You got great producers, and you got superb producers, that can rap the hell out of any beat. Godfather Don was one of those legends that did both on a higher level.
Godfather Don, born as Rodney Chapman, is one of those producing rappers that if you truly know him, you surely love him. Not only was he legendary on the mic, but he made beats that rival the likes of Showbiz, Pete Rock, Evil Dee and Large Pro, to name a few. He was capable of combining all those styles to make his own unique sound.
If you asked me to describe him in just one word, I would definitely think of multitalented. Before hiphop even got to Don, he was into rock music; playing the guitar and bass. He began to understand that rapping can be a great opportunity to do something other than working in a factory and was blessed with some friends who eventually introduced him to Chubb Rock, with Don not even knowing who Chubb was. Around that time, mid/late 80’s, Don started to get more and more involved with hiphop music (and culture), but never stopped playing guitar and bass.
Some of you will probably think after comparing him alongside these legends, why this man was never recognized outside the underground, or on a hiphop throne making videos, interviews, or shit like that. Unfortunately, I wasn’t able to ask him myself, but after doing a little research I was able to understand a little bit more. He was a cat that wasn’t thinking on a commercial level, and maybe that had to do with the fact that he didn’t receive the proper promotion in his prime as a producer. Perhaps he was too busy chasing girls all the time, see this interview below with Godfather Don by Max Glazer brought to you by Unkutdotcom.
“I grew up in BUSHWICK... Yeah, I grew up over there, so I’m practically part Spanish, but yeah, I really love Spanish women man, they’ve been good to me.” So that was a formative part of your youth? “Yeah, lots of – stuff. Lots of – stuff, man. But you know seriously, I have a lot of good friends and a lot of good girls that’s really helpin’ me out on the album, you know.” – GodFather Don and Max Glazer (Unkutdotcom)
Still to this day, little is known about Don. Even cats that worked with him often don’t know a lot about him, but I did my best to put the pieces of his illustrious catalog together.
This is the perfect time to zoom in on this music machine that really made a difference in our beautiful culture called hiphop.
I’m glad to have the opportunity to take you with me on this musical journey, hoping that you’ll enjoy reading of this incredible and influential hiphop icon.
The tracks can be played individually while you read the stories of our picks, or you can scroll down to hit off the full playlist.
Godfather Don – Hazardous
In the 80’s, Don was focused on playing guitar in rock music, but hiphop at the time was everywhere. Everybody was MC’ing or DJ’ing back then, so one friend going by the name: MC Sheek, suggested to Don that he should attempt this hiphop thing as well. Not much later he was introduced to Chubb Rock, (without knowing who Chubb Rock was), shows how small his involvement with hiphop was at the time.
Chubb became the connection to the labels and thanks to him, Don came out with his first album ‘Hazardous’, which to this day is regarded as an oldskool classic; Featuring Don on the mic, the beats, and some live instrumentation. Uptempo beats mixed with hype flows and ill lyricism, justify this album to its substantial worth. If you listen from A to Z, you’ll agree, that Don was on some other shit.
The standout track I had to choose is the album’s title track, containing a Bob James sample every serious beatmaker know. Not only is his style of rap versatile and high definition in depth, but the beat changes up almost 4 times! Soloing up the drums, throwing in some funky tunes, adding up some light jazz horns in there and he always gets back to that magnificent Bob James – ‘Feel like making love’ sample.
In some ways this track is ahead of it’s time, but at the same time it’s oldskool and a very uptempo fragment of the late 80s and early 90s. Next to that, it is evident he was influenced by MC’s such as Big Daddy Kane, KRS One, Chuck D and attempted to combine those styles to make his own.
Godfather Don – Homicide
Taken from the same album, is this flanging drumloop on the westcoast ‘NWA’ type of rhyming tip. He looped up those drums, since he had no money for a drum machine or SP1200. As he stated himself, he wasn’t crazy about how his first album sounded.
First off it wasn’t as loud as he wanted, which he later realized had to do with his engineer, who was specialized in rock music. Even more important, according to Don, were the length of the tracks. For the simple fact all his tracks on ‘Hazardous’ were all over 4 minutes, the quality was going down and it was compressed in a bad way when pressed on vinyl; Similar and comparable to what you have now with mp3 opposed to wav.
In the end, this ‘Homicide’ track is still a oldskool banger with the mad funky horns on the hook. This track is walkin’ like Miles Davis and a recommendation to all the real party DJ’s out there.
