Jazz Reimagined: Brian Jackson Updates 1970s Classics for Dancefloors

Brian Jackson is redefining his catalog by stripping away the original instrumentation of his 1970s hits and rebuilding them for modern club environments. The new release, Now More Than Ever, arrives as a triple LP, double CD, and high-resolution digital package. The project marks a distinct shift from his previous work, aiming to bridge the gap between traditional jazz audiences and newer fans of spoken word and electronic music.

The album contains 19 tracks. Several key songs extend beyond ten minutes in length. These include "The Bottle," "Home is Where the Hatred Is," and "Racetrack in France." The production was handled by Kenny Dope and Louie Vega, known collectively as Masters at Work. They released the record on the British label BBE Music, which stands for Barely Breaking Even.

Jackson collaborated with Gil Scott-Heron on the original versions of these compositions. To update the material, he enlisted a wide range of vocalists and instrumentalists. Black Thought of The Roots provided vocals for "The Revolution Will Not Be Televised." Lisa Fischer sang on "Home is Where the Hatred Is." Carl Cornwell played saxophone on the album's only instrumental track, "Moonshine (Live)." Other contributors include Raheem DeVaughn, Rahsaan Patterson, Josh Milan, Moodymann, Omar, J. Ivy, Rich Medina, Raquel Ra Brown, and Wes Felton.

Jackson explained the creative process behind updating the lyrics for contemporary listeners. He noted that the original songs referenced specific historical contexts that younger audiences might not recognize. He told Black Thought to preserve the underlying references while making them accessible to a current generation. Black Thought responded that he understood the assignment. Jackson also mentioned that he produced a project with Adrian Younge and Ali Shaheed Muhammad in 2021.

The keyboardist described a period in his career following the end of the Scott-Heron collaboration. During those years, securing record deals and live bookings proved difficult. He noted that house music producers and DJs eventually embraced his contributions. This support helped shape the direction of his current work. Jackson stated that he is inspired by the ideas and visions of others from the past and present.

The new album serves as a comprehensive rework of classic material. It positions Jackson at the intersection of jazz, spoken word, and house music. The release includes both extended dance mixes and standard tracks. The personnel list reflects a blend of established jazz vocalists and hip-hop artists. The production by Masters at Work drives the sonic shift toward the club. Jackson remains active in the music scene, continuing to explore new sonic territories.