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THE REVIVE BIG RESOURCE GUIDE

ABOUT REVIVE GROUP Revive Music launched in 2006 as a boutique live music agency that specializes in producing genre-bending, creative-concept live music shows that tour worldwide with the purpose of educating and inspiring audiences about artistic and authentic forms of music. In effort further provide an advocacy platform for , Revive launched the leading online journal, www.revive-music.com, for the burgeoning community dedicated to their musicianship, artistry and creative expression as a part of www..com and a label imprint with Records.

ABOUT THE REVIVE “We’re carrying on within the tradition of big bands, what would be relevant today – modifying the message and making it translatable and accessible to the people, so that they have something to connect to. We represent that bridge” -Igmar Thomas

Heralded by for having City’s “most electrifying young lions in jazz, Revive Big Band has a finger on the pulse of today’s emerging progressive sound while pointing to things yet to come for a new era of music. Formed in 2010 by trumpeter, and arranger Igmar Thomas, this multi-generational ensemble knows no limits while seeking to advance, celebrate and re-imagine sonic freedom in big band form. The Revive Big Band’s well-honed musical sensibilities powerfully synthesize the art of the beat, treatment of melody, reverence of the standard, and nuances of time. Expanding the contemporary canon of composition as it dwells at the intersection of jazz, , soul and beyond, the band's repertoire features original compositions and inventive of jazz standards and contemporary classics by artists ranging from Oliver Nelson, and to , , Gangstarr, Bilal and more, in rare live performances.

Featuring a multigenerational cadre of artists who have consistently blurred the lines between forms such as trombonist Ku- umba , critically acclaimed pianist , Competition winner Ben Williams, Revive/Blue Note recording artist drummer Otis Brown III and saxophonist Marcus Strickland, the Revive Big Band is more than just a big band. It’s a movement. It symbolizes the voice of a new generation of musicians and audiences that hunger for a more expansive notion of jazz- one that exists in real time, reflecting a dynamic synthesis of their influences and experiences all while leaning towards the future.

Making it’s debut in 2010 at George Wein’s CareFusion Jazz Festival, has gone on to perform at The Kennedy Center, Central Park SummerStage, Stage, BRIC, Highline Ballroom, Blue Note , Winter JazzFest and the Art of Cool Festival. In addition, it has had a series of extraordinary collaborations with artists including Gregory Porter, Bilal, , Sean Jones, , Dr. Lonnie Smith, , , Nicholas Payton, Savion Glover, and Jean Baylor.

"I heard the future here and now -- in the form of trumpeter Igmar Thomas."

-Arts Journal

ABOUT IGMAR THOMAS Igmar Thomas is one of New York’s most celebrated musicians, bandleaders, and arrangers. He attended in Boston, which led to the formation of his group, Igmar Thomas & The Cypher, as well as musical connections to peers and legends alike, such as Esperanza Spalding (Thomas served as lead trumpeter on Spalding's Radio Music Society International Tour), , , Wyclef Jean, , Robert Glasper and countless others. In addition to his work with The Cypher, Thomas is the conductor of the Revive Big Band, which Complex Magazine refers to as "a 19-piece jazz army." Both The Cypher and the Revive Big Band play music that is deeply rooted in the present. With jazz as its foundation and springboard, The Revive Big Band has featured a range of artists including Gregory Porter, Bilal, Terence Blanchard, Savion Glover, Oliver Lake, Sean Jones, Nicholas Payton, , Pharoahe Monch, Robert Glasper, Jean Baylor, Chris Turner and DJ Premier. From naming his band “The Cypher," orchestrating classic & samples for live instrumentation, to performing with emcees, whom he calls the “mainstream hornmen of today,” it’s clear that contemporary music, for him, is not separate from jazz, but the vibrant result of the natural evolution of improvised American music.

It is no surprise, then, that Thomas’ gift has taken him to hallowed musical venues like Carnegie Hall, the Kennedy Center, Central Park SummerStage, Harlem Stage, the and The House of . Thomas has created big band for Bilal, Gregory Porter, Pharoahe Monch and Dr. Lonnie Smith. He has also created horn arrangements forTalib Kweli and appeared as a guest with performers including J. Cole, The Roy Hargrove Big Band, ', and a host of other celebrated artists and groups. He has also worked and/or recorded with Mos Def, Wyclef Jean, , actor/singer Terrence Howard, of Wu-Tang, , and many more. Thomas was the inaugural recipient of the annual Roy Campbell Jr. Commission, awarded to an up and coming trumpeter/composer/bandleader as part of the 2014 Festival of New (FONT).

