Over the course of his career, Ambrose Akinmusire has complicated traditional labels and categories, collaborating with artists as wide-ranging as Brad Mehldau, Kendrick Lamar, Mary Halvorson, Esperanza Spalding, Robert Glasper, and Steve Coleman. The diversity of his musicianship is also apparent in his albums as a leader, including the forthcoming on the tender spot of every calloused moment out on Blue Note Records in June.
We caught up with Akinmusire to discuss this forthcoming release, the role music can play in healing, and his memories of both Roy Hargrove and the early moments of his career at The Jazz Gallery.
The Jazz Gallery: How are you handling everything that is going on with the Coronavirus? Is it particularly motivating or demotivating you in making music?
Ambrose Akinmusire: I’m pretty self-inspired. Also, since I don’t live in New York or LA, I am used to not hearing that much music and not being inspired by my external environment. So the current pandemic does not change things for my day to day life that much. At the same time, it is forcing me to reevaluate my community and value relationships with people a little more. If we want to talk about how it has impacted me and if I know anyone who passed away, yeah. I was very close to Wallace Roney and a few other people who have died, not necessarily from COVID-19 itself, but who were sort of side-swiped from this.
TJG: Do you think the current pandemic will have on your music going forward?
AA: I think all art represents the circumstances in which it is created, even when the artist is not necessarily aware of its impact. If you look at the music before, during, and after the Vietnam War, you can sort of sense and feel the war’s impact. Same thing with World War II. It is always in the music somewhere.
TJG: You’ve significantly addressed racism and police brutality in your music. A number of reports have shown that the coronavirus has disproportionately hit people of color. Do you think this ties into some of the messages on your prior works?
AA: It does and it doesn’t. What I am trying to do is connect what is happening today with the past, both musically and socially. When people talk about racism, they have a tendency to focus on a statement like “Black Lives Matter” and treat it as a present thing. And it is, but it is also a continuation of what came before. I am interested in connecting the present to the past so that when future generations look back, they can see how they are all connected. You see the problem and a culture that is trying to find solutions to it. The important thing is to continue the narrative. Many of the same problems that existed before are still here and have never gone anywhere. Black music and black art has always been about that.
In some ways, I see my job as similar to that of a journalist. That is, to observe these things, distill them, and put them into art. To come up with a concoction that can help heal people. I also think that culturally that is how music works best. If you think about the blues, you are talking about resilience. You are taking a shitty situation and having the audacity to go forward.
TJG: To make something of it?
AA: Yeah, to have even just a pinhole of optimism in a shitty situation. It is also related to your other question of police brutality and all these things. I am really trying to find some optimism in everything. It is like the last part of the blues; you know “My baby left me and she’s not coming back. My baby left me and she’s gone forever. My baby left me but tomorrow I am going to get a new baby.” That last part is my focus.