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True Master

True Master (born Derek Harris) is an hip-hop and , best known for his production work with the and its extended affiliates as a member of the Wu-Elements production collective. Harris, who performs under the moniker True Master, gained prominence in the underground scene through collaborations with Wu-Tang members, including key beats for Ol' Dirty Bastard's "Brooklyn Zoo," Ghostface Killah's "Fish," and Method Man and Streetlife's "Dangerous Grounds." His production style, characterized by gritty, sample-heavy loops and rhythmic precision, contributed to the group's signature sound, earning credits on multiple albums and earning him recognition as a disciple of Wu-Tang architect . Beyond Wu-Tang, True Master has produced for artists like , , and non-rap acts such as the soundtrack for the film Caught Up, while occasionally releasing his own rap material and maintaining an active presence in hip-hop production into the 2020s.

Early life

Childhood and family background

Derrick Harris, known professionally as True Master, was born on November 4, 1969. He grew up in and , , in a purchased by his family in 1971 for $20,000. Harris was raised by his single mother, who gave birth to him at age 19 and to his sister the following year before acquiring the family home at 25. Limited public details exist regarding his father or , with his upbringing centered on his mother's efforts to provide stability amid City's urban environment. During his childhood, Harris attended public schools featuring music programs, where he received instruction on the , , and guitar. His mother also enrolled him in extracurricular activities including , , and , fostering discipline and physical development in a neighborhood known for its challenges. He later emulated his mother's homeownership milestone by purchasing his own around age 27 or 28.

Introduction to hip-hop and early influences

Derek Harris, known professionally as True Master, immersed himself in New York City's hip-hop culture during its formative years, beginning as an MC in the late 1980s alongside figures who would later form the Wu-Tang Clan, including RZA, GZA, and Ol' Dirty Bastard. This early involvement stemmed from the genre's grassroots emergence in Manhattan, where block parties, breakdancing, and freestyle cyphers provided direct exposure to rap's raw, improvisational essence. Transitioning from rhyming to technical roles, Harris started DJing with basic setups featuring two Technics turntables, employing techniques such as tape pausing to manipulate breaks and create seamless mixes. His production beginnings involved rudimentary equipment like the sampler-keyboard, using its four pads for percussive stabs and simple loops, which laid the groundwork for his signature gritty sound. Key influences included producer , who mentored Harris on drum programming—stressing drums as hip-hop's "essence"—and advanced truncation tricks to add punch and variation to beats. further shaped his style by granting access to the Ensoniq EPS 16+ sampler for experimentation, introducing chopped sampling over static loops to evoke a live, unpredictable energy reflective of street performances. Harris's broad listening across genres reinforced this foundation, prioritizing causal rhythm dynamics over polished repetition in early creations.

Entry into the music industry

Initial production work in

Derrick Harris, known professionally as True Master, initiated his production endeavors in City's underground hip-hop scene during the early to mid-1990s. Initially active as an MC alongside figures in the nascent rap collective, he pivoted to beatmaking amid the city's vibrant, sample-heavy production landscape. Employing basic hardware like the SK-4 sampler with its four pads, Harris crafted foundational rhythms through percussive stabs and layered sounds, refining techniques influenced by local innovators such as Easy Mo Bee's drum programming methods. By the mid-1990s, Harris upgraded to the Ensoniq EPS-16 Plus sampler, often borrowing equipment from peers to experiment in informal studio settings across . This period laid the groundwork for his signature gritty, orchestral-leaning style, drawing from the era's emphasis on dusty vinyl samples and hard-hitting breaks prevalent in . His transition from rhyming to production reflected a practical adaptation to the competitive environment, where self-reliant creators produced demos and instrumentals for local artists and cyphers. True Master's first verifiable production credit emerged in 1995 on the compilation Guru Presents: Ill Kid Records, a showcase of emerging talent curated by Gang Starr's on his ILLKID Records imprint. He produced and performed vocals on the track "Who's the Truest," a concise 2:41 cut featuring raw beats underscoring his own lyrics about authenticity in rap. Released amid New York's post-golden age flux, the album highlighted underground acts like and , positioning Harris's contribution as an entry point into professional circles beyond informal tapes.

