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Jazz rap

January 01, 1970

Jazz rap (also jazz hop or jazz hip hop) is a fusion of jazz and hip hop music, as well as an alternative hip hop subgenre,[1] that developed in the late 1980s and early 1990s. AllMusic writes that the genre "was an attempt to fuse African-American music of the past with a newly dominant form of the present, paying tribute to and reinvigorating the former while expanding the horizons of the latter." The rhythm was rooted in hip hop[1] over which were placed repetitive phrases of jazz instrumentation: trumpet, double bass, etc. Groups involved in the formation of jazz rap included A Tribe Called Quest, Digable Planets, De La Soul, Gang Starr, The Roots, Jungle Brothers, and Dream Warriors.[1]

Jazz rap
Other namesJazz hip hop, jazz hop
Stylistic origins
Cultural originsLate 1980s, United States, Canada and United Kingdom
Derivative forms

Overview edit

During the 1970s, The Last Poets and Gil Scott-Heron placed spoken word and rhymed poetry over jazzy backing tracks.[2] There are also parallels between jazz and the improvised phrasings of freestyle rap. Despite these disparate threads, jazz rap did not coalesce as a genre until the late 1980s.

At this time, the jazz community saw a stark divide, with some retaining interest in traditional styles while others embraced newer forms like smooth jazz. This period also marked a significant shift in jazz's cultural positioning, elevating it to a status akin to "serious art music." Influential figures like Wynton Marsalis played a pivotal role in this transformation, advocating for a return to traditional jazz values.[3]

Jazz rap's emergence can be seen as an attempt to elevate rap music's status by associating it with jazz's cultural capital, and was seen as an alternative to more dominant subgenres like gangsta and pop rap. This association not only enriched the musical texture of hip-hop but also provided a platform for social and political commentary, aligning with jazz's historical role as a voice for African American experiences and struggles.[4]

History edit

In 1989, Gang Starr released the debut single "Words I Manifest", sampling Dizzy Gillespie's 1952 "Night in Tunisia", and Stetsasonic released "Talkin' All That Jazz", sampling Lonnie Liston Smith. Gang Starr's debut LP, No More Mr. Nice Guy (Wild Pitch, 1989), and their track "Jazz Thing" (CBS, 1990) for the soundtrack of Mo' Better Blues, further popularized the jazz rap style. In 1992 Eric B & Rakim used wood bass on "Don't Sweat the Technique".[5]

Digable Planets' 1993 release Reachin' (A New Refutation of Time and Space) was a hit jazz rap record sampling the likes of Don Cherry, Sonny Rollins, Art Blakey, Herbie Mann, Herbie Hancock, Grant Green, and Rahsaan Roland Kirk. It spawned the hit single "Rebirth of Slick (Cool Like Dat)".[6]

Also in 1993, Us3 released Hand on the Torch on Blue Note Records. All samples were from the Blue Note catalogue. The single "Cantaloop" was Blue Note's first gold record.[7]

Post WWII swing and modern jazz had fused with the introduction of Black appeal radio which attracted a younger audience through its reliance on jive idioms, rhyming, and cadence laden rap verses. Dizzy Gillespie had pointed to The jives of Dr. Hepcat and rhyming D.J. Daddy-O Daylie as key to popularizing modern jazz.[8] The rise of Top-40 radio on the strength of the rapping DJs in this period of radio's rebirth among black youth led to the wider use of language and syntax popularizing rap. Muhammad Ali's phrasing to the press in the early part of his career was born of listening to black radio of the 1950s, which was often white radio announcers speaking slang "jive" and imitating black announcers while withholding the fact on air of their backgrounds.[9] Pioneering DJs Al Benson, Nat D., and Jack the Rapper all used rhyming,[10] the dozens and jive talk to pepper their broadcasts and were widely copied by white DJs like John Richbourg, Gene Nobles, and Bill Allen during the 1950s, and whose influence on James Brown and other godfathers of rap was formative, bebop was the backing track that modern jazz credits with being the foundation black appeal radio is based on.[11]

Native Tongues edit

Groups making up the collective known as the Native Tongues tended toward jazzy releases: these include the Jungle Brothers' debut Straight Out the Jungle (Warlock, 1988) and A Tribe Called Quest's People's Instinctive Travels and the Paths of Rhythm (Jive, 1990).[citation needed] Album The Low End Theory has become one of hip hop's most acclaimed albums,[12] and also earned praise from jazz bassist Ron Carter, who played double bass on one track. De La Soul's Buhloone Mindstate (Tommy Boy, 1993) featured contributions from Maceo Parker, Fred Wesley, and Pee Wee Ellis, and samples from Eddie Harris, Lou Donaldson, Duke Pearson and Milt Jackson. Queen Latifah and Monie Love were members of Native Tongues also.

