Since the 1990s,
Blue Note Records has periodically invited artists to remix tracks from its hallowed catalog for its "jazzhop" compilations. Several --
Us3,
Guru, and
Madlib -- were invited to dig in and remix wholesale, resulting in historic solo projects.
Makaya McCraven joins the group with
Deciphering the Message. On acclaimed releases such as 2015's
In the Moment (2015) and 2018's
Universal Beings (2018),
McCraven forged his own beat science path, sampling his band's live playing, then revamping the audio to satisfy an inner muse. In 2020, he remixed
Gil Scott-Heron's
I'm New Here, transforming it into
We're New Again.
Deciphering the Message is a bridge between jazz's past and the rhythm-centric creativity of the present.
McCraven cherrypicked 13 catalog items. He remixed and reassembled them as contemporary works with the assistance of trumpeter
Marquis Hill, guitarists
Matt Gold and
Jeff Parker, vibraphonist
Joel Ross, saxophonists/flutists
De'Sean Jones and
Greg Ward, and bassist
Junius Paul. To properly differentiate the two versions, he slightly altered titles in small letters signified by "aka" in the track credits.
Hank Mobley's "A Slice of the Top" (aka "Sliced Off the Top") is introduced by the voice of
Pee Wee Marquette, Birdland's emcee during its golden age.
McCraven is the only additional instrumentalist, adding layers of drums, percussion, and an additional bassline to
Bob Crenshaw's. The producer reveals the timelessness of
Mobley's jam by expanding its bluesy rhythm across post-bop, hip-hop, cumbia, and Afrobeat. The effect is more dramatic when the band enters on
Kenny Dorham's Sunset (aka "Son Set").
Kenny Drew's slippery piano vamp is traced by
Parker's guitar as
Ross underscores the melody. It's slower, but the new groove is exponentially more meaty, pronounced, and swinging.
Bobby Hutcherson's "Tranquility" (aka "Corner of the World") is also introduced by
Marquette's disembodied voice.
McCraven adds subtly synthed reverb to the vibes, then triple times his kit atop
Joe Chambers' as saxes, flute, guitar, and
Hill's trumpet all append
Freddie Hubbard's.
Jack Wilson's version of
Frank Strozier's "Frank's Tune" (aka "De'Jeff's Tune") offers a fingerpopping hip-hop shuffle, gently layered keyboards, and breezy solos from
Parker and
Jones.
Art Blakey and the Jazz Messengers'
Wayne Shorter-penned "Mr. Jin (aka Mr. Gin") adds an additional rhythm section to the original with
Paul on electric bass. The hard bop groove remains thanks to
Shorter,
Curtis Fuller,
Lee Morgan, and
Cedar Walton's piano vamp. It opens a gateway for canny interplay between
Blakey's and
McCraven's kits. The set closer is a revelatory read of
Eddie Gale's "Black Rhythm Happening" (no "aka"). Only
McCraven and
Jones graft themselves onto an already large band and chanting chorus. Their bumping, wildly funky, breaking-snare-and-bassline-driven update retains
Gale's vision as an anthem of celebration and creative multiplicity.
McCraven was egoless and reverential in remixing these tunes. His own hope for
Deciphering the Message is to point new listeners toward the originals. As wonderful as that intention is, this album is a phenomenal listening experience in its own right. ~ Thom Jurek
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