meta-scriptSon Little On Writing In Wine Country, Recording In Paris And Playing With The Legendary Roots Crew | GRAMMY.com
Son Little On Writing In Wine Country, Recording In Paris And Playing With The Legendary Roots Crew

Son Little

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Son Little On Writing In Wine Country, Recording In Paris And Playing With The Legendary Roots Crew

The Philadelphia R&B artist recalls his time recording at Paris' Studio Ferber and how a series of unfortunate events helped create the smooth vibe on his new album 'aloha'

GRAMMYs/Feb 4, 2020 - 01:31 am

Being a musician is a bit like being a meteorologist: It's hard to predict the exact moment a creative expression will arrive, just like it’s hard to predict how much rain will come. When it does, though, it’s incredibly important to be prepared. R&B raconteur Son Little (real name Aaron Livingston) kept his songs on a hard drive, but just as the weather can change without notice, so can one's luck. Last summer as he was preparing to leave Philadelphia to finish writing his new album in Northern California wine country, the hard drive died. He lost everything. He had no back-up.

Naturally, Livingston was devastated. "I kind of thought I'll plug it back in tomorrow and it will work, but it didn’t," he recently told the Recording Academy. "I was depressed for about a week or so and then I just started facing the reality that I’m gonna have to cook up some new ideas because the show must go on," he added. So as the summer faded over Petaluma, Calif., Livington spent eight days penning a bunch of new tunes. He then took them to Paris and recorded at Studio Ferber —opened in 1973 just inside the Eastern Périphérique—with renowned French producer Renaud Letang (Manu Chao, Charlotte Gainsbourg, Feist).  

While his first two albums, Son Little (2015) and New Magic (2017), were rooted in the blues and have a neat rock 'n roll swagger, aloha is soaked in smokey, mid-'60s soul. After producing his first two records himself and, in 2017, winning the Best American Roots Performance GRAMMY for producing Mavis Staples' "See That My Grave Is Kept Clean," this time with Letang behind the board Livingston was able to capture the duality of letting go of old feelings and embracing new ones. Losing his original demos, writing in solitude in California and living the French lifestyle for a few weeks all helped give aloha the smooth, laid-back vibe he had hoped for.

Livingston recently spoke to the Recording Academy about recording in Paris, writing music in the brittle Northern California woods, and testing his mettle with Philadelphia's legendary Roots crew. Our conversation has been condensed for clarity. 

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During your time at Studio Ferber in Paris, were you able to form a daily routine?

You know what, I had a blessing in disguise. When I first got there—on either the first or second day—I crashed out in an Uber and I left my phone in there. So I ended up riding the Metro instead of getting Ubers and I guess I did get into a routine, riding the Metro with the local folks every morning and blending in as much as I could. And their method of working is different to what I’m used to — [in the U.S.] folks tend to grind out these marathon sessions, whereas [in France] they’re really measured about how they do things. It’s like you get your lunch and go to your nine-to-five. We'd show up in the morning, have coffee, work until lunch, sit down and have a nice lunch together, then work until the evening and go home. 

Places like Studio Ferber tend to have a lot of old instruments lying around. Were there any that you became particularly infatuated with?

It’s funny, a lot of studios you go to have 50 different vintage guitars and you can get lost among all the choices—you play the part on a '64 Strat and then you decide that maybe you should try it using the '67 ES-335 [Gibson guitar]. I went to play bass and Renaud said, "I think you’re going to love this bass." And he brings out this thing that probably weighs as much as I do. I forget the model, I think it was a '75 or '76 Gibson recording bass, but I had never seen one before. This thing was the heaviest guitar I have ever touched. It has this unusual sweeping EQ, almost like a phase inversion switch, that you would never see on most guitars. So I played this bass on pretty much every song and there was kind of this beauty, or simplicity, to that. I think we were probably two weeks in before I asked, "Is there another bass here?" I guess we could have found one, but we didn't need it. Over 25 years [Renaud] has come to feel that this is the best bass, so why not trust the guy that has been working there for two decades?

Up until this album you've produced all your own music. You've even won a GRAMMY for a song you produced for Mavis Staples. What did you gain by handing that responsibility to someone else?

I guess going in I had some concern that maybe there would be some trouble, but the positive aspect of having someone else in the control room objectively evaluating my performance was invaluable to me. One thing Renaud really excels at is getting a sense of an artist's intent. I think he really understood and appreciated what I was trying to do, what I wanted to get out of the music, and how I wanted it to sound, so he became like a watchdog for anything that I might do that he felt was working against my own wishes. It’s surprising how often you stray or get knocked off your square by overthinking or being overly critical of your own performance. I guess the demon that every performer deals with is doubt, that desire to be perfect, and sometimes that gets in the way of your real goal, which is to make something great. Having a second brain that was less critical than my own and even more focussed on the end goal was really just a beautiful experience. 

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You wrote the songs for aloha in a house and an adjacent barn in Petaluma, Calif. Can you describe that setting?

Well you know, it's very brown. Everything is sort of golden brown up there and unfortunately these past two summers it’s been very rough, the whole place is like kindling. At that time it felt like it was the last bit of summer—summer was kind of fading—and it’s a beautiful time to be in Sonoma County [wine country]. It’s not far from San Francisco, but that area is very open, it’s very rural. A lot of people thrive on the action of a city for their writing, but I've learned over the years that my creative process is really enhanced by solitude and silence. I only got about eight days this time—my hope is to always have more—but it was enough time to quiet my mind and fill the space with ideas.

