{"id":4536,"date":"2016-03-27T23:23:41","date_gmt":"2016-03-28T03:23:41","guid":{"rendered":"http:\/\/agitreader.com\/wp2\/?p=4536"},"modified":"2016-03-28T12:27:28","modified_gmt":"2016-03-28T16:27:28","slug":"rjd2","status":"publish","type":"post","link":"https:\/\/agitreader.com\/wp2\/rjd2\/","title":{"rendered":"RJD2"},"content":{"rendered":"

\"RJD2\"<\/a><\/p>\n

Alone with my headphones and immersed in experimental hip-hop veteran RJD2\u2019s latest release, the eclectic and soulful odyssey Dame Fortune<\/i> (RJ\u2019s Electrical Connections), my mind drifted to photos I\u2019d seen a few months earlier. The reverie occurred somewhere between track two, a two-and-a-half-minute burst of frenetic then gliding Afrobeat-inflected funk, and track three, a stirring and emotive soul cut featuring the vocalist Jordan Brown.<\/p>\n

They were shots of Polaroids fixed atop ephemera ranging from books to torn magazine pages to manila envelopes, themselves framed by their carpet or hardwood floor backdrops. In one, a muted color snapshot of a backyard family is up against a full-page black and white magazine image of civil rights marchers, a pairing of the commonplace and consequential. Another depicts two young men caught reading magazines in a low-slung, bare-walled apartment living room, a glimpse inside a historical diorama, itself placed squarely over a hand-scribbled, graffiti-style sketch.<\/p>\n

The association didn\u2019t seem worth sharing until I\u2019d reflected on a conversation I\u2019d have a few days later with the musician, a former jazz school student who put down his guitar in the mid-90s to begin his monastic devotion to crate-digging, the practice of fishing for old, usually obscure records on vinyl, and the attendant art of sampling, reinterpreting snippets of found songs through new juxtapositions and arrangements. Like RJD2\u2019s music, the montage photos from Leslie Hewitt\u2019s \u201cRiffs on Real Time\u201d series forge connections and imply continuum through fragments arranged in unexpected ways; for me they evoked something approximating wistfulness for a period I did not know and inherently couldn\u2019t save for my own lens on artifacts: the African-American experience of the 1960s and 1970s.<\/p>\n

I have always loved the music that bookended the civil rights movement, and Dame Fortune<\/i> burns with the spirit of Stax, Motown, and the sweet sounds of Philadelphia, where RJD2 had been living and recording for the last 14 years before his recent move back to Columbus, Ohio, where his music career began in the mid-90s. I hadn\u2019t kept up with RJD2\u2019s forays into soul, including 2011\u2019s The Abandoned Lullaby<\/i>, which he recorded with Philly vocalist Aaron Livingston (Son Little) under the name Icebird in 2011, so the cuts featuring vocalists Brown, Livingston, Phonte Coleman, and X Factor<\/i> runner-up Josh Krajcik were a welcome surprise to these ears, tracks a DJ could sneak into a vintage rare groove set with only the most discerning listener calling the bluff.<\/p>\n

For an artist who started out in hip-hop, a genre birthed from a liberal sampling of Parliament, James Brown, and other funk forebearers, it\u2019s an interesting and not unfitting evolution\u2014R&B that incorporates foundational hip-hop elements of sampling and scratching, a feedback loop of musical influence. Two decades since he first started spinning classic breakbeats in small central Ohio clubs, Dame Fortune<\/i> finds RJD2 confident in his time-traveling sound. Alongside the velvety soul jams are the spooky, head-bobbing beats, noise, and soothing ambient soundscapes RJ explored in his previous genre excursions. \u201cA New Theory\u201d features two minutes of cut-and-paste hip-hop acrobatics, while \u201cPF Day One,\u201d sounds like a lullaby from outer space.<\/p>\n

I caught up with RJD2, born Ramble Jon Krohn, on a Friday night by telephone, after he put his four-year-old to bed, to talk about how he achieves a sound that is simultaneously contemporary and retro. \u201cOver the last 12 years, maybe more, I\u2019ve basically trained myself to do two things simultaneously. One of them is to use an MPC (music production controller) in a fashion similar to what a band or real instrumentalists would do. And the other is to play instruments in a manner that is informed by all my years chopping up samples,\u201d Krohn says. \u201cIn a way, I\u2019ve taught myself how to imitate a band with a sampler, and how to imitate a sampler with a band. What it\u2019s done for me is kind of allowed me to toy with the lines between the two in a way that\u2019s fun, but is not a rule.\u201d On Dame Fortune<\/i>, Krohn plays guitar, bass, keyboards, and drums. He\u2019s joined by cellist Dave Eggar, the string section of The Bohemiam Dub Orchestra, as well as Philly-based trumpet and sax players Adam Hershberger and Elliot Levin. One of his tricks is to record musicians playing then slice up the recording into loops. \u201cSometimes I\u2019d use the MPC to kind of trick your ear into thinking what you\u2019re hearing is a sample,\u201d he says. \u201cPeople might not realize they\u2019re very adept at identifying whether they\u2019re hearing the exact same audio recording of a snare drum every two bars.\u201d<\/p>\n

