Thanks for watching the video. The whole interview is actually 6 hours long. I'm gradually uploading the different parts of the interview each day. Please watch the interview playlist so you can hear the music between the talking segments. Also don't forget to subscribe!. Thanks :)
For real! Except I'd throw 86 in there as well. That was seriously the start of so much of the magical sound of sampling and it's impact on recorded Rap music.
Honestly theres a few ways to produce a session fellas, your right about arranging the whole production like Quincy Jones. Hell I still don't have a SP 1200 or a ASR-10 in my arsenal, but my first 4 songs were recorded with a ASR-10. I basically did the same thing, asked The Engineer to sample the chops for me. He laid a click track & I had to free hand loop it in real time 3-4 samples in sequence on time on the Reel to Reel, to construct the song.. After that I layer/play the live instruments & drums etc to glue everything together for the artist's I was working with... At that time I was hired produce a group who wanted to start their 1st Demos, it was my 1st time recording at (Edge Studio's) in Fairfield, CT. They actually got a few bangers out of me, then I started going in recording there left & right spitting my vocals 1 take verses & hook... To the point they started telling everyone I am the best, Shlomo Sonnenfeld said the same thing at (Such a Sound Studios) over top of Wild Pitch Records in Brooklyn Heights... Shlomo & Doc Studio both had SP1200's in Brooklyn, but Doc was barely letting anybody touch it after BDP made hits off it. At the time Shlomo begged me not to sign with Wild Pitch Records because they had everybody relevant trapped in deals at the time... #Salute...👑✨👑 Wax... aka WizardWax...
This is history, thanks for documenting this. There are so many people standing on the shoulders of past artists pushing the art forward, unfortunately only a few get the spot light. I'll be watching the whole series as Easy Mo Bee along with others such as Tony D, 45 King, Erick Sermon got me deeper into wanting to make beats. Thanks again for documenting Hip Hop history.
But you noticed no one he worked with was there to celebrate with him ask CoolV Biz Markie Dj cousin only one person did two albums with was Shan and he did that out of loyalty because they started out together but $and giving credit to others is always a deal breaker in Hip Hop 🎤🎧
"...and play somethin brand new" ... yes, marley marl to j dilla ...and beyond. understand. and in between ced gee, easy mo bee, dj premier, pete rock, paul c, large professor, rza. understand. spread the knowledge. this history matters. even brilliance doesnt emerge from a vacuum. also. the sampler is an instrument. and like any instrument it can be played like a playback machine or it can be played brilliantly to make original music. jus cuz there's a band playing conventional instruments doesnt mean theyr playing original music. and jus cuz some1 is playing a sampler doesnt mean they arent playing original music. marley marl to j dilla & madlib to today's elite samplng musicians. understand. spread the history. counter the big label lobbying pitch that is largely to blame for j dilla's estate not being able to monetize his troves of original music. it's a long argument im making but in a nutshell: bcuz of the bias and misunderstanding of what j dilla did (and any sampling musician that makes new from pieces of old) hundreds of j dilla beats that have been streamed earn j dilla (his estate) nothing. the profits go to the songs he sampled even in cases where the 2 songs have no musical similarities: different sequence of pitches, different chord progressions, different keys, different scales, different tempos, different instrumentation, different timbres and sometimes even different time signatures. think about that. copyright law (interpretation) uses blatantly different guidelines when dealing with sampling musicians. and a big reason is bcuz of who originally was making this sample based music. marginalized black and brown youth. even older, inside-the-margin black folk were part of this copyright overreach when it was cemented as law in the late 80s and early 90s. they too were "talkin all that jazz".