Also of this period was Toronto-based Dream Warriors' 1991 release And Now the Legacy Begins (Island). It produced the hit singles "My Definition of a Boombastic Jazz Style" and "Wash Your Face in My Sink". The first of these was based on a loop taken from Quincy Jones' "Soul Bossa Nova", while the second sampled Count Basie's 1967 rendition of "Hang On Sloopy". Meanwhile, Los Angeles hip hop group Freestyle Fellowship pursued a different route of jazz influence in recordings with unusual time signatures and scat-influenced vocals.[13]

Jazz artists come to hip hop edit

Though jazz rap had achieved little mainstream success, jazz legend Miles Davis' final album (released posthumously in 1992), Doo-Bop, featured hip hop beats and collaborations with producer Easy Mo Bee.[14] Jazz musician Branford Marsalis collaborated with Gang Starr's DJ Premier on his Buckshot LeFonque project that same year. Between 1993 and 2000 fellow Gang Starr member Guru released Jazzmatazz, which featured guest appearances from jazz artists such as Lonnie Liston Smith, Freddie Hubbard and Donald Byrd, amongst others.

Since 1994 edit

Musical jazz references became less obvious and less sustained, and lyrical references to jazz certainly more rare.[15] However, jazz had been added to the palette of hip hop producers, and its influence continued throughout the 1990s whether behind the gritty street-tales of Nas (Illmatic, Columbia, 1994), or backing the more bohemian sensibilities of acts such as The Roots, The Nonce, and Common. Since 2000 it can be detected in the work of producers such as J. Rawls, Nujabes, Fat Jon, Madlib, Kero One, and the English duo The Herbaliser. A project somewhat similar to Buckshot Le Fonque was Brooklyn Funk Essentials, a New York–based collective who also released their first LP in 1994. Prince himself contributed to the genre on some songs from 1991 to 1992, as well as with his New Power Generation album Gold Nigga, which mixed jazz, funk and hip-hop and was released very confidentially.

One hip hop project which continued to maintain a direct connection to jazz was Guru's Jazzmatazz series, which used live jazz musicians in the studio.[16] Spanning from 1993 to 2007, its four volumes assembled jazz luminaries like Freddie Hubbard, Donald Byrd, Courtney Pine, Herbie Hancock, Kenny Garrett and Lonnie Liston Smith, and hip hop performers such as Kool Keith, MC Solaar, Common, and Guru's Gang Starr colleague DJ Premier.

Madlib's 2003 release Shades of Blue paid homage to his Blue Note Records roots, where he samples from Blue Note's archives. The album also contains interpretations of Blue Note classics performed by Yesterdays New Quintet.[17]

In 2006, Bay Area producer/rapper Kero One independently released a jazz and funk influenced hiphop album named Windmills of the Soul, which stood out for infusing live saxophone, jazz guitar, electric piano, and other instruments with dusty samples and compelling lyrics, eventually selling over 30,000 copies worldwide and playing heavy rotation on college radio stations worldwide.[18][19]

In September 2014, Statik Selektah released his album What Goes Around with a notable jazz rap influence, unique among the actual rap atmosphere. Another recent jazz rap talent producer is Beats by the Pound (also known as The Medicine Men). In February 2015, Canadian jazz band Badbadnotgood released 'Sour Soul' with Wu-Tang Clan rapper Ghostface Killah. A month later, Kendrick Lamar released To Pimp a Butterfly, which incorporates jazz, funk, and spoken word.[20] In 2015, Irish rapper Kojaque released a series of jazz rap instrumentals on SoundCloud.[21]

