Def Jazz

Description

Personnel: Oran “Juice” Jones (vocals, rap vocals); Audra Bryant (vocals); Dwight Sills (guitar); Hubert Laws (flute); Gerald Albright, Scott Mayo (saxophone); Rick Braun, Roy Hargrove (trumpet); Jeff Lorber (piano, Wurlitzer organ, Moog synthesizer, vibraphone); Kevin Toney (Wurlitzer organ, Moog synthesizer, vibraphone, keyboard programming); Alex Al (electric bass); Tony Joseph (percussion, drum programming). Recording information: Arch-Angel, Woodland Hills, CA; Tay’s Crib, Tarzana, CA; The Green Room, Studio City, CA. Illustrator: Frank Morrison. The ’90s and early to mid-2000s saw quite a few projects that claimed to be fusing hip-hop and jazz. Most of them ended up being more hip-hop than jazz, although saxophonist Bill Evans (as opposed to the late pianist) was an impressive exception. When Evans featured various rappers in the ’90s, he maintained an improviser’s mentality and used MCs in much the same way he would have used a jazz singer — he forced them to interact with a real, honest-to-God, spontaneity-minded band instead of simply giving them electronic tracks to rap over. This compilation doesn’t unite jazz improvisers with a lot of rappers — actually, most of the tunes are instrumental — but it finds jazz improvisers paying tribute to hip-hop (and, to a lesser degree, R&B) with fairly creative results at times. Def Jazz isn’t as consistent as it could have been; some of the tracks are routine, pedestrian smooth jazz. But the album’s most interesting tracks are definitely worth talking about. “Hey, Young World,” which features saxman Gerald Albright, is a real winner; the reggae-influenced gem was originally recorded by rapper Slick Rick in 1988 (a few years before he went to prison), and on Def Jazz, it works enjoyably well as a pop-jazz instrumental. The same goes for performances of Method Man’s “Bring the Pain” (which features flutist Hubert Laws) and Public Enemy’s “Give It Up”; they aren’t the first tunes one would expect jazz instrumentalists