Chords for The New Classics: Kamasi Washington | Rolling Stone
Tempo:
74.65 bpm
Chords used:
Bm
B
G
G#
C#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
One day I went to Tower Records in Hollywood.
I took the bus there just to get some CDs
and I found this album by John Coltrane called Transitions.
And I got that record and that's back when we all had disc men.
So I got back on the bus, opened it up, put it in my disc man,
and it just blew me away.
I was literally on the bus like
Like, ahhh!
Give me a second to warm up.
[Bm]
[F#m] The [Bm] style of jazz and the style of music that we play and that [G#] we're into
and that's really coming out of this renaissance of Los Angeles art,
[C#] it really comes from here.
[B] This area was here.
It wasn't about [Bm] money.
It was about [G#] love, you know, togetherness.
The first venue that gave us a gig was the World Stage.
You didn't come to play at the World Stage to make a bunch of money.
Lamar Park [F#] is like a village, you know, and they really supported us.
They really [B] nurtured us as young kids, you know,
because there was so much negative imagery [Bm] around about us
and everyone thought we were dangerous thugs and this and that,
but [B] they looked at us like we were little heroes
and they loved the fact that we played music
and that we were part of our lineage and our [Bm] culture.
It made us feel like we were part of something that was beautiful.
You know, [F#] as a creative person, if you don't have a space to express that,
that's why a lot of creative people are kind of [G] crazy.
If you don't get this stuff out, [C#] it'll [F] draw you funny.
[E] [Cm] [G]
[Am] I think just [G] like the world keeps turning, as a musician or as an artist,
you have to keep going, you have to keep changing.
You know, you [B] can get caught up in trying to be successful,
[A] and in that you start doing what you think you're supposed to do
instead of doing what you feel.
You have to stay real.
[G] When you learn that art [D#] shares life with other people
without you even telling them,
I don't have to necessarily tell you what I think [D] about the world,
I can just play, and how I think and how I feel
and how I understand things will just impress upon you.
Same way like when John [B] Coltrane's music did to [A#] me.
I felt like John Coltrane played to the edge of his spirit, of his being.
He was pouring out the whole bucket.
Every solo was like, it's empty.
[A#m] [G]
[Dm] [C] It's bringing music back to somewhere where it's important to people,
and it speaks to their soul and it means something to them,
and they're learning from it and growing from it
and putting it in a higher place.
I think that's that sound that we're kind of emitting from here,
is doing that, and it's opening doors for music all over the world.
I feel like as people become more open
and they put more of themselves into their music
and the fans become more involved in music,
it will have a greater impact.
And music is so powerful that as that happens,
I think we'll see, kind of like it was in the 60s,
where music is spearheading a lot of the movements of society.
I took the bus there just to get some CDs
and I found this album by John Coltrane called Transitions.
And I got that record and that's back when we all had disc men.
So I got back on the bus, opened it up, put it in my disc man,
and it just blew me away.
I was literally on the bus like
Like, ahhh!
Give me a second to warm up.
[Bm]
[F#m] The [Bm] style of jazz and the style of music that we play and that [G#] we're into
and that's really coming out of this renaissance of Los Angeles art,
[C#] it really comes from here.
[B] This area was here.
It wasn't about [Bm] money.
It was about [G#] love, you know, togetherness.
The first venue that gave us a gig was the World Stage.
You didn't come to play at the World Stage to make a bunch of money.
Lamar Park [F#] is like a village, you know, and they really supported us.
They really [B] nurtured us as young kids, you know,
because there was so much negative imagery [Bm] around about us
and everyone thought we were dangerous thugs and this and that,
but [B] they looked at us like we were little heroes
and they loved the fact that we played music
and that we were part of our lineage and our [Bm] culture.
It made us feel like we were part of something that was beautiful.
You know, [F#] as a creative person, if you don't have a space to express that,
that's why a lot of creative people are kind of [G] crazy.
If you don't get this stuff out, [C#] it'll [F] draw you funny.
[E] [Cm] [G]
[Am] I think just [G] like the world keeps turning, as a musician or as an artist,
you have to keep going, you have to keep changing.
You know, you [B] can get caught up in trying to be successful,
[A] and in that you start doing what you think you're supposed to do
instead of doing what you feel.
You have to stay real.
[G] When you learn that art [D#] shares life with other people
without you even telling them,
I don't have to necessarily tell you what I think [D] about the world,
I can just play, and how I think and how I feel
and how I understand things will just impress upon you.
Same way like when John [B] Coltrane's music did to [A#] me.
I felt like John Coltrane played to the edge of his spirit, of his being.
He was pouring out the whole bucket.
Every solo was like, it's empty.
[A#m] [G]
[Dm] [C] It's bringing music back to somewhere where it's important to people,
and it speaks to their soul and it means something to them,
and they're learning from it and growing from it
and putting it in a higher place.
I think that's that sound that we're kind of emitting from here,
is doing that, and it's opening doors for music all over the world.
I feel like as people become more open
and they put more of themselves into their music
and the fans become more involved in music,
it will have a greater impact.
And music is so powerful that as that happens,
I think we'll see, kind of like it was in the 60s,
where music is spearheading a lot of the movements of society.
Key:
Bm
B
G
G#
C#
Bm
B
G
One day I went to Tower Records in Hollywood.
