In These Times

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 weds live playing from a carefully curated cast that is sampled, spliced, and sequenced into compositions wedding the organic and synthetic into the holistic by revamping the audio to satisfy his inner muse. 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 offers an orchestral frame thanks to a string quartet, Joel Ross marimba and Brandee Youngers gorgeous harp. It shifts tempo and dynamic, 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 provide 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. While "Lullaby" offers spacey, tender reflection thanks to Youngers sweeping harp and plucked strings from the quartet, synth, bass, and marimba add 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 adds swirling flute framed by Hills trumpet. "So Ubuji" weds 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 Jeff Parkers 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

ブルーノートの名曲を再構築して聴かせた『Deciphering The Message』に続く新作は、インターナショナル・アンセム/ノンサッチ/XLのトリプルネームという、正座してしまうほどのとんでもなさ。制作期間は7年にも及んだそうで、異なるテンポが同時に進行するポリ・テンポの楽曲集となっている。ジェフ・パーカーやブランディー・ヤンガーらの参加も得て、オーガニックなビート・ミュージックが緻密な興奮を届けてくれる大作。
bounce (C)香椎　恵