In a time when true musical innovators are few and far between, Makaya McCraven stands out even among those few. Instead of rethinking how to play an instrument or writing a chart, McCraven starts with recorded improvs and deftly shapes them into compositions. That approach was introduced to the world with his 2015 release In The Moment and followed up by a deluxe version of that album along with a couple of mixtapes.
Universal Beings serves as his first full-blown successor to the groundbreaking In The Moment, a handmade mishmash of sounds that isn’t alien, but is never completely familiar, either. McCraven is heard leading four sessions — each with different personnel — naturally finding grooves that form the basis for finished songs. The live, intimate element is captured — not diluted at all in the mixing process — and the retention of some crowd noise, stage banter and even snippets of idle conversations among the musicians assures that, with occasionally jarring Teo Macero-style overdubs.
Even if this was done up without Makaya McCraven’s magic mix touch, the juxtaposition of acoustic, shifting hip hop rhythms with Brandee Younger’s harp isn’t something you’d likely hear anywhere else (“A Queen’s Intro”, “Holy Lands”, “Young Genius,” “Mantra”), but it’s much easier to embrace because you can feel its organic origins. “Black Lion” out vibraphonist Joel Ross further up front of the groove, while “Tall Tales,” features the moving cello of Tomeka Reid.
“Pharaoh’s Intro” marks the first appearance of a saxophone, that of Shabaka Hutchings, and for this live, in-studio session, McCraven deploys exotic, Afro rhythms and weaves together Hutchings’ sax with Reid’s cello in interesting ways. “Atlantic Black” and “Prosperity’s Fear” are one of the few lengthy tracks, centered on a tension rubbing between Hutchings and Reid.
Another ensemble with Nubya Garcia in the saxophone chair undertakes a chilled, soul/jazz groove (“Flipped OUT”, “Voila,” “Suite Haus,” “The Newbies Lift Off”) primarily due to the electric piano of Ashley Henry and McCraven’s relaxed pulse.
The band for the fourth and final session includes fellow Chicago local legend Jeff Parker on guitar, performed in Parker’s garage (you can’t get it much more intimate than that). “The Count Off” is a brief ‘gust of energy coming down this mountain that I feel on my back kind of vibe’ as described at the end of the song itself, and “Turtle Tricks” showcases the guitarist’s underrated heady approach. Josh Johnson’s buttery sax tone evolves into percussive over the course of “The Fifth Monk.”
Makaya McCraven’s Universal Beings is currently offered by International Anthem Recording Co.
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