Jay Dee
By All Music Guide
By All Music Guide
Born and raised on the east side of Detroit, Dilla -- James Yancey -- was forced by his parents to become involved with music, and he was a record fanatic at a young age, absorbing funk and
ap singles and jazz albums, from Slave to Jack McDuff. He learned to play cello, keyboards, trumpet, and violin, but drums got him like nothing else. He tried his hand at producing tracks on a tape deck by using the pause and record buttons, and he also took up MCing. In 1988, he formed Slum Village with Pershing High School friends Baatin and T3. It wasnt until 1992, after receiving some valuable guidance from fellow Detroiter Amp Fiddler, that his talent really began to take shape.
A session keyboardist who had worked with Prince, Parliament, and Enchantment, Fiddler taught Dilla how to use the MPC drum machine. To say that Dilla was a quick study would be an understatement. Fiddler introduced his protégé to A Tribe Called Quests Q-Tip, who heard some of Slum Villages material, liked it, and helped get the word out. Following sessions with First Down (a collaboration with Phat Kat, another Detroiter), Little Indian, and alternative rocker Poe, Dillas production career reached full flight. In 1996 alone, he worked with Busta Rhymes, De La Soul, and the Pharcyde, all the while playing a major role in the Ummah with Q-Tip and Ali Shaheed Muhammad. (He did extensive work on Tribes last two albums.) Before long, hardcore hip-hop fans began to know Dilla for his steady wobble, which was unfailingly musical and rich in details -- shuffling high-hats, oddly placed handclaps, spacious drum loops with drastically reshaped samples of tracks both obscure and obvious.
Through the remainder of the 90s, Dilla quietly racked up more output, including Janet Jacksons Got til Its Gone (for which he did not receive credit), additional tracks for the Pharcyde, and collaborative work with Q-Tip on all of 1999s Amplified. Largely upbeat and filled with boisterous energy and thick sounds, Amplified is one of many pieces of evidence against the argument that Dilla was about one sound and one style. During the producers steady rise, Slum Village remained a priority; Fantastic, Vol. 2 and Best Kept Secret (credited to J-88, an SV pseudonym) were released within weeks of each other in 2000. However, the producer would only contribute a few tracks to the group from then on, as his schedule became increasingly tight. As a core member of the Soulquarians, with James Poyser and the Roots Ahmir ?eustlove Thompson, Dilla worked on Commons Like Water for Chocolate, DAngelos Voodoo, Erykah Badus Mamas Gun, and Talib Kwelis Quality. Through 2005, he continued to work with past associates while dipping his toes further in R&B. A favor was returned on Fiddlers 2004-released Waltz of a Ghetto Fly, and a couple dynamite tracks -- Steve Spaceks Dollar and longtime collaborator Dweles Keep On -- were released the following year.
Amazingly, from 2001 on, Dilla was also a prolific solo artist. A couple singles and the Welcome 2 Detroit album came out in 2001, and a number of low-key instrumental compilations and incidental 12 singles followed shortly thereafter. Rarely praised for his mike skills, he was often assisted by the likes of Phat Kat, Lacks, and Frank-n-Dank. Wooed by a Madlib mixtape that featured the rhymes of Oxnards finest over his own beats, Dilla forged an alliance with his admirer for 2003s Champion Sound, released under the name Jaylib. It was around this time that his health took a sharp decline. Lupus, a disease of the immune system, severely weakened his body. For over two years, he had to use a dialysis machine. Despite having to perform in a wheelchair, he was still able to tour in Europe during late 2005. Donuts, an album of instrumentals that had been completed during one of his extended hospital stays, was released on February 7, his 32nd birthday. Three days later, while staying at his Los Angeles home with his mother, he passed away, a victim of kidney failure. While reflecting on the tremendous loss, close colleague and friend Thompson (an authority if there ever was one) compared the producers level of genius to that of jazz giant Charlie Parker. Karriem Riggins, a close associate, put the final touches on another album -- The Shining -- which was released six months later.
