Ahead of the 2023 Grammy Awards this weekend, the Recording Academy has announced that they’ll be hosting a special segment to honor the 50th anniversary of hip-hop. LL Cool J will open the tribute with an introduction and a performance.
Questlove is the segment’s producer and musical director. He will also be providing music with his band, The Roots. Another hip-hop group, Black Thought, are set to narrate.
Fans can also expect to catch Big Boi, Busta Rhymes with Spliff Star, De La Soul, DJ Drama, DJ Jazzy Jeff, Missy Elliott, Future, GloRilla, Grandmaster Flash, Grandmaster Mele Mel & Scorpio/Ethiopian King, Ice-T, Lil Baby, Lil Wayne, The Lox, Method Man, Nelly, Public Enemy, Queen Latifah, Rahiem, Rakim, RUN-DMC, Salt-N-Pepa and Spinderella, Scarface, Swizz Beatz, and Too $hort contributing to the hip-hop dedication.
“For five decades, hip-hop has not only been a defining force in music, but a major influence on our culture,” Harvey Mason Jr., the Recording Academy’s CEO, shared on their website.
“Its contributions to art, fashion, sport, politics, and society cannot be overstated,” he added. “I’m so proud that we are honoring it in such a spectacular way on the Grammy stage. It is just the beginning of our year-long celebration of this essential genre of music.”
The 2023 Grammys will air live on CBS and Paramount+ this Sunday, February 5 at 8 p.m. ET.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Following his appearance on Her Loss and the release of “Poland,” there’s been high expectations of Lil Yachty. Though many expected him to continue creating hip-hop music, few predicted that he would leap into another genre completely.
ATLANTA, GEORGIA – NOVEMBER 11: *EXCLUSIVE COVERAGE* Lil Yachty attends Takeoff’s Celebration of Life at State Farm Arena on November 11, 2022 in Atlanta, Georgia. (Photo by Kevin Mazur/Getty Images for TVG)
Neither proved to be true and Yachty ultimately came out with a psychedelic rock album. On Friday, he blessed fans with Let’s Start Here, which was undoubtedly a left-turn for his fans. Some felt as though he turned his back on rap. However, a few accomplished musicians in the field had kind words for Yachty’s latest release.
Questlove hit Instagram where he expressed his utter appreciation for Yachty’s next project. In fact, he credited the album as instilling a sense of optimism surrounding the future of music. He stated that he didn’t want to jump out with any opinions too early. He said it would “the trolls ammo to hate it” or downplay the power of Quest’s co-sign.
“After about 3 listens (and I thought I’d NEVER say this—-& not because “I didn’t expect this from Lil Yachty”——but just in general I didn’t expect this from MUSIC)… I really really really really love this @lilyachty record and I love when artists pull off a good departure record.”
NEW YORK, NEW YORK – NOVEMBER 24: Questlove of The Roots attends the 2022 Macy’s Thanksgiving Day Parade on November 24, 2022 in New York City. (Photo by Noam Galai/Getty Images)
From there, he looked back at some famous departure albums (i.e. The Beatles Sgt. Pepper’s Lonely Hearts Club Band and Radiohead’s Kid A). Then, he declared Let’s Start Here as “the most surprising transition of any music career I’ve witnessed in a min, especially under the umbrella of hip hop.”
He added, “Shit like this (envelope pushing) got me hyped about music’s future.”
Lil Yachty‘s new album, Let’s Start Here has everyone talking. From its psychedelic sound to its trippy visuals, it’s safe to say this record is a complete left turn from the Atlanta rapper’s signature trap sound.
Let’s Start Here has garnered much praise from fans and fellow musicians, lauding Yachty for pushing the envelope musically. One of the artists who can’t stop listening to the album is Questlove, who gave props to Yachty for successfully pulling off a new sound.
“I really really really really love this @lilyachty record,” said Quest in an Instagram post, “and I love when artists pull off a good departure record (departure albums are when musicians pull a COMPLETE creative left turn —-most times as a career sabotage of feeling doomed to not be able to live up to a standard they set.”
Elsewhere in the post, Quest said the album has left him feeling “hyped about music’s future”
You can check out Quest’s full post below.
“I had to let 24 hours go by just so I could process this. Then I hesitated cause I didn’t wanna use hyperbole to naturally give the trolls ammo to hate it or to further evidence sort why my co-signs are whack.
