A pair of deft, intelligent rappers based in Toronto, King Lou and Capital Q formed Dream Warriors and released one of the finest alternative rap records of the era, 1991's And Now, the Legacy Begins. The pair began working together in 1989, organizing their own Beat Factory Productions with Rupert Gayle and signing to 4th & Broadway. The single... [+] Read More

A pair of deft, intelligent rappers based in Toronto, King Lou and Capital Q formed Dream Warriors and released one of the finest alternative rap records of the era, 1991's And Now, the Legacy Begins. The pair began working together in 1989, organizing their own Beat Factory Productions with Rupert Gayle and signing to 4th & Broadway. The single "Wash Your Face in My Sink" prefaced the release of And Now, the Legacy Begins, and another track, "My Definition of a Boombastic Jazz Style," became an early touchstone in the jazz-rap movement. Both singles hit the Top 20 in Britain, while in their own country the LP went gold and collected a Juno award. Unfortunately, the LP title proved ironic; four long years after their debut, the duo finally returned with Subliminal Simulation. It was barely received at all, especially in America, and the band's final album, The Master Plan, wasn't even released in America. ~ John Bush, All Music Guide [-] Hide

Although they predated the jazz-rap innovations of De La Soul, A Tribe Called Quest, and Digable Planets, the Jungle Brothers were never able to score with either rap fans or mainstream audiences, perhaps due to their embrace of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of... [+] Read More

Although they predated the jazz-rap innovations of De La Soul, A Tribe Called Quest, and Digable Planets, the Jungle Brothers were never able to score with either rap fans or mainstream audiences, perhaps due to their embrace of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz samples -- each of which has been the sole basis for the start-up of a rap act. Signed to a major label for 1989's Done by the Forces of Nature, the JB's failed to connect on that album -- hailed by some as an ignored classic -- or the follow-up, J Beez Wit the Remedy.

Mike Gee (born Michael Small; Harlem, NY), DJ Sammy B (born Sammy Burwell; Harlem, NY), and Baby Bam (born Nathaniel Hall; Brooklyn, NY) came together as the Jungle Brothers in the mid-'80s and began their recording career at the dance label Idler. The result of the sessions, Straight Out the Jungle, was released in early 1988. The album's Afrocentric slant gained the Jungle Brothers entry into the Native Tongue Posse, a loose collective formed by hip-hop legend Afrikaa Bambaataa, including Queen Latifah (and, later, De La Soul and A Tribe Called Quest). The album's most far-out cut was "I'll House You," a collaboration with house producer Todd Terry and an early experiment in what later became known as hip-house.

Though Straight Out the Jungle had not sold in large quantities, Warner Bros. signed the trio in 1989 and released a second album, Done By the Forces of Nature, that same year. Though it was issued around the time of De La Soul's groundbreaking 3 Feet High and Rising LP and gained just as many positive reviews, the album was overlooked by most listeners. The Jungle Brothers' chances of mainstream acceptance weren't helped at all by a four-year absence after the release of Done By the Forces of Nature, inspired mostly by Warner Bros.' marketing strategies. Finally, in the summer of 1993, J Beez Wit the Remedy appeared, complete with a sizeable push from Warner Bros.; unfortunately, the large amount of promotion failed to carry the album. Obviously not learning from their earlier mistakes, Warner Bros. also delayed the release of the group's fourth album, Raw Deluxe, until mid-1997. V.I.P. followed in early 2000, and All That We Do was released in 2002. ~ John Bush, All Music Guide [-] Hide

The Five Percent Nation of Islam was a popular inspiration for numerous thinking-man's rap groups during the early '90s, and Brand Nubian was arguably the finest of the more militant crop. Although they were strongly related to the Native Tongues posse in style and sound, they weren't technically members, and were less reserved about... [+] Read More

The Five Percent Nation of Islam was a popular inspiration for numerous thinking-man's rap groups during the early '90s, and Brand Nubian was arguably the finest of the more militant crop. Although they were strongly related to the Native Tongues posse in style and sound, they weren't technically members, and were less reserved about spotlighting their politics and religion. Their outspokenness led to controversy, on an even larger scale than similarly minded groups like the X-Clan or Poor Righteous Teachers, in part because Brand Nubian's sheer musicality made them so listenable regardless of what their messages were. The hoopla surrounding their aggressive Afrocentrism sometimes overshadowed the playful and positive sides of their work, as well as the undeniable virtuosity of lead MC Grand Puba's rhymes -- all showcased to best effect on their highly acclaimed debut, One for All.

