There are only a few labels from which I immediately pick up records without any second thoughts: Talkin' Loud, Mo'Wax and Expansions were some of them back in the days; Guidance, TronicSole and Pagan are some of my choices nowadays. And then there's also Large Records!

Large Records was founded in 1992 in Chicago, and since then has released records from people like Kerri Chandler, Julius Papp & Dave Warrin, Mateo & Matos, DJ Sneak, 95 North, Cricco Castelli, USG and DJ Rasoul, to name but a few - a list which reads like the 'Who Is Who' in underground house music. With such artists on their payroll, Large became one of the few topnotch house labels, which can be found on almost every playlist from self-esteemed and famous house DJs. On this page I will try to hunt down some of the many reasons which make Large such an extraordinary house label, followed by an exclusive interview with the man behind Large, Jeff Craven.

The first thing which comes to my mind is obvious: quality! With each and every release, Large takes a step further down the road towards a perfection of house music, yet keeping the sounds fresh, new and unique - no wonder, when top musicians like Kerri Chandler or Richard Payton & Doug Smith aka 95 North use Large as the outlet for their quality house music. 95 North deserve an extra credit for their releases, including tracks like the seminal "Jazz Ascension" (1998), "Forever Underground" (1998), or the upcoming masterpiece "Sun Goddess" (1999), a breathtaking remake of the old EWF and Ramsey Lewis classic. All of these tracks include excellent live musicians, most notable the appearances of Nicholas Laget on flute, and add a big touch of jazz and funk to dopest house beats and rhythms.

But let's not forget Mr. Kerri Chandler's releases on Large! Back in the early 90's, almost nobody in charge here in the States gave a damn about him, and he mostly killed the always open-minded British audience with his DJ appearances overseas, and then Large released the first record from his now 4 pieces-strong "Raw Grooves" series (1995). For me and for many others, this record was always special (and still is!), with Kerri's hard and dark vibes in combination with his typical melodies and characteristic New Jersey sounds. I still spin this record on a regular basis, because it represents like all of Large's records timeless house music. So I finally discovered another fact: Large releases timeless house music!

Another characteristic of Large's music has to be variety! Every release has a new sound and flavor we haven't heard on previous releases, something which makes it always exciting to listen to a new record. You might be surprised, you might be bewildered, you even might be shocked, but you're always tempted by the music. Large is one of the few labels that never released so-called 'Industry Records,' records which are based on the sound of former successful singles or albums. In contrast, some of their releases have the power to open your mind towards other directions or music styles, as it was the case in Julius Papp & Dave Warrin's luscious and vibish "Seems To Know" from their "Daylight EP" (1997), a downtempo track that continues the music of Dave Warrin's often overlooked 'Slide Five' acid jazz project (Ubiquity Records). Or how about the monstrous funky breakbeat "Taste Of Funk" from Mateo & Matos' "Night Moods EP" (1998)? Who knows what else is hidden on some of their releases, because I don't have all of their stuff and older releases are almost impossible to find.

The last point I want to add to this already impressive list is Large's modest appearance! They leave it up to us to buy their records. Large doesn't promote their records aggressively because they don't have to, and you can't find any information or Web site on the internet. It's all in our hands, and we're the people who pay for records anyway! Just some examples of this reserved attitude are the unique vinyl stickers on every record: they always feature new designs, and you have to study them closely to discover hidden messages and amazing art compositions. If you haven't noticed, check out the flip-side of Kerri Chandler's "Raw Grooves 3" (1997) and see for yourself! Once again, you will discover pure quality, although hidden and only obvious if you look sharp enough.

So after all, I found quality, variety, modest appearance and timeless music as some of the reasons which make Large Records out of Chicago a very special label for me. But I am not alone and share these opinions with many others I told about the opportunity of meeting the person behind this label, Jeff Craven, for an interview. I know it sounds corny, but I am still proud that I had the chance to talk to somebody who had and has such an impact on house music.

