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((Short description|Music subgenre))
((Multiple issues|
((More citations needed|date=January 2012))
((cleanup rewrite|date=March 2018))
))
((Infobox music genre
| name = Jazz rap
| other_names = Jazz hip hop, jazz hop
| stylistic_origins = ((hlist|[[Hip hop music|Hip hop]]|[[jazz]]))
| cultural_origins = Late 1980s, United States, Canada and United Kingdom
| derivatives = ((hlist|[[Nu jazz]]|[[trip hop]]))
| subgenrelist =
| subgenres =
| fusiongenres =
| regional_scenes =
| other_topics = 
))

'''Jazz rap''' (also '''jazz hop''' or '''jazz hip hop''') is a fusion of [[jazz]] and [[hip hop music]], as well as an [[alternative hip hop]] subgenre,<ref name="AM">((cite web |title=Jazz-Rap Music Genre Overview|url=https://www.allmusic.com/subgenre/jazz-rap-ma0000012180 |website=AllMusic |access-date=4 June 2018))</ref> that developed in the late 1980s and early 1990s. [[AllMusic]] writes that the genre "was an attempt to fuse [[African-American music]] of the past with a newly dominant form of the present, paying tribute to and reinvigorating the former while expanding the horizons of the latter." The rhythm was rooted in hip hop<ref name="AM"/> over which were placed repetitive phrases of jazz instrumentation: trumpet, double bass, etc. Groups involved in the formation of jazz rap included [[A Tribe Called Quest]], [[Digable Planets]], [[De La Soul]], [[Gang Starr]], [[The Roots]], [[Jungle Brothers]], and [[Dream Warriors (band)|Dream Warriors]].<ref name="AM" />

==Overview==
During the 1970s, [[The Last Poets]] and [[Gil Scott-Heron]] placed [[spoken word]] and rhymed poetry over jazzy backing tracks.<ref>((cite news|title=Gil Scott-Heron, Spoken-Word Musician, Dies at 62|url=https://www.nytimes.com/2011/05/28/nyregion/music-pioneer-scott-heron-dies-after-a-european-trip.html| access-date=16 January 2012 |newspaper=The New York Times|date=28 May 2011 ))</ref> There are also parallels between jazz and the improvised phrasings of [[freestyle rap]]. Despite these disparate threads, jazz rap did not coalesce as a genre until the late 1980s.

[[1980s in jazz|At this time]], the jazz community saw a stark divide, with some retaining interest in traditional styles while others embraced newer forms like [[smooth jazz]]. This period also marked a significant shift in jazz's cultural positioning, elevating it to a status akin to "serious art music." Influential figures like [[Wynton Marsalis]] played a pivotal role in this transformation, advocating for a return to traditional jazz values.<ref>((Cite journal |last1=Starks |first1=George L. |last2=Giddins |first2=Gary |last3=Rusch |first3=Robert D. |last4=Gridley |first4=Mark C. |date=1986 |title=Rhythm-A-Ning: Jazz Tradition and Innovation in the 80's |url=http://dx.doi.org/10.2307/1214987 |journal=The Black Perspective in Music |volume=14 |issue=2 |pages=187 |doi=10.2307/1214987 |jstor=1214987 |issn=0090-7790))</ref>

Jazz rap's emergence can be seen as an attempt to elevate rap music's status by associating it with jazz's [[cultural capital]], and was seen as an alternative to more dominant subgenres like [[Gangsta rap|gangsta]] and [[pop rap]]. This association not only enriched the musical texture of hip-hop but also provided a platform for [[Social commentary|social]] and [[political commentary]], aligning with jazz's historical role as a voice for [[African Americans|African American]] experiences and struggles.<ref>((Cite journal |last=Williams |first=Justin A. |date=2010-10-01 |title=The Construction of Jazz Rap as High Art in Hip-Hop Music |url=https://online.ucpress.edu/jm/article/27/4/435/63457/The-Construction-of-Jazz-Rap-as-High-Art-in-Hip |journal=Journal of Musicology |language=en |volume=27 |issue=4 |pages=435–459 |doi=10.1525/jm.2010.27.4.435 |issn=0277-9269|hdl=1983/6b6784b2-5f18-421a-9669-2aedabe9cc2d |hdl-access=free ))</ref>

