BHF10: Hip Hop History, Family And Friendly Competition

The Company Man’s Log:

Saturday, July 10, 2010

9:02PM

I’m tired. I’m sweaty. I smell like “all day”.

And I’m all good.  Better than good.

Beautifully exhausted.

Assembling the (officially beastly) 2010 Brooklyn Hip-Hop Festival has been a six-months-plus-labor-of-love for a “brolic” team of managers and A&Rs and journalists and interns and volunteers — driven by little more than their respect and adoration for The Culture. Everyone from Executive Director, Wes Jackson, to intern Javier Martinez (“The Intern With His Own Interns”) sacrificed sleep, money and life moments to take part in this massive endeavor; to craft something extraordinary. Considering the number of historic events that went down during the first full-week long BHF, “extraordinary” is absolutely apropos.

The Quick List of Historic Moments:

1. The Illmatic Show And Prove Super Bowl — First time in US history that Large Professor, Pete Rock and DJ Premier all performed together on the same stage
2. Bodega Education Initiative — First on record discussion between Maureen “Ma Dukes” Yancey and Q-Tip on the life of legendary producer, James “Dilla” Yancey
3. Salute The DJ — First time that DJ Rob Swift (of the X-ecutioners) and DJ Rhettmatic (of the Beat Junkies) spun at the same session since 1996
4. 2010 BHF Main Day — First time Pete Rock and CL Smooth performed together in the US since 2004; First major NYC show by headliner, De La Soul, in 9 years

The history is in the highlights, but the feeling is what lasts forever. The feeling of family and friendly Hip-Hop competition reverberated through the week like a Premo beat through Alpine speakers.

From Large Professor B-Boying with his daughter after his S&PSB set, to Ma Dukes describing Dilla at two years old, to Maseo taking time from the De La performance to embrace his aunt in the front row, to the impromptu Golden Era reunion going down on stage and in the artist section during the Main Day — the familial feeling remained omnipresent throughout the week.

Whether it is DJ Premier stating how he’s “not going to let the [younger generation of producers] take my spot” during the S&PSB finals, or Q-Tip describing the intellectual gamesmanship and in-depth physics discussions he shared with J Dilla, or Rob Swift exclaiming “That one right there was for my mutherf*cking man, Large Professor. This one’s for Bobbito Garcia!” then proceeding to shut down Salute The DJ using the signature styles of each legendary deejay on the bill, or De La leading the audience in a “Party over here! F*ck them over there!” chant while performing “Me, Myself, And I” on the Main Day stage — friendly competition, Hip-Hop’s essence since inception, was beautifully displayed all week long.

BHF10 embodied the best of Hip-Hop: a gathering of legends and talented newcomers from across generations, elements, regions, races, and religions showing and proving, rocking and rhyming, celebrating The Culture with mutual respect and adoration — a product made possible through the combined efforts of a tireless team who pushed through a rigorous, often frustrating six-months-plus marathon in attempt to craft something extraordinary.

And as the sun set behind The Brooklyn Bridge, as the crowd cleared and the rain clouds dissipated and the historic nature of each event was safely etched into Hip-Hop lore — as I sit here on this R train platform beautifully exhausted, smelling like all day — all that remains is that feeling.

The feeling that comes with being a part of history.

The feeling of friendly Hip-Hop competition.

The feeling of family.

Bodega Family.

BEI: Maureen “Ma Dukes” Yancey Interview

Marueen Yancey, or “Ma Dukes” as she’s affectionately entitled, is full of laughter.

Despite the tragedy and challenges life tossed her way like a ninety-mile-an-hour fastball — the death of her son, the legendary James “J Dilla” Yancey, a mind-boggling legal battle with the executors of his estate and extensive health issues — a warming cadence and an unwavering positivity resonates in every syllable she speaks.

And after each anecdote, after each heartwarming story about her son’s legacy or her triumphant struggle to launch The J Dilla Foundation (a not-for-profit organization charged with funding inner-city music programs and providing scholarships to students attending schools that have progressive music curricula) or the “advantages” of her bout with Lupus following Dilla’s passing from the exact same condition, Ma Dukes releases a gregarious laugh. It’s the laugh of a matriarch that celebrates life’s blessings and the spirit of a lost one. It’s the laugh of a woman that has no need to look for a silver lining, because she sees no clouds. It’s a laugh that is equally endearing and empowering.

In this lengthy yet candid interview as part of Bodega Education Initiative on July 6th, BrooklynBodega.com spoke with Mrs. Yancey about the life of J Dilla, the battle to launch The J Dilla Foundation and J Dilla’s secret in selecting records to sample.

BB: What was Dilla like as a child and where did his musical interests come from?

MY: It came from just living in the house, 100 percent [laughs]. Everyone is musically inclined and seems to be gifted in some way. His dad always used jazz to put Dilla to sleep. So, you know, his first music for nursery rhymes or put to sleep music was jazz and that’s what he went to sleep by. It was the only thing that would put him to sleep, as a matter of fact. When he wasn’t well or had those baby fevers or whatever, it would be jazz that would soothe him or make him go to sleep. We really didn’t notice until he was almost a year old the profound effect that would have on him as a child, because before he was walking or standing, James Brown had really influenced him to the fact that he would jump up as if he could stand or walk and dance to the entire length of a James Brown record — any James Brown record — until almost the last few beats. He was aware of the record almost ending, and he would get this petrified look on his face and grab ahold of the side of the playpen and ease his way down [as if] he had remembered that he couldn’t walk or stand up yet. But he was having the time of his life until [the song ended]. [Laughs]

He always loved music. He always collected records as a young child. At two years old, he’d put on his hat and sun glasses that matched and his little jacket and walk to the park and spin records. And this is what he did daily as a recreational activity for himself. He was not like my foster son who would play with trucks and cars and all of the Transformer-type toys that he had. Dilla didn’t have time for that [because] he was busy spinning records. Always.