ABOUT THE PRESENTATION For grades 3-12

In this interactive presentation, complete with a 15 piece big band, DJ and emcee, students will learn about the connections between jazz and hip hop, the history of classic and contemporary compositions, the difference between improvised and written music as well as live versus electronically produced music. Students will leave with exciting new connections to jazz and its relevance to their lives.

YOU ARE A PART OF A COMMUNITY: HINTS FOR ENJOYING A JAZZ PERFORMANCE When you are part of the audience at a jazz performance, you become part of that performance. Jazz performers want you to respond to their music as they rely on your positive reactions to maintain their intensity level.

Remember that is the spontaneous creation of ideas. The performer wants to share himself or herself through music and evoke an emotion. For this reason a response such as “yeah” or “all right” during the performance is perfectly acceptable. Applauding at the end of a solo even though the piece has not ended is also acceptable. However, loud conversations or disruptive noises are not acceptable and are distracting to the performers as well as other audience members.

Of course, applause after a piece has finished is appreciated by the performers.

When you attend a jazz , listen closely to the music, watch the performer, and let your mind and emotions wander. See if you can truly experience and understand what the performer is trying to say to you through his or her instrument and music performance. It’s not about the artist’s name or skill required. Not even about the art itself. matters is HOW DOES IT MAKE YOU FEEL?

VOCABULARY WORDS : A new version of a previously written piece. Jazz arrangements often include new chords for the piece as well as new material to be played during and between solos.

Arranger: A person who creates an arrangement. Jazz arrangers usually create so much new material for their arrangements that there is really no difference between arranging and composing. However, the word arranger is often used to refer to somebody who only reworks previously written pieces, while composer is used for someone who creates pieces from .

Beat: The regular pulse in music. Music moves to a steady beat. The division of pulse is called meter. In a waltz or “3/4 meter,” music is divided into groups of three. In a rock or jazz of “2/4 or 4/4 meter,” music is divided into groups of two or four.

Chords: Two or more notes played at the same time.

Color: The unique quality of sound created by an instrument or voice; tone. Often referred to as “dark” or “bright.”

Digital Sampling: The electronic borrowing and manipulation of recorded sound.

Harmony: A combination of notes sounding together to create a chord.

Harmonic foundation: The relationship between a series of chords within a . Half step: The smallest interval or distance between two notes in American and European music.

Improvisation: The spontaneous creation of an original piece of music. It requires a great deal of practice and an intimate knowledge of the style of music in one desires to create.

Instrumental: Music performed on instruments rather than sung.

Melody: A succession of notes of varying pitch and duration in an organized pattern to form a tune or theme.

Melodic structure: The relationship between a series of melodies to create a musical composition.

Phrasing: A musical thought with a beginning, middle, and end. Similar to a sentence, a phrase is a complete musical idea.

Register: The different levels of range (high and low) of instruments and voices.

Riffing: A jazz term meaning a short, repetitive passage. Riffs are used as signposts or checkpoints for musicians.

Rhythm foundation: The underlying combination of beat and accompanying rhythms that lay the foundation for the rhythm of melody and improvisation.

Scat- (scatting): Improvising by a vocalist, using nonsense syllables instead of words.

Song form: Form is the way that musical ideas are organized. One form, the 32 bar popular form known as AABA, states an opening section which is called the “A” section. The “A” section is repeated and then followed by a contrasting new section called the “B” section. The “B” section is followed by a final repeat of the first “A” section.

Syncopation: occurs when one sets up the expectation of one rhythm and pattern and then introduces another; essentially shifting accents to what are traditionally “weak” beats instead of “strong” beats.

Timbre: The quality of sound/tone, as distinct from its pitch; also known as tone color (see color).

Walking line: A steady beat played by a bass instrument that helps establish chord accompaniment. WHAT IS JAZZ? Jazz is a unique style of American music that has evolved from traditional African and European vocal and music. The musical characteristics of were brought to America because of the forced importation of slaves. These characteristics were combined with European-style instruments that had been incorporated into the American to form the early beginnings of jazz. It began as a popular form of entertainment and has evolved into an established art form.

