[**THIS IS A FREE ALBUM. However, if you choose to donate, we'd greatly appreciate it.**]

Improvised and spontaneous instrumentation and lyricism. They're integral parts of live performances - jam bands, freestyle rap, jazz vamps, soulful soloing, gospel, folk, blues, rock; you name the genre, there is improvisation somewhere in it made manifest through performance. We decided to capture that as much as we could in a predominately hip-hop environment. So Dale "Twinn Zeus" Ruffin and I made some rules, drank some brews, invited some friends over in April and May of 2013, and recorded nearly 40 collaboration tracks that adhered to a very strict set of rules (we're releasing them in series small, bite-sized volumes). So, without further ado, the parameters, yahdig?

RULES:
1. Grant has fifteen minutes or less to create an instrumental. Anyone to be featured on that instrumental are not allowed to hear him writing/recording the instrumental, nor are they allowed to hear it before they go into the vocal booth.
2. Guest vocalists and instrumental soloists go into the booth, get counted into the beat, and spontaneously rap, sing, talk, play, stammer, cough, miss notes, crack notes, swear, laugh, and love into the microphone.
3. Whatever comes out is the final take and is later mixed and mastered by Grant into what you hear on this record.

Caveats:
In re-sequencing the instrumental later, Grant is allowed to deconstruct parts, but never add to any of them. This means that if he wrote a drum part that consisted of hi-hat, snare, and kick, he could intermittently take away the hi-hat and add it back in later, or the kick. However, he could not later add in tom toms or a crash cymbal if it was not already present in the original recording (which occurred, as mentioned previously, in fifteen minutes or less). Additionally, vocal effects are applied after the initial recording, usually to add humor or bring out certain parts. To create hooks and choruses, it is also permissible to take sections of guest artists' verses and cut them up into pieces. Deconstructive mentality all the way, y'all.

So, without further ado, we hope you enjoy this second installment of the 2013 Yahdig? Sessions! And thanks as always for the support!

-Grant

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Also, if you're interested, we've provided links to all of our featured guest's other artistic projects below (and some information about them).

Jay Einhorn (despite being a featured guitarist on this record) is also the saxophonist of the soulful ska/blues band Major and The Monbacks - check them out here: majorandthemonbacks.bandcamp.com

Charles Ramsey is also a solo artist, a guitarist, and member of Fella - check out his 2014 solo mixtape debut here: governorramsey.bandcamp.com

Patrick Jones too is a solo artist and member of Fella - you can hear the first single off of his upcoming debut mixtape here: soundcloud.com/pat_live/most-beautifullest

Kory Riemensperger is also the bassist of the rather stellar (and rather poignant) folk band Kozak and the Poets: kozakandthepoets.bandcamp.com/releases

Tony Zollo is also a graphic/visual artist and designer, as well as an album cover artist: www.behance.net/TzolloART

Myca Townes is also a keyboardist and gospel choir singer.

Claire Nagy-Kato is also a comedian, arts and crafts crafting crafter, and a ukulele player.

Alexander J. Smith III is also a keyboardist and the brand new saxophonist of funk/blues band The Heritage, which you can check out here: www.funkandfellowship.com/index.html#!/