BB: If I understand correctly, you have an opera background and your husband has a jazz background…

MY: Yes, that is what I was trained to do as a child. By having a music teacher in the family, I was trained for the opera and of course she used me [laughs] to do all the concerts in school and everything [laughs]. She didn’t have to worry, I just spent weekends learning pieces and before the end of the year I’d perform these pieces. That started in elementary school so by the time I was a teenager, I was in love with it. [Laughs]

BB: Did either of you have any reservations with Dilla stepping into Hip-Hop and rap music, especially when it was so new?

MY: Uh, no. I’ll tell you, at the time, he was well versed in all types of music. He played snare drum for a gospel group every Sunday. He would rehearse with different people and we knew this is what youth were listening to. You know, at the time when [Hip-Hop] came out, everybody [was saying that rap music] would be in and out in two years. And I can tell people now, I remind them, that ‘you always said that it would only last a year or two and it’s still here and it’s growing and it’s a culture now’. I do remember that, but we weren’t worried about it because he was a great kid and he had his head on straight so it wouldn’t have mattered.

BB: The reason I ask is because I remember a lot of adults at that time had a big problem with the language…

MY: Yeah, you know there were songs that had our eye brows raised but we knew that he knew where and when to use it. He had the utmost respect at home. And when he performed, he even asked that we maybe not go to St. Andrews when he performed and when people would invite us there he would say ‘No, you’re not going to appreciate the language‘. And that’s what was up and we respected that. And of course they would rehearse in the house, and we could hear it, but you know, we knew it was part of what the music brought. It was a package and we felt secure in all that he did because he wasn’t flighty, he wasn’t a follower and he had is own world revolved around his music. So we felt great about it because he was such a respectful individual.

BB: You mentioned that Dilla always had a musical interest, but at what point did you realize that that interest was truly an exceptional talent?

MY: I think when different artists tried to get him to come to their side. It seemed like there was a little thing going on at one time, he was getting phone calls maybe from [A Tribe Called Quest] and Babyface at the same time, trying to get him to come do something here or there or whatever. And it seemed like it was a [bidding] war kind of thing going on. And he was so involved and working with so many different people that we figured that he had something going on here and everybody wants a part.

BB: How did he get involved with so many different major industry players?

MY: Oh I’ll tell you, the key to it all was Amp Fiddler. Amp Fiddler opened the door and he took special time with Dilla. He was and still is huge in Detroit. It didn’t matter what type of music they were going into, he’d take the time to nurture skill if they had any or to educate them on the keys or any instrument or on his various engineering talents — they’d master those right there at Amp Fiddler’s.

BB: So Amp Fiddler was the door way…

MY: He’s the key. He’s the one that introduced Dilla to Q-Tip. So that was it, then it was over.

BB: What year are we talking about? 1992?

MY: Amp was working with him before then, that was like in the late 80s. Dilla was already going over to Amp’s doing studio work. But by the time he had honed his skills and Amp felt that they were to perfection, he introduced him to Q-Tip.

BB: When you started hearing about Q-Tip wanting to work with Dilla or Babyface wanting to work with Dilla, did you have an opinion on which direction he should go?

MY: No, we never interfered because we always told our children, even as toddlers, right from wrong and we felt like we should respect their wishes. Kids don’t always feel the same way that their parents do and parents aren’t always right. You try to lead them in one direction and you hope it’s the right direction but we’re all different. So what’s right for me might not always be right for you. We always wanted to guide them in the right direction but if they felt that their direction was a little different, we respected that.

BB: One of the interesting paradigms when it comes to Dilla’s career is that he’s worked with pretty much everyone [in the industry], he can pretty much do anything when it comes to creating sounds yet he’s still under acknowledged…

MY: Yeah, that’s a fact [laughs]. People are still learning about him and his work is still being brought forth by a lot of individuals. And it’s still an honor. I would have loved to have it happened while he was here because he spent his entire life dedicated to it because it’s what he felt he was here for. Music was his life’s blood. But it wasn’t in vain. We’re still doing all we can, fans alike, to make sure his music was heard and that he stays out there and that people realize that he was here on a mission and he accomplished that before he left.

BB: It seems to me that he was more reserved, that he didn’t want the spotlight…

MY: No, he didn’t. He was bashful. It was totally different than his stage persona. Very bashful. He wasn’t at all comfortable just talking all the time because he stuttered — as a child, oh yes, he did stutter [laughs]. So he never wanted to be caught uncomfortable and that was one reason. When he would get wrapped up in something or get excited or get into his music, he wouldn’t stutter. He could rap all day without stuttering, but that passion is what made him comfortable. He was happy in that environment and he really didn’t care about seeing or [talking about] what he did. He just wanted to do good work, make it quality work so people could enjoy it.

BB: I read an interesting article where Q-Tip described having to drag Dilla to the Grammy’s one year just because he didn’t want that acknowledgement, didn’t want to be in that environment.

MY: He sure didn’t. No, he did not. I got that phone call that night [laughs]. I was excited that he was there, but the phone call let me know that he was really unhappy [laughs].

