Norman Jay MBE is no less than a UK DJ icon. A first generation Black Briton born into a Notting Hill-based Caribbean family, Norman first came to wider attention via London’s mid-‘80s Rare Groove scene, underpinned by his ‘Original Rare Groove Show’ on the city’s then pirate dance music station Kiss FM, having initially set out his stall via annual appearances at the Notting Hill Carnival, where his brother, Joey, re-branded his Great Tribulation Reggae sound system to the Funk / Disco / Soul-geared Good Times Roadshow.
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Trevor Jackson is something of a cultural maven whose thirty-plus years in the more underground corridors of the music industry has seen him fulfil a number of catalytic roles – starting off as a graphic designer at Champion Records in the late-‘80s, responsible for the S-Express ‘Theme From S-Express’ and Raze ‘Break 4 Love’ sleeves, amongst many other subsequently. Later a recording artist in his own right (Playgroup), a record company owner (Output) and, of course, a DJ, he continues to do his thing in his own inimitable way.
When I was over in Australia last November I was interviewed by Gilles Peterson for his series ‘The Psychology Of DJing’ as part of the Sydney Electronic Music Conference. It was an interview that covered many aspects of my career, much of which I’ve spoken about on numerous occasions previously. However, there was a different context to this – most of the time the interviewer is much younger than me, so they didn’t personally experience the times I’m talking about and the way things worked back then in the specialist areas of black music, whereas Gilles comes from the same roots as me, part of the next wave of DJs that followed-on from the Jazz-Funk era, when I first emerged on the specialist scene.
I was at baggage claim in San Francisco airport in November 2008, just about to embark on my first visit to the city, when I received a call from my agent, Matt Johnson, telling me that Huw Owen from the production company Something Else had been in touch requesting an Essential Mix from me for Pete Tong’s BBC Radio 1 show. December 13th had originally been suggested as the date of broadcast, but in the end we settled on January 17th, with delivery requested 5 days earlier on the 12th.Continue Reading →
Australia bound – my first of 5 dates coming up in Melbourne this Friday, with the Return To Rio Festival near Sydney the next day, before a trio of special Credit To The Edit parties in Brisbane (11th), Sydney (17th) and Perth (18th). Further info here:
Halloween is upon us, so there’s no better time for a ghost story.
Running Back, the German dance label headed up by DJ Gerd Janson, re-issue one of the first tracks I ever worked on today, 34 years on from its original release in 1984.
Such tragic news to hear that Navid Izadi died earlier this month, aged just 32, when the Cessna light aircraft he was a passenger on crashed in a parking lot in Santa Ana, California, killing him, along with his mother and 3 others onboard.
The Queen is dead. Aretha Franklin, born in Detroit 76 years ago, and destined to be acknowledged as ‘The Queen Of Soul’ following her late-‘60s breakthrough, was the daughter of minister C.L. Franklin, developing her vocal prowess in the church, before embarking on a secular career in 1960, when she was 18.
Following on from the ‘Credit To The Edit Vol 3’ CD release on Tirk earlier this year, we’re pleased to let you know that 8 of the tracks have been pressed to vinyl – 2 discs, 2 tracks per side.