Karriem Riggins is best known as a jazz drummer and hip-hop producer for artists like Common, Slum Village, Talib Kweli and The Roots, but he doesn't categorize himself as anything but an artist. He advises younger musicians to do the same.
"You don't have to put yourself in a box...there's so many different ways to go," Riggins says. A student of late jazz bassist Ray Brown, he tours with another Brown protégé, Grammy Award winner Diana Krall. In 2011, he collaborated with former Beatle Paul McCartney in concert and on Kisses on the Bottom, McCartney's first studio release in five years. Names of some of the jazz artists he's backed reads like the genre's hall of fame - Hank Jones, Oscar Peterson, Milt Jackson, Donald Byrd and Ron Carter.
But on his solo debut Alone Together, set for an October 23 release on Stones Throw Records (Vinyl and digital will be released in two-parts over summer and fall 2012), Riggins plants himself firmly as a hip-hop producer with a 34-track instrumental odyssey through nearly every influence on his career thus far. The project was inspired by much of the music he was creating while living in Los Angeles, and also by the love of his son and family.
Now residing in his native Detroit, Riggins is back where it all began. "I feel like I can really breath and stay inspired here, and I have room to set up my lab and be creative," he says. This is the rationale behind the title Alone Together, taken from a jazz standard written by Arthur Schwartz and Howard Dietz that begin with the words, "Alone together, above the crowd."
"Coming back to the machines, I feel like I can really express myself," Riggins says. "This is the way that I express my rhythms."
Machines, however, are just one way he expresses his rhythms. Midway through the album, the track "Water" is interrupted by a vocal snippet where the speaker places Riggins "right at the intersection of hip-hop and jazz." Alone Together is that intersection; it's the jazz music he's played professionally since the age of 19, and it's crafting beats like "Africa" on an MPC5000 while touring throughout Eastern Europe and Russia.
"I need the balance," Riggins says, of working with the likes of Krall and McCartney, and also being able to go back to the studio and create hip-hop. "Without that, I couldn't be who I am."
Songs on Alone Together range from 14 seconds to a little over three minutes, and are the essence of man vs. machine. When Riggins channels Elvin Jones on the album's climax and tribute to his longtime friend, "J Dilla the Greatest," his tools are a Gretsch drum kit, the Fender Rhodes and an MPC3000. As versed as he is in jazz and pop, the machines will always be at the root – until the next thing.
"There's always something new to figure out," he says. "That's the blessing in it."
With over 8 years in and appearing on over 30 vinyl releases, Damu the Fudgemunk has built a modest following and a collectible catalog. With his latest release, Public Assembly (cover photo shot at the legendary Fat Beats record store in NYC), his label Redefinition Records decided to empower fans with a role in the selection process. Is this a greatest hits? Not quite, but a highlight reel of sorts influenced by carefully analyzed comments in Redef's social networking community, hence the LP title. Many consider, "The Greatest Hits Album" overdue, but for a man who considers "his best work has yet to be released", Public Assembly is the Fudgemunk's artist statement that brings things to date full circle. 10 full length instrumentals from various projects are consolidated into one album. Over half the featured tracks were either never released on vinyl (Hole Up and Streamline instrumentals) or released in limited quantities (Supply Intro). For newcomers, Public Assembly is the full course introduction into Damu the Fudgemunk's vast catalog. For those who have been on board over the years the record connects the dots in one sitting. Either way, with the growing expansions of Damu and Redefinition records, it's safe to assume this won't be last of their projects rallied by the people.
This 12-inch was released leading up to the full-length Further Adventures of Lord Quas. Cover by Jeff Jank showing the night view of Quasimoto's building where who-the-hell-knows-what goes on at all hours of the night.
Lord Quas, Madlib and Melvin Van Peebles on some fantastic, nightmarish planet, tripping hard. As hallucinatory a hip hop experience as you can possibly hope to experience without mushrooms. For some reason, the remix was featured first, and, as a result was the version featured on The Unseen album. So peep the original version – available only on this 12".
Lord Quas’ first solo 12” on Stones Throw Records! Features three songs also available on Quas’s The Unseen, but get ‘em here with artwork by DJ Design. Instrumentals too.