Whether you know him as Cajmere, Green Velvet, or—like many others in the game this long—one of his various other monikers over the years, Curtis Jones is a household name no matter what type of house head you’re talking to or what language you’re speaking. It’s no surprise, then, that Mr. Jones has been a mainstay at Electric Daisy Carnival for decades, spreading the good word and spinning his brand of simmering house and groovy tech-house for millions of club- and festival-goers over the years. Jones is one of those “doesn’t need an introduction but we’ll give him one just in case” sort of guys.
Play it once; play it again. After all, one good turn deserves another.
Jones has been active as a producer since as far back as 1991, when he abandoned the idea of getting his master’s degree and instead moved back to Chicago to get busy in the studio, work the clubs, and pay his dues as a DJ. Like many young, hungry DJ/producers, it didn’t take very long before Jones started up his own imprint, Cajual Records, and it wasn’t long before his first bona fide classic, “Coffee Pot (It’s Time for the Percolator),” was laid to wax.
As he put out record after record, Jones started to explore alter egos, like Cajmere, and other facets of his style and personality. Like Chicago house’s version of a Bowie or Prince, Jones’ rotating menagerie of characters has been a motif throughout his career. As the years have gone on, Jones has remained a consistent figure in the often-fickle landscape of club and festival culture. As he recently turned 50, he is truly one of dance music’s model elder statesmen who has found a way to remain relevant to main-room crowds and underground heads alike.
For the 2017 edition of EDC in Las Vegas June 15–17, Jones (as Green Velvet) will be rocking the crowds yet again. If that alone doesn’t fill you with excitement or get you in the mood for another extrasensory spectacular, Curtis has sent us a jacking mix to get the pre-party simmering and get us all in the mood.
The mix features mostly recent singles and steely cuts by artists like Ferreck Dawn, Alessio Viggiano, Lucio Spain, Ruben Mandolini, and Miky Talarico, with a few vocal house stormers (Loleatta Holloway’s utterly indispensable classic “Hit & Run” [Acapella Version], anyone?) in there for good measure. The result is a nice slice of what you might catch in about a week: a set by one of the scene’s finest. Play it once; play it again.
After all, one good turn deserves another.