#jdankworth

[postyourbeatz]

Shoutout to @jdankworth #jdankworth #digfindlistensamplechoprepeat #mpc2000 #bandcamp #neverstopdigging #wemakingbeats #beats #beatmakersworldwide #dopebeats #beattape #beatmaking #akaimpc #postyourbeatz

[acebeats98]

Good lookin' out kid. 💯🔥 Got it in the mail today. #digfindlistensamplechoprepeat #familyandmusic2 #hiphop #cassette #dope #musicproduction #castorpollux #jdankworth (at Mount Vernon, New York)

[hiphopphilosophy]

Makin tapes for the homies ... #HipHopPhilosophy #LABreakers #strictlycassette @strictlycassetes #raptapes #hiphoptapes #RealDjs #ThirdDegreeBurns 02-22-16 HipHop Philosophy Radio LIVE Featuring: A.C. The Program Director, J.Dankworth, Castor Pollux, Eardrumz, Dr.oop, Myka Nyne, Fes Uno, Monstroe (Laurence Stroe Albert), KltZ (Eddie Medina), Jess The Facts, Moswan the General (Christian Kaiser), DjthirdraiLooks and Dj Kuts,Best of Third Degree Burns 2015 highlights, Channel Live, KRS-One, MF Doom, plus MUCH MORE! #ACthePD #JDankworth #CastorPollux #Eardrumz #Droop #MykaNyne #FesUno #Monstroe #KltZ #JessTheFacts #MoswantheGeneral #DJThirdrail #DJKuts #ThirdDegreeBurns #ChannelLive #KRSOne #MFDoom #Mixcloud www.Mixcloud.com/acthepd (at Hip Hop Philosophy Radio)

[ughhblog]

DEADLY ARMOR - "Inside My Eyes" ft. Fdubs (Prod.by JDankWorth)

DEADLY ARMOR – “Inside My Eyes” ft. Fdubs (Prod.by JDankWorth)

Real Los Angeles underground Hip Hop. DEADLY ARMOR song titled “Inside my eyes” ft. Fdubs (Prod.by JDankWorth). A dope song for all fans to enjoy.

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[bumblebeethekidd-blog]

A great deal may come to mind when one reflects upon the hip hop that hails out of California, U.S.A. Some think of the early work of those like Dr. Dre or the artist formerly known as Snoop Doggy Dog. The first song to garner the attention of the FBI, NWA'S "Fuck Da Police", may also be a standard as far as California rap is concerned. Maybe one may be reminded of groups such as Jurassic 5 and People Under the Stairs or the work of the such ones as Madlib and Peanut Butter Wolf. Such artists and producers all uniquely personify the essence of west coast hip hop. A recent EP by California producers Jdankworth and Yams along with emcee Castor Pollux, prompts us to think about the defining factors of west coast hip hop music. The three contributors illustrate well the conventions of this category, while adding original ideas and showcasing unique styles. In this review, I will discuss how they achieve this. I will also give the album a grade, A being excellent and F being terrible.

Starting with the production, it must be noted that although two producers handle the album, there is chemistry between them. Their individual styles in regards to sample choice, sample manipulation, tempo choices, and other elements are not so different that they conflict with each other. This is vital to the album's sense of unity. We can hear an example of such unity when we listen to "Heartbeat", produced by Yams, and then "Center", produced by Jdankworth. Yams contribution includes a lush, flute filled introduction that sets the tone for the soft chords that begin at 45 seconds and contribute to the beat having a reflective sound. Also helping to create this introspective tone of the beat is the faint, abstract vocal sample vocal that runs throughout. It sounds as if it is haunting the listener. Through the use of these elements, Yams creates a beat that encourages listeners to be meditative and solemn. Jdankworth is also able to accomplish this tone. While he chooses a different tempo, his use of a repetitive, dark loop make the song quite serious. It is dark because of the minor chords of the bass line. The drum pattern would lighten the mood up, but the kicks and snares Jdankworth uses are hard and heavy hitting. So they simply add to the dark tone. Occasionally, he cuts out the drums and varies the pattern of the sample (listen at 1:01-1:23). While it is quite a smooth transition, it isn't something that most listeners would anticipate and as a result could be uncomfortable for them. It creates tension. Although the tension is resolved after 23 seconds or so, the fact that it is presented help to create this dark tone. Furthermore, the delaying of the resolution for 23 seconds is a technique that affects the emotions of listeners. Because of the dark tone, the emotion that Jdankworth suggests is not one of playfulness or joyfulness, rather it is one of solemness. So, he creates this introspective, serious mood by the use of minor chords, the introduction of tension, and delayed resolution. Yes, it is clear that the two producers are on the same page, as they can create songs that accomplish similar moods despite using different techniques and sounds (or samples) to do so. Those techniques include the use of low-pitched vocal chops, minor chords, and the manipulation of listeners emotions through the use of tension.

