Since the first time I heard a track from Lacarno & Burns (aka Peter Woolcott and Tim Burns) I am hooked to their deep jazzy house sounds. I still remember the day when I discovered their "Axis" during a relaxing listening session of LTJ Bukem's Earth 4 compilation (Good Looking Records). Maybe it was this wicked flute-ish vocal sample that runs throughout the entire track, or maybe it was this crazy percussive drum pattern that sounded so much different from all the other house productions at that time... whatever it was it caught my attention.

But the track that convinced me completely came with "We Love The Rain," a lethal jazz house joint that features the incredible scatting jazz vocals of a woman called Jehlaz. Released last year on their own record label Music Is Everything, this record hasn't left my record bag since and is destined to stay there for a long time to come.

But why hadn't I heard from them before? Well, to make a long story short, I actually had but their names never hit a bell when I saw them. However, now I am glad that I had a chance to talk to two very nice music lovers who were hidden in the British soul and jazz underground for too long.

We here at the UF wish Lacarno & Burns all the best for their own record label and music productions, and we sincerely hope that their MP3.com earnings will soon blow up beyond the current $13.67!

MG
July 2001

P.S.: Some tracks from their forthcoming debut album "Deep Steppin'" on MIE are featured on our Sound page!

The following interview was conducted by MG on July 11th, 2001:

Please tell me something about Lacarno & Burns?

Lacarno (L): I was born in Naples, Italy, but grew up in London. My older brother first got me into soulful music at about 14 listening to stuff like James Brown, WAR, Parliament, Lonnie Liston Smith, Pleasure, Dexter Wansel & the sound of Philadelphia etc. Luckily for me, my height made me look older than I was in those days and he used to sneak me into clubs. Of course, once experienced that was it... I was hooked!

Burns (B): I was born in London, but grew up out of town in Kent. I got into music very young through my family; my mother is a great Latin/flamenco guitarist and my Dad was a bit of a jazzer. I took up the trombone at 11, you won't hear any of that until I get my front tooth replaced!

How did the two of you meet, and when did you decide to produce music together?

B: We met at a club that Pete worked at and just hit it off.

L: Yeah, for me it was a very frustrating time. I had a small studio setup in my bedroom & had hit a sort of stagnant point. I felt I really needed to be able to bounce ideas off someone who had the same 'feel' (I think this is very important for fresh input). Then, by chance I met up with Tim and we arranged for a sort of audition which ended about 6 hours later. I still listen to that little tune we knocked up to this day!

Have you released anything prior to your first Music Is Everything release?

B: I did a track ("Triple Journey" by Plus) on the Oblong label in about '96, when it was part of the Vinyl Junkies record store in Soho. It was my first bit of production and it became a bit of an underground classic. Nice track, terrible production, but fuck it, it worked and I still love it.

L: Our first release as L&B was a 12" Departure/Nova on Nuphonic. In '99 then the "Off & On EP" on Chilli Funk. I also had a drum & bass track called "Future Shock" out on Good Looking and "Axis" on their Earth imprint. Before that I used to be in a band called 'A Man Called Adam' which started out quite Jazzy at first actually. One track we did for a CBS comp had us booked into their studio 1 in Whitfield St W1 for a twenty-eight-piece brass & string section, which was a great experience. We all split in different directions eventually, Sally & Steve are still flying the 'AMCA' flag and Paul is now half of 'Leftfield' - Great days Ahhh!!

Wow, you were part of AMCA? I still love "Techno Powers" from 1989, the in my opinion first real jazz house track ever!

L: There was a predecessor, it was called 'APB', which to my mind was the first real Jazz house track (circa '88). The Alto flute intro was sampled by many since and used-a-plenty in the Drum & Bass scene. As I said earlier, we were very much involved in the London Jazz scene from around '85 and were playing out live a lot. This meant that we had a stable of top class Jazz musicians working outside the nucleus of the main band which was then 5. So as you can imagine when the whole acid house scene erupted in the summer of '88, it seemed a natural progression to get them all into the studio and try to fuse the two formulas. You also have to remember that this was a most amazing time for music and new ideas.

When and why did you decide to start your own label?

B: About four years ago, but it wasn't the right time. We got it started about a year and a half ago because we thought we would have more creative control and we would get paid more money quicker... Actually the only difference is now we spend a lot less time moaning about how other labels treat us!

Your first release is in my honest opinion unbelievable, one of the best house releases of last year. How was the general response to it?

B: That's a real compliment, thank you; you are now on the mailing list for life! It was a slow grower at first but it has weaved its way into the world and seems to still be doing its own thing... It got licensed twice last month, in fact as we were doing this interview it got licensed again!

Please tell me something about Jehlaz, who did these incredible vocals on "We Love The Rain" (MIE001)?

B: She is a very talented and passionate singer, she really gives something above what you expect from a vocalist.

