the Middle East, as well as clay flutes from South America. He even discusses his plans to grow his own bamboo for making flutes. While he believes that practicing the shakuhachi has improved his skills on the saxophone, he shows no sign of doubt about his decision. He is not concerned about what the audience will think, stating confidently, “No, not even a little!” He understands that some may expect a repeated performance, but he sees music as an art and not a commercial product. He recognizes that while some may strive for bigger and grander things, it can often lead to a diluted version of the original.
He then goes to the Vortex to play music, carrying a bag of flutes on his shoulder.
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The following meeting with him will be towards the end of February, during a Zoom video call. I find him in bright sunlight, sitting outside in a town known as Paraty, located 125 miles south of Rio de Janeiro. He has been in Brazil for a few weeks, having spent time in Salvador, participated in a carnival parade in Recife, and visited a flute crafter in Maceio.
He has stated that Brazil is only the beginning of his travels. He has made the decision to break free from having a permanent base in London and lead a nomadic lifestyle with his partner, carrying around 60 flutes in protective cases.
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I came to understand the true meaning of home. But what exactly makes up a home? It’s a place where you feel safe and comforted, allowing you to unwind and recharge. For me, that feeling of replenishment and relaxation comes from returning to my instruments. When I’m on tour, I can’t bring all of my instruments, just a select few. Therefore, traveling with my instruments means I am bringing my home with me.
He plans to travel to Barbados next as his mother recently moved there. During his visit, he will spend 14 hours a day for three weeks practicing. After that, he has his sights set on Mauritania, where he is fascinated by the flute music. His future plans also include visiting Senegal and Morocco before returning to Japan in two years to study under a master shakuhachi player.
He admits that it may seem unusual to leave for another country and leave behind his phone while he has a new album to promote. However, in a sense, it’s actually simple: he wants to find a place where he can find inspiration. “You have to put in the mental effort to create that kind of atmosphere.”
He compares it to life, saying that in many situations, whether they be political or otherwise, a unique approach is needed to overcome a roadblock. However, those in power seem to lack concern for creativity and instead continue repeating the same actions, leading to ongoing crises. This is why the arts are crucial – they teach individuals about the essence of creativity. When confronted with a problem, one must take a step back and view it objectively. Simply attacking the problem repeatedly will not yield a solution.
Source: theguardian.com
