He met the rapper Common in 1996, while playing a show with Hargrove's quintet in Chicago. Riggins didn't become a bona fide rap artist until years after he'd made it in the jazz world. He wrote rhymes but wouldn't show them to anyone. In high school he started making beats on the sly, and cadging them away. "If you listen to Run DMC's 'Rock the Bells,' that was just straight drums." Later, he got into groups like Stesasonic and A Tribe Called Quest, who incorporated a lot of jazz samples in their work. "I was more into the rhythmic aspect of it," Riggins said. Some of it was scraped clean of melody entirely. From the Fat Boys he ventured into early, drum-oriented hip-hop by groups like Run DMC. "I remember thinking that was the hippest innovation ever," Riggins said. Riggins got into hip-hop as early as second grade, when he first heard the Fat Boys' 1984 single "Stick 'Em." Sparse and dryly orchestrated, the song features one-man-rhythm-section Darren Robinson (aka Buff Love) beatboxing through two voice-modulating machines, a phaser, and a flanger. He also had a closet interest in hip-hop. Riggins rose precipitously because he had something that other young lions don't: a concept. He went on to join Betty Carter's Jazz Ahead band (a residency program for up-and-coming musicians), then spent three years backing trumpeter Roy Hargrove. By the time he graduated from Michigan's Southfield High School, Riggins was a veritable "young lion" - which is jazz-speak for a hot-star du jour.
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An abortive stint with trumpet lessons taught him the major and minor scales, and, more importantly, how to approach the drums as both a percussive and a melodic instrument. He made up rhythms, put accents in weird places, and altered the pitch of his cymbal. After learning the rudiments Riggins started developing his own sound. "My favorite records in elementary school were Relaxin with Miles, Philly Joe Jones, Kind of Blue." He practiced assiduously, playing along with classic records and trying to emulate heavyweights like Art Blakey and Tony Williams. Jazz was his first love, and he can trace it back to when he was three years old, listening to his parents' record collection. "I don't know how I do it," he confessed. He's a member of two elite circles that seldom overlap. But Riggins is at the point in his career where he can dabble freely, and remain conversant in multiple genres. Other artists of Riggins' ilk - the Kev Choices, Robert Glaspers, and Chris "Daddy" Daves of the world - tend to lean in one direction or the other, as a way of finding and sustaining a niche market. While it's not unusual for jazz musicians to be omnivorous in their tastes, it is remarkable for someone of Riggins' stature to be so firmly grounded in an older scene that's obsessed with tradition, and a younger scene that's wary of interlopers.
He's got a straight-ahead album in the works. Now 34, he is one of the most versatile musicians in the world, having backed Betty Carter, Roy Hargrove, and Diana Krall, but also made beats for Common, Madlib, Erykah Badu, and Kanye West. Riggins has the makings of a traditionalist, but he grew up listening to Fat Boys 45s and beatboxing in the school bathroom. His sister Tanisha is a phenomenal singer. Born and raised in Detroit, he's a jazz drummer with an exalted musical pedigree: His father Emmanuel is a respected pianist who played with guitar legend Grant Green. Current Elizabeth II, almost 70 yearsĨ J.M.Karriem Riggins oscillates between two worlds. TAGLINE: Want More Trivia? Have Comments? Good Questions? Contact ġ Kaiser Permanente, followed by Sutter Health, Facebook, Safeway and Tesla.ĥ #1. How much does he weigh?īONUS QUESTION: In 1888, what was the last country in the Western hemisphere to officially prohibit slavery?
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