Krohn is certainly not the first producer reared on hip-hop to gravitate away from sampling. Lawsuits and increasingly fierce copyright protection efforts from music publishing companies have made the technique, with its requisite clearance costs, too expensive. Look at any of the great sample-based records from hip hop\u2019s golden age, like Paul\u2019s Boutique<\/i>, Fear of a Black Planet<\/i>, and De La Soul\u2019s Prince Paul\u2013produced game-changer Three Feet High and Rising<\/i>\u2014none could be made today without incurring bank-busting clearance costs. It\u2019s pushed producers to take hip-hop into new directions. Formally educated in music and self-taught in the art of beatmastery, Krohn maintains his appreciation for fundamentalist hip-hop techniques. \u201cThe things that are informing me are either RZA sampling Bob James or Bob James… those are two drastically things but they\u2019re both equally important.\u201d<\/p>\n

Born in Eugene, Oregon but growing up in Columbus, Krohn attended arts-centric high school Fort Hayes, where he studied jazz guitar and envisioned a slightly different career trajectory. \u201cI was thinking, \u2018Oh, well maybe if I\u2019m really super lucky I\u2019ll be able to slog out and make 75 bucks three nights a week to pay my bills in five years,\u2019\u201d Krohn says. \u201cThe students already resigned themselves to defeat in that it was going to be so difficult for them to make a living in the field of music.\u201d<\/p>\n

That was the context in which he arrived at the Groove Shack, a record store that doubled as performance space and served as central headquarters for up and coming emcees in Columbus. Hip-hop had always interested him, but Krohn had no idea how the music was made. And he\u2019d never seen two emcees compete. \u201cThe movie 8 Mile<\/i> did a pretty good job depicting what a rap battle looked like at that time,\u201d Krohn says. \u201cI had a moment at Groove Shack that informed what I would do for at least the following decade of my life,\u201d he adds. \u201cWhat made it so fascinating was that anyone could get up and grab the mic and rap. Periodically people would spar off against each other. I\u2019ll never forget how it wasn\u2019t a panel of judges. The people in the room were the ones judging the outcome.\u201d<\/p>\n

Like punk, hip-hop democratized the capacity to make and perform music, not just for emcees but producers as well, a structure wholly different than the top-down approach Krohn experienced in school. \u201cMaking something that a rapper would want to rhyme to, at that point in time, it had nothing to do with how proficient you were on an instrument or what you understood about music,\u201d Krohn says. He put down the instruments, picked up the turntables and a sampler, and began teaching himself. He didn\u2019t touch a traditional instrument for almost a decade. \u201cHaving chops on an instrument didn\u2019t give you any better odds of making a dope beat, making something a rapper would want to rhyme to,\u201d he says. \u201cI\u2019ve had this experience where now I\u2019ll have to learn old things\u2014songs from my old records\u2014and they\u2019ll be halfway between (keys) B and C because it didn\u2019t matter.\u201d<\/p>\n

Krohn began deejaying locally and eventually was booked on a bill with some rappers. When their DJ didn\u2019t show up, they asked him to fill in. \u201cLiterally, like a half-hour before they were supposed to go on stage they were like, \u2018You\u2019re a DJ. Just do breaks, just do back-to-backs,\u2019\u201d the Grandmaster Flash\u2013style of spinning the same break on two records to maintain a continuous beat. That was the first time he performed with Tage Future (now Tage), Copywrite, and Camu Tao. Eventually joined by the syllabically dexterous Jakki Da Motamouth, the pioneering hip-hop crew MHz was born in 1997.<\/p>\n

MHz established themselves as a force in a hip-hop scene that didn\u2019t have a lot of visibility outside of a small cadre of record shop owners, emcees, DJs and beatmakers. They were \u201cthe bunion on the ass of the Columbus music scene,\u201d as Krohn once described it. Subsequently, RJD2 was signed by indie hip-hop powerhouse Def Jux and released his critically acclaimed debut Deadringer<\/i> in 2002. Dark, cinematic, and conceived in the cut-and-paste school of instrumental hip hop, it earned frequent comparisons to DJ Shadow\u2019s landmark Endtroducing<\/i> and elevated RJD2 to the national stage. Soon, his music was being featured in commercials for companies like Wells Fargo and Saturn, and eventually, as the theme song for an AMC television series about a bunch of hard-living Madison Avenue executives in \u201960s.<\/p>\n

