Recording of the Week, Blue Note Records, 'Blue Note Re:imagined II'

Pictured: Theon Cross (Photo by Ian Hippolyte)

While there’s no question that Blue Note Records have long been known as the vanguard for great American jazz, for two releases now they’ve turned their attention across the pond to over here in the UK. 2020’s Blue Note Re:imagined saw the label opening the vaults, offering its vast catalogue to British jazz, soul and R&B artists, including inventive interpretations of works originally by Wayne Shorter, Herbie Hancock and Joe Henderson, re-worked by artists like singer-songwriter Jorja Smith, nu-jazz quintet Ezra Collective and saxophonist Nubya Garcia to name a handful. This latest edition of the Re:imagined project features a new selection of musicians and tunes, showcasing some of the best of what the UK has to offer with its own aesthetic identity against American jazz.

The proceedings are kicked off by trumpeter Yazz Ahmed with a searing hot rendition of Chick Corea’s ‘It’. Originally a 30-second track from the pianist’s 1969 free jazz album Is, Ahmed’s trumpet darts around above lush swells of drums and piano, guitarist Samuel Hällkvist entering with an angular lead line. Certainly one of the more extreme tracks on the record against the mostly nu-jazz/neo-soul sounds many of the other artists explore, Ahmed managed to dash my expectations for this record right from the get-go, and for sure Blue Note Re:imagined II is, not unlike its predecessor, more than just a pastiche of hip-hop-inspired jazz covers.

Pictured: Nubiyan Twist (Photo by Blue Laybourne)

The material covered on this album ranges from a number of different eras in the label’s catalogue; Donald Byrd is a relatively heavy feature this time around, with four tunes picked from his ‘60s and ‘70s output, while popular standards like Wayne Shorter’s ‘Infant Eyes’ (from his 1964 classic Speak No Evil) and Thelonious Monk’s ‘Epistrophy’ also make appearances. Tubist Theon Cross’ take on the latter Monk tune has some suitably heavy low-end brass with a groove-heavy section that switches up into dense melodic moments before coming back in with some filthy wah-pedal guitar playing – it’s unlike anything else you’ll hear on this compilation, and a personal favourite for sure.

Meanwhile, singer and guitarist Maya Delilah’s version of Neil Young’s ‘Harvest Moon’ – the Blue Note connection here being Cassandra Wilson’s version from 1995’s New Moon Daughter – simultaneously channels Phoebe Bridgers and D’Angelo with its combination of soft vocals and tight grooves, and another excellent vocal-led track comes in the form of Ego Ella May’s interpretation of Chico Hamilton’s ‘The Morning Side of Love’. Her vocals, sometimes soaked in effects, swirl aetherial through the smooth beat led by a snappy drumbeat and smooth bass guitar, occasionally accented by piano – even with its four-minute runtime, I could definitely have gone for a little more.

Another highlight is definitely Grant Green’s ‘(Why You So) Green With Envy’ by Oscar Jerome, an absolutely filthy beat in all the right ways with guitars that sound as though they’ve been run through an old cassette tape and crisp drums, while the track’s gang vocals make for a catchy interpretation of the chorus. Saxophonist Binker Golding gets to channel a legend of the horn with his version of Joe Lovano’s ‘Fort Worth’, fiery improvisations accompanied by Billy Adamson’s layers of distorted guitar – Jamie Murray’s killer drumming is the driving force behind the track, while pianist Sarah Tandy and bassist Max Luthert’s performances are similarly spirited.

Blue Note Re:imagined II has one foot in the label’s past and the other in the genre’s future: even the cover itself – by graphic designer Jay Vaz – harkens back to Reid Miles’ album covers for the label in the ‘50s and ‘60s. It’s hard not to simply list each track’s individual merits, numerous as they are, but Blue Note Re:imagined II does an excellent job of showcasing UK jazz talent. For those less keen on nu-jazz and hip-hop, there might not be a lot to dig into, but there’s a real variety among these tracks even within these stylistic boundaries without it feeling rote, with each featured artist bringing their own personal touches to this time-honoured music.