A rounded, general definition of a “mercurial” talent goes something like this: an individual, often in sports or arts, possessing brilliant, high-level skills that are unpredictably changeable, inconsistent, or volatile. If we take this one at face value – and drop the inconsistent or volatile descriptors – we might get close to getting a picture of what Shabaka, who now moves mononymously after years carving such an undeniable groove in the UK jazz scene that his last name Hutchings isn’t necessarily needed.
With all that he has done so far, all the instruments and musical genres he has tried on, all the groups he has or still plays in (Sons of Kemet, The Comet Is Coming, Shabaka and the Ancestors), the collaborators he worked with, and what he has done solo so far, you’d have to say Shabaka is both a brilliant talent and unpredictably changeable. His latest, second solo album, Of The Earth, goes a long way to prove it.
One thing nobody can take away from Shabaka is his instrumental versatility and the ability to seamlessly combine different musical genres and concepts. Starting out in his youth by studying classical clarinet, he switched to saxophone – the instrument for which he has become most renowned – and than added flute, percussion, electronics, and has become a producer of desire in the underbelly of modern hip-hop.
While for his solo record, 2024’s Perceive Its Beauty, Acknowledge Its Grace, he practically abandoned the saxophone, on Of The Earth he returns to it and the natural connection between man and brass is still true – as if he had never left it aside – right from the opening “Future Untold”. At the same time, his proficiency and creativity on the flute is now at the level as if he has played it since his early childhood, bringing years of study of techniques from around the world – most notably Japan – to tracks like “Those Of The Sky” and “Dance In Praise”.
His use of electronic elements, used to subtly imbue most tracks and sometimes to form the core of others like “Go Astray”, also display his natural touch and feel. Whether it is the use of the Koala sampler or atmospheric layers, they sit perfectly between his melodic prowess and hypnotic percussion that canters, struts and gallops as necessary to meet and augment his instrumentals.
While his use of hip-hop elements has already been present in his music, here he adds his own voice in a commanding, sermon-like rap on “Go Astray” and the closing “Eyes Lowered”, his characteristic voice leaves no doubt that there is plenty of scope for more vocal tracks in his future repertoire.
Throughout the album Shabaka employs ample doses of inventiveness and intricacy that make Of The Earth one of true musical accomplishments so far this year.
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