Raw Breed – Rabbit Stew (Flame Boiled Mix)
One of his first produced and released projects was the ‘Rabbit Stew’ remix for the underground group Raw Breed. This beat, much better than the original version, is fitting perfectly to the rugged ‘n raw flows Raw Breed brought on the mic. Deep basslines, thick drums, jazzy horns and underlying Rhodes, were Don’s main ingredients. He’ll always be, in my mind, famous for tracks like this, comin’ straight from the underground.
In early ’93, Don also rapped together with his future partner in rhyme, Kool Keith, on yet another dope Raw Breed track titled ‘Rampage outta control’. Kevin Beacham is a good friend of both and released this funny statement; you can say they weren’t thinking commercially at all and most definitely smoked too much.
“At the show, Don and Keith wanted to go get some drinks from the corner store so we all jump in my car and I pop in a tape. This song comes on while we are just talking then they both get very quiet. Don says, “this guy sounds just like me”. Keith says “yeah, man he really sounds like you”. They are both like “who is this?”. I’m sort of laughing thinking they are kidding around. They keep asking and I finally know they are serious so I say “That is you” (not to mention Kool Keith had also rhymed on the song). They are like what is this? I’m like this is that Raw Breed song with you, Keith, and Melle Mel (“Rampage Outta Control”) and they are both like “oh yeah”. Then they tell me that one day they were just walking down the street and passed the studio where Raw Breed was recording and those guys saw them and were like, come drop a verse. They said they just went in kicked whatever and left and never thought about it again…ha. That was back when they were going the group name Agents of Chaos, although they kept changing their name every few weeks…ha”
Ultramagnetic MC’s – Raise It Up
Don’s dark sound, heavily influenced by jazz bass and horn samples, was much smoother than Ultramagnetic MC’s Ced Gee produced. Becoming a member of the Ultramagnetic MC’s and producing 4 great beats for the underrated album ‘The Four Horsemen’ can be considered as the first steps to the great collaboration between Don and Kool Keith for the classic ‘Cenobites’ LP. By the way, let’s not forget about Don’s crazy verse on this classic track, he was really on some ‘6 feet deep’ shit if you ask me.
It ended up to be one of the most important tracks he did early on and if you listen close you will recognize this beat contains a sound and style that’ll be signaturing his work the following years.
Ultramagnetic MC’s – Checkin’ My Style
Next to the track ‘See The Man On The Street’, this was probably the best example of the connection between the Don and the crazy lyrical spirit Kool Keith.
Ultramagnetic MC’s – The Saga Of Dandy, The Devil And Day (Remix)
This remix is the B-side from the ‘Raise It Up’ 12 inch and more than worth it. Don used the classic ‘Lee Dorsey – Get Out Of My Life Woman’ drum break, which is one of the most used breaks used in Hip Hop history. This and the 2 tracks above were all done around ’93 when Don really started to make his mark and mastered his style. It’s impossible not to dig, unless you be on some pop rap shit.
Nas – One Love (One L remix, Groove Merchantz)
The saga continues with a remix of one of my favorite ‘Illmatic’ joints. This one doesn’t outshine its original but logically it’s almost impossible to catch up with the beat and especially the sample Q-Tip dropped on this. But when you listen to this ‘One L remix’ without comparing it, it’s a dope track with a nice extra added hook from Sadat X.
Kurious – Mansion and a Yacht (Groove Merchantz)
After Don and Vics (a member of the almighty Beatnuts crew till ’97) first official collaboration on the remix before, the duo starting taping under the name ‘Groove Merchantz’. Mansion and a Yacht is a crazy killer which was on the B-side to the infamous ‘I’m Kurious’.
“I think we had the idea of Groove Merchantz before we ever did anything because at that time I had storehouse of material, obviously and VIC obviously did too, so you know we was just kinda putting things together to see how a demo tape of presentable beats would sound. It was kinda cool. So we said “Hey let’s try to get a name or something”.. and it was a label I liked called Groove Merchant, where I used alot of music from and you know, he said “Hey man, we should use that Groove Merchant name!” So we put the Z at the end so it wouldn’t mess with the real label.”
Jemini the Gifted One – Funk Soul Sensation (Godfather Don Remix)
During the golden era sound in the mid 90’s, Don was at his prime and so was his production partner Vic. Between Groove Merchantz projects though, Don was still busy making fat beats under his own name.
