In this post-Illmatic landscape where producers are brought in to create a specific song with a specific feel, it’s refreshing when one producer helms the boards and makes a seamless project from intro to outro. The final outcome is only further enhanced when one talented MC is able to hold down the mic duties without the flood of additional artists diluting the project, virtually rendering the listener unable to decipher the features from the headliner. The focus is scattered and the album is relegated to the current crop of releases suffering a similar fate.
Ray West, on the other hand, takes a decidedly different approach. He crafts his album with the MC as the focal point of the sound creation. The process is organic, to say the least, as the writing, production, and mixing are done with the artists present, not dissimilar to how albums across all genres were made in the not too distant past. For this outing, OC links up with Ray for their latest creation entitled Ray’s Cafe, set in a smoky, dimly lit jazz lounge with the Queens/Brooklyn MC ably taking care of business from start to finish. The result is an album that captures the feel of Jazz as told through the world of Hip Hop. This trans-musical rendering showcases two artists fusing their talents in a way seldom seen in the current landscape. Good music exists! Sometimes you just have to dig a little deeper to find it, but the search is worth it.
How did you develop your own sound? It seems like you’re trying to do your own thing and carve out a niche unique to your releases.
It was real natural, you know; it’s what I do. I’ve always been a big record collector and a lot of my influence comes from listening to the sounds and feelings of those old records. Also, I make it point not to overproduce because I like to catch a vibe that provokes a thought, so the artist I work with can build on it. It’s an emptier sound because I’m leaving room for growth. Afterward, I go back and build on that record some more. I make all types of joints, but I like the world to feel the raw and natural sound that I really make a point to capture. Expressing yourself and being yourself is so important when doing music. I can’t stress this enough.
You mention old records. What other influences do you draw from?
Like I mentioned before, it’s mainly records –digging for records, shopping for records, listening to records. Listening to other music makes me want to create music.
With that being said, what are some of your favorite genres to draw inspiration?
Of course, Hip Hop is what I grew up to and the starting point for my record collection. Older jazz records, for sure, from the ‘60s and ‘70s, obscure records, and Rock from the late ‘60s and early ‘70s -records that have that soul like Shuggie Otis and artists like that.
There seems to be a certain attention to detail that you apply when embarking on a new project. Describe your recording process a little bit.
There are a lot of things going on despite some records just sounding like a loop. I do play some live instruments and I add basslines with my Moog, as well as some percussion and light drums. I let the record or the song dictate what I’m going to add because it’s about adding on and contributing versus overproduction. Also, I use effects processors and other filters to give the record a warm feel. There is a lot of mixing that goes on whether inside the samplers or through analog hardware.
What kind of gear are you using these days?
I use an SP-12, an MPC 60, and MPC 2000 XL. Also, the Moog is part of the mix and I have various rack mount synths, and a bass guitar. I’m trying to broaden my horizons musically and incorporate that into my sound. Even if I’m not a professional player, I can work out a sound and flesh out my vision. All of my instruments are there in multiple rooms at any given time for me to access.
It appears that you conceptualize each project. Is this intentional?
That’s my favorite part: to make it have a theme and glue it altogether. This gives me room to work on skits, interludes, and instrumentals, which allows more room to produce and make a cohesive project. I try to make a theme that I can continue later on. Like the Luv Ny project, I still want to do another project, and it doesn’t necessarily have to have the same rappers on it, more like a continuation of the theme of where I’m from. A (AG) and I did an album called Pianos In The Projects and it was a small run we did on vinyl on our label (Red Apples 45). We can keep doing these types of collections and carving out a signature sound that way. Having your own label allows this type of creative expression.
Speaking of Red Apples 45, tell us more about the label AG and you operate.
When we first started, we were really into doing 45s and we did like four or five of them in a row. That’s where it came from. Everything’s Berri was our first record that AG and I did together. We went all in on the independent vibe with the 7 inches! A had a lot of faith in what we were doing. By the time Everything’s Berri came out, we had around 70 or 80 songs recorded; we were recording nearly every day. I was glad that AG put his stamp on what we were doing; it was a bold move on his part for an established MC to do this. He completely co-signed the movement. Then again, he did a similar thing with Party Arty and D-Flow, for example, and was able to bring the talent out of people -anyone around him matters. A can easily gel with my creations despite how left field they might be.
How does this new project with OC fit into the musical canon of Ray West?
It’s a big honor for me. I always thought OC was one of the greatest. We kind of made a jazz record. All of the songs were made together, recorded together, and there were no mailing songs back and forth to each other. It was very organic. The hooks and songs were written and recorded together, as most of my projects have been recorded this way. On the Luv Ny record, Kool Keith was sitting next to AG writing his rhymes for the project. The OC record is a one producer, one MC record and this is what makes it special. Ten years ago if you would have told me that I would be recording an album with OC I would be like, “C’mon, man.” To be in a situation like this, I’m very blessed.
“Learn Lessons” (unreleased track by Ray West & OC)
We’ve talked about your projects being very thematic in nature. How does this project fit into the overall progression of your sound?
I think it’s gonna stand out. I don’t think I could emulate/replicate this record and the sound that OC and I created. It sounds like we’re in a jazz café. Not saying that I would never try to capture this vibe again, but it’s doubtful that I’d ever make another one that sounds like we’re in a jazz café! (laughs). It feels like OC is performing live with this humble set with a light-hearted character; it’s a bit of a milestone for me creatively. I just don’t think I’ll be able to create that same vibe again. It’s these moments that make recordings special though. How special is something if it can be recorded and replicated over and over again?
What’s on deck for Ray West?
I have another Luv Ny EP coming out this year featuring Kool Keith, Kurious, Lord Tariq, AG, Dave Dar, and L-Fudge. It’s kind of like a harder version of the Luv Ny theme. After that I’m doing a vinyl with John Robinson called Sample and Percussion. All the beats were made with the SP-12 –the blue one with the five second sample time- and it’s JR (John Robinson) doing his thing on the tracks. It’s paying homage to the SP-12. Coming up after that, we have the AG and John Robinson album and it’s all completed. We recorded about 15 songs and we are in the mixing stage now. We have Blu on one song and this project is a special because you have JR and AG coming with the “god knowledge” (Nation of Gods and Earths) wisdom and both of them really went hard on this project. We recorded this at Butchasound Studio with Phil Moffa. I’m really excited about these releases.
Ray’s Cafe EP Buy Links:
Fat Beats
Amazon
iTunes
I would like to thank Jonathan Kim and Ray West for making this article happen. Many blessings on your respective endeavors.
GOD BLESS