See also edit

References edit

  1. ^ a b c "Jazz-Rap Music Genre Overview". AllMusic. Retrieved 4 June 2018.
  2. ^ "Gil Scott-Heron, Spoken-Word Musician, Dies at 62". The New York Times. 28 May 2011. Retrieved 16 January 2012.
  3. ^ Starks, George L.; Giddins, Gary; Rusch, Robert D.; Gridley, Mark C. (1986). "Rhythm-A-Ning: Jazz Tradition and Innovation in the 80's". The Black Perspective in Music. 14 (2): 187. doi:10.2307/1214987. ISSN 0090-7790. JSTOR 1214987.
  4. ^ Williams, Justin A. (2010-10-01). "The Construction of Jazz Rap as High Art in Hip-Hop Music". Journal of Musicology. 27 (4): 435–459. doi:10.1525/jm.2010.27.4.435. hdl:1983/6b6784b2-5f18-421a-9669-2aedabe9cc2d. ISSN 0277-9269.
  5. ^ Eric B & Rakim Don't Sweat the Technique allmusic Retrieved 14 March 2024
  6. ^ "The Victoria Advocate - Google News Archive Search". news.google.com.
  7. ^ US Hot 100 Billboard Retrieved 14 May 2024
  8. ^ "Durst, Albert Lavada", Texas State Historical Association. Retrieved 23 November 2016.
  9. ^ Hilmes, M. (1997). Radio Voices: American Broadcasting, 1922-1952. Minneapolis: University of Minnesota Press, p. 272-3.
  10. ^ Marsha Washington George (28 March 2002). Black Radio ... Winner Takes All: America's 1St Black Djs. Xlibris Corporation. pp. 90–. ISBN 978-1-4628-1993-5
  11. ^ "Exhibition Traces Development of Hip hop". Pittsburgh Post-Gazette at news.google.com. 19 December 2000. p. 26. Retrieved 4 June 2018.
  12. ^ "The 10 Best Jazz Rap Albums To Own On Vinyl — Vinyl Me, Please". Vinylmeplease.com. 2016-11-04. Retrieved 2018-09-15.
  13. ^ Hunt, Dennis (June 29, 1993). "Liberating Rap With Jazz Sound : Freestyle Fellowship Adds Riffs to Rhymes". Los Angeles Times. Retrieved May 22, 2017.
  14. ^ Aldrich, Steve. "Doo-Bop". AllMusic. Retrieved 13 March 2024.
  15. ^ Cunningham, Phillip Lamarr (9 September 2010). ""There's Nothing Really New under the Sun": The Fallacy of the Neo-Soul Genre". Journal of Popular Music Studies. 22 (3): 240–258. doi:10.1111/j.1533-1598.2010.01240.x.
  16. ^ "Jazzmatazz, Vol. 1 > Overview". allmusic.com. Retrieved April 24, 2010.
  17. ^ "Madlib: Shades of Blue". pitchfork.com. Retrieved 2017-01-03.
  18. ^ Winnig, Brolin (March 31, 2006). "Kero One Windmills Of The Soul". XLR8R. Retrieved February 1, 2006.
  19. ^ Woodman-Nance, Emily (March 19, 2010). "KUCI". Retrieved March 19, 2010.
  20. ^ Weiss, Dan (March 20, 2015). "Review: Kendrick Lamar Returns With the Great American Hip-Hop Album, 'To Pimp a Butterfly'". Spin. Retrieved March 20, 2015.
  21. ^ "Kojaque | Plec Picks 2019 • GoldenPlec".