The pace of this record is a little more laid back than your last twoit has more silence and you optimize that space beautifully. How much of that comes from the topics you sing about, and how much comes from external factors, such as writing the album in solitude in the summertime and having someone else produce it?

It's hard to say what’s more influential. I hear the environment in there, but I don't know if that's the dominant factor. I do think that a song like "suffer" was really waiting to emerge for me, and I think the same could be said for a lot of these songs—"About Her. Again" comes to mind. Both in the immediate aftermath of losing the drive and making the trip up to the country, it really opened up the space for me to have a more contemplative mood that made everything come together and make sense to me. Like I said, the stuff I was working on previously really didn’t have that mood at all. In hindsight, it’s hard for me to even imagine those songs being aloha. It’s hard for me to picture what that would have been like, it just wasn’t the right moment for it. I miss some of that stuff I did, but in a way I'm glad I lost it. 

This album is about letting go of old feelings and learning to embrace new ones. Can you give any examples of where those two things intersect?

There's a couple of cases where, because of my negligence, I had to do things a little quicker than I had originally planned, and it led me to re-evalute some older pieces that had been hanging around for a while. Some of these songs I had written over the years—"mahalia" is one, and "hey rose" is almost a mish-mash of different poems I had written that came back to life and resonated differently. 

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Early in your career, you had the opportunity to work with the legendary Philadelphia rap group The Roots. What did you gain from that experience?

It’s a really tight community and they're really supportive people [who] are really positive and are champions of the arts, and of each other. But at the same time, it’s fiercely competitive and there’s a real culture of excellence. I remember my first experiences playing around those people—I would get up on the mic, grab a bass, a guitar or even drums here and there—and while [they] were supportive, you had to be able to do your thing, because while you were on bass there were six world-class bass players standing right there. So if you jumped up there you had to really come with it and give it everything you had, and [be prepared to] fall on your face sometimes.

I think that's maybe the most valuable lesson that you can learn, that you can crash and burn and still get up and get back to it—it’s all about what you have in your heart. I guess more than anything else, if you’re in a place where half the room is these incredibly gifted artists and you want to differentiate yourself from them, you kind of have to realize that whatever you’ve got, it’s uniquely yours. And if you do that to the best of your ability, then you’ve really got something. I think [playing with The Roots] really taught me to be the best version of myself and not worry about what everyone else is doing. My experiences there were really good because they rewarded me for being myself—there were no rewards for just blending in—and that’s among the most valuable lessons you can learn as an artist. 

On 'Things Fall Apart,' The Roots Deepened Hip-Hop

For Questlove, "A GRAMMY Salute To 50 Years Of Hip-Hop" Is Crucial For Rap's Legacy
Questlove

Photo: Leon Bennett/Getty Images for Netflix

interview

For Questlove, "A GRAMMY Salute To 50 Years Of Hip-Hop" Is Crucial For Rap's Legacy

When Questlove worked on the Hip-Hop 50 revue at the 2023 GRAMMYs, the experience was so stressful that he lost two teeth. But he didn't balk at the opportunity to co-produce a two-hour special; the task was too important.

GRAMMYs/Dec 7, 2023 - 05:45 pm

Today, Public Enemy's 1988 album It Takes a Nation of Millions to Hold Us Back is correctly viewed as a watershed not just for hip-hop, but all of music. But when Questlove's father overheard him playing it, it didn't even sound like music to him.

"He happened to pass my room while 'Night of the Living Baseheads' came on and he had a look of disgust and dismay, like he caught me watching porn," the artist born Ahmir Thompson tells GRAMMY.com. "He literally was like, 'Dude, when you were three, I was playing you Charlie Parker records, and I was playing you real singers and real arrangers, and this is what you call music? All those years I wasted on private school and jazz classes. This is what you like?'

"I couldn't explain to him: 'Dad, you don't understand. Your entire boring-ass record collection downstairs is now being redefined in this very album. Everything you've ever played is in this record,'" he says. "If my dad — who was relatively cool and hip, but just getting older — couldn't understand it, then I know there's a world of people out there that are really just like, whatever."

That nagging reality has powered him ever since — whether he's co-leading three-time GRAMMY winners the Roots, authoring books and liner notes, or directing Oscar-winning films.

And that path led straight to Questlove's role as a executive producer for "A GRAMMY Salute To 50 Years Of Hip-Hop," which will air Sunday, Dec. 10, from 8:30 to 10:30 p.m. ET and 8:00 to 10:00 p.m. PT on the CBS Television Network, and stream live and on demand on Paramount+.

Questlove makes no bones about it: working on that 12-minute Hip-Hop 50 revue at the 2023 GRAMMYs was taxing. So taxing, in fact, that he lost two teeth due to the psychological pressure. But he soldiered on, and the result is an inspiring rush of a two-hour special.

"The thing that really motivated me — Look, man, roll up your sleeves and run through this mud — was like, if there ever was going to be a hip-hop time capsule, a lot of the participants in this show are somewhere between the ages of 20 and 60, and everybody's still kind of in their prime," he says.

"So that way,” Questlove continues, “in 2030, 2040, 2050, when our great, great, great, great grandkids are born and they want to look up someone, this'll probably be one of the top five things they look up. And I wanted to be a part of that."

Read on for a rangey interview with Questlove about his role in "A GRAMMY Salute To 50 Years of Hip-Hop," in all its dimensions.

Explore More Of "A GRAMMY Salute to 50 Years of Hip-Hop"

This interview has been edited for clarity.

What can you tell me about your involvement in "A GRAMMY Salute To 50 Years Of Hip-Hop"?