Brand Nubian was formed in 1989 in the New York suburb of New Rochelle. Grand Puba (born Maxwell Dixon) had previously recorded with a group called Masters of Ceremony, and was joined by Sadat X (born Derek Murphy, originally dubbed Derek X), Lord Jamar (born Lorenzo DeChalus), and DJ Alamo (Murphy's cousin). The group signed with Elektra and released their debut album, All for One, in 1990. Most reviews were glowing, but the stronger rhetoric on the album -- especially the track "Drop the Bomb" -- drew fire from some quarters, including some white Elektra employees reluctant to promote what they saw as reverse racism. Ultimately, the uproar didn't really hurt Brand Nubian's career, but neither did it produce a wider hit with pop or R&B audiences, despite the high regard in which the singles "All for One," "Slow Down," and "Wake Up" are held. A far more serious blow was Grand Puba's departure from the group in late 1991, owing to tensions that had arisen over his handling the lion's share of the rapping. Not only did Brand Nubian lose their clear focal point and chief producer, they also lost DJ Alamo, who elected to continue working with Puba.

Puba released his solo debut, Reel to Reel, in 1992; meanwhile, Lord Jamar and Sadat X regrouped with DJ Sincere (born Terrence Perry) and issued In God We Trust in 1993. It sold fairly well, just missing the Top Ten on the R&B chart, and the single "Punks Jump up to Get Beat Down" was something of a hit, though it also drew fire for its anti-gay slurs. In Puba's absence, the pro-Islam rhetoric grew stronger, with more explicit support for the controversial Minister Louis Farrakhan. By the time of 1994's Everything Is Everything, they'd gotten downright dogmatic, and critics who'd previously defended the group now found them difficult to stomach, both lyrically and musically.

In the wake of the icy reception afforded Everything Is Everything, the remaining members of Brand Nubian drifted apart. Sadat X reunited with Grand Puba for "Play It Cool," a track on the latter's second solo album; Sadat also released his solo debut, Wild Cowboys, in 1996, and subsequently guested on records by a new wave of underground hip-hoppers. Lord Jamar, meanwhile, moved into production, and also landed a recurring role on HBO's prison drama Oz. In 1998, with a new alternative rap movement gaining prominence, the original four members of Brand Nubian reunited for the Arista album Foundation, which received highly positive reviews. Grand Puba and Sadat X both subsequently returned to their solo careers, but they returned with Jamar and Alamo for 2004's Fire in the Hole. ~ Steve Huey, All Music Guide [-] Hide

Never overly prolific nor overly popular, Gang Starr nonetheless became and remain one of hip-hop's most admired acts ever, the duo's legacy nothing short of legendary in terms of influence. DJ Premier and Guru, the duo's respective producer/DJ and lyricist/MC, set standards for early-'90s hip-hop with their two touchstone releases: Step in the... [+] Read More