January 01, 1970
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Jazz rap also jazz hop or jazz hip hop is a fusion of jazz and hip hop music as well as an alternative hip hop subgenre 1 that developed in the late 1980s and early 1990s AllMusic writes that the genre was an attempt to fuse African American music of the past with a newly dominant form of the present paying tribute to and reinvigorating the former while expanding the horizons of the latter The rhythm was rooted in hip hop 1 over which were placed repetitive phrases of jazz instrumentation trumpet double bass etc Groups involved in the formation of jazz rap included A Tribe Called Quest Digable Planets De La Soul Gang Starr The Roots Jungle Brothers and Dream Warriors 1 Jazz rapOther namesJazz hip hop jazz hopStylistic originsHip hopjazzCultural originsLate 1980s United States Canada and United KingdomDerivative formsNu jazztrip hop Contents 1 Overview 2 History 2 1 Native Tongues 2 2 Jazz artists come to hip hop 2 3 Since 1994 3 See also 4 ReferencesOverview editDuring the 1970s The Last Poets and Gil Scott Heron placed spoken word and rhymed poetry over jazzy backing tracks 2 There are also parallels between jazz and the improvised phrasings of freestyle rap Despite these disparate threads jazz rap did not coalesce as a genre until the late 1980s At this time the jazz community saw a stark divide with some retaining interest in traditional styles while others embraced newer forms like smooth jazz This period also marked a significant shift in jazz s cultural positioning elevating it to a status akin to serious art music Influential figures like Wynton Marsalis played a pivotal role in this transformation advocating for a return to traditional jazz values 3 Jazz rap s emergence can be seen as an attempt to elevate rap music s status by associating it with jazz s cultural capital and was seen as an alternative to more dominant subgenres like gangsta and pop rap This association not only enriched the musical texture of hip hop but also provided a platform for social and political commentary aligning with jazz s historical role as a voice for African American experiences and struggles 4 History editIn 1989 Gang Starr released the debut single Words I Manifest sampling Dizzy Gillespie s 1952 Night in Tunisia and Stetsasonic released Talkin All That Jazz sampling Lonnie Liston Smith Gang Starr s debut LP No More Mr Nice Guy Wild Pitch 1989 and their track Jazz Thing CBS 1990 for the soundtrack of Mo Better Blues further popularized the jazz rap style In 1992 Eric B amp Rakim used wood bass on Don t Sweat the Technique 5 Digable Planets 1993 release Reachin A New Refutation of Time and Space was a hit jazz rap record sampling the likes of Don Cherry Sonny Rollins Art Blakey Herbie Mann Herbie Hancock Grant Green and Rahsaan Roland Kirk It spawned the hit single Rebirth of Slick Cool Like Dat 6 Also in 1993 Us3 released Hand on the Torch on Blue Note Records All samples were from the Blue Note catalogue The single Cantaloop was Blue Note s first gold record 7 Post WWII swing and modern jazz had fused with the introduction of Black appeal radio which attracted a younger audience through its reliance on jive idioms rhyming and cadence laden rap verses Dizzy Gillespie had pointed to The jives of Dr Hepcat and rhyming D J Daddy O Daylie as key to popularizing modern jazz 8 The rise of Top 40 radio on the strength of the rapping DJs in this period of radio s rebirth among black youth led to the wider use of language and syntax popularizing rap Muhammad Ali s phrasing to the press in the early part of his career was born of listening to black radio of the 1950s which was often white radio announcers speaking slang jive and imitating black announcers while withholding the fact on air of their backgrounds 9 Pioneering DJs Al Benson Nat D and Jack the Rapper all used rhyming 10 the dozens and jive talk to pepper their broadcasts and were widely copied by white DJs like John Richbourg Gene Nobles and Bill Allen during the 1950s and whose influence on James Brown and other godfathers of rap was formative bebop was the backing track that modern jazz credits with being the foundation black appeal radio is based on 11 Native Tongues edit Groups making up the collective known as the Native Tongues tended toward jazzy releases these include the Jungle Brothers debut Straight Out the Jungle Warlock 1988 and A Tribe Called Quest s People s Instinctive Travels and the Paths of Rhythm Jive 1990 citation needed Album The Low End Theory has become one of hip hop s most acclaimed albums 12 and also earned praise from jazz bassist Ron Carter who played double bass on one track De La Soul s Buhloone Mindstate Tommy Boy 1993 featured contributions from Maceo Parker Fred Wesley and Pee Wee Ellis and samples from Eddie Harris Lou Donaldson Duke Pearson and Milt Jackson Queen Latifah and Monie Love were members of Native Tongues also Also of this period was Toronto based Dream Warriors 1991 release And Now the Legacy Begins Island It produced the hit singles My Definition of a Boombastic Jazz Style and Wash Your Face in My Sink The first of these was based on a loop taken from Quincy Jones Soul Bossa Nova while the second sampled Count Basie s 1967 rendition of Hang On Sloopy Meanwhile Los Angeles hip hop group Freestyle Fellowship pursued a different route of jazz influence in recordings with unusual time signatures and scat influenced