From its inception in the late 19th and early 20th centuries, Jazz was considered the only true American art form. Its sound is a melting pot of musical influences, incorporating remnants of ragtime, blues, and African rhythms, among others. Many of its early pioneers emerged from urban and impoverished communities, much like the later but equally impactful movement of Hip-Hop. Additionally, the craft of improvisation plays a major role in both, reinforcing their stylistic and cultural connections—an undeniable bond that has not only linked them for decades but solidified their place as two of the most revolutionary forces in modern music.
Although the roots of this fusion date back nearly sixty years, it was during the late ‘80s and early ‘90s that it reached the height of its power. Rap groups such as Stetsasonic, Gang Starr, De La Soul, and A Tribe Called Quest merged introspective lyricism with the boundless sonic textures of legends like Davis, Hancock, and Coltrane. As Hip-Hop embraced Jazz—and vice versa—it introduced a new generation to a timeless tradition, giving rise to a subgenre that continues to thrive today. One of its leading figures in the modern era is the Maestro himself: trumpeter, composer, and arranger Igmar Thomas.
Raised in a household of audiophiles, Thomas picked up the trumpet at 11 and went on to become an authority in his field. He has led international tours for Kamasi Washington, and Lauryn Hill, as well as LL Cool J, Busta Rhymes, and Nas. He has conducted at Radio City Music Hall, the Kennedy Center, and major festivals worldwide. Now, he serves as the arranger and musical director for Revive Big Band, a 20+ player ensemble born from the vision of the late Meghan Stabile, who founded the Revivalist platform and Revive Da Live concert series to connect Hip-Hop’s new wave with Jazz aficionados.
For the San Diego native, the fusion of the two genres has always been an organic progression, molded by his upbringing and diverse interests. His approach to music—both his own and the work he crafts for others—is deeply deliberate. “It’s very natural for me, but it’s conscientious as well because I’m a trumpet player, I’m a composer, I’m a writer,” he said. “I write for big bands, small bands, orchestras—I write for all kinds of things. And every time you’re writing, you have different intentions and goals.”
Furthermore, a pivotal influence in Thomas’ practice was Quincy Jones, one of the artists who seamlessly blended the old with the new, as heard in songs like “Back on the Block” and “Jazz Corner of the World.” As Hip-Hop rose to prominence as the dominant force in Black popular culture during the ‘80s, Jones made a genuine effort to incorporate it into his work, forging a connection between eras. While many of his peers dismissed rap, he embraced it, and like many composers, Jones impacted the Berklee College of Music graduate’s philosophy in more ways than one—most notably by showing him the importance of balance in creation.
“He had a great gauge on taste and what’s appropriate for each situation,” he said of the Thriller producer’s ability to bring records to life. “If you look at his whole career—from him having a big band to Frank Sinatra and Count Basie, to even his TV stuff in the seventies; he knows he has the right amount of taste and he inserts what’s appropriate, and that’s exactly the position I am put in. So, I try to navigate willingly each and every time.”
Thomas’ career as an artist reached a milestone with Like A Tree It Grows, the Revive Big Band’s dynamic statement on the evolution of Black American music. More than a decade in the making, the album serves as both a reflection of the band’s journey and a tribute to the traditions that shaped it. Blending original compositions like “R&P” and “The Coming” with bold reinterpretations of classics by Wayne Shorter and Dizzy Gillespie, the project unites generations. Featuring artists such as Talib Kweli, Dr. Lonnie Smith, Terrace Martin, Jean Baylor, and Bilal, the album explores the roots of jazz and Hip-Hop while reimagining their possibilities for the future. Adding to that connection between past and present, the album was released on vinyl on March 7, offering today’s listeners a chance to experience sound in a format that once defined how audiences engaged with their favorite records.
Over the years, Thomas has collaborated with a remarkable range of artists, from Hip-Hop pioneers like Rakim and Big Daddy Kane to contemporary stars like Lil Wayne and J. Cole. His work spans decades and genres, giving him a rare perspective on the history of Black artistry and its ability to transcend time. Whether serving as a bandleader, arranger, or performer, he has been at the center of these crafts, deconstructing and reimagining sounds to create something new. His Revive Big Band is a reflection of this journey—one that blends freedom with structure and past with present.
“I’m lucky to have an inside look under the hood of a lot of things, and to know music top to bottom, take it apart, put it back together, and then remix it and all of that; I feel very fortunate,” Thomas explained. “And it just contributes to the overall pouring into the [Revive] big band, which is more of a catharsis for me because there’s more freedom. Duke Ellington said it, John Coltrane said it—Jazz is freedom, and I feel like I’m really being honest and current within my time.”
