Flea, best known as the energetic bassist for the Red Hot Chili Peppers, is stepping into a new sonic space with his debut solo album, Honora. The project wasn’t born of pandemic-era boredom or a calculated career pivot, but from a promise made to himself as he approached his 60th birthday. During the band’s extensive stadium tour, Flea committed to daily trumpet practice, an instrument he’d touched as a child but never truly mastered. The result, released to critical attention, is a deeply personal and surprisingly sophisticated jazz record—a far cry from the funk-rock anthems that defined his career. This album represents a reconnection with formative musical experiences, a journey back to the roots of his passion.
The story echoes a recent trend: established musicians exploring jazz. But where André 3000’s foray into the flute felt exploratory and almost meditative, as documented in his album New Blue Sun, Flea’s approach is different. He isn’t drifting; he’s returning. In his memoir, Acid for the Children, Flea vividly recalls the transformative power of hearing jazz as a young boy. He describes watching his stepfather and friends improvise on the standard “Cherokee” as a moment of revelation, stating, “If Moses had parted the seas right in front of me, or my dog started speaking the Queen’s English, it would not have been this miraculous.” This early exposure, he explains, laid the foundation for a lifelong love of the genre.
Honora isn’t a casual experiment or a vanity project. It’s a mature operate, compositionally rich and driven by Flea’s genuine enthusiasm. The album’s unifying element isn’t a specific style or theme, but rather the palpable joy Flea finds in playing. Those anticipating the frenetic energy of songs like “Around the World” or his vocal contributions to One Hot Minute might be surprised. However, those who’ve long argued that the Red Hot Chili Peppers’ best work centers around the interplay between Flea and guitarist John Frusciante may find a sense of vindication in this focused exploration of musicality.
A Return to First Principles
The Red Hot Chili Peppers’ enduring popularity often overshadows the subtle brilliance of Flea’s bass playing. The distinctive, almost visceral quality of his lines—like the “nauseated slide” of “Give It Away”—has become a signature sound. The song, released in 1991, remains a staple of alternative rock radio. Flea brings that same adventurous spirit to the trumpet, approaching it not as a vehicle for virtuosity, but as another instrument for exploration.
The opening track, “Morning Cry,” immediately establishes this intent. It begins with a flurry of post-bop phrases reminiscent of Thelonious Monk, a pivotal figure in jazz history. Monk’s innovative harmonic approach and angular melodies are clearly influential. The band then steps back, allowing Flea to navigate the song’s edges. Initially tentative, he quickly finds his footing, walking a tightrope between conventional tonality and more abstract improvisation. Guitarist Jeff Parker’s contributions are crucial here, pushing Flea to explore further. He doesn’t simply play notes; he creates textures, sometimes blowing “empty air” through the trumpet, then interjecting patterns that sound like a turntable scratch. This blend of precision and controlled chaos is a hallmark of Flea’s playing, whether on bass or trumpet.
Collaboration and the Los Angeles Jazz Scene
Flea didn’t pursue this project in isolation. He immersed himself in the vibrant Los Angeles jazz scene, collaborating with a group of “interesting and idiosyncratic players,” as described in initial reports. He spent countless hours with Rickey Washington, a respected L.A. Jazz legend and the father of saxophonist Kamasi Washington. Kamasi Washington has become a leading voice in the contemporary jazz movement, known for his expansive compositions and spiritual approach to music. The influence of Washington and other collaborators is evident in the album’s sophisticated arrangements and improvisational spirit.
The album features a rotating cast of musicians, each bringing their unique voice to the project. Jeff Parker, known for his work with the band Tortoise, provides a crucial counterpoint to Flea’s trumpet, adding layers of texture and harmonic complexity. Other contributors include Tony Austin, a drummer with a long history of working with jazz greats, and Nels Cline, a guitarist known for his experimental approach. This collaborative spirit is essential to the album’s success, creating a dynamic and engaging listening experience.
Beyond Genre: A Personal Statement
Defining Honora by genre feels somewhat limiting. While jazz is certainly a key component, the album transcends easy categorization. It’s a deeply personal statement, a reflection of Flea’s musical journey and his lifelong love of improvisation. It’s a record that prioritizes feeling and expression over technical perfection. The album’s title, Honora, is reportedly a tribute to a dear friend, adding another layer of emotional resonance.
The album’s success isn’t measured in chart positions or sales figures, but in its artistic integrity. It’s a testament to Flea’s willingness to seize risks and explore new creative avenues. It’s a reminder that even established artists can continue to grow and evolve, and that sometimes the most rewarding projects are those born of personal passion. The album’s impact extends beyond the jazz world, offering a glimpse into the creative process of one of rock’s most iconic bassists.
Flea’s next steps remain focused on touring with the Red Hot Chili Peppers, with dates scheduled throughout 2024 and 2025. However, Honora signals a potential new direction for the musician, opening the door for future solo projects and collaborations. The album is available now on all major streaming platforms and in physical formats.
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