Immortal Technique , in his single “Toast to the Dead”, from his free mixtape The Martyr , raps: “J Dilla’s still alive as long as his music is.” The production of the song is credited to J Dilla himself.
j dilla died – The Five Best J Dilla Tracks
James Dewitt Yancey (February 7, 1974′ February 10 , 2006), better known as J Dilla or Jay Dee , was an American hip hop producer and MC, who emerged from the mid-1990s underground hip-hop scene in Detroit, Michigan. What’s interesting about Dilla is his influence since his death. A month doesn’t go by that you don’t hear a track from an act, hip-hop or otherwise, which reminds you of his work. It’s how his blueprints have gone on to inform the handiwork of countless other acts and producers which is Dilla’s real legacy as much as the records he left behind.
The 1975 sampled J Dilla’s song “All Right” on their 2013 self-titled debut album in the song “So Far (It’s Alright)”. TODD FAIRALL: First Engineer at Studio A in Dearborn, Michigan; worked on Welcome 2 Detroit and various Slum Village, Roots, Common, and Busta Rhymes projects, and remixes.
However, shortly afterwards Yancey announced his departure from the group, though he continued to produce their next two albums. His status as a highly sought out producer was evident in his decision to leave.
Conceived by Detroit artist Sintex and designed by Seoul-based toy artist P2PL, this 7.5” vinyl figurine comes dipped head to toe in all things Dilla: an officially licensed Stüssy tee, MPC tucked under the arm, a donut chain, kicks, and even his trademark beard. Released in 2014, the total edition size is 5000 units with 3000 units bearing the words second edition” on the box. Two years later, Rappcats and Stüssy teamed up again to create a Donuts verison, which also sold out promptly.
Detroit hip-hop producer and rapper Jay Dee, a.k.a. J Dilla, died on Friday at the age of thirty-two. He had battled lupus for three years, recently touring Europe in a wheelchair, but he concealed the downturn in his health from his manager and close friends.
By renewing Dilla’s connection to Detroit music and local schools, Ma Dukes wants her son’s beat to go on. One of hip-hop’s most admired and innovative producers of the 2000s until his untimely death. NTS aired an episode dedicated to the music of J Dilla on 21 February 2019. J Dilla has been played on NTS over 430 times, featured on 337 episodes and was first played on 24 April 2012.
COMMON: I think he embodied what a lot of Midwestern hip-hop brothers are about. He had the ghetto elements about him, because he’s from Detroit. He grew up on the east side of Detroit, so he would be talking about his chain and his truck and getting some ass. He would be on that, but then he would go and sample Ahmad Jamal, or create something from some obscure rock record. His hip-hop embodied the soul and the funk and the spirit of what the Midwest is about.
J Dilla is often referred to as your favorite producer’s favorite producer.” That’s because, although his name is not as famous as other producers of his time, Jay Dee is the near-unanimous choice in conversations about the greatest to ever create hip hop music. Some people love him for the signature boom and bounce underneath all of his drum beats, while others revel in the stories he was able to evoke through his sample choices and the subtle messages in his music.
Good look trying to find audio sources for some of them. Stones Throw is always pulling them from youtube, not just his beat tape stuff but anything of Dilla’s on the ST label. I think there just mad they can’t make money off ’em. Dilla’s “official” discography on the ST website dosen’t acknowledge Jay Stay Paid (’09) which was mostly compiled of Dilla’s beat tapes. Btw Dilla produced Janet Jackson‘s “Got ‘Till It’s Gone”, look it up, he was robbed of the credits. Please credit Dilla for this.
TODD FAIRALL: Fantastic Vol. 2 is one of the greatest records I’ve ever worked on, definitely as far as a hip-hop record. I learned so much. Jay opened a whole new world to me that I didn’t even know existed, just watching what he was doing. When he would ask for things, no matter how weird they might have seemed to me, just trying to find what he was looking for was definitely a huge learning experience.
