Robert Glasper showed off his jazz chops long before he released the Grammy-winning album Black Radio in 2012. His Blue Note debut album titled Canvas was released in 2005 and features the pianist in a jazz scenery influenced by Herbie Hancock, Chick Corea, and Bill Evans.
It’s no surprise that Blue Note Records signed the young pianist. His earlier album Mood, released under the Robert Glasper Trio on the Spanish label Fresh Sound New Talent, was the studio debut that placed the young pianist on the radar of the major record labels.
Canvas is a convincing display of Glasper’s remarkable piano technique. The New York Times wrote that Glasper’s trio, with Vicente Archer on bass and Damion Reid on drums, is a “strong enough entity to make any performance seem ambitious and vital.”
Robert Glasper’s affinity with hip-hop called for a natural transition. The pianist bridged and influenced multiple music genres. In 2012, he released the album titled Black Radio. The album was a crossover and achieved success in different music genres. In 2013 it won a Grammy for best R&B album and, it got simultaneously listed in the top 10 charts for hip hop, R&B, and jazz.
Ever since its birth, jazz music has continuously evolved into various subgenres. The American record label Blue Note Records, which got established in 1939, played a significant role in this evolution. The company is a landmark in jazz music and has an extensive song catalogue that includes many acclaimed jazz standards. Their new release Re:imagined is a compilation of Blue Note originals brought to you by a unique selection of musicians who’ve taken on jazz, soul, hip-hop, and R&B as their musical narrative.
Blue Note describes the album as “a bridge between the ground-breaking label’s past and future“. The driving force behind this highly anticipated project is a new and vibrant scene of mostly UK-based musicians. They are a group of forward-thinking artists that innovate, even reinvent, the genre through sampling, hip-hop, afrobeat, and dance music.
The compilation album features, among others, Shabaka Hutchings, Nubya Garcia, Alfa Mist, and Jorja Smith. They perform their take on Blue Note classics, often transformed into an easy-to-absorb contemporary remake.
“This 16-track compilation finds today’s youthful, often London-based renaissance in dialogue with the revered New York label’s deep back catalogue.”
Not all songs on the album are adaptations of historic jazz standards. Singer-songwriter Jorja Smith opens the album with an electronic and upbeat transformation of St Germain‘s hit song Rose Rouge.
Noticeable are the transformations of four original compositions by Wayne Shorter. The American jazz saxophonist composed many acclaimed jazz standards and, it’s no surprise that he is listed here multiple times. He had an influential career and, his contributions to jazz were paramount. In 1959, he joined Art Blakey & The Jazz Messengers, where he replaced Hank Mobley. And in 1964, he joined Miles Davis‘ second (great) quintet and co-founded jazz fusion.
His compositions spotlighted on Blue Note‘s Re:imagined are Footprints, Armageddon, Speak No Evil, and Night Dreamer.
Footprints is a composition that was originally recorded for his album Adam’s Apple. The track got reworked by the London-based Ezra Collective, who are adding beats to the original. The jazz standard Armageddon got transformed by the Norwegian group Fieh into something that best can be described as neo-soul. The last two, Speak No Evil and Night Dreamer, are cleverly fused into one by Emma- jean Thackray. The songs transform into an adventurous arrangement where, also here, beats dominate.
London Jazz Newswrites in their review that “for some heritage-loving jazzers this whole vault-raiding exercise will be sacrilege“. They also comment on the life expectations of these adaptations versus the originals: “Some of Blue Note Re:Imagined‘s supposed updates will vanish long before the originals fade and the results often aren’t “jazz” – but the spirit of adventure and imagination in a good number most definitely is.“
All in all, despite how the album is being viewed by “heritage-loving jazzers“, and despite it being a compilation, the record is spirited and exhilarating. It’s shelved among the best albums released in 2020 as it spotlights a new wave, and helps you discover the latest in music.