Hip-Hop

THREE 6 MAFIA 'LAST 2 WALK' (COLUMBIA)

3 stars = Good
Ratings explained

In the twisted world of Three 6 Mafia, the philosophy of not fixing what isn't broke hasn't been some slow death sentence of marginalization. In fact, by getting weirder and more outrageous with each release, the Memphis rap group have sold more records, had more hits, won an Oscar, recorded a song with Justin Timberlake, and gotten a reality show. Go figure.

"Last 2 Walk" is the group's ninth studio album and its first since becoming a household name. It's a stark, refreshing reminder of the group's trademark sounds: dark piano chords and synth-heavy beats, pushed further by ridiculous chants that act as choruses, many of which aren't printable in this newspaper. (A couple -- "Playstation" and "First 48" -- feel like product placements, albeit very clever ones.)

A slew of guests rounds out what is a wildly fun party. Some are expected (Project Pat, Akon), others are not (Lyfe Jennings, Good Charlotte). Surprisingly, they all fit nicely. Go figure.

--Michael Pollock, McClatchy-Tribune

RZA AS BOBBY DIGITAL 'DIGI SNAKS' (KOCH)

3 1/2 stars = Very good
Ratings explained

RZA makes soundtracks for Quentin Tarentino and Jim Jarmusch, creates online games, and produces pal-collaborators in the long-suffering Wu Tang Clan. But in between all that, RZA has a solo career that he runs in the thug-superhero mode of "Bobby Digital."

With the Wu's most recent record 8 Diagrams sounding only so-so, it's time for the masked, swashbuckling pimp/rapper to save the day. Yet rather than rescue it through hip-hop, Digi's power comes from the thrilling blaxploitative swirl that RZA gave "Kill Bill."

RZA's fresh cinematic ambience allows him open space in which to rhyme curtly. "Creep" and "You Can't Stop Me Now" are spookily soulful disco-funk thumpers whose mysteries you can't quite figure out at first. Then you notice the Billie Holiday-like voice of Thea van Seijen, with her creaking verses on looming cuts like "Good Night," and consider her contributions to the darkly atmospheric Massive Attack. Aha! RZA's take on that British trip-hop outfit's electro-dub vibe gives everything from the regal jazz of "Drama" to the tensely teasing "Try Ya Ya Ya" a scary, lovelier atmosphere than anything RZA has recorded previously.

I can't wait for the sequel.

--A.D. Amorosi, McClatchy-Tribune

Jazz

HIROMI 'BEYOND STANDARD' (TELARC)

3 1/2 stars = Very good
Ratings explained

The Japanese-born pianist Hiromi Uehara pulls off a monster of a jazz recording here. Now nearing 30, Hiromi, another promising product of Boston's Berklee College of Music, takes on a set largely of standards after her last four recordings focused on original material.

Hiromi still has the crystalline style that makes her melodies so clear and expansive. Mentored by the eminent Pittsburgh-born pianist Ahmad Jamal, she's turned into a major player.

The twist here is the fusion influence of guitarist David Fiuczynski, who really cuts it up with the leader on "Softly as in a Morning Sunrise." Bassist Tony Grey joins in on the fusion pyrotechnics on Debussy's "Claire de Lune," enlarging the notion of a standard, while the Japanese tune "Ue Wo Muite Aruko" gets a thorough funky going-over.

"Caravan" and "My Favorite Things" also get comely makeovers. "Led Boots" from guitarist Jeff Beck's "Wired" makes for a hot change of pace. The climax is Hiromi's startling solo interpretation of "I've Got Rhythm," which argues convincingly that jazz lives.

--Karl Stark, McClatchy-Tribune