In an article about hip hop music and its intersection with jazz, Jared Pauley writes that both genres have often flirted with each other. Over the years, hip hop artists have utilized the flavor of jazz music through sampling. In the 1980s to the mid-1990s, hip hop acts "took jazz samples to the top of the charts while others worked directly with respected jazz musicians. With the new millennium, this trend continued" (1). One artist that has continued the trend is Kendrick Lamar. Kendrick Lamar is an emcee that has been on the scene for a number of years, but rose to prominence with his second studio album in 2012, good kid, m.A.A.d city.
Hattie Collins comments that what is fascinating about Lamar is his ability to provide sharp observations on the gloomiest of subject matter. The Compton native deconstructs the gangster mentality, denounces criminality and offers true narratives that reflect a considerable amount of confidence, despite growing up in a harsh environment (1). Much of the narrative associated with the ‘good kid’ album is assisted with jazz music. Across 12 songs, Lamar unveils elements of how both genres intersect and intertwine. It is an experiment of sorts for Lamar. His prior album, Section.80, while not a prevalent in terms of mainstream popularity, did not focus as much on the use of jazz music, but instead seemed to focus more on the stories. This is not to say that ‘good kid’ is not about the narratives, but there is a noticeable difference in the weaving of jazz across the entire collection of cuts.
Why Jazz Music Works in Hip-Hop?
Ron Hart believes that the alliance of hip-hop and jazz music is best attributed to the fact that both genres were often rejected by society. When examined in depth, both genres are unique and tend to be deeply felt by listeners thereby causing controversy. "Jazz got dissed the same way hip-hop got dissed" (1). It wasn't until later as the genres evolved that individuals started observing their true essence - renowned compositions with complex stories. Ron Hart continues by stating that "hip-hop [and] jazz show us love and provide [a] longevity for the music catalog" (1) of the public and that individuals who love both genres have a responsibility to "just embrace [the two]" (1). So can it be reasoned that hip-hop musicians are driven to jazz music usage because of its initial rejection? Perhaps, but the overarching argument of why jazz music is used so heavily by hip-hop is because it sounds good, and because of the roots of jazz music.
In Adetunji Adegoke's essay on musical identities, it expresses that music, more specifically jazz presents an African and African-American context of the struggles, culture and overall ideology of those groups. Whether hip-hop manifests in music, television, clothing, films, movies, etc., the fact of the matter is - there is an identity in it that is polarizing and pulls people in. Jazz music works similarly. It is constructed in a way that is different from the status quo and was birthed out of a protest of the minimal amount of genres present at the time in which it first started being listened to by society. Moreover, both music genres tend to resist the popular context and terrain. People see jazz and hip-hop as more than just creative vehicles to express narratives, but rather a legitimation of the struggles of Black people in both contemporary time and the past (150-152). Essentially, jazz and hip-hop have worked together and continue to work in conjunction with each other because they emerged from similar circumstances, and situations.
The incorporation of jazz music in hip-hop, as mentioned earlier, is not a new phenomenon. Much of the construction of jazz meets hip-hop started in the 1980s. In her article, "Where Jazz Meets Hip-Hop," writer Ericka Blount states that the genre known as jazz rap is an art form, an American melding. The blending of the two styles is not only producing sophisticated recordings, but enlightening entire new generations on the relevance of jazz music. It is also taking along with it, fans of each genre who might not have given a thought to the other. It is said that much of the success of the cross mingling of jazz and hip-hop is centered on the promise of the rap genre in being relentless in showcasing the ups and down of urban life, while simultaneously creating remarkable expressions that will become known as timeless (1). There is significance in what Blount speaks about in many of the recordings that emerged during the 1980s and 1990s. What many fans of both genres deem as classics are jazz/hip-hop recordings. Compositions from artists and groups such as A Tribe Called Quest, Guru and others are considered to be important to the overall genre and to hip-hop.
Blount continues by stating that there was an extensive amount of criticism relating to jazz and hip-hop intermingling early on. Specifically, the author states that there has somehow been a ridiculous notion that if jazz is incorporated into the hip-hop, that it will lose its steam. Those within the jazz world should not in any position to put down hip-hop or ridicule it. Just as bebop encountered controversy, hip-hop has too, but this does not take away from its merits and the fact that the music comes from the heart and soul of emcees just as those who play instruments in jazz music play from their heart and soul. The criticism associated with jazz rap is not without fault. Blount writes that there are indeed differences between the two. While both are creative manifestations from the African American experience, they are different in what they project. Where hip-hop is about rocking a crowd and galvanizing Black people, Black youth in particular, jazz is intimate, and small with more of an experiential presentation (1).
