A live recording from the Blue Note Jazz Club in New York, In the Blue Light by Kelela Mizanekristos is an immersive soul/jazz experience for listeners, giving fans a front-row seat to witness the exclusive, harp-assisted performance. From Cut 4 Me’s futuristic dance-R&B with beats that burst in your ear to her classic soul cover of “30 Years” by the adventurous jazz singer Betty Carter, Mizanekristos proves to us her sound is boundless, yet distinct.
“Enemy (unplugged)” is Mizanekristos’s lead single and the first track in the album. It opens with the pre-show announcements telling the audience to silence cell phones and introducing the singer. The original track was released on her debut album, Cut 4 Me, and is combative and aggressive. In the original, she sings over fierce, pelting synths and defines her confidence after a break-up: “There’s no hate / Couldn’t wait / Matter fact / Thank you.”
The sound is completely different with the unplugged version presenting a harp strumming and the singer’s voice gliding in the background as she repetitively sings the word “Time” for the first three minutes and belts, “You’re all up on me now / That you’re my / Enemy.”
The lyrics are simplified to match the peaceful background and the inclusion of a delighted crowd’s applause. Mizanekristos’s small speeches are reminiscent of Nina Simone’s 1964 release In Concert.
Released five years ago, Mizanekristos’s ambient, underwater Aquaphoria mix was released and included Jaco’s Solo by Joni Mitchell, an instrumental jazz piece performed live by band member Jaco Pastorious that grows from a simple guitar plucking to a twangy groove. Today, the artist covers Mitchell’s “Furry Sings The Blues (unplugged).” Keeping the tranquil guitar rhythm, but putting a soul twist on the folk classic, she adds emotional intensity in her voice as she sings, “There’s a double bill murder at the New Daisy / The old girl’s silent across the street / She’s silent waiting for the wrecker’s beat.”
Mizanekristos’s “Waitin’ (unplugged)” delivers a subtle groove with fun, breathy background vocals and is as if Sade’s hit “Smooth Operator” had an ambient angel baby.
Her bold reinterpretations are a refreshing and ethereal testament to her typical sound, making the audience pay attention to her dreamy voice, rather than her go-to fluid production.
“This is all very full circle to me,” she said at the end of “Take Me Apart (unplugged).”
This album fits perfectly in her discography, allowing Mizanekristos to embrace her passion for soul and jazz without stepping too far outside of her box by incorporating a heavenly band to accompany her.