Jazz history has mirrored the social history of the , and more specifically African-Americans history in this country, from the meetings of slaves in in in the 18th century through the social upheavals and changes of performing styles of the late 20th century.

Jazz musicians have played a significant role in the integration of races in America and have been involved in the ideas of social justice that have become mainstream in America.

The essence of jazz is improvisation—the art of creating music through the spontaneous invention of ideas. Unlike any other form of music, jazz improvisation relies upon the performer to create music that is not written or practiced, but produced from the heart and soul for that moment in time. Through improvisation, jazz music evokes thought and emotions through a shared experience between the performer and listener.

Source: https://www.mondaviarts.org/education/education_pdfs/Curriculum_Guide_Jazz.pdf

DID YOU KNOW?

 In 1987, the U.S. Congress passed a resolution declaring jazz as a “valuable national American treasure.”  Jazz has a complex identity: While jazz is an “art form,” it is also music from “the people.” It is “an indigenous American music,” but also international, having been adopted by musicians around the world.” Although jazz is a “unifying force” that bridges ethnic divides, it is music that comes through the “African .”

ACTIVITIES FOR STUDENTS Have students research the history of Jazz to see what they can discover about it. Encourage them to engage in conversation or create written responses addressing the following questions:  Why is Jazz as a “valuable national American treasure?”

 What other types of musical forms can be considered “indigenous American music” or “valuable national American treasures?”  Examining the complexity of Jazz: Can jazz be an “art form” and “of the people/?,” Can jazz be “indigenous American music” and be adopted by musicians around the world? Can it be a unifying force that bridges ethnic divides and music that comes from the African American experience/culturally specific?”

 What other musical forms have a similar complexity?

COMMON CORE ANCHOR STANDARDS CCSS.ELA-Literacy.CCRA.SL.1: Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.

CCSS.ELA-Literacy.CCRA.W.8: Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source and integrate the information while avoiding plagiarism. CCSS.ELA.Literacy.CCRA.W.7: Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.

JAZZ ENSEMBLES AND COMBOS A group of musicians who play jazz can be referred to as a jazz ensemble or combo. The number and type of instruments used creates the specific sound or tonality the members want and allows them to perform music with specific characteristics. Jazz ensembles vary in the number of musicians depending on the type of band or style of music.

A traditional “big band” can be made up of eighteen players, including as many as five , four , four , , bass, drums, and . A jazz ensemble may be as large as twenty-five members and may include woodwind and brass instruments, percussion, mallet instruments (xylophone, , ), and vocalists.

A jazz combo refers to a smaller group of players compared to that of a big band, and usually consists of two to six players. Jazz combos may feature a variety of instrumentation, including piano, electric keyboards, mallet instruments, bass, guitar, drums, woodwinds, and brass. A jazz combo may also incorporate the use of instruments in the string family (, violas, and ) the harmonica, or non-traditional instruments such as the oboe or . It is not unusual to hear a vocalist in a jazz combo.

JAZZ INSTRUMENTATION The core of any jazz ensemble or combo is its rhythm section. A standard rhythm section includes bass, drums and piano. In addition, an expanded rhythm section can be a mix of any of the following: piano, electric keyboard, bass, drums, guitar, percussion, and vibraphone. The type of band, style of music played, or preference of the bandleader will determine the instrumentation of a rhythm section.

The role of the rhythm section is to provide the foundation for the rest of the or ensemble. In addition to supporting the ensemble, rhythm section players often play their own improvised solos. , the role of each member of the rhythm section is:

 Drums: Provide a steady pulse or time, reinforce and build upon the rhythmic foundation of the band or soloist, and energize the ensemble by playing fills, set-ups, and figures. Provide contrast by varying rhythmic feel and dynamics.

 Bass: Provides the harmonic and rhythmic foundation for the rest of the band. Accompanies solos by playing walking bass lines that reinforce chords for the ensemble and soloist.

 Piano: Reinforces and builds on the foundations provided by the bass and drums. Provides chords and color that compliment and reinforce the melodic structure of the ensemble and soloists.

 Guitar: Similar to the role of the piano, it reinforces and builds on the foundation provided by the other rhythm section players. Provides chords and color that complement and reinforce the melodic structure of the ensemble and soloists.

Woodwind Section The most commonly used wind instruments of jazz are the alto, tenor, and baritone saxophones. A and may be used in a jazz ensemble depending on the type and style of music. In a band of high school age players, most students specialize on one instrument. In college and professional bands however, musicians will “double” on any or all of the wind instruments. In a big band, the alto and tenor saxophones are split between parts with the first part playing “lead” and the second part playing harmony. The baritone also plays harmony and the bass line.

Brass Section The brass instruments used in jazz are the trumpet and . However, a or may also be used depending on the type and style of music. The trumpet and trombone section are split up into first, second, third, and fourth parts to create lead parts, harmony, and bass.

Source: https://www.mondaviarts.org/education/education_pdfs/Curriculum_Guide_Jazz.pdf

BIG BAND BEGINNINGS Born as America emerged from the , big band became a popular phenomenon as it offered listeners an upbeat escape. Initially two types of big bands emerged in the late 1920s and the early 1930s – “smooth and sophisticated bands” that played intricate arrangements and confined soloists to smaller roles and “rougher blues-oriented territory bands” from the Midwest, southwest and their successors in which showcased talented soloists.

Big band jazz came of age in the 1930s. and leaders like , and were among the 20s pioneers who became heroes of 1930s swing. New York became the center of the , while big band music spread to ballrooms throughout the country. More than any time in history, jazz was a central part of mainstream entertainment.

IMPORTANT BIG BAND LEADERS

Fletcher Henderson (1897-1952): Henderson’s big band reflected the evolution of jazz from early New Orlean’s style to sophisticated swing. Henderson’s ensembles were more polished than the territory bands that emerged at the time and relied on tight arrangements. Don - saxophonist, clarinetist and key arranger for Henderson, helped to create intricate and inventive arrangements with , complexities and textures. With it’s rich orchestrations, swinging rhythms and subtle interplay between sections, Henderson’s big band (which included star soloists and ) was one of the most important forerunners of the legendary big bands of the 30s. When Henderson became Benny Goodman’s arranger , musical ideas transferred from one generation to the next.

Cab Calloway (1907-1994): Famously known as the “Hi-De-Ho” man, Calloway mesmerized audiences beginning at Harlem’s in the ‘30s – with his vibrant and theatrical performances, big smile, warm vocals, and big bands.

Benny Carter (1907-2003): ’s career spanned almost every era of jazz’s development. His instrumental talents included the saxophone and trumpet , but Carter also composed and arranged music. During the early 30s, he performed and arranged for Fletcher Henderson and McKinney’s Cotton Pickers.

Earl Hines (1903-1983): Hines led one of the Midwest’s most popular big bands, home-based at ’s Grand Terrace hotel. His music gained more influence in some ways than ’s from the same period. NBC radio carried the Hines band to points west and south of Chicago.

Jimmie Lunceford (1902-1947): Showmanship, swing and tight arrangements mark characteristics of Lunceford’s band beginning with a 1934 stint at New York’s Cotton Club. ’s lyrical arrangements enabled some of the band’s finest music.

Chick Webb(1909-1939): Webb fought off congenital tuberculosis of the spine to become one of the most competitive drummers and bandleaders of the big band era. Powered by Webb’s dynamic personality and charismatic playing the featured vocalist , who provided him with his biggest hit record “A Tisket-A-Tasket,” in 1938.

Bennie Moten (1894-1935): A pianist from Kansas City, Moten’s music grew out of early jazz and blues, with impromptu head arrangements (short melodic themes) that led to extended improvisational jams. Moten’s band had a buoyant rhythm section that served as a model for big band rhythm sections to come. After 1929 Moten turned piano and arranging duties over to Bill “Count” Basie, who would later model his own big band after Moten’s. Moten’s big band made its last and most memorable recordings in 1932.

Count Basie (1904-1984): One of the greatest swing bands belonged to Count Basie. Compared with the carefully orchestrated sound of Benny Goodman and Duke Ellington’s bands, Basie’s retained the looser, bluesy feel of the territory bands. Instead of songs arranged all the way through, Basie’s band where known for riffing: using head arrangements, consisting of a basic melody or “head,” at the start of the song, followed by improvisations from several band members

Duke Ellington (1899-1974): Often cited as one without equal, Edward Kennedy “Duke” Ellington, has had a career that spanned almost every era of jazz’s development. He has made contributions as a leader, composer, arranger and pianist and has incorporated a variety of influences including . Ellington created waves of tension by setting sections against each other then making them “play nice” together. Blaring trumpets cut across silky smooth saxes; melodies batted back and forth; tempos changed for dramatic emphasis and the music swung with syncopated rhythms. Ellington sometimes composed at the piano with his band around him, and he wrote their improvised melodies into his scores. Ellington was among the first band leaders to showcase the singer’s voice as instrument. Ellington also employed in bold new ways, particularly in their roles as soloists and improvisers. As Ellington’s composition’s matured, his songs became masterful ensemble pieces for a dozen or more distinctive voices, as well as showcases for his talented musicians. Although Fletcher Henderson, , Jimmy Lunceford and other big band leaders of the 20s advanced the music beyond the “rougher” territory sounds, Ellington elevated the art of the big band music to new heights. His music was not just entertainment: he often composed with a message in mind, and many of his compositions meditated on his experiences as an African American.

Benny Goodman (1909-1986): Known as the “King of Swing” Goodman, carries big band swing to new popularity and led the way in showcasing star soloists. Goodman openly expressed his admiration for early African-American swings bands, such as Fletcher Henderson’s – who he later hired as an arranger. Goodman’s big band music had a more precise and exacting sound then Count Basie’s loosely swinging , liberally improvising crew, but Goodman had an ear for gifted players. Goodman integrated his group with Charlie Christian, Lionel Hampton , and other essential members who made immense contributions to his sound.

ACTIVITIES FOR STUDENTS Have students research songs by several of the big band leaders listed above. As student research each band leader, ask them to assess whether or not they can hear some of each leader’s signature traits:  Rich orchestrations  Swinging rhythms  Riffs  Solos  Scatting  Interplay between sections (i.e. horns and woodwinds, etc.)

COMMON CORE ANCHOR STANDARDS CCSS.ELA.Literacy.CCRA.W.7: Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.

A BRIEF OVERVIEW OF Hip Hop music developed in New York City in the neighborhoods that were dominated by people of African descent from the continental United States, Puerto Rico and Indies. As a result of African-derived aesthetics, socials norms, standards, and sensibilities that are deeply embedded in the form (improvisation and call and response), Hip Hop is an African-American music.

Beats-musical collages composed of brief segments of recorded sound- are one of two endeavors that come together to form the musical element of hip hop culture, the other element is MCing. (Note that Hip Hop culture is comprised of four foundational elements: DJ-ing, MC-ing, and Graffiti). This division of labor comes from the earliest hip hop music, which consisted of live performances in which a deejay played the most rhythmic sections of popular records accompanied by an MC- master of ceremonies-who encouraged the crowd to dance, shared local information and noted his or her own skill on the microphone. When hip hop expanded into recorded contexts both the DJ and the MC’s roles evolved. MCs began to create increasingly involved narratives using complex rhythms and . While DJs continued to make music with turntable when performing live and developed techniques like , etc., most also developed other strategies for use in the studio, and these eventually came to include the use of digital sampling. As these studio methods gained popularity, the deejays who used them became known as producers.

STUDENT ACTIVITY: MC versus Rapper - Let the Jury Decide In Dr. James Peterson’s essay “The Elements and Eras of Hip Hop Culture” from Art Sanctuary’s “Do The Knowledge: A Standards Based Hip Hop Learning Guide,” he makes a distinction between an MC and a rapper: “As a point of clarification, all MCs rap but not all rappers are MCs. A rapper is an entertainer. An MC is an artist who is committed to perfecting the crafts of lyrical mastery and call and response audience interaction. MCs hone their skills through freestyling and battling as well. Freestyling is when an MC raps without the aid of previous rhymes committed to memory or paper. Much like their jazz improvising counterparts, a free-styling MC pulls lyrical riffs and cadences from an ever-evolving repertoire in order to perform spontaneous rhymes that reflect their immediate environment and/or address their lyrical opponent.”

Ask students to identify some of their favorite hip-hop artists and to categorize them as a either a rapper or MC and discuss the for their categorization. You can create a game out this creating a mock rapper/MC court, in which students take turns presenting their case for an artist , in which a “jury/panel” renders a verdict on an artists status as a rapper or MC. Students can prepare for the case by preparing written statements as individuals or groups.

COMMON CORE ANCHOR STANDARDS CCSS.ELA-Literacy.CCRA.SL.1: Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. CCSS.ELA-Literacy.CCRA.W.2: Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization and analysis of content. CCSS.ELA-Literacy.CCRA. W.4: Produce coherent writing in which the development, organization and style are appropriate to task, purpose and audience.

In hip hop, sampling typically draws upon and soul records of 1960s and 1970s to create the instrumental portion of a song (or “beats”) that accompany the rhymes of the MC.

Hip Hop Sampling (or digital sampling), grew out of the DJs practice of repeating breaks until they formed musical cycle of their own. The segments favored by early hip hop producers tended toward funk and soul breaks, which even in their original context, were clearly defined. These breaks were used to create the instrumental portion of a song (or beats) that accompanied the rhymes of the MC. For early DJs, the drums were by far the most important elements.

LISTENING ACTIVITY: Listen to ’s “Funky Drummer” (1969), perhaps the single most-exploited sample in hip hop and see if your students can identify the beginning and end of the break. The break begins when everything but the drums stops playing and ends eight measures later when the other instruments resume.

https://www.youtube.com/watch?v=dNP8tbDMZNE (Drum break occurs at 5:34-5:53)

But the advent of sampling yielded a significant change: because more than one loop could be played simultaneously, producers could take their drums and their music from different records. With samplers any music could be combined with a great drum pattern to make what is known as a composite break. Moreover, different loops (and “stabs” – short bursts of sound) could be brought in and taken out at different times. This substantially broadened the spectrum of music that could be pressed into service for hip hop.

Today, the term “break” refers to any segment of music (usually four measures or less) that could be sampled and repeated.

DID YOU KNOW? “They Reminisce Over you (T.R.O.Y)” by Pete Rock and C.L Smooth (1992) is based on a break from a late sixties jazz artist. The break in this case is not a moment of intense drum activity but a two measure excerpt from a saxophone solo.

Based on the Pete Rock example, a break is any expanse of music that is thought of as a break by a producer.

Source: Making Beats: The Art of Sample Based Hip Hop by Joseph G. Schloss

GET DIGGIN’: Notable Jazz Samples Check out a few of the notable jazz samples from some of Hip Hop’s classic recordings.

Please note that some of these songs contain explicit . Please select the samples that work best for the age demographic of your students.

Pete Rock and C.L. Smooth “They Reminisce Over You (T.R.O.Y)” from the Mecca and the Soul Brother (Elektra 1992) samples and The Dreamers “Today” from the album The Honeysuckle Breeze (Impulse! 1967) Sample taken from 0:55 and 1:38 of “Today” and appears on “They Reminisce Over You (T.R.O.Y)” at 0:14, 0:37 (and throughout) http://www.whosampled.com/sample/660/Pete-Rock-%26-C.L.-Smooth-They-Reminisce-Over-You-(T.R.O.Y.)-Tom-Scott- The-California-Dreamers-Today/

A Tribe Called Quest “Excursions” from the (Jive 1991) samples “A Chant for Bu” by and from the album (Prestige 1973) Sample taken from 0:01 and appears at 0:01 and 1:41 (and throughout) http://www.whosampled.com/sample/9945/A-Tribe-Called-Quest-Excursions-Art-Blakey-and-the-Jazz-Messengers-A-Chant- for-Bu/

“Jazz (We’ve Got It)” from (Jive 1991) samples ’s “Green Dolphin Street” Sample taken from :05 and appears on :00 (and throughout) http://www.whosampled.com/sample/6915/A-Tribe-Called-Quest-Jazz-(We%27ve-Got)-Jimmy-McGriff-Green-Dolphin- Street/

“” from (Jive 1993) samples “Mystic Brew” by from Two-Headed Freap (Blue Note 1972) Sample taken from 0:08 and appears at 0:16 (and throughout) http://www.whosampled.com/sample/874/A-Tribe-Called-Quest-Electric-Relaxation-Ronnie-Foster-Mystic-Brew/

