The Foundations of House: A Conversation with Marshall Jefferson
In the history of electronic music, few names carry as much weight as Marshall Jefferson. A pioneer of the Chicago house music scene, Jefferson's influence on the genre is immeasurable. In a recent episode of the "Everything House Music and More" podcast, Jefferson sat down to discuss his journey, the origins of house music, and his thoughts on the genre's past, present, and future.
The Birth of House Music
One of the most intriguing revelations from the interview is Jefferson's perspective on the origins of the term "house music." While many narratives place the birth of house music in the early 1980s, Jefferson traces its linguistic roots back even further.
"The earliest I heard of house music was probably in 1979," Jefferson recalls. He goes on to describe a family gathering where his cousin John referred to some music as "that old house music." Interestingly, Jefferson notes that this was used as a derogatory term, associated with the Warehouse, a known club in Chicago.
This early usage, according to Jefferson, was not widespread and certainly not embraced by the club-goers themselves. "I don't think people that actually went to the warehouse were calling it house music," he explains. This insight challenges some popular narratives about the term's origins and highlights the complex social dynamics at play in the early days of the genre.
Jefferson suggests that the term didn't gain widespread use until around 1983 or 1984, coinciding with when DJ Leonard "Remix" Roy began using it more prominently. This timeline provides a fascinating glimpse into the evolution of house music as both a sound and a cultural phenomenon.
The Chicago Scene and Early Influences
Jefferson's introduction to house came in 1984 at the Music Box, a legendary Chicago club. He credits a coworker, Veronica Montgomery, for introducing him to this new world. At the time, Jefferson was already DJing, but his style was more aligned with the Hot Mix 5, a group of DJs known for their rapid-fire mixing on Chicago radio.
The interview sheds light on the significant influence of Chicago's DJ scene on the development of house music. Jefferson speaks reverently of DJs like Frankie Knuckles and Ron Hardy, but also emphasizes the impact of the Hot Mix 5. "That was the greatest mix show I've ever heard on the radio," Jefferson says, describing their technique of mixing 40 songs per hour with constant backspins and repeats.
This radio influence is an often-overlooked aspect of house music's development, highlighting how the genre was shaped not just by club culture, but also by the unique mixing styles showcased on Chicago's airwaves.
From DJ to Producer
Jefferson's transition from DJ to producer is a crucial part of his story and the broader narrative of house music's evolution. He credits Jesse Saunders' track "On and On" as the catalyst for his move into production. "I would not have made a single record without Jesse Saunders and Vince Lawrence," Jefferson admits.
This transition wasn't just about creating music; it was about pushing the boundaries of what house music could be. Jefferson talks about deliberately moving away from the repetitive "Jack Jack Jack" sampling style that was becoming prevalent, instead focusing on musicality and live instrumentation.
His approach to production was innovative from the start. Jefferson describes creating his early tracks using a Yamaha QX1 sequencer, various synthesizers, and the now-iconic Roland TB-303 bass synthesizer. His use of the TB-303 on "I've Lost Control" predates its famous use in acid house, though Jefferson is quick to downplay any claims of inventing the subgenre.
The Making of a Classic: "Move Your Body"
One of the most interesting segments of the interview revolves around the creation of "Move Your Body," arguably Jefferson's most famous track. He describes the collaborative process with Curtis McClain and the other members of On the House, revealing how the track came together in the studio.
Jefferson's recollection of Ron Hardy playing the track at the Music Box provides a vivid picture of how new music spread in the pre-internet era. "He played it six times in a row that night," Jefferson remembers, highlighting the immediate impact the track had on the dance floor.
The story of "Move Your Body" also touches on the business side of the early house scene. Jefferson discusses how the track's credits became a point of contention, illustrating the complexities and conflicts that often arose as the genre began to gain commercial traction.