I dunno man: after about 3 listens (and I thought I’d NEVER say this—-& not because “I didn’t expect this from Lil Yachty”——but just in general I didn’t expect this from MUSIC)
How should I put it? I really really really really love this @lilyachty record and I love when artists pull off a good departure record (departure albums are when musicians pull a COMPLETE creative left turn —-most times as a career sabotage of feeling doomed to not be able to live up to a standard they set. Not being able to make the Thelma & Louise jump. Quitting the job/relationship before you give em a chance to fire you—)—-some famous departure albums backfired (Sgt Peppers wound up making the Beatles even MORE important further proving you can’t just do tin pan alley showtunes & think THAT is gonna get rid of the screaming fanbase….now the entire world wants a piece of you) Some were pure art that turned off the fanbase that came to the party for seconds of what you served before (Paul’s Boutique/Around The World In A Day) some seemed like career disasters w critics (Dylan’s Self Portrait & Davis’s On The Corner & Gaye’s Here My Dear) & then some come just for the sheer sake of surprise & man it’s like “WTF did I just listen to?” (Kid A/Kamaal The Abstract/Back To Black/A Seat At The Table)——-this aptly titled #LetsStartHere lp might be the most surprising transition of any music career I’ve witnessed in a min, especially under the umbrella of hip hop. I remember @divinestyler_1 has a sophomore release that shocked me & im still processing the 3rd @junglebrothers4life lp some 30 yrs later. But man….whatever you put in your Wheaties bro….keep goin.
Sh*t like this (envelope pushing) got me hyped about music’s future.”
Let’s Start Here is out now via Motown and Quality Control. You can stream it here.
Happy Born day to Ahmir Khalib Thompson better known as ?uestlove a.k.a Questlove! Born in 1971, he turns a half-century today. The OG is originally known as the drummer for the legendary Hip Hop band The Roots, but he has many roles.
On February 17, 2014, he became a part of the in-house band for The Tonight Show, and with The Roots, he’s played the same role during the 969-episodes of Late Night With Jimmy Fallon.
Let’s not forget about the many artists he has produced such as Jay Z, Common, D’Angelo, Erykah Badu, the late Amy Winehouse, John Legend, and old school R&B legend Al Green. The list goes on with all the production teams he has been a part of, including Hip Hop pioneers like The Soulsonics and The Grand Wizards.
The influence of this multi-faceted musician has reached far beyond most in his life thus far, and he’s nearly only halfway thru. Happy Birthday Questlove and many more to come!
Across more than 30 years, The Roots have cemented themselves as the greatest live instrumental hip-hop act in the world. Led by drummer/bandleader Questlove and leading mic man Black Thought, the Philadelphia-born group seeped even deeper into mainstream consciousness when they also became the house band for The Tonight Show with Jimmy Fallon in 2009. It’s nothing to sneeze at for a hip-hop group and while your average consumer likely just knows them from TV, The Roots’ over a dozen album discography contains some seriously pivotal hip-hop classics.
But without further ado, these are The Roots’ best songs, ranked.
30. “Swept Away” (1995)
The opening bassline (by the dearly departed Leonard “Hub” Hubbard) and saxophone swing put down a groovy jazz club feel. Singer Cassandra Wilson’s backing hum throughout the track is hypnotic and Malik B’s (RIP) coy flow elevates one of the first full-on assaults from Black Thought (“Crazy cardiac, my attack on any fat rhythm”) that just made your head turn.
29. “When The People Cheer” (2014)
While The Roots’ last album, …and then you shoot your cousin isn’t generally considered to be among their top works, they still always find ways to tell stories about people trying to rise up from the ills of inner-city life. “When The People Cheer” sees singer Modesty Lycan delivering the play on words hook that became a hallmark of Black Thought’s songwriting in The Roots’ late-career surge.
28. “What You Want” (1999)
Debuting on the crucial live album, The Roots Come Alive, “What You Want” also ended up serving as the opening song from the soundtrack to The Best Man with Taye Diggs and Nia Long. Featuring Jaguar on the hook, the song’s lyrics tell a story in line with the cult-favorite Black romcom’s matrimonial love triangle. And after thriving in the underground, “What You Want” shows The Roots’ ability to pierce through it and become a bigger act.
27. “The OtherSide” (2011)
When James Poyser joined The Roots for good in 2008, the Soulquarian producer sent the group’s keyboard parts soaring. With Questlove, Poyser, and manager Rich Nichols (who died in 2014) orchestrating behind the boards, “The OtherSide” is among the group’s tightest productions. And for additional posterity here, Bilal is on the passionate hook.
