Ride on the rhythm: Sir Henrys DJ Shane Johnson picks 10 classic tracks by Masters At Work
Little Louie Vega and Kenny Dope Gonzalez of Masters At Work play a DJ set at Cork Opera House as part of the Guinness Cork Jazz Festival.
Kenny ‘Dope’ Gonzales and ‘Little’ Louie Vega came together to form Masters At Work in 1990. Both had already distinguished themselves as DJs, in Brooklyn and the Bronx respectively, and their move into production was a natural next step.
In a golden era for house music in New York they made an immediate impact, releasing records on the heavyweight Strictly Rhythm, Nervous and Nu Groove labels and remixing for both majors and independents. We were always delighted to get our hands on one of the handful of their 12” vinyl releases that would make it to Cork, their tunes regularly rocked the dancefloor at Sir Henrys.
They also began cultivating relationships with some of the great New York session players, building over time an unparalleled team of collaborators that have helped shape that distinctive MAW sound. I’ve selected 10 of their finest from the 1990s below but I could easily have picked 10 completely different, equally brilliant moments from their unparalleled catalogue. Hopefully the duo will spin some of them at Cork Opera House on Friday.
1991 An early gem from the nascent duo and a prime example of their genius for making the most of sometimes questionable material. The Jellybean Benitez-produced original version is, with apologies to Chris and Jellybean, terrible. On the other hand, the tantalisingly brief 3 minute 23 second MAW dub is a fizzing firecracker that - 35 years later! - can still work up a frenzy on the dancefloor.
Another phenomenal MAW dub from 1991 that lands on so many levels: a haunting synth line, fierce garage drums, piano chords from on high, Marc Anthony’s urgent “ride on the rhythm, ain’t never gonna stop” vocal and then, when you thought it couldn’t get any better, one of the most impactful, emotional basslines in house music. It was a beloved end-of-nighter for us in Sir Henry’s throughout the '90s and still gets an airing today on special occasions.
Ken and Lou’s rework of this Mood II Swing production transforms the pedestrian original into a perfectly staged dancefloor melodrama. Opening proceedings with Silvano’s plaintive refrain - “I don’t know what to do without you” - the musical layers build beautifully as a melancholy tale unfolds (helped by an unlikely but inspired Chris Isaak sample).
An early indicator of the depth and breadth of influences these guys were drawing on. fuses sleek synth pads to a skittering breakbeat and deep, jazzy hooks. The Nuyorican Soul project went on to bigger things on Gilles Peterson’s Talkin’ Loud label but the seed was sown right here.
Another classic from a golden period, I Can’t Get No Sleep hooks with a nagging horn riff and lands with India’s incredible performance. The steady build of tension is irresistible and the release, in the shape of India’s scat vocal and a huge disco bassline, is immense.
A sporadic but storied solo alias for Louie, the Hardrive releases are lazer-focused on the dancefloor, with intense, urgent grooves and killer hooks. “Deep inside, deep, deep down inside”. This is one of those all purpose tools that never leave the crates.
Kenny has recorded under more than twenty aliases, most famously as The Bucketheads. “The Bomb!”, from 1994, very much does what it says on the tin, laying waste to dance floors with an extended choppy build before - finally, finally - breaking into that joyous, raucous Chicago sample… “these sounds fall into my mind”. The actual line is “street sounds swirling through my mind”, mondegreen fans.
A beautiful song treated to an audacious 12-minute mix that allows ample room for the dream team of their regular collaborators to stretch out… India on vocals, Gene Perez on bass, Albert Menedez on keys and the Salsoul Orchestra’s Vincent Montana Jr on vibes. For a DJ the extended vocal breakdown in the middle requires a steady nerve and a patient dancefloor, but the payoff when the band charges back in is worth it every time.
An immaculate production that marries a finely honed drum track and the deepest of deep bass to sublime keyboard chords, a soulful trumpet and an ethereal vocal from Mary Jay. Once the song is sung, the second half of the nearly 10 minute runtime becomes a beautiful guitar and piano interplay. A subtle masterpiece that gets better with age.
A highlight among many great releases on their MAW label, Louie’s sleek, bass-driven groove soundtracks a wise and world weary vocal from the great Arnold Jarvis. Also memorable for the exquisite backing vocals of Lisa Fischer and yet another who’s who of top session players.
- Masters at Work play Cork Opera House on Friday, October 23, as part of the Guinness Cork Jazz Festival
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Shane Johnson is part of a double bill with Jimpster at the Savoy in Cork on Saturday, Oct 24
