Photo-J. Marie A’ Niyah
The Real K Dilla may have a few monikers in which he produces under however, one aspect that has remained consistent is the music that he has crafted over the years merging various sounds such as soul, broken beat, Hip-Hop and more. The Kansas City musician and producer has taken the legacy of the music that has produced some of the greatest jazz musicians to hail from his state and meshed the sounds into futuristic, soulful masterpieces.
AJ: Talk about your history of producing music. When you did you first start producing?
KD: Well, I actually started producing music as early as 13, but I officially started producing music around age 17. Just about everyone in my family either played an instrument or sang. So, I was always around music. But, it was my junior year of high school that really made me get serious about producing. I had a music teacher back in K.C. (Kansas City, MISSOURI, not Kansas,) named Karl Bricker. He caught me messing around in the music room one day and recognized my gift. He began to create opportunities for my younger brother (who ironically was in the same music class) and I to showcase our skills. So, I really have my family, my little brother and my music teacher to thank for pushing me into producing.
AJ: Who were some of the musical influences on you growing up and in modern times, what producers still inspire you?
KD: I was influenced by all kinds of music. If it contained music, I’d listen to it. I listened to just about everything from Puccini to Guns & Roses. Can you imagine this kid in the heart of the gritty hood singing ‘ Welcome To The Jungle’? But, I’ve always loved good instrumentation and good vocals. So, I’d listen to a lot of funk, jazz, soul and gospel. Some of the best singers in the world came from gospel. I was inspired by legendary producers like Teddy Riley, Quincy Jones, Jimmy Jam & Terry Lewis, Babyface, Dr. Dre, Maurice White, Willie Hutch, Curtis Mayfield, Chick Corea, Herbie Hancock, Jon Luc Ponty, Gamble & Huff and The Weather Report, as well as current cats like the late J Dilla, Pete Rock, Madlib, 9th Wonder, Kev Brown, Kanye West, Jneiro Jarel, Flying Lotus, Ras G, Bullion, Damu the Fudgemunk, Alex B., Jazzy Jeff, 45 King, Mark de Clive-Lowe & the whole UK crew, Dam Funk, Timbaland and a lot of other people that would take forever to name.
AJ: When I heard some of your earlier production, it was during the height of the nu-soul, nu-jazz movement. Do you think there has been a hindering of the sound with titles such as nu-soul? Or should it all be considered just soul or jazz.
KD: I think that titles/labels such as nu-soul or neo-soul are used to help “pigeon hole” the music and give it a persona, as it relates to marketing the music, especially when the music defies the traditional definitions of a particular genre. But, I also think that labels can also give the music a false identity and misrepresent it. For example, a record can be labeled as a neo-soul album but realistically contain folk music, jazz or just soul. As a result, the music gets measured against the wrong standard and the true nature and creativity of the music doesn’t get the recognition that it deserves. It could be a situation where the album was a bad “neo-soul” album, but a great jazz or soul album. Instead of all of the sub-genres, I think it’s easier (and better reflects the creativity of the composer) to just call it soul music or jazz music and say that the composer just interpreted it a different way. When cats started putting rims on wheels, the wheel wasn’t reinvented. It was just another way to look at a wheel.
AJ: Nowadays, there have been so many changes with even the way production is done such as computer software. How have you adapted to the constant changes in technology in terms of production.
KD: Yeah, everything is digital and faster and there are so many buttons and lights and bells and whistles. Several years ago, I started using more software, such as Pro-Tools, Reason and a lot of third-party plug-ins and programs. But, I still have and use several key pieces of analog gear. I even have a reel-to-reel machine. The sound of a recording produced from a good reel-to-reel machine is unparalleled. So, I’ve adapted, but mainly for the purpose of being able to understand the technology and to make it easier when I collaborate with other producers.
AJ: People say that the music business is in an odd position in terms of sales, especially due to technology. What is your take on the current state of music and also with the advancement of technology, does it widen the playing field for artists and producers?
KD: This is a tough question. I think that the technology gives more people access to the music and also gives the music the potential to reach those people more quickly, especially when it comes to music that is of a non-traditional genre, like nu-jazz, nu-soul or broken-beat. On the downside, less people are walking into stores and buying records. So, as a result, you have a lot of record stores, especially the “mom and pop” type record stores, that can’t compete with the boom in Internet sales and downloads. The Internet gives artists that wouldn’t necessarily get ample “rack space” in a traditional retail environment the opportunity to target a specific audience, thus increasing the potential for sales. Take broken-beat for example; It’s easier to pitch a broken-beat album to a broken-beat audience via the Internet instead of taking the chance that a broken-beat consumer will walk into a record store, actually find the broken-beat section (which is usually found at the very back of the store, mixed in with several other genres and labeled “Electronica” as a catch-all label) and purchase that album. Looking at it that way, I could see the benefit of the new technology. At the same time, I’m a fan of the traditional record buying experience. I like going to the record store, digging thru the crate/bins and previewing the music at the listening station. Unfortunately, that experience is nearly extinct.
AJ: You have also been versatile in terms of creating musical genres, from Hip-Hop to Soul. But with Hip-Hop, it seems that the gap is beginning to widen in terms of artist making traditional Hip-Hop to traditional soul, even to the point where the rappers are singing. What’s your opinion on that transition?
KD: I’m a big fan of authenticity. If an artist attempts to use other genres in their music, it needs to be done in such a way that each part/genre is believable. Most of the rappers that are “singing” are using Autotune and Melodyne for that specific sound. It’s just a gimmick and it’s for entertainment purposes only. Honestly, I’m reluctant to even call it singing.
AJ: With whom are you working in terms of vocals and singers?
KD: I’m finishing an underground remix for T-Pain’s new single. After that, I’m going to take some time to focus on my personal projects. A while back, I finished my ‘Bagels EP’. It was a concept I took from J Dilla’s ‘Donuts’. I’m currently working on another instrumental beat project that will be along those lines, but it will be more laid back and have a jazzier feel. In addition, I’m currently working on an instrumental jazz album and considering doing a Michael Jackson remix tribute album as well as a J Dilla tribute album, so I’m keeping busy.
AJ: In terms of artists, who do you feel is really bringing quality music these days?
KD: ME…Aye, a shameless plug never hurt. Right now, I think that Georgia Anne Muldrow is doing her thing. Muhsinah is hot too. Shafiq Husayn (Sa-Ra) is killing it. I just heard some new stuff from King Britt that’s dope and Jack Davey, of course. I’m feeling Ra Re Valverde and Brittany Bosco. I also heard some new stuff from Carmen Rodgers that’s real good. Those are just a few names off the dome. I’m sure there are more.
AJ: How would you describe the elevation of your sound from years ago to now?
KD: My current sound is a lot more polished and calculated. Back then; I think I my sound was more experimental. Now, it’s a more thought out sound. I’ve done away with a lot of the electronic elements and I’ve started to use a lot of authentic instrumentation. It’s a bigger, warmer sound.
AJ: What can we expect from you in the near future and also how can people get a hold of you for production?
KD: People can expect to hear music that focuses on musicianship, authenticity and creativity; it will be music that defies genre stereotypes.
AJ: So I’d like to definitely say thank you K for taking this time out. Oh and by the way, I have to still thank you for hooking me up back in the days with the 4Hero remix album. I still never found that on vinyl!
KD: Yo, I’m honored that you even took the time to interview me. As for that 4Hero remix, album, we’re even. You know how we do…
The Real K Dilla Myspace
The Real K Dilla-A Beautiful Thing (snippet)