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And this wasn’t some fusty, old-fashioned take on jazz. It was as if Lamar sought a music that could tell the story of Black America as vividly as he would in his lyrics a music that was as free-flowing and supple as his verses.
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He assembled a crack band of the most exciting jazz musicians of the day, installing saxophone colossus Kamasi Washington as musical director. To Pimp A Butterfly sounded unlike anything Lamar had done before: a genre-busting jubilee in honor of the funkiest, freshest, and most out-there elements of African-American music. It showed fans there was no second-guessing Kendrick – especially not in a musical sense.
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Now sounding tougher and more vital than before, it included a speech from Kendrick mourning the effects of gang violence and urging Black communities to celebrate themselves.
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When To Pimp A Butterfly was released on March 15, 2015, the song was an intrinsic part of the sprawling narrative Lamar unfurled. The first taste of Good Kid…’s follow-up was released in September 2014 in the shape of the Isley Brothers-sampling “i.” An upbeat slice of radio-friendly funky hip-hop, it preached a positive message of self-love and celebrated individuality, but seemed perhaps lighter than many had expected.