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Soweto Kinch: A Singular Jazz Odyssey

David Burke By

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"And then another level at which you can just be like, 'I've seen the interaction between what the bass is doing there and the fact the song's called "Seven"—that's interesting.'

"And it might just lead to the sorts of reflections that lead to—I don't want to sound too grandiose—expand our consciousness at some level, make us think of broader shapes and trends beyond the binary.

"If there's a political intention behind the album, it's that being organised into such binary worlds and looking ourselves in the world—white versus black, good versus evil, man versus woman—I really think it's important to zoom out and consider meditation, shape and geometry, things that connect all humans when they hear and see them.

"It also spun out of reflections I was having after The Legend of Mike Smith. If there's a dark side of the record industry, and they know how to manipulate sounds, to keep you on edge, to keep you consuming or buying, what's the obverse of that? If I'm a jazz musician, or just an explorer of sound, then how can I find the things that heal if there is division? Can I find the things that inspire people?"

And it's fair to say that, thus far in his jazz odyssey, Kinch remains an inspirational tour de force very much in the vein of his early mentors Marsalis, Gaines and Crosby.

Photo credit: Dylan Burke

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