L: Yeah, she wrote all the lyrics as well.

Can we expect to hear more from her in the near future?

L: She is featured on Kerri Chandler and Jerome Sydenham's album "Saturday" (Ibadan) where she sings on Dennis Ferrer's track also entitled "Jehlaz."

I also noticed that DJ Wiseblood, whom I know from his excellent music journalist work, is part of Music Is Everything. How did you hook up with him?

DJ Wiseblood (W): Thanks for the props Gil, Wiseblood is in fact a girl! Not a lot of people know that... I really loved Lacarno & Burns' music when I first heard it two years ago and helped them get signed to labels like Chilli Funk and Good Looking. The logical step was to set up a label together, where I do A&R as well as promotion.

Oh my, sorry for that... Anyhow, how would you best describe the music you produce?

B: Soul, but I think it gets filed under house.

L: Like a big hug from a beautiful stranger whom you're not quite sure fancies you?... (grin)

When you write and produce your music, is it more a combined effort or do you split up certain components during the production process?

B: Depends what we do. I suppose Pete gets the last word in beats.

L: It does vary depending what mood we're both in; some tracks, like "Bossa Perduta" which we did for Good Looking/Cookin' was a dream in that it came together in about a day and was an "all hands on deck" production. Tim did the main vocal scats initially as a guide, but they worked so well we left them as they were. But we do generally tend to allow each other to get absorbed in certain elements individually - then it kind of comes together on the mixdown.

You state on your Web site that you won't sell out in the future, and that you will maintain the high quality with every release. How important is this statement for you?

L: Crucial - there are so many labels out there putting out the same old filter/loop/sample grooves or signing the same artists that they all think are flava. It's vital to seek out new and exciting music, and keep the scene alive, especially since a lot of what passes for the commercial scene is so soulless and derivative.

B: Also, most dance music has the shelf life of a fruit fly and as a small label you have to make something with a life span, otherwise you are screwed... We don't have the dollars to promote in a 'big splash' kind of way.

In your opinion, what makes music quality music?

L: Feeling, integrity, originality, attention to detail and soulfulness - you can be a master at using the technology, but if it's not used as a conduit in which to feed your emotional energy, the music sounds hollow. Also, if you are doing music purely to be rich or famous, you can hear that in the music too - the love has to shine through... and this is something we will always strive to achieve!

Do you think that quality and commercial success can coexist in the music biz?

L: I hope so, certainly if you look at the longevity of say Blaze or War even then the two things can coexist although neither act is especially commercial. But with house music these days in the UK commercial success belongs to the more pop/trance/hardhouse end of the market, which clearly is not the quality music end. If the radio stations started playing more variety of music and the dance magazines started emphasizing music other than that signed to the majors I am sure that quality could also mean commercial success. Talking Loud will always be an inspiration for the proof that quality and experimentation can mean success.

You promise on your Web site a couple of surprises for the near future. Any more hints on what we can expect?

L: Thank you for reminding me, I will go & update the site (www.musiciseverything.com) after our little chat!

You are also fully experienced engineers. Did this experience help you with your own music productions, and if yes, why?

L: Absolutely! Engineering & production techniques have always been a dominant factor when it comes to dance music. Even before computer based studios it was always about getting that kick & bass 'Fat' or 'that snare nice and tight!' The beauty now is that technology has enabled us to close in even further and use those techniques almost as instrumental.

Are you also DJing?

L: Yes! In fact we have some dates lined up as guests for Hed Kandi in Ibiza in August, also Seattle, San Francisco with the 'Viva Records' crew, a possible Vancouver, Chicago, New York (a liquid sound lounge boat party) and our first ever live band line up on the 7th September on Stuart Patterson's night 'Barrio' at Cargo in London. Check our website above for more detail on all of these.

How important is music for you in general?

L: Music is everything!

I just finished an interview with Fresh and Low's Calum Walker, from whom you released an EP earlier this year. How did you hook up with Fresh and Low?

L: Wiseblood had a residency with him in Glasgow for the last couple of years, he is a good friend of hers...

At the end, the typical (but important) question. Please tell me some of your influences and current favorites.

Music Is Everything's Current Top 9 (in no particular order):

Ne-grove - Let It Ride (Pure Filth)
Kirk de Giorgio & Ian O'Brien - Soul Of Science 2 compilation (Obsessive)
Urban Soul Collective - Please Yo' Self (S.I. Project)
Reel People - Reel People [Dave Warrin Mix] (Papa Records)
Tiefschwarz - Schwatitz (Classic)
Jerome Sydenham & Dennis Ferrer - Ko Ko (Ibadan)
Ian O'Brien - Funky Apocalypse (People)
Silk 130 - Happiness [Soul Dhamma Mix] (R2)
Latina Cafe - Power to Conquer (R2)

Thanks a lot for this interview!

The pleasure was all ours!