I could be the guy that complains and complains and complains and complains: Man, I wish somebody would dah, dah, dah. Man, somebody needs to dah, dah, dah. And then the universe the whole time is poking you in the stomach like a dog. You think you're going to be drumming for life — like, that's your job.

So I went through this period where I just hated the lay of the land. And now people are like, "Well, the door is open if you want to come and see if you could change it." And for me, it was just important to.

And at first, I was really skeptical about this because even when I was an artist, my peers all the time would — I say in air quotes jokingly, but it's like, man, I know they're serious — they would just call me a suit. Whenever someone's called a suit in a sitcom or it is like, that's always the bad guy. Or especially for me that's known for all this artistry.

But for me, it's like, I can either just sit on the sidelines and watch this thing slowly kind of go in a direction that I don't want it to go. And often with the history of Black music in America, we're innovating this stuff, but we're really not behind the scenes in power positions to control it or to decide what direction it is. And it's a lot of heartbreaking and hard work.

After the success of the thing that we did in March — that 12-minute revue thing — I'll be honest with you. For 12 minutes that was like going through damn near, and I'm not even using hyperbolic statements by saying, coming out within an inch of my life.

When that moment was literally over and I was on the airplane landing back in New York, two of my teeth fell out. That's the level of stress I was [under]. Imagine landing in JFK and I got to rush to "The Tonight Show," but then it's like, Oh, wait, what's happening? Oh God, no! My teeth are falling out! And going to emergency surgery. My whole takeaway was like: Never again.

So of course when they hit me in July, "Hey, remember that 12 minute thing you did? You want to do the two-hour version of it?" I was like, "Hell no." And of course I hell noed for three weeks and it's like, "All right, I'll do it, but I'll just be a name on it. I ain't doing nothing." And then it went from that to like, "All right, what do you need me to do?"

What I will say is it's a two-hour show in which you got to figure out how to tell [the story of] hip-hop's 50-year totality — its origins, its peak period, its first moments of breaking new ground, the moment it went global around the world. You got to figure out a way to tell this story in two-hour interstitials and be all-inclusive. 

It was just as stressful, even up until four hours ago. I'll just basically say that my teeth didn't fall out, thank God. And it was worth everything, because it's really a beautiful moment.

Sorry for that 12-hour answer, but that's just how my life rolls.

It was a great answer. What was your specific role behind the scenes?

Oh, I'm a producer. Jesse Collins called a group of us in to help facilitate: me, LL [Cool J], Fatima Robinson, Dionne Harmon, Brittany Brazil. There's a group of nine of us who were producers.

So, [part of] my actual division of labor thing was finding people to help facilitate music. This is a genre in which maybe the first six years of the art form, there was no such thing as an instrumental. "Or, "Hey, J.Period, can you recreate 'Check Out My Melody' by Eric B. & Rakim with no vocals in it?"

Finding the right people to do the music, sometimes I'd have to do it myself. And a lot of people in hip-hop have been super burnt. Super burnt. And I mean, that's putting it lightly.

And so you're giving these impassioned, Jerry Maguire, help-me-help-you speeches. The amount of times I was like, "Look, I really want you to reconsider your answer. This is our legacy we're talking about."

I'm using terms that a lot of these people, frankly, are hearing for the first time, Because like I've said in past interviews, hip-hop started as outlaw music. No one thought it was going to be a thing. So there's a whole generation that had to lay out the red carpet, just so that the next generation could benefit from it while we disposed of them.

But then that next generation gets disposed of, and then here comes my generation. And then the next thing, you wake up and it's like, "Oh, we're not relevant anymore," and dah, dah, dah.

And I'm trying to convince people, "Wait, you don't understand. Now we have a seat at the table. Now we get to control. All that we talked about, we need to control our destiny, and this is our culture." And there was a lot of that. And some people [were like], "All right, I'll do it for you." [To which I said,] "No, no, don't do it for me. Do it for the culture."

But then there were also people like, "Man, never again. F— all that." And there was also, "Hey, why wasn't I asked?" and all that stuff.  So in these two hours, you're going to see eight to nine segments in which we try to wisely cover every base.

This is the "Lyricist" section, and this is the "Down South" section. And ["Ladies First"] is all about the ladies. And this is for those that passed away. And this is for the club bangers. And this is for music outside of America. And this is for the left-of-center alternative hip-hop.

Yes, we wanted to include everybody, but this is network television. And at that, you only get eight to 12 minutes at a time. So that's even hard. "Hey, why can't I do my chorus and my verse?" "Look, man, you got 32 seconds." If you've ever seen those "Tom and Jerry" cartoons where they're juggling plates in a kitchen — like 30 at a time — I don't recommend that to anybody.

But we got through it. I want everyone to feel proud of where hip-hop has come, because to be nine years old and to get on punishment for hip-hop — you know what I mean? I come from that generation. You've got to pay a price to live this culture.

And now it's established. So that's why I got involved. So there was a lot I had to do. A lot of calls, a lot of begging, a lot of arrangements, a lot of talking to people about clearing their samples, to call up publishing companies: "Look, it's just a four-second segment. It's just one drum roll. Can you please overlook it just for the sake of it?"

The amount of times I had to give those speeches. So yeah, that's what I had to do.

Jesus.

And that's just me. It's nine of us. So there's lighting directions, and choreography, and wardrobe, and dealing with clearance — like FCC, and, "They can't say that." And, "All right, which one of us is going to try to call Snoop to ask him that sort of thing?"

And the amount of Zooms that we were on at five in the morning in the Maldives or halfway around the world.

There must be some component of this process where you recognize that there could never be a perfect two-hour special. There could never be a perfect 200-hour special. There must be something freeing about realizing that nothing can be comprehensive when you're dealing with a cultural ocean like this.

