Guest DJ Interviews
Guest DJ Interviews
I had a blast last night and I hope you all did too. Here is the recording of the first half of Funk Yeah! FM. Available for download and abuse in your hifi stereo systems. Serious business.
Lee Jarvis Mix and Interview right here:
Click on the play button first to show the download link.
Again, no track listing for Lee’s Mix. Bummer Dudes!
J Matthews Mix
1 – Pierce, Jerl – Like This – UGLH & Federico Locchi Remix – Suara
2 – Fernando Mesa – Jardhala – Original Mix – Triple Recordings
3 – Darius Syrossian, Nyra – New York Swing – Original Mix – We Dig. Music
4 – Colette, Joshua Heath – Call On Me – LCG You Need Dub – Candy Talk
5 – LawnChair Generals, Alexander East – Talk To Me – Giom’s Dub – LawnChair Generals Music
6 – ATFC, Affkt, Samuel Dan – Bad Habit feat. Lisa Millet – Original Mix – Off
7 – Kane Ian – Visionaire – Original Mix – Dustpan Recordings
8 – King Kooba – Fooling Myself – Attack Of The 50 Feet Kooba From Mars Remix – OM Records
9 – M&GORS – Deng Beng – Craig Hamilton Remix
10 – Anhanguera – 4 All The Gangstas – Mark Funk Remix – Maracuja
11 – Sonny Fodera – Get Dat – Original Mix – Blockhead Recordings
12 – Chop City DJs – Time to Shake (Scrubfish Circle RMX) – Flapjack
13 – Down N out – The Rubdown – Lepento
14 – Harrison Crump – Feelings – Main Mix
JM: Tell us a little bit about Broadway & Wilson and what you two are all about.
BW: Broadway and Wilson was really something that evolved organically around 2003-04 when we were forced to work together due to that wacky affirmative action clause in that bogus record contract. However, it was the grant from The School of Boogietronics that catapulted us to the next level and really made everything else possible. I would say that there are really only two things that we stand for, and those two things are; making really high quality music, and taking ourselves extra super seriously, seriously.
JM: Jeff, Tell us a little bit about how you got into house music.
Jeff: I was introduced to house music in the late 90′s towards the end of the rave days. I would say that the most influential thing would be moving into the city of Chicago. It’s funny, I actually met Andrew in 2000 the week I bought my turntables and he told me how to balance my needles, he had already been playing records for several years.
JM: Andrew, ditto, but this time in Spanish. LOL, I am kidding, but on a serious note, tell us a little about you, how you got into the scene as well.
Andrew: My brother always listened to electronic dance music (Front 242, Skinny Puppy, Lords of Acid, KMFDM, etc.), but I was always more of a traditional musician and liked Jazz, R & B, and Orchestral music, because I studied music as a kid. I was downtown in KC in 1996 and walked by this deli (18th & Grand) where they used to do parties at and I heard this jazzy, soulful, beating music coming out, so I walked in and Pat Nice was deejaying. I met him and we became friends pretty fast (still honored today to call him a mentor and great friend). He is a total decknician and he showed me a great deal of deep house music that I hadn’t been exposed to. I noticed that a lot of the records I was really into came from Chicago. I was looking at a couple different colleges and decided to go to Columbia and move to Chicago in 1999, mainly to be apart of this Chicago House thang.
JM: With the production that you guys do, how do you guys work together? Are you in the studio together? Or is it more of a pass it back and forth till its completed?
BW: We actually do most of our work in the studio together, even though there is definitely some passing back and forth. There is really no set way that we work. Sometimes one of us brings an idea to the table, other times tracks will be the culmination of us each bringing a separate idea to the table that end up gelling really well. Often we pass something back and forth towards the end just to put finishing touches on it.
JM: Whats the biggest hurdle that Broadway & Wilson has had to overcome?
BW:The biggest hurdle we have overcome would be gaining any kind of recognition at all. It helped putting music out at a time where there was some sort of quality control on established labels. People had to take risks on music, therefore the standards were higher. Nowadays people will put out anything digitally because you can do it with no risk and little effort.
JM: What do you have in the oven for upcoming releases?
BW: We are setting up to launch a new website with great content in conjunction with new material to promote a new podcast. As for releases, we are gearing up for the relaunch of fourplaymusic with a number of remixes of the Dirty Sole f/jOHNNYDANGEROUs album “Dangerous Radio”
Andrew: I also have some remixes coming out on Chez Damier’s label Balance and Joshua Iz’s label Vizual.
JM: Hows it going in the Chicago DJ scene? I saw a video of another Chicago DJ/producer that really put a point on the fact that technology is making it easier and easier these days for anyone to be a DJ. What are your guys feelings on that?