==History==
In 1989, [[Gang Starr]] released the debut single "Words I Manifest", sampling [[Dizzy Gillespie]]'s 1952 "Night in Tunisia", and [[Stetsasonic]] released "Talkin' All That Jazz", sampling [[Lonnie Liston Smith]]. Gang Starr's debut LP, ''[[No More Mr. Nice Guy (Gang Starr album)|No More Mr. Nice Guy]]'' ([[Wild Pitch Records|Wild Pitch]], 1989), and their track "Jazz Thing" ([[Columbia Records#The 1960s|CBS]], 1990) for the soundtrack of ''[[Mo' Better Blues]]'', further popularized the jazz rap style. In 1992 Eric B & Rakim used wood bass on "Don't Sweat the Technique".<ref>[https://www.allmusic.com/album/dont-sweat-the-technique-mw0000078430 Eric B & Rakim Don't Sweat the Technique] allmusic  Retrieved 14 March 2024</ref>

[[Digable Planets]]' 1993 release ''[[Reachin' (A New Refutation of Time and Space)]]'' was a hit jazz rap record sampling the likes of [[Don Cherry (jazz)|Don Cherry]], [[Sonny Rollins]], [[Art Blakey]], [[Herbie Mann]], [[Herbie Hancock]], [[Grant Green]], and [[Rahsaan Roland Kirk]]. It spawned the hit single "[[Rebirth of Slick (Cool Like Dat)]]".<ref>((cite web|url=https://news.google.com/newspapers?nid=861&dat=19940107&id=MCdSAAAAIBAJ&sjid=3TUNAAAAIBAJ&pg=988,4482841&hl=en|title=The Victoria Advocate - Google News Archive Search|website=news.google.com))</ref> 

Also in 1993, [[Us3]] released ''[[Hand on the Torch]]'' on [[Blue Note Records]]. All samples were from the Blue Note catalogue. The single "[[Cantaloop]]" was Blue Note's first [[RIAA certification#List of certifications|gold]] record.<ref>[http://www.billboard.com/artist/430705/us3/chart?f=379  US Hot 100] 
 Billboard  Retrieved 14 May 2024</ref>

Post WWII swing and modern jazz had fused with the introduction of [[Black-appeal stations|Black appeal radio]] which attracted a younger audience through its reliance on [[African-American Vernacular English|jive]] idioms, rhyming, and cadence laden rap verses. [[Dizzy Gillespie]] had pointed to ''The jives of [[Dr. Hepcat]]'' and rhyming D.J. [[Holmes Daylie|Daddy-O Daylie]] as key to popularizing modern jazz.<ref>"Durst, Albert Lavada", Texas State Historical Association. Retrieved 23 November 2016.</ref> The rise of [[Top-40]] radio on the strength of the rapping DJs in this period of radio's rebirth among black youth led to the wider use of language and syntax popularizing rap. [[Muhammad Ali]]'s phrasing to the press in the early part of his career was born of listening to black radio of the 1950s, which was often white radio announcers speaking slang "jive" and imitating black announcers while withholding the fact on air of their backgrounds.<ref>Hilmes, M. (1997). Radio Voices: American Broadcasting, 1922-1952. Minneapolis: University of Minnesota Press, p. 272-3.</ref> Pioneering DJs [[Al Benson]], [[Nathanial Dowd Gaston Williams|Nat D.]], and [[Joseph Deighton Gibson Jr.|Jack the Rapper]] all used rhyming,<ref>Marsha Washington George (28 March 2002). Black Radio ... Winner Takes All: America's 1St Black Djs. Xlibris Corporation. pp. 90–. ((ISBN|978-1-4628-1993-5))</ref> the dozens and jive talk to pepper their broadcasts and were widely copied by white DJs like [[John Richbourg]], Gene Nobles, and [[Bill "Hoss" Allen|Bill Allen]] during the 1950s, and whose influence on [[James Brown]] and other godfathers of rap was formative, [[bebop]] was the backing track that modern jazz credits with being the foundation black appeal radio is based on.<ref name="exhibition">((cite news |title=Exhibition Traces Development of Hip hop |url=https://news.google.com/newspapers?nid=1129&dat=20001219&id=2dNRAAAAIBAJ&sjid=um8DAAAAIBAJ&pg=2353,7106894&hl=en |access-date=4 June 2018 |work=Pittsburgh Post-Gazette at news.google.com |date=19 December 2000 |page=26))</ref>

