DJ Spinna is something of an anomaly in music. A humbling example of what it takes to truly succeed within the framework of multiple fields. With a steadfast work ethic, an obsessively extensive vinyl library and the willingness to pursue the full extents of his roots (Funk, Soul R&B and Jazz), foundation (Hip-Hop) and future (Electronic/Dance music) without any restraints. A cornerstone of Hip-Hop’s late 90’s indie-uprise, DJ Spinna made much of his first impression on listeners as the musical background of his group The Jigmastas (having released an impressive slew of 12” singles on his then self-run label Beyond Real during this time) as well as providing the canvats for an array of that era’s lyrical giants including Eminem, Mos Def, Talib Kweli, Pharoahe Monch and De La Soul.
Turning heads throughout the industry, Spinna’s sonics soon infiltrated numerous genres. Tapped by everyone from Mary J. Blige, to Motown Records for his brilliant Michael Jackson remix of “We’re Almost There”. It’s here his production presence would flourish greatly, as Spinna would go on to revive and revise Jazz and Soul marvels like Donald Byrd, Eddie Kendricks, Betty Carter, Roy Ayers and Al Jarreau. Though it goes without saying his most memorable remix goes to his monumental version of Shaun Escoffery’s “Days Like This”, transforming it into a worldwide dance floor anthem. Which in turn, catapulted Spinna into his now stately touted presence in the soulful house music scene. These releases resulted in the signing to BBE records in 2002 where Spinna released his cult classic fulllength production LP “Here To There” which crossed multiple genres and garnered the attention of serious music fans worldwide.