Album Review: Come As You Are by Terrace Martin & Kenyon Dixon
Come As You Are succeeds in painting the sonic portrait it set out to create. It’s an album that invites you to experience the full breadth of what South Los Angeles’ Black music culture has to offer.
Both Terrace Martin and Kenyon Dixon draw deeply from their South LA roots, infusing the album with a strong sense of place and authenticity. In this promotional image, the duo even poses in front of a church doorway—an apt visual metaphor for how gospel traditions and urban life converge in their music. Dixon was born and raised in the Watts neighborhood (specifically the Jordan Downs housing projects) and grew up immersed in church life, as his parents were pastors. He was initially allowed to hear only gospel music in his household, laying a foundation of spirituality and soul that he later discovered on his own through secular R&B and hip-hop. Martin, meanwhile, grew up in South Central Los Angeles surrounded by music—his father was a noted jazz drummer, and his mother was a singer with a church background. As a teen, Terrace was mentored in jazz (studying at Locke High in South LA), but he also came of age amidst the ‘90s West Coast hip-hop scene, even touring with Puff Daddy and performing with a gospel choir early in his career.
These dual influences, the church and the “city,” profoundly shaped both artists, and on Come As You Are, they channel that cultural duality into their music. The album feels like a love letter to their neighborhoods, capturing the “spirit, the soul, the streets, the musicianship” of their upbringing, as Dixon puts it. From reverent nods to gospel heritage to raw depictions of street wisdom, Martin and Dixon authentically represent the culture of Watts and South Central throughout the record. Even the title carries a welcoming, church-inspired message of acceptance and realness—you don’t need to put on a façade; bring your true self. This spirit permeates the album’s lyrics and atmosphere, making it not just an artistic collaboration but a cultural statement from two proud South LA natives.
What makes Come As You Are striking is how effortlessly it blends various genres. Martin and Dixon set out to tear down musical compartments, and the album indeed flows across R&B, jazz, hip-hop (and even touches of gospel) without ever feeling disjointed. Terrace Martin’s background as a jazz saxophonist and hip-hop producer shines through in the lush, analog-style production. You can hear warm live instrumentation, from saxophone riffs and trumpet solos to soulful keyboard chords, all layered over smooth grooves. Kenyon Dixon’s background in classic R&B and soul brings the melody and vocal finesse, where his singing is smooth and emotionally rich, evoking the passion of church vocals one moment and the finesse of ‘90s R&B the next. The record delivers polished R&B hooks, mellow jazz improvisations, and head-nodding hip-hop beats in equal measure. In press materials, Martin described the album as “a sonic picture of the true roots of Los Angeles” music, and that rings true; it’s as if they poured decades of LA’s musical legacy (from funk and jazz-fusion to neo-soul and rap) into one pot and stirred until something fresh emerged.
The album’s title track, “Come As You Are,” is the thematic centerpiece, tying together the album’s messages of acceptance. While the duo brings lyrical heft and conscious perspective, on the surface, these songs and context give clues—“WeMaj” (short for “We Major,” featuring Rapsody and a play on the ‘E Major’ scale) is a romantic devotion, as if suggesting that intimacy can unlock hidden emotional chambers (“You say you love me right here just like your favorite song/Finding your frequency, been trying to turn you on”). “Body & Soul” evokes the classic jazz standard of the same name, blending vintage romance and spirituality with contemporary flair, another nod to uniting past and present. Even a track like the uptempo West Coast boastful anthem “Tyrese” carries cultural subtext: Tyrese Gibson is a famous R&B figure from Watts, so naming a song “Tyrese” is a proud acknowledgment of Watts’ contributions to R&B culture (and interestingly, Dixon’s first songwriting break years ago was on a Tyrese album, coming full circle).
