Blue Note Re:imagined shines a light on the fertile British scene and connects it to the tradition by inviting 15 of the UK's most talked-about artists (plus kindred spirits Fieh from Oslo) to rework classic tunes from the label's back catalogue.

The results are as wide-ranging and genre-fluid as you'd expect. Some are subtle, such as Shabaka Hutchings' interpretation of Bobby Hutcherson and Harold Land's shadowy, abstract mood piece ‘Prints Tie’. Hutchings has tweaked the instrumentation (clarinet instead of sax, guitar and electronics rather than synths) but the atmosphere remains the same, capturing the haunting beauty of the original. Elsewhere there are more radical departures and some clever ideas. Nubya Garcia directly addresses the brief with her version of Joe Henderson's ‘A Shade Of Jade’ by juxtaposing swing sections, mixed to sound like a sample of the original, with a contemporary back-beat feel. Emma­Jean Thackray's ingenious combination of two Wayne Shorter tunes, ‘Night Dreamer’ and ‘Speak No Evil’, kicks off with house drums, and singer Poppy Ajudha's take on ‘Watermelon Man’ blends jazz and leftfield pop, replacing the famous blown bottles on the introduction (themselves inspired by Pygmy music from Central Africa: a tradition of singing and whistle-playing called hindewhu) with ethereal vocals. Ajudha's powerful lyric brings the tune right up to date: “Watermelon Man under the sun … I know it seems your work has just begun/but change is gonna come.” Not all of the tracks on Blue Note Re:imagined are winners and there are some notable absences (no SEED Ensemble, Sarathy Korwar, Moses Boyd, Nérija or Maisha), but it's an enjoyable selection that puts these artists in context – celebrating their roots in the tradition and their fizzing creativity.