現代ジャズ屈指のビート・サイエンティストが辿り着いた最高到達点。マカヤ・マクレイヴン最新アルバム発売決定。

〈International Anthem〉からの諸作、ギル・スコット・ヘロンやブルーノート作品の再構築盤でその株を上げ続けている現代ジャズ屈指のビート・サイエンティスト、マカヤ・マクレイヴンが最新アルバム『In These Times』をリリース!
本作は多国籍労働者階級のミュージシャン・コミュニティの出身であるマクレイヴンの個人的な体験や、より広い意味合いでの文化的闘争からインスピレーションを受けた、ポリ・テンポ=異なるテンポが同時に進行する作品集。
彼が注目を集めるきっかけとなった『In The Moment』(2015)以降の精力的なリリースを続ける一方で、水面下で常に制作を続けてきたレコーディング作品であり、その期間は実7年にも及ぶという。ジェフ・パーカー、ジュニアス・ポール、ブランディー・ヤンガー、ジョエル・ロス、マーキス・ヒルなどの盟友たちが参加した音源は、5つのスタジオと4つのライブ演奏スペースで録音され、マクレイヴンが自宅でポスト・プロダクション作業を徹底的に行った。
オーケストラやラージ・アンサンブルのアレンジと、彼のシグネチャーであるオーガニックなビート・ミュージックが織り込まれたこのアルバムは、プロデューサーとしてのマクレイヴンにとっては新たな前進であり、マイルストーンであると言えるだろう。

発売・販売元 提供資料 （2022/06/23）

One of the greatest traits for jazz as a musical pursuit is its ability to accommodate many other sounds, approaches, and even genres under its umbrella while renewing itself in the process. You can hear it in Jelly Roll Mortons mutant rumba rhythms, Dizzy Gillespies Afro-Cuban bop exchanges with Chano Pozo and Machito, and in the experimental, tape-sliced fusion recordings of Miles Davis with producer Teo Macero, on through the funky jazz and hip-hop melds of Guru and Madlib. In These Times, by beatmaker/drummer/mixing desk wizard Makaya McCraven, is an excellent new chapter in this evolution. He is a sound technician whose multidisciplinary approach takes live playing from a carefully curated cast and samples, splices, and sequences it, revamping the audio to satisfy his inner muse and blending the organic and synthetic into holistic compositions. In These Times has been in process since McCraven released 2015s In the Moment. It continued through 2018s Universal Beings and sequels, 2020s Gil Scott-Heron reimagining Were New Again, and 2021s Deciphering the Message, an exploration of Blue Notes vault with a mixing desk and a band. Here he relies on more than a dozen collaborators recorded in five studios and four live performances; McCravens extensive post-production assemblage happened at home. The title track has an orchestral frame thanks to a string quartet, Joel Ross marimba, and Brandee Youngers gorgeous harp. It shifts tempo and dynamics, crossing sheeny chamber soul and funk to prog rock as guitars, double-timed drums, and a soaring alto and synth cascade around a baby sitar. The darker, more ominous "The Fours" commences with Junius Pauls bass and rolling kick drums while harp and strings play a circular, pulsing groove. Marquis Hills flugelhorn adds a contrasting pattern as flute, saxes, guitars, synth, piano, etc. emerge in multi-note progressions amid tightly interlocking beats. "High Fives" comes across as a sublime yet forgotten bit of complexly arranged sound-library funk. "Lullaby" offers spacey, tender reflection thanks to Youngers sweeping harp and plucked strings from the quartet, while synth, bass, and marimba provide slivers of drama. A lilting violin solo adds Eastern-tinged poignancy. "Seventh String" is lush and dreamy. Introduced by a wash of sterling guitar chords and layers of hand percussion, the center is filled by drums, keyboards, and bass as Ross solos under that constant motion. DeSean Jones swirling flute is framed by Hills trumpet. "So Ubuji" combines harp, layered marimbas, handclaps, hand percussion, drums, and strings in a transcendent flow wedding Caribbean, Latin, and Brazilian grooves. While "The Knew Untitled" is a gorgeous fusion track showcasing Matt Golds sublime guitar playing, closer "The Title" is breezy with gauzy flutes, airy horns, warm strings, and bubbling percussion rolling along without destination, save its feel-good vibe. With its long gestation period, In These Times accumulated an arresting abundance of ideas, sounds, textures, and styles. The album is its own jazz labyrinth, and as such is destined for repeated listening and startling discovery. ~ Thom Jurek

Rovi