God bless Large and Jeff Craven, because house music needs them!

DJ MG
March 1999

The following interview was conducted by DJ MG in February 1999:

Please tell me something about your person. Where are you born, and how did you get involved with the music business?

Strangely enough, I was born in Texas and raised in rural Oklahoma. I was the "nerd" in my small town - totally into cinema, theater and dance music/R&B, while everyone else was driving Trans Ams and listening to ZZ Top. I studied acting and dance, and acted professionally for about three years after college. I moved to Chicago in The Fall of 1991 and went to one of the infamous "Substance" Loft parties with DJs Derrick Carter, Spencer Kincey, and Mark Farina. That evening shook my soul and I gave up everything and decided to be a DJ.

When was 'Large' founded? And who did it?

In 1992 I met a DJ named Lil' John at a record store in downtown Chicago. He played me tapes of some of his stunning material that had never been released. I had always dreamed of having my own record label and jumped at the chance to release new and exciting Chicago talents. I founded Large Records with my business partner and best friend, Gregg Dickson from Houston, Texas. In 1993, we released our first record "I'm Leaving You" by Ulysses to widespread acclaim. Unfortunately, Gregg left Large in 1995 to pursue a career in computer consulting and I have been running Large completely since this time.

Maybe the biggest respect I have for 'Large' is your commitment to the music of Mr. Kerri Chandler. Why did 'Large' stick to Kerri?

What can I say about Kerri Chandler? Large would not exist if it wasn't for him. I look at him as a hero of sorts and I know many people feel the same way. When you look at his career and the music he has created it really brings forth a sense of awe, doesn't it? I remember the first time I heard Susan Clark's "Deeper" and freaked. Those of us who love house music are indebted to him for keeping things real when so many of the earlier pioneers have slipped in to commercial La-La Land, or disappeared. I love to see younger house heads get into his vibe. With so much disco sampling that has saturated the market, it is so refreshing to still hear his vibe rumbling through bass bins across the globe.

How would you best describe the music 'Large' puts out?

It is hard to pin down the sound of Large. I am a bass freak, so I think most of the Large material is pretty bottom heavy. Because of my spiritual beliefs, I do often find myself gravitating towards material that has some spiritual characteristics, like Gabriel or Sun Goddess or Ladbroke Grove. I also try to capture the energy and excitement of walking into an underground house party for the very fist time.

Who are involved in the decisions of signing a record deal Is it only you, or is it a combined effort by several people?

God has been gracious to me in this regard. I am the only person who makes creative decisions here at Large. I am aware that I have been heavily criticized for this - I have turned down records that have been commercially successful on other labels, and sometimes I have put out material that has alienated or confused the Large fans. I wish I had a dime for everytime someone has said to me, "You really should let me do your A+R, Jeff." I really feel it is important for people to experience the diversity of styles that fall under the umbrella of "House Music." That is one of the things I respect about Derrick Carter. He is always full of surprises in his musical selection during his DJ sets. I try to find material that excites me and makes me dance yet still pushes the boundaries of House.

Please tell me the most memorable record 'Large' has released, the one which caused the most trouble and/or hype.

Roy Davis Jr. featuring Peven Everett, "Gabriel."

Although it might be a business secret, but how does 'Large' always find these incredible artists, like DJ Rasoul?

Even though I have stopped DJing for a while, I still am an avid record buyer and I am always finding people that I want to work with on Large. In the case of DJ Rasoul, I had been a massive fan of his for a while. He had released a record on Subwoofer out of London in 1996 called Deep Excursions Vol. 1 that I obsessed about for months. I tried to find him for two years! I sought him out because I think he is one of the hottest producers I have ever heard. Receiving a project from him was a real honor. Currently, I have my eyes set on a couple of artists that I would like to pull into the Large camp. I can't name all of them, but a few names would be Dave Alvarado out of LA, Mike Dunn, anyone from Svek, and Nick Holder.

