Will Sessions Mix Takes (Take Two)

Will Sessions Mix Takes LP - Take Two (partial tracklist)

Rico Suave Bossa Nova - Jay Dee (on Welcome 2 Detroit) 2:11
Pressure - Black Milk (on Broken Wax EP) 3:19
Danger - Black Milk (on Broken Wax EP) 4:13
Take Notice- J Dilla featuring Guilty Simpson (on Ruff Draft) 5:14
Goatit - Black Milk featuring Phat Kat and Elzhi (on Caltroit) 7:23


Again can't pick out the opening couple of minutes but at 2:11 Shellaberger lopes into the familiar bassline of Jay Dee's Rico Suave Bossa Nova again off Welcome 2 Detroit.  Kacir on the MPC or more likely Beaubien on the keyboard chimes in the 'whistling' melody.  This is just the sort of silky groove with a live feel that's perfect for re-interpretation with an actual live feel.  Then at 3:19 they slip into the earlier work of Black Milk digging around fairly deeply in the crates to find Pressure off the Broken Wax EP of 2006. Then again at 4:13 Ryan Gimpert on guitar is coaxing Danger from the Broken Wax EP, that track originally being done with Phat Kat and T3.   At 5:14 it's enough of the pupil's work and the teacher wrests back the mantle.  Take Notice featuring Guilty Simpson is a staple from Dilla's Ruff Draft.  It's both an emblematic piece of Dilla's production but also a classic example of the unique nature of their collaborations together.  A Dilla beat for Guilty, or a Dilla beat that Guilty rapped over, well it's no longer just a Dilla beat.

Bringing the whole train back round to their frequent collaborator Black Milk, again showing their breadth of knowledge and dexterity even with a mix of live instrumentation and sequenced samples, Will Sessions launches (at 7:23) into what seems in hindsight an obvious bet: Goatit (off the Caltroit mixtape put together by Bishop Lamont and Black Milk) originally with Phat Kat and Elzhi.

Will Sessions are beasts. And men among men.

J Dilla/ Jay Dee Mythology

A popular clothing company has hatched together some thoughtful interviews from a handful of operators that worked with or became aware of the growing body of work of Jay Dee's later J Dilla.  The mythology surrounding the man born James Yancey is so substantial post-mortem it's helpful to get a relative chronological run through of his career and the level of regional and international awareness around him in respective creative periods.  This particular documentary scans over his emergence as a producer of beat tapes and then member of Slum Village with the release of their album Fan-Tas-Tic (Vol. 1).

Where it particularly succeeds is in the thoughtful if at times ponderous (with for instance Stones Throw label founder Peanut Butter Wolf) reflections on how players first encountered Jay Dee's material and how the mythology grew rightly around him.  But that mythology didn't spring fully formed and armoured like Athena from the mind of Zeus- it built gradually and then with his death precipitously.  In the oral culture of hip hop fandom various accounts of Dilla's career are told and the nuances lean towards the story teller's vantage.  The 'truth' seems to be that in reality Dilla's frisson of greatness was vaguely and fairly narrowly felt by other hip hop producers and performers in his earliest incarnation as a producer. This particular documentary focuses, and sheds broad light,  in its second part on the nature of his (late-life of a young man) creative partnership with Madlib which would result in their mutual landmark Champion of Sound.  Likewise it places well his transit on the well travelled musical highway from Detroit to Los Angeles and his reception in the underground scene there. 

This particular doc, perhaps owing to the sponsor and also reasons of artisitic license, leaves aside for others the height of his mid-90's popularity as a producer qua producer for artists including: Pharcyde, Tribe Called Quest, Busta Rhymes, Janet Jackson and De La Soul.  There is scant if any mention of his solo album Welcome 2 Detroit, and Ruff Draft is equally skated past.  Nor is his so-called championing or definitive 'neo-soul revival' sound, and perhaps fairly so as these are critical terms that suit writers rather than listeners after the fact.  For these considered oversights the weary tale lands heavily in it's third part on Yancey's dogged work, even while in the hospital wrapped in his failing mortal coil where he withered from complications of lupus and a blood disorder thrombocystosis, and completion of Donuts (which Peanut Butter Wolf attributed to a stream of beat tapes with junk food titles like Pizzaman).  Thoughtful commentary from DJ Houseshoes, Frank Nitty and in particular Donuts engineer Dave Cooley illuminates the central pillars of his mythology being genius, prodigious output, emotional depth and technical audacity.  In the truest sense of cyphers and illuminati implication is cast clearly that Yancey new Donuts would be his gravemarker in the century of sound.  Etched into its surfaces references both lyrical and in the original source material to Death's shuffling stride.   The sound a ride cymbal makes well after it's been struck.