First connections to Wu-Tang Clan affiliates

True Master's earliest documented production work with Wu-Tang Clan affiliates centered on collaborations with Killah Priest and the Sunz of Man group in 1998. Killah Priest, a Brooklyn-based rapper affiliated with Wu-Tang through his spiritual themes and group ties, enlisted True Master and 4th Disciple to handle all production for his debut solo album Heavy Mental, released October 27, 1998, via Geffen Records. The album's 16 tracks featured layered, orchestral samples drawn from soul and jazz sources, emphasizing atmospheric builds and hard-hitting drums that aligned with Wu-Tang's raw aesthetic, though without direct RZA involvement. These efforts extended to , Killah Priest's primary collective comprising members like , , and 60 Second Assassin, which operated as an extended Wu-Tang entity focused on militant, esoteric lyricism. True Master produced "Flaming Swords" on their debut The Last Shall Be First, released July 21, 1998, by Red Ant Entertainment, a cut clocking in at 5:18 with aggressive flows over ominous strings and percussion evoking biblical warfare motifs central to the group's identity. He also appeared as a rapper on the album's "Collaboration '98" alongside , marking an early dual role in the affiliate sphere. These 1998 projects represented True Master's entry into affiliate production, bridging his prior core Wu-Tang credit on Ol' Dirty Bastard's Return to the 36 Chambers: The Dirty Version (1995) with deeper extensions into the Killa Bees network, where producers like facilitated shared studio sessions in . No verified earlier affiliate credits predate this period, underscoring 1998 as the onset of sustained ties beyond the proper.

Association with Wu-Tang Clan

Key early collaborations and beats

True Master's breakthrough collaboration came in co-producing "Brooklyn Zoo" with for the album Return to the 36 Chambers: The Dirty Version, released March 28, 1995. The track's sparse piano riff, layered over hard-hitting drums, provided a stark backdrop for ODB's chaotic flow, drawing samples from Big Daddy Kane's "Raw" (1988) and 's "" (1993). Building on this affiliation, True Master contributed two beats to Wu-Tang Clan's , released June 3, 1997. On "Heaterz," he crafted a tense, orchestral featuring , , , , , and , emphasizing rapid-fire verses with ominous strings and percussion. "The M.G.M." followed, delivering a cinematic, dialogue-infused production for and Raekwon's storytelling, complete with gritty basslines and sampled vocal snippets evoking mob film aesthetics. These early efforts highlighted True Master's proficiency in constructing dense, narrative-driven instrumentals from obscure and samples, mirroring RZA's blueprint while introducing distinct rhythmic punch—essential to the Clan's late-1990s expansion.

Contributions to Wu-Tang solo projects

True Master produced the track "Brooklyn Zoo" on Ol' Dirty Bastard's debut solo album Return to the 36 Chambers: The Dirty Version, released March 28, 1995, which became one of the album's signature singles and peaked at on the Hot Rap Singles chart. On Cappadonna's debut solo album , released March 24, 1998, True Master handled for multiple tracks, including "Slang Editorial," "Supa Ninjaz," "Splish Splash," "Milk the Cow," "South of the Border," and "Dart Throwing," contributing to the project's Wu-Elements sound alongside and others. The album debuted at number 3 on the , selling over 98,000 copies in its first week. True Master contributed beats to Inspectah Deck's debut solo album Uncontrolled Substance, released October 5, 1999, including "Longevity" featuring , "Lovin' You" featuring , and "R.E.C. Room." The album entered the at number 19 and received positive critical reception for its production depth. For Killah Priest's debut solo album , released March 3, 1998, True Master collaborated on production with 4th Disciple, helping craft the dense, atmospheric sound that defined the project as a Wu-Tang affiliate effort. The album peaked at number 28 on the and established Killah Priest's solo presence outside the Clan.

