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“Pretty much anybody else in hip-hop – from Jay-Z to Kanye – you can tell a musician you don’t like them and it’ll be like, ‘Okay, cool,'” says Kenneth Whalum III, a jazz saxophonist who tours with the R&B singer Maxwell. But no movement takes hold without a hero, and J Dilla has filled that role. The crush of these influences on jazz was a matter of when, not if. Add to that the simple fact that millennial jazz musicians grew up listening mostly to hip-hop, R&B and rock. It’s a reaction to the neo-traditional revivalism that capped the last century, and to jazz’s withered commercial infrastructure in the wake of the 1990s CD bubble. The shift has roots that run in a lot of directions. The jazz world today finds itself swamped with young talent eager for reinvestment in the discourse of contemporary culture. “Herbie Hancock and Tony Williams and Miles : He’s in the same category to me.” Karriem Riggins “J Dilla The Greatest” Remembering Jay Dee | Video Spotlight “He’s so important,” says jazz drummer Karriem Riggins, who collaborated extensively with Dilla and is himself a hip-hop producer. He never belonged to jazz’s inner circle, but since his death in 2006 from a rare blood disease, his legacy has helped pull the genre back into kissing contact with modern popular music. In Detroit on Saturday, the rapper Talib Kweli, violinist and arranger Miguel Atwood-Ferguson, and a handful of other artists will perform at the second annual Dilla Day, a concert celebrating Dilla’s career.ĭilla’s reach stretches way beyond hip-hop: For one, he’s recently cast a long shadow over contemporary jazz.
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1 came out on Tuesday – the first in a series of previously unreleased recordings. Jay Dee’s magnum opus, Donuts, was reissued on vinyl last month, and the posthumous Music From the Lost Scrolls Vol. And he injected a softened, swaggering humanity into the rigid slap of classic hip-hop drumbeats. He recast the sample as a malleable component, rather than the monochromatic backbone it had seemed to be.
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He played fresh games with texture and tone. At his peak in the late 1990s and early 2000s, he suggested syntheses that hadn’t seemed possible. But in the seven years since his death, J Dilla – who would have turned 39 today – has come to represent a major inflection point on hip-hop’s evolutionary tree. Visionary hip-hop producer J Dilla never found mainstream success during his brief lifetime.