We spoke with this groundbreaking talent about the journey from remixing at home as a kid, to winning a Grammy for his remix of Beyonce’s ‘Crazy in Love’ and beyond!

INTERVIEW

VANESSA  WILLIAMS THE REAL THING (MAURICE JOSHUA NU SOUL MIX)

CELINE DION VS MAURICE JOSHUA I’M ALIVE

What inspired you to get into the music business?

I got into it at an early age.  I started out as a DJ because my brother was really good friends with Frankie Knuckles and that’s when the whole warehouse and house music scenes really came about and I was very interested in it because I was a musician at first when I was in grade school but I was just so young when my brother went out where I couldn’t really go party with him because he used to get ready, like, at midnight and won’t come home till, like, 12:00 the next day.

He made me practice, locked me in a room, and I started to practice and then after DJing came out in Chicago in the early ‘80s, during the mid ‘80s and late ‘80s, the Chicago house labels and house sounds started to evolve and everybody who was basically a DJ out here in Chicago at the time had some records out so I was trying to follow in the footsteps of everybody back in the day from Steve SubHurley, the Farley, Jack MasterFunk, Fast Eddie, Mike Dunn, Sowab.

Me and my best friend, his name was Hula, Hot Hands Hula at the time, we did a record that was on Trax Records and we did a record because we had just found out Larry Sherman, the owner of Trax Records, was gonna put out the record that we made and somebody was saying that they didn’t and it wasn’t true.  So Larry Sherman was gonna have Liddell Townsend remake my record I made.  So we find that information and we’re like “No, that’s not gonna happen.”  So we did the record, it was an EP, there was a record on there called “This Disaster” that was on the B-Side, that got remixed by Les Adams and we had this record out for about a year or so and it got some local publicity on it.  We thought the record was over and we started another record with Trax Records and then all the sudden, I get a call from Larry Sherman, he’s like, “This record ‘This Disaster’ is blowing up.  Somebody did a remix and it’s blowing up.” And I’m like “Really?” so, he kinda dropped it at that and then I started getting calls from booking agents saying they wanted us to do shows and at the time I’m like “what do you mean?  What do you want us to do?” because at the time we were 17 years old, so we didn’t know anything. And that’s how we got into music- because that record really took off for us and it was a big record in the UK and it was a big record in New York first before anywhere else.  Striving and rolling and ever since then getting into the business like that because I saw how the crowd reacted to a record that we did and we created but I didn’t want to be in the forefront because that wasn’t my forte, I just wanted to be.  Basically I came into the music business in 1986.

You’ve had a lot of success creating dance remixes for R&B artists, like Mariah Carey, Destiny’s Child, Mary J. Blige (Maurice: Don’t forget Michael Jackson!) and that was something that you really pioneered, not many people were really doing that kind of thing.  How was that idea received at first- to take an R&B song and give it a dance flavor?

A lot of people were really hesitant because there was no one doing anything like that.  I’m lucky that I teamed up with some great people, Eric Miller aka E Smoot, Steve Hurley, we all had a camp called ID Productions.  It was either ID Productions or Deaf Mix, with Dave Morales and Frankie Knuckles that really was doing remixes at the time.  But we stepped up the game because while they were all playing one type of style, we’re automatically 3 different types of styles on one mix.  That’s basically how we got in the game of creating remixes- something new, something for the clubs because you had the club heads that still liked the radio record but they would never touch it in a club because it was too pop, too commercialized, so we had to make it a little underground, a little danceable.

You eventually went on to win a Grammy for your remix of Beyonce’s “Crazy in Love”.  How did that feel?

The first time I was nominated it was like “Wow.  I’m actually with a bunch of my fellow colleagues.”  Actually, when I won it, it was amazing because it was just a shock because I actually missed it by about 30 seconds when they announced it because we were having security problems getting in.  Pharrell was on stage right after me and was just like “Everybody, I came in and I seen Maurice and was like ‘You won it! You gotta hurry up and go back there’”.  It was very exciting.  I hold that dear to my heart because I’ve been working at it for such a long time too.

What changes have you seen in the industry over the last 20 years or so?

