“Blue Note Revisited”, Various Artists
“Blue Note Revisited”, Various Artists, Bluenote, 2004
This remix project of jazz standards by well-known electronic producers follows two similar CDs done for Verve Records and another done for Bluenote by producer Madlib. Even though the remakes are approved by the label, one cannot blame jazz fans for being skeptical about tinkering with classic work.
Listening to “Blue Note Revisited” will put any fears to rest, for this CD at least. While the originals are treated with respect, these cuts could be considered as new compositions on their own.
The most common additions are vocals, although some of the cuts feature nearly as many added musicians as were on the originals. Some of the originals get buried under all the production, although the melodies always come through.
Each producer works differently here. La Funk Mob makes an effective move by adding vocals by Gladys, a turntable effect, and bringing the beat up a bit on Wayne Shorter’s “Oriental Folk Song.” This works better than DJ Medhi’s addition of heavy beats on Shorter’s “Footprints.” Madlib just does a little production magic on Bobbi Humphries’s “Young Warrior,” adding a piece of another of her songs at the beginning.
On the other hand, Kyoto Jazz Massive adds three vocalists, a keyboardist, a bassist, and a percussionist to Eddie Henderson’s “Kudu,” making it a completely different work. Hero does a similar job on Horace Silver’s “Won’t You Open Up Your Senses,” with five new musicians and new vocals by Vanessa Freeman.
DJ Cam adds scratches and rapping to Donald Byrd’s “The Emperor.” Fortunately he goes easy on it, and he has the good sense to add trumpeter Eric Truffaz, a veteran of electronic music. Osunlade sets up a duo with the guitar of Luca Barbarossa and Grant Green’s original on “A Time to Remember,” on what may be the CD’s most interesting cut.
Any genre that has one artist dominate about a quarter of all sales is in trouble, even if it is the talented Norah Jones. When you also take into account the popularity of “smooth jazz,” any type of experiment that reaches out to a larger public should be warmly embraced. Projects like “Blue Note Revisited” may lead younger people back to classic jazz, as well as generating a new type of music that is enjoyable and worthwhile.
- Dave Howell
(This article first appeared in the FMSound music site.)
This remix project of jazz standards by well-known electronic producers follows two similar CDs done for Verve Records and another done for Bluenote by producer Madlib. Even though the remakes are approved by the label, one cannot blame jazz fans for being skeptical about tinkering with classic work.
Listening to “Blue Note Revisited” will put any fears to rest, for this CD at least. While the originals are treated with respect, these cuts could be considered as new compositions on their own.
The most common additions are vocals, although some of the cuts feature nearly as many added musicians as were on the originals. Some of the originals get buried under all the production, although the melodies always come through.
Each producer works differently here. La Funk Mob makes an effective move by adding vocals by Gladys, a turntable effect, and bringing the beat up a bit on Wayne Shorter’s “Oriental Folk Song.” This works better than DJ Medhi’s addition of heavy beats on Shorter’s “Footprints.” Madlib just does a little production magic on Bobbi Humphries’s “Young Warrior,” adding a piece of another of her songs at the beginning.
On the other hand, Kyoto Jazz Massive adds three vocalists, a keyboardist, a bassist, and a percussionist to Eddie Henderson’s “Kudu,” making it a completely different work. Hero does a similar job on Horace Silver’s “Won’t You Open Up Your Senses,” with five new musicians and new vocals by Vanessa Freeman.
DJ Cam adds scratches and rapping to Donald Byrd’s “The Emperor.” Fortunately he goes easy on it, and he has the good sense to add trumpeter Eric Truffaz, a veteran of electronic music. Osunlade sets up a duo with the guitar of Luca Barbarossa and Grant Green’s original on “A Time to Remember,” on what may be the CD’s most interesting cut.
Any genre that has one artist dominate about a quarter of all sales is in trouble, even if it is the talented Norah Jones. When you also take into account the popularity of “smooth jazz,” any type of experiment that reaches out to a larger public should be warmly embraced. Projects like “Blue Note Revisited” may lead younger people back to classic jazz, as well as generating a new type of music that is enjoyable and worthwhile.
- Dave Howell
(This article first appeared in the FMSound music site.)