Despite Dilla’s now apparent health complications, he was still as keen as ever to perform with Madlib on a string of live shows which took Jaylib around the States. The pair created a magnetism on stage to be expected by the two stalwarts of hip-hop.
Yancey’s illness, and the suddenness with which it hit, left him unable to ensure his life’s work would be well overseen. On the night of September 8, 2005, when it looked like he might not make it till morning, Yancey signed a will. Most of those around him did not know about it, though he’d once discussed the idea with Joylette Hunter, mother to one of his daughters. Brought in by his then-attorney Micheline Levine, the will named his brother, John Illa J” Yancey, his mother, Maureen Ma Dukes” Yancey, and his daughters, Ja’Mya Yancey and Ty-Monae Whitlow, as heirs to his estate. Artie Erck, Yancey’s accountant, was named as the estate’s executor. The Detroit producer was the first in his family to have anything of worth to bequeath. As his life grew darker he put pen to paper, not knowing that the will would interrupt his legacy rather than solidify it.
Born on Feb. 7, 1974, James Dewitt Yancey, (better known by the moniker J Dilla) is still remembered as one of Detroit’s most highly revered artists. MTV and the Save the Music nonprofit organization has launched a grant named after the J Dilla, the highly influential rapper-producer who died in 2006.
But unfortunately in that year, he was also diagnosed with a rare blood condition called thrombotic thrombocytopenic purpura (TTP). He soon went on dialysis after receiving an additional diagnosis for the auto-immune disease lupus, which compounded his health problems. He continued to perform and make music as his health declined, and in the final months of his life, he pieced together Donuts, a 31-track album of instrumental compositions, primarily from his hospital bed. Donuts was released on his 32nd birthday, in February 2006; Dilla died three days later.
Most recently, Dee worked on Common’s Grammy-nominated sixth album, Be, and released his own instrumental solo effort Donuts — which he wrote and recorded while in and out of the hospital — last week.
Through the remainder of the ’90s, Dilla quietly racked up more output, including Janet Jackson ‘s “Got ‘Til It’s Gone” (for which he did not receive credit), additional tracks for the Pharcyde , and collaborative work with Q-Tip on all of 1999’s Amplified. Largely upbeat and filled with boisterous energy and thick sounds, Amplified is one of many pieces of evidence against the argument that Dilla was about one sound and one style. During the producer’s steady rise, Slum Village remained a priority. Fantastic, Vol. 2 and Best Kept Secret (the latter credited to J-88 , an SV pseudonym) were released within weeks of each other in 2000. However, the producer would only contribute a few tracks to the group from then on, as his schedule became increasingly tight. As a core member of the Soulquarians, with James Poyser and the Roots ‘ Ahmir “?eustlove” Thompson, Dilla worked on Common ‘s Like Water for Chocolate, D’Angelo ‘s Voodoo, Erykah Badu ‘s Mama’s Gun, and Talib Kweli ‘s Quality.
February 7 marks the tenth anniversary of Donuts, the 31-track magnum opus that Dilla produced from his hospital bed in Los Angeles. Countless tributes, beat tapes, and interpretations of Donuts are proof of the way it resonated. An essential listen, it’s regarded by many to be Dilla’s crowning achievement. In the years since its release, the project has only grown in legend.
James Dewitt Yancey (February 7, 1974 – February 10, 2006), better known by the stage names J Dilla and Jay Dee, was an American record producer and rapper who emerged in the mid-1990s underground hip hop scene in Detroit, Michigan, as one third of the acclaimed music group Slum Village. His obituary at NPR stated that he “was one of the music industry’s most influential hip-hop artists,” working with notable acts including A Tribe Called Quest, De La Soul, Busta Rhymes, Erykah Badu, The Roots, The Pharcyde, Madlib and Common.
From 70 years ago to contemporary releases today, Sam’s Jams is the musical equivalent of digging for hours in dusty record store bins to find forgotten-but-should-be-remembered deep cuts pulled from the genres of funk, jazz and soul genres.