BB: What did he say on the phone call? Could you hear it in his voice?

MY: Oh my God, yes I could hear it in his voice because he was in tears [laughs]. He was angry. He was angry [laughs]. I was here wishing I was there with him, you know. And he was crying and said he wasn’t going in [to the Grammy Awards show]! [Laughs]

BB: I feel as though the Donuts project is probably the most personal for you…

MY: Yes.

BB: But is there a certain time period that stands out the most that is your favorite time period for his work?

MY: Donuts is incredibly new to me as far as picking me up and carrying me all day. But in the beginning with Pharcyde, that was something. And for many years my favorite has been “Vivarant Thing” [laughs]. That’s been my favorite for years. And “Breathe And Stop” — I missed it totally while he was composing it, but I was out in the truck riding with my husband in Detroit, and I heard a couple of beats come on before any vocals, and I jumped up in the front of the truck and said ‘That’s Jay! That’s Jay’. And my husband was like ‘What?‘ And I said ‘This is Jay’s music’. I knew after the first couple of beats that was him. It just grabbed me, you know. And I called him on the phone all crazy and everything saying ‘Did you do this? Did you do this?‘ And he said ‘Didn’t you know?’ But he never discussed those things. I never knew about magazine articles, newspapers, anything that was going on until somebody else called me and told me. He never even talked about it.

BB: So Pharcyde and “Breathe and Stop”…

MY: Yeah, Pharcyde because that “Runnin”, it was just incredible. And to hear that music at the same time that you’re watching ski resort commercials, that was something. That was something big for us.

BB: The story behind The J Dilla Foundation is talked about enough in Hip-Hop circles that all of us are enraged at the way it was managed to a degree. If I’m not mistaken, you wanted to start the Foundation in February of 2006, correct?

MY: Yes, February 2006 was the first one. And then all that craziness with the old estate [happened] and, of course, we had a reprieve. We decided to try it again and, you know, I wouldn’t give up. I was just waiting to get well enough to fight. Because of the fans and because of the artists that are out there that felt the injustice, I was never really alone. Everyone was just as enraged as I was.

BB: But you were able to successfully relaunch [The J Dilla Foundation] this year…

MY: Oh yes, we relaunched…actually it was effective in December of 2009 and we have our 501(c)(3) Non-Profit [Organization] status. It’s just been great. It’s just been great. Everything is working like clockwork. We had our state approval in less than two weeks and the IRS approved our 501(c)(3) in less than ninety days. So that is just wonderful. We had our first official launch party, which was great in vibe, but not as financially successful as we’d like. But we still managed to get two of our programs off and running.

BB: Describe your relationship with [former J Dilla estate executor] Arty Erk?

MY: Oh my God, you know, I actually have no relationship with them. After [I] had gotten sick, I felt that they were being unjust with the family and really wanted me out of the way [laughs]. Even when they put that ad out in Billboard Magazine, that was it. I told Arty Erk that I felt that he was racist…

BB: You’re referring to the ad that Arty Erk ran in Billboard Magazine in 2008 [ordering people to cease and desist from using Dilla’s work on future projects], correct?

MY: Yes, yes. After that, which was done for no reason, I [decided] I won’t personally have any communication with him. I told [Dilla’s attorney, Micheline Levine] that he won’t have to worry about me asking him for anything because he acted like it was such a bother if I called and asked him anything. I told her that since she ‘seems to think that there isn’t anything wrong with what he’s doing and that he’s doing such a great job, then I’ll leave you alone also.‘ And that was it. People were just really upset at the way things were handled.

BB: You mentioned that [Arty Erk] was possibly racist. Did I hear you correctly?

MY: I felt he was racist. I told him ‘I felt like because I’m a black mother and I’m going through all these changes and I can’t even get any information and you won’t do anything to help at all‘. After all, I was an employee of Dilla’s, I worked for him, and I wasn’t given any consideration as to what was going on. I worked tirelessly and I left my family from my home to take care of him. I felt like they should’ve tried to do more even when Dilla was alive. So I had really had enough, you know. Every time I wanted to do something, they would try to block it and tell me I couldn’t do it. So, I felt that was unfair because it didn’t have anything to do with image or likeness, it was just people wanted to do things for me and they would threaten them to not do anything. I thought that was a little over the top.

BB: So, there was essentially a three year battle to gain control?

MY: It was like a battle. I was so sick, I said during a conference call ‘you know, I’m not going to worry about it. I’m very sick right now. I can’t walk for myself or do anything for myself, so I’m just going to let it go, step back and let them do whatever it is that they’re doing, and get myself strong enough to fight.’ And that’s what I did.

BB: I attended the J Dilla tribute party, “Donuts Are Forever” [at The Bell House] in Brooklyn last February. ?uestlove was spinning. You were there. For me, that was the first J Dilla tribute that I had ever personally gone to. Just to witness the outpouring of love and appreciation first hand was amazing. Is there anything that surprises you as as you travel, work with different organizations with The J Dilla Foundation, and witness the amount of love he’s garnered all over the world?

MY: I’m always surprised because it’s just getting bigger. That’s what knocks me off my feet. The fans, their love never dies. They’re staunch fans. They’re there for life. I’ve never seen anything like the fans over seas, and when I was in New York, it was just incredible. It was like a movement going on. The energy was something to really get choked up about. I’d never seen anything like it. And it’s growing like that, so I’m always surprised because the crowds get bigger, the ages are getting younger, and more people are introduced to him each year and they’re going back to get the music. It’s just a tremendous gathering of people everywhere and from different walks of life.

