Red Bull Music Academy ‘Fireside Chat’

An insightful hour long audio interview with Kerri talking about his background, influences, first stint at DJ’ing and the stories behind a number of his best loved tracks  - Click here

 

Faith / Strobelight Honey interview with Kerri

Click here to read the full interview with respected London based Faith / Strobelight Honey Fanzine

Musicology Magazine article entitled ‘King Kerri’ -

Red Bull Music Academy In Depth Interview

UGroove TV Interview & Footage….

Taken from the ‘Filth’ night at The Warehouse in Leeds, UK.

 

Kerri Chandler Interview at East Village

Interview with the Liverpool based I Am team ahead of his gig on 12th November 2010.

When I do my setup’s I have a good size technical rider, The sound is very important to me, Its set up like a studio. And the more I have to be creative, Then it’s like a live studio session.

Any one who knows me, or any US DJ, and they come from the old school, we never stop, 6 hours for me is very easy, I love it more than 2 hour sets, I don’t have to cram the best of, and I can create an atmosphere from the start.

My favourite for a long time has been the RISK Sound System, and FK. Cause you never know what you’re going to hear. They play everything, and every style of music.

Yes Circo Loco, in Ibiza I’m doing a lot of there parties now, I love the energy.

Incredible, I am doing a residency with them this summer coming, and a few of the world dates they have, They are quickly becoming my new family, they have lots of great DJ’s on that team and I am feeling very inspired.

I have re released my madhouse back catalog on digital, and yes it has been wonderful to see a new generation make it new again.

I have way to many favourites, because they are all a part of my life, how ever each time I have something influences my life my sound changes, it feels like a new chapter of my life and I start all over again.

It’s gonna be, wide open and I am embracing the new. But I will always put my signature to it. Make it personal.

Its more like producers, I am way to biased. ButI love hearing new guys kickin arse, Wakes me to the core.

I feel very blessed to have played lots the starting clubs in the 90′s I was so young and just making the rounds as a new comer, My favorite Back in the day was The Mn2s parties, RAW, MOS, Hacienda, Gasm, Cream, Sub Club, Hard times/Space, Bobby and Steves Club, The Den, and of course Southport Weekender there are soooooo many have become home for me when I was just starting out. A lot of the promoters and I are still very close and keep in touch.

They Started doing Croatia, And I will tell you its like doing SPW in Paradise.

Lol, I did 3, But I would have love to have done 5, I just hung out listening to everyone. I am set to go and do it again.

Its really enhancing them, and making new live Virtual elements. I have experimented years ago with holograms, but this year I have a few surprises coming

I use to DJ Hip Hop when we were kids, So I was always doing DMC DJ battle things. It was something that I thought would be fun for the DJ battle we had at SPW at the end.
Finally, sum up Kerri Chandler in 1 sentence for us…

My love, My life, Deep house!

 

House & Heels Meets Kerri Chandler

 

Interview by RS

DJ Ron Slomowicz: I’ve been jamming out the past couple of days to Coast 2 Coast, enjoying it in the car.
Kerri Chandler: That’s cool. That’s the best place I think, actually, that’s where I listen to a lot of my stuff too.

RS: When you start a project like this, how do you choose the songs for a compilation CD?
Kerri Chandler: I start with what I’m currently playing most of the time, unless they ask me to do otherwise – say there’s some kind of old classics kind of deal or something like that. I try to keep it balanced with enough vocals on the tracks and a couple of other things for an intricate measure.

RS: So the CD is an accurate representation of what you’re playing out about now?
Kerri Chandler: Yes.

RS: When you play out, are you playing mainly clubs or big events?
Kerri Chandler: A combination of both. I’ve noticed around the summertime that there are a lot of lot bigger parties going on. In the wintertime it’s mostly indoor, everything gets kind of dark and it rains enormously. I can do anything from the smallest of maybe three hundred people to this thing in Singapore with about two hundred thousand people. It really varies.

RS: I’m a big lover of soulful house and one thing that always drives me nuts is that it seems like the trance and the harder guys get all the attention and the soulful house guys are always thrown to the side. Why do you think that is?
Kerri Chandler: You know what, I’m not really sure. I think it’s just that trend and that movement took off and that’s where all the press and everything was, and they just kind of led things that way. It’s also one of those things where you have to really think when you listen to this kind of music.

