It has been almost one year that critics and listeners alike praised INFRACom's very successful re:jazz project. The titles of the [re:jazz] album are acoustic jazz interpretations of electronic music, that have appeared on the INFRACom label within the last ten years. Now the circle closes with the present re:mix album that Jan Hagenkoetter and Namé Leonhard-Vaughn have released together with the musician and composer Matthias Vogt. These titles, arranged by respected colleagues and producers from various styles have in turn, been channelled back into the club scene and beyond. The interpretations are as pluralistic in their form, as the different producers from different countries are themselves. This is the special concern of Jan & Namé, who want to emphasize the stylistic and intellectual open mindedness of their label.
Especially interesting are the work methods of the individual producers. Starting with a complete deconstruction of the original, the Canadian Electronic/Techno producer Akufen, who used the same approach as Matthias Vogt in the (re:jazz) arrangement, in addition took the title of the instrumentals as basis for a vocal interpretation. Frost & Wagner as well, transformed "Torch of Freedom" into an almost classical Reggae-Dancehall version with the trombonist of the successful Dancehall formation SEED from Berlin. Interesting also is the interpretation of Les Gammas, who transformed the ballad "People come running" into an Up-tempo Broken Beat/ 2Step tune, and edited the voice of Linda Carriere (earlier Loose Ends) reconstructing it so that the title received an entirely new face. Beautiful, how the trumpet of Till Brönner blends into this pure club version. Noticeable, is the mix of Swell Session from Gothenburg in Sweden. He transposed the original bass runs into a synthesizer acid line and for the break he invited the gospel choir of his community to fill this number with new spirituality. Nicola Conte, Russ Gabriel, RAS, Bugge Wesseltoft, Dublex Inc., Jazztronik, Yukihiro Fukutomi, John Tejada and The Society all add to the re:mix experience too.
Is all this still jazz? Or is all this still disco? Has the idea of remixing not been overused or rather through producers like Kruder & Dorfmeister evolved into a new art form in the nineties? If you wish, you can occupy yourself with all these trivial comparisons. Jan and Name find this boring and obsolete. For them this is simply "jazz not jazz"!
What remains are the compositions, the creative constructions, the love of music and the creative freedom as expressed in the production chain: "Original (re:jazz version) (re:mix)" This in times of the very suspect and nonsensical superstar pop idol TV shows that devoid our screens of grace. You then realise (re:mix) is a worthy contribution to our environment.