Throughout these songs, Martin and Dixon seamlessly blend church and street influences. You might catch a lyric referencing prayer or faith in one verse, and a reference to an LA neighborhood or lived street experience in the next. Rather than feeling contradictory, these elements complement each other, painting a holistic picture of life for two artists who grew up with one foot in Sunday service and the other on the pavement of South Central. The tone of the album is earnest and soulful; even when the beats hit hard or the grooves get funky, there’s a sense of positivity and truth-telling. By the end of the project, you are left with a message that echoes Dixon’s own mantra: “No labels, no boxes. Just real expression… Just show up as yourself.” It’s a refreshing theme in a music industry that often forces artists into narrow categories, and Martin and Dixon make that theme resonate without ever becoming preachy; they let the music speak for itself, conveying their freedom.
What’s impressive is how cohesive the project feels despite its variety. Tracks segue naturally, unified by a shared vibe that is distinctly Southern California, with a laid-back yet purposeful soulfulness that is not afraid to groove. Dixon has noted on
that working with Martin created a fruitful push-and-pull dynamic in the studio. “Terrace loves that I’m the R&B guy... and I love that Terrace is ‘left’ of that,” he explained, referring to Martin’s more jazz/experimental leanings. Each challenged the other to venture outside their comfort zone. As Dixon put it, “There’s some classic me on there. There’s some classic Terrace. But we’re also in some spaces that people have not heard us in… some stuff is more alt on some stuff, more modern than I’ve ever done.” This creative tension yields a genre-fusing sound that feels both rooted and novel.For example, one track might ride on a funky hip-hop drum pattern with Martin’s sax weaving in jazzy fills, while Dixon delivers silky R&B vocals on top; the next track might flip the script with a stripped-down soul ballad that suddenly blooms into an improvisational jazz piano bridge. Hip-hop elements surface in the form of crisp drum programming and a few rap verses, yet the album maintains a warm musicality throughout, undoubtedly thanks to the live band feel that Martin cultivates. By colliding their influences, Martin and Dixon manage to push genre boundaries without losing the essence of who they are. The album doesn’t sit neatly under one label, and that’s by design; it’s a jazz-soul-hip-hop hybrid that invites the experience of the full spectrum of South LA sound.
The contributions from these guests feel purposeful, enhancing the R&B, jazz, and hip-hop fusion rather than distracting from it. Perhaps most prominent is the presence of Grammy-winning pianist Robert Glasper, a kindred spirit to Terrace Martin in blending jazz with contemporary soul and hip-hop. Glasper’s touch can be felt in the lush keyboard arrangements, whether he’s explicitly credited on a track or not, one can imagine a song where his signature piano chords and riffs add warmth (“Isley’s Hymn,” “Come As You Are”). His involvement underscores the album’s jazz pedigree and improvisational credibility. Keyon Harrold, a renowned trumpeter, also makes an appearance on “OUCH,” injecting a dose of pure jazz soul. When Harrold’s trumpet comes in, it adds a moody, brassy layer, perhaps a stirring solo or background textures that harken back to the bluesy roots of R&B. Moments with live trumpet remind the listener of the album’s commitment to organic musicianship, bridging the classic jazz club vibe with modern production.
Outside of Rapsody, another guest, rising R&B singer Ogi, appears on “Follow Me.” Ogi’s soulful voice adds a contrasting texture to Dixon’s; perhaps the two engage in a duet, trading lines or harmonizing to create a rich layering of vocals. Having a female vocal presence can also introduce a new emotional angle. For example, “Follow Me” is a short romantic duet, and Ogi’s warm tone would complement Dixon’s lead nicely. Charlie Bereal, a guitarist and vocalist deeply rooted in gospel and soul music, is another crucial collaborator. Bereal contributes guitar work that infuses tracks with rhythmic funk. Given Bereal’s background (he has worked in both gospel and R&B realms), his guitar is the secret sauce on a track like “Love Yourself,” adding a church-like warmth to the guitar. His presence further cements the album’s connection to church musicality and live-band feel.
