Dan Charnas, Dilla Time **** 1/2

Dilla Time is the third book I've read in as many months about musical artists whose work I am largely unfamiliar with (following Time's Echo and Cocaine and Rhinestones). The artist in this case is J Dilla, "the hip-hop producer who reinvented rhythm" as the subtitle has it. The great thing about all of these books is that they provide vivid accounts of the contexts in which the artists worked and musicological analysis of their innovations.

J Dilla's most influential innovation was the creation of a new lurching way of keeping time, more complex and "sloppier" than swing time. He used a variety of techniques on drum machine/sequencers to achieve rhythmic friction; in particular, he subtly shifted the timing of the various drum components (snare, kick drum, hi hat) so that some feel rushed while others feel slow. His production technique created an entire genre of hip-hop in the 1990s and early 2000s, comprising such artists as A Tribe Called Quest, De La Soul, D'Angelo, Erykah Badu, and The Roots.

Charnas does a nice job of explaining Dilla's approach and treating it as an important musical advance. He pays less attention to Dilla's unique way of handling harmony and melody, perhaps because it would take away from his main thesis. 

Charnas' previous book was about the business of hip-hop, so it's not surprising that he clearly navigates the maze of record labels, rights owners, and collaborations. After Dilla's death (at 32 from a rare blood disease) there was a battle over his estate, with different parties having legal authority, moral authority, and artistic authority over his legacy. Charnas presents the messy details even-handedly.

The book gave me enjoyable insights into musical artistry, the music business, the cultural milieu, and how they all impact each other. It reinforced my prejudice that hip-hop was the most innovative form of music over the turn of the century, with its artists exploring advanced techniques like jazz musicians do.