Hip-Hop’s Influence on Established Jazz Musicians The commercial success of Osby’s productions resulted in similar collaborations between jazz musicians and rap, R&B, and pop music artists. Saxophonist Greg Osby was the first to collaborate with rappers, resulting in a musical hybrid he called “Street Jazz.” Working with Ali Shaheed Muhammad of A Tribe Called Quest and Eric Sadler of Public Enemy, Osby demonstrated the compatibility of the two idioms in 3-D Lifestyles (1993), which fuses rap rhymes, hip-hop rhythms, scratching, R&B samples, and multilayered textures with the improvisations and vocabulary of jazz. Most jazz musicians, nevertheless, did not recognize the potential of rap for musical experimentation until after 1990. Gang Starr was the first rap group to work directly with jazz musicians, recording “Jazz Thing” with Branford Marsalis for Spike Lee’s movie Mo’ Better Blues (1990)-a song derived from Gang Starr’s “Jazz Music” (1989).
Stetsasonic’s “Talkin’ All That Jazz” from In Full Gear (1988) samples jazz breaks from Lonnie Liston Smith’s “Expansions” and Donald Byrd’s “(Fallin’ Like) Dominoes.” The fusion of jazz and hip-hop evolved into a distinctive style when rappers began sampling jazz melodies and rhythms from recordings of Dizzy Gillespie, Lonnie Liston Smith, Donald Byrd, Sonny Rollins, Art Blakey, and Roy Ayers, among others, and later collaborating with jazz musicians.
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