===Native Tongues===
Groups making up the collective known as the [[Native Tongues]] tended toward jazzy releases: these include the [[Jungle Brothers]]' debut ''[[Straight Out the Jungle]]'' (Warlock, 1988) and [[A Tribe Called Quest]]'s ''[[People's Instinctive Travels and the Paths of Rhythm]]'' ([[Jive Records|Jive]], 1990).((citation needed|date=September 2018)) Album ''The Low End Theory'' has become one of hip hop's most acclaimed albums,<ref>((cite web|url=http://www.vinylmeplease.com/magazine/the-ten-best-jazz-rap-albums-to-own-on-vinyl/ |title=The 10 Best Jazz Rap Albums To Own On Vinyl — Vinyl Me, Please |publisher=Vinylmeplease.com |date=2016-11-04 |access-date=2018-09-15))</ref> and also earned praise from jazz bassist [[Ron Carter]], who played double bass on one track. [[De La Soul]]'s ''[[Buhloone Mindstate]]'' ([[Tommy Boy records|Tommy Boy]], 1993) featured contributions from [[Maceo Parker]], [[Fred Wesley]], and [[Pee Wee Ellis]], and samples from [[Eddie Harris]], [[Lou Donaldson]], [[Duke Pearson]] and [[Milt Jackson]]. Queen Latifah and Monie Love were members of [[Native Tongues]] also.

Also of this period was Toronto-based [[Dream Warriors (band)|Dream Warriors]]' 1991 release ''[[And Now the Legacy Begins]]'' ([[Island Records|Island]]). It produced the hit singles "My Definition of a Boombastic Jazz Style" and "Wash Your Face in My Sink". The first of these was based on a loop taken from [[Quincy Jones]]' "[[Soul Bossa Nova]]", while the second sampled [[Count Basie]]'s 1967 rendition of "[[Hang On Sloopy]]". Meanwhile, Los Angeles hip hop group [[Freestyle Fellowship]] pursued a different route of jazz influence in recordings with unusual time signatures and [[scat singing|scat]]-influenced vocals.<ref>Hunt, Dennis (June 29, 1993). "Liberating Rap With Jazz Sound : Freestyle Fellowship Adds Riffs to Rhymes". Los Angeles Times. Retrieved May 22, 2017.</ref>

===Jazz artists come to hip hop===
Though jazz rap had achieved little mainstream success, jazz legend [[Miles Davis]]' final album (released posthumously in 1992), ''[[Doo-Bop]]'', featured hip hop beats and collaborations with producer [[Easy Mo Bee]].<ref>((cite web |last1=Aldrich |first1=Steve |title=Doo-Bop |url=https://www.allmusic.com/album/doo-bop-mw0000078184 |website=AllMusic | access-date=13 March 2024))</ref> Jazz musician [[Branford Marsalis]]  collaborated with Gang Starr's [[DJ Premier]] on his [[Buckshot LeFonque]] project that same year. Between 1993 and 2000 fellow Gang Starr member [[Guru (rapper)|Guru]] released ''Jazzmatazz'', which featured guest appearances from jazz artists such as [[Lonnie Liston Smith]], [[Freddie Hubbard]] and [[Donald Byrd]], amongst others. <!--  [[J, Spencer]], a saxophonist from Oakland, CA, also incorporated hip hop into jazz with his debut album "Chimera" (1993). The addition of rappers [[Mike D]], , and even J. Spencer himself, gave life to such songs as "Hip Hop Jazz", "Smooth Style", "Hot Pants" and "Like It Like That". -->

===Since 1994===
Musical jazz references became less obvious and less sustained, and lyrical references to jazz certainly more rare.<ref>((cite journal|title="There's Nothing Really New under the Sun": The Fallacy of the Neo-Soul Genre|first=Phillip Lamarr|last=Cunningham|date=9 September 2010|journal=Journal of Popular Music Studies|volume=22|issue=3|pages=240–258|doi=10.1111/j.1533-1598.2010.01240.x))</ref> However, jazz had been added to the palette of hip hop producers, and its influence continued throughout the 1990s whether behind the gritty street-tales of [[Nas]] (''[[Illmatic]]'', [[Columbia Records|Columbia]], 1994), or backing the more bohemian sensibilities of acts such as [[The Roots]], [[The Nonce]], and [[Common (rapper)|Common]]. Since 2000 it can be detected in the work of producers such as [[J. Rawls]], [[Nujabes]], [[Fat Jon]], [[Madlib]], [[Kero One]], and the English duo [[The Herbaliser]]. A project somewhat similar to Buckshot Le Fonque was [[Brooklyn Funk Essentials]], a New York–based collective who also released their first LP in 1994. [[Prince (musician)|Prince]] himself contributed to the genre on some songs from 1991 to 1992, as well as with his [[New Power Generation]] album ''[[Gold Nigga]]'', which mixed jazz, funk and hip-hop and was released very confidentially.