BB: Are you, or The J Dilla Foundation in control of his finances at this point?

MY: No, we’re still working things out. Believe it or not, they’re finally just getting all of the paperwork. They’re working with the IRS to finish all that stuff up, [medical bills] and anything that was left behind, they’re ironing it out. Once that’s ironed out, then my family can move ahead.

BB: It’s great to see that everything is progressing, especially considering how things have been up to this point.

MY: It’s not about money, or a price, or anything like that. It never was. It’s about respecting the work that he did and realizing that it’s worthy to be heard. And that was a discrepancy that we had with the old estate. They didn’t think anything about it. They couldn’t have cared less. His name needs to be [upheld] because he did great work and he did it for the people. It wasn’t about himself. Even in his hospital bed during his prayers, when he was almost out of it, he prayed and asked that he be able to finish his work to give back to the world. And I was sitting there and I’ll never forget those words because he wasn’t praying to feel better tomorrow or to ‘make me walk again‘, [he prayed to] ‘let me finish my work so I can give my gift back to the world‘ were his exact words. He meant that and it will always burn in my heart. He loved his fans that much.

BB: I do want to ask about you and your current health. I know you’re in the midst of a bout with Lupus yourself. How are things?

MY: I seem to be doing all right on that end. Nothing is getting worse on that end, I think. The fight with Diabetes was harder [laughs] when I first started having problems with that. I was on a lot of steroids and I had a heart attack. That was a really stressed time. The Rheumatoid Arthritis has been the thorn in the side, because you never know one day if you’ll be able to stand up or get out of bed or if I can put my own clothes on or what, you know. But state of mind has a lot to do with it and [you have to keep] pressing forward and make everything happen. Now I just have to get well and keep pushing it. I’m on some of the best medication now…so I can look forward to healthier, more energetic days.

There’s an advantage to nursing Dilla through his illness. It gave me an insight and so I know what I’m looking at so I’m not puzzled by certain reactions or certain things that happened because I already know what I’m working with. So that’s an advantage that I have. I think back to how it was handled with him and what to expect. It makes it a little easier. I don’t have to learn [about the illness].

BB: You remain a beacon of light even through the ordeals you’ve encountered.

MY: Thank you. It’s an honor to do the work that I do. Even during a bad day, the work that I have to look forward to just makes the day brighter. It’s a good work and the foundation is created to help other people and that comes first. And I know [Dilla] would be proud because he believed in helping other people to accomplish whatever they can get in this world. By helping young people, that would help him smile even more.

BB: How are Dilla’s daughters [Paige and Ja'Maya] and are they surprised about or understand the impact that their father had on the world?

MY: They are always excited, and they’re getting used to it [laughs]! But I don’t think they’re going to realize the impact until they get a little bit older. They’re honored. I spend tons of time with them now. And the baby girl, Ja’Maya, is here every weekend. Nothing can stop her from coming to Grammies’. So that helps keep me enriched too because she’s the epitome of Dilla. She’s identical to Dilla in her mannerisms and her laughter is his. So that helps a lot too.

BB: I also read how Dilla showed you how to select records in a record store…

MY: Yeah [Laughs]!

BB: What’s Dilla’s secret to selecting records to sample?

MY: I always assumed that I’d be looking for known artists, certain songs, always looking for hit [records]. And I had it all backwards [laughs]! The key was to look for different instruments and how many guitars were on there and how many horns were on a song if it was an unknown artist. And to try to find an album with songs that had not been heard that would’ve had different instruments. So that is the key — finding stuff that people haven’t heard that had instrumentation and could be moved around and could be composed.

BB: Lastly, I do want to say congratulations. I know Berkley College [in MA] now has a J Dilla program for students, and one of the missions of The J Dilla Foundation is to support inner city youth, music programs and also bring that curriculum to institutions of higher learning. We appreciate and value the work of your organization.

MY: Thank you. In 2011 it’s New York’s turn. We’ll be raising funds for New York next year. We already have it mapped out. We have so many people that we love so much in New York that we’re really going to do it up [laughs]!

Maureen “Ma Dukes” Yancey and Q-Tip will speak during the Bodega Education Initiative on July 6th as part of the 2010 Brooklyn Hip-Hop Festival Week.

PURCHASE TICKETS TO THE BEI HERE

PURCHASE MUSIC BY J DILLA HERE

For more information on The 6th Annual Brooklyn Hip-Hop Festival visit www.bkhiphopfestival.com

For inquiries about The J Dilla Foundation, please visit www.jdillafoundation.org or contact by phone or email:

313.355.8488
info@jdillafoundation.org

If you would like to make a donation, make your tax-deductible check payable to: THE J DILLA FOUNDATION Send to:

18456 Wexford St., Detroit, MI 48234

J Dilla, Ma Dukes, BEI and the J Dilla Foundation

Who is J Dilla?

As the iconic soul singer, Donny Hathaway poignantly states in his album Donny Live, James Yewitt Yancey, better known as J Dilla comes from the “pool of black genius.” Grammy nominated J Dilla is one of the most influential Hip‐Hop producers and composers of all time. His technique and approach to Hip‐Hop musical production created a groundbreaking catalogue of postmodern compositions, which changed Hip‐Hop as well as electronic music forever.