The original from Jemini got that funky slap beat by Organized Konfusion, but Don tried to do something totally different with it. He used a sample that’s very familiar, used by Dre, Easy Mo Bee, Das EFX, Madlib and probably best known from The Beatnuts for Mad Skillz’s banger ‘The Nod Factor’.
But Don tuned down the sample perfectly, layered it with a nice female vocal in the background and used the light bells on top of the beat to make it smooth. I’d definitely choose this mellow but tight version over the original.
Bas Blasta – Dangerous (Groove Merchantz)
This track is another one that people often forget about; a classic drum pattern with hihats that got mad swing and of course the great dark Weather Report sample ‘Mysterious Traveller’. Kool G Rap would say a year later in ’95: “4, 5, 6 is in the mix – I’m hittin’ them with trip’s, Headcrack, time to get the bread black!”
This sample caught Vic’s attention and as Groove Merchantz they were, under my knowledge, the first to use this sample. Groove Merchantz did a lot more shit with Bas Blasta but unfortunately his LP never got released and so neither were the beats. The one that did survive was the B-side from this ‘Dangerous’ 12 inch; A great, almost historical, posse cut called ‘The Rhythm’ with Lord Finesse, Fat Joe, Juju and Don himself rhyming over a Groove Merchantz beat.
Don then started realizing there were a lot of things possible in this hiphop bizz. If you could bring those legends together, anything should be possible…damn!
The Cenubites – Lex Lugor
In the early 90’s Bob(bito) Garcia, famous for the Stretch & Bobbito show, began doing promotion and A&R work for Def Jam. He pitched artists like Nas and Organized Konfusion, but soon realized that the scene and Def Jam were getting commercialized. As a result, Bobbito started his own independent label ‘Fondle ‘Em‘. For diggers like myself, Fondle ‘Em brought some great hiphop joints under our attention like MF Doom, The Juggaknots, MF Grimm and The Arsonists.
‘Operation Doomsday’ was the biggest success in sales, but it all started in ’93 with The Cenubites, often written as Cenobites. This EP was actually a collection of radio promos from Kool Keith and Don and was officially released in ‘95. Bobbito used to play those songs often on the radio show and watched how people would respond to it.
Bobbito heard it earlier than others, and this LP is amongst other classics, as created in spontaneous situations. Together with Kool Keith aka Rhythm X, Dr.Doom, Dr.Octagon, they were on some pure hardcore and angry shit.
“After the first time I met Rhythm X, we actually hung out the next two nights non-stop. He slept over at my crib, and then we hung out like on 42nd street all night, like lookin’ at movies. We were looking at a bunch of porno movies, arguin’ about a lot of shit, like whose ass is fatter, whose ass is softer, who gets wetter. So anyhow, when we agreed on a lot of shit, we just bought a lot of shit, went to my house, just started watchin’ shit, eatin’ grilled cheese, drinkin’ Kool Aid and we just started writin’ man. And that was the first of many sick exploits.”
The Cenubites – I Was Forgotten
If you talk about the cream of the crop, the crème de la crème, I think The Cenubites is the core of where we would all know Don best from.
“Godfather Don was in his prime right there and was real sharp. Every afternoon, we’d go to Brooklyn and Don had this two-track tape, and we’d run the reel, and we just made the record. Godfather Don had these jazzy beats that sounded sinister and dark, and even a little gangsta. I’m not into jazz so much myself, but Don made it funky. It was like how Pete Rock would take jazz and hype it up” – Kool Keith said.
The rumor goes that the album was recorded in one week while Don and Keith locked themselves away, thus following the definition of a cenobite: a monk who shelters themselves from the world to live a hermetic lifestyle.
“We were very angry at people, at the industry, at women, you name it, we were angry at it. Cheese, milk, you know, we were angry at a lot of shit, so we just kept writing. We just recorded about maybe I’d say like fifty or sixty songs.”
The Cenubites – Keep On
This was only on the repress in ’97 as a bonus cut with Bobbito rapping on it. Bobbito’s flow isn’t on point the entire track but it makes it more charming when you know that this was created in spontaneous situations through the Stretch & Bobbito show. Unfortunately Kool Keith ain’t on it, but this classy beat with deep filtered vibes made me almost forget about him. This track was for sure something different than the other Cenubites tracks you’ve ever heard.
