MC: Hi Keith, Thanks for taking the time to speak to the JjazproJect.

MC: Where are you from originally and where are you based right now?

KT: I've lived most of my life in NYC. I was born in Jamaica and moved here when I was 8. I'm based in Brooklyn even though I'm a Bronx boy at heart. That's like someone living in South London (maybe in Greenwich or Blackheath) but being a North Londoner at heart (coming from Hempstead or Belsize). I used to live in London for a while in Parliament Hill, Belsize.

MC: Tell us about your earliest musical memories and some of the first records you bought.

KT: My memories go back so far it would be scary to say. But I remember "Obla Dee, Oba Da" by the Beatles and one of the first reggae records, "Baby, Why" by the Gables. But the first record I ever bought was either "I Can See Clearly" by Johnny Nash or "I'll Be Around” by the Spinners.

MC: Did you always want to be a musician / producer or did you ever see yourself pursuing a different career?

KT: I wanted to be a graphic artist, a helicopter pilot and a musician when I was a kid. I never took lessons but I was always singing and playing a melodica that my parents bought me. Later I was into track & field and wanted to go to the Olympics and then settle into broadcasting. Then I realized that being a film or TV producer/director was more what I wanted so I got my degree in communications.

But I was always maintained singing and songwriting as a hobby.
I went to The Garage in my last years of college and it turned my life around and made me realize that music had to be my life. For better or worse, that's what I've done for my entire adult life.

MC: What did you do before you broke into the music business?

KT: I did all kinds of odd jobs that a young person has to take when they are going to school. I've been a caddy, a foot messenger, van messenger, telex typist, teaching assistant while in college, radio announcer, sound engineer/ roady.

MC: How did you get into the music industry?

KT: Part of my degree in communication allowed me to take audio engineering courses. I knew by that time I wanted to know more about that side of the business because I didn't dream of being signed to a label. I assumed I'd direct videos and maybe engineer records etc. There was no house music industry for you to imagine getting involved with. It was all about the majors or the independents which were in access-able compared to the underground alternative created later. So, coming from a Jamaican background where we believe in doing your own, I was on the radio thinking, "I can do this," so I started a label to release the ideas I was working on. That was Flat Records. Our one release got some mild national success on the national college radio and reggae radio but then as I said, I went to the Garage and discover this new thing coming out of Chicago. House music.

MC: Can you tell us about the early days of ‘54/Paradise Garage and what that meant to you? How did this impact upon you?

KT: The atmosphere and the music was amazing to me. The focus for a lot of people was the music. Sweating and getting high off of the music Larry was cooking up. Besides the great dance R&B and classic disco, I especially lost it when he played Grace Jones stuff that I thought I was the only one feeling, the then up and coming D-train stuff or Sterling Void, Silk Hurley. It was spiritual for me. I was there in its last days though. So, I'm sure I don't really know how deep it truly was. Though, a lot of people talk about going to the place but never been. I also was lucky to get into 54 also in its last era. That had a different vibe so Larry played differently there. It had an uptown, rich, glamorous, and wannabe crowd there for sex, drugs, and dancing. Not that some or all of that wasn't at the Garage but it wasn't most people or my focus; I think. Maybe I was young and gullible.

MC: As one of the original pioneers of ‘house’, how do feel the scene has changed over the last 10 years?

KT: There are a lot of good productions and technology has made the quality of the recordings better. I love house music the way Kerri Chandler, JoVonn, and Blake Baxter makes it. But I'm getting tired of the lounge styled house. The pseudo Jazz and some of what people call deep house.

I'm feeling the stuff that makes you want to Jack and lose yourself.
I want to hear all the flavors of house in one night. That would be kickin. Anyway, that's music, isn't it? Change is inevitable.

MC: Many say that the end of vinyl is drawing near with the rise in popularity of the mp3 / CD format, I-Pods and internet downloads - can you comment?

KT: I think that is true. Many say they love vinyl and the sound etc. but I love music. I don't done care one way or another what format it's on as long as it reproduces the music well. Right now mp3 regardless of the kbps rate it is still inferior to CD. And they are both reproducing music at lower sound quality than how we recorded the original productions. So, I'm looking forward to the next level. Whether that is enhanced CD or DVD and mp4 for downloads. Until then, yep, vinyl is just a promo tool to reach the die hard djs. But honestly, most of them either want the stuff on CD or ask you to send the file. So, this is the year that vinyl distributors adjust by starting up their own download service like Traxsource or go out of business. I'm not letting the revolution push me aside.

MC: What are your thoughts on the internet and its impact on the scene? In particular, file sharing?

KT: File sharing is fucked up but we can't stop it. A whole generation has grown up thinking music is either disposable or free booty. Why should they buy it when someone or some way, they can get it for free? Look at all the company's unrelated to music who are offering music for free. Buy a soda or a burger and get free music. Buy a cell phone and get this song free. Music is and will always be a central part of our lives yet right now as important as it is, the corporations and society has made it this free bonus to the product and not the product. Seems like the increase in legal download services has made an impact according to some the newsletters I get from various associations I'm a member of. So, it'll be a thorn that we will have to live with for now. But the legal alternatives keep us alive.

