Geoff Wilkinson of Jazz-Rap Band Us3 on the Rise of AI Music

It might not be such a great thing

Geoff Wilkinson of Us3 catapulted jazz into the mainstream in the early 1990s, earning Blue Note Records its first stateside platinum certification. The group released 9 albums over 20 years, until Wilkinson pulled the plug in 2014 due to illness. The London-based Clio award-winning producer has relaunched Us3 and its first album in a decade—Soundtrack—drops on Aug. 22.

We spent two minutes with Geoff to learn more about his background, his creative inspirations and recent work he’s admired.

Geoff, tell us…

Where you grew up, and where you live now.

I grew up in Selby, North Yorkshire, spent three years as a student in Huddersfield, and then moved to London, where I’ve been ever since.

Your earliest musical memory.

I have an older brother Chris, and I can remember all kinds of weird music coming out of his bedroom when I was young, much of which I absolutely love now!

Your favorite bands/musicians today.

I have a very wide-ranging taste in music from all things jazz to all things hip-hop, although I find myself listening to a lot of Afrobeats and Amapiano at the moment.

One of your favorite projects you’ve ever worked on.

I’ve just completed the 10th Us3 album, which involved marrying trap beats to an 18-piece horn section playing arrangements largely inspired by the work of jazz arranger Gil Evans from the late ’50s/early ’60s. I’m not aware of anything that sounds remotely like this. So that was a good reason to do it.

One thing about how the music world is evolving that you’re excited about.

Unfortunately, I think there’s more to be pessimistic about in the music world at the moment. The unstoppable rise of AI threatens the future of creative musicians. And the rise of streaming and playlist listening habits has led to conformity rather than experimentation.

Someone else’s work, in music or beyond, that you admired lately.

In music I’m liking Wizkid and Kelvin Momo, although I saw Anouar Brahem earlier this year and loved him.

A book, movie, TV show or podcast you recently found inspiring.

Rick Rubin’s The Creative Act made a big impression. Anyone working in a creative field should read this. The last movie that really grabbed me and shook me around was Everything Everywhere All At Once.

An artist you admire outside the world of music.

Orson Welles. My favorite movie director, and a pretty damn good actor too.

Your favorite fictional character.

Hank Quinlan (Orson Welles) in Touch of Evil—a nasty bit of work.

How musicians should approach working with brands.

With an open mind.

How brands should approach working with musicians.

With an open mind, too. Don’t just sync a track for an ad, get creative with other tie-ins.

A mentor who helped you navigate the industry.

The late Bruce Lundvall, former president of Blue Note. The decision to let me and my former production partner Mel Simpson loose on the Blue Note back catalog in the ’90s was Bruce’s call. This man truly changed my life, and I will be forever grateful for that.

What you’d be doing if you weren’t in the music business.

Immediately before we signed to Blue Note, I was booking the bands in The Jazz Café in London, and absolutely loved doing that. If I wasn’t working as an artist/producer, I think I would be running a venue somewhere.