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British- based jazz buffs team up to bring together modern rappers with jazz greats

“STEVE WILLIAMSON ts featured on us 3's new CD Hand on the
_ Torch,

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(P HOP melds with

jazz; Eurythmics are

revisited in live
retrospective; P. Paul McCart-
ney is live again, sort of.

Michael Becker
RECORD REVIEW

US 3 ~ Hand On The Torch, Blue
Note 1993

This is it.

Hip hop artists have been flirting
with jazz fusions. In the quest to
recycle the musical past, soul,
funk, R&B and jazz vaults have
heen rifled through and picked

‘over.

The results have been mostly
uneven. ‘

So-called acid jazz was litle
more than soul music with a disco
core.

Soul II Soul has come closer to
an honest fusion. ‘

England's Galliano intelligently
marries didactic black political
statements with funk, jazz and
R&B, A good example of their spin
on things may be heard on 1992's
release, A Joyful Noise Unto The
Creator. ;

Earlier this year a group of j jazz
musicians including trumpeter
Donald Byrd (formerly with Art
Blakey's Jazz Messengers), British
saxophonist Courtney Pine and

saxophonist Branford Marsalis,
released Guru -- Jazzmatazz Vol.
1, a convincing hip hop-jazz
hybrid.

The US 3 collective scores with
the tasty vibes recorded on the
Blue Note label by Herbie Han-
cock, Thelonious Monk, Bobby
Hutcherson, Art Blakey, Big John

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Patton and more,

London-based jazz junkies Geatt
Wilkinson and Mal Simpson
brought the project together to in-
clude British jazz musicians and
rappers to work with the snappiest
of Blue Note power groove sam-
ples.

Eurythmics — Live 1983-1989,
BMG Records 1993

Live albums are usually redun-
dant and pointless exercises. The
stalwart fan of the artist will likely
have most of the output at home
already, The studio versions are
definitive and those captured live
tend to be pale and sloppy incar-

nations of the originals.

The combustive element evident
in a great live session tends to
dissipate in the transfer to tape.
The Elvis Costello and the Attrac-
tions gig Live At-El Mocambo re-
corded in 1978 is a rare exception.

Eurythmics Live 1983-1989

makes il halfway there by the
grace of Annie Lennox’s gutsy
voice and the dynamic live bands
Lennox and David Stewart
assembled during their years on
the road.

Paul McCartney — Paul Is Live,’
Capitol Records 1993

McCartney is telling people that
this recording represents the fruits
of his last big tour.

It's difficult to believe since he's
made it a habit to release live -
albums with shameless regularity.

The first one, based as it was on
the Wings Over America tour, was
a milestone of sorts because Mc-
Cartney had the gumption to tap

the sacred Beatles repertoire.
Paul is Live filches further —

albeit rather lamely — from the .

Fab Four legacy and contains

_much too much of the icky stuff

from his most recent studio
release,

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