Never overly prolific nor overly popular, Gang Starr nonetheless became and remain one of hip-hop's most admired acts ever, the duo's legacy nothing short of legendary in terms of influence. DJ Premier and Guru, the duo's respective producer/DJ and lyricist/MC, set standards for early-'90s hip-hop with their two touchstone releases: Step in the Arena (1991) and Daily Operation (1992). Beginning with these releases, both listeners and critics heaped mounds of praise upon Premier and Guru -- the former because of his DJ-style beatmaking and jazzy sound, the latter because of his socially conscious lyrics and no-nonsense stance. Following these two undisputed classics, Premier became one of New York's most demanded producers and crafted hits for the city's finest MCs: the Notorious B.I.G., Nas, Jay-Z, KRS-One, and more. Guru likewise collaborated with plenty of famous artists -- Roy Ayers, Donald Byrd, N'Dea Davenport, and more -- on his solo debut, Jazzmatazz, Vol. 1. After this point, however, Gang Starr became somewhat of a side project for Premier and Guru, who both forged on with their respective solo careers. More albums came -- each impressive, beginning with the tough Hard to Earn album in 1994 -- yet Gang Starr had already attained their summit of popularity and acclaim in the early '90s and, as a result, continually battled their own growing legacy, as fans billed every successive album as a comeback.

Premier and Guru began humbly enough, releasing No More Mr. Nice Guy (1989), an ambitious debut album seeking to heavily incorporate a jazz aesthetic into hip-hop. Ambitious or not, the formative album didn't impress too many (though there were promising moments like "Manifest" and "DJ Premier in Deep Concentration"), and Gang Starr took two years to reconsider their approach. The duo then returned with a new record label and a fresh approach. It worked marvelously as Step in the Arena (1991) set new standards with not only its beats but also its lyrics. Premier had blossomed into one of New York's most savvy producer/DJs, capable of using samples in ways never before imagined and garnered much acclaim for his subtle use of jazz. Similarly, Guru's literate, thoughtful, and, most of all, earnest lyrics stood out among the brash materialism increasingly plaguing the genre, and his trademark monotone delivery didn't hurt either. A year later came Daily Operation (1992). If Step in the Arena had been and remains a masterpiece, this album is nothing short of that mark; in fact, it's generally viewed as Gang Starr's crowning achievement.

While both Step in the Arena and Daily Operation astounded critics and street-level listeners, the albums never inspired any big breakthrough hits, and Gang Starr remained somewhat of a cult favorite. Songs like "Just to Get a Rep," "Step in the Arena," "Take It Personal," and "Soliloquy of Chaos" became underground classics but never crossed over to the mainstream. Despite Premier's reputation as a hitmaker, Gang Starr openly spurned "mass appeal" and refused to adjust their style to any sort of trend. Hard to Earn (1994) strongly confirmed this anti-commercial stance, especially the "Mass Appeal" single, and the duo didn't return until four years later with Moment of Truth (1998) and Full Clip (1999) shortly after. The former album and its big single, "You Know My Steez," proved that, despite Gang Starr's long absence, Premier and Guru could still make excellent hip-hop -- an entire album of it, in fact. The latter album, a double-disc retrospective commemorating Gang Starr's ten-year anniversary, showcased some of the duo's best moments and added some bonuses for long-time fans.

Following the best-of collection, Premier and Guru quietly rested the Gang Starr moniker. Even so, they remained active over the years: Guru continued releasing star-studded solo albums, and Premier continued producing countless tracks for New York's finest. While it's somewhat ironic that Premier produced so many across-the-board hits for others but not himself, Gang Starr never attained Nas- or Jay-Z-level stardom because of their uncompromising, somewhat highbrow style, something which the two refused to dilute with mass appeal, precisely the reason why their influence has proven so timeless. ~ Jason Birchmeier, All Music Guide [-] Hide

Though they were not the first to synthesize jazz and hip-hop, Digable Planets epitomized the laid-back charm of jazz hipsters better than any group before or since. The trio's 1993 debut album, Reachin' (A New Refutation of Time and Space), was a mellow ride packed with samples from Art Blakey, Sonny Rollins, and Curtis Mayfield, and the single... [+] Read More

Though they were not the first to synthesize jazz and hip-hop, Digable Planets epitomized the laid-back charm of jazz hipsters better than any group before or since. The trio's 1993 debut album, Reachin' (A New Refutation of Time and Space), was a mellow ride packed with samples from Art Blakey, Sonny Rollins, and Curtis Mayfield, and the single "Rebirth of Slick (Cool Like Dat)" became a Top 20 pop hit. After earning a Grammy for Best New Duo or Group and embarking on an ambitious tour that included several live musicians, the Planets returned in late 1994 with their best album yet. Blowout Comb continued the group's jazz-rap fusion, but also saw them branching out to embrace the old school sound of the street as well.

