Where were you born and what did your parents do when you were growing up?
I was born in Ibadan, Nigeria. My father was initially in the British army and went on to academia and finally private business. Mom was in the Peace Corp and then medicine.
What is your first memory that is not captured in a photograph?
Thinking, when flying, that other countries were in the clouds.
When did you first become aware that music was a path you were going to follow?
About eleven-ish.
How did you get your first foothold in the music business?
Becoming a resident DJ at Club Nell's in NYC (late 80's ).
Can you remember some of the tunes you played on a regular basis back then? What was the crowd like?
A lot of Basement Boys and Kerri Chandler tracks mixed with NY Disco and tons of vocals! The crowd was black, white, gay and straight, and no fights (ever). High, boozed or sober but all really into the music.
Did you move into label A&R at that stage too?
Yes, I was fortunate enough to work at Atlantic Records for my DJ hero, Merlin Bobb. Shit was crazy back then (as in fun). We were responsible for the Black music department. I had a good stretch there before Ibadan Records.
Can you explain the thinking behind setting up Ibadan - for example the direction, the name, the ethos, the people you were close to.
The name Ibadan Records came from the city I was born in. The ethos was to focus on quality music as opposed to quantity. From the beginning of this experience I was rolling with Joe Claussell, Kerri Chandler, Merlin Bobb, Roland Clark, Blaze etc. They definitely had a most positive on the outcome of Ibadan Records.
Musicianship, poly-rhythms, introspection - these seemed to typify the early Ibadan releases. But with 'Sandcastles' suddenly a new shadowy, machine-driven sound appeared. What happened?
Positive transitions and natural evolution!
It often seems that the DJ - who is hard-wired to expound the virtues of wide and ambitious musical taste - is often the first the compartmentalize. Did you feel the music you have experimented with on labels like Apotek and Avocado had no place on Ibadan? Can labels only do 'one sound'?
Ibadan has and does explore variety. Apotek on the other hand, was created for a specific techno reality and will ultimate gets it's own electronic freedom. As for Avocado it is a partnership with Rune RK, so we produce all the music together (pet project).
Can a sober DJ rock a wasted crowd? Seen any good examples?
Absolutely! Joe Claussell, Jeff Mills!
It is said clubland dances to the current drug of choice? How has changing drug culture shifted the musical climate in your time?
Yeah, maybe in cheese clubland. Drugs have always been part of club culture. Music mainly changes with the influences of producers and DJs (for better or for worse, depending of course).
Which producers and DJs do you think have been the most influential in shifting the course of club music since the birth of Ibadan?
Such a politically charged question! That was back in 1995 and the worldwide scene was so wide open then! The major creation of various genres, including the crap ones, all had and have their legitimate roles to play.
Where do you live now and what were the reasons you moved there from the place you were living in before?
I live in Berlin and moved from NYC. I find Europe a very central location for my life, work and travels. I am still very much a New Yorker but did fall very much in love with Berlin!
Cheap production and digital distribution has led to a massive boom in the number of small labels sprouting up. For good or for bad?
The frenzy of new labels does clog the pipes! Either way everything is changing and most of them don't survive. The future is still very unpredictable in terms of digital distribution and healthy competition.
Low production and distibution keep overheads low however, and small labels can hang in there. Do you worry about market saturation and the good stuff finding it harder and harder to rise to the top? What methods do Ibadan use to ensure their music remains visible and viable?
It's always been difficult to find the good stuff no matter what period of time you refer to. Nothing's changed. We are looking for that hip patient consumer and they usually find us. This give us more time to worry about the quality of our product.
What affect has the unstoppable advance of free music had on dance music, and in particular your own experience of running a label?
I focus on quality and efficiency. I try not to worry about this and look at it as free promotion. Numbers are down for everyone so I don't feel so bad.
Beat-matching software and 'mixed in key' can make a bad DJ into a competent DJ, while products like Ableton can quickly dismantle a song into its component parts. The old skills of manipulating vinyl on belt-driven turntables seems like the past. What kind of DJs are being created by this new world and does the crowd care or even notice?
All the machines in the world cannot replace a good selector or mixer. Taste always carries the weight. We all know who we are. Sometimes the promoter is great and the party is rocking with a great atmosphere but the music is shit. In this case, I still will stay and have fun but I'll get the name of the DJ so I can avoid him or her in the future!
How do you see the New York nightclub scene these days, and what are some the keys changes from the early days of Ibadan?
It got dull for a minute because all the great spots got shut down for one reason or another. There is most definitely new blood in the city cause right now. NY is rocking!
Tell us some of the hot spots that are helping the city rock again...
The Bunker is one. But also these days the venues move around because the promoters are the ones with the juice. No more staple classics like Paradise Garage, The Shelter, Save the Robots, Body & Soul. The underground is regrouping!
What role does Ibadan have to play now?
The very same one, depending on who you speak to :-)

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