[At one point], I had to take a hip-hop break. And the first thing that I did a week later, after recuperating, was I went on YouTube and I just watched every award show I remember watching — like prime Soul Train Awards back in '87, '88, '89, the years that Michael Jackson was killing the GRAMMYs.

Award shows were so magical to me, when I was a kid. There was a period just between five to maybe 15 or 16 in which I religiously watched that stuff, and you just take it for granted.

When Herbie Hancock did Rockit back in 1983 with all those mechanical break dancers, I wonder the work and the headaches that it took to make that happen. The drummer from Guns N' Roses [was] missing while they had to do "Patience" at the American Music Awards — and Don Henley, of all people, was just on the sidelines like, "Does anyone know how to drum?"

I was in the audience during the whole Chris Brown-Rihanna controversy of [2009]. I was literally at the GRAMMYs. There were like 40 minutes left, and I watched the producer run up the aisles.

Because the thing was, that was the year they decided, "You know what? This is going to be the first year in which we're going to ask artists to double down on stuff. So we're going to have Rihanna sing three songs, and we're going to have Chris do two songs. We're going to have Justin Timberlake. And then, suddenly, their absence now means that there's five major gaps open.

And they had 40 minutes left before they went to go live and I'm watching the producer make an announcement: "Ladies and gentlemen, something just happened. We can't get into it."

The level of viralness now on Instagram or Twitter is expected, but back then it was like, Oh, I wonder what happened? And they're just running up the aisles to Stevie Wonder, "Yo, can you [mimics rapid-fire, inaudible chatter]?"

And I'm looking at him, pondering: What the hell are they asking him? And then Stevie's getting up and doing it, and then, "Jonas Brothers, can you duh, duh, duh? Boyz II Men. Where's Al Green? Is Al Green here?" So literally, I'm watching them solve a headache in real time. And with 20 minutes left, backstage rehearsing, and we were really none the wiser.

I've seen that a few times. My very first GRAMMYs was when Luciano Pavarotti got sick and someone just randomly asked, "Hey, does anyone out there know the lyrics to 'Ave Maria'?" Aretha Franklin raised her hand, and we were all like, 'Wait, we mean the Italian version, like that 'Ave Maria.'" And she's like, "I do know the version."

We underestimated if Aretha Franklin from Detroit, Michigan knew how to sing something in Italian. And within a half hour she was on that stage and she killed that s—.

So it made me literally recapitulate every award show I ever watched.Now I'm watching with the analytical eye: I wonder what headaches it took to put that together? So, it changed me as a spectator and a participant.

I have a friend who's been a dedicated hip-hop fan his entire life. We were talking about the 50th anniversary of hip-hop. He questioned the entire enterprise, arguing that it's an arbitrary number that doesn't mean much to true rap fans. What does the 50th anniversary of hip-hop mean to you, personally?

Well, to me, it's important. There's an interlude that I put on the Things Fall Apart record. The album starts with an argument from [the 1990 film] Mo' Better Blues in which Denzel Washington and Wesley Snipes' jazz musician characters are arguing about just the disposability of the art form.

And it ends with a quote from Harry Allen saying that the thing about hip-hop is that most people think that it's disposable: Let me get what I can out this thing, and I'll throw them out the window. And on top of that, people don't even see it as art. And that really hit me in the gut, because I see the beauty of it.

This is kind of why I got into the game of: first it was with liner notes, and then with social media doing these mammoth history posts. And then it's like, Alright, well, let me write some books, because I'm afraid that no one's doing this level of critical thinking about this particular thing.

I know that the disdain and the dismissiveness that I got from some of hip-hop's participants does sort of stem from a place of ego being bruised. And it's righteous. It's righteous anger. But I also knew that if I sat on the sidelines, then it's like when I have grandkids and they Google this, and if it was a half-assed job, then that's my fault. And I definitely don't want to be the guy that talks, talks, complains, complains, without being a part of it.

So yeah, for the amount of people that prematurely died before the age of 30, and for the startling volume of people that have recently passed away in the last three years because of health issues, cardiac arrest, strokes, a lot of us are dying… You and I are talking right now, right when Norman Lear has passed away at the age of 101.

I just read that in The New York Times.

Dude, can you imagine "Tupac Shakur Dead at 103"? Can you imagine that for hip-hop?

It's a survival tool, because for a lot of us, that was the way out of poverty. It was vital for me. I couldn't just sit back and not watch one person behind the wheel. I have to be the designated driver. So, that's why it's important to celebrate that number.

And a big part of my convincing them was like when they were going to pass, like, "Nah, dog, I'm cool. I got a gig that night," I was like, "Dude, we're not going to do this for the 51st or the 52nd. And frankly, will we be here?" I will be 92 years old if it makes it to the 75th. You know what I mean?

The only person that got in my face was Latifah like, "Excuse me, I will be here for the 75th and I will be for the 100th. You don't know when I'm leaving." So I was like, "More power to you, Dana. All right, good. Queen Latifah will be here for the 100th."

What I'm gathering from what you're saying is that no matter what, it's important to have an organization of this prestige canonize this cultural force.

Oh, absolutely. And I know that oftentimes we play the game of public appearances for the gaze of the establishment. I don't want to get into that thing either: making performative celebrations just so that the mainstream can celebrate us.

I have to say that when you watch it, it really doesn't come off as compromised. This thing really looks good. That was the one thing that we laughed at in the group chat, like, "Man, we just went through Apocalypse Now, and are we all saying it was worth it?"