Godfather Don – Status (Test Press)
If you wanna talk hits in hiphop terminology, ‘Status’ got all those components. Besides Don’s talent on the mic, he flipped ‘Marcella’s dream’ from the Crusaders nicely and layered a smooth ass beat on top. With so much Rhodes going on, I’d had done the same thing if he hadn’t (and many more for instance; Pete Rock or Buckwild) done it before.
Although this track wasn’t for the masses and only got test pressed at a maximum amount of 100 copies. ‘Stuck off the realness’ and ‘Burn’ were also on this test press. The main reason it didn’t see it’s proper release in ’96 was because of Don himself! Much later in ’07 it was finally released on a few compilations.
‘…there was so much more material! And you know, when you hold something for a long time with a guy like me who’s constantly happening creatively, things lose their flare. So if I’m looking at one thing for like 4 months and I got another 100 things I did in that time, it’s hard for me to go “Okay, let’s go with the original thing and keep this right here, and the next 100 things can wait in the wing in the future to come out.’
Godfather Don – Styles by the Gram
It wasn’t until ’97 when Don dropped his first official solo 12 inch continuing to bring dope raps, sick flows and incredible productions. It was also the first collaboration between him and the Hydra Entertainment label where he’d later dropped most of his work. The hunger in his voice on this one is just off the hook and the beat.. damn!
The track on the B-side ‘Properties of Steel’ you’ll probably recognize as the one off DJ Premier’s ‘New York Reality Check 101’ album, the same year this single dropped. One hell of a banger which was also the closing track of Don’s second solo album one year later.
Godfather Don – Connections
As far as my standards as a critical hiphop listener go, his second album ‘Diabolique’ is production wise not his best. It isn’t bad at all, there’s still a few bangers on it like ‘Kaos’ but the full album track by track didn’t sound interesting enough compared to his earlier work. Less is more is the deal on this one and by the way an expression you’ll see coming back in our ‘Prominence to Producers’ articles.
The ‘Kaos’ beat is definitely flowing, the short chopped kinda ugly organ doesn’t bring much to the table, the Rhodes and bells in the background are nice to fill it up and the flow is dope. The track ‘Live and Let Die’ is the same kind of concept. ‘Life Ain’t the Same’ reminds me of his earlier period with Kool Keith as Cenobites. Listening to these tracks doesn’t remind me of Don as a great influential beatmaker, but does as a great MC that can flow as a motherfucker and still is very underrated.
“Dip dip die!!” is an easy going boombap track, but if you want to take a step towards the high quality Don, you have to check out the ‘Connections’ joint. The energy in this one is like bringing the whole D.I.T.C crew together and the style plus sound of the beat sorta reminds me of Showbiz in his prime.
Godfather Don – 7 Degrees of Elevation
Don kept busy up to ‘04 for artists like Screwball, Scaramanga, Hostyle and Royal Flush, but he wasn’t the same behind his MPC60 anymore. He honestly made some wack shit during his Hydra period, which I hope is not what he’d be remembered for. You’ll notice his change of approach to beatmaking and the drop in that Don signature sound. There were also a lot of rumours going on as to why he wasn’t rapping anymore and chose to stay in the background.
But he was still sitting on a mountain of unreleased material from the 90s and so the great people at the indie label Diggers With Gratitude searched for Don, connected and made the first steps into releasing much more to come. Should we express gratitude towards labels like DWG? Yes, we should! Because if it was for Don, I doubt it would ever see the light of the day.
The things I was missing with the ‘Diabolique’ album is what this track and the whole Slave of NY EP is all about. Track by track, dopeness to the fullest! It was probably a teaser for the compilation on compact disc which dropped later that in 2007. Check out Don on some RZA shit with a Supernatural kind of voice in the back making the accents more psychiatric. Elevate your mind!
Godfather Don – Do My Thing
As I was saying, the Slave of NY EP was a sort of unannounced teaser for a compilation dropped by the indie label, No Sleep Recordings. I think a lot of cats heard this thinking ‘damn, why the hell have we never listened to the Godfather Don before?’. This collection of vaulted tracks, demos and b-sides, is probably the best compilation of Don’s solo work, but also an album that I would highly recommend to anyone who loves hiphop.
The idea is crazy that some of his previously unreleased shit recorded between ’93 and ’97 was some of his best work and way better than his post-Diabolique period.
‘Do my thing’ has a rich warm sound, dope layered kicks, sharp snares, hats flowing on top, a beautiful jazz sample, Don’s horn signature, nice cuts, and mad flows from the master himself. It’s fucking perfect and shows Don can make jazz sound funky!
