It was released by a group called the Jahari Massamba Unit, a collaboration between Madlib and the Detroit drummer and producer Karriem Riggins (who is real).
His jazz noodling culminated in the excellent album “Pardon My French,” which came out last year-one of three credited to him in 2020. He wasn’t a virtuosic soloist rather, his work skillfully pursued hazy textures and stoned vibes. He invented a roster of jazz musicians with names like Monk Hughes, Ahmad Miller, and Joe McDuphrey. Then he taught himself other instruments, which he played alongside samples, becoming a one-man ensemble. He started by playing the melodies of his favorite tunes on the keyboard. In the early two-thousands, Madlib began applying the logic of hip-hop, where anything can be taken apart and put back together, to jazz music. He didn’t like the sound of his own voice, so he pitch-shifted his vocals and rapped from the perspective of a slick-talking, squeaky-voiced alien prankster with a fondness for marijuana. One of his most famous albums, “The Unseen,” from 2000, which is credited to an alter ego named Quasimoto, was the result of an experiment. Madlib’s first major release came in 1999, when the Lootpack, a trio made up of Madlib and his high-school friends Wildchild and DJ Romes, put out “Soundpieces: Da Antidote!” In the next few years, he began to channel his work ethic into a universe of alter egos. As a teen-ager, he and his brother, Michael, who raps and produces as Oh No, formed a hip-hop collective called the Crate Diggas Palace. His father was a soul singer, and his mother was a pianist. Madlib, born Otis Jackson, Jr., was brought up in Oxnard, California. For Madlib, making music is as elemental as eating or sleeping, though he claims to do very little of the latter. Sometimes the aliases splinter off to form side projects. He has released dozens of albums under just as many aliases. Since the nineties, Madlib has essentially been building a private, ever-expanding library of beats, which spans everything from hip-hop, jazz, and soul to German rock, industrial music, Brazilian funk, and Bollywood. Following the death of his collaborator J Dilla, and then that of MF DOOM, he stayed awake for days, making hundreds of hours of music. The week that Prince died, Madlib mourned by making tracks built on Prince samples. He listens carefully to an old record, trying to squeeze every musical possibility out of it, to follow every path not taken. The forty-seven-year-old producer and multi-instrumentalist has estimated that he makes hundreds of beats a week, many of which he never shares with anyone. Watch the making of “Backseat Freestyle” above.Madlib has always seemed more concerned with making music than with the question of what to do with it. He takes us through the production layers that comprise the track, showing a deceptively simple brilliance to Lamar’s bell-ringing, sing-along club anthem. Dot, making the collaborative process relatively simple. Music camp yielded top-ten Billboard chart productions like Kanye West and Jay-Z collaborations “ N**gas In Paris” and “ Clique.” Working with Kendrick Lamar in 2013, the Los Angeles-native producer notes in the clip that he felt a brotherhood with Compton-bred K. Hit-Boy’s three-year stint in the G.O.O.D. Though not a top-ten Billboard hit, Hit-Boy notes in the video that the energy of the track still leads to moments that are “too epic.” He highlights the way that the sing-along hooks ride over the track’s scattershot percussion as particularly impressive. Producer Hit-Boy recently sat down with Genius for a behind-the-scenes look at the making of Kendrick Lamar‘s “ Backseat Freestyle.”
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