Irreversible Entanglements refuses to make ‘safe’ free jazz — and the genre is better for it

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Camae Ayewa is a remarkably multi-talented artist – she’s a poet, musician, activist, and much more, including a sound designer, organizer, curator, and visual artist with a powerful vision for the future rooted in Afrofuturism. But what truly defines her is her unwavering authenticity.

Moor Mother, also known as Ayewa, is a highly creative and productive artist who has released numerous solo albums and worked with a diverse range of musicians, including Billy Woods, Screaming Females, and the Avalanches. She’s also a professor at the USC Thornton School of Music, balancing her artistic career with teaching. Just last week, her free jazz group, Irreversible Entanglements, released their fifth album, proving she continues to create and innovate.

Moor Mother’s music, like her career, doesn’t fit neatly into one category. She blends punk, hip-hop, experimental sounds, jazz, and more. This musical variety comes easily to Ayewa, who grew up exploring different genres and became involved in the diverse, independent music community in Philadelphia.

Ayewa explains she genuinely loves a wide range of musical styles. She isn’t just experimenting with different genres to appeal to specific groups; she simply recognizes that people have diverse tastes – some prefer hip-hop, others noise music – and she’s glad her message can be conveyed through both.

Irreversible Entanglements began in 2015 when Camae Ayewa joined forces with bassist Luke Stewart and saxophonist Keir Neuringer for a spontaneous performance at a Musicians Against Police Brutality event in New York City. This event was held in response to the police killing of Akai Gurley, a 28-year-old man. Trumpeter Aquiles Navarro and drummer Tcheser Holmes later joined the group. Their music draws inspiration from free jazz pioneers like Sun Ra and Ornette Coleman, but also incorporates influences from electronic music, punk, and hip-hop. Ayewa’s vocals sometimes blend into the instrumental texture, and at other times, powerfully lead the way.

Even though Camae Ayewa writes the lyrics and is the lead singer for Irreversible Entanglements, she insists the group functions as a genuine collective. She explains that unlike many bands built around a central leader, Irreversible Entanglements didn’t start that way. They have no designated leader, which she acknowledges can make them harder to market in an industry that often prefers a clear frontperson. However, their strong unity and shared vision make them a powerful force.

The group’s new album, “Future Present Past,” suggests a connection to both jazz history and the present moment. Many of the songs were recorded at the famous Van Gelder Studio in New Jersey, a place legendary for albums by artists like John Coltrane, Freddie Hubbard, and Sonny Rollins. This is Irreversible Entanglements’ second album released on Impulse! Records, a label known for its incredible jazz collection, including work by Max Roach, Art Blakey, Gil Evans, and, of course, John Coltrane.

As a big fan, I’ve always loved how Irreversible Entanglements blend the old and the new. This album really feels like that too – it’s steeped in tradition, but also incredibly forward-looking. They’re masters at weaving in electronic sounds and modern production techniques alongside really organic instruments and textures. And it’s not just the music; Camae Ayewa’s lyrics are all about what’s coming next. Take “Don’t Lose Your Head,” for example – lines like “Foundation for the generation / It’s time to organize and plan” and “The people will be marching on / We carry the freedom song” are so powerful. She doesn’t waste time focusing on what’s wrong now; she’s pushing us to build a better future, and that’s inspiring.

Irreversible Entanglements’ music can be challenging for some listeners. They frequently move away from typical song formats, aren’t afraid of harsh sounds, and Ayewa’s lyrics are deeply personal and honest. Combined with their strong, independent spirit and direct messaging, it’s understandable why they don’t always fit neatly into the traditional idea of what “jazz” should be.

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Ayewa feels some established jazz musicians have been critical of her group. She understands Irreversible Entanglements might get more opportunities if they played it safe, but compromising their artistic vision isn’t an option. She insists they aren’t simply rebels trying to disrupt jazz tradition. Instead, they deeply respect and build upon that legacy, offering a hopeful and optimistic message. Audiences often tell them their performances are inspiring and much-needed.

Ayewa considers “Vibrate Higher ft. MOTHERBOARD” to be the standout track on “Future Present Past.” The song begins with a deep, rolling beat, a walking bassline, and dreamy synth sounds. Soon, the rest of the band joins in as Ayewa invites listeners to rise above conflict, negativity, and disagreement. She sings about reaching a place of peace and understanding, stating, “We’re so up, up, up and away, I can’t hear you,” and emphasizing values like vision, positivity, and integrity. This hopeful message aims to connect people beyond differences in politics, religion, or social background.

Ayewa is a multi-talented artist – a poet, musician, educator, and community organizer. She’s been awarded grants for her creative work, her activism, and for her collaborative project, Black Quantum Futurism, which she started with Rasheedah Phillips. In 2021, she moved to Los Angeles to teach at the USC Thornton School of Music, and she continues to pursue her passions both in the classroom and beyond. As she puts it, her work is about making a global impact, and she’s eager to share her skills and dedication with California and wherever else her travels take her.

Ayewa is preparing to launch her career in Los Angeles with a new Moor Mother album inspired by California. The album will include collaborations with artists from the state, and one track will feature a previously unheard beat from the late Ras G, a respected producer from Leimert Park who passed away in 2019.

Ayewa explained that after telling a friend he was heading to Los Angeles, the friend excitedly made a lot of plans for him, offering support and connections. His unexpected passing was especially difficult because it meant losing a valuable collaborator and a potential partner who shared his vision for bringing people together. Ayewa is aiming to release his album later this year.

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2026-03-31 13:31