Among aficionados of contemporary UK jazz, Raffy Bushman is something of a cult figure. He has developed a serious reputation, particularly among other musicians, having been musical director of the influential Unit 31, a precursor to the likes of the Orii Community and Steam Down.
Here Today, Gone Tomorrow is a five-track set clocking in at just 29 minutes. Billed as an EP, many would consider it a short album. Either way, it’s a record that defies its run time to skip blithely through multiple genres and moods, taking the listener to places of deep contemplation one minute before dropping a toe-tapping groove the next.
Bushman, a highly skilled pianist and band leader, heads up a tight ensemble that features trumpeter Johnny Woodham (Alfa Mist),guitarist Luke Wynter (Nubiyan Twist)and flautist Arran Kent (Jasmine Myra)among others.
Album opener and lead single Fitzcarraldo begins with a solo piano line (Bushman leaning into his classical background) before the band joins him to mutate the piece into a hard-hitting post-bop stomper.
Nocturne, with its insistent bass line and hip-hop inflected groove, shifts things into another space entirely as synchronised flute and trumpet lines soar over the top, with Bushman’s deft piano work dropping into and out of the mix.
Love of Mine sees Bushman pushing his ever-creative take on post-bop in yet another direction with broken-beat influences sitting alongside soulful piano leads and Afrobeat-tinged horn lines.
A personal highpoint for me comes in the form of Bolo with its choppy piano motif and cycling flute line opening things up before the band takes things to a stirring conclusion.
Title track and album closer Here today, Gone Tomorrow brings the mood down a notch with another neo-classical piano motif before the full ensemble takes things in a spiritual jazz direction. It’s a welcome change of pace and a fitting way to close out the album.
There is no shortage of well-composed and impactful genre-crossing jazz in the UK scene at the moment. However, Bushman stands out here for the deftness with which he brings his influences together. Sewing together a sonic tapestry that takes you from post-bop to modern classical, hip-hop and more in under thirty minutes is impressive. Particularly so when all the elements come together so naturally and organically.
His work ethic – five records since 2020 – and artistic intent are impressive. After a run of shorter releases, it would be great to see him put out something more expansive. Here Today, Gone Tomorrow certainly leaves this listener wanting more.
