By Charlie WatkinsÂ
Peter Evans is one of those tireless musicians whose projects are always
dazzlingly original. His band Being and Becoming is no exception, and their
newest release, Ars Ludicra, is a fantastic example of Evans’s
creative ambition. Combining hip-hop grooves, avant-garde melodies and free
improvisation, as well as a healthy dose of electronics, this record is
vibrant, modern and infectiously groovy. It is also, it is worth saying,
quite different from their previous release, Ars Memoria, which was
much more stripped back in comparison to this album’s bold energy.
The band features Evans on trumpet(s), electronics and piano, Joel Ross on
vibraphone, synth and percussion, Nick Jozwiak on bass and synth and Michael
Shekwoaga Ode on drums. The above might imply that it is a heavily
electronic album, but the electronics are mostly used for their tonal
qualities. There is some inventive post-production, especially towards the
end of Pulsar, which is done really nicely and lifts this album to a whole
new level, marking a step forward from their previous release, which was
perhaps more straightforwardly ‘jazz’ in its approach.
The album explodes open with Malibu, a furiously energetic composition
driven by a simple repeated bass riff. This simple structure allows the
whole band to really open out, especially Evans and Ode, whose powerful
drumming appears to maintain its energy from the start to the end of the
record. The second and third tracks, Pulsar and Hank’s, are characterised by
similar riffs, again driven by Jozwiak’s pulsing bass. Throughout the
record, it is Jozwiak’s playing that keeps everything grounded whilst the
other musicians soar over the top. Evans is of course a true trumpet
virtuoso, and he shows this off in impressive fashion on Pulsar. Like
Malibu, Pulsar ends by moving into a hip-hip drum break accompanied by a
detuned vibraphone riff, over which Evans continues to soar.
The third track, Hank’s, although still characterised by the same repeated
bass lines, moves in a new direction. It has more harmonic space than the
two preceding numbers, and a brighter energy. Evans is on pocket trumpet on
this number, reaching even higher than previously, and he finds himself
trading with Ross’s impressive vibraphone playing. Of the whole album, this
track is perhaps the most conventional in structure and content, a somewhat
typical contemporary jazz tune, although again the final minute transitions
into a deep groove to conclude things.
My Sorrow is Luminous is a welcome respite on the record. This track, a
cover of a song by the Russian folk-punk singer Yanka Dyagileva, is tender
and subtle, yet without losing any of the energy of the first three tracks.
Evans improvisation on this track is mind-blowing in its virtuosity, and Ode
goes absolutely wild alongside him. The second half of the track is more
spacious, although Ode continues to attack his drumset with an impressive
force. I quite enjoyed the energy Ode brings to the record, but I can see
that some people may find his approach a little on the heavy side – I note
that he has now been replaced by Tyshawn Sorey, so it will be interesting to
see how he affects the sound of the band.
The final track, Images, is the most symphonic of the set. It includes Alice
Teyssier on various flutes to provide some rich harmony, and doesn’t feature
any improvisations. It brings things to land in a way that is well needed
after the relentless pace of the previous tracks, and rounds this short
album off nicely.
All of the tracks are relatively short and fast-paced, which gives the album
a good sense of direction; it certainly never feels like it’s dragging
things out for too long. Each track follows a near identical structure,
starting with a driving riff, moving into abstract, high energy solos, and
finishing with a dance-style breakdown at the end, proving the maxim: if it
ain’t broke, don’t fix it! The straightforward structure keeps things moving
nicely, providing plenty of variety even during these short tracks. The use
of bass and drums manages to successfully combine contemporary jazz with
experimental hip-hop, providing an exciting space for Ross and Evans to work
from, and pulsating with infectious energy without falling into cliché.
Definitely worth your time.
Available from Bandcamp: