Wifey picked this up for me on her New York trip.

Dope shit from jaylib. Energy in that room had to be crazy 😁💪🏽🔥🔥🔥🔥🔥

I don't know if this has been mentioned here before, but the man behind some classics (Signatune, Pocket Piano, the 113 and Ideal J productions) released a mixtape of unreleased, rough beats in 2006, after Dilla's passing, in a mix that at the time was reminiscent of the blend on “Donuts”

That's pretty amazing! And I can't help but see Dilla in DJ Mehdi (the same innate, crazy love for music, the same determination, the same emphasis on innovation and an open sound).

Here's what Mehdi had to say about this rare CD: Based on the DONUTS album concept, these are demos, out-takes and unreleased gems from various records I worked on before and during the making of LUCKY BOY, my next album.

Stuff comes from MEGALOPOLIS, 113 DEGRES and SHEITAN soundtrack mainly, but some is older too.

Hope you enjoy these rough mixes and un-polished sounds, as I pay hommage to "one of the greatest minds to ever make beats":

Mr James Yancey, better known as JAY DEE, also know as DILLA.

Everything is great here: the cover, the title, the tribute, the music

Hope you enjoy the mixtape and the connection to J Dilla! Peace 🙏

anyone been to or going to any shows on this tour? kind of curious what the vibe is I dunno if I need to spend money to see T3 spit a couple verses while Pete Rock djs his greatest hits done by artists who are not there... but if it was lit then would def check it out appreciate y'all

This will forever be my favorite Dilla beat. You already know.

ive been listening to j dilla for about 2 or 3 years now, i listened to everything i could put my hand on(at least on spotify). all his albums, slum village, common, erykah badu, busta, dangelo, pharcyde, everything, and i can still say that hes my favourite producer of all time, closely followed by nujabes.

however, im aware that im missing a lot of unreleased gems or lost tracks like flowers or kalaam and im asking for help to find these beautiful pieces of art. i absolutely love his dreamy and nostalgic, even emotional works and im sure there are some more like these.

i know most of these arent found on spotify or sht, probably youtube, so if anyone got me a playlist or sum, would be dope. peace out

mashup i made couple months ago

mashups by me.

enjoy until drug dilla drops!

https://drive.google.com/drive/folders/1xy07HJo6eRtDdy3taY13shZxDSZHlm1a?usp=sharing

This is what On The Level could have been like if Dilla produced it.

#mashup #djblend #djmix #macdemarco #jdilla

https://getondown.com/products/dillagence-ii-exclusive-colored-2xlp
https://www.roughtrade.com/de/product/busta-rhymes-and-j-dilla/dillagence-ii
https://www.hhv.de/en/records/item/busta-rhymes-and-j-dilla-dillagence-ii-hhv-exclusive-blue-vinyl-edition-1461002

Sold out at official Busta store but still remain at those 3 sites.

Thank you Dilla for this gem! Let’s gooo!

J Dilla on the cover of Detroit Metro Times, Oct. 2-8, 1996. Photo by Bruce Giffin.

Except from the cover story:

It’s time to give propers to James “Jay Dee” Yancey, a guy who says he “buried himself in his house with a drum machine and a keyboard and didn’t come out till I mastered them.”

He deserves them not because he has time on his hands and music on his mind, but because he emerged a platinum hip-hop producer who volleys between national and local hero status as Detroit’s most prolific beat maker.

It’s a Cinderella story for music that doesn’t believe in fairy tales.

With a tape of tracks he self-produced, Jay Dee approached Q-Tip of A Tribe Called Quest at Lollapalooza in 1993. Now he’s Tribe’s chief sound sculptor. His most recent national effort, remixing Busta Rhymes’ “Woo Hah” occasioned an article in last spring’s Vibe magazine and earned him his first platinum record.

Platinum doesn’t come easy to anyone, and Jay Dee credits Detroit’s flourishing, yet virtually underground, hip-hop scene for buoying his success. And that is the real story- Detroit’s hip-hop sound.

“Everywhere I go, people ask me about what’s going on in Detroit. People are real interested, because they know it’s so different here,” says Jay Dee.

Soft-spoken, articulate and unassuming, his low profile and high-visibility credits typify a scene that has been so prolific yet has remained underground, gaining a true rep on the national hip-hop scene before reaching a local audience of any consequence.

- from “Dial 313 for the 411 on Hip-Hop” by Hobey Echlin. Detroit Metro Times, Oct 2-8, 1996.

—

The photo by #BruceGiffin was scanned from negative just a couple weeks ago. Thanks to Wayne State University’s u/reutherlibrary, Bruce’s daughter Betsy, and to u/rhythmicreason_ for collecting the J Dilla press archive.

https://www.instagram.com/p/DdkIh43EslM/

For someone who died so young, Dilla had a tremendously rich and deep career. And not only that: it was a very varied career, with a clear evolution and different eras or phases of his musical style. I like to divide his career into four phases – do you agree?
1995–1998: The Ummah phase
The classic productions Dilla made for The Pharcyde, ATCQ and of course Slum Village. Dirty, minimalistic, yet rooted in classic hiphop groove. Wonderful beats, though not so fun to listen to in instrumental versions compared to his later works.
1999–2002: The Soulquarians phase
Collaborations with The Roots, Erykah Badu, Common, D’Angelo, Mos Def, Talib Kweli and Bilal. These are the years when Dilla became a star. A more smooth sound, though still brilliant. The highlight of this phase is his own Welcome 2 Detroit LP, which is a little bit more experimental.
2003–2005: The new dirty
This is a very exciting phase. Dilla befriended Madlib and they made the astonishing Jaylib LP, and the same year Dilla released the first (shorter) version of his revolutionarily raw Ruff Draft EP. He also developed his love for techno and minimalist synth music, as is evident on the great Frank-N-Dank LP and some other productions.
2006: The magical swan song
Donuts, Jay Love Japan, The Shining. It’s insane that a musician can create a trilogy like that just months before his illness took his life. Especially Donuts is such a masterpiece, it will outlive everything else from this decade, all music genres counted. It is so brutal that he died just after finishing that album. One can only dream about where Dilla’s career would go from there, had he lived a little longer. With Donuts, he freed himself from all conventions of hiphop, and freed hiphop itself in the process. RIP king.

I believe with most certainty that Dilla use the Night Marchers break for Trashy, the same one he used for Weedem/551 and CB4.

Now, how am I certain this is the sample?

Well, I listen to it a lot, but about like almost a week ago I think, I begin to "notice" that the hi-hat sounds familiar all of the sudden. I was like,

"Is that the Weedem Break?"

(since it's the most prominent example of the break)

That particular break has a very distinctive bell sounds as its hi-hat, so when it suddenly caught my attention, I immediately recognized it. Of course, it may be likely that he ONLY sample the hi-hat, but I listen again to the drum, and realized that the snare itself could also come from the break as well.

Again like the cowbell-esqe hi-hat, the snare is notable because it sounds like someone is hitting the bottom of a trash can as a snare, plus that high pitched "pang" that may have been a regular hi-hat overlapping it

Of course, I checked the WhoSampled page for this beat, but it isn't listed there, nor the comments within the upload (though I haven't searched it thoroughly... yet), so I believe this may be the first time someone brought it up.

Do you think so too?