I took the bus there just to get some CDs
and I found this album by John Coltrane called Transitions.
And I got that record and that's back when we all had disc men.
So I got back on the bus, opened it up, put it in my disc man,
and it just blew me away.
I was literally on the bus like_
Like, ahhh!
_ Give me a second to warm up.
_ _ [Bm] _ _
_ _ [F#m] _ The [Bm] style of jazz and the style of music that we play and that [G#] we're into
and that's really coming out of this renaissance of Los Angeles art,
[C#] it really comes from here.
[B] This area was here.
It wasn't about [Bm] money.
It was about [G#] love, you know, togetherness.
The first venue that gave us a gig was the World Stage.
You didn't come to play at the World Stage to make a bunch of money. _
Lamar Park [F#] is like a village, you know, and they really supported us.
They really [B] nurtured us as young kids, you know,
because there was so much negative imagery [Bm] around about us
and everyone thought we were dangerous thugs and this and that,
but [B] they looked at us like we were little heroes
and they loved the fact that we played music
and that we were part of our lineage and our [Bm] culture.
It made us feel like we were part of something that was beautiful.
You know, [F#] as a creative person, if you don't have a space to express that,
that's why a lot of creative people are kind of [G] crazy.
If you don't get this stuff out, [C#] it'll [F] draw you funny.
_ _ [E] _ _ [Cm] _ _ _ [G] _
_ _ _ [Am] _ _ I think just [G] like the world keeps turning, as a musician or as an artist,
you have to keep going, you have to keep changing.
You know, you [B] can get caught up in trying to be successful,
[A] and in that you start doing what you think you're supposed to do
instead of doing what you feel.
You have to stay real.
[G] When you learn that art [D#] shares life with other people
without you even telling them,
I don't have to necessarily tell you what I think [D] about the world,
I can just play, and how I think and how I feel
and how I understand things will just impress upon you.
Same way like when John [B] Coltrane's music did to [A#] me.
I felt like John Coltrane played to the edge of his spirit, of his being.
He was pouring out the whole bucket.
Every solo was like, it's empty.
_ [A#m] _ [G] _
[Dm] _ _ _ _ [C] _ It's bringing music back to somewhere where it's important to people,
and it speaks to their soul and it means something to them,
and they're learning from it and growing from it
and putting it in a higher place.
I think that's that sound that we're kind of emitting from here,
is doing that, and it's opening doors for music all over the world.
I feel like as people become more open
and they put more of themselves into their music
and the fans become more involved in music,
it will have a greater impact.
And music is so powerful that as that happens,
I think we'll see, kind of like it was in the 60s,
where music is spearheading a lot of the movements of society. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
I took the bus there just to get some CDs
and I found this album by John Coltrane called Transitions.
And I got that record and that's back when we all had disc men.
So I got back on the bus, opened it up, put it in my disc man,
and it just blew me away.
I was literally on the bus like_
Like, ahhh!
_ Give me a second to warm up.
_ _ [Bm] _ _
_ _ [F#m] _ The [Bm] style of jazz and the style of music that we play and that [G#] we're into
and that's really coming out of this renaissance of Los Angeles art,
[C#] it really comes from here.
[B] This area was here.
It wasn't about [Bm] money.
It was about [G#] love, you know, togetherness.
The first venue that gave us a gig was the World Stage.
You didn't come to play at the World Stage to make a bunch of money. _
Lamar Park [F#] is like a village, you know, and they really supported us.
They really [B] nurtured us as young kids, you know,
because there was so much negative imagery [Bm] around about us
and everyone thought we were dangerous thugs and this and that,
but [B] they looked at us like we were little heroes
and they loved the fact that we played music
and that we were part of our lineage and our [Bm] culture.
It made us feel like we were part of something that was beautiful.
You know, [F#] as a creative person, if you don't have a space to express that,
that's why a lot of creative people are kind of [G] crazy.
If you don't get this stuff out, [C#] it'll [F] draw you funny.
_ _ [E] _ _ [Cm] _ _ _ [G] _
_ _ _ [Am] _ _ I think just [G] like the world keeps turning, as a musician or as an artist,
you have to keep going, you have to keep changing.
You know, you [B] can get caught up in trying to be successful,
[A] and in that you start doing what you think you're supposed to do
instead of doing what you feel.
You have to stay real.
[G] When you learn that art [D#] shares life with other people
without you even telling them,
I don't have to necessarily tell you what I think [D] about the world,
I can just play, and how I think and how I feel
and how I understand things will just impress upon you.
Same way like when John [B] Coltrane's music did to [A#] me.
I felt like John Coltrane played to the edge of his spirit, of his being.
He was pouring out the whole bucket.
Every solo was like, it's empty.
_ [A#m] _ [G] _
[Dm] _ _ _ _ [C] _ It's bringing music back to somewhere where it's important to people,
and it speaks to their soul and it means something to them,
and they're learning from it and growing from it
and putting it in a higher place.
I think that's that sound that we're kind of emitting from here,
is doing that, and it's opening doors for music all over the world.
I feel like as people become more open
and they put more of themselves into their music
and the fans become more involved in music,
it will have a greater impact.
And music is so powerful that as that happens,
I think we'll see, kind of like it was in the 60s,
where music is spearheading a lot of the movements of society. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _