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For all the jazzy warmth of his performance, he meant to leave the audience feeling challenged.
The words that Aminé added on ended up overshadowing the rest of his performance — but that’s not a dis.
Even before those closing lines, Aminé's performance had political implications worth noting.
His use of orchestral jazz modes drew on a rich tradition, dating back to the days when crate-divers like Prince Paul, J Dilla, and Tribe’s Ali Shaheed Muhammad would explore their elder kinfolks’ record collections. and Chance the Rapper recalls the intimate engagement of those previous Afrocentrics — an especially important link in the era of Trump, whose policies threaten this cultural heritage along with so much else.
On the papyrus holding names of rap cats who’ve dialed up their politics lately, pencil in Portland rapper Aminé next to A Tribe Called Quest, Common, and Chance the Rapper.
The reason: his much-discussed performance of “Caroline” on in November.
By the mid-'90s, their excursions paid off, as breakbeats, brassy horns, and the possibility of improvisation laid a flexible canvas for rappers of the non-gangster type. Jazz artists have benefited for decades from the federal funding and public exposure provided by the National Endowment for the Arts (NEA), which the new Republican regime has threatened to cut drastically.