BW: Of course technology makes it easier for anyone to be a deejay as far as playing music for other people, but it doesn’t necessarily make it easy for anyone to be a “good” deejay. There are obvious technical skills that anyone can learn and some technological shortcuts like auto sync, but it takes practice and experienced playing for people to get a feel for selection (what records you play) and programming (when you play them) and how to feel out a crowd or really rock a joint. Go watch Derrick Carter or Terrence Parker, or Laurent Garnier, and it will be quickly evident the difference between them and some dude with an iPod or auto sync or some other piece of “revolutionary” technology.
JM: Andrew, for gigs, whats coming up for you and what are most excited about?
Andrew: I’m hosting a once a month Friday event at a party called Elephant Noise here in Chicago that I’m most excited about. I’ve got a couple of dates on the East Coast that are coming up, and I’m excited to hit Europe again next year, we are trying to go together as Broadway & Wilson. We have been over there as individuals, but haven’t made it as the duo. Looking forward to it.
JM: Jeff, It was sad to hear about PO!NTF!VE closing. I dug that place. Whats up now? Are you chasing new residencies?
Jeff: Well one of my monikers is PO!NTF!VE so PO!NTF!VE Presents…was my Friday residency that I did for over four years here in Chicago. I stopped doing a weekly about 4 months ago and I’m not currently looking for a new weekly. Keeping a weekly fresh is really difficult, especially in Chicago where the bar for deejaying is high. Right now I am focused on doing one-offs and a possible monthly under the right circumstances.
Its my honor to have a great dj/producer and great friend be the first one to help kick off this radio show. Nate Laurence has been a great influence for me the past few years of my life. So to pick his brain more with an interview, is even more fun. Check out the interview I did with him below.
JM: Yo Nate, I am glad to have you on as the first guest for the kick off of Funk Yeah! FM. What you got in store for us for your mix? Where are you going to be taking us during the hour?
NL: I’m thrilled to be your first, Mr. Matthews. Wanting to know what to expect is a good question. I think a lot of folks in Minneapolis (and around the world for that matter) tend to pigeonhole me in the deep/funky/jack realm when in fact, as a DJ, I tend to play like it was still 1994 and my only mission is to melt faces. That’s where I’m taking you for an hour. Strap on your cowboy boots and nutcup!
JM: Tell us about your background, where are you from, what you are currently up to in the house music scene and some of the things you are passionate about outside of house music.
NL: I’m Minneapolis to the bone. I’ve been lucky to live in other parts of the world as well, such as Los Angeles and Cape Town, South Africa (my true second home) but a Minneapolis boy nonetheless. My background is complex but I like to simplify things and disclose that I’m a kid who wasn’t supposed to do much with his life but ended up making many good things come true through an enormous amount of struggle and hard work. My background is difficult and quite sad but it was the 90’s rave scene that saved me. To this day, I’m a clean kid who went to countless raves to experience a self-transformation through the music, not the chemicals. I fell in love and it’s now nearly two decades later and I’m still going. Many don’t know that I also hold a master’s degree in Social Justice education so I’m an activist/educator as well. I’ve found my calling: 50% music and art (in it’s many forms) and 50% advocacy for those less privileged. Those who know me know this well. I’m very introverted and tend to shy away from lots of conversation but when it comes to things meaningful to me, I’m a mouth full. Finally, in the house music scene today I guess I’m doing it all: I’ve been humbled to have an incredible worldwide response to my production; continue to DJ nationwide and internationally; hold a residency at my all time favorite nightclub in Minneapolis (First Avenue) where I’ve danced since the age of 15; and, am starting a new record label, Pluralistic Records.
JM: Ok, I’m biased for doing this interview, because I know you really well, and know about all the stuff you got going on in your production life, but can you fill us in on some of the secret stuff going on in your production currently and maybe a little about some of the new stuff you are going to be dropping?
NL: LOL. I have a lot of emails every day asking when the “new shit” is coming out and it’s one of those things where I’m sitting on a bunch of new music and it’s coming…soon. Here’s the current list: my remix of Chuck Love’s “Minneapolis Coming At Ya” out now on OneThirty Recordings (Minneapolis); my full solo EP on Mindtravel Recordings (Italy) will be on vinyl any day with digi to follow; my DJ Dan remix with Scrubfish (my main production partner) should be out this winter (2010) on either Nettwork (major label) or DJ Dan’s InStereo; a new EP with Flapjack Records (Chicago) is in the works; still working on a new release with Jamon (Texas) on vocals; just finished a remix for Jam Funk’s “Vintage Groove” on Meltin Funk Records (France) that will be released this winter as well; and, some yummy new ones in the works with Scrubfish that will be both on my new label and elsewhere. In terms of production itself, I think people can expect more of the traditional Chicago style stuff from me. As I mentioned early, when I DJ, I tend to hit hard (the more room I have to be creative, the harder I hit). So, I’m starting a trend of producing more that fits what I do as a DJ. This is also what my new record label will be about. Those who follow me for my “jack” style production shouldn’t fear. That will continue to come as well but I might surprise some folks in the next year.