There are at least three people in my production thread that were sort of like, "Uh-huh, never again. I will never again subject myself." And one of them is dead serious. One of them started doing something the opposite, like, "Nah, I'm just doing classical music from now on. There's no stress there." But it was worth it. It was worth it to me.

Questlove

*Questlove in 2023. Photo: Jamie McCarthy/Getty Images*

It looks to be a classy, expansive special. I'm excited for it to air.

The best part about it? So if you remember, to me, the star of the 12-minute version that we did at the GRAMMYs in March, was Jay-Z.

It was one of the things where it's like, "Hey, do we even ask Jay-Z?" And that's the one guy we decided ourselves, "Well, let's pass on him because number one, he's already performing with DJ Khaled, so we'll pass on him."

Jay-Z actually wound up being the star of that because he was a fan mouthing it in the audience, which to me was almost like better than us just doing a song with Jay-Z on stage. But the audience is the absolute star.

To see Chuck D smile — I've never seen Chuck D smile. As all these acts are coming out and Chuck D's like, singing [Sly and the Family Stone's] "Everyday People," like Boston fans sing "Sweet Caroline" at Red Sox games. Who knew that Chuck D was so jovial about things? But that's with everyone in the audience watching, supporting each other.

So that to me is also an important thing because as audience members on stage, they're ripping it, but as audience members, they're supporting each other. And that, I think is the most important part, because a lot of my take was like, "Wow, I didn't know that dah, dah, dah was so supportive." Or, "Man, Nelly actually knows every Public Enemy lyric. Who knew?" There are a lot of "Who knew?" moments that will shock people for this show.

I'm so glad you brought that up. That was one of my favorite moments during the Hip-Hop 50 performance at the 2022 GRAMMYs. Jay-Z is a billionaire twice over and a global cultural figure, but we see him in the audience, grinning ear-to-ear like a little boy, doing finger guns in the air.

He's getting his life back. And it's important. Especially now, I'm all about joy. And it's not even just like this particular hip-hop figure celebrating his music.

When Chance the Rapper comes out, again, I'm like, "Wow, [Cee] Knowledge from Digable Planets knows Chance?" And then I was like, "Well, they got kids, so of course I'm sure their kids play around the house." I'm doing all this analytical things like, "Wait, how do they know this song? And this is past their age range."

And that to me is the most telling part of this whole thing, to watch generational people get out of their actual zone and to find out that they're fans of — when GloRilla comes out, to watch [Digable Planets' Ladybug] Mecca mouth the lyrics. I was just like, "Oh, wow, OK."

That kind of puts to bed that stereotype that we only listen to the music in our realm. So, yeah, man — to me, that was the magic part of it all.

10 Albums That Showcase The Deep Connection Between Hip-Hop And Jazz: De La Soul, A Tribe Called Quest, Kendrick Lamar & More

GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016
Kendrick Lamar

Photo: Jeff Kravitz/FilmMagic

video

GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016

Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.

GRAMMYs/Oct 13, 2023 - 06:01 pm

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

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He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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10 Albums That Showcase The Deep Connection Between Hip-Hop And Jazz: De La Soul, A Tribe Called Quest, Kendrick Lamar & More
A Tribe Called Quest in 1991 (L-R) Ali Shaheed Muhammad, Phife Dawg, Q-Tip

Photo: Al Pereira/Michael Ochs Archives/Getty Images

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10 Albums That Showcase The Deep Connection Between Hip-Hop And Jazz: De La Soul, A Tribe Called Quest, Kendrick Lamar & More

Hip-hop and jazz are two branches of Black American music; their essences have always swirled together. Here are 10 albums that prove this.

GRAMMYs/Jun 27, 2023 - 09:20 pm

Kassa Overall is tired of talking about the connections between jazz and rap. He had to do it when he released his last two albums, and he has to do it again regarding his latest one.

"They go together naturally," he once said. "They're from the same tree as far as where they come from, which is Black music in America. You don't have to over-mix them. It goes together already."

Expand this outward, and it applies to all Black American musics; it's not a stretch to connect gospel and blues, nor soul and R&B. Accordingly, jazz and rap contain much of the same DNA — from their rhythmic complexity to its improvisational component to its emphasis on the performer's personality.

Whether in sampling, the rhythmic backbone, or any number of other facets, jazz and rap have always been simpatico; just watch this video of the ‘40s and ‘50s vocal group the Jubilaries, which is billed as the “first rap song” and is currently circling TikTok. And as Overall points out to GRAMMY.com, even jazz greats like Louis Armstrong or Dizzy Gillespie had “Lil B and Danny Brown energy.”

From A Tribe Called Quest to the Roots to Kendrick Lamar, rap history is rife with classics that intertwine the languages of two Black American artforms. Here are 10 of them.

De La Soul — 3 Feet High and Rising (1989)

GRAMMY-winning Long Island legends De La Soul's catalog is finally on streaming; now's the perfect time to revisit these pivotal jazz-rap intersecters. 

Featuring samples by everyone from Johnny Cash to Hall and Oates to the Turtles, their playful, iridescent, psychedelic 1989 debut, 3 Feet High and Rising, is the perfect portal to who Robert Christgau called "radically unlike any rap you or anybody else has ever heard,"

3 Feet High and Rising consistently ranks on lists of the greatest hip-hop albums of all time. In 2010, the Library of Congress added it to the National Recording Registry.

A Tribe Called Quest — The Low End Theory (1991)

If one were to itemize the most prodigious jazz-rap acts, four-time GRAMMY nominees A Tribe Called Quest belong near the top of the list. Their unforgettable tunes; intricate, genre-blending approach; and Afrocentric POV, put them at the forefront of jazz-rap.