From the business perspective, isn't it sometimes hard and unprofitable to only focus on quality house 'Large' is famous for, and have you ever considered moving more towards the commercial sector?

There was a time last year, after the surprising commercial success of Gabriel, that I started to desire commercial success too much. I think it began to affect my decisions and direction. I saw a couple of my artist struggling just to pay rent, and I became obsessed with trying to be the "next big thing." I deliberately set a course to take over the dance music industry and then Subliminal beat us to it!

Seriously though, I was very frustrated and then one day Kerri Chandler sent me a DAT and he had written, "Thank God For Large" all over it. I called him and asked him why he did this and his reply was, "Because Large allows me to be myself." This was one of those "Epiphany" moments in my life. I came to the realization that Large is something special that God has created and that I am merely a servant. Large is precious and probably not for everyone. Large is a state of mind, a sound and an energy that allows people to be free. Anyone who has ever bought, played, danced, reviewed, criticized, sold, or stolen a Large record IS Large Records...

Does 'Large' owns studio(s)?

No. I usually work with artists with access to their own studios.

Has 'Large' ever had joint venture offers from big record labels?

No.

What can we expect from 'Large' for 1999 - anything big coming up?

The artists on Large seem to be gravitating towards songs rather than deep EP's which I like right now. Look for several great vocal cuts over the next few months.

How do you see the future of house music in general?

Well, this is a painful question to answer because House music has had a rough 2 years in my opinion. This whole disco loop cutup phenomenon has gotten way out of control, and I think many cuts that should be our new classics are getting lost in the record bins. It troubles me because I see kids who are just getting the "fever" who aren't getting an education about where this music originated. This is a legitimate Black American artform with a rich history, and I worry that Corporate America is going to tailor True House Music to fit nicely into American Suburbia.

To give an example, I sent a promo recently to a record store in Seattle called 'Delicous Music.' It was a promo of the Blak Beat Niks' "I'll Be There" with Kerri Chandler's mixes. A kid who works there named Carlos Miguel faxed me back a response saying, "This is played out ... tired. This is way too garage, you guys can do way better!" The same day I received a response from Ashley Beedle in London with only one word ... "Beautiful." This was painful to me because of this kid's arrogance. For him, Garage is an evil word but would he even know what Larry Levan would play on any given night at the "Garage?"

I hope that a balance can be met in terms of style before it is too late.

Can you tell me your all-time Top 10?

Well, it is impossible to come up with a top ten, but here are a few records that have meant something to me in my life:

1. New Order "Blue Monday"
The greatest selling 12 inch of all time and I think one of the best. Listening to this track for the first time on a hot, sexy night in 1984 ... pure bliss.

2. Mr. Fingers "Closer"
What can I say about this? Pure class from the greatest.

3. St. Etienne "Only Love Can Break Your Heart" ( MAW Dub)
Geniuses at work.

4. Steely Dan "Glamour Profession" from LP "Gaucho"
A convertible car, a California sunset, and my wife by my side with this tune on the Alpine car stereo is all I need. Oh! that piano breakdown!

5. George Benson "Just Give Me the Night"
Close you eyes and think of heaven.

6. Roy Davis Jr. featuring Peven Everett "Gabriel"
The record that allowed me to make peace with God. Perhaps one of the most creative dance records of all time?

7. Stan Getz "Summertime"
An instrumental of the Gershwin classic from the musical Porgy and Bess. Recorded in 1964, this piece haunts me every week. The tenor sax on this...

8. The Jones Girls "Nights Over Egypt"
Did this come directly from heaven and the angels?

9. Jerome Kern "Showboat Score" (all compositions)
Perhaps the most influential composer of American Musical Theater. To hear Lena Horne sing "Can't help lovin dat man" is delicious. This musical explored race relations in America when it was uncomfortable to do so.

10. Kerri Chandler "Atmosphere E.P."
Deep and devastating body music that can never be duplicated.

Thank you, Jeff, for this interview!

My Pleasure!