vocals 13 Jazz artists come to hip hop edit Though jazz rap had achieved little mainstream success jazz legend Miles Davis final album released posthumously in 1992 Doo Bop featured hip hop beats and collaborations with producer Easy Mo Bee 14 Jazz musician Branford Marsalis collaborated with Gang Starr s DJ Premier on his Buckshot LeFonque project that same year Between 1993 and 2000 fellow Gang Starr member Guru released Jazzmatazz which featured guest appearances from jazz artists such as Lonnie Liston Smith Freddie Hubbard and Donald Byrd amongst others Since 1994 edit Musical jazz references became less obvious and less sustained and lyrical references to jazz certainly more rare 15 However jazz had been added to the palette of hip hop producers and its influence continued throughout the 1990s whether behind the gritty street tales of Nas Illmatic Columbia 1994 or backing the more bohemian sensibilities of acts such as The Roots The Nonce and Common Since 2000 it can be detected in the work of producers such as J Rawls Nujabes Fat Jon Madlib Kero One and the English duo The Herbaliser A project somewhat similar to Buckshot Le Fonque was Brooklyn Funk Essentials a New York based collective who also released their first LP in 1994 Prince himself contributed to the genre on some songs from 1991 to 1992 as well as with his New Power Generation album Gold Nigga which mixed jazz funk and hip hop and was released very confidentially One hip hop project which continued to maintain a direct connection to jazz was Guru s Jazzmatazz series which used live jazz musicians in the studio 16 Spanning from 1993 to 2007 its four volumes assembled jazz luminaries like Freddie Hubbard Donald Byrd Courtney Pine Herbie Hancock Kenny Garrett and Lonnie Liston Smith and hip hop performers such as Kool Keith MC Solaar Common and Guru s Gang Starr colleague DJ Premier Madlib s 2003 release Shades of Blue paid homage to his Blue Note Records roots where he samples from Blue Note s archives The album also contains interpretations of Blue Note classics performed by Yesterdays New Quintet 17 In 2006 Bay Area producer rapper Kero One independently released a jazz and funk influenced hiphop album named Windmills of the Soul which stood out for infusing live saxophone jazz guitar electric piano and other instruments with dusty samples and compelling lyrics eventually selling over 30 000 copies worldwide and playing heavy rotation on college radio stations worldwide 18 19 In September 2014 Statik Selektah released his album What Goes Around with a notable jazz rap influence unique among the actual rap atmosphere Another recent jazz rap talent producer is Beats by the Pound also known as The Medicine Men In February 2015 Canadian jazz band Badbadnotgood released Sour Soul with Wu Tang Clan rapper Ghostface Killah A month later Kendrick Lamar released To Pimp a Butterfly which incorporates jazz funk and spoken word 20 In 2015 Irish rapper Kojaque released a series of jazz rap instrumentals on SoundCloud 21 See also editJazz funk Soul jazz Malcolm XReferences edit a b c Jazz Rap Music Genre Overview AllMusic Retrieved 4 June 2018 Gil Scott Heron Spoken Word Musician Dies at 62 The New York Times 28 May 2011 Retrieved 16 January 2012 Starks George L Giddins Gary Rusch Robert D Gridley Mark C 1986 Rhythm A Ning Jazz Tradition and Innovation in the 80 s The Black Perspective in Music 14 2 187 doi 10 2307 1214987 ISSN 0090 7790 JSTOR 1214987 Williams Justin A 2010 10 01 The Construction of Jazz Rap as High Art in Hip Hop Music Journal of Musicology 27 4 435 459 doi 10 1525 jm 2010 27 4 435 hdl 1983 6b6784b2 5f18 421a 9669 2aedabe9cc2d ISSN 0277 9269 Eric B amp Rakim Don t Sweat the Technique allmusic Retrieved 14 March 2024 The Victoria Advocate Google News Archive Search news google com US Hot 100 Billboard Retrieved 14 May 2024 Durst Albert Lavada Texas State Historical Association Retrieved 23 November 2016 Hilmes M 1997 Radio Voices American Broadcasting 1922 1952 Minneapolis University of Minnesota Press p 272 3 Marsha Washington George 28 March 2002 Black Radio Winner Takes All America s 1St Black Djs Xlibris Corporation pp 90 ISBN 978 1 4628 1993 5 Exhibition Traces Development of Hip hop Pittsburgh Post Gazette at news google com 19 December 2000 p 26 Retrieved 4 June 2018 The 10 Best Jazz Rap Albums To Own On Vinyl Vinyl Me Please Vinylmeplease com 2016 11 04 Retrieved 2018 09 15 Hunt Dennis June 29 1993 Liberating Rap With Jazz Sound Freestyle Fellowship Adds Riffs to Rhymes Los Angeles Times Retrieved May 22 2017 Aldrich Steve Doo Bop AllMusic Retrieved 13 March 2024 Cunningham Phillip Lamarr 9 September 2010 There s Nothing Really New under the Sun The Fallacy of the Neo Soul Genre Journal of Popular Music Studies 22 3 240 258 doi 10 1111 j 1533 1598 2010 01240 x Jazzmatazz Vol 1 gt Overview allmusic com Retrieved April 24 2010 Madlib Shades of Blue pitchfork com Retrieved 2017 01 03 Winnig Brolin March 31 2006 Kero One Windmills Of The Soul XLR8R Retrieved February 1 2006 Woodman Nance Emily March 19 2010 KUCI Retrieved March 19 2010 Weiss Dan March 20 2015 Review Kendrick Lamar Returns With the Great American Hip Hop Album To Pimp a Butterfly Spin Retrieved March 20 2015 Kojaque Plec Picks 2019 GoldenPlec Retrieved from https en wikipedia org w index php title Jazz rap amp oldid 1222942283, wikipedia, wiki, book, books, library,

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