Now that rock music classics, mostly from the 1960s and the early 1970s, are gaining more respect outside their respective circles, more and more jazz musicians are approaching those tracks with wild abandon. Case in point is the 2025 album release entitled The Blur The Lines Project by Virginia-based jazz fusion drummer extraordinaire Jae Sinnett.

Featuring six songs that most rock fans have known and loved for decades, The Blue The Lines Project features drummer / producer Jae Sinnett backed up by some gifted musicians including Ada Rovatti (sax), Allen Farnham (Hammond B-3 organ), Jason Cale (guitars) and Terry Burrell (bass).

Propelled by Sinnett’s on-point big beat, the entire album makes for a stirring listening experience. Putting an all-instrumental spin on tracks equally known for their lyrics is enterprising and The Blue The Lines Project makes for quite an ears-wide-open listening experience.

And then there’s the music. Kicking off a Rush classic (“Tom Sawyer”) from 1981, Jae Sinnett’s Blur The Lines Project is packed with raw instrumental fusion energy that's quite apparent on timeless tracks made famous by Steppenwolf - “Magic Carpet Ride” from 1968, Led Zeppelin’s “Immigrant Song” from 1970, Joe South’s “Hush” (made famous as an early cover by Deep Purple in 1968), Rare Earth’s “I Just Want To Celebrate” from 1971 and Edgar Winter Band’s 1972 instrumental classic “Frankenstein”.

What makes this whole album so intriguing is that Sinnett, coming from a jazz background, has discovered newfound respect for these timeless rock classics he loved as a younger person. Instrumentalizing them all with these talented modern day jazz-rock musicians puts a new spin and a new shine on songs that truly deserve to belong on Jae Sinnett’s The Blur The Lines Project.

RMR SPEAKS WITH JAE SINNETT

RMR: On your 2025 album The Blur The Lines Project  you were clearly inspired by the tracks when you were young. How old were you in 1969? How did you manage to pick only six to cover and will it be an ongoing series moving forward? I had forgotten the 1981 Rush song “Tom Sawyer”. How did you hit on doing an instrumental version of “Tom Sawyer” and, just out of curiosity, what tracks might you consider for a volume 2 of The Blur The Lines Project?

JAE SINNETT: In 1969 I was 13 in June of that year. The perfect age to absorb what was happening musically at the time in terms of listening and being inspired. There was so much music and so many different musical landscapes. By 1969 I was really into blues rock and funk. Cream, Hendrix, Zeppelin’s Live On Blueberry Hill. Fantastic bootleg record. Sly Stone. Funkadelic. etc.

When I decided to do the Blur The Lines Project I didn’t have specific tunes in mind initially. I started thinking about the songs that first inspired me as a drummer and ones that also challenged my abilities coming into the early 1970’s. I knew doing a record like this would be risky. Particularly coming from a jazz player but the first music I played professionally was rock. Picking the songs was difficult because they are so well known but I knew I wanted to play them instrumentally. This is probably why I chose so few to record. Treading lightly so to speak.

I had no idea how this would be received. Loved or hated. Ha! So, I kept the number low. In recording them I decided to keep the integrity of the songs as they were recorded but instrumentally. Forms and such. We added additional “solo” sections, but we’re jazz players, right? The improvisation was our twists on the songs. I have ideas for more but I wanted to wait to see how this one would be received. So far pretty good.

“Tom Sawyer” came into my development much later but I wasn’t that familiar with Rush at the time. In fact, it was years later. When Neil Peart died I was asked to come in and play a tribute song for him. The producer knew I had a rock background and could do it. We played another Rush piece and it left me really intrigued with their music. So, I included “Tom Sawyer” on Blur The Lines. Certainly, a challenging piece of music to play.

If there is a Blur the Lines 2… hmm …maybe “Black Dog” by Zeppelin. “When The Levee Breaks” too. “Space Truckin” by Deep Purple. “Iron Man”, Black Sabbath. “If 6 Was 9”, Hendrix. “L.A. Woman” and “Riders On The Storm”, the Doors. These are just a few I would consider.

RMR: What was the chemistry like between you and the other musicians on The Blur The Lines Project? They sound very keyed into your vision for this album. Are they younger musicians? And who else you can cite that was involved in getting the album / CD finished, mixed, mastered and released? Were you hands-on throughout the process?

JAE SINNETT: All the musicians were down with the project. Allen, the keyboardist, was a bit unsure at first because he’s such a jazz pianist. He was concerned too much jazz would come out but I told him to play the concept. Let’s play to the themes and that would define how he played. Plus, I wanted him to play organ. He’s not too comfortable playing the Hammond B3 but he agreed to do it. I thought he was magnificent!

Ada, the saxophonist, was so into the project. I love her enthusiasm. Jason, the guitarist, is more of a blues rock player with jazz sensibilities. So, he was the perfect match for the concept I had for the songs and an important one because the music is so guitar heavy. We’re all close to the same age by about 10 years but Jason is the youngest. I work hands on with all my projects and engineer Rob Ulsh. I know him so well and he knows me. Just the two of us sitting there listening and digging into the music and bringing it out. Rob in many ways is like another musician on the project.

RMR: In your career you have so many different albums out. How many albums have you released as a solo artist, and can you compare The Blur the Lines Project with some of your earlier albums? When did your first album come out? For newcomers, what’s a good album of yours to start with? Do you consider The Blur The Lines Project among your best albums yet?

JAE SINNETT: I now have 21 albums out as a leader. My first was recorded back in 1985 called Obsession. Most of my recordings are jazz but I ventured into funk and soul with my Old School Loyalty release. That was certainly a departure up to that point and in a way coming full circle back to my funk roots and very different than anything else I had done up to that release.

Blur The Lines is the only all rock-oriented release I’ve recorded as a leader. Nothing in the 21 releases compares to it in terms of concepts. The Americana Groove Project has some great blues rock and I’m singing on that one too. Some hard hittin’ tracks on that record with rock overtones and soul. Some of my other personal favorite records are The Sinnett Hearings, Subject To Change, Just When You Thought, Confluence, Live at the Sandler Center with orchestra and The Blur The Lines Project. These records reflect some of my best drumming, writing and arranging.

RMR: What drums do you play on The Blur The Lines Project and what are some of your favorite kits you’ve played over the years, and what do you look for in a drum set sound-wise? You have a great snare sound on The Blur The Lines Project.

JAE SINNETT: Thank you. I am a Sonor Drum artist. I’ve played Sonor now for over 30 years. I have a few kits for various styles. I used two different kits on Blur The Lines. A Sonor Vintage kit and a Designer kit. In my view, Sonor Drums are unmatched in design, construction, sound and depth. I’m not saying that because I endorse them. Flawless craftsmanship. I have a jazz kit. Funk. Rock. The drum sizes are different, and the drumheads will vary depending on the music.

I have seven different snares but I used two on Blur The Lines. Both wood snares with Remo coated heads and the sizes are 5.75 and 6X14. Two different bass drums at 22” and 20.” I love drums that resonate warmly. That project, but not overwhelm. I love the tones I can get out of these drums. So incredibly versatile with deep melodic capabilities.

RMR: What else are you planning for 2025 as it comes to writing recording and working on other music as well?

JAE SINNETT: I’ve been thinking about writing some new songs where I’m singing again. Something soulful and groovy. Nice grooves with simplicity. Melodic with a very soulful feel. I’m also working on the Jae Sinnett Compilation. With 21 recordings I have an amazing amount of music to choose from my material. My songs. Not covers. Hearing a bunch of my songs back-to-back from different recordings almost sounds like an entirely new release. Interesting.