Live DJ Sets
Genres/Influences: Hip-Hop, Funk, Soul, Jazz, R&B, Reggae, Latin, Disco, Afrobeat, Dance, Electronic, Breaks
Honing his DJ skills through tours of Europe, Brazil, and the U.S., Gazaway’s dancefloor driving live set features classic breakbeats, original blends, remixes, edits, and mashups of multiple genres including Funk, Soul, Disco, Hip-Hop, Afrobeat, and everything in-between. He has shared the stage with George Clinton, DJ Jazzy Jeff, Mayer Hawthorne, collaborated with The Pharcyde, and toured with Souls of Mischief.
Latest DJ Mix:
Topics: Sampling, Remixing, DJing, Audio Production, Music History, Marketing, Piracy vs. Copyright
With presentations and lectures logged at USC, MTSU, EMP PopCon and Google HQ (NYC), the DJ/Producer continues to highlight the possibilities of sample based art and the connections between past and present.
“While music scholars often acknowledge the multiple influences artists claim in their work, uncovering the conversations within the work, like the conversation singer Erykah Badu may be said to be having with blues woman Billie Holiday, is less often seen as a distinct site of inquiry in itself. This, in part, is because such inquiry is difficult to carry out empirically. That is, how might one account for and persuasively demonstrate the specific artist origin of each distinct influence in a song or an album of another artist? The recent controversy between the estate of Marvin Gaye, Robin Thicke, and Pharrell over the sonic origins of the latter’s single, “Blurred Lines,” highlights this difficulty.
Yet, there are other ways into these kinds of questions in musicological inquiry, and they involve not a linear, one-directional path of influence from one person to another, one genre to another—in the blues begot gospel begot R&B sense—but in placing artists into conversation with one another, across time, space, and genre, regardless of a direct connection. The Soul Mates Project’s conceptual collaboration albums combine seemingly disparate artistic and sonic landscapes—that of Marvin Gaye and Mos Def, Fela Kuti and De La Soul or B.B. King and UGK—to tell new stories about music and sound politics. In the process, they offer the remix as a method for music historiography and musicological study more broadly”
– Zandria F. Robinson, PHD
(Social Scientist, Cultural Studies Scholar and Literary Critic)