A Detroit, Michigan native, J Dilla continues the musical legacy of legendary recording label Motown and iconic soul singers like, Marvin Gaye. His mother, Maureen Yancey, was a former opera singer and his father, was a jazz pianist, thus his passion for an array of musical genres developed at an early age. Though his music is informed by a diverse set of genres, jazz, which served as his “lullabies” as a child, is a crucial inspiration and component to his understanding of music and improvisation. Using the history of recorded sound J Dilla constructs completely new compositions that reflect immense complexity but are accessible to everyone.

He “samples” a myriad of artists that range from The Isley Brothers, Jerry Butler, Bobby Caldwell, and Singers Unlimited. He even samples audio recordings such as commercials from the 1950’s and 60’s composed by Raymond Scotts. A mad scientist, there were no boundaries for J Dilla, which created art that adhered to integration and cultural pluralism.

Throughout his career he worked with artists such as Erykah Badu, The Pharcyde, Janet Jackson, and his own group Slum Village. Suffering from Lupus, J Dilla experienced poor health throughout his entire career, which gives his artwork a sense of passion and mortality that is breathtaking. He lost his battle with Lupus on February 2006 leaving behind a breadth of work.

What is the J Dilla Foundation?

His lifelong friend and mother Maureen Yancey developed the J Dilla Foundation in honor of her son. The Foundation aims, “to keep Dilla’s dream alive to help youth— those who aspire to make good music—and develop their time, talent, and nurture their skill. We also want to be there financially for those who are talented but don’t have the money or access to the networks they need to help them grow.

PURCHASE TICKETS TO THE BODEGA EDUCATION INITIATIVE FEATURING Q-TIP AND MAUREEN “MA DUKES” YANCEY

PURCHASE MUSIC BY J DILLA HERE

The J Dilla Discography

1st Down – No Place To Go 12-inch (1993) 1st Down

1st Down – A Day Wit The Homiez 12-inch (1995) Pay Day Records

Slum Village – Fan-Tas-Tic 12-inch (1996)

Slum Village – Fan-Tas-Tic (Vol. 1) CD/LP (1996) Donut Boy Recordings (2006) Barak

Slum Village – We Be Down 12-inch (1997) Sudden Impact 

Jay Dee – Jay Dee Unreleased Remixes 12-inch EP (1997) House Shoes Records

Slum Village – Somethin’ For The People, All I Do (Remix) from All I Do 12-inch (1997) WB 

J-88 – Look Of Love (Remix) 12-inch (1999) Groove Attack 

Slum Village – Fantastic Vol. 2 CD/LP (2000) Goodvibe (2002) Capitol

Slum Village – Fall In Love (Remix) 12-inch (2000) Goodvibe

Slim Village – Cimax/CB4 12-inch (2000) Goodvibe

J-88 – Best Kept Secret 12-inch EP (2000) Groove Attack

Jay Dee – Fuck The Police/Move, feat. Frank N Dank 12-inch (2001) Up Above

Jay Dee feat. Frank-N-Dank – Pause 12-inch (2001) BBE

Jay Dee – Welcome 2 Detroit CD/LP (2001) BBE

1st Down – A Day Wit The Homiez CD (2002) RonnieCash.com 

Jay Dee – Instrumental Series Vol 1 12-inch EP (2002) Bling 47

Jay Dee feat. Frank N Dank – Take Dem Clothes Off/Off Ya Chest 12-inch (2002) ABB

Jaylib – The Message from Stones Throw Summer 2002 (2002) 12-inch EP Stones Throw 

Jay Dee – Instrumental Series Vol.2: Vintage (2003) CD/LP Bling 47

Jay Dee – Ruff Draft 12-inch EP (2003) Mummy/Groove Attack

Jaylib – The Red/The Official 12-inch (2003) Stones Throw 

Jaylib – Champion Sound/Strip Club 12-inch (2003) Stones Throw 

Jaylib – Champion Sound CD/LP (2003), and Champion Sound Instrumentals LP (2004) Stones Throw


Jaylib – Raw Addict/Ice 12-inch (2003) Stones Throw

Jaylib – McNasty Filth/Pillz 12-inch/CD (2004) Stones Throw 

Jaylib – Blaze Up, The Mission (Remix) from Stones Throw 101 Mix CD (2004) Stones Throw 

Jaylib – Popshit from Stones Throw 100 12-inch EP (2004) Stones Throw

J Dilla – Welcome 2 Detroit Instrumentals CD/LP (2005) BBE

J Dilla – Donuts: J Rocc’s Picks 12-inch EP (2005) Stones Throw 

J Dilla – Signs/Pandemonium feat. Roc C & Oh No 7-inch (2006) Stones Throw

J Dilla – Donuts CD/LP (2006) Stones Throw

J Dilla – The Shining CD/LP (2006) BBE

J Dilla – The Shining EP 12-inch (2006) BBE

J Dilla – The Shining (Instrumentals) (2006) BBE

Jaylib – No $ No Toke from Chrome Children CD/LP (2006) Stones Throw

Jaylib – No $ No Toke 12-inch (2006) Stones Throw 

J Dilla – Won’t Do 12-inch EP (2007) BBE

J Dilla – Wild 12-inch (2007) Stones Throw

J Dilla – Ruff Draft CD/LP/Cassette (2007) Stones Throw

J Dilla – Dirty Crushin 7-inch Stones Throw 

J Dilla – Jay Love Japan CD (2007) Operation Unknown 

Jay Dee – Jay Deelicious: The Delicious Vinyl Years CD/LP (2007) Delicious Vinyl 

Jay Dee – Yancey Boys (Instrumentals) LP (2007) Delicious Vinyl MC (Not producer) 