26. “Break You Off” (2002)
Phrenology proved to be a deconstruction album of sorts for The Roots. It’s easily their most experimental album and “Break You Off” is sublime R&B featuring Musiq Soulchild’s velvet vocals on the album’s first single. Questo’s drums are tinged with bossanova, while Black Thought’s flow serves as a sinister and meditative lothario over a hard bass line.
25. “Essawhaman?” (1993)
The Roots’ first album Organix, helped them get their first label deal that would eventually lead into Do You Want More?!!!??! being released on DGC. Organix was first only sold on a modest European tour and the recording of “Essawhaman?” featured on the album is from a gig in Slovenia, soon after Hub joined the band. It helped establish the group’s unique lyrical lexicon and later appeared in a different live version (from Philadelphia’s Trocadero) under the title “Eassaywhuman” on Do You Want More?!
24. “Without A Doubt” (1999)
Predicated on an absolutely filthy breakbeat that Questlove borrowed from Philly rapper Schoolly D’s track “Saturday Night,” “Without A Doubt” shows how The Roots didn’t just sample tracks, they recreated them. “Another one of our in-house geniuses, Chaos, suggested that if we were going to ‘go there’ (Hip Hop’s ever so effortless task of ‘creating’ the cover tune) we should keep it ‘ill’ (adelph),” Questlove said in the Things Fall Apart liner notes. “We hope we did the city proud by this one.”
23. “Guns Are Drawn” (2004)
The Tipping Point is probably the most underrated album by The Roots. It didn’t get the same critical praise as their more heralded works, but “Guns Are Drawn” is a prime example of the gems that lay within. It’s a modern funk and soul original that feels instantly vintage. Son Little’s hook gives a retro veneer to exploration outside of hip-hop’s confines.
22. “Lazy Afternoon” (1995)
This jazzy, R&B tune brings together the elements of scat that resided throughout Do You Want More?! but in a far smoother package swathed in Rachel Graham’s backing vocals. “Lazy Afternoon” is the soundtrack to literally that; there’s hardly a better song to throw on when things need to get done and you’ve made the conscious decision to procrastinate happily instead.
21. “Proceed (Live)” (1999)
One of The Roots’ defining live songs, “Proceed” is a standout off of Do What You Want More?!, but its galvanizing power is most evident on The Roots Come Alive. Recorded from a show in France, the chewy keyboard part is unreal while Rahzel sprinkles in his beatboxing in incredibly tasteful fashion. It’s a signature call-and-response track that still manages to come across like a supreme Philadelphia jam session.
20. “Don’t Feel Right” (2006)
Game Theory marked The Roots’ first album released under the Def Jam imprint and they took the opportunity to make a sociopolitical stance. “Don’t Feel Right” proved to be the most well-formed statement from the album, imploring listeners to pay attention to the insidious oppression in America. “The struggle ain’t right up in your face, it’s more subtle,” Black Thought spits, paving the way for more of this type of commentary from the group for years to come.
19. “Radio Daze” (2010)
How I Got Over was a decidedly pop-forward turn for The Roots and they brought an unapologetic group of wordsmiths along for the ride. Blu and P.O.R.N. are featured on “Radio Daze,” with Dice Raw making another return to the group on the hook. Just like how “Don’t Feel Right” did, “Radio Daze,” is a call to pay attention to injustice. But four years later, The Roots surmise that there are multimedia forces clouding our perspectives. A piano rests alongside Questlove’s drums to make it feel like a eulogy that’s about to be written if something isn’t done about the condition.
18. “Not Sayin Nothin’ New” (1999)
Black Thought and Dice Raw are very much challenging each other on this cut off of Things Fall Apart. The melody truly stands out on “Nothing’ New” and it even features a hint of Eve’s vocals underneath the track. But it’s ultimately one of Black Thought’s greatest moments on their best album when he raps: “Yo, I’m overpaid in dues, blood, tears and sweat. When you f*ckin’ with The Roots, that’s as good as it get…Ultramagnet!”
17. “Kool On” (2011)
Questlove produced “Kool On” around a sample of D.J. Rogers’ “Where There’s A Will,” giving it a fresh soul sound. Kirk “Captain Kirk” Douglas’ delivers one of his best guitar riffs with the group to take the track to new heights. Greg Porn and Truck North each drop a verse on the gangster boogie and Black Thought slays a sleek hook, singing “Come get your kool on, stars are made to shine.”
