BIO
Production
Watchin' Me?
By 1999, Rich Medina had become a prominent and established DJ and spoken word artist in Philadelphia and was well on his way toward the same fortune in NYC. He already had traveled the US and Europe, co-owned a record store with partner Bobbito Garcia, and recorded with artists like Weldon Irvine And Don Blackman. After many years of staying faithful to the groove, things were beginning to take shape for Rich as an artist. And though he had already put in his share of work, he had yet to truly involve himself in music production. Rich always had been and is the DJ who plays the exclusive studio banger for the people three months before that banger goes to retail, but his experience in the studio at the time was primarily as a vocalist or as a collaborator. He hadn't even begun to consider making beats or learning how to program drums when things quickly changed. Rich was approached by Jill Scott to produce a track for what would be her multi-platinum debut release, Who Is Jill Scott? ( Sony/Hidden Beach). When he claimed he was not a producer, Scott responded simply, ' Well, you've got two months to become one. I want you to make something for my album. All those records you got in your crib?!?!?'
From that moment forward, damn near every minute of those two months was dedicated to learning how to program drums, chop samples, and create songs. He found assistance in then partner Ted Thomas Jr.'s knowledge of the MPC 60(2), and the ASR-10 keyboard. The haunting and soulful track, "Watching Me", unlocked the studio Rich had been putting together in his own mind, and it was the only track on the "Who Is Jill Scott?" LP not generated in Philly's celebrated beat factory, A Touch of Jazz. Soon after Rich's first production effort was done, he entered a world he had only seen from the DJ booth, the stage, and the dance floor. Surprising many of his long time supporters, friends, industry insiders, and himself with that official production credit as an entry point, Medina was forced to take heed, and a sincere interest in being a producer was born.
Those initial production explorations were also fostered by Mike Nyce, Rich's friend and longtime fellow spinner. They started out together, DJing local Sadie Hawkins dances, block parties, Community Center Jams, and talent shows, as 13 and 14 year olds back in Lakewood, NJ. Over time they would debate and decipher the realities of the club DJ life and how to stay afloat in it. These early conversations provided an unexpected influence on Rich as he began taking himself more seriously in the studio and utilizing his own space to workshop his prodigious skills as a DJ and a lyricist. His voice would be heard over the next few years recording and collaborating with artists like KemiticJust, Yukihiro Fukitomi, DJ Spinna, Nathan Haines, DJ Mitsu The Beats, Byaka, Shukie & Phillipe Lousan, Forss, Scratch (The Roots), Vassy, and King Britt among others.
Travelin' Without Movin'
By 2002, Rich's hectic DJ schedule, touring heavily, hosting shows in the States and abroad, playing residences in Philly and NYC left very little time to devote his full energies to this now growing love for production. Frustrated with his creative progress in the studio that was being moderated by how often he was on the road, he took a well-deserved timeout that would prove more restorative than he could have ever imagined.
While on vacation in Silver Sands, Jamaica with a group of friends, a conversation was born between Mark Hines (The Marksmen) and Medina. That conversation grew, and forced Rich to think differently about production and how he was applying himself to the craft. At a point, Hines posed one candid question "Why the hell you ain't makin' beats?"
An accomplished producer in his own right, he was eager to see what Medina could do creatively, provided he had what Hines considered the right tools for his needs. When Rich returned to Philly, he put the computer he thought was only good for poems, graphics, and sending emails to use as an addition to his existing studio set up. Rich's fresh perspective on combining digital and analogue production styles with The Marksmen Build established the new boot camp in a simple, mobile package. Medina's organic analog and pragmatic approach and Hines' scientific and theoretical one synthesized to create a production brotherhood that took into account and enhanced Rich's daily DJ/Writer hustle and further cultivated the development of Rich's production interests and potential.
Kindred Spirits
Like anyone devoted to his craft and conscious of critique, Rich was a bit hesitant to bring the new girl around to meet the homies. His veneration for music made him reluctant to play his beats for his peers. Yet, people he respected wanted to know what it was, aside from his parties, that had so occupied Rich's time, and why he was being so quiet about it. The fact of the matter was, studio fever had come along and pushed Rich to new creative heights: experimenting with his extensive vinyl collection and equipment, trying new ideas, laughing at himself, and usually laboring into the early hours. Still, Rich thought of these early compositions as skeletons, void of the meat that would make them whole. But even those skeletons hinted at a lush and vast musical insight. Collaborative efforts with artists like King Britt, Rob Life, DJ Spinna, and Platinum Pied Pipers bred a prolific exchange of ideas and compositions. Over a relatively short period of time, Rich's production catalog increased drastically in size and scope. So did his collection of straight from the studio joints. Positioned at the central nervous system of a progressive body of artists, producers and musicians, Rich as a DJ, a poet, and now a producer provides the connection between a glorious musical past, a dynamic and spirited present, and our uncharted future.
Happiness is Just Around the Bend
Rich's finely tuned ear, awareness of how to move a crowd, sensitivity to drum patterns like how they should thump on a track by Lady Alma versus how they should knock for something by Jneiro Jarelâ give his beats a timeless quality, a sense of movement through space. The songs have rich base lines revealing a connection to Cadillac soul and snare drums that drive new car fast!
For his debut album on the Kindred Spirits USA label, Rich reached out to a few artist friends to possibly collaborate and found that a choice few of them were as enthusiastic about working with him as he was with them. The end result is artful, yet precise Connecting the Dots serves up fresh, flavorful vocal soul platters like Maya Azucena, Martin Luther, Ginelle Summer, and DeLouie Avant Jr. that make you wish you could chef like that. And Rich's own culturally and politically relevant verbal slaps make your body move despite the sting.
As Rich continues to add to his list of production credits, it is this first effort that stands out to him as the one that turned a subtle curiosity into a sincere devotion. His fans already admire his ability to transform a night out at the club into a musical soul searching. His debut LP, Connecting the Dots further transports us on Rich Medina's ride to rhythmical rapture. I wonder what he's gonna play next?