Digable Planets formed in the early '90s, when Butterfly (b. Ishmael Butler, Brooklyn, NY) met Ladybug (b. Mary Ann Vieira, Silver Springs, MD) while attending college in Massachusetts. The two later hooked up with Doodlebug (b. Craig Irving, Philadelphia, PA), in Washington, D.C., and began recording. Their first single, "Rebirth of Slick (Cool Like Dat)," released on the Pendulum subsidiary of Warner, hit the R&B Top Ten while their debut, Reachin' (A New Refutation of Time and Space), was a critical and commercial success. Digable Planets' resulting tour had a laid-back vibe more in keeping with a jazz show than any hip-hop concert, though the live musicians were criticized for doing little more than re-creating samples from the album. The trio solved that problem with the release of their second album, Blowout Comb, in late 1994. Much stronger than its predecessor, it used fewer samples and even included several solos. With no strong single to carry it, however, Blowout Comb's sales performance was not up to that of Reachin'. After Blowout Comb, Digable Planets basically dissolved due to the dreaded "creative differences". All three continued making music separately, but despite many promises that the recordings would become actual releases, nearly a decade passed before releases appeared from Butterfly's Cherrywine project, Ladybug's new billing Ladybug Mecca, and Doodlebug's Cee Knowledge. Then, just a few weeks shy of the ten-year anniversary of Blowout Comb, the three announced that they had reunited to record their third Digable Planets album. A compilation, Beyond the Spectrum: The Creamy Spy Chronicles, filled the gap while fans waited for its release. ~ John Bush, All Music Guide [-] Hide

Hip-hop/jazz fusionisters Us3 have forged the most elaborate union between the styles since the early days of Gang Starr and A Tribe Called Quest. Blue Note's vast catalog gives them a huge advantage over several similar groups in terms of source material, and classic sounds by Art Blakey, Horace Silver, and Herbie Hancock provide zest and fiber... [+] Read More

Hip-hop/jazz fusionisters Us3 have forged the most elaborate union between the styles since the early days of Gang Starr and A Tribe Called Quest. Blue Note's vast catalog gives them a huge advantage over several similar groups in terms of source material, and classic sounds by Art Blakey, Horace Silver, and Herbie Hancock provide zest and fiber to their narratives. Indeed, when things falter, it's because the raps aren't always that creative. They are serviceable and sometimes catchy, but too often delivered without the snazzy touches or distinctive skills that make Quest and Gang Starr's material top-notch. But when words and music mesh, as on "Cantaloop" or "The Darkside," Us3 show how effectively hip-hop and jazz can blend. ~ Ron Wynn, All Music Guide [-] Hide

Brand Nubian never sold as many albums as the many West Coast rappers burning up the charts in the early '90s, but the New York group commanded great respect in East Coast rap circles. In black neighborhoods of New York and Philadelphia, Nubian's debut album, One for All, was actually a bigger seller than many of the platinum gangsta rap... [+] Read More

Brand Nubian never sold as many albums as the many West Coast rappers burning up the charts in the early '90s, but the New York group commanded great respect in East Coast rap circles. In black neighborhoods of New York and Philadelphia, Nubian's debut album, One for All, was actually a bigger seller than many of the platinum gangsta rap releases outselling it on a national level. Influenced by De La Soul and the Jungle Brothers, Nubian favored an abstract rapping style, and Eastern rap fans were drawn to the complexity of jams like "Dance to My Ministry," "Ragtime," and "All for One." Grand Puba, Lord Jamar, and Sadat X had a lot of technique, which was what hip-hoppers favored in the East. On the whole, Nubian's Nation of Islam rhetoric isn't as overbearing as some of the recordings that other Five Percenters were delivering at the time. The CD is a bit uneven, but on the whole is likable and exhilarating. ~ Alex Henderson, All Music Guide [-] Hide