There are several worthy gateways to the legendary discography of Q-Tip, Phife Dawg, Ali Shaheed Muhammad, and Jarobi White,, like 1993's Midnight Marauders and 1996's Beats, Rhymes and Life

But their 1991 album The Low End Theory, was a consolidation and a watershed. From "Buggin' Out" to "Check the "Rhime" to "Scenario" — featuring Busta Rhymes, Charlie Brown and Dinco D — The Low End Theory contains the essence of Tribe’s vibrant, inventive personality.

Plus, it's not for nothing that they enlisted three-time GRAMMY winner Ron Carter to play on The Low End Theory; he's the most recorded jazz bassist in history.

Dream Warriors — And Now the Legacy Begins (1991)

Representing Canada are Dream Warriors, whose And Now the Legacy Begins was a landmark for alternative hip-hop. 

King Lou and Capital Q's 1991 debut eschewed tough-guy posturing in favor of potent imagination and playful wit. Christgau nailed it once again with his characterization: "West Indian daisy age from boogie-down Toronto."

Its single "My Definition of a Boombastic Jazz Style" samples "Soul Bossa Nova" by 28-time GRAMMY winner Quincy Jones — who, among all the other components of his legacy, is one of jazz's finest arrangers. The tune would go on to become the Austin Powers theme song; in that regard, too, Dream Warriors were ahead of their time.

The Pharcyde — Bizarre Ride II the Pharcyde (1992)

All of Black American music was fair game to producer J-Swift; on the Pharcyde's classic debut Bizarre Ride II the Pharcyde, he sampled jazzers like Donald Byrd and Roy Ayers alongside Marvin Gaye, Jimi Hendrix, Sly and the Family Stone, and more. Over these beds of music, Fatlip, SlimKid 3, Imani, and Bootie Brown spit comedic bars with blue humor aplenty.

"I'm so slick that they need to call me, "Grease"/ 'Cause I slips and I slides When I rides on the beast" Imani raps in "Oh S—," in a representative moment. "Imani and your mom, sittin' in a tree/ K-I-S-S (I-N-G)."

All in all, the madcap, infectious Bizarre Ride II the Pharcyde is a pivotal entry in the jazz-rap pantheon. One reviewer put it best: "[It] reaffirms every positive stereotype you've ever heard about hip-hop while simultaneously exploding every negative myth."

Digable Planets — Reachin' (A New Refutation of Time and Space) (1993)

Digable Planets' Ishmael Butler once chalked up the prevalent jazz samples on their debut as such: "I just went and got the records that I had around me," he said. "And a lot of those were my dad's s—. which was lots of jazz." It fits Digable Planets like a glove.

"Rebirth of Slick (Cool Like Dat)" contains multiple elements of Art Blakey and the Jazz Messengers' "Stretching"; "Escapism (Gettin' Free" incorporates the hook from Herbie Hancock's "Watermelon Man"; and "It's Good to Be Here" samples Grant Green's "Samba de Orpheus. Throughout Reachin', Butler, Craig Irving and Mary Ann Viera proselytize Black liberation in a multiplicity of forms.

Pitchfork nailed it when it declared, "​​Reachin' is an album about freedom — from convention, from oppression, from the limits imposed by the space-time continuum."

Gang Starr — Daily Operation (1992)

In the realm of Gang Starr, spiritual consciousness and street poetry coalesce. Given that jazz trucks in both concepts, it's a natural ingredient for DJ Premier and Guru's finest work.

One of their first masterpieces, Daily Operation, contains some of jazz's greatest minds within its grooves. "The Place Where We Dwell" samples the Cannonball Adderley Quintet's "Fun"; Charles Mingus' "II B.S" is on "I'm the Man"; the late piano magician Ahmad Jamal's "Ghetto Child" pops up on "The Illest Brother." 

Throughout their career, DJ Premier and Guru only honed their relaxed chemistry; jazz elements help give their music a natural swing and sway. (Their musical partnership continues to this day; Gang Starr is releasing music this very week.)

The Roots — Things Fall Apart (1999)

Three-time GRAMMY winners The Roots' genius blend of live instrumentation and conscious bars launched them far past any "jazz-rap" conversation and into mainstream culture, via their role as the house band on "The Tonight Show Starring Jimmy Fallon."

Elements of limbic, angular jazz can be found throughout their discography, but their major label debut Do You Want More?!!!??! might be the most effective entryway into their blend of jazz and rap. ("Silent Treatment" features a bona fide jazz singer as a guest, Cassandra Wilson.)

Whether it’s the burbling "Distortion to Static," or the jazz-fusion-y "I Remain Calm," or the knockabout "Essaywhuman?!!!??!", venture forth into the Roots' discography; they're a hub of so many spokes of Black American music.

Madlib — Shades of Blue (2003)

As jazz-rap connections go, Madlib's Shades of Blue is one of the most pointed and direct.

Therein, he raids the Blue Note Records vault and remixes luminaries from Wayne Shorter ("Footprints") to Bobby Hutcherson ("Montara") to Ronnie Foster ("Mystic Brew," flipped into "Mystic Bounce"). In the medley "Peace/Dolphin Dance," Horace Silver and Herbie Hencock's titular works meet in the ether.

Elsewhere, Shades of Blue offers new interpretations of Blue Note classics by Madlib's fictional ensembles Yesterday's New Quintet, Morgan Adams Quartet Plus Two, Sound Direction, and the Joe McDuphrey Experience — all of whom are just Madlib playing every instrument.

