You’ll find it almost impossible. Pino Palladino, the bassist, thought that the rhythm sounded “wobbly”. The notes fall in the wrong places—on the wrong beat in the bar or moved slightly in time, just before or behind where the ear expects them to be. The effect is to make the music feel woozy and destabilising.
“Dilla Time” is at its best when the two strands come together; in the section on his work with the Soulquarians collective , the air of artists discovering new possibilities within music is palpable. Such passages do what good music books should: send you back to the source material. As “Dilla Time” launches the reader on a flight through Dilla’s confusing discography—it ought to have included a playlist—the breadth of his imagination becomes obvious.
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