One hip hop project which continued to maintain a direct connection to jazz was [[Guru (rapper)|Guru]]'s ''[[Jazzmatazz]]'' series, which used live jazz musicians in the studio.<ref>"Jazzmatazz, Vol. 1 > Overview". allmusic.com. Retrieved April 24, 2010.</ref> Spanning from 1993 to 2007, its four volumes assembled jazz luminaries like [[Freddie Hubbard]], [[Donald Byrd]], [[Courtney Pine]], [[Herbie Hancock]], [[Kenny Garrett]] and [[Lonnie Liston Smith]], and hip hop performers such as [[Kool Keith]], [[MC Solaar]], [[Common (rapper)|Common]], and Guru's Gang Starr colleague [[DJ Premier]].

Madlib's 2003 release ''[[Shades of Blue (Madlib album)|Shades of Blue]]'' paid homage to his [[Blue Note Records]] roots, where he samples from Blue Note's archives. The album also contains interpretations of Blue Note classics performed by Yesterdays New Quintet.<ref>((cite web|url=http://pitchfork.com/reviews/albums/5541-shades-of-blue-madlib-invades-blue-note/|title=Madlib: Shades of Blue|website=pitchfork.com|access-date=2017-01-03))</ref>

In 2006, Bay Area producer/rapper [[Kero One]] independently released a jazz and funk influenced hiphop album named ''[[Windmills of the Soul]]'', which stood out for infusing live saxophone, jazz guitar, electric piano, and other instruments with dusty samples and compelling lyrics, eventually selling over 30,000 copies worldwide and playing heavy rotation on college radio stations worldwide.<ref>((cite web|url=https://www.xlr8r.com/reviews/windmills-of-the-soul|title=Kero One Windmills Of The Soul|work=[[XLR8R (magazine)|XLR8R]]|first=Brolin|last=Winnig|date=March 31, 2006|access-date= February 1, 2006))</ref><ref>((cite web|url=https://www.kuci.org/blog/2010/03/kero-one-in-all-wrong-places.html|title=KUCI|first=Emily|last=Woodman-Nance|date=March 19, 2010|access-date= March 19, 2010))</ref>

In September 2014, [[Statik Selektah]] released his album ''[[What Goes Around (Statik Selektah album)|What Goes Around]]'' with a notable jazz rap influence, unique among the actual rap atmosphere. Another recent jazz rap talent producer is Beats by the Pound (also known as [[The Medicine Men]]). In February 2015, Canadian jazz band Badbadnotgood released 'Sour Soul' with Wu-Tang Clan rapper Ghostface Killah. A month later, [[Kendrick Lamar]] released ''[[To Pimp a Butterfly]]'', which incorporates jazz, funk, and spoken word.<ref>Weiss, Dan (March 20, 2015). "Review: Kendrick Lamar Returns With the Great American Hip-Hop Album, 'To Pimp a Butterfly'". ''Spin''. Retrieved March 20, 2015.</ref> In 2015, Irish rapper [[Kojaque]] released a series of jazz rap instrumentals on [[SoundCloud]].<ref>((Cite web|url=https://www.goldenplec.com/featured/kojaque-plec-picks-2019/|title=Kojaque &#124; Plec Picks 2019 • GoldenPlec))</ref>

== See also ==
* [[Jazz-funk]]
* [[Soul jazz]]
* [[Malcolm X]]

== References ==
((Reflist))

((hiphop))
((jazzfooter))

((DEFAULTSORT:Jazz Rap))
[[Category:Jazz rap| ]]
[[Category:Fusion music genres]]
[[Category:Hip hop genres]]
[[Category:Jazz genres]]
[[Category:Jazz fusion]]

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