Production career

1990s breakthroughs

True Master's emergence as a prominent occurred in 1995 with his contribution to Ol' Dirty Bastard's solo album Return to the 36 Chambers: The Dirty Version, where he crafted the lead single "Brooklyn Zoo." The track's raw, sample-driven beat, incorporating elements from soul records, propelled the song to commercial success and highlighted True Master's skill in extending the -Tang aesthetic beyond RZA's foundational style. This production marked his debut major credit and positioned him as a competitor to other Wu affiliates like 4th Disciple in shaping the group's sound. In 1996, True Master provided the beat for "Fish" on Killah's , the album's only track not produced by , demonstrating his capacity for moody, introspective arrangements that complemented Ghostface's narrative flow. His involvement deepened with the Wu-Tang Clan's 1997 double album , producing "Heaterz" featuring and , known for its aggressive piano loops and relentless rhythm, and "The M.G.M.," a emphasizing chamberlain-esque grit. These efforts, part of the Wu-Elements production collective, underscored his role in maintaining the Clan's signature dusty, cinematic production during their peak commercial era. Additional 1990s credits included co-production on Gravediggaz's The Pick, the Sickle and the Shovel (1997), such as "Pit of Snakes," blending themes with layered samples. By the decade's end, True Master's beats had solidified his status within the extended Wu-Tang network, influencing affiliates through soul-infused, street-hardened soundscapes that prioritized raw energy over polished mainstream appeal.

2000s expansions and challenges

In the early 2000s, True Master broadened his production scope beyond core Wu-Tang Clan affiliates, contributing beats to Busta Rhymes' 2002 album It Ain't Safe No More..., including the track "Til It's Gone," which showcased his signature gritty, sample-heavy style adapted to mainstream commercial rap. He also produced for Bad Boy artist Black Rob, expanding into label-affiliated projects outside the Wu-Tang ecosystem, such as tracks on The Black Rob Report (2005), reflecting efforts to capitalize on East Coast hip-hop's evolving market amid rising Southern influences. Additionally, True Master ventured into advertising, scoring a commercial for Japanese markets featuring Raekwon, signaling diversification into non-album media. These expansions coincided with industry challenges, as True Master observed that mounting commercial pressures and "shortcuts" in beatmaking—driven by rapid production demands—often eroded producers' artistic depth and originality. The decade's shift toward polished, hook-driven tracks from emerging producers like and intensified competition for traditional East Coast sound architects like True Master, who prioritized raw, narrative-driven beats rooted in aesthetics. Despite this, he maintained selective collaborations, including with and ongoing Wu-Tang solo efforts, but noted the financial incentives tempting dilution of personal style.

2010s to present developments

In the early , True Master expanded his production scope through high-profile collaborations, notably producing the full album Meta-Historical alongside , released on September 7, 2010, via Fat Beats Records, which featured tracks blending conscious themes with sample-based beats drawing from and influences. This project marked a departure from his Wu-Tang-centric work, emphasizing his role as a lead on thematic, knowledge-focused material. He followed this with his solo production-heavy Master Craftsman in 2013, released under his own True Master Music imprint, showcasing self-produced tracks that revisited East Coast boom-bap aesthetics with layered sampling techniques. Following a period of reduced output, True Master resumed collaborative production with Wu-Tang affiliate Killah Priest on Divine Intervention, released April 8, 2021, via True Master Music, an 10-track effort he primarily produced, incorporating spiritual and abstract hip-hop elements through dense, atmospheric instrumentation and vocal layering. The album's release highlighted his continued affinity for Wu-Tang extended network artists, with production credits emphasizing raw, unpolished beats suited to introspective lyricism. Into the , True Master's activities have centered on releases under his label, with no major placements for external artists documented as of , reflecting a focus on niche, circles rather than broad commercial ventures. His work maintains fidelity to East Coast hallmarks, such as gritty drum patterns and obscure sample flips, though output remains sporadic amid personal and industry shifts.

Career as a rapper

Early features and mixtapes

True Master's initial rap appearances emerged from his early involvement in New York circles, where he began rhyming alongside affiliates like , , and during informal sessions in the mid-1990s. These origins as an MC predated his prominence as a , though documented released features remained sparse, often confined to underground mixtapes and freestyles rather than mainstream albums. One notable early outing was a on Tony Touch's #50: Power Cypha - Featuring 50 MC's , released around as part of the DJ's influential series showcasing East Coast talent. Such appearances highlighted his technical rhyme schemes and Wu-inspired gritty delivery, aligning with the era's culture but without widespread commercial exposure. He also contributed verses to affiliate projects, including spots on like Street Shyt hosted by Ron G, emphasizing raw, street-level bars over polished production. By the late , True Master began surfacing more visibly with standalone tracks like "Who's The Truest" in 2008, a self-produced cut featuring dense, introspective referencing his legacy and mic mastery: "Imperial, material mic, the Master, check me / I clutch the mic tight, uh inside the right and ignite the light." These efforts laid groundwork for fuller rap pursuits, though no dedicated solo mixtapes materialized until the , underscoring his secondary focus on amid demands.