RS: That’s a great analogy, go further with that…
Kerri Chandler: Its about the genres. The trance and harder dance tracks are a different type of dance music and are a lot easier to absorb for the younger generation. With the soulful house, you have to sit down and really think about it and there’s really some deep meaning behind most of this stuff. They’re soulful tracks, a little bit more downtempo, not way up in your face and you have to really feel something. With the other way around it’s so instant and you know what it’s going to do. You can enjoy and get high off the music we make just by listening to it.

RS: It’s a more mature sound, almost for a more mature audience. Do you notice that in your crowds?
Kerri Chandler: Yes, I actually did. But the funny thing is, I’ve noticed a whole new generation coming in listening to this stuff now. I can’t say they’re tired of techno or electro, they’re coming in and want to hear something different and new. I always try to put on some fun stuff and give my all in there and put on a show when I play out somewhere.

RS: You also do a lot of original production. I love the track on here that you did with Monique Bingham. When you write with artists do you write the track, do they write the song to your beats, or how do you produce music?
Kerri Chandler: This was really funny, I’d met Monique in South Port and I’d only seen her once. When I was talking about doing a track with her, I actually started doing the track at my house and I sent her a copy of it and she actually sent the vocal of it the next day back to me with all of that stuff on it. I said ‘oh, you’ve got to be kidding me, this is so insane.’ It sounded like we’ve known each other for years but I didn’t know her at all. That’s how that one actually worked out. It was just so spontaneous and she’s very talented. She picks up and then she just goes on from there. We’ve been very cool since then and very close and we get along like a house on fire.

RS: Get along like a house on fire, love that. I also like how you’re picking up the best from around the world. Where do you find your music or how do you meet the people the make this kind of music?
Kerri Chandler: The funny thing is that I’ve been in this business for so, so, so, so long and I met a lot of these people playing out while I was DJing and we’ve all kept in touch. We all have a network and we all keep in touch with each other, sending tracks over instant messenger when we’re not meeting each other some place or playing out. They’ll give me a CD and I’ll give them some stuff and it works that way. It’s like we’re all happy to see each other and we’re like family. Everybody on my CD I know very well, they’re all my friends.

RS: Nice. When I hear soulful house, I always imagine the guy up there on the turntables, maybe a CD once in a while, and then I read in your bio that you’re full-on laptop now.
Kerri Chandler: Well, that’s not true really, I use a bit of everything. If it plays- I’m playing it, that’s how I look at it. It can be anything from a reel to reel to a CD to a final scratch to vinyl, I could even use a cassette tape if you had a cassette deck. I’ve never limited myself to just playing one kind of format, and I’m a serious junkie when it comes to collecting turntables, altogether I have about thirty-six. In my house, I must have about forty thousand records here. The only reason I even take the computer with me is so I can have access to a lot of tracks that I don’t normally have, and even then I don’t play it direct from the computer, I use Final Scratch and stuff and then when I’m not using that I just use the records. I am also using the Pioneer DVDJ video turntables. I do video programming to go along with the music.

RS: So you’re incorporating the DVD in addition to everything else you’re doing?
Kerri Chandler: Yes, that’s one part of it. I can actually play in the middle of a club with a virtual set up. There’s a screen on the wall and I can actually walk out in the middle of the room and control everything from there. I bring a pair of cordless headphones with me, and there’s a couple of instruments I use from the middle of the room and I can DJ with that.

You can see the turntables on the screens and I control all that stuff from there. Then there’s another system that I use that I just built, it’s a laser system and I can actually remix everything from lasers as I’m DJing out. There are eight beams that are put up and I’ll sample stuff as the records are going live and I’ll go back and I’ll stand in front of the lasers and I’ll remix it from there.

RS: How do the soulful house crowds react to you doing this kind of stuff?
Kerri Chandler: They have no idea what the hell it even is, half of this stuff, and they stand there with like their mouth open. It freaks them out for a minute because they don’t know what they’re looking at. Then once they understand it, they’re wondering how I am doing it. A lot of people don’t even believe it’s even happening, like I’ve recorded it or something, but no, this is live.

I’ll tell them go ahead, put your hand on one of the beams and sounds that comes up like drum sounds and remix parts and stuff. I actually did another version of my laser system where I have beam splitters and they go out to the back of the room and I’ll ask if there is anybody who knows how to play percussion. Somebody will step up and break the beams and play percussion with the laser beams.

RS: Have you made any videos of your live performances?
Kerri Chandler: Go to YouTube.com and type my name in and there are a few videos up there.