16. “How I Got Over” (2010)
The title track to How I Got Over features one of Questlove’s best drum beats on the album. Dice Raw joins Black Thought once again for a song about rising from the streets and they come across like kids from Philly who got out and want to help others do the same. Raw’s “Out on the streets, where I grew up. First thing they teach you, Is not to give a f*ck,” lyric is sharply honed, articulating the hood mentality and making sense of a senseless life of crime in America in a way that still resonates.
15. “Mellow My Man”
There’s a unified groove on Do You Want More?! That much is undeniable. And “Mellow My Man” is soaked with the essence of it. It’s the pinnacle of Black Thought and Malik B’s jazz-scat vocals where you get the sense that this album was very much forged with an underground supper club in mind. This is a track meant to be consumed live and direct, and “Mellow My Man’s” jazz sensibilities (the horn section might as well be in your living room) are what made The Roots the incomparable live hip-hop force that they went on to become.
14. “The Next Movement (Live)” (1999)
No respectable Roots fan can ever hear a mention of Switzerland again without their minds going to Black Thought hyping the crowd at Zurich’s Palais X-Tra shouting, “Switzerland!” On the Come Alive version especially, Rahzel’s twitchy beatbox slides in so fluidly with the band and the organ is among the most defining sounds of any song by The Roots. This is an ultimate hype track.
13. “Respond/React” (1996)
The first song on Illadeplh Halflife, “Respond/React” was The Roots’ grand introduction into Golden Age rap greatness. It’s a Philadelphian diatribe that asserts how no matter where The Roots crew goes, their heartbeat will always be in the city of brotherly love. Black Thought puts on a masterclass in syncopation, finding rhyme patterns where they’re not supposed to be and while the album will eventually straddle genres, “Respond/React” is undeniably hip-hop.
12. “Adrenaline!” (1999)
How this collision of rap and jazz manages to even incorporate a full-on beatboxer into the mix and not make it feel frivolous is one of the greatest achievements in hip-hop history. “Adrenaline!” sees Rahzel at his peak, beatboxing in congruence with Questlove’s drums and a keyboard melody to kill, before giving way to verses from Beanie Sigel and Dice Raw. And while Rahzel’s time with The Roots would soon come to end, “Adrenaline!” saw his novelty in its ultimate state.
11. “Silent Treatment” (1995)
The Roots made a lot of great R&B songs and “Silent Treatment” sees them in their early days slaying the genre in pure, unadulterated form. A sexy horn and sensual keys make way for Black Thought lamenting a love that he just can’t harness. It was a song for sad hip-hop kids before that became a thing and it’s still just as evocative today.
10. “Step Into The Relm” (1999)
It’s really unfair how many perfect drum breaks Questlove puts his stamp on throughout Things Fall Apart. He makes incredible complexity come across with utter poise on “Step Into The Relm,” a track that tugs at anticipation with false fades and gambles on a piano loop that never ends. It’s probably the fiercest track on the album, with Malik B and Black Thought delivering the hook in chilling, soldier-like unison.
9. “Star/Pointro” (2004)
When The Roots sample songs, they sample really good ones. And the opening track to The Tipping Point makes excellent use of Sly & The Family Stone’s “Everybody Is A Star.” The way “Star/Pointro” builds into its explosive beginning is such a brilliant way to kick off an album; as if the group is trying to tell us as emphatically as possible to brace yourself, because they are back for another triumphant go at it.
8. “Dear God 2.0” (2010)
No track testifies to the malleability of The Roots and their inevitable longevity quite like “Dear God 2.0.” In a most improbable collaboration, The Roots and Monsters Of Folk (led by My Morning Jacket’s Jim James and Bright Eyes’ Conor Oberst) turn the latter’s psychedelic tune into a haunting plea to the man upstairs. Black Thought’s opening verse might just be his finest post-2010 moment with The Roots and James’ high-pitched hook came across so naturally in a song that blends rap, folk, and pop in amazing ways.
7. “Dynamite!” (1999)
You know those insane drum breaks on Things Fall Apart that I mentioned earlier? This is the one. And maybe it’s because Questlove takes a beat he got from J Dilla and gives it the royal treatment. “I want to be part of the process,” the drummer recalled in the Deluxe album liner notes. Because instead of just using the Dilla beat, he insisted on playing it to the record. And it sounds heavenly alongside yet another stupefying bass line; this combo never gets old.