In recent years, Blue Note has been hurtling forward with a slew of inspired new signings — some veterans, some newcomers. Through that lens, Shades of Blue provides a kaleidoscopic view of the storied jazz repository's past while paving the way for its future.

Kendrick Lamar — To Pimp a Butterfly (2015)

Lamar's game-changing third album featured a mighty cross-section of the most cutting-edge jazz musicians of its day, from Robert Glasper to Kamasi Washington.

While hip-hop has had a direct line to jazz for decades — as evidenced by previous entries on this list — Lamar solidified and codified it for the 21st century in this sequence of teeming, ambitious songs about Black culture, mental health and institutional racism.

"Kendrick reached a certain level with his rap that allowed him to move like a horn player," Overall told Tidal in 2020. And regarding Lamar’s present and future jazz-rap comminglings, Overall adds, "He opened up the floodgates of creative possibilities."

Kassa Overall — Animals (2023)

The pieces of Overall's brilliance have been there from the beginning, but never had he combined them to more thrilling effect than on Animals — where jazz musicians like pianists Kris Davis and Vijay Iyer commingle with rappers like Danny Brown and Lil B.

"I would rather people hear my music and not think it's a jazz-rap collage," Overall once told GRAMMY.com. "What if you don't relate it to anything else? What does it sound like to you?"

When it comes to the gonzo Danny Brown and Wiki collaboration "Clock Ticking," the Theo Croker-assisted "The Lava is Calm," and the inspired meltdown of "Going Up," featuring Lil B, Shabazz Palaces and Francis & the Lights — this music sounds like nothing else.

Over the decades, Black American musicians have swirled together jazz and rap into a cyclone of innovation, heart and brilliance — and there’s seemingly no limit to the iterations it can take on.

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8 Exciting Sets From The 2023 Roots Picnic: Usher, Lil Uzi Vert, Lauryn Hill & More
Usher performs during the 2023 The Roots Picnic in Philadelphia

Photo: Taylor Hill/Getty Images for Live Nation Urban)

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8 Exciting Sets From The 2023 Roots Picnic: Usher, Lil Uzi Vert, Lauryn Hill & More

From a surprise reunion of the Fugees, to a special appearance by Eve and Jazmine Sullivan, the 2023 Roots Picnic brought heat and hype across multiple stages. Read on for the festival's most exciting performances.

GRAMMYs/Jun 6, 2023 - 03:11 pm

For 15 years, The Roots have gathered the music’s brightest and fastest-rising talents to perform in Philadelphia for their annual Roots Picnic, and this year’s lineup was nothing short of star-studded. 

After kicking off the weekend with Dave Chappelle’s comedy show at the Wells Fargo Center on Friday, the action moved to the Mann Center in Fairmont Park where fans witnessed surprise crew reunions, unexpected cameos, and a taste of the Las Vegas strip across three performance stages. 

On Saturday, legendary rap group State Property reunited for the first time in years, Lil Uzi Vert rocked out with the Park Stage crowd for his third picnic appearance. Supported by the Soulquarians, legends the Isley Brothers and Roy Ayers lit up the Park stage. Lauryn Hill closed out day two by commemorating her GRAMMY-winning album, The Miseducation of Lauryn Hill, and bringing out Pras and Wyclef Jean for a Fugees reunion. 

Sunday featured high-powered performances from soulful songstress Ari Lennox, former Ruff Ryders first lady Eve, and the devastating femmes of South Florida, the City Girls. Philly’s own DJ Drama drew out home-grown talents like D-Surdy, Armani White, and Bronx legend Fat Joe on the Presser stage. 

To close out the weekend, Usher brought the magic of his Vegas residency to West Philly for a string of era-defining hits in the twilight of the festival. Read on for some of the most captivating moments and exciting sets from the 2023 Roots Picnic. 

GloRilla Shines In Roots Picnic Debut

roots picnic 2023 recap glorilla performance

GloRilla | Kayla Oaddams/Getty Images

Unapologetic rebel GloRilla may have just one EP under her belt, but her growing fandom came alive during her Roots Picnic performance.

The Presser Stage crowd swooned along with femme-empowering smashes like "Phatnall," as well as more provocative songs like "Nut Quick" and "Lick or Sum." Legions of newly single fans  screamed the lyrics to crunk hit "F.N.F. (Let’s Go)." 

Big Glo kept the momentum going at high speed, loosening the relatively stiff crowd. And while Cardi B wasn’t present for her part in "Tomorrow 2," GloRilla brought out an energized and visibly pregnant Chrisean Rock for a twerk-worthy cameo. 

GloRilla truly embraced her rowdy nature and southern charm, which has helped her earn garner recognition from her peers and even notch her first GRAMMY nod for Best Rap Performance. 

Usher Brings Sultry And Sin To The City, With A Few Special Guests

roots picnic 2023 recap usher black thought peformance

Usher and Black Thought perform | Taylor Hill/Getty Images for Live Nation Urban

Before Usher had even closed out the festival, radio and podcast personality Charlamagne and comedian Jess Hilarious talked about wrapping up their own event early to snag a close seat to watch the R&B star in action.

Though decades into his musical career, Usher hasn't missed a step. Dressed in leather, the eight-time GRAMMY winner delivered his classic, slow-burning album cuts and glossy radio hits under the glimmering lights of the open air Park stage. 

Usher put on an electrifying performance that covered hits from various eras in his catalog. Songs like "Love in This Club," "U Don’t Have to Call," and "Lil Freak" had Sunday’s crowd staring in awe, even for those looking to get ahead of the departing traffic. He also brought The Roots on stage before Philly natives Jazmine Sullivan, Eve and Black Thought joined the singer to perform "U Got Me." 