RS: With Dreamgirls being so big again, have you brought back your Donna Giles remix?
Kerri Chandler: That’s really funny. I didn’t even think of that, that’s a really good one. It didn’t even occur to me.

RS: Is Bigga Sounds your own label?
Kerri Chandler: No, this is where the fun part comes in, that’s actually Monique’s new label. She just started it and “In the Morning” was the first release. That’s what makes it really funny because we were joking around about it. I was sending parts to her, and she just sent it back to me and I wasn’t sure what I wanted to do with it yet – shop it or put it out or anything. She was thinking about starting a label, so I said why not, take it if you want it and you can do it. I’ll do some more mixes on it and then it took off and I was really happy for her.

RS: You’ve worked with some of the best voices in house music – Zhana, Crystal Waters, Ultra Naté, Martha Wash, Robin S, is there anyone out there that you’d like to work with that you haven’t yet?
Kerri Chandler: You know what the funny thing is, the one person that I really wanted to work with was Monique. If anything, I’d like to go around and work with everyone all over again.

RS: What would you like to say to all your fans out there?
Kerri Chandler: Oh God, thanks for keeping me around all these years. I can’t imagine what I’d be doing if I wasn’t doing house. I really appreciate everyone keeping me in their hearts and minds and on the dance floor. I just want to say thank you and happy New Year.

 

Interview by Pheasant….

More so than any other Producer/DJ who has come before him Kerri Chandler has managed to win the hearts of many club goers in the last few years not only with his epic visits to Sir Henrys but also in his willingness to get out and about among Cork’s nightlife while he’s here. Pheasant went to talk to him before his gig and in new club ‘One’ over the jazz weekend to find out more about the man behind the music….

Welcome to Cork once again Kerri!
Thank you glad to be here!

Is this your fourth time here ?
A bit more than fourth time in Ireland but about fourth or fifth in Cork.

What’s been your impression of Cork ?
Its my home, second home. Ah yeah big time!

You’ve played in Sir Henrys, what have you thought of the house music scene here…relatively strong?
Oh God yeah, its very soulful I can just be myself here. That’s what I love about it the most. Its always great to come back and see my friends again, hang out and do my my thing.

House music in America is a relatively underground thing, a minority music, did the recognition strike you as a bit odd when you came to somewhere like Sir Henrys and play something like ‘Faded’…were you a bit surprised ?
Honestly ? Yeah. I wasn’t expecting it. I didn’t know what my first impression of Ireland was going to be but that was amazing to me and every time I came back I always brought somebody back just to say thank you like Arnold (Jarvis) or somebody else Anthony(???). I’d always bring something else into the equation. I’ve never played in the booth after the first time in Henrys because I wanted to be closer to the floor and closer to the people because I like to see everyone, have fun!

What did you think of Sir Henrys?
Oh I loved it. Its still my favourite. I don’t know its doing now because I heard they changed the policy and the venue and everything else. Shane and Greg aren’t there anymore. It changed a bit. I haven’t been there since New Years but even then it was fantastic. I just wish it would go back to how it was, honestly.

I was watching you earlier setting up your keyboard and checking the sound system what do you think of the sound system and the club [‘One’ on Phoenix St.]?
It feels good, it feels comfortable. I like that its lower to the floor.

How you got involved in the music business is interesting. I understand your father was a DJ.
He still is. My uncle is and we still all do parties together. My dad is in Arizona now but he comes back once in a while and does one. He does these things on the west coast called First Fridays on the first Friday of every month we throw these really big parties.

So were you DJing from an early age?
Yeah, thirteen or fourteen playing at parties. I’m thirty three now. He came in one day and caught me mixing on his set-up at home. He told me I’m either going to be mixing or he was going to crucify me if I don’t know what I’m doing up there. I started playing and he was standing there going “Oh wow you can actually mix!”

What was he playing?
Kano ‘I’m ready’ Surface stuff. Old school salsoul Disco Circus

Was he a big name in New York?
Oh God yeah all, the heads they knew my dad. He was legendary around my area. A thing called Rally Record around the area and just everybody played there and went there So there, Paradisio, 2001.

It must have been a bit off the beaten track to be playing there, for somebody to be growing up. Was he playing with a lot of big names ..francois
He was doing his own thing. But he had Pick Connolly, Sharon Red and all these other people…he used to have all these people coming in playing instruments over things live, Cool & The Gang used to come through and play.

