Blue Note re:imagined II
Blue Note re:imagined II
Yazz Ahmed, Conor Albert, Parthenope, Swindle, Nubiyan Twist, Ego Ella May, Oscar Jerome & Oscar, Daniel Casimir ft. Ria Moran, Theon Cross, Maya Delilah, Kay Young, Venna & Marco Bernardis, Reuben James, Binker Golding, Cherise, Franc Moody, Yellowstraps, BIGYUKI
Blue Note re:imagined II
Auf Jazzthings schreibt Ralf Dombrowski vom Blue-Note Branding, wie schön es sei, sich ein Gemenge aus NeoSoul, Urban-Beats und Postmodern-Jazz mit typisch wildem Stilgemenge im postkolonialen Klangidentitäts-Cocktail-Modus anzuhören. Die Musik kannst du gut nebenher konsumieren, ein paar Mails lesen und löschen und hier und da dich überraschen lassen, beispielsweise von Epistrophy von Theon Cross, einem Thelonious Monk Klassiker – auch will Blue Note der jungen Londoner Jazzszene seine eigene Sammlung bekannter wie weniger bekannter Musiker:innen schenken, ich dagegen würde bei einem re:imaginierten Konzert wahrscheinlich ganz weit hinten stehen, weil die junge Jazzgemeinde dort vorn alle Plätze für sich erobert –
Blue Note re:imagined II
Der Generationenwechsel: angesagt: und vollzogen – zumindest in London. Für leicht befunden mit netten Popsongs in klarem Fahrwasser – any way oder: das muss man nicht bewerten – das genießt man oder nicht, eine Fifty-Fifty-Chance – wie es vor sich hin mainstreamt. Wo doch auch diese feinen und kleinen Überraschungen sind aus Fifty-Fifty-Zweite-Chance: der Song von Oscar Jerome (Why you so) Green With Envy zum Beispiel.
Oder: sehr hübsch: Lost von Daniel Casimir und Ria Moran – nochmal by the way: Epistrophy von Theon Cross ragt aus allem heraus, Ein:Dampf:Hammer. Binker Golding holt mit Joe Lovanos Fort Worth aus 1991 ein Gitarren-Brett hervor (Billy Adamson), auf dem Binker Golding am Saxophon und Sarah Tandy am Piano sich überstürzen dürfen. Abgerundet wird es vom Gospel Cisto Redentor von Duke Pearson, vorgetragen von Franc Moody
Blue Note Re:imagined returns on September 30, 2022 with a new 16-track compilation featuring fresh takes on music from the illustrious Blue Note Records vaults recorded by a heavyweight line-up of the UK jazz, soul, and R&B scene’s most hotly-tipped rising stars. Arriving off the back of the widespread international success of the first volume, which topped jazz charts around the globe, Blue Note Re:imagined II once again infuses the spirit of the new UK jazz generation into the legendary label’s iconic catalog, balancing the genre’s tradition with its future and reflecting the melting pot of talent and diversity within the current scene – Text: Blue Note
Blue Note re:imagined II – Tracklisting
Blue Note Re:imagined II – Tracklisting
- Yazz Ahmed “It” – From Chick Corea Is (1969)
- Conor Albert “You Make Me Feel So Good”– From Bobbi Humphrey Fancy Dancer (1975)
- Parthenope “Don’t Know Why” – From Norah Jones Come Away With Me (2002)
- Swindle “Miss Kane” – From Donald Byrd Street Lady (1973)
- Nubiyan Twist “Through The Noise (Chant No.2)” – From Donald Byrd A New Perspective (1963)
- Ego Ella May “The Morning Side Of Love” – From Chico Hamilton Pereginations (1975)
- ***** Oscar Jerome & Oscar #Worldpeace “(Why You So) Green With Envy” – From Grant Green Green Street (1961)
- ***** Daniel Casimir ft. Ria Moran “Lost” – From Wayne Shorter The Soothsayer (1965)
- ***** Theon Cross “Epistrophy” – From Thelonious Monk Genius Of Modern Music, Vol. 1 (1948)
- Maya Delilah “Harvest Moon” – From Cassandra Wilson New Moon Daughter (1995)
- Kay Young “Feel Like Making Love” – From Marlena Shaw Who Is This Bitch, Anyway? (1974)
- Venna & Marco Bernardis “Where Are We Going” – From Donald Byrd Black Byrd (1972)
- Reuben James “Infant Eyes” – From Wayne Shorter Speak No Evil(1964)
- ***** Binker Golding “Fort Worth” – From Joe Lovano From The Soul(1991)
- Cherise “Sunrise” – From Norah Jones Feels Like Home (2004)
- ***** Franc Moody “Cristo Redentor”– From Donald Byrd A New Perspective (1963)
- Yellowstraps „This Ain‘t Loving Without You“ – From Duke Ellington
- BIGYUKI “The Creators“ – From Herbie Lewis
Stream the Blue Note Re:imagined playlist featuring the originals and the re:imaginations
On Jazzthings, Ralf Dombrowski writes about Blue Note branding, about how nice it is to listen to a mixture of neo-soul, urban beats and post-modern jazz with a typically wild mixture of styles in post-colonial sound identity cocktail mode.
The music is good to consume on the side, read and delete a few emails and be surprised here and there, for example by Epistrophy by Theon Cross, a Thelonious Monk classic – Blue Note also wants to give the young London jazz scene its own collection of well-known and lesser-known musicians, and I would probably stand way in the back at a re:imagined concert, because the young jazz community there is taking all the seats for itself up front – but it’s not the only thing.
The generation change: announced: and accomplished – at least in London. Found easy with nice pop songs in clear waters – any way or: you don’t have to rate that – you enjoy that or not, a fifty-fifty chance – as it mainstreams along. Where there are also these fine and small surprises from Fifty-Fifty Second Chance: the song by Oscar Jerome (Why you so) Green With Envy, for example.
Or: very pretty: Lost by Daniel Casimir and Ria Moran – again by the way: Epistrophy by Theon Cross stands out from all, Ein:Dampf:Hammer. Binker Golding pulls out a guitar board with Joe Lovano’s Fort Worth from 1991 (Billy Adamson), on which he is allowed to rush on saxophone and Sarah Tandy on piano. It is rounded off by Duke Pearson’s gospel Cisto Redentor, performed by Franc Moody.
