This is a senior level college undergrad paper that will be used as a senior thesis. The paper is to have an analysis element of music (in any capacity). I am wanting to write about cultural memory and reclamation of black/african americans within the united states by the use of jazz samples within hip hop in the 90s, specifically looking at the rapper Guru’s album, Jazzmatazz vol 1. I will be looking at sources related to these topics, with a specific framework taken from the Tom Perchard article “Hip Hop Samples Jazz: Dynamics of Cultural Memo y and Musical Tradition in the African American 1990s” Don’t make it sound too intellectual like I have a masters but not too unintellectual that it is not believable. the songs i want to discuss, along with their samples are listed below. I specifically want to discuss the use of the samples and how they perpetuate cultural reclamation and memory of tradition and struggles of african americans in the US by drawing parallels to treatment of blacks in america to the treatment of jazz and hip hop in relation to the rest of the white, elite, music world. Sources are provided in the attached documents.
“Loungin'”: The track samples Monk Higgins’ “Showdown” and features additional trumpet by Donald Byrd. This collaboration exemplifies Guru’s effort to not only sample but also recontextualize jazz through live contributions from jazz legends. Donald Byrd’s trumpet bridges the historical jazz era with the contemporary beats of hip-hop, reinforcing the notion of jazz as a living tradition rather than a static artifact.
“Take a Look”: Guru uses “Book of Slim” by Gene Harris and The Three Sounds, with Roy Ayers adding vibraphone on the track. The inclusion of Ayers, a prominent figure in jazz and funk, creates a dynamic interplay between the sampled jazz elements and live vibraphone, further emphasizing the continuity of Black musical traditions. The vibraphone’s warm, resonant tones evoke a sense of nostalgia while simultaneously grounding the track in the present moment, symbolizing the ongoing evolution of jazz.
“When You’re Near”: The sample of “Povo” by Freddie Hubbard in “When You’re Near” reflects Guru’s appreciation for jazz’s ability to convey emotional intimacy. The trumpet lines from “Povo” are seamlessly integrated into the track, creating a romantic yet reflective atmosphere. This use of Hubbard’s work not only honors the original composition but also recontextualizes it within a hip-hop framework, making it accessible to a new generation of listeners.
“Transit Ride”: The track “Transit Ride” samples “Straight Ahead” by Monk Higgins, with Branford Marsalis contributing saxophone. This combination of a jazz sample with live saxophone playing underscores the fluidity between recorded history and live improvisation. The title itself, “Transit Ride,” suggests movement and transition, metaphorically linking the historical journey of jazz to the current cultural moment of the 1990s. The inclusion of Marsalis, a well-known jazz musician, further reinforces the idea of bridging generations and creating a living, evolving art form. The saxophone’s presence evokes the improvisational spirit of jazz, reminding listeners of the genre’s roots in creativity and resistance.
“Down the Backstreets”: This track samples “Do You Remember When” by The Crusaders, a group known for their fusion of jazz, soul, and funk. The sample evokes a sense of reflection and nostalgia, perfectly aligning with the track’s lyrical themes of memory and resilience. “Down the Backstreets” is a meditation on the past, with Guru using The Crusaders’ music to evoke the struggles and triumphs of Black life. The sample’s soulful undertones add emotional weight to the track, emphasizing the importance of remembering and honoring the past while navigating the present.