By Melina Paris, Music Columnist
Re-imagining the transcendent music of legendary producer Jay Dee, (or J. Dilla) is how multi-instrumentalist, arranger and composer, Miguel Atwood-Ferguson described his June 24 show at Grand Performances.
The beloved J. Dilla’s music couldn’t have been in better hands than Atwood-Ferguson’s to re-envision and continue his ongoing legacy. It was in 2009 when Atwood-Ferguson originally composed and conducted the historic Suite for Ma Dukes concert – named for Dilla’s mother – leading more than 60 musicians at Luckman Fine Arts Complex in Los Angeles. He considers it one of his greatest achievements.
This Grand Performances event was arranged and music directed by Miguel Atwood-Ferguson for 26-piece ensemble. It combined a mixture of Dilla’s music translated to chamber music and new originals composed by Atwood-Ferguson.
Dilla
Among the many fans and contemporaries of James Dewitt Yancey (Feb. 7, 1974 – Feb. 10, 2006), transcendent is the prevalent opinion about the prolific hip-hop producer and rapper. Known by the stage names J. Dilla and Jay Dee, his vast musical knowledge came from his parents. His mother is a former opera singer and his father was a jazz bassist.
Dilla died in his prime at the young age of 32. He had suffered more than three years with an incurable blood disease and had also been diagnosed with lupus. He left behind a huge body of work, which is being rediscovered anew.
He emerged from the mid-1990’s underground hip-hop scene in Detroit as part of the group Slum Village. After Slum Village’s major label debut in 2000 with Fantastic, Volume 2, Dilla broke out on his own. He debuted in 2001 with the single, Fuck the Police followed by the album Welcome 2 Detroit. In the following short five years, he moved forward at a furious pace producing his own music and contributing to many other artists’ work.
Known as one of the music industry’s most influential hip-hop artists, Dilla had a distinguishable sound with his beats, vocal samples and synths. His producing skills can be heard on more than 30 albums of his own within his lifetime. As well, many of his works have been released posthumously. Dilla produced and was master of ceremonies on countless records or tracks for artists such as, A Tribe Called Quest, (Get a Hold) De La Soul, (Stakes is High) Busta Rhymes, Erykah Badu, The Roots, The Pharcyde, D’Angelo, Mos Def, Bilal and Common.
Commonality in music
Atwood-Ferguson and Dilla are both gifted multi-instrumentalists. Dilla played cello, keyboard, trumpet, violin and drums. Later when he learned the MPC drum machine he proved to be a quick study in that realm too. Atwood-Ferguson plays violin, viola, cello, bass, piano, keyboards and percussion.
Maybe it’s a musical dialect or an inherent understanding of expression through building and layering musical landscapes between two gifted artists and producers. Atwood-Ferguson’s re-imagination of Dilla’s compositions proved to be an elevating experience.
Dilla’s heavy, wobbly, looped beats and experimental soundscapes were translated into chamber music, without letting go of that head bopping beat Dilla was revered for. This was a magic combination of classical music interwoven with rolling beats.
Luscious strings led arrangements. Various instruments took on other characteristics. At times Atwood-Ferguson’s viola sounded like a horn or the strings mirrored sounds of being under water. It was an experience as much as it was an event in finely orchestrated pleasure.
Carlos Niño was featured on percussion. Frequently his sounds wrapped around the elegant compositions adding a dimension of natural elements. Big screen images of Dilla at work, cosmic graphics and shots of the orchestra added extra ambiance to this union of classical arrangements with infectious backbeats.
Atwood-Ferguson’s music is rich with innumerable details. He ties together diverse varieties of musical and cultural elements into magical presentations. It was a perfect melding of genres and influences.
Suite for Ma Dukes and New Originals will tour internationally through summer. Atwood-Ferguson carries on the love and admiration of J. Dilla to London, Rotterdam and then, Lincoln Center, Out of Doors Series, in New York in August.