As such, the blending or merging of the two to form jazz rap was and remains very unique given the wide range of the genre's distinctiveness. Additionally, critics have also stated that there are other differences between the two genres. Hip-hop tends to include everything from murals to artwork, while jazz music does not incite this, especially as it relates to the youth in America. It is quite possible that this is why it is said that jazz rap revived the genre of jazz as a whole. Younger generations started becoming more interested in musicians like John Coltrane and Miles Davis, than ever before. As a result of younger generations becoming more interested in jazz musicians, it has prompted the likes of emcees like Kendrick Lamar to use it, particularly in the album - good kid, m.A.A.d city.
good kid, m.A.A.d city Track Analysis
Lamar's use of jazz on the album is prevalent throughout, however, there are a few tracks that distinctly use jazz samples, which display a particular maturity and variety in his sound. On "B***h, Don't Kill My Vibe," the producer Soundwave uses a backdrop from the Boom Clap Bachelors and reworks into a type of ballad sound. The band is a musical collective that uses a variety of sounds that include everything from techno to soul, and hip hop, with a jazzy quality.
On the "Backseat Freestyle," cut, a bass heavy production entwines itself with drum beats as well as a sample from the jazz group, The Chakachas, who are renowned for their Latin flavor and pulsating sound. This makes for an interesting and fascinating sound as Lamar relays his narrative. On "Money Tree," the use of hypnotic soul is evident. There is a bending of drums and indie samples coupled with a smooth jazz like sound, which provides the background for Kendrick to discuss the Compton struggles in a credible and smooth way. With "Poetic Justice," Lamar uses a sample from Janet Jackson's "Any Time, Any Place," which was produced by Jimmy Jam and Terry Lewis, who have worked with numerous artists and tend to utilize a lot of jazz elements in their songs that range from improvisational artistry to tinges of hard bop.
With the title track, Kendrick returns to the mellow sound that is similar to that of John Coltrane. The cut is cool and slickly produced. The vibe that underlies the track emulates something similar to the vibe found on Miles Davis' Birth of The Cool. According to writer, Jeff Winke, Davis put forth a new sound, almost smoky in terms of instrumental textures. From a saturation of orchestral like concepts and instrumentation that are classically inspired even though the overall dynamic is considered to be jazz oriented (1). The album that Miles Davis crafted was a departure from the traditional jazz, which can be stated about Lamar’s album. It is a departure from the conventional rap music, especially in today’s society. Most of the music that has emerged from jazz in the last 10 years or so, tends to have a gangster sound rather than anything resembling jazz rap. It is as if Lamar revived the genre with the album.
The "m.A.A.d city" song finds itself being more soulful rather than jazz oriented, except with the keyboard orientation that is positioned within the track. The song offers the listener a drum sample as well, which is similar to a lot of hip-hop music that was served to the public in the late 1980s with artists such as Big Daddy Kane and Eric B. and Rakim. "Swimming Pools (Drank)" is jazz oriented like a significant portion of the album. It is hard bop in a sense, which is similar to that of the sound that jazz musicians like Art Blakey and Horace Silver are known and recognized for.
“Sing About Me, I’m Dying of Thirst," is perhaps the best example of jazz rap. The song sounds like something that ebbs and flows with its sample of guitar from musician Grant Green. The updating of the sample is complemented with beats that gently tap against the speakers. “Real” sounds like a cross between something out of the band, Roy Ayers Ubiquity combined with that of Flying Lotus. The former is a soul band that incorporated rhythmic jazz with its cadences, while the latter is a band that creates and crafts instrumentals that are laid back, with fusion like qualities integrated within them. The closer, “Compton” also offers a jazz sound, even though it portrays itself as a hard-hitting West Coast track. It is as if Lamar cannot move away from the jazz rap elements that he is seeking to exhibit throughout the album.
Transforming Hip-Hop in A Positive Way
According to Del Cowie, it cannot be overlooked how Kendrick Lamar is transforming hip-hop music. While much has been stated about his mixtapes and the most recent recording, To Pimp a Butterfly, the visionary jazz aspects of 'Good Kid' should not be overlooked. It is questionably a recording that blends hip-hop and jazz in a good way, so much so that critics have often stated that he is the John Coltrane for the genre in terms of clearly exciting the palates of hip-hop fans and music lovers alike. The individual that is Kendrick Lamar understands how to pair sounds together with his rhymes that create a movement similar to that of jazz. This is why it is argued that he has uniquely marked the hip-hop genre, more specifically jazz rap. He revived the subgenre. Hip-hop was already dominating, but it is even more so now that Kendrick Lamar is able to showcase his talents and appreciation for the instrumental genre (1).
In an article by Jeff Dayton-Johnson, he considers the album as a transformative composition from a conceptual mind. Kendrick is an imaginary, who is unmatched in the area of using jazz in a mature fashion. He has a way of animating both genres to where there is both a subdued and up-tempo persona, while also ensuring that his characterizations and narratives do not get lost in the music. From subjects like murder and delinquency, the cinematic use of jazz music or rather jazz elements highlights his dexterity as a musician and creative (1). For Kendrick, it is about capturing a theme, which is similar to that of jazz music. Every jazz piece is thematic in a sense that it tells a story. Each instrument offers its unique take on the story. Likewise, with the album that Lamar created, each instrumentation is fashioned to proclaim the emcee's love for jazz music, while simultaneously elaborating on the theme of big productions and musical offerings.