6. “Section” (1996)
This is how you build a soundscape. And in 1996, hip-hop didn’t sound like this. “Section” takes the brushstrokes that “Respond/React” laid down and adds bursting sounds and layers of senses that constructs the world of illadelph Halflife as it was just beginning to unfold. Black Thought and Malik B are as sharp as can be, flashing their whimsy while not giving up an inch of their edge.
5. “100% Dundee” (1999)
As far as opening bars to rap songs go, Black Thought’s, “On these seventy-three keys, of ivory and ebony, I swear solemnly that I’ll forever rock steadily. People wanna know where Malik? He right next to me, the weaponry, the secret recipe,” should be mentioned in the same breath as Wu-Tang’s “Triumph.” The bass register is pulsating through the roof on “100% Dundee” and it’s quite possibly the best seesaw showing from Thought and Malik B. If anyone ever doubted early on if The Roots needed to always lean on their jazz chops, this sent that notion crashing.
4. “The Seed 2.0” (2002)
The Roots are polymorphous and they found the best way to explain that concept in “The Seed 2.0,” one they valiantly lay out throughout Phrenology. Working with Cody Chestnutt to revamp his original (hence the “2.0”; just like “Dear God 2.0”), the song is a treatise on the shapeshifting nature of hip-hop. Namely, how it’s everything: soul, jazz, rock, etc… If there was ever a song that’s about The Roots and how their music was continuing to evolve into something that might even have a place on The Tonight Show someday, this is it.
3. “You Got Me” (1999)
An autobiographical love song primarily written by Black Thought and Jill Scott, “You Got Me” features Erykah Badu on Scott’s hook and the rest is history; Badu will do that. But Eve also put down her most well-known verse with The Roots as the foil to Black Thought’s protagonist too. Then Questlove manages to find a place for a drum and bass outro, which tip a cap to the power of late ’90s UK jungle music that he had an affinity for. This is peak Soulquarians magic and it netted The Roots their first Grammy Award, forever etching “You Got Me” as an essential golden age of hip-hop cut.
2. “What They Do” (1996)
If you want to make one of the greatest hip-hop and R&B crossover tracks of all-time, Raphael Saadiq pretty much has to be involved. So here he is, on the hook of “What They Do,” essentially giving The Roots sage advice on the pitfalls of the music industry that they need to avoid in order to always be originals (“Never do what they do, what they do, what they do.”) Suffice it to say, they listened. The Roots have hardly ever sounded this gorgeous and Saadiq is a huge part of that. Amen.
1. ”Act Too (The Love Of My Life)” (1999)
Probably my favorite live music moment of 2022 was during The Roots’ headlining set at Montréal Jazz Festival, when the unmistakable melody to “Act Too (The Love of My Life)” flowed through tens of thousands of people at the Downtown Place des Festivals. The Roots were headlining a jazz music festival and my entire life’s relationship with hip-hop flashed before my eyes. It was beautiful.
“The Love Of My Life” defines the journey of The Roots; how they’ve transcended hip-hop, but never compromised their core dedication to the culture. “I thought it was important to have that song so that we could personalize and humanize what hip-hop was,” Questlove wrote in the Things Fall Apart Deluxe liner notes, explaining how Dilla and A Tribe Called Quest’s “Electric Relaxation” were touchpoints for them in crafting this song, which also features Common. Few acts have navigated the ins and outs of hip-hop as fluidly and gracefully as The Roots have and “The Love Of My Life” remains a manifesto of sorts that they’ve never wavered from.
Aside from his role in The Roots, Questlove is also one of the world’s most passionate and knowledgeable music historians. He knows pretty much everything there is to know about the industry and he shared some of that knowledge in his latest book, 2021’s Music Is History. Now, with the holiday season in full swing, Questlove has just enhanced your upcoming gatherings by sharing his Christmas music playlist.
He ran through his favorite holiday tunes on NPR’s Fresh Air, and included in the mix is Paul McCartney’s “Wonderful Christmastime.” Quest said of the song, “You know, Paul doesn’t like [that song] too much. Every time I talk to him and tell him, ‘Not only is it my favorite Christmas song, but it might be my favorite Paul McCartney Post-Beatles song.’ And he’s just, like, cringing his face, like, ‘No, no, but that was a rush job.’”
His mix also includes cuts by Run-DMC, DRAM, James Brown, Marvin Gaye, and others.