The show\u2019s producer, Matt Weiner, had heard an instrumental version of a cut RJD2 did with rapper Aceyalone as bumper music on NPR and decided it was just what he needed to tee up each episode of the series in development. Iconic as the Mad Men<\/i> theme has become, Krohn\u2019s authorship is not widely recognized. \u201cI don\u2019t feel the need to pump it up or anything,\u201d Krohn says, laughing when I suggest a rapper could name-check Don Draper on his records. \u201cMaybe I should have done a better job of being self-promotional.\u201d<\/p>\n

According to an interview on Fuse\u2019s \u201cCrate Diggers,\u201d Krohn spent five or more years \u201cdigging for records\u201d in the run-up to Deadringer<\/i>. That amounted to 14-hour days bouncing around record stores and sifting for forgotten gems. These days he can\u2019t imagine finding samples online. \u201cYou mean like mp3 digging?\u201d he asks. \u201cI don\u2019t. You\u2019ve got to realize one of the basic premises of sampling is that when you take a record home and put the needle on and are listening to it, the whole thing is happening under the guise of the possibility that you\u2019re going to hear something that no one else related to hip-hop has heard. That could mean no one has found this record and looked for samples on it, or it could mean people have found this record and looked for samples on it and overlooked something. There is a third option, which is people have found this record and found samples, but they haven\u2019t used it in the same way that you are going to use it.\u201d<\/p>\n

While he doesn\u2019t pass judgment on anyone finding sampling inspiration online, the tactic cuts against his own crate-digging ethos. \u201cBy definition this is something else someone has discovered and put on the internet. So you\u2019re starting from a fundamentally different place,\u201d he says. \u201cYou\u2019ve got to realize it would be as if every single record in every record store had a post-it note on top of it that said something like, \u2018Large Professor already sampled this one\u2019 or \u2018from Large Professor\u2019s collection\u2019 or whatever. The psychology behind it would be totally different.\u201d<\/p>\n

Of Dame Fortune<\/i>, he cites personal experiences \u201cof being a grown man with a kid in America\u2026 experiences coming off the record with Philly rapper STS (last year\u2019s STSxRJD2<\/i>) in some way, the Icebird record, and my own previous album\u201d as contributing components to the record\u2019s sound. \u201cMy ultimate goal is just to make a great album,\u201d Krohn says. \u201cAt any given time, what are the best 10, 12 or 15 songs I can come up with to put into an album?\u201d But his ancillary explanation for the album\u2019s eclecticism is surprisingly modest. \u201cI\u2019ve never been comfortable making an album that\u2019s a bunch of songs aiming to do basically the same thing,\u201d he says. \u201cYou don\u2019t realize how impossibly hard it is to make 10 beats that are all the same style and still so good that you\u2019re going to listen to them,\u201d he says. \u201cGang Starr, let\u2019s use that as an example. Moment of Truth<\/i> or Step in the Arena<\/i>\u2014you don\u2019t realize until you start making a beat how impossibly hard it is to make 12 beats that are just as good as each other, that are all that caliber. It\u2019s impossible.\u201d<\/p>\n

But making a cohesive, compelling record of songs that bounce around genres is also no easy task. On Dame Fortune<\/i>, RJ once again proves to be up for the challenge.<\/p>\n","protected":false},"excerpt":{"rendered":"

Alone with my headphones and immersed in experimental hip-hop veteran RJD2\u2019s latest release, the eclectic and soulful odyssey Dame Fortune (RJ\u2019s Electrical Connections), my mind drifted to photos I\u2019d seen a few months earlier. The reverie occurred somewhere between track two, a two-and-a-half-minute burst of frenetic then gliding Afrobeat-inflected funk, and track three, a stirring […]<\/p>\n","protected":false},"author":16,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6],"tags":[1659],"class_list":["post-4536","post","type-post","status-publish","format-standard","hentry","category-features","tag-rjd2"],"yoast_head":"\nRJD2 - The Agit Reader<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/agitreader.com\/wp2\/rjd2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"RJD2 - The Agit Reader\" \/>\n<meta property=\"og:description\" content=\"Alone with my headphones and immersed in experimental hip-hop veteran RJD2\u2019s latest release, the eclectic and soulful odyssey Dame Fortune (RJ\u2019s Electrical Connections), my mind drifted to photos I\u2019d seen a few months earlier. 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