Godfather Don – Forever (My Lady)
This track shows his different side, his versatility, smoov with the rufness! The rims, the light hihats playing loud and of course, the sample. Actually ‘Forever’, was sampled from the same song as ‘Status’ was sampled from; yeah the one from The Crusaders.
Godfather Don – Step Up front
Hiphop doesn’t have to be complicated, just pure and the sound definitely has to be on point. A great example of the simplest form of hiphop is this two note bassline track with a smashing drum pattern. Definitely some ‘Break Yo Neck’ shit with enough space for great flows. Please play this loud, and listen close to those wild rhymes from Don and Mega Rat (a cat I’ve only heard on this one). Illness, period.
“I mean the rap thing it’s easy and I can do it, I mean not to say that what I do is easy. I mean yeah, I just feel it so I do it. It’s nothing that I sit down and try to do it.”
Herb McGruff – I Keep My Palm On The Handle
The late 2000s were almost like a revival of the golden era sound because of all the indie labels were releasing demos heads never heard of. Like this EP, which came out of nowhere. Herb McGruff was a group member of the Children of the Corn and worked closely with the late great Big L.
This ‘1994 Demo EP’ was the first in a series of three EP’s containing unreleased production from the mid 90’s from Don on ‘One Leg Up Records’. There are just 200 physical copies in the world and you have to pay big bucks if you wish to cop one. I tell you, this is straight fire from an original MC and producer! The way Don combines the famous Bob James loop nicely with a deep smooth bass and classy crying horns is just beautiful. I don’t have many words for this except BOOOM!
The Cenobites – Don Don Don
During the Stretch & Bobbito show period there was so much Cenobites material recorded, that ‘One Leg Up Records’ saw its chance to release their second EP called ‘Demented Thoughts’, containing previously unreleased material.
Don still looks back with a big smile while thinking at those times in the early 90’s.
“I guess maybe Bobbito or somebody can clarify it, but I remember bringing records up there. I haven’t heard of anybody doing it before. I remember bringing up records with Kool Keith one night and said “Hey man, you know what? I think a great idea would be to start playing these records and just give away some samples.” And Keith said “Are you sure you wanna do that?” I said “Man, this is cool man, let me start giving away these samples.” And Keith was like “Don’t play that!”.. and we was looping things.. It was real ill and Bob was just letting it go. And imagine me playing rare stuff you gotta pay a hundred dollars for.. just playing it clean and then Keith would start rapping over it cause he’d be mad cause he wanted to use it for his record or something, just talking nonsense! It was great, man.”
Godfather Don – Frontin’ Ass Ducks
It’s getting wilder and wilder and the releases for the late 2000’s went on and on. It’s almost impossible to keep up with quality like this! This, ‘The Ill Funk Freaker EP’, was the last of the series that ‘One Leg Up Records’ did with Don. Another sure shot that can’t be missed. Abstract flows and again a classic atmospheric, psychedelic boombap production.
This one is perfect to end the playlist with, although this wasn’t the last thing dropped by Don. He actually dropped in cooperation with DWG a three track single with material from the early 90’s and released in 2010 the album ‘Donnie Brasco’ which was originally set for 1999 to be his third official album. But to be honest, I don’t like any of the ‘Donnie Brasco’ tracks too much so I spare you any further comments on this wack ass computerized sounding shit. It’s remarkable that Don’s three official solo albums didn’t contain his best shit, but it can be found shattered along his many projects and releases.
Lisette Mendez – Will You Ever Save Me (Nutshop Remix)
A great example from the early 90’s when Don wasn’t only focused on making the craziest beats, but also dropped a fly verse here and there. This hidden gem with Vic’s beat contains a short verse from the Don, though he was never credited for it.
House of Pain – On Point (Groove Merchantz remix)
Another remix, done by many but still dope as fuck.
If you need more and got time, check out the Hydra Beats volumes which are full of Don’s rich sounding instrumentals. Here’s a little teaser for y’all taken from volume 3!
Check The Technique (Style, Gear & Influences)
Don was never the kind of person that stood upfront talking or bragging about himself and due to that, little is known about the him or the gear he used. I know that at the time when he was doing the ‘Hazardous’ LP he didn’t have the funds to buy a SP or even a MPC but he found his own ways.
