Many Jamaican musicians came to reggae from jazz or soul; this is something many people forget today. At the same time, they are and were highly accomplished musicians who often began their training at the Alpha School. What could be more fitting, then, than The Juks, a London-based rocksteady/reggae band who released their first album in 2020?Way Back“crossed my path and remained in my memory? The Juks are actually just Toby Kinder on organ/Wurlitzer and the multi-instrumentalist and producer Lenny Bignell on guitars/Wurlitzer/bass/melodica and drums, who combine jazz classics from the Blue Note catalog with the energy of early reggae and Dub connect. Their music moves between warm, harmonically interesting soundscapes and a constantly driving groove characterized by bass and drums. On their current release “The Juks: Blue Note Special“From the originals emerge multifaceted constellations and instrumentals that reinterpret jazz classics in a fresh and highly invigorating way. From early works like their first album, “Way Back,” to releases like “The Phantom,” the opening track of their current album, a clear focus is evident, manifesting itself in musical curiosity and a technically precise sound. The Juks thus cultivate a style that speaks to both head and hips, remaining authentically rooted in the reggae tradition while remaining open to jazz nuances and psychedelic influences.”
On "Blue Note Special," The Juks subject a decade's worth of material from the Blue Note catalog to a reinterpretation with reggae and Dub-influences. The collection brings together the seven 7-inch singles from their "Blue Note Breakbeats in Reggae" series, along with three other outstanding tracks. The ten tracks offer a brief journey of discovery through the legendary jazz label, founded in the USA in 1939 by German-Jewish emigrants Alfred Lion and Max Margulis. The sources of inspiration are unmistakable. The early reggae of the Pioneers can be heard, as well as nods to Ernest Ranglin, Jackie Mittoo, Count Ossie, Light of Saba, and Augustus Pablo, bridging the gap between these two musically rich traditions.
Lenny Bignell and Toby Kinder offer fresh interpretations of many of the greatest jazz classics ever released on the Blue Note label, while remaining true to their signature instrumental cover style. As an example, I've chosen Ronnie Foster's "Mystic Brew" from 1972. A jazz-funk classic, its melody gradually builds into reggae, interwoven with a rich bass, driving rhythm, and psychedelic guitar sounds.
I also like the guitar in Lou Donaldson's "Brother Soul," where it corresponds with the flute.
For me, once again a wonderful album, with beautiful, gentle melodies, rising wah-wah effects, improvised organ passages and a jazzy touch of cosmic keyboard playfulness.
I would also like to recommend the singles mentioned above to everyone, because they also contain the Dubto hear.
A response to “The Juks: Blue Note Special”
Before reggae existed, I would have chosen "Brother Soul" by
Lou Donaldson might have had an ear to spare as well. I've listened to Lou D.'s original and can follow along just fine, without feeling the slightest bit of ecstasy. But this isn't about ecstasy, it's about relaxed music listening, and that can be wonderfully enjoyed with both the originals and the "Blue Note Specials." And with "Way Back" as well. However, I find myself bored to tears by Ronnie Foster's "Mystic Blue." That's why I haven't checked out any more originals, which was perhaps a mistake, but great things can come from mistakes. The "Blue Note Specials" don't impress me with flashy special effects, but with the truly masterful playing of the musicians. I, too, find beautiful melodies and the
"Jazzy keyboard playfulness" with a touch of cosmic magic sweeps me away, creating upliftment and inner joy. The "Ernest Ranglin guitar" particularly cleverly nestles itself in my auditory cortex, my limbic system, and not least in my hippocampus, where all my memories of the exquisite guitar playing of the aforementioned Ernest Ranglin are forever "burned in." There's a slight "cymbal" sound now and then, but that hasn't bothered me so far. Negligible, I think.
Where was I? Oh yes! A comparison between the original version of "Brother Soul" and The Juks' interpretation. The lack of ecstasy in the original jazz-soul-or-call-it version is replaced by The Juks with a very lively, rhythmically euphoric energy, transforming it into a fantastic reggae- or rocksteady-style version.
And that's why I don't hear the Jazz, I only listen to ReggaeMusic !!! …lemmi