Finally, a particularly special guest is Kenyon’s young daughter, Isley-Rose Dixon, who makes a cameo appearance. The opening track, “Isley’s Hymn,” is directly named for her, and it sets a personal tone. True to its title, it plays like a short hymn or prayer, and one can imagine Isley-Rose’s voice (perhaps a candid snippet of her singing or speaking) adding innocence and charm. Including his daughter is a heartfelt touch from Dixon, detailing the album’s theme of legacy and family roots. It’s also a literal blending of generations as the sound of a child in a musical project that also features veteran musicians such as Glasper and Martin suggests that this album honors the past, present, and future of their culture. Isley-Rose’s contribution, though brief, reminds us that the spirit of Watts and South Central is being passed down to the next generation—and that the musical conversation is ongoing.
The soundscape is top-notch, striking a balance between polish (“Tyrese”), cinematic (“Only Real Ones Survive,” “211,” “OUCH”), and an organic feel (as seen in the Winans-sampling “Not Like That”). It may not break the mold, but Martin’s decision to lean on live instrumentation (saxophones, trumpets, pianos, guitars, and undoubtedly a tight rhythm section) gives the album a warm, analog vibe that stands out in today’s often digital R&B landscape. The mix is clear and spacious, so you can pick out each instrument in the arrangement, from the subtle bass lines that groove underneath, to the keyboard flourishes that add color, to the layered harmony stacks in Dixon’s vocals. Dixon’s voice itself is a highlight, and while he may not be a top-tier vocalist for some, he delivers emotionally layered vocals that can be smooth and comforting on one track, then impassioned and church-rousing on the next. He demonstrates impressive control and range, never oversinging but pouring soul into every note. Martin, for his part, often communicates through his instruments; don’t be surprised if a sax solo on one song conveys as much feeling as a sung verse. The duo’s chemistry is evident in how the vocals and instruments interplay, creating a conversation in the music.
Despite having a short listing that barely clocks in over 30 minutes, the project doesn’t feel rushed. In fact, the brevity of certain tracks works to its advantage, giving the album a taut, no-filler quality. Interludes or shorter pieces are thematic connectors, reinforcing the narrative (for example, the hymn-like intro leading into the more groove-driven songs that follow). There’s a clear intention to paint a picture of South LA life and artistry through sound. At times, you might feel like you’ve been transported to a jam session at a small jazz club on Crenshaw, and at others, you’re riding in a car down Imperial Highway with G-funk beats bumping. The album creates these atmospheres effortlessly. This sonic storytelling is part of the record’s cultural significance, which presents a vibe and a place. Watts and South Central come alive through the music’s contrasts—smooth versus gritty, laid-back versus urgent, spiritual versus streetwise.
With contributions from friends and family, the album resonates with a sense of community celebration. You can sense the influences of Watts and Crenshaw not only in the lyrical shout-outs or song titles, but also in the very fabric of the sound and the collaborative energy. In terms of sonic quality, it’s remarkable that the album features finely crafted arrangements, soulful melodies, and crisp production value, and for Kenyon, it’s his best outing. Yet it never becomes sterile or overly polished; it keeps a lived-in, human feel throughout. Come As You Are lands as an important project for the current music scene, especially in R&B and jazz circles. In recent years, there’s been much discussion about the state of R&B and the blending of genres. Martin and R&B Kenny make a powerful statement that the soul of R&B is very much alive, residing at the crossroads of genres and the roots of Black music, as both are students of the game.
It’s also a proud affirmation of South LA’s influence. Los Angeles often gets credit in hip-hop, but its legacy in jazz and R&B is sometimes underappreciated. Martin (a Grammy-winning producer known for work with Kendrick Lamar and more) and Dixon (a rising R&B powerhouse with Grammy nominations of his own) use this album to highlight the legacy of their hometown, from the funk grooves that trace back to LA funk icons, to the church chords that recall gospel choirs, to the storytelling tradition carried by West Coast rap and soul. They have managed to respect the “legacy” of their heritage while offering a “fresh perspective” for the current moment, which is exactly what they intended. In doing so, they’ve delivered a project that feels honest, soulful, and refreshingly unbounded. Come As You Are is a compelling example of genre-blending done right and a heartfelt tribute to the place and philosophy that shaped its creators.
Great (★★★★☆)
Favotite Track(s): “WeMaj,” “Body & Soul,” “Circle of Love”