“When I was doing Hazardous I couldn’t afford equipment to sequence at home, because I saw no money, but that’s another story. I took all the shit (records, etc.) down there to the studio and it was a fucking nightmare man. I was using things that you were not supposed to use to sample, like harmonizers, like, crazy bullshit that people would laugh at me today, but somehow I got it done and shit, ‘cause I loved it! I loved it and I didn’t want anybody to tell me how to do anything. I wanted to figure everything out on my own, and I did…But it was cool though, a good experience. I recommend everybody to go through it.”
After his first album he finally had the money for an MPC60, the machine with the 12bit grit other than the SP. The fatness in his early till mid 90’s production didn’t only come from that, but also from the fact he knew how to handle the tape machine correctly. The connoisseurs will recognize easily that Don’s work in the late 90’s, post-diabolique, on Hydra Entertainment weren’t all done on tape anymore. It sounded way to clean for that. Mike Heron, who started the label Hydra Entertainment and worked closely with Don, had the following to say about him:
“Don is a fuckin’ eccentric motherfucker – I’m choosing my words carefully. He’s a weird dude, man. He’s a weird cat. Sometimes I would sit there and try to figure this nigga out, like “Damn, son!” But he’s a talented motherfucker. The guy’s a genius. This nigga’s using an MPC-60 to make some beats – shit sounds like an orchestra, man. And it’s some shit with limited sample time, dog. That nigga kills that machine, he destroys that machine.’
Kool Keith even compared Don in his prime to Pete Rock and after listening to the whole playlist above I hope you’ll understand why.
“Don and Pete Rock had similar sounds, that similar type of jazz, but they both was different programmers; Don had that crazy jazz but Pete Rock had his own sound. Don had like that dope street jazz, that night-time gangster jazz, a lot of that type of stuff. He had a lot of good songs that I rapped on. The way we did it at Don’s was we had one of those sharp type mics with the little cord that rapped straight into the two-inch so it gave me a high-pitched sound.”
In a short documentary called ‘Beat Diggin’’ which featured next to Don some other great producers such as Buckwild, Evil Dee & Mr.Walt, Diamond D and Showbiz, he tells about his irritations about some of the producers out there ‘stealing’ samples and making a lot of money with it. He’s also talking about what he calls ‘pick-up truck production’, which is a way of working the music business nowadays with all it’s subgenres is full of. And because of the unlimited opportunities with software and the whole digital world many artists do what Don was hating so much.
“People don’t know how to put together drum sets really good. They’ll take a snare, a dope ass snare like the ‘If’ snare, everybody watchin’ knows that, from the band ‘If’. Ehm, they’ll take that snare and use it with kicks from ‘Impeach the president’ or hihats from Johnny Guitar, and it’s ..I call it pick-up truck production, because it’s like you running through town like ‘this is my snare’, ‘ehm..this is my kick and this is my hihat’ (taking three different records) and it doesn’t have a true drummer sound like….a drummer wouldn’t do that. A drummer would keep his set tuned within itself so it sounds like one voice from its set you know.”
Check out the trailer for Beat Diggin’ featuring Don below ..
Present & Future
Don isn’t doing hiphop anymore. He stepped his game up and became a more live musician and next to his guitar which was already presented on his first album, now plays the clarinet, piano, sax, bass, you name it. He plays in a sort of jazz oriented quartet called ‘The Open Mind’ who like to categorize themselves as improvisatory experiments in sounds.
“Once I played live music, man I realized the other thing is a job now. This is pleasure, this is the love supreme! The other rap thing was like a job. Like “Can you program this thing for me?” Okay. “Can you arrange something for me?” Okay. But now it’s like “Hey, can you guys play a tune?” Sure!.. You know, you don’t know what you’re gonna get. But it’s great, just the concept of live improvisation. To me it’s very powerful and very now in the moment.”
Unfortunately I wasn’t able to find footage of him playing with the band so if anyone does, please share it. As a jazz fanatic and lover of improvisational music myself I’d like to hear what’s going on.
Next to that, I surely don’t know if there’s any chance if Don will get back rapping or making the wildest beats as he did in the 90’s. But I believe he’s still sitting on a pile of reels full of unreleased great beats and sooner or later we’ll be enjoying some more Don like this wasn’t enough?!
Ok now, tell me, do you agree that Don must be one of the top 10 best producers to ever rock the mic?
Hopefully you enjoyed this read and listen as much as I had writing it. Feel free to provide your knowledge or feedback and make sure to share this if you enjoyed it, so everyone can.
Be on the look out for the next edition in which you’ll get to know all about Diamond D.