So when did you start playing in clubs yourself.
When I was thirteen. Originally in Tinateen. Then it was Red Zone I was there for a while. Then Club America, Nells with Jerome Sydenham

Your production. When did you suddenly progress from playing in a club…did your father produce music?
Slightly. He did a few things. Pick Connolly, Richard Davis. Pick is the main one who really went on and did some things.

When you started playing yourself was it a gradual thing
It all sort of fell in together. I always wanted to be an engineer. When I was eight I
I was always curious about how things work. I’d take things apart like the t.v.s in the house when nobody was watching and put ‘em back together again. I always had that sort of curiosity.

What happened was my Grandparents actually sent me to school to learn classical piano and I hated it. I always wanted to learn jazz organ. I was fighting the whole time! I was like No! No! I hated it, I didn’t want to learn it. I had a really good piano teacher named Ms. Carter and every time I finished a classical set, like read the music and play something, she had a B3 (Hammond organ) in the other room. So every time I finished, cos I loved the tears and the foot pedals, I’d hurry through a lesson really quick that was my reward she’d say. So everyday it was like: ‘let’s get this over with!’. I’d run into the other room and play that and have a field day.
The thing about classical is that its something numerical its not really improv, you can but its always formulae. And jazz to me was always: ‘you can let it run’. You can do what you feel like, if you make something up fine..that’s how it is.

Since the days of be-bop New York was the centre of development for Afro-American music, it must have been a massive help to have been living there.
Oh it was insane. My Grandfather was a jazz singer, I used to always catch him singing stuff around and he did stuff with,…what was that woman’s name? She came by before she died….she was in a wheelchair…Ella Fitzgerald!! So yeah he’s been around, he done the circuit. So it came together in the strangest way.
Then I took up upright bass when I was in Junior high school so that’s where I get my basslines from. Then I Djed out a lot. I was really curious about instruments and synthesizers and things and I started building some. I became an engineer at this place called Express who had a label too. That was first sense of things: Superlover and Get It Off. I was actually an engineer, every time someone would come in off the street and pay time I would just engineer the session and I had to make the production because they never knew who to do it. They come in off the street, they wanna sing, they need a track okay…I’m sitting here making tracks like!

I know you have opinions on club ‘politics’ in Ireland. Do you think people get bogged down in that too much and is there a difference in atmosphere in America that breeds?
There needs to be a bit more unity over here. You’ve got some people saying Limerick’s better than Cork, back and forth. At the end of the day you can’t be a big fish in a little pond anyway. It’s a matter of loving the music to begin with.

What’s been the most satisfying record you’ve done so far?
Honestly I think….I have a lot of favourites but the most recent one was the one I did for my daughter Kerri. It’s called ‘My Daughter Kerri’ !! HA! So far its one of my favourites…. its just so heartfelt.

Finally its been said that ‘decks have become the new guitar’ and there’ll be a lot of people here tonight who will look at you and think that they’d like to do what you’re doing. Would you have any advice for people thinking of getting into this….

Well the truth of it is…and this will make it much better…learn to play something…learn to play an instrument. Just focus on really good music, don’t concentrate on blending tracks together cos that’s very easy. Go all over the place, listen to every sort of music don’t just stay into house or deep house or whatever. Get eclectic and open your mind up listen to a lot of different things. Don’t copy someone’s styles just be who you are…

This isn’t an interview, just a little music to play whilst reading…

Kerri Chandler, New Jersey, USA 1997 – Official Interview

1.Name. Kerri Chandlar

2.Born. September 28th 1969

3.Present Location. New Jersey, New York

4. Age. 28 years old.

What or whom where your Musical influences?

6a Listening to your parents or Grand parents records, or their views on what they considered to be good or bad music?

6b Being forced to play a musical instrument from an early age giving you important musical

Knowledge?

6c Or was it via listening to Radio from an early age thus deciding what in your opinion was good music.

One of my earliest musical influences was Roy Ayers, Kraftwerk, John Coltrane and Bob James. My Father was another major influence as he was a DJ, and he still steals my records. I was forced into playing a musical instrument, which I believe adds to my understanding of music today. However, I never really listened to radio, as one would think, only when I am driving.

6d.As a young child did you have a particular musical hero or sound that you like? For instances………………James Brown, Elvis Presley, Marvin Gaye or Charlie Parker!!. Or was it down to a sounds like Jazz, The sound of Philadelphia, The Motown Sound, The Stax sound, Early Hiphop era, Rock n’ Roll…what??

It more of a sound in my early years, which I do say was Disco,Soul and Jazz, but I do try to keep an open mind and like every kind of music.

8.Where did you play your first gig as a youngster, when wanting to become a Dj?

8a At a local youth club? At a relatives anniversary party? A birthday party for your friends of family,? An end of term party at a school or College that you were part of ?

Where?

I was 9 YEARS OLD and I played at a place called the 2001, in New Jersey, USA.

9. Did you try and emulate anybody within the world of Djing when wanting to become a fully fledged? Or did you practice at home honing your skills?

A it was a combination of my dad’s DJING influence and the playing of HipHop music.

10.What styles of music did you play when you first started playing out. Did this help you understand or learn certain techniques that are apart of your DJ arsenal.
Disco, when I first started playing out. I learned how to ride records well, which also gave me a good DJ base.

11. What styles of music’s do you play today? What was the real reasons for choosing this styles? Because its popular now? Does it mirror music styles that you used to play….what?

House music, I just love it.

12. What styles of music do you prefer to play when you are out; and what styles of music’s do you like to listen to when you are at home? Choose from the list below? Or do you like all the type of music’s Deep Underground House, when I am OUT. And not forgetting Down Tempo classics when I am at home. From your list this is what I like to play and hear.

When I am out 1,2,3,4,5. And from your list this is what I like to listen to when I am at Home 1,8,9 and 10.

When you are Djing or Performing as artist/s what do you play?

When you are at Home – What do you listen to?
1.Deep House Sound – Chicago, New York (Ron Trent, Moodyman, LFSC)

7.Any from the previous list?
2.The New Jersey Sound – New Jersey (Blaze, Smack)

8.Soul, Swingbeat music
3.Soulful vocals + Dub cuts of New York (T.Edwards, Kerri Chandler)

9.Jazz music
4.Latin House ( Masters at Work)

10.Rare groove music
5.London New House Sound (Grant Nelson, Other records, Faze Action, Joey Mustaphia)

11.Hiphop or Gangster Rap
6.London “Sunday Scene” House Sound ( Karl “tuff enuff” Brown, Matt “jam” Lamont, Hermit, etc

12.Jungle or Drum and Bass!!
Soul/ London 2 Step Soul/ Swing

13.Soft Rock, Heavy Metal, Folk or Classical music

13a. What styles of music do you prefer to play when you are out; and what styles of music’s do you like to listen to when you are at home?

When I am out 1,2,3,4,5. And from your list this is what I like to listen to when I am at Home 1,8,9 and 10.

13b. Have you managed to travel as regards to being a DJ within this music. Can you tell us where?

Everywhere, except India!

14.Who are your favorite DJS/Producers or musical artists within the world of Garage and Deep House?
The Masters at Work, Aston Martinez, Don Carlos, Phil Asher, Joe Causell and Basement Jaxx.

15.What do you think of the European scene when compared to Soulful Garage and Funky House music? Have we still got a lot to learn?? Or do you think we’re not that far behind?

I am just glad that House is worldwide, and I am personnel friends with most of the people you mentioned.

16. Do you like the European club scene? Do you think people within Europe are steadily turning towards House and Garage as opposed towards other forms of House music’s?(Only answer if this applies to you…. Or only answer if you are willing to tell the world about you area concerning this question )

I really believe London has too many kinds of breakdowns of House music

17.What are you trying to achieve within this realm of music that you are DJ/ Producing in? Would you like to run your own label? Do you have your own studios?

Just keep on having a good time.

18. Which giant within this music would you like to work with Masters at Work, Tony Humphries, Blaze, David Morales, Frankie Knuckles or Steve “Silk” Hurley. What is your dream?

I’ve have worked and have been around most of them anyway, we’re all good friends.

19. Who do you think we should keep an eye out for in the future that you have seen in action around the decks, or heard via tapes on via crowded nightclub performance?? (Place down your choice, it Does necessary have to be Garage or Soul House ARTIST)

Aston Martinez and Dennis Ferrer.

20.What do you think countries such as Japan, Australia or Russia will ever take hold of this music.

I’m in Japan on tour now, and they are very strong with House music at present.

21.What label are you assigned to at present? Do you own label for instance; Are you on Independent or a Major Record label and will this change in the future?

I own Madhouse records, and will be releasing all new things!

