Marcus Lewis is a trombonist/band leader currently based in Kansas City, who is probably best known for his work with Janelle Monae. While he’s played with others in the pop world as well, in his own solo career, his music has been more jazz-oriented. This is especially true with his recently assembled 18-piece big band. However, with their latest album, Lewis looks to blur the lines of genre, this time with Kansas City emcees Kemet the Phantom and Kadesh Flow to create some big band hip hop on Brass and Boujee.

Now, when I hear about a project like this, I always approach cautiously, because this is something that could easily go one of two ways. One way is that it never gets past the novelty of the combination of genres, and it ends up sounding like some hokey county fair performance. The other way is that it’s done with great care and vision, and the project ends up with a truly unique and exciting sound. Looking at the names involved with this project, the pedigree was certainly there, but you can never be certain until you hear it. Fortunately, it won’t take long into the first track, “All Day,” featuring Kadesh Flow on the mic to put your mind at ease. Lewis makes everything work by bringing in heavy doses of New Orleans Brass Band, and then works in hip hop, funk, soul, and jazz to round out the sound. On a song like “All Day,” you get this great bounce and swagger between the horns and percussion, which allows Kadesh Flow to come in and spit these great staccato verses and build on the energy, and everything is already great, but then Lewis shows his ability as an arranger and songwriter, as the song shifts gears and moves into a smooth instrumental section that allows space for some solos, before successfully shifting back to the verses and bringing the energy back up for the big finish. This is by no means an easy feat, but they way that Lewis was able to pull it off on the opening track, I knew I was in good hands. In general, the album shifts back and forth between Kadesh Flow and Kemet the Phantom leading the way on the mic, and they strike a good balance between just having fun and rocking the party and more serious subject matter, such as when Kadesh Flow gets into identity politics on “Post Racial.” There are two covers on the album, Bruno Mars’ “24K Magic,” and Kendrick Lamar’s “Alright.” You don’t hear too many straight up covers in hip hop, but “Alright” works well in this situation, largely because of how orchestral the production was on the original version that gives Lewis a lot to work with in terms of rearranging it. The only slightly odd part of the song is hearing Kadesh Flow rapping lyrics that use rougher language than his usual clean style of lyricism. “24K Magic” doesn’t come across quite as well, if only because Bruno Mars is always one step away from a wedding reception, and in covering this song, Lewis takes the big band into this dangerous cheesy territory. It’s a small misstep on an otherwise incredibly creative and complex album, and fortunately the album gets back on track immediately after that song.

Brass and Boujee is a big undertaking, but Marcus Lewis is more than up to the task. He’s written some incredible and unconventional big band arrangements and brought in some talented emcees with vision and chemistry to match his arrangements. It all comes together for one of the most unique listening experiences of the year.