Williams (2010) argues that without jazz rap, hip-hop would not be where it is today. The mainstream popularity of the genre is a phenomenon simply because of the jazz. There is a distinction within jazz that the rap music world has aesthetically used so well, that considering rap or hip-hop without thinking of jazz is almost impossible. With the placement of sounds and tones, imagery and lyrical references into hip-hop songs, the musicians are intentionally structuring their songs to pull in new fans of jazz music. Moreover, with the emergence of jazz rap, the collective consciousness has become more immersed with understanding the jazz genre as a whole, and its association among other types of music. Many record companies are now more than ever marketing musicians such as Count Basie, Tito Puente, and the like along with autobiographies and other books associated with prominent jazz musicians. Classic songs like "So What" from Miles Davis, and "Take The A Train" by Duke Ellington are being used in commercials, and not only that television shows and films are using jazz songs as well - where years ago, they might have overlooked their usage (436-438). It is important to note that the attributing of the transformation of hip-hop cannot be solely given to Kendrick Lamar, but that he along with other bands like A Tribe Called Quest and Common are allowing for a more direct comprehension and affinity to be birthed for jazz music.
Williams (2010) continues by noting that the jazz rap genre will need to overcome its challenges. While it is riding a high with the use of songs from the likes of Bill Evans to Eric Dolphy, its purpose and meaning can only be identified by continuing to discuss its relevance and importance to society (439). In other words, Lamar and emcees like him should not let the genre die. The responsibility of keeping it alive cannot be given just to Kendrick because he caused a resurgence. Williams (2010) extends his discussion adding that rap artists need to begin integrating jazz into their melodies and cadences more than they have. While it is one thing to recognize classic songs of the 1980s, and into the 1990s, society should be looking to contemporary songs from emcees as classics also (439). This means that there is a definitive need for hip-hop emcees to collectively decide that they need to follow Kendrick’s lead. It gets back to the perspective that Lamar cannot be the only individual utilizing sounds similar to that of John Coltrane or Bill Evans in songs. It does not mean necessarily that each track on an album has to incorporate jazz, but that a significant portion should give nod to it at least as being an underlying element of the construction of that album.
Still, even if other emcees do not step up to the plate, so to speak and transform the genre of hip-hop, this does not mean that Lamar is any less transformative in the music that he is putting out. As stated by Callum Davies of Cultured Vultures, just the mention of his name now creates buzz. He knowingly is caused an onslaught of praise from every corner of the music world. The material he puts out is top-shelf, challenging, yet also significant to society. It heightens the relevance of African Americans as a culture. Since hip-hop is based in African American roots, there is difficulty in separating Lamar from the genre now, particularly with his incorporation of subject matter that is gritty and meaningful and because he uses jazz elements in his recording. Kendrick is deserving of the recognition that he receives having ushered in a new musical appreciation for jazz, and increasing the recognition and reputation of hip-hop (1). To Davies’ point, Kendrick Lamar simply is a genius when it comes to the creation of recordings that are pointed, and almost classic in their ability to tap into the collective consciousness. It could be argued that much of this has to do with the jazz undertones that the album incorporates, but also because of the way in which he has transformed the musical world as a whole. He is not the first to transform a particular genre, and will most likely not be the last – but his emergence within the genre cannot be ignored.
Conclusion
This paper discussed Kendrick Lamar. Specifically, it focused on his emergence within the hip-hop genre as a transformative figure. The paper explored how he incorporates jazz elements and jazz music into his recordings, with an emphasis on the album, good kid, m.A.A.d city. The paper analyzed what many writers, critics included, have stated about Lamar’s music and his ability to relate to multiple generations. The paper also talked about specific songs within Lamar’s work and how they use a combination of different areas of jazz including Latin and hard bop. The paper also discussed how jazz rap is transformative and that Lamar should not be the only emcee/rapper within the hip-hop genre to use jazz music.
Perhaps, the importance of Lamar lies in bringing to light the necessity of jazz music in society. Through his utilization of the genre and its varying elements, there is an undeniable dynamic at play that cannot be overlooked. The reason why Lamar is so well-known, seemingly all of a sudden, is that he has brought issues to the forefront of American society through the use of jazz and hip-hop combined. He has in essence, caused a significant discussion to emerge within the American consciousness on multiple fronts that include the need to hold onto jazz music, why hip-hop is a relevant genre and the issues that plague African Americans. These are issues that society has often failed to recognize, or even attempt to acknowledge – particularly, in recent years. As noted earlier, it can be said that additional emcees need to join Kendrick in constructing recordings that are meaningful and offer a jazzy quality, but if the opt not to – the presence of Lamar, arguably, is enough because of the prominence he has received thus far, and will undoubtedly continue to receive as long as he continues transforming hip-hop and music as a whole.
Works Cited
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