Quest also came through with a particularly fascinating bit of Stevie Wonder history, saying:
“Stevie Wonder is world-famous for his unique jingles for radio stations — if you search the Internet high and low, you can find some that he’s done over the years and over the decades. There’s actually a Philadelphia version of this particular jingle that I grew up with, and that’s the thing that’s always close to my heart. So there was a point in time in which Stevie Wonder might take time out to craft maybe somewhere between 30 to 50 individualized, customized radio station jingles for the territories that were playing his music the most. And so that’s why I chose this one. This is sort of a companion piece to the Marvin Gaye ‘Christmas In The City’ bit. This is Stevie Wonder playing synthesizer.”
Ahmir “Questlove” Thompson, an Academy Award winner for his documentary Summer of Soul, is slated to executive produce Dilla Time, a film on the life and enduring legacy of music producer J Dilla.
The documentary will be created in collaboration with the James Dewitt Yancey (aka J Dilla) estate by Thompson’s Two One Five Entertainment, his “Summer of Soul” producer Joseph Patel, New York Times bestselling author Dan Charnas, Cinetic Media, and Scenario Media.
“The estate of James Dewitt Yancey, and its wholly-owned production entity, Pay Jay Productions, Inc., which benefits J Dilla’s two children, his younger brother, and his mother, is proud to give its blessing to an amazing project created by discerning and talented filmmakers who knew J Dilla. We trust the judgment of Ahmir, Joseph, Dan, and Scenario to elevate Dilla’s life, music, and legacy to their rightful place in the canon of music’s great innovators; and their film is the only documentary project we have endorsed.”
The New York Times bestseller Dilla Time: The Life and Afterlife of J Dilla, The Hip-Hop Producer Who Reinvented Rhythm by Dan Charnas served as the inspiration for the movie Dilla Time. The book chronicles the complex life of the Detroit-born artist who passed away at age 32 from a rare blood condition. It also proposes an important new idea regarding the seismic influence Dilla’s time-bending drum machine manipulations had on contemporary pop music.
The documentary will include commentary from some of the most important and forward-thinking personalities in contemporary music and will be equal parts biography, musicology, and musical meditation.
“Explaining musical genius is my mission. To be able to tell the world about the musician that had the most influence on me is a dream come true,” says Questlove. “Not just on me, but on an entire generation of musicians that everyone knows and loves. J Dilla was our teacher. And what he taught us was how to feel rhythm in a way we had ever felt before. I’m so honored to be a part of bringing his story to the world through this documentary.”
Ahmir “Questlove” Thompson will serve as executive producer of “Dilla Time,” along with his producing partners Zarah Zolhman, Shawn Gee, and Tariq Trotter of Two One Five Entertainment. Joseph Patel, Dan Charnas, and Rodrigo Bascuñán, Darby Wheeler and Anupa Mistry, are set to produce. Dana O’Keefe and Cinetic Media will executive produce. The film will be co-directed by Joseph Patel and Darby Wheeler.
After winning both an Oscar and Peabody Award for his Summer Of Soul documentary, Questlove is ready to embark on new filmmaking projects. Today, The Roots drummer has been announced as an executive producer for Dilla Time, a documentary about the life and times of hip-hop producer J Dilla. The documentary is based on the book Dilla Time: The Life And Afterlife Of J Dilla, The Hip-Hop Producer Who Reinvented Rhythm, by Dan Charnas. Charnas is also a producer on the project, along with Questlove’s Summer Of Soul partner Joseph Patel. Questlove’s Two One Five Entertainment will helm the project along with Cinetic Media, Scenario Media, and The Estate Of James Dewitt Yancey (J Dilla).
“Explaining musical genius is my mission,” Questlove said in a statement. “To be able to tell the world about the musician that had the most influence on me is a dream come true. Not just on me, but on an entire generation of musicians that everyone knows and loves. J Dilla was our teacher. And what he taught us was how to feel rhythm in a way we had ever felt before. I’m so honored to be a part of bringing his story to the world through this documentary.”
Dilla passed away in 2006, but his influence in hip-hop has only grown since then. The documentary will look at his legacy as it continues to be shaped, and lives on in the music of past collaborators like Erykah Badu, Common, A Tribe Called Quest, Busta Rhymes, Slum Village, and so many more.
This will serve as the first and only documentary of J Dilla. His estate added, “We trust the judgment of Ahmir, Joseph, Dan, and Scenario to elevate Dilla’s life, music, and legacy to their rightful place in the canon of music’s great innovators; and their film is the only documentary project we have endorsed.”