The one I see the most that gets me sometimes is how the A&R used to be hands on, see what direction they want a remix to go for a major artist.  Right now, since all the labels got rid of all the dance promotion guys and the dance department, there’s a lot of people that really don’t understand the ram of remixes or anything about dance remixes and if they do hire some consultants or anything like that, sometimes they only focus on one ram or one genre of dance music which sometimes kills the whole project because sometimes the artist who’s a soulful R&B artist doesn’t really need 10 progressive or electro type of mixes.  You have to switch it up a bit because like everywhere in the world there’s different styles of mixes of music that people like and doesn’t just like one type of remix.  So I think that’s where it’s hurting a lot of people because you have across the board a system of people that love and hear their type of sound but may not get the proper visual means of being out there to get stuff done because I think that type of person who used to be an A&R knew their music, they knew their remixers, not just going by the hype or what’s on the charts or how many people got their remixes out right now and this is the next guy for the 15 minutes.  The A&R person usually was used to doing their work and finding out who was this person or that person that they cater to.

You’re one of the people that are notorious for really thoroughly remixing tracks, almost reproducing them with additional beats- it takes a whole different direction when you get your hands on it.  How long does that process take and why did you choose to go in that direction rather than doing something more generic?

I come from a soulful background.  We all know it’s a littler harder nowadays, but you can put a little soulful with a little hardness and edge to it and people will still dance to it since the times have changed.  I originally did that because at the time a remix back in the day was taking the original 24 track, putting it up, doing different mutes and different cuts, probably do a couple of edits, and that was it.  We took it to a whole realm and just flipping it and changing it completely to a different production.  What people were still calling remixes- I really don’t like that- I just call it reproduction because that’s basically what you’re doing because sometimes a remix can keep the life of a record going for such a long time.  People think that “Oh, it’s just a remix.  There’s really nothing there” and that’s not true because you put your blood, sweat, and tears in it too.  For me it varies how long it takes sometimes, I can start a mix and be done within a half an hour.  It all depends on the vibe and what I feel and what I’m looking for.  And sometimes I go by the A&R and promotion people that really know what direction they need and they know what I can do and they say “Listen, I need your sound, this type of sound, this type of direction” and then I’ll take it from there.  Generally, it takes a day or so, I can do that with no problem.

What has been your most challenging remix to work on?

I believe it was this Lionel Ritchie record called “Cinderella”.  I just wasn’t feeling it, I couldn’t come up with anything.  It was seriously about 4 days and I just couldn’t come up with anything and I called and was like “Listen, I can’t come up with it” and they needed a mix real bad and I was like “Alright, I’ll try it”.  Melody-wise and everything else, it was just like, I couldn’t come up with anything.  I think I did a dub of something and they disliked it because I didn’t really use the record or anything.  That to me was the most challenging because melody and song-wise it wasn’t moving me, I couldn’t do anything with it.  To me I think that was the most challenging because I had a headache with that one afterwards.

What are you currently working on?

I just finished Vanessa Williams, which you guys are promoting.  I just finished Cassie ft. Akon remix called “Let’s Get Crazy”.  I’m working on a Kristina DeBarge remix right now and just a couple more songs for my label.  I’m about to get my solo project up and running again, put out more independent stuff.  I’m working with a singer/rapper out of Miami right now, her name is Destiny, doing a mini album project for her.

Thanks Maurice!

http://www.blog.promotion-us.com/nusoulmix.mp3

MAURICE JOSHUA REMIX (CLIP)

SOULSEEKERZ REMIX (CLIP)

RALPHI ROSARIO REMIX (CLIP)

INTERVIEW

You are a multi-talented performer, what is your first love music or acting?

I would have to say Broadway, because I get a chance to do both at the same time.

Tell us about the new record ‘The Real Thing,’ which celebrates your love of Latin and Jazz music, what are your favorite tracks from it?

The new record is the combination of some Latin rhythms, some Jazz, some R&B. ‘The Real Thing’ is the title track, which is an old Sergio Mendes from Brazil ’77 song that I covered.  I’ve always loved Latin music as a dancer, as a performer, when I do my show I have a Brazilian section so it was great to be able to do more than one speciality tune on the CD. I would have to say that my favorite song to perform and to listen to is ‘The Real Thing’ just because its indicative of where I am at this moment in my life. I’m 46 and having experienced a lot in life I’m happy to be back in the game and singing songs that I wanna do.

