Amazon.co.uk Review
With source material being everything to a remixer, it's astonishing that the vaults of legendary Jazz label Verve haven't been raided earlier. Three years in the making,
Verve Remixed is the first dip into their riches and aims to put the original dance music back in the hands of the dance fraternity. Yet while
MJ Cole and
Rae & Christian respectively do superb jobs of turning Carmen McRae's "How Long Has This Been Going On" and Dinah Washington's "Is You Is Or Is You Ain't My Baby?" into sassy hip swayers, this isn't quite the party piece the esteemed roster of remixers suggests.
Instead, Verve Remixed focuses on the label's mellower side, for an impeccably tailored downtempo collection. Sultry highlights, like the voodoo trip-hop of Tricky's remodelled "Strange Fruit" are numerous, but inevitably it's the label's crown jewels which prove most alluring. Nina Simone's "See-line Woman" rumbles like a frenetic locomotive in the hands of Masters At Work, while her finest hour, "Feelin' Good", is reinvented as shimmering soul by Joe Clausell. As for Sarah Vaughan's classic "Summertime", with the spy movie obsessed United Future Organisation turning up the heat haze with an eerie loop of the original song's smouldering string refrain, it's arguably better than the original. --Dan Gennoe
CD Description
This compilation featuring remixes of tunes from the vaultsof one of the premier '50s and '60s jazz labels varies in tone from the thumping house of the Dorfmeister Con Madrid reworking of Willie Bobo's "Spanish Grease" to the ethereal tones of Thievery Corporation's re-imagining of Astrud Gilberto's "Who Needs Forever?". Tricky performs his usual impenetrable sleight-of-hand on the Billie Holiday classic "Strange Fruit", giving the terrifying imagery of a Southern lynchingan appropriately dark, disturbing feel, while in contrast Sarah Vaughan's "Summertime" is given a reggae bassline that percolates under the song's languid string arrangement.
The brace of Nina Simone cuts ("Feelin' Good" and "See-Line Woman") are given the appropriate updated R&B treatment, while the other Billie Holiday track, "Don't Explain", treats the singer's voice as an adjunct to a musical experiment. Although some of the originals find themselves submerged beneathmulti-layered waves of electronica, there's enough here of interest to make this an exploration well worth investigating.