22.Will you be doing anymore Soulful House cuts soon. Please gives us dates (only answer if this applies)

Roy Ayers, Bobby Humphries and Madhouse

Thanks for your time in answering these Questions!

And some more music if you’re still reading….

Kerri Chandler Interview. 30th November 2001 @ The Forum, Waterford, Ireland

DHN – Kerri, welcome back to Ireland, yet again. What is it that draws you here time and time again ?

KC – Thank you very much. It’s my favourite place in the world !

DHN – I bet you say that to all the countries!

KC – No, No … I love this place. It’s a pleasure coming back every time.

DHN – What sets Ireland apart from everywhere else ?

KC – It’s just that it’s so down to earth. It’s not like it’s one of these posh places with people saying “Oh I’ve to be there”. The people are really friendly.

DHN – The last time I saw you, you were in Henry’s. Of course you know that Greg’n'Shane played their final gig on the SWEAT 13th Birthday party 3 weeks ago. What are your views on that ?

KC – Yeah, I’m really disappointed about that. I don’t really know what transpired that night but it was something to do with the ticket prices being raised. I’d like to take this opportunity to apologise for what went on that night. I mean – Myself and Shane and Greg had no idea that was happening. What they did -That wasn’t cool.

DHN – Your Grandfather was a Jazz musician. Would you see him as a key influence in prompting you into DJ’ing?

KC – My father’s a DJ, my uncle’s a DJ, my Aunt’s a DJ ! I grew up and there was Turntables in every room. I’d go from room to room and play. There were different sounds in every room. Records everywhere.

DHN – Can you remember your first gig ? Where was it ? How old were you ?

KC – I was 13. It was in the Rally Record Club. I was warming up for my father. They put me standing on a crate, I was so short, and they kept handing me record after record. I could beat match.

DHN – What kind of music were you playing back then – Jazz, Soul, Disco ?

KC – I was playing Disco. Things like Lady’s Night.

DHN – How would you describe your style today ?

KC – Eclectic as hell. It’s a Deep House sound.

DHN -Describe what House Music is and what it means to you ?

KC – House Music is my life. It’s in my mind. I’m always thinking about it.

DHN – Where do you draw your inspiration ?

KC – Everything inspires me. Everything I see or hear inspires me. There’s no one thing that inspires me.

DHN – What makes you get up in the morning ?

KC – Coming here. I love travelling – Going to different places. Being here like tonight – Setting up the stage in record time. It’s spontaneous. We’re setting up the piano and there’s a guitar out there and the music’s going and the crowd are cheering. That’s what it’s all about. Secondly Japan. I love it there too. I get a great reaction there.

DHN – For those who don’t know, describe the difference between New York and Chicago House? The likes played by Derrick Carter and DJ Sneak. Which do you prefer ?

KC – Chicago is lot more Techie based. New York is rooted in Soul. It’s Vocal and Track. I much prefer New York – It’s where I’m from.

DHN – Is there much of a difference between House Music in America and Europe ?

KC – In Europe I think they take it more of an industry. Back home it’s a lot more underground. You have to know the type of music played in a club to go there.

DHN – In America Hip Hop, R’n'B and Rock rule the mainstream ? Would you ever like to see Deep House Music enter the Mainstream Foray or would you prefer to keep it Underground at it’s Roots ?

KC – It would be selfish of me to keep it underground. I’d love to see it mainstream. There’s a lot of talent out there with Kenny and Louie etc.

DHN – We see on TV and read every day about these “Godfathers of House” We hear about Frankie Knuckles, Larry Levan, Marshall Jefferson, Ron Hardy and Tony Humphries. Who is the Godfather of house ? Is there one single Godfather ?

KC – I don’t think so. It’s all a matter of interpretation. There’s different sounds out there. It’s what sound influenced your music and your style that counts.

DHN – Tell us about the Zanzibar and Shelter ?

KC – They were just legendry clubs where people came to party. EveryDHNy gathered together there to hear great music. They were musical outlets for us. It was a Shelter, A Musical Shelter for all us.

DHN – Do clubs like that still exist ?

KC – Yeah ! Vinyl in New York City. DHNy and Soul there on a Sunday afternoon with Joe Claussell, Francois K and Danny Krivit. It’s like a free for all there. Before I came over, last Sunday we were there and Joe was like “Go, Go, Go Kerri, Get on the decks !” They would just hand us records and myself and Dennis just bombarded the decks.