Tami Hert – If You Were Mine (Detroit Demolition Mix) 12-inch (1997) 550 Music v/a – Fight Club, feat. Dilla, Nottz & Boogie from Best Kept Secret Mix CD (2003) Bling 47 

Dabrye – Game Over 12-inch (2004) Ghostly International

Wale Oyejide – There’s A War Going On 12-inch (2004) Shaman Work

Wale Oyejide – There’s A War Going On from One Day, Everything Changed CD/LP (2004) Shaman Work 

Slum Village – Reunion from Detroit Deli CD/LP (2004) Barak/Capitol

Pete Rock – Niggaz Know from Soul Survivor II CD/LP (2004) Rapster /BBE v/a – Do Your Thang, Stupid from BR Gunna Presents Dirty District Vol. 2 CD (2004) Barak

Phat Kat – Door from The Undeniable LP New Version CD/LP (2004) Barak 

Lawless Element – Love feat. Jay Dilla (2005)

Platinum Pied Pipers – Act Like You Know feat J Dilla 12-inch (2005) Ubiquity

Platinum Pied Pipers – Shotgun, Act Like You Know from Triple P CD/LP (2005) Ubiquity 

Sa-Ra – Thrilla feat. J Dilla 12-inch (2005) Sound in Color

Diamond – We Gangstas from Diamond Mine CD (2005)

Platinum Pied Pipers – Shotgun (Remix) from 12-inch (2005) Ubiquity

J Dilla – The $ (Madlib Remix), Make ‘Em NV (Madlib Remix) from Hella International 12-inch (2005 Stones Throw

Da Enna C – NOW from Throw Ya Hands In Da Air 12-inch (1994) Up Top

Little Indian – One Little Indian 12-inch (1995) Premeditated 

Poe – Fingertips from Hello CD/LP (1995) WEA/Atlantic 

5-Elementz – Whutchawant, Feed Back, Rockshows, Party Groove, Janet Jacme, E.G.O., Don’t Stop,
Searchin from The Album Time Forgot cassette (1996) That Was Entertainment

A Tribe Called Quest – 1nce Again, Get A Hold, Keeping It Moving, Stressed Out, Word Play from Beat, Rhymes, & Life CD/LP (1996) Jive Records 

Busta Rhymes – Keep It Movin’, Still Shinin’ from The Coming CD/LP (1996) Elektra

Busta Rhymes – Woo-Hah!! (Jay-Dee Bounce Remix), Woo-Hah!! (Jay-Dee Other Shit Remix), 12-inch
Elektra

Busta Rhymes – It’s a Party (Ummah Remix), Ill Vibe (Ummah Remix) 12-inch (1996) Elektra

De La Soul – Stakes Is High from Stakes Is High CD/LP (1996) Tommy Boy

De La Soul – Stakes Is High (Remix) from Itzsoweezee 12-inch (1996) Tommy Boy

Mad Skillz – It’s Going Down, The Jam from From Where??? (1996) Big Beat 

Kieth Murray – The Rhyme (Remix), Dangerous Ground from Enigma (1996) Jive

Natives Of Da Underground – Pack Da Hous/Brotha’s Juss Don’t Know/Whatcha Gonna Do? 12-inch (1996) ALR 

Phife Dawg – Game Day from NFL Jams (1996) Castle

Proof – Da Science from Detroit Hip Hop Volume 1 (1996) Modern Tribe 

Proof – Vibe Session from Anywhere 12-inch (1996) Hip Hop Shop

Tha Pharcyde – Runnin’, Bullshit, Splatittorium, Somethin’ That Means Somethin’, Drop, Y? from Labcabincalifornia CD/LP (1996) Delicious Vinyl

5-Elementz – Sun Flower from Yester Years EP (1997) That Was Entertainment

A Tribe Called Quest – Get A Hold, Mardi Gras At Midnight from Jam EP (1997) Jive Records 

Brand New Heavies – Sometimes (Ummah Remix) from Sometimes 12-inch (1997) Delicious Vinyl

Busta Rhymes – So Hardcore from When Disaster Strikes CD/LP (1997) Elektra

Mint Condition – Let Me Be The One (Ummah Remix) 12-inch (1997) Perspective

Crustation – Purple (ATCQ Edit) 12-inch (1997) Zomba

Janet Jackson – Got Til It’s Gone (Ummah Jay Dee Revenge Mix) 12-inch (1997) Virgin

Something for the People – All I Do (Jay Dee’s Sh**! Mix) feat. Phife Dawg 12-inch Warner Bros

T Da Pimp – Why You Lookin Hard?/We Know We Rockit 12-inch (1997) Penmp 

Tha Pharcyde – She Said (Remix) 12-inch (1997) Delicious Vinyl

Tha Pharcyde – Runnin (Remix), Y? (Remix) from Drop 12-inch (1997) Delicious Vinyl

Truz – True Dawgs/Routes To Hell 12-inch (1997) Ad Fam 

A Tribe Called Quest – 4 Moms, Against The World, Busta’s Lament, Da Booty, Find A Way, His Name Is Mutty Ranks, Start It Up, Steppin’ It Up from The Love Movement CD/LP (1998) Jive Records