How was working with Babyface, I know that you have had a long history working with him throughout your career?

Babyface is consistent, one of those bankable people you can always count on, not only is he a great friend but he’s such as consummate artist and songwriter. I called him when I was looking for music and I said I was on Concord Jazz and he said ‘What are you listening to and what are you looking for?’, so I said ‘What do you think?’ and he said ‘Let me think about it’ and came back with two brilliant hits (‘Loving You’ and ‘Just Friends’) He’s just such a talented artist and writer and I got a chance to have him sing in the background on ‘Just Friends” and it was nice and tasty as he’s got his trademark sound as well.

Who are you current favorite Latin and Jazz artists?

Current I don’t know, my ipod is full with a  load of old hits and stuff that reminds me of the past. In terms of the Latin stuff, probably on the Salsa side I listen to a lot of Humberto Santarosa who is a Puerto Rican salsero, who I got a chance to meet back in ’98  or so. I’m a big fan of his but also his arrangements are fantastic. Babel Gilberto who actually did ‘Close To You’ on my album, I covered her song and butchered my Portuguese but attempted it, which made me happy. On the Jazz side, Bill Withers ‘Hello Like Before’ is another song that reminded me of a great point in my life, back in the 70′s he was huge and it’s very comforting to me.

Are you excited about the return to club culture with the remixes of  ‘The Real Thing’ by Maurice Joshua and the Soulseekerz?  We love them over here at PRO MOTION!

Oh good! I’m absolutely excited, I know that this album does not lend itself to dance music, but they fact that the remix is out and it brings me back into the club is great. I’d love to return and kind of focus a little more on dance music in the future, but in the meantime this is a great transition.

What are some of your favorite remixes of your songs that artists have done for you in past?

Probably the most successful was ‘Running Back To You’ and there were a myriad of them and getting a chance to do the video and choreography and edit it and cut to the fascinating rhythms of that was probably my favorite.

I was actually going to ask you which one of you music videos was your favorite to make, would it be that one?

Yeah, ‘Running Back To You,’  it was actually our second go around. The first one we did for ‘Running Back To You’ was kind of dark and a little depressing and made people frankly kind of nervous. The second one was just constant lighting and more retro pop. I got a chance to be involved in the editing and I really put my fingerprint all over that. I was really happy with the way it came out.

Who directed that video again?

Um, Ralph Ziman, I have no idea if he is still around, that was a long time ago.

You have had a really strong chart history since  1988 with ‘The Right Stuff.’ If you could rework one of your old dance hits what would it be and who would produce it for you?

Well ‘ The Right Stuff’ was remixed by Hank Shocklee and that was fantastic because he added all the James Brown ‘Get On Up’ and all that stuff, and really took it from an R&B hit to something that crossed a lot of different lines. Um, ‘Work To Do’ was done again by two young guys that were discovered by Ed Ecktine back in the day and took that Isley Brothers track and added the flute and made it a loping hip hop song so that was great. ‘He’s Got The Look’ was one of the ones that I would have loved to have a fresh take on. That was back in the day when everyone was sampling James Brown, so it did have the horns but I would love to get another go at that.

We hear that you won the Human Right Campaign ‘Ally for Equality Award’ last year. How did you get involved with Gay Rights?

Well I don’t remember ever having not being involved, it is just something that has always been a part of my celebrityhood, but also my personal  relationships so it was wonderful to be honored. It’s certainly been part of my life, growing up in the theatre and as a dancer I’ve been definitely influenced, but also surrounded by being progressive and being a modern open thing and also living in New York, so I was really happy.

What was the the first dance record you ever owned?

Well it would probably have to be ‘ABC’ by the Jackson 5, even though its not really considered a dance record it was huge in pop. I remember carving my little heart around Michael’s face on the back of the album.  It’s such a tragic loss that he’s gone but when you look at the body of work that he’s done its extraordinary.

Thanks Vanessa!

For more information about PRO MOTION please visit our website at  http://www.promolift.com

httpvh://www.youtube.com/watch?v=fsf-bjSZCXs

‘Just Friends’ taken from the album ‘The Real Thing’