Teflon, this is the first new music we’re heard from you in a while. How’s it been, getting back in the game?
The layout of how music is pushed has changed drastically since I first came out, due to the internet and social media. But thankfully DJ Premier and Matt Diamond have been instrumental in helping me make that transition.
Your connection with M.O.P. goes back decades, as pretty much the third member. Billy and Fame are all over 2 Sides to Every Story, which is cool to see. How did you guys first connect all those years ago?
Well M.O.P started out as a family, a small crew who etched their name in the streets of Brownsville, Brooklyn. We grew up from the sandbox together. A lot of our fellow soldiers were lost to the street. Fame and Bill hooked up with Laze E Laze who secured an album deal for them. I was away at the time when they recorded the first LP, but made it home in time for the 2nd album and have been featured on almost every project of theirs since.
DJ Premier is another long-time collaborator, and he’s been promoting the album hard. It must feel good to have someone like Preemo on your team for so long?
Absolutely. Preemo and I originally connected in the ’90s and he’s always been supportive of M.O.P.’s career as well as my own. He told me that after he saw my energy on stage, that he wanted to work with me. That was a big honor, especially being that he was and still is one of the most sought out producers in the game…a top dog who’s status still holds to this day.
2 Sides to Every Story is exactly what you want from a Teflon or M.O.P. album: rugged raps over boom-bap. But that said, it doesn’t feel stuck in 1995. Is that a challenge, giving the ‘90s heads what they want, while also appealing to a younger fanbase?
Not at all, its more challenging to stay in the same place. When you’re a creative, you need to have the creative space to grow, otherwise you smother the fire and burn it out. I’ll always be connected to the streets but these days, I’m not doing the same thing I was doing in the ’90s, so that’s where 420 Music comes in. The diversity of the imprint gives me space to grow. It’s a new, refreshing sound that’s different, yet has a feel that both fans that have been supporting for years, along with younger fans looking for a new wave of heat they can get down with.
Having a feature from Benny The Butcher helps bridge the gap. How did that come about?
Benny is a solid lyricist and I like the fact that even though he’s an artist of this generation, he doesn’t mumble rap, he’s clear, concise, has dope metaphors and I can feel where he’s coming from. He keeps the lyrical tradition alive amongst the younger hip-hop heads.
In addition to DJ Premier, the album is produced by Jazimoto. For those of us not yet familiar, bring us up to speed with her.
Jazimoto is a classically trained pianist and violinist with a hell of an imagination and ability to create masterful musical compositions. Hip-hop only scratches the surface of her vast musical arsenal; in fact 420 Music was established with the purpose of providing production for hip-hop, pop, R&B, as well as music for TV/film, movie scores and video games. Jazimoto is the equivalent to an entire team of producers, all wrapped into one person. I’m the voice of 420 Music, but Jazimoto is the sound! You could learn more about Jazi through our recent feature via AllHipHop.
Now that you’re officially back, are you fully reenergised? Can we expect more new music after 2 Sides to Every Story?
Yes. I am reenergized and ready to go with much more music coming through our 420 imprint. After 2 Sides To Every Story, we intend of following that up with Higher Ground. We have over 50 unreleased songs in our catalog and we’re currently working on Jazimoto’s compilation LP, which will host a number of different artist features.
Jazimoto, For those new to your work, how did you get started, and what was your connection to Teflon?
I started playing classical piano and violin when I was three years old. I took private lessons and started going to music conservatories from a very young age. Both my father and uncle were both professional jazz musicians; my father, Wilber Morris, was the founder of Wilberforce, which included Nas’ father Olu Dara. But despite being classically trained, I wanted to go in a different direction, and so I pursued production. I fused my musical background and put it in all directions; hip-hop, R&B, pop, jazz, etc. I just love music, what can I say [laughs].
But eventualy I linked with Tef through both Billy Danze and Fame (M.O.P.), whom I had worked with on the track, “Shake Em Up” off their Street Certified LP. Teflon heard my music and liked it. I orginally approached him about an EP, and once things got started it was magic after that, and here we are.
You’re producing half the album, with the other half being done DJ Premier. Is that daunting? How were you able to rise to the challenge of going head-to-head with one of the GOATs?
I didn’t feel like I was going head-to-head with Preem because my musical pedigree is deeply rooted. But I will say it’s been a dream come true. We each bring a different sound to the table, which both work well with Tef. With Preem being more sample based, and my style being based on live instrumentation, the combination is a win-win. You get both sides of the story!
Teflon comes from the era of the classic DJ Premier boom-bap aesthetic. Did this sway you towards wanting to make beats that compliment that, or take the sound in a different direction, to carve your own mark?
I took my music in a different direction. I definitely wanted to carve my own lane, and I generally try to avoid sounding like anyone else. But like Preem, I want my music to stand out with its own distinctly signature sound. But album production aside, I really want to pursue film scoring, and sync opportunies from commercials to video games, etc. That’s the fun stuff [laughs]. But the records I have on here have a big anthemic sound that I think Tef’s fans are going to dig.
DJ Premier, You and Teflon go way back. Tell me about working with him for so long.
I first met Tef back when we were in New Jersey at a show with Biggie (R.I.P.). Lil Fame had just produced his first demo and was playing it backstage on a boom box. I liked his voice and rhyme style delivery. Then M.O.P. had a show at Wetlands downtown on the west side of NYC. Tef came onstage to warm the stage up for them and his stage presence was so on point I immediately told him we should record together. First record we did was, “Firing Squad” and It continued from there.
You’ve always been supportive of new talent, and on 2 Sides to Every Story you split production duties with Jazimoto. Is she an artist you’ve been developing personally?
I just met Jazimoto through Tef when he played me the song “No Fake Love.” I liked her approach to live instruments but still sounding raw. From there we established a friendship. She had already produced for M.O.P. prior to Tef.
You’ve talked before about challenging yourself to go in new directions, but 2 Sides to Every Story feels like the classic Preemo aesthetic. Is working with Teflon like sliding into a comfortable pair of shoes, or is it still a stimulating challenge to get it sounding fresh?
Both. He and I have always made solid music together from our singles with Fat Beats and of course the M.O.P. albums, so the comfort zone was definitely easy to pick up where we left off.
Lastly, hip-hop is 50 this year. I know you’ve already been involved in some celebratory projects. Are there more on the way?
I have several projects. I’m releasing new singles in hip-hop, dance msuic, latin music, and gearing up for the long awaited NYGz LP, PRhyme 3, a new Big Shug record and some surprise projects. And it’s never too late to get my EP Hip Hop 50: Vol. 1, available Now featuring Nas, Remy Ma, Rapsody, Slick Rick, Lil Wayne, Run The Jewels and Joey Bada$$!
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2 Sides To Every Story is released Friday, June 30, via Coalmine Records, and is available for pre-order now. Head over to Coalmine’s online store to order the album on vinyl and CD. A blue and purple whirlpool edition is also available now for pre-order exclusively through Get On Down, along with a silver edition via RRC Music. Both are limited to just 150 units each.