Hip-hop had me hooked from the jump. Growing up in the late ’90s and early 2000s—the golden era—I was obsessed. The first time I heard Wu-Tang’s Da Mystery of Chessboxin’, it flipped a switch in my brain. That raw, grimey east coast production? That was it for me. It led me straight into the world of producers like J Dilla, DJ Premier, 9th Wonder, Pete Rock, and RZA—guys who turned beat-making into an art form. Their sound had texture, soul, and an undeniable groove, and I knew I had to figure out how to do it myself.

I spent years studying the culture, the legends, and the techniques behind classic hip-hop production. To me, hip-hop is as groundbreaking and original as jazz—hell, I even argue that it is jazz. The way producers flip samples, layer drums, and push boundaries with rhythm and melody is the same spirit of improvisation and innovation that defined jazz’s golden age. My recent work blends the two, blurring the lines between what’s sampled and what’s played live, making people question where one ends and the other begins.

I got my first MPC (a 500) in a way that could only happen when you’re 19—I traded a few grams of weed to a guy who had no idea what it was. I didn’t know what I was doing at first, but I figured it out by watching videos of my favorite producers, reading old forums, and just pressing buttons until something clicked. That machine became my gateway into beat-making, and from the moment I chopped my first sample, I was hooked.

Since then, I’ve upgraded my setup, but my process is still rooted in that old-school mentality. Whether I’m digging through vinyl or cooking up something new in a DAW, the goal is always the same: make something fresh and have fun doing it. If I ever stop feeling that excitement, it’s time to rethink everything—but I doubt that day’s ever coming.

Get in touch through my contact page if you’re interested in collaborating or purchasing beats.