DHN – You’ve been to clubs all over the world – Different Shapes and Sizes. What kind of Clubs do you like spinning in ? Does it matter ?

KC – Yeah ! I like being in a club where I can get close to the crowd. I need to be at eye-level with them. I don’t like so much being on stage. I need to be able to come down into and around the crowd. To be able to go down in the middle of them and say, ” What the hell is Kerri playing ?!”

DHN – One of your most Acclaimed and recognisable pieces of Production is the ‘KAOZ 6.23′ Theory LP on Harmless. What does 6.23 represent Kerri ?

6.23 actually represents June 23rd – It’s a bad period in my life. About that time every year in my life I began to notice that bad things were happening to me. My Grandfather died, having fights with people, Tax Problems – we lost the house. Around a month before or month after every year these things kept happening.

DHN – Tell us about your record labels and others you’re working with. Any forthcoming releases ?

KC – Well I own Madhouse Records and Sfere. We’ve just finished making “A Basement, Redlight and A Feeling (2)” So that’ll be out soon. I’m still with Large where we’ll be releasing a Digital Soul Sessions 4 and I’ll be doing a lot of work with King Street .It’ going to be a busy year !

DHN – What artists do you like working with ?

KC – Arnold Jarvis and Anthony Flanagan. I brought over my 2 favourites to Sir Henry’s. I practically live with Dennis Ferrer. He’s like in the room next to me. I come home and he’s there. He never gets off the decks ! Louie and me hang out. He’s moved to New Jersey now. His office is like right around the block from me.

DHN – You have some tunes, Signature Tunes if you like, that would be favourites of yours. Inner Life -Ain’t No Mountain High Enough, Third World – Now That We’ve Found Love and I think one of your favourites – on KAOZ Theory – Track 1 (Atmosphere Dub) (Atmosphere EP). That tune really rocks the crowd. Can we expect to hear any of them tonight ?

KC – Atmosphere is really great. I think though that System (Kerri sings – ” Da Da Da Da”) tends to work even better in a crowd.

DHN – A very sensitive subject but The World Trade Centre – It affected all of America. It affected New York. Did it affect you directly ? Are you still frightened ?

KC – Not as much any more. But that was crazy. We were walking around like headless chickens for a month after. I mean that’s across the water from me. I could see people jumping out of the top floors. It really makes me angry – I just hope they catch the bastards.

DHN – Can you describe House Music in one word ?

KC – Love

DHN – Any message for you Irish fans ? Plans for New Year’s Eve ?

KC – I just love all of you. Thanks for having me back time after time. Anthony just had the best time of his life here. That’s why I brought him and Arnold over. I’m actually coming over here to Ireland I think for the New Year. I’d love to spend New Year’s Eve here. It’s a lot of fun.

DHN – Kerri, Thanks for the Deep Vibe.

Kerri – Thank You.

 

Kerri Chandler plans 3D holograms for DJ sets -

29 April, 2009, Written by: Christen Reutens for www.beatportal.com

US deep house hero Kerri Chandler [a] has always been the experimental type, and Southport Weekender in Britain has always been there with open arms welcoming his creativity to the DJ booth.

At the 2006 event, Chandler played the keys to ‘Bar A Thym’ and some of his other hits using a laser string (see the video after the jump). Last year he went one better and shocked the crowd by mixing flawlessly using only three consecutive reel-to-reels.

And just when you thought you had seen it all, Kerri Chandler has now announced that he plans to incorporate 3D virtual projections of singers performing the exact tunes as he plays them at this year’s Weekender.

That’s right. Holograms of the actual original vocalists in the DJ booth, singing along to the songs that he plays. Wow.

Beyond his motives for revolutionising DJ culture, Chandler’s 3D holograms are a result of his frustration at what he sees as the diminishing importance of singers in today’s dance music climate.

“I am very upset that the newer generation of clubbers coming to the parties don’t have any idea, don’t know or even care about the “real” songs that so many [singers] put [their] heart and soul into,” he says.

Using the very latest in digital technology, Chandler has been busy filming and preparing his holographic performers (photo above). Barbara Tucker, Monique Bingham, Lisa Shaw, Joi Cardwell, Marc Evans, Dawn Tallman and others have all been filmed and are ready to appear as 3D apparitions during his set.

Kerri is planning to launch his never-before-seen spectacle at Santo’s Party House in New York this Saturday, before debuting his special holographic performers at Southport Weekender in May.

We can’t wait to see them!