Black Moon “How Many MC’s…” from (Nervous 1993) samples Grover Washington Jr.’s “Hydra” from the album Feels So Good (Kudu 1975) Sample taken from 0:00 and appears at 0:00 http://www.whosampled.com/sample/2596/Black-Moon-How-Many-MC%27s...-Grover-Washington,-Jr.-Hydra/

Pharcyde “Passin’ Me By” from Bizarre Ride II ( 1992) samples ’ “Summer in the City” from his album You’ve Got It Bad Girl (A&M 1973) Sample taken from 0:00 and appears at 0:07 (and throughout) http://www.whosampled.com/sample/644/The-Pharcyde-Passin%27-Me-By-Quincy-Jones-Valerie-Simpson-Summer-in-the- City/

Common “I Used to Love H.E.R” from his album Resurrection (Relativity 1994) samples ’s “The Changing World” from Bad Benson (CTI 1974) Sample taken from 0:01, 4:26 and appears at 0:00 (and throughout) http://www.whosampled.com/sample/2100/Common-I-Used-to-Love-H.E.R.-George-Benson-The-Changing-World/

Kanye West “” from his album (Roc-A- Fella 2004) sample’s the drums from Lou Donaldson’s “Ode to Billie Joe” from his album Mr. Shing-A-Ling (Blue Note 1967) Drum sample Sample taken from at 0:00 and appears at 0:35 http://www.whosampled.com/sample/115651/Kanye-West-Jesus-Walks-Lou-Donaldson-Ode-to-Billie-Joe/

“Blood on the Leaves” from his album (Def Jam 2013) samples ’s rendition of the classic “” from the album Pastel Blues (Phillips 1965) Samples taken from 0:14 and 0:45 and appears at 0:00 http://www.whosampled.com/sample/213058/Kanye-West-Blood-on-the-Leaves-Nina-Simone-Strange-Fruit/

Black Sheep “The Choice Is Yours (Revisited)” from their album Wolf in Sheep’s Clothing (Mercury 1991) samples McCoy Tyner’s rendition of the song “Impressions” from Tyner’s album Trident (Mileston 1975). Sample taken from 3:03 and appears on :01 (direct sample of hook/) http://www.whosampled.com/sample/12997/Black-Sheep-The-Choice-Is-Yours-(Revisited)-McCoy-Tyner-Impressions/

Gang Starr “Manifest” from their album No More Mr. Nice Guy (Wild Pitch 1989) sample’s ’s “” from his album Bird Symbols (Combined 1961) Sample taken from :00 and appears at :01 (and throughout) Direct sample of hook/riff http://www.whosampled.com/sample/1342/Gang-Starr-Manifest-Charlie-Parker-Miles-Davis-A-Night-in-Tunisia/

De La Soul “” from the album Stakes Is High (Tommy Boy 1996) samples ’s “Swahililand” from Jamal Plays Jamal (20th Century 1974) Sample of hook/riff taken from 8:05 and appears on 0:00 (and throughout) http://www.whosampled.com/sample/2423/De-La-Soul-Stakes-Is-High-Ahmad-Jamal-Swahililand/

Digable Planets “Rebirth of Slick (Cool Like Dat)” from their album Reachin’ (A Refutation of Time and Space) (Pendulum 1993) samples Art Blakey and the Jazz Messengers “Stretching” from Reflections in Blue (Timeless 1978) Direct Sample of multiple elements from stretching appears at 0:00 and 0:23 and appears at 0:00 and 0:24. http://www.whosampled.com/sample/12685/Digable-Planets-Rebirth-of-Slick-(Cool-Like-Dat)-Art-Blakey-and-the-Jazz- Messengers-Stretching/

Source: www.whosampled.com

LISTENING ACTIVITY: Have students partner up or work in groups to select one of the hip hop songs listed above and its accompanying sample. Have students listen to each selection and discuss the following:  Is this an effective use of the sample? Do they find it compelling? Why or why not?  If they could choose another segment [“break”] of the original song to sample, what would it be and how would they want to use it?

COMMON CORE ANCHOR STANDARDS  CCSS.ELA-Literacy.CCRA.SL.1: Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.

