When technological advances are first introduced, so too comes an abundance of criticism, but if an honest assessment is rendered, the advent of “sampling” in the hip-hop music genre was a game-changer in an affirmative manner. In the right hands, it married the “two turntables and a mic” essence, with the endless creativity that sparks in the confines of the recording studio. During this process, hip-hop displayed its varied styles and sensibilities while indirectly getting to work with artists of multiple genres. Here are a few of the diamonds that blossomed through the usage of jazz music as a muse for hip-hop.
Breaking Bells—Crash Crew/“Take Me to the Mardi Gras,” Bob James
In the infancy of rap music, musicians would recreate what was hot on the radio and allow for the rappers to get their point across. “Take Me to the Mardi Gras” deviated from the formula and took it back to the crates. The band’s rendition took a minute to recognize, but it was a precursor of what was to come. Bob James’s rendition of the song (a jazz remake of a Simon and Garfunkel tune) has been sampled at least 500 times, most noticeably in Gina Thompson’s remix “The Things You Do” (with that wicked Missy Elliot verse) and “Peter Piper” by Run DMC.
Follow the Leader—Eric B and Rakim Allah/“I Wouldn’t Change a Thing,” Coke Escovedo; “Nautilus,” Bob James
The combination of stellar multi-genre percussionist Coke Escovedo’s track and Bob James’s oft-used “Nautilus” made for an explosive track that Rakim Allah, one of the top five emcees of all time, lyrically left Earth, while his voice seamlessly blended into the track. As a sidebar, the album, “Follow the Leader,” was reimagined for a jazz project under the same moniker, helmed by platinum-credited producer Jonathan Hay in 2019. That album ascended to the top of the Billboard Jazz Chart. In an interview with Billboard magazine, Rakim said, “I always view my voice as an instrument. I choose the content of my words carefully to convey the message and story I want to get across, but I also pay attention to how the syllables, intonation, and emphasis are an accompanying rhythm with the music I’m flowing over. How the words fill the spaces on the melodies and how you can push the boundaries a little…that all comes from studying jazz.”
New York State of Mind—Nas/”Mind Rain,” Joe Chamber
For about 40 seconds into the song “Mind Rain,” it feels like a piano showcase is about to occur as soon as Joe Chamber finishes his warmup. At about the 1-minute mark, however, it takes a menacing turn that is the perfect backdrop for the kingpin dweller from the dungeons of rap. Nas, the son of a jazz musician, matched that tone and feel when he provided a cinematic picture of the Darkside of Queensbride.
The Theme (It’s Party Time)—Tracey Lee/“Mt. Airy Groove,” Pieces of a Dream
Jazz, known for its abstract non-conforming nature, funk, soul, and dance elements, often will creep into the mix. That introductory break beat of “Mt. Airy Groove” was a DJ favorite at jams, but not a beat that emcees could use effectively relay their thoughts. Producers D-Dot and Ron “Amen-Ra” Lawrence of The Hitmen collective found the sweet spot for rapper Tracy Lee to glide over while keeping the jazz/funk-infused original intact.
Stakes Is High De La Soul/“Swahililand,” Ahmad Jamal; “Mind Power,” James Brown
A list of anything associated with hip-hop music isn’t complete without a contribution from the great producer J Dilla. De La conveyed a dire message with a cool, deft demeanor over a track that combined the sophisticated jazz funk of Jamal with that raw street funk of Brown.
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