A Tribe Called Quest – That Shit from Funkmaster Flex Vol. 3 (1998) Loud Records

Bizarre – Butterfly from Attack of the Wierdos EP (1998) Federation

Mood – Secrets Of The Sand (Remix) from Snake Backs 12-inch (1998) Blunt

N’Dea Davenport – Bullshittin (Remix) from N’Dea Davenport CD/LP (1998) V2

5 Ela – You Ain’t Fresh, Ain’t No Love from 5-E Pt. 3 (1999) That Was Entertainment 

Brand New Heavies – Saturday Night (Jay Dee Remix) from Saturday Night 12-inch (1999) Delicious Vinyl

Heavy D – Listen from Heavy CD/LP (1999) Universal

Macy Gray – I Try (Remix) 12-inch (1999) Epic

Nine Yards – Always Find A Way (Remix) 12-inch (1999) Virgin

Phat Kat – Dedication To The Suckers 12-inch (1999) House Shoes Recordings

Phife Dawg – Bend Ova/Thought U Wuz Nic 12-inch (1999) Groove Attack

Que D – Underestimated, Supa Shit, Kilo, Cash Flow, Michelle, Rock Box, Don’t Stop from Quite Delicious cassette (1999) and Que D Limited Edition CD (2003) Royal Flyness 

Q-Tip – 11 tracks from Amplified CD/LP (1999) Arista

Q-Tip – 11 tracks from Amplified (Instrumental Version) LP (1999) Arista – Promo 

The Roots – Dynamite from Things Fall Apart CD/LP (1999) MCA

The Roots – New Year’s @ Jay Dee’s from You Got Me CD single (1999) MCA

Zooco – Butterfly from Glow-Mellow-Flow CD/LP (1999)? Columbia Japan 

Black Star – Little Brother from The Hurricane (Soundtrack) CD/LP (2000) MCA

Brand New Heavies – Sometimes (Remix), Saturday Night (Remix) from Trunk Funk Classics CD/LP (2000) Delicious Vinyl

Busta Rhymes – Enjoy Da Ride, Live It Up, Show Me What You Got from Anarchy CD/LP (2000) Elektra

Common – 10 tracks from Like Water For Chocolate CD/LP (2000) MCA

Common – 10 tracks from Like Water For Chocolate InstrumentalsLP (2000) MCA 

Common – The Light (Remix) from Bamboozled Soundtrack (2000) Motown

De La Soul – Thru Ya City from Art Official Intelligence: Mosaic Thump CD/LP (2000) Tommy Boy

Erykah Badu – Cleva, My Life, Didn’t Cha Know, Kiss Me On My Neck from Mama’s Gun CD/LP (2000) Motown

Frank N Dank – Me & My Man/Love (A Thing Of The Past) 12-inch (2000) McNasty

Frank N Dank – Everybody Get Up/Give It Up Pt. 2 12-inch (2000) McNasty

Guru feat. Bilal – Certified from Guru’s Jazzmatazz Street Soul CD/LP (2000) Virgin

Innerzone Orchestra – People Make The World Go Round (J-88 Mix) 12-inch (2000) Planet E

Phife Dawg – Bend Ova, 4 Horseman from Ventilation: Da LP CD/LP (2000) Groove Attack

Phife Dawg – Ya Heard Me from Definition of Ill Compilation (2000) bootleg

Royce Da 5′9 – Let’s Grow from Lyricist Lounge Volume 2 CD/LP (2000) Rawkus

Spacek – Eve (Remix) 12-inch (2000) Blue 

Bahamadia – One-4-Teen (Remix) from Summer Sampler CD (2001) Goodvibe

Bilal – Reminisce from 1st Born Second LP CD/LP (2001) Interscope

Busta Rhymes – Genesis, Make It Hurt from Genesis CD/LP (2001) Elektra

Chino XL – Don’t Say A Word from I Told You So CD/LP (2001) Metro Records

De La Soul – Peer Pressure Intro & Outro Monologues by Jay Dee fromAOI: Bionix CD/LP (2001) Tommy Boy

Lucy Pearl – Without You (Remix) 12-inch (2001) Pookie/Virgin

Mos Def – Can U C The Pride In The Panther? (Remix) 12-inch (2001) Interscope

Que D – In Yo Face from Still Bangin 12-inch (2001) Up Above

Toshi Kubota – Nothin But Your Love (Remix) 12-inch (2001) Epic 

Big Tone – Party Crasher (mixed by Jay Dee) from Party Crasher 12-inch (2002) Antidote

Busta Rhymes – 3 tracks from It Ain’t Safe No More… CD/LP (2002) Elektra

Common – various production & instrumental credits from Electric Circus CD/LP (2002) MCA

DJ Jazzy Jeff – Are You Ready with Slum Villagefrom The Magnificent 12 EP (2002) BBE

Frank N Dank – Push 12-inch EP (2002) Mummy / Groove Attack 

Phat Kat – Dedication To The Suckers, Don’t Nobody Care About Us, Microphone Master, Big Booties, World Premier from Dedication To The Suckers LP/CD (2002) RonnieCash.com

Slum Village – Hoes, Let’s, One from Trinity CD/LP (2002) Capitol

Talib Kweli – Where Do We Go, Stand To The Side from Quality CD/LP (2002) Rawkus 

ASD (Afrob & Samy Deluxe) – Komm Schon from Wer Hatte Das Gedacht? CD/LP (2003) Eimsbush