After his high-profile duet with Guru on the first Jazzmatazz project, French rapper MC Solaar proved himself a major contender for international rap stardom with his U.S. debut. With the rapid-fire rhyme flow of Souls of Mischief and the smooth delivery of Q-Tip, the young MC conveys more moods in French than most rappers can in English. The... [+] Read More

After his high-profile duet with Guru on the first Jazzmatazz project, French rapper MC Solaar proved himself a major contender for international rap stardom with his U.S. debut. With the rapid-fire rhyme flow of Souls of Mischief and the smooth delivery of Q-Tip, the young MC conveys more moods in French than most rappers can in English. The extremely subtle grooves supplied by DJ/producer Jimmy Jay provide velvety smooth cushions that wrap around Solaar's warm voice tighter than O.J Simpson's glove, with jazzy, funky samples that prove perfectly suited for the fluid rhymes. One of the few bright spots in a year when the rap scene was largely devoid of originality, MC Solaar came across as refreshing as a cool Parisian breeze. ~ Bret Love, All Music Guide [-] Hide

One of the first hip-hop records to successfully integrate jazz, Jazzmatazz, Vol. 1 is a surprising success for Guru. The rapper's warm grooves and laid-back rhymes fit in perfectly with the instrumental tracks provided by a cadre of jazz musicians. The way that the live playing is integrated on this album is different than the way it is done... [+] Read More

One of the first hip-hop records to successfully integrate jazz, Jazzmatazz, Vol. 1 is a surprising success for Guru. The rapper's warm grooves and laid-back rhymes fit in perfectly with the instrumental tracks provided by a cadre of jazz musicians. The way that the live playing is integrated on this album is different than the way it is done on, say, an Us3 record. On a few occasions, the instrumentalists provide the melodic hook of the song but, more often than not, they are relegated to noodling in the background while Guru raps. Needless to say, this meets with mixed results throughout. The Lonnie Liston Smith collaboration "Down the Backstreets" is a fine track, but the Donald Byrd and Roy Ayers partnerships sound busy and forced. Standout tracks include the two collaborations with Brand New Heavies singer N'dea Davenport. The jazz connection on these songs is minimal at best, but the well-produced tracks and Davenport's sultry voice are compelling on their own merits. As for Guru himself, some of his raps can only be described as awkward, and it is at these moments when the record is weakest. However, the overall vibe of the album is strong, and inane comments from the leader aside ("Jazz is real, and based on reality," Guru says in his introduction), Jazzmatazz, Vol. 1 is entertaining, almost despite itself. ~ Daniel Gioffre, All Music Guide [-] Hide

Because the Roots were pioneering a new style during the early '90s, the band was forced to draw its own blueprints for its major-label debut album. It's not surprising then, that Do You Want More?!!!??! sounds more like a document of old-school hip-hop than contemporary rap. The album is based on loose grooves and laid-back improvisation, and... [+] Read More

Because the Roots were pioneering a new style during the early '90s, the band was forced to draw its own blueprints for its major-label debut album. It's not surprising then, that Do You Want More?!!!??! sounds more like a document of old-school hip-hop than contemporary rap. The album is based on loose grooves and laid-back improvisation, and where most hip-hoppers use samples to draw songs together and provide a chorus, the Roots just keep on jamming. The problem is that the Roots' jams begin to take the place of true songs, leaving most tracks with only that groove to speak for them. The notable exceptions -- "Mellow My Man" and "Datskat," among others -- use different strategies to command attention: the sounds of a human beatbox , the great keyboard work of Scott Storch, and contributions from several jazz players (trombonist Joshua Roseman, saxophonist Steve Coleman and vocalist Cassandra Wilson). By the close of the album, those tracks are what the listener remembers, not the lightweight grooves. ~ John Bush, All Music Guide [-] Hide