Wondered if anyone else had picked up on this?
I felt that this article makes interesting reading....
The curious thing about Blue Note is that is must have been re-activated for 30 years which means half it's existence has been given over to newer / contemporary jazz artists. Despite this, the label seems bogged down by it's cultish back catalogue which seems increasingly to sound epoch making even when old recordings which were shelved at the time they were recorded eventually resurface. Some interest points are made about how some contemporary jazz musician mirror the old Blue Note tradition yet relatively few recordings made since 1985 seem to enjoy the reputation of their earlier counterparts even when you take in to account the brilliant albums made in that time by the likes of Cassandra Wilson, Don Grolnick, Greg Osby or Jason Moran. I also like the fact that major contemporary talents like the sensational trumpeter Ambrose Akinmusire is signed to the label and that the great Wayne Shorter will release a second label later this year since his return to the label where he made so many defining records.
That said, I think Blue Note has had an identity crisis. There is too much fringe music on the label and it is a disgrace that the likes of Suzanne Vega have released music on Blue Note as opposed to more suitable labels. I'm not fan of Vega but the issue for me is that country / pop acts on a jazz label does detract from the quality control aspect. Why have Blue Note diversified outside of jazz. I suppose this was first noticeable with the signing of Norah Jones . Overall, I'm left with the impression that Blue Note has delivered some great albums since it's re-birth but it has prostituted it's identity somewhat. I'm wondering if the emergence of more independent labels has threatened Blue Notes reputation as the jazz label par excellence and that a more genuine jazz performance might be found on self-produced labels like Dave Douglas' Greenleaf? For me, Blue Note is starting to become a bit slicker and over-produced albeit I hope it doesn't quite go the way of Concord where some jazz musicians have now ended up. I was sad to see Dianne Reeves depart for Concord even if her last effort is probably as about as good as a pop record can be. I've been playing this constantly since Christmas.
In summary, I'm really starting to think that the classic bop element of Blue Note is now better served by Criss Cross (probably the most ideal match for the old 50's / 60's blue Note) whereas the more cutting edge side of things seems to be released either on the wonderful Delmark label or Cuneiform whose delights I am just exploring.
I felt that this article makes interesting reading....
The curious thing about Blue Note is that is must have been re-activated for 30 years which means half it's existence has been given over to newer / contemporary jazz artists. Despite this, the label seems bogged down by it's cultish back catalogue which seems increasingly to sound epoch making even when old recordings which were shelved at the time they were recorded eventually resurface. Some interest points are made about how some contemporary jazz musician mirror the old Blue Note tradition yet relatively few recordings made since 1985 seem to enjoy the reputation of their earlier counterparts even when you take in to account the brilliant albums made in that time by the likes of Cassandra Wilson, Don Grolnick, Greg Osby or Jason Moran. I also like the fact that major contemporary talents like the sensational trumpeter Ambrose Akinmusire is signed to the label and that the great Wayne Shorter will release a second label later this year since his return to the label where he made so many defining records.
That said, I think Blue Note has had an identity crisis. There is too much fringe music on the label and it is a disgrace that the likes of Suzanne Vega have released music on Blue Note as opposed to more suitable labels. I'm not fan of Vega but the issue for me is that country / pop acts on a jazz label does detract from the quality control aspect. Why have Blue Note diversified outside of jazz. I suppose this was first noticeable with the signing of Norah Jones . Overall, I'm left with the impression that Blue Note has delivered some great albums since it's re-birth but it has prostituted it's identity somewhat. I'm wondering if the emergence of more independent labels has threatened Blue Notes reputation as the jazz label par excellence and that a more genuine jazz performance might be found on self-produced labels like Dave Douglas' Greenleaf? For me, Blue Note is starting to become a bit slicker and over-produced albeit I hope it doesn't quite go the way of Concord where some jazz musicians have now ended up. I was sad to see Dianne Reeves depart for Concord even if her last effort is probably as about as good as a pop record can be. I've been playing this constantly since Christmas.
In summary, I'm really starting to think that the classic bop element of Blue Note is now better served by Criss Cross (probably the most ideal match for the old 50's / 60's blue Note) whereas the more cutting edge side of things seems to be released either on the wonderful Delmark label or Cuneiform whose delights I am just exploring.
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