JM: Technology is getting a little out of control these days and DJs and live artists are popping up all over the place. How do you feel about all this new technology, you know, Serato, iPads, Laptop DJ equipment etc.
NL: I am not a producer-made-DJ. With nearly 18 years of experience, I have ALWAYS been a DJ (and turntablist) first and got lucky in production. Those who know me know I’m OLD SCHOOL. In fact, the only reason I can produce is because I’ve stuck with a few tools that I learned really well. As far as the technology goes, I really know very little and often am frustrated with it. But, what I create as a producer is via an artistic ear and a DJ ear; it has always been that way. I work tirelessly on a new track, combining layer after layer until I hear something that moves me – that makes me jump out of my seat in my wee studio. It’s funny that so many ask me about production today and my response is always the same: it’s NOT the tools but what you put into it. You need three things: (1) passion – and I mean feverous passion, (2) creativity – don’t take the easy way out and work vigorously on what you create, and (3) talent – some simply need to work on talent. I work on it (talent) each and every day. As a DJ, I could care less about the buttons and lights (I never use them save a filter FX once in a while). If I could stick to vinyl, two turntables and a simple mixer, I would. Since this is no longer an option and the need to accept the digital realm is not going away, I have moved to Serato. I can still be me – simple me – yet utilize the digital world. Finally, I don’t really feel one way or another about technology but do feel that it can either be a means to some really great and interesting ingenuity and creativity, or a means to deceive. Those who do cheat have to deal with that their selves; I merely won’t support their claims as an “artist.”
JM: Who is your favorite writer and why?
NL: Hard question. I do love Kurt Vonnegut because he’s brilliant, funny, and a Socialist Democrat not afraid to admit it. I could also read Howard Zinn over and over.
JM: When you shop for groceries, do you use paper, plastic, or the eco friendly fabric bags?
NL: I own eco-friendly fabric bags but I always forget to bring them; and, when I do, I use paper. Polymers are a nuisance. LOL.
JM: Favorite brand of Ice Cream?
NL: Brand? Not sure. I love Snickers Ice Cream cones that you get at the gas station and I’m a sucker for Sebastian Joe’s (a Minneapolis local) Maple Nut. But, I’m diabetic so why are you asking me this? LOL.
JM: What is the most messed up thing that has ever happened to you in your DJ or Producing career so far?
NL: I haven’t had much happen to me that’s messed up. Oh wait…remember that time I got roofied at an after party? Since my diabetes didn’t think that was cool, I ended up throwing up for 32 hours straight, spent an evening in the ER, burned a large amount of the exterior of my esophagus, and have forever since been paranoid of my beer being exposed to anything but my thumbs or lips!
JM: How are you feeling about the house music scene in the US? How are you feeling about things locally and regionally too?
NL: Honestly, we all debate this to no end but I really don’t think house music is going anywhere. I always like to think of it like I think of Capitalism. It’s circular; it goes up, then crashes hard. When it crashes due to saturation, co-opting of culture, and greedy artists (because we’re sick of artists who get paid insane amounts of money to push the “play” button and bang their fists while soaked in pretty lighting), those of us at the bottom still exist and start pushing our music…again. I do know that there are slight, yet noticeable differences in how people respond to house music internationally. Many parts of Europe may not know it, but they’re spoiled (and it’s fantastic to benefit from that spoiling as a US dj traveling to Europe). US cities are different too. But think of it this way. When “they” took away our rave scene and made us run to the cocktail lounges and clubs to compete with Top 40, we did. Sure, it hurt some but we are still here. As the rules change, we too will change in a way that preserves what we’ve done since the start.
JM: What would you like to see happen in 5 years a) for you personally and b) for the house music scene?
A. Carpe Diem my friend! I am right were I want to be – and humbled as hell. I think DJs/Producers who try too hard find their selves very frustrated when the “fame” they assumed is possible, never comes.
B. As an “old guy” in the scene now, I really want to pass this music along while I have time. If “we” continue to do this, house music in five years (and beyond) will no doubt continue to not only grow, but become more creative, more inspiring, and more lucrative for “starving artists.” This will suck at times but if people care (as many say they do), it’s possible.