Important Hip Hop Producers Pete Rock: As a golden age staple, Pete Rock is often remembered for his soulful productions and bass lines. A cousin to the great , it was an earlier loss that defined Pete’s career. Dedicated to the memory of Trouble T. Roy, “They Reminisce Over You” made instant sensations out of Pete Rock and his partner in crime CL Smooth. Another one of Pete’s specialties was his , as his rendition of ’s “Shut Em Down” brought more life to the track. Another Pete Rock gem, “Down With The King,” resurrected Run-DMC at a time when they were nearly obsolete.

DJ Premier: DJ Premier shaped the sound of New York in the ‘90s. Working with everyone from KRS-One to , The Notorious B.I.G., Jay Z, M.O.P. and less noted talents, his trademark sound was recognizable due to his loops and scratched hooks. Additionally, his prolific catalog includes six with his partner as . Making fans in high places, Premier went on to work with pop princess Christina Aguilera, proving his reach was far.

J Dilla: Gifted with rhythm at an age where most children are just learning to talk, Dilla wound up working with The Pharcyde, A Tribe Called Quest, and early into his 20s. His group paved the way for ’s underground, with him then going on to work amongst avant-garde elite including Common, , Bilal, and , aka Mos Def and Talib Kweli. Although much of his new audience came after Donuts, his final beat tape with , Dilla’s name lives on as an urban legend nonetheless.

Q-Tip: The lead producer of A Tribe Called Quest, Q-Tip is one of hip-hop’s most unheralded geniuses. Not only producing for his group, he also played a large role in helping Nas and get their starts. As a solo act, he has continued to keep musicality alive within rap, paying respect to other genres while pushing the envelope on Amplified, Kamaal The Abstract, and The Renaissance. Also having worked with , Q-Tip is one name people always go to when they’re looking to keep the spirit of boom-bap alive.

Marley Marl: innovated production by discovering the idea of sampling drums. Changing the way hip-hop was made forever, he was the man behind golden age powerhouse Cold Chillin’ Records. Producing full albums for the likes of Biz Markie and , his most notable hits include “The Symphony” and “Eric B. is President,”, not to mention all of LL Cool J’s Mama Said Knock You Out. Other formerly popular acts to benefit from Marley’s influence were Roxanne Shante, Lords Of The Underground and Capone-N-Noreaga.

Madlib: The name most commonly associated with Stones Throw, ’s work ethic has spun the underground on its head. Although his primary audience lives online obsessing over his importance to LA’s beat scene, Madlib has also worked with more accessible artists such as Talib Kweli and . Amongst his endless number of projects, the most popular have been his collaboration albums with J. Dilla and MF Doom. Jaylib’s Sound had the two super producers combine forces behind the boards and on the microphone, while allowed Madlib to execute his own vision for hip-hop’s favorite masked enigma.

Other Notable Producers: Erick Sermon, Large Professor, , Organized Noise, Dr. Dre, , , Kanye West, RZA

Source: http://greenlabel.com/sound/15-most-influential-hip-hop-producers-in-the-past-decade/

POST-PERFORMANCE ACTIVITIES

IN-CLASS REFLECTION Encourage students to reflect on the performance through discussion or written response. Ask them to address the following questions:  What was your favorite part of the concert? Why?  What was your least favorite part of the concert? Why?  What instruments were used?  How did the performers interact and communicate verbally and non-verbally during the performance?  What techniques did you witness and/or experience? – Improvisation, Solos, Call & Response, etc.  Did the music create an emotional response for you? What was it?  Describe how the performance impacted you and your appreciation for jazz and hip hop music.

NEXT STOP: ! Imagine you have been hired by the local newspaper as a music critic and have been asked to review the performance you just attended. Include the following in your review:  What instruments were used?  What type of mood was created through the music?  How did you respond to the music?  How did the audience respond to the music?  What kind of interaction and communication (verbal and non-verbal) took place among the musicians on stage?  Did you like the performance? Why or why not?  Would you recommend your readers attend a future performance? Why or why not?

RESEARCH PROJECT Research a well-known jazz or hip hop producer and write about his or her career.  What periods of time covered the person’s life and work?  How was the person influenced by the work of other artists?  What primary styles of music did the person play, compose or perform?  What honors or awards did the person receive?  How did they impact other artists’ work?  What did you find most interesting about their work or career?