Summer vibes guaranteed with Norman Jay

The legendary purveyor of musical good times tells Ed Power why he’s looking forward to playing in Kerry

NORMAN Jay did not follow the example of other super-star DJs by moving into music production. There is a simple reason. “The studios are dark,” he says. “I need a window. I need sunlight.”

Jay (57) is one of the most influential figures in UK club culture. However, he sees his job as straightforward, utilitarian: he is a bringer of party vibes. Aesthetics are a secondary consideration.

“I’m a people person first,” he says. “Music is a great soundtrack, if it makes for an unforgettable moment. Ultimately, it’s all about the people”.

In the abstract, such sentiments may sound slightly hippy-dippy. Jay, though, has assuredly walked the walk. In the 1990s, he collaborated for five years with DJ, producer and scene guru, Gilles Peterson, on the Talkin’ Loud label. Talkin’ Loud wasn’t working for ‘The Man’. Still, even this loose-limbed version of corporate life was an uncomfortable fit. Jay yearned for the open road — for his present, year-round regime of playing festivals and carnivals worldwide.

“I don’t really consider myself part of the music industry,” he says. “I used to work for a record company. The five years I spent doing that convinced me I’m a diehard entertainer. There’s a LOT more satisfaction in that.”

Jay was born in west London to Nigerian immigrant parents. He was a driving force behind the British capital’s warehouse party scene of the early 1980s and would go on to establish the influential Kiss FM pirate station. He is believed to have coined the phrase ‘rare groove’, which refers to music that is simultaneously accessible, obscure and at all times funky.

He grew up in Notting Hill, where, together with his brother, Joey, he formed the Good Times Sound System — a party-bringing perennial feature of the Notting Hill Carnival. In 2002, his contribution to British music was acknowledged with an MBE.

Thirteen years on, one senses the shock has not quite worn off.

“People like me simply don’t get that sort of recognition,” he says. “It appears I might have set a precedent — since then, many of my peers have been likewise honoured.”

As is often the case with Londoners, he considers his home town the centre of the universe — particularly from a clubbing perspective.

“It’s the nucleus — if you are going to be involved in this, you have to be based in London. It is the epicentre of global club culture. I know that’s a bold claim — but, in my experience, you have to be based here.”

Does he fear gentrification and nosebleed property prices might snuff out the dance scene? London is, after all, increasingly a playground for the wealthy. “One could argue that,” he says. “It depends on which end of the spectrum you are. You can party very cheaply here — or very expensively, if you can afford it.”

He will shortly leave for the Glastonbury music festival, at which he is a regular performer. After that, he is looking forward to coming to Kerry for the Valentia Isle Festival, in early July.

“I love festivals — as long as the parties are outdoors and the crowds are good, I’m up for it. Ireland has been particularly good to me — I’ve been coming over for the past 10, 12 years and have never had a bad gig. I get to Ireland whenever I can. It’s always fantastic.”

Norman Jay performs at the Valentia Isle Festival, which runs July 10–12. Jerry Dammers and the Frank and Walters are among the other acts. See www.valentiaislefestival.com