Karriem Riggins Brings His Fusion of Jazz and Hip-Hop to the Clive Davis Institute

This spring, Emmy Award-winning and Grammy-nominated musician, producer, composer, and DJ Karriem Riggins joined the Clive Davis Institute of Recording Music as an artist-in-residence, leading a 7-week college course on the intersection of jazz and hip hop alongside co-teacher and Grammy Award-winning professor Ashley Kahn. As part of his time at Tisch, Riggins participated in four unique events with Clive Davis Institute students, including a live performance, a workshop on the art of sampling packs, a student feedback session, and a roundtable discussion with special guest Common. 

Born in Detroit to a musical family and a keyboardist father, Riggins is the rare artist whose fluency straddles both classic and contemporary music. An unusually talented drummer with keen producing instincts, Riggins has helped foster the evolving union between jazz and hip hop while furthering both genres. After originally meeting in the mid-90s, Riggins forged long-term creative collaborations with Chicago rapper Common and fellow Detroit hip-hop artist, the late J Dilla. His thriving relationship with Dilla led to a significant role in completing his posthumous album, The Shining. 

As a touring and session drummer, and more recently in the role of producer, Riggins has worked with a stellar list of legendary artists that includes Erykah Badu, Paul McCartney, Stevie Wonder, The Roots, Norah Jones, Ray Brown, Steve Lacy, Diana Krall, Common, Robert Glasper, H.E.R., and Madlib. In 2018, he formed the supergroup August Greene along with Common and Robert Glasper, and received the Emmy for Outstanding Original Music and Lyrics for their song “Letter to the Free,” featured in the documentary 13th, directed by Ava DuVernay.

We recently connected with Karriem Riggins and Clive Davis Institute Professor Ashley Kahn to reflect on their insights teaching the course and engaging with the fearless creativity of young artists. 

After working and interacting with Tisch students, what surprised you or upended your expectations about their abilities and approach to the craft? 

Karriem Riggins: One of the most surprising and inspiring things about working with the students was the diversity of their musical styles and creative voices. Each student brought such a distinct background and perspective to the table and that range made some incredibly dynamic collaborations. When we had them work together in groups, it really sparked something fresh. You could hear new ideas being born in real time—ideas that probably wouldn’t have emerged without that blend of influences.

How does mentoring the next generation of young artists awaken or spark your own creative impulses?

Karriem Riggins: Mentoring young artists now has a way of recharging my own creative energy. It pushes me to stay curious and open-minded. Seeing how fearless they are with trying new things reminds me to stay adventurous in my own journey—and that’s a gift.

Ashley, how does intimacy and access to an artist like Karriem have the potential to transform a young student?

Ashley Kahn: Having worked intensely with Karriem for almost two months—and prepping before for the course—I found that he was exceedingly down-to-earth and totally focused on the music, not lifestyle or rewards (as popular music is often portrayed by social media). Each class he had the option to speak and demonstrate, using a DJ setup or a jazz drum kit—his two primary tools of creative expression—or to simply talk. Whatever means he chose, what I witnessed in the classroom was rapt attention from the students. He was open to answering questions that were either on-topic or not, and very comfortable following a tangent if it developed naturally from what was being played or discussed.

By being himself—humble, honest, and yes, accessible—I believe he was teaching a simple lesson that what he has done and achieved in his career (and continues to do) is the result of years of dedication and diligence and self-teaching, a path of transformation that is available to anyone. To the point of this question, whatever change might happen or switch might get thrown within the students as a result of taking this rare and special course, I believe the proof of that transformation is years down the road.

What is your most valuable takeaway from the residency?

Karriem Riggins: There was one moment that really stuck with me. During one of the group assignments, a few students (who on paper wouldn’t normally end up on the same project) locked into a sound so organically, it felt like something much deeper was happening. It reminded me that real artistry isn’t just about skill, it’s about being open and responsive to each other. That moment was magic, and I’ll carry that with me.

Ashley Kahn: I would say that the realization that a residency of this sort, by a well-respected and accomplished musician or music-maker is best served by one who carries a generosity of spirit and undying love for music like Karriem does—which, honestly, is what one hopes to find in any and all instructors at as intensive and ambitious a program as the Clive Davis Institute.