Lauryn Hill (And Some Famous Friends) Took The Crowd Way Back 

roots picnic 2023 recap the fugees lauryn hill perform

Wyclef Jean, Lauryn Hill, and Pras Michel of the Fugees | Taylor Hill/Getty Images for Live Nation Urban

Lauryn Hill’s reputation precedes her. Some fans joked about her tardiness — or even potential absence — but the legendary vocalist arrived about 30 minutes past her scheduled set time and put on a performance that was met with shockwaves of cheers.

Hill's headlining performance coincides with a big milestone: the 25th anniversary of her groundbreaking album The Miseducation of Lauryn Hill. "Even though it's been 25 years, everything is still everything," she told the enlivened crowd. 

She performed tracks from the masterful GRAMMY-winning album, including "Everything Is Everything" and "When It Hurts So Bad," but perhaps the biggest surprise throughout the weekend was the reunion between her, Pras and Wyclef Jean. The trio came together as the Fugees to perform hits "Ready Or Not" and "Killing Me Softly" for a spirited celebration of the group’s 1996 album The Score. 

"We’re out here doing 25 years of Miseducation. But there’s another 25 years we didn’t do a couple of years ago because of COVID," Hill said of the group’s project. The group closed out with "Fu-Gee-La," with Hill switching from her soothing alto to her "L-Boogie" persona of old, bringing the joyous crowd to its knees. 

City Girls Bring The Twerkers Out To Play

The City Girls brought headliner energy to Sunday’s picnic, with JT and Young Miami inciting a twerkathon with hot summer girl anthems like "Act Up" and "Do It On The Tip" playing out center stage. 

The Miami duo kept the energy high with on-stage twerk moves, pulsating hits like "Twerkulator," and efforts to draw out the crowd’s inner act-bad attitude by screaming: "If you’re a bad bitch, say, ‘Hell, yeah!’" And by the end of the group’s performance, fans were left with a racing heartbeat or sweating from the constant flow of high-powered hits and go-get-him-girl records. 

Lil Uzi Vert Knows What The City Wants

roots picnic 2023 recap lil uzi vert performance

Lil Uzi Vert | Taylor Hill/Getty Images for Live Nation Urban

Now in their third appearance since 2016, Philly native Lil Uzi Vert took to the Park stage on Saturday, bringing enough bass and adoring screams that could be heard across Fairmont Park. 

 "I ain’t going to do too much talking. Let’s do it," they said to the roaring crowd. While Lil Uzi’s voice occasionally drowned in a song’s instrumental, their effortless magnetism and signature shoulder roll dance brought excitement to the growing crowd. 

The rumblings of hits like "444+222" and "Sauce It Up" rang in fans’ ears, and songs like "Money Longer," and the Diamond-selling smash "XO Tour Llif3" nearly turned portions of the crowd into mosh pits. Lil Uzi’s performance came to a welcomed halt when fans were invited to the stage to dance to the massively popular "Just Wanna Rock," which has become an unofficial anthem in their hometown. "I’m in the city, this they s—."  Fans pulled out their phones as the rap star capped off the set with the viral hit. 

Lucky Daye Drips In Allure

Only a year removed from his breakthrough album, Candydrip — a genre-drifting and soul-stirring project riddled with pop and R&B hits — Lucky Daye has risen to star status. And with songs like "Real Games" and "Late Night," it’s easy to be drawn to the New Orleans-born artist. 

While initially draped in glimmering red garments, it didn’t take the artist long to strip down (well, shirtless, that is), and render impassioned vocals over the cheers and screams of his admirers. He dove into songs across his various albums and fell to his knees to deliver a burningly passionate rendition of "F—kin’ Sound" before the 37-year-old vocalist exited the Mann’s amphitheater stage.

Ari Lennox Conjures Soul In Comforting Fashion

roots picnic 2023 recap ari lennox performs

Ari Lennox | Taylor Hill/Getty Images for Live Nation Urban

It’s unclear if Ari Lennox still has plans to step away from the touring circuit for good, but if her Sunday evening performance is any indication,  her presence would be sorely missed. The "Shea Butter Baby" vocalist conjured every fragment of her soulful and poetic artistry, bringing vibes despite having a slight cold.   

The DC-born R&B singer danced to the flowy breeze setting over the stretched-out crowd while singing favored tracks like "New Apartment," as well as "Waste My Time" and "Pressure" from last year’s Age/Sex/Location. Lennox encouraged fans to close their eyes and sway their hips, and many raised drinks as Lennox’s soothing voice and sultry lyrics wrapped around their bodies.

Busta Rhymes And Eve Come To Devastate

roots picnic 2023 recap busta rhymes performs

Spliff Star and Busta Rhymes | Taylor Hill/Getty Images for Live Nation Urban

Joined by The Roots’ Black Thought, Busta Rhymes and Spliff Star tore down the Park stage, even with distracting audio woes hindering the early part of their set. Shot mic or not, Busta’s lion-like voice could be heard from yards away as he spewed the lyrics to "Put Your Hands Where My Eyes Could See" and A Tribe Called Quest’s "Scenario" to a cheering audience. 

Eve arrived during the latter part of the DJ J. Period curated set. The former First Lady of Ruff Ryder burst onto the stage and held her own alongside the fellow hip-hop heavyweights. As she swayed the crowd with songs like "Tambourine" and her verse on the late DMX’s "Ruff Ryders Anthem (Remix)," it harkened back to her days as a lyrical wild card in the early 2000s before she ventured into acting and hosting gigs. 

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