To Pimp A Butterfly could just be the decade's most important album for US jazz at least, Kendrick Lamar's imprimatur opening the mainstream gates to contributors including Kamasi Washington and Thundercat. Many of that hip hop classic's musicians reconvene for this all-star production by Terrace Martin, who added more than most to Lamar's genre-blind vision. Martin is both a respected hip hop producer (he's on key Snoop Dogg albums), and the multi-instrumentalist son of a jazz drummer with that music in his bones. Sounds Of Crenshaw presents LA's often blighted hip hop capital as a sun-kissed, languid utopia, the Washington- and Robert Glasper-featuring smooth jam ‘Chef E Dubble’ soundtracking another day in paradise. Martin's hybrid is sometimes more interesting than Glasper's own crucial but sometimes soporific Black Radio albums, though, as when the hazy comfort of ‘Funny How Time Flies’ ends in a rough jazz eruption of synths and sax. Martin's breathy, vocoder androgyny combines with a low-end beat boom on ‘Up And Away’, before ‘Wake Up’ offers lovely, pure jazz, just Martin's sweet soprano sax sigh and Kenneth Crouch's piano in a blue ballad. It could do with more bite, but West Coast jazz, hip hop and R&B become one here.