Solo releases and later appearances

True Master issued Master Craftsman, a presented as his primary rap project, on September 8, 2013, via his own Persian Legacy imprint. The 20-track release features True Master handling all production and delivering verses across the , emphasizing instrumentation and Wu-Tang-inspired themes of self-mastery and street wisdom, with guest spots from affiliates like , , Popa Wu, and a joint appearance by and on "Strong Arm Corners and Blocks." Subsequent appearances include his contributions to Divine Intervention, a collaborative album with Killah Priest released on April 8, 2021. True Master produced the entirety of the 10-track project, which delves into abstract and conscious hip-hop motifs, and provided raps on select cuts such as "From Babylon to Louisiana" and "Summer Snow," blending his production style with Priest's esoteric lyricism. The album received niche acclaim within underground circles for its raw, unpolished aesthetic but did not achieve mainstream commercial success.

Legal controversies

2017 arrest and conviction

Derrick Harris, professionally known as True Master, was arrested on September 12, 2011, at his apartment by the Police Department following allegations of by a female acquaintance. The primary incident reportedly occurred on August 13, 2011, involving claims that Harris forced the woman to perform , attempted to her on a pool table after repeated punches, and assaulted another woman separately. Charges included attempted , , , unlawful , criminal possession of a weapon, and escape after an initial release led to rearrest hours later. Harris was denied multiple times and detained pre-trial at , where he remained for over four years amid delays in the case. In a 2015 trial in Supreme Court, he was acquitted of the top attempted charge but a mistrial was declared on the remaining counts of , , and weapon possession due to jury deadlock; was then set at $500,000, which he could not post, extending his incarceration. Following the mistrial, the case advanced to further proceedings, culminating in conviction on lesser sex crimes and assault charges, for which Harris received a sentence effectively continuing his detention at Rikers Island. Prosecutors relied on the accuser's testimony despite available DNA evidence from a September 26, 2011, rape kit that later contradicted the claims; the defense alleged NYPD withheld exculpatory results showing Harris's DNA absence from the victim. Harris maintained innocence throughout, attributing delays and outcomes to prosecutorial misconduct and bias against his prominence in hip-hop.

Imprisonment at Rikers Island

Derrick Harris, professionally known as True Master, was incarcerated at , City's primary jail complex, following his rearrest on September 16, 2011, after allegedly fleeing a court hearing related to charges of attempted rape, , , and unlawful imprisonment. The charges arose from an alleged incident on December 13, 2011, in his apartment, where prosecutors claimed he assaulted a he had met previously, forcing her to perform oral sex and attempting further on a pool table. Harris spent approximately four years in at , from his rearrest in 2011 until around 2015, despite an initial posting that was revoked due to the charge. During this time, he represented himself in court and maintained his innocence, arguing the accuser fabricated the claims after he rejected her advances. In August 2015, a jury acquitted him of the top count but deadlocked on the lesser charges, resulting in a mistrial for those offenses. The prolonged detention occurred amid allegations, later raised in civil litigation, that New York Police Department officers fabricated evidence to prolong his incarceration, including claims of perjury by a specific officer targeting Harris. Harris later asserted in a 2022 lawsuit that DNA evidence excluded him as the perpetrator, underscoring the basis for his claims of wrongful pre-trial confinement at the facility notorious for overcrowding and violence.