MC: What came first for you - Djing or Production and which do you enjoy most?

KT: I've dj'd at home from tri-cycle days but production is at my heart. To create something from nothing and then have it to enjoy and share with others is a blessing and truly fulfilling.

MC: You’ve been involved in several projects with Victor Simonelli. How did you meet each other and what made you decide to make records together?

KT: Oh, God, long story - short. I met Victor through Judy Weinstein who is David Morales' partner manager, whatever. Back then she was running For The Record record pool and managing Robert Owens. So, I met with her to discuss management. She introduced me to Vic and his then partner. I didn't sign with her but I would always see Victor at Prime Cuts, a local studio where everyone either edited or mixed tracks. We always wanted to work with each other since back in 1991 or so. But the 90's saw our careers take off with Victor moving to Italy, me touring and living in London. We're back in NYC and as the century turned, I can't remember how we reconnected. Maybe Victor does.

MC: How much time would you say you spend in the studio each month?

KT: I'm in my home studio almost every day, either editing or compiling upcoming material, converting files for uploading to sites for downloads, recording new work and mixing, or just learning new gear. Its art but it's also a business as well.

MC: Can you describe the creative process involved with the making of your productions? During the projects you worked on with Victor, was there any rivalry which affects the studio dynamic?

KT: No. Rivalry is never in my mind. I do my own productions outside of work with Victor, so that's my solo outlet. When Victor and I work, I put things in two categories. If he is producing, I do what he says when it comes to engineering, singing, and playing. I'll give my opinion or advise sometimes but I let him lead. That's how it's been so far. The next category would be when I'm producing and I want his flavor, then I would take the lead. But so far we haven't done any project like that yet.

MC: What has been your biggest musical influences / inspirations to-date?

KT: Bob Marley, Third World, D-Train, The Spinners, Al Green, Gladys Knight, Luther Vandross, my mother.

MC: Who are your favourite Producers / DJ’s right now and why?

KT: The Neptunes because of their innovative ear and creativity. I listen to more hip hop than house, actually. Think about it. What was the underlying music that influenced and created house? Dance R&B, Disco and street music of the time. Well the street music of these times is hip hop which is part of the legacy of blues, jazz, and R&B. So, I stay connected to what the street is saying in order to make the music I create pertinent. I don't really check for djs in that way. Respect to the talents of Tony Humphries and Trouble Anderson though.

MC: What’s sound are you pushing right now and how has this evolved over the years?

KT: I'm into authentic African dance music right now. Not revamped stuff coming out of some camps where they take 70's African hits, add house flavors to them and claim it as their own. Or make up mombo jumbo words over house rhythms and add percussion to say it's African. But stuff made by Africans or producers who truly love and understand the music and what it takes to rock an African party. I'm also venturing into what I call Caribbean Dance and free form. Caribbean Dance is a melding of ragga vocals and rhythms along with soca drive and house/ dj friendly arrangements. Free Form is just that. Free to do whatever I feel moves my mind and body.

MC: What projects do you have planned for 2005? [New productions, Label, collaborations]

KT: Upcoming is our new works for an Italian label. The song we're working on is tentatively titled "Ujaama". An inspirational Afro house track. My label Waking Monster has Europa Soul Vol. 1 coming in February along with the final single, "Africa In Your Veins" from my album released last year. Jamie Lewis and I have collaborated on a track titled, "Body Music" coming in Spring on Purple Music. Matty Heilbronn and I worked on "Rock The Castle" which hopefully will be released in this summer. Bit by bit I'm working on my next album for an Autumn 2005 release. Finally, around that time we'll also release Afrique Sensation Vol. 2.

MC: Do you have any DJ residencies right now? And when can we expect to see you perform in the U.K?

KT: I've DJ’d in NYC a Deep See and in a few New Years Eve parties a few times but my residency is usually in Mi Casa located in my living room. I'm a producer/ artist and I focus on that mostly. I don't really pursue it. I leave that up to guys who are dedicated to that and hope they leave the singing up to us, the vocalists. But cross overs are happening a lot now a days.

MC: The Winter Music Conference - are you attending? What are looking out for there?

KT: Yes. I'm probably one of the few who go to network and promote new material. Hopefully, that can get done since Victor and I will also be putting on one of the opening nights.

Worlds Collide will be our night on March 22nd at Club Empire (formerly Goddess) at 681 Washington Ave., in South Beach.

Some great DJs and artist dropping classics and new soulful house from around the world.

MC: If you had to continually listen to one CD for the rest of your life - what would it be?

KT: This is cheating but it would be a compilation cd I put together of Third World's "Journey To Addis" along with Bob Marley's "Survival". That's an impossible question to answer really.

MC: Can you name one skill you’ve never been able to master and why?

KT: Playing the guitar. I never bought another after my first one was burned up in a fire. So, no practice makes a perfectly terrible player.

MC: Finally, which websites out there do you visit regularly?

KT: Deephouse page, xpressbeats.com & other big sites that I won't give free promotion to.