Major Label Success and the Ten City Era
As house music began to attract attention from major labels, Jefferson found himself at the forefront of this new wave. He recounts the formation of Ten City and their signing to Atlantic Records, a move that helped bring house music to a broader audience.
The creation of Ten City's hit "Devotion" offers another glimpse into Jefferson's creative process. He describes how the song emerged from a car ride and a casual singing moment, underlining the spontaneous nature of much early house music creation.
Jefferson's perspective on working with a major label provides valuable insight into the music industry's approach to house music in the late 1980s. While the experience was largely positive, it also marked a shift in how house music was produced and marketed.
Remixes, Artistry, and the Music Business
Throughout the interview, Jefferson offers candid thoughts on the music business, particularly regarding remixes. He expresses a strong preference for original productions over remixes, arguing that the proliferation of remixes ultimately hurt the scene's creativity and economic sustainability.
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"I turned down a lot of remixes," Jefferson states, explaining his belief that remixes allowed labels to get the "Chicago sound" cheaply, without properly investing in the city's artists. This stance, while potentially controversial, reflects Jefferson's commitment to developing house music as a legitimate genre with lasting artistic merit.
The Future of House Music
As the conversation turns to the current state and future of house music, Jefferson expresses both concern and hope. He points out the staggering volume of music being released daily – "100,000 records a day" – as a major challenge for new artists trying to break through.
Jefferson's advice for aspiring house music producers is clear: focus on developing a unique image and create full albums rather than just singles or remixes. "You need an image," he insists, "You can't look ordinary."
This emphasis on artistry and individuality is a recurring theme in Jefferson's perspective. He encourages producers to think of themselves as artists, not just DJs or beat-makers. This approach, he believes, is crucial for the genre's continued evolution and relevance.
Reflections on Legacy and Influence
Throughout the interview, Jefferson's impact on house music is evident, not just through his own productions but through his collaborations and influence on other artists. He speaks warmly of working with various Chicago artists and his role in nurturing new talent.
However, the interview also touches on some of the conflicts and misunderstandings that have arisen over the years. Jefferson addresses some "myths" about his role in certain productions and his relationships with other Chicago house pioneers. These reflections offer a nuanced view of the scene's history, reminding listeners that the development of any genre is often complex and sometimes contentious.
The Importance of Songwriting in House Music
One of the most emphatic points Jefferson makes is about the importance of songwriting in house music. He argues that the future of the genre depends on strong songwriting and fully developed artists, not just on DJ skills or production techniques.
"We need more songwriters," Jefferson states, encouraging producers to focus on creating complete albums that showcase their personality and artistry. This focus on songwriting and album-oriented projects represents Jefferson's vision for how house music can continue to evolve and maintain its relevance.
Conclusion: The Enduring Legacy of Marshall Jefferson
As the interview draws to a close, it's clear that Marshall Jefferson's passion for house music remains undiminished. From his early days discovering the Chicago club scene to his current status as a elder statesman of the genre, Jefferson's journey mirrors the evolution of house music itself.
His insights into the genre's origins, his reflections on its development, and his thoughts on its future provide a valuable perspective for anyone interested in electronic dance music. Jefferson's emphasis on musicality, songwriting, and artistic integrity serves as both a history lesson and a roadmap for the genre's future.
What emerges from this conversation is a picture of house music not just as a genre, but as a constantly evolving art form. Marshall Jefferson, with his pioneering spirit and unwavering commitment to musical quality, stands as a testament to the enduring power of house music.
As new generations of producers and DJs continue to push the boundaries of electronic music, the lessons and insights offered by pioneers like Jefferson remain legendary. His story is not just about the birth of a genre, but about the ongoing process of musical innovation and the timeless quest for artistic expression through sound.
In the end, Marshall Jefferson's legacy in house music is not just about the tracks he produced or the dancefloors he filled, but about the enduring spirit of creativity he helped instill in the heart of the genre. As house music evolves and influences global dance culture, the foundational contributions of artists like Jefferson will continue to resonate timelessly.
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