Vibes + Vino:Â 4 Producers, 4 Regions
The record producer:
The experience architect, the idea-lobbyist, the ditty boss.
J Dilla - The Sherry Triangle
I donât know what my life was before J Dilla. I donât know what my life was before Sherry. My first wine mentor was obsessed with Sherry and, in my naive adolescence, I followed like a Hypebeast lemming with no initial context, because who was I to voice a real opinion when my understanding of wine comprised of not knowing Malbecâs origins were in France and pronouncing Xinomavro wrong. (Plus, Sherry was having its boom with hipsters at the time so I was inundated with questions at least 3x daily.)
In retrospect, this no-quantifiable-preconception crash course to Sherry was the best way for me to fall in love with it. Itâs essentially a scrappy, off-beat drink if you think about it, and transparent in showcasing distinct soil characteristics, especially by the Albariza soil. #JDillaIsBae because of the same scrappy, off-beat production. Even in the very beginnings as Jay Dee evolved into being a full-time producer, he reminds me of the transparent, against-the-grain nature of the sax & percussion somersaults of 1940s bebop. He constantly built upon his blended style and didnât overhaul it for anything or anyone. Kind of like the blended nature of Sherry itself, and how new oak isnât really a solera thing when it comes to Sherry because the tannins would impede the development of flor. Or, even the fact that barrels are preferably fixed instead of replaced/discarded. After J Dilla, everything I thought I knew about hip-hop changed. After Sherry, I opened a new door to beverage geeking. Both run-ins are IRL examples of the often imitated, never duplicated two.
No I.D. - Burgundy
My love affair with No I.D. is severely skewed being from Chicago and by my love affair with No I.D.-touched Common albums, specifically 1997âs One Day It'll All Make Senseâwhich is yours trulyâs personal Holy Grail reach for soul searching, psyche demon slaying, and figuring-life-out moments. In the world of hip-hop production as a whole, on the surface it may not seem like No I.D.âs kudos is even comparable to James Yancey levels, but beneath it all it is⌠and then some. It's real easy to seperate the diehards, casual fans, and curious listeners of No I.D. when the masses only attribute his success to being a master sampler. (Not to discredit the latter by any means, because his artistry of the sample is his muscleâoften euphonically ambitious yet golden.)
No I.D.âs music touch is practically sacred. Hell, heâs like the trillion dollar CPG industry in producer formâreputation in a broad space and honing his craft to flow with and stay relevant in current and future markets. Heâs what Burgundy is to the wine world, and Burgundyâs domination comes in its own variant of CPG: Chardonnay, Pinot Noir, and Gamay. Yet outsider looking in, a snapshot of Burgundy in population and size might provoke assumptions that the regionâs reach would barely make a dent in the world of wine. However, its influence has proven otherwiseâand itâs a hell of a lot to examine. Itâs to a point where I have to stop myself from feeling defeated when sinking into any Burgundy topic because I constantly feel a million steps behind in the the elaborate, convoluted technicalities. Much like how some winemakers have set Burgundies as a benchmark for influencing their own style of wines, No I.D.'s production style has taken other production artists to new heights. Heâs a Veteran for a reason, infiltrating nearly three decades of music.
One No I.D. standout for me in the last five years would have to be "Higher" on Rihanna's ANTI - and it's barely 2 minutes long. In its slurred, vampy nature, it is profoundly focused. That's kind of how he bulldozed even through this next gen of artists - not taking the big shots right away, making punches where it mattered, and leveling up himself. He took time off, got inspired. Even simply relating back to Rihanna as a brand powerhouse, if you think about how influential the Fenty brand has combated the CPG sector of cosmetics when people felt the market was already saturated by celebrity releases, that's No I.D. as a producer. Preeminently, heâs been in the thicks of it, the cornerstone of it, molding a stockpile of careers.
Babyface - Willamette Valley
These two scream the clashing dichotomies of the Old School and New School. On one side we have a marveled producer, the master of the dramatic R&B hook and sometimes dubbed the Quincy of my generation (although no one will ever be Quincy). On the flip side we have a region just as dramatic in its moist climate and consuming diurnal shifts, yet it's also a region compared to the likes of Burgundy probably more often than social media sees a contouring vid posted by a Kardashian (although Willamette will never be Burgundy).
Willamette Valley not only is an significant player in Oregon, but the Pacific Northwest as a whole. It's one of the larger American Viticultural Areas and as a New World region, it may not get enough of its due credit when the comparatives are hypersensitive to Old World traditions and fixated on what Willamette Valley is not in comparison to those Old World counterparts. But to me, Willamette is a mĂŠlange of the most intriguing characteristics of both Old World and New World wines. Minerality, mutually rustic and earthy - all with a nominal but distinctive fruit personality that is essentially the anti-Burgundy. Babyface initially was met with similar caution in the beginning of his production career - meeting a new generation of R&B listeners while the genre's core at the time could, in essence, be a genre quarterbacked by nobody other than Quincy Jones. Alongside L.A. Reid, he became the bridge to the New School from the Old School in the age of 90's R&B.
Bob Thiele - Tuscany
Can you even put your finger on how many times a jazz recording has been sampled? Even if you drilled down to just one work, the gold standard of A Love Supreme, you'd be met with a hefty list. That influence is just one piece of the pie, and only takes sampling use and one album into account. But Bob Thiele's reach stretches much further - Thiele is one of the great names of jazz. His technical proficiency was ahead of his time, and the influence of his work has criss-crossed across generations of listeners and genres.
This kind of intertwining evolution makes me think of the Cabernet Franc and Sauvignon Blanc lovechild: Cabernet Sauvignon. As widely acknowledged as Bob Thiele is in jazz, Cabernet Sauvignon grapes are the most planted wine grape worldwide. Itâs French in origin, but Italy and its history with the grape is very Bob Thiele - eqsue compelling, in particular. The initial rise of what is now the "Super Tuscan" was met with much controversy as wine laws pre-1980s did not accommodate the foreign grapes then. Eventually grapes like Cabernet Sauvignon would round out the red blend in following years -- winemakers saw it as a way to improve wine quality -- but if emjois existed during the time, any befuzzled/sneering look emjoi wouldâve fit right into the reception of the Super Tuscan prior to actually coining the term "Super Tuscan".
In a world of countless Bob Thiele chartmakers, the "What A Wonderful World" project with George David Weiss and Louis Armstrong was not as honored upon release, and was received in similar fashion to how a Super Tuscan was viewed in Italy in the 1980s. Just like how the intention of adding foreign grapes to indigenous Italian varieties was to improve wine quality, "What A Wonderful World" was a tune set out to bridge gaps in race and culture at a time when race relations were beyond heated. Instead, the song faced criticism for simplistic lyrics and for an ignorance toward the world's state at the time. It would take years before the song was even seen as a standard.