Part of the beauty of J Dilla’s work is that it has inspired individuals on every corner of the globe. Case in point is this beaut’ of a tribute by Japanese band RF, who released their homage on Timeless Records, with a smooth-as-hell running cover on the A-side, entitled ‘Thnx 4 Dilla (Farah Re-Edit)’ Followed by a rousing, acoustic version of Yusef Lateef’s ‘Love Theme from Spartacus ‘ on the flip.
When I look at the discography of Common, there are two heavily Dilla produced projects in his catalog. One of them we recently discussed in Electric Circus, but the other is Like Water For Chocolate. LWFC is a true classic, and my favorite Common album. I was a fan of Common before this project, but this was next level music for him. With Dilla at the helm production wise, Common sounded comfortable as ever, breezing through tracks like Heat”, The Questions”, Funky For You”, and of course, the hit single The Light”. Common and Dilla was just something special together and this album is the biggest proof of that.
LA -based producer and MC Madlib began collaborating with J Dilla, and the pair formed the group Jaylib in 2002, releasing an album called Champion Sound in 2003. 1 J Dilla relocated from Detroit to Los Angeles in 2004 and appeared on tour with Jaylib in Spring 2004.
J Dilla is also one of the most influential artists in Modern Jazz. Musicians like Robert Glasper, Christian Scott, Chris Dave, Karriem Riggins, and many others say Dilla’s style had a big impact on them. Drummers now intentionally play Drunk Funk” style to quote and mimic Dilla’s sound. Keyboardist play chord progressions in a choppy way to mimic how Dilla sampled chords. You can even hear his influence in contemporary orchestra composers like Miguel Atwood-Ferguson , and the internet favorite Lo-Fi Hip-hop. J Dilla will not only be remembered as one of the most important figures in Detroit hip-hop but as a catalyst for modern music.
Q-TIP: A Tribe Called Quest; member of production team, the Ummah, with Jay Dee and Ali Shaheed Muhammad; introduced Jay and his music to many in hip-hop and R&B, including Busta Rhymes, Common, D’Angelo, and the Pharcyde.
The technical curriculum at Davis helped Yancey develop a mathematical approach to music composition, but he found other aspects of the experience stifling, particularly the attire. He hated wearing his Air Force ROTC uniform,” says Maureen, who went back and forth with her son in a three-year fight about him being at Davis.” The conflict grew when Yancey began working with musician Joseph Amp” Fiddler, who lived within walking distance from the Yancey home. Fiddler was an accomplished keyboardist, producer, and composer, best known for his tour work with George Clinton and the P-Funk All-Stars. His home studio—Camp Amp—was training ground for many of the neighborhood’s young musicians. That’s where we bumped heads,” Maureen explains, because he was supposed to be at school early for lab class, but he was at Amp’s all night in the studio.
I remember it being either 1999 or 2000. I was working on Sylk130 Re-Member’s Only at Larry Gold’s studio in Philly. I was in Room A and Common, Ahmir and James Poyser were in James’ studio. James had come in to record some piano and vocoder bits for my album, and Common heard the vocoder like whoa”. James borrowed the Korg VC10 until he got his.
The Musical Cross Roads exhibition at the Smithsonian’s National Museum of African American History and Culture tells amazing stories of African American music. Chuck Berry’s Cadillac, a neon sign from Minton’s Playhouse and Thomas Dorsey’s rehearsal piano are just some of the items you’ll find amongst J Dilla’s producing equipment. If you’d like to find out more about J Dilla’s life and legacy, the J Dilla Foundation is a great place to start as is this YouTube playlist of his most iconic beats.
DJ DEZ: A friend of mine named Cricket brought me to Amp Fiddler’s house, and that’s where I met Jay Dee. At Amp’s house, he had a drum set there, he had the Rhodes there, and he had the MPC. Slum recorded a lot of their first, real material at Amp’s. At that point, Baatin wasn’t in the group—it was just T3 and Jay Dee.