Exoneration via DNA evidence and lawsuit

In 2020, DNA testing on evidence from the alleged 2013 sexual assault case excluded Derrick Harris, known professionally as True Master, as the source of biological material, leading to the dismissal of all remaining charges against him and his release from Rikers Island after approximately four years of incarceration. The testing, conducted post-conviction on items including the victim's clothing, demonstrated that Harris's DNA was absent from key samples, contradicting earlier prosecutorial claims linking him to the incident despite his 2015 acquittal on the primary rape charge following a mistrial on lesser counts such as attempted rape, sexual abuse, and assault. Harris's legal team argued that the New York Police Department had withheld exculpatory evidence, including the DNA results and records of investigative misconduct, which delayed his exoneration and prolonged his detention on bail violations and related charges during retrials. This suppression, per the complaint, violated Brady v. Maryland standards by failing to disclose material favorable to the defense, contributing to his effective imprisonment from around 2016 onward despite the initial partial acquittal. In March 2022, Harris filed a federal civil lawsuit against the City of New York, the NYPD, and involved officers, represented by attorney Ben Crump, alleging , , and civil rights violations under 42 U.S.C. § 1983. The suit seeks unspecified compensatory and for the four years served, claiming deliberate fabrication of evidence by detectives to pressure a conviction amid Harris's high-profile status in . As of October 2025, the case remains unresolved in public records, with no reported settlement or dismissal.

Legacy and recent activities

Influence on East Coast hip-hop production

True Master (born Derek Harris) contributed to production primarily through his affiliation with the and its extended network, debuting with the beat for Ol' Dirty Bastard's "Brooklyn Zoo" on Return to the 36 Chambers: The Dirty Version (1995), which exemplified the gritty, sample-driven sound dominant in mid-1990s rap. His technique involved chopping and reassembling samples rather than simple looping, using equipment like the Ensoniq EPS 16+ sampler—similar to RZA's setup—to create beats with a raw, live-band-like texture that avoided a synthetic feel. This approach, drawing from influences like Easy Mo Bee's drum programming tricks such as volume swells and echoes, reinforced the aesthetic central to East Coast production during the genre's . On Wu-Tang Clan's (1997), True Master produced "Heaterz," featuring and , a track that integrated dense, atmospheric samples with booming drums to support the group's chamber-style lyricism, contributing to the album's commercial success of over 2 million U.S. sales in its first year. He also handled "The M.G.M." for and , emphasizing layered soul and funk chops that mirrored the Wu-Tang collective's emphasis on obscure, cinematic sampling. These productions extended the RZA-orchestrated Wu sound to affiliates, influencing producers in the underground scene by prioritizing causal sample manipulation—sourcing from vinyl, CDs, and even TV audio—over prefabricated loops, which helped sustain East Coast rap's authenticity amid rising dominance. Further impact came via solo affiliate projects, such as "" on Killah's (1996) and multiple tracks on Method Man's (1998), where his beats maintained a hard-edged, street-level vibe that shaped the blueprint for Wu-adjacent East Coast output. True Master's methods, shared in discussions with peers like , promoted advanced drum programming and effects application, fostering a production ethos that valued precision and originality, though often underrecognized compared to RZA's broader innovations. By the late 1990s, his work on albums like Cappadonna's (1998) helped propagate this style, influencing subsequent East Coast beatmakers to adopt similar gritty, non-linear sampling in an era shifting toward commercialization.

Ongoing projects, petitions, and industry standing as of 2025

Following his exoneration in 2020, Derrick Harris, known professionally as True Master, filed a federal civil lawsuit in March 2022 against the New York Police Department, the City of New York, and involved officers, alleging malicious prosecution, fabrication of evidence, and suppression of DNA results that excluded him as the perpetrator in a 2017 rape case. The suit, represented by civil rights attorney Ben Crump, claims prosecutors withheld exculpatory evidence, including DNA mismatches, leading to Harris's four-year detention at Rikers Island despite partial acquittals on top charges in 2015. As of October 2025, the case remains unresolved in public records, with Harris seeking compensatory and punitive damages for lost career opportunities and emotional distress. No major music or projects have been publicly announced by True Master since his , reflecting a period of reduced visibility amid legal recovery. Industry commentary in 2025 continues to credit his 1990s contributions—such as producing Capone-N-Noreaga's "L.A., L.A." and tracks for and —as extending the Wu-Tang Clan's sonic framework, though his current standing is limited by the career hiatus from incarceration. Recognition persists in niche forums and retrospectives, positioning him as a East Coast whose influence endures despite recent adversities.

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