MAD PROFESSOR WITH QUANTIC
W/ SPECIAL GUESTS TBA
WEDNESDAY, SEPTEMBER 21st
@ DBGB’s
MAD PROFESSOR
On the content of his character, and by the results of his recordings, he is one of the sanest record producers.
The name Mad Professor was first given by friends at school, who were amazed by the experiments he carried out as a youth.
Having built a radio and telephone system at the age of 10 years, it was no surprise that his interest and subsequent career in electronics along with a love of Motown, Philadelphia International, Treasure Isle and music of all types propelled him onward.
The early Eighties, having built his own mixing desk, had launched Mad Professor along with the Ariwa Studio/ label from his front room in Thornton Heath. Early works include sessions with Ruts DC, Reggae Regulars, Merger, Jimmy Lindsay, Mikey Dread, Johnny Clarke and many more international artists.
DUB ME CRAZY, the first in a 12 part series of albums, was to become his beacon for the label. With an episode being issued every year, the titles all told a different story.
Beyond the Realms of dub – Dub me crazy Pt2, The African Connection – Dub me crazy Pt3, and Dub me crazy Pt 7 – Adventures of a dub sampler.
The distinct variation and surprising sound effects were unique for this time.
Dub, and the cool sound and clarity of his mixing encouraging many artists to the growing label.
By the mid – Eighties, the studio / label moved from its launch base of Peckham to Whitehorse Lane, South Norwood where it is still located. At this time he incorporated remix projects for the Orb, 400 Blows, Beats International (Lindy Layton), Sade and Brilliant.
A heavy schedule of touring Germany, Holland, France, Sweden, Denmark, Ireland, Spain Austria, Italy, Yugoslavia, USA, Canada and Japan, while still managing to produce the various artists’ projects was an enormous workload. The label by then had a healthy 104 albums with more in the infancy stage of planning.
By the mid Nineties, Mad Professor’s profile increased to legendary status
After remixing Massive Attack’s second album, Protection. No Protection was instantly received by all corners of the globe, benefiting from Virgin / EMI international launch pad.
Professor’s personal Dub tours were increased to be a major part of his schedule, along with further remixes which include: Clementine, Tracy Spencer, The Boom, Danny Red, Depeche Mode, Jamiroqui, Rancid, KLF, Beastie Boys, Cidade Negra, Perry Farrell (Jane’s Addiction) along with the Massive Attack dub extravaganza all benefiting from the Mad Professor touch.
Production work for various major labels include: Sony Music, EMI, Arista, Warner Brothers, Capitol Record, and Virgin Records.
In 1998 the Ariwa record catalogue contained over 155 titles including over 30 dub albums from Mad Professor, 3 albums from U-Roy including the classic True Born African, 7 albums from the Upsetter, Lee Scratch Perry and many classic Lovers Rock albums, including Country Life – Sandra Cross, If I gave my heart – John Mclean, Black with Sugar – Kofi.
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The turn of the century saw new releases from Lee Scratch Perry – Techno Party, Macka B – Global Messenger, Mad Professor – Trix in the mix.
By 2004 Mad Professor worked with Sly & Robbie at Ariwa, where the Taxi gang laid down their versions of Ariwa rhythms.
Over 100 rhythms were recorded. An album titled The Dub Revolutionarys was released by Sanctuary Records owned Trojan Label.
Some of those rhythms also formed the backbone for the next album from Horace Andy From the Roots. Also released by Trojan, this is Horace’s third album for Ariwa Sounds.
Around this time Mad Prof collaborated with Mafia & Fluxy to produce Dancehall Dub, as well as 2 Sci Fi Dub albums. From Mars with Dub followed by A new galaxy of Dub.
By the year 2005 the Ariwa catalogue passed the 200 figure, bumped up by new albums from Max Romeo, U-Roy and young protégée Joe Ariwa.
Fresh demand for the dub show has taken the Ariwa Sound to many far flung places. In 2003 Mad Professor was invited to play at the Greenpeace festival in Manáus, Brazil. Since then, Mad Professor has become an annual visitor to South America, Playing also Argentina, Chile, and Venezuela, Australia, New Zealand, Estonia, Portugal.
In 2005 the dub show played Seoul in Korea, driving several hundreds of fans crazy to the warbler sounds. Bangkok in Thailand in 2006 and Goa in India in 2007, courtesy of the Big Chill. the Mad Traveller also played Dakar, courtesy of the Senegalese govt. Mad Professor is also involved in the Back to Africa festival, an annual celebration in the Gambia, committed to the positive movement of descendants of Africans, back to Africa.
QUANTIC
“He’s at the forefront of a new global sound.”- Gilles Peterson, BBC Radio 1
“[Dog With A Rope is] a great tropical record.” – New York Times
“Holland’s tropical rhythms and South American sounds have always brought me back to sticky summer nights.” – NPR
“Writer, producer, DJ, bandleader – Quantic is a man of many talents and many successes.” – Spinner
“The hottest mother*%er out there!” – XLR8R
Quantic is an umbrella name for UK-born, Will Holland: acclaimed Producer, Musician, DJ for over 15 years, evolving and involving various styles like Funk & Jazz to Electronic & Folk music through to Latin, Reggae, Dub & Cumbia. Holland has released over ten full-length albums internationally through the label, Tru Thoughts, across six different projects ranging from his DJ/Producer/Remixer moniker that has packed dance floors from Bulgaria to Buenos Aires, Quantic, to Latin-tinged, reggae and dub exploration, Flowering Inferno, to a full-out soul band, The Quantic Soul Orchestra.
Based in the musical epicenter of Cali, Colombia since 2007, Holland has been exploring cumbias, salsa and Afro-Colombian music through his particular beat-focused, electronic and funk lens. His latest live band project, Quantic y Su Combo Bárbaro, a carefully assembled international cast of musical creators including virtuosic salsa pianist Alfredo Linares and Pacific folklore singer Nidia Gongora, is a bold snapshot of an ever-evolving musical landscape in the Americas. Holland also works and exchanges with a cross-section of artists and producers innovatively shaping contemporary music from Latin America as we speak.
His is an on-going story of musical inspiration guided by a curiosity which aims to not only honor and collaborate with excellent musicians, but to share and compose new music in a way that is organic, vibrant and relevant. As Holland explains, “I try to make music that encourages people to explore outside of their usual listening circles and check scenes and genres they may otherwise never be exposed to.”