ASD (Afrob & Samy Deluxe) – Wenn Ihr Fuhlt… from Hey Du 12 EP (2003) Eimsbush 

Common – Come Close Remix (Closer) 12-inch (2003) MCA

De La Soul – Much More/Shoomp 12-inch (2003) AOI

Fourtet – As Serious As Your Life (Remix)12-inch (2003) Domino

Frank N Dank – 48 Hours CD (2003) Bootleg

Vivian Green – Fanatic (Remix) 12-inch (2003) Sony

Phat Kat – 3 tracks from The Undeniable LP: Detroit Edition CD/LP (2003) Barak

Phat Kat – Dedication/Destiny 12-inch (2003) Barak

Que D – Supa Shit 12-inch (2003) Royal Flyness

Royce Da 5′9 – Life Goes On from Build & Destroy: Lost Sessions Part 1 (2003) Trouble Records

Subtitle – Mark Luv Mixtape Song from Greatest Hit$ CD (2003) Marks03 Recordings 

T-Love – 4 tracks from The Long Way Back (2003) Pickininny 

5 Ela – Scenario (2004) from The EP (2004) 5 Elements

Amp Fiddler – You Play Me, Waltz Of A Ghetto Fly from Waltz Of A Ghetto Fly CD/LP (2004) Genuine/PIAS

Amp Fiddler – I Believe In You (Jaylib Mix) CD/12-inch (2004) Genuine/PIAS 

Brother Jack McDuff – Oblighetto (J Dilla Remix) from Blue Note Revisted CD/LP (2004) Blue Note

De La Soul – Verbal Clap, Much More from Grind Date CD/LP Sanctuary

DJ Cam – Love Junkee (Remix) 12-inch (2003) Inflamable and Liquid Hip Hop CD/LP (2004) Inflamable 

Frank-N-Dank – Let’s Go, Okay, MCA from Xtended Play CD/LP (2004) Needillworks 

Lawless Element – The Shining 12-inch (2004) RMR/Fat Beats 

Oh No – Move from The Disrupt CD/LP (2004), and The Disrupt Instrumentals LP (2005) Stones Throw

Proof of D12 – Bring It 2 Me from I Miss The Hip Hop Shop CD/LP (2004) Iron Fist

Prozack – Leisure Rules from Death, Taxes, and Prozack CD (2004) Outofwork Records

Slum Village – Do You from Detroit Deli CD/LP (2004) Barak/Capitol 

Common – Love Is, It’s Your World (Pt 1 & 2) from Be CD/LP and Be Instrumentals LP (2005) GOOD Music/Geffen 

Common – The Movement from NBA 2K6 – The Tracks CD/LP (2005) Decon 

Dwele – Keep On from Some Kinda CD/LP (2005) Virgin 

Dwight Trible & The Life Force Trio – Antiquity from Love Is The Answer CD/LP (2005) Ninja Tune 

MED – Push feat. J Dilla 12-inch (2005) Stones Throw 

MED – Push, So Real from Push Comes To Shove CD/LP (2005) Stones Throw 

Moka Only – One Time from The Desired Effect CD/LP (2005) Nettwerk 

Oh No – Move Part 2 feat. J Dilla & Roc C 12-inch (2005) Stones Throw 

Slum Village – Who Are We from Prequel To A Classic CD (2005) Barak Records 

Spacek – Dollar 12-inch (2005) Sound in Color

Spacek – Dollar from Space Shift CD/LP (2005) Sound in Color 

Talib Kweli – Roll Off Me from Right About Now CD/LP (2005) Koch 

Ghostface Killah – Beauty Jackson, Whip You with a Strap from Fishscale CD/LP (2006) Def Jam 

Busta Rhymes – You Can’t Hold A Torch from The Big Bang CD/LP (2006) Aftermath 

The Roots – Can’t Stop This from Game Theory CD/LP (2006) Island/Def Jam

Visionaries – All Right from We are the Ones (We’ve Been Waiting For) CD/LP (2006) Up Above

Madlib – Take It Back from Chrome Children CD/LP (2006) Stones Throw

Guilty Simpson – Clap Your Hands from Chrome Children CD/LP (2006) Stones Throw

A.G. – Hip Hop Quotable 12-inch (2006) Look

A.G. – Hip Hop Quoteable from Get Dirty Radio CD/LP (2006) Look

Guilty Simpson – Man’s World 12-inch (2007) White Label

Phat Kat – Cold Steel/Nasty 12″ single (2007) Look 

Phat Kat – 5 songs from Carte Blanche CD/LP (2007) Look

Various – 5 songs from B-Ball Zombie War CD/LP (2007) Stones Throw

Busta Rhymes – Dillagence Mixtape (2007) (no label)

Guilty Simpson – I Must Love You from Ode to the Ghetto CD/LP (2008) Stones Throw

Q-Tip – Move, Feva from The Renaissance (2008) Universal/Motown

Akrobatik – Put Ya Stamp On It from Absolute Value (2008) Fat Beats

MF DOOM – Gazillion Ear, Lightworks from Born Like This CD/LP (2009) Lex

Guilty Simpson – Stress 12-inch (2009) White Label

Ma Dukes and Dilla’s Heirs Win the Legal Battle Over Estate

Great news. Ma Dukes and Dilla’s heirs have finished a year-long battle with the estate’s executors to retain full control. It’s a great day and much deserved.

From Okayplayer…
“We received good word in an email from the homey Jeff at Stones Throw last night that Ma Dukes and J Dilla’s other heirs have recently succeeded in their legal battle against the executors of J Dilla’s estate. The previous executors have resigned and a new administrator has been appointed who is looking forward to working closely with the family throughout the process…Be on the lookout for an official statement from the new executors of the J Dilla estate, coming soon.”