In discussing how the album is well constructed in regards to production, we have highlighted the unique styles of the producers. Next, we want to note some ways that Jdankworth and Yams are able to uphold some of the aesthetics of California hip hop. One major way they accomplish this is through sample selection. Both producers use samples from jazz, funk, and soul records. While I am not going to reveal or speculate on exactly what the source material is, careful listeners may detect influences from the aforementioned genres. If we listen to hip hop of the west coast, we historically hear the use of such samples. This is not to say that east coast hip hop producers did not take advantage of the similar samples. In fact, the regional differences in hip hop become difficult to track as the genre expands. Some of the defining characteristics west coast rap though, include the way these samples are programmed or organized. Consider the following technical contrast for example. Some east coast producers organized samples in a way in which the bass lines were prominent enough to serve as the bass lines for the rap songs. Some producers on the west coast, however may have organized the samples around bass lines that they themselves created or based the bass lines on the samples' notes. A good example of this can be heard in the song "New Feature", in which the sample is accompanied by a bass line that sounds as if it is played by Jdankworth. In the song "Transparent", it sounds like Yams employs this technique as well. So, through the use of samples from genres that hip hop traditionally finds its roots in and through organization methods, the producers are able to exemplify the characteristics of California hip hop. 

The vocalist also is able to illustrate qualities of California rap. One way that Castor does this is through the topics he chooses to discuss. He presents the listeners with social commentary in several songs. For example in the song "Colors Bleeding" he speaks of "compartmentalized peace" and of the violence in Boston and Libya. In many songs, Castor is also self reflective. In the song "Heart Beat" for instance, he reflects upon his role as a father, a husband, and a rapper. In this song his style is quite impressionist, for he captures some of life's fleeting moments. For example the second verse beings with the lines: "misty morning California wrote it by a coffee cup / kids are sleep, so is she, inspired so I noted it", expressing a timeless moment that last for a limited time. Castor also raps that "art [inspiration] is inside of everything" and that its important to let certain "moments freeze", suggesting that our environments and association can have artistic effects on us if we choose to be attentive and reflective. No doubt, Castor's introspective approach in some songs is aided or facilitated by the production. Yams and Jdankworth set up a conversation that Castor meaningfully contributes to. He does not seem out of place or out of touch with the beats. Throughout the project this is true, and I think that the unity between all three artist is best illustrated in songs like "Center" and "Colors Bleeding". Listeners' emotions are swayed by the lyrics, vocal quality, the production qualities in these tracks. By his introspective style and ability to brilliantly blend with the production, Castor is upholding the standards of west coast rap, since these characteristics have traditionally appeared in the sub-genre. 

Castor is quite a clever wordsmith as well. The first song on the album "SD/OC/LA", is filled with some of the best lines. Starting out he says "fam in the building like a cousin got shot / but for goodness sake we're all here for hip hop". This line illustrates the seriousness of keeping hip hop culture alive and progressing. Another great set of lines in this song is: 

        "Unity's a weapon we should use 

.       instead of judging cats by the name of their shoes

       It's a call to my people who be spreading good news

       it ain't about religion we're just tryna talk Truth."

Here, Castor talks of the importance of unity between all, and how superficial things such as fashion should not disrupt this unity. He also makes a reference to Christianity and the Platonic ideal of Truth. Some of my favorite lines is heard on the last verse (around 2:15) where he cleverly references important figures of hip hop like KRS-1, Afrika Bambaattaa, and others. Castor continues to bring such lyrical prowess throughout the album, and in this way establishes himself as a compliment to the production. Through his use of wordplay and other literary tropes, he presents us with a complex, unique identity while at the same time staying true to the aesthetics. 

So, we can see how Castor Pollux, Jdankworth, and Yams are able to create an album that stands out while not abandoning the standards of California hip hop. They accomplish this in a variety of ways, particularly the methods they use to create,  their approaches to the project. This album is definitely worth multiple careful listens, and those who appreciate the classic west coast hip hop sound will enjoy it. More accurately, anyone who values creativity will find this project pleasurable to listen to. 

Grade: A

Favorite Track: "SD/OC/LA