Deciphering the Message

Audio Mixers: Dave Vettraino; Makaya McCraven.
Recording information: Avondale Studios; Black Unlimited Music Group; Catfish Recording; Good Vibes Inc.; Jerome James Studios; Makaya Music Studios; Palisade Studios; Sholo Studios; Submerge Studios.
Photographer: Michael McDermott.
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