In the 1960s, Brazilian musicians made a huge splash with the development of bossa nova. A style of samba, it was pioneered by artists like Flora Purim, João Donato, Marcos Valle and Elis Regina and enjoyed a period of immense popularity. Soon enough, American musicians like Nina Simone, Ella Fitzgerald and Frank Sinatra were making their own interpretations of bossa nova standards.

Fast forward to the mid-‘90s and early 2000s: Hip-hop producers began taking an interest in sampling Latin genres like bossa nova, samba and Brazilian jazz. The rhythms and sounds coming from these parts of the world captivated hip-hop artists with their complex grooves and harmonies, leaving a lot of room for transformation via the artform of sampling.

Celebrated hip-hop producer J Dilla extensively used Brazilian jazz samples to craft many instrumentals throughout his career. He had developed a clear appreciation for the genre and its colourful sounds, digging in local record shops and even flying out to Brazil to scour for rare records.

The best example of J Dilla’s work in sampling this genre is the instrumental for The Pharcyde’s 1995 single Runnin’ for their album Labcabincalifornia. The song transforms Stan Getz and Luiz Bonfa’s Saudade Vem Correndo, making creative use of Bonfa’s guitar and Getz’s tenor sax lines in rearranged snippets.