The San Francisco Bay Area has a rich musical history and regularly throws up new artists or styles that end up breaching the boundaries of the West Coast to spread worldwide. More recently we’ve had Hyphy – but we also have a new generation of turntable pioneers, musicians who follow in the footsteps of the likes of Q-Bert, Mixmaster Mike and Shortkut who helped bring about a revolution in the artform over a decade ago.
Amongst these new musicians and artists is Teeko, member of the 4onefunk crew and Dollar Bin Quintet. You might remember Teeko from the battle scene of the early 00s, since then though he has moved on in leaps and bounds, concentrating on the music he loves and wanted to make. The result is a debut album, ‘MySoundstation’, which came out recently and showcases Teeko’s personal take on music made with turntables. And the emphasis should very much be on the word music, as Teeko’s album is a definite showcase of the musical freedom and possibilities afforded to those who work with the turntable – as exemplified by the music but also the praises that have been heaped on the record from the likes of Jazzy Jeff, Ricci Rucker and Q-Bert.
Teeko makes beautiful music, and because of that amongst other reasons we thought it only right to get some words from him. Queue a series of email exchanges over the last month, as the man was preparing the release of the LP and accompanying launch party (which took place at the DNA lounge a week ago with a full band), to find out some more about who he is and where he came from, the LP, Puerto Rico and everything in between. Welcome to the new era of Bay Area Funk.

First up can you introduce yourself to our readers?

Teeko: Peace to all, my name is Shimon, but most people call me Teeko. It’s a nickname that I've had for a long time. But my real name (Shimon) means to communicate or listen.

When, where and how did you first start messing about with turntables and scratching?

T: I have very early memories as a child playing with records and record players, even before I knew what a DJ was. I grew up around music and used to ask my relatives for records that they didn't mind me playing with so I could move them back and forth and just play around being amazed that I could touch sound. This was around the age of 7. It was much later that I got my own turntables. When I was 15 or 16. I got one that my dad sent to me and I used an old receiver volume dial as my crossfader. But eventually I saved up for another deck and mixer.

Do you have any formal musical training like piano or guitar?

T: Yeah. My family loves music. I first had piano lessons and felt limited with the sounds, but I'm glad I learned what I did. Then I played guitar for about 4 years after. I love the guitar too. I've always been into percussion and drums, and have been playing with bongos and conga for about two years now. I've realized that the turntable gives me something close to the freedom I crave. Through time and study I have been exposed to many styles and instruments and plan on expanding constantly.

How did it affect or influence what you started doing on the turntables?

T: I think all in all it has developed my ear. Gave me a strong sense of harmony and how to create moods. But the beauty is that you can't be told how to play a turntable, you just play and learn your abilities. The process involves feeling very limited to breaking boundaries and exceeding your initial intent, for me at least.

Have you been in/around the Bay Area all your life? If so what was it like growing up as teenager in the Bay Area with all these incredible tablists like the ISPs, Junkies etc... around and seeing how they were evolving scratching and using the turntable as an instrument?

T: I was actually born in Puerto Rico, but moved to the Bay when I was like 5. But I definitely felt the presence of a strong turntable movement in the west coast. The Bay Area has a strong soul and has been known for its funk and innovation. I have been fortunate enough to be around the talents of the bay like, Shortkut, Qbert, Mike Boo, Ricci Rucker and a few others who keep me motivated. I love the Bay Area very much. Home of the independent artist.

I had forgotten you were originally from Puerto Rico - this reminds me, are you still in touch with Godfader who was out here doing some tracks and setting up a label a few years ago?

T: Yeah no doubt… Godfader, Nature, and Abstract were holding it down in PR for a while. Abstract moved to Miami and Nature to New York. Also my homie Sonar was doing his thing there but I believe he is in Europe now. It’s a small scene there but the people really enjoy it. Great vibes… It’s my home away from the bay.

Can you tell us some more about the 4onefunk crew? How did you guys come together etc...?

T: Yea. The 4onefunk crew started with myself, B.Cause, Max Kane (formerly AlesOne) and Mister B. We all knew each other from the Frisco DJ and graffiti scene (local battles and functions). We all became friends and eventually crewed up. The way I see 4onefunk now is more of an entity. Like a collective network of artists and musicians, all for one. We are expanding constantly and spawning new projects like The Dollar Bin Quintet and 4onefunk Jam bands. One nation, five'n the groove, gettin down just 4 one funkin it!

Can you tell us one funny story involving the crew?

T: Hmmm. There have been so many crazy adventures it’s hard to pick one. We have a lot of characters in our group, and we find ourselves in some interesting situations to say the least. It’s a real fun group of cats, hehe… All I can say is when we have a dvd out it will be very entertaining.

So your first album just dropped - can you tell us a bit about it, where did it come from, how long has it taken to make, who's featuring etc...?

T: It has been quite the process - a chapter of my life that I'm sharing with the world. I started a handful of the songs almost 4 years ago, shortly after my last few appearances on the constrictive stages of the DJ battles. It embodies my changes and progression as a musician for this period of time. There are little stories that go with the songs and they are hinted on in the liner notes. There is a theme to the album that represents youth and purity. The turntable is an instrument in its most youthful or dawning stages, also during the course of this album I was working at an after school program where I was influenced by the innate creativity and uncurbed imagination of the youth. My SoundStation is my creative force, my instruments, my turntable. It features many renowned musicians from the scratch and jazz worlds, including The Dollar Bin Quintet (Mike Boo, Max Kane, B-Cause, J-1 and myself) and amazing saxophonist Kenny Brooks (check his status www.kennybrooks.com ) as well as award winning drummer Jay Lane (2002 CMA Drummer of the Year). Also the hidden bonus track features Collin Brown (keys) and Austin Bohlman (drums) of the bay area funk band Monophonics (www.monophonics.com). I feel very blessed to collaborate with these musicians and appreciate the respect they give to this evolution of sound.

How would you describe the album to someone who's never heard of you?

I've noticed you've refered to the term scratch music in some of the promotion of the album - how do you personally feel about the term and its use? I’m asking because personally I find that your album, as with a lot of music in recent years, is really just so enjoyable that I think it's important that it’s put forward to people everywhere just as music - without the need to segregate it into some niche or whatever. Ultimately if the turntable can be anything musically, which I think people like you are constantly proving, then the music made with it can also be anything. Do you know what I mean?

T: Yeah absolutely. This is music, period. While I think the intention of the term "scratch music" is to recognize the very unique technique of creation, it is simply music with an innovative and untraditional approach. I guess the bottom line is that anyone who appreciates good music would find things they love about this music.

What does it feel like to be able to release your music on an independent platform? Do you think that the additional efforts and hassles are worth it because you are more in control of what you put out and what it looks and sounds like?

T: Well, its been a challenge. The first time around I felt it was beneficial because of the experience, and being a Bay Area artist I felt it was essential. The Bay is home of the independent. It’s not easy at all, especially when you’re living off being an afterschool teacher and gigs. But the creative freedom and recognition of the art needs to be established before I work with any labels. It’s hard doing the extra work and still being the artist. I don't intend on doing it in the future but I value the experience no doubt.

You mentioned having started on some songs 4 years ago - how was the creative process like during the making of the album then, seeing as you stretched it over a lengthy period? Would you say it was quite an organic process?

T: The music took shape through a chapter of my life which endured many changes, and has resulted in much growth. It was a very natural process. The time allowed more of my experiences to influence the music.

Did you find yourself working on it in bursts or was the length of it took due more to outside influences like finding a label, setting it up, working etc...?

T: It was something that I had worked on in bursts. Some songs I started about 3 years ago and finished about 6 months ago. It happened that way very naturally. It wasn't rushed at all and didn't have much to do with the business side, it was just embracing life's challenges and understanding their relationship to my sound.

Will you be taking the album on the stage, and maybe even on the road, and if so how do you plan to transpose the music created in the studio to a live setting?

T: Yes, we will be playing some of the songs at our shows and actually we have been playing the 43swing for over a year now. Some of the songs are extremely hard to recreate live and would require more players. But recently our newest project (4onephonics) has been producing a nice amount of new material that we're already on the next shit and playing a fresh batch of funk.

Would you rather be on stage creating music in a more improvised setting or would you rather be in the studio channeling any improvised aspects into a track?

T: Both are essential. Improvisation is a necessary part of being a musician. Learning how to play with others and communicate ideas on the fly is where the art takes off. Even if a song is composed, it is a great idea to take the elements and improvise with them to explore new ideas.

Do you find that both aspects can have their own restrictive aspects or not?

T: They are both infinite in possibilities, yet they have their purpose. If you are going to improvise you really need to be a great player to work well with others and listen while reacting.

Musically what other artists excite you today or in the last year?

T: Medeski, Martin, Wood, Scofield, Topaz, Kenny Brooks, Robert Walter, Poncho Sanchez, Sharon Jones & the Dap Kings, Quantic (QSO), Realistc Orchestra, Bamboos, Monophonics, Soup Mob, Mike Boo, Max Kane, B.Cause, Colin Brown, Austin Bohlman, Budos Band, Poly and many others.

What's the best thing about living in the Bay?

T: There is a strong support for independent artists. This is the home of the indie hustle. Artists are creative and known to originate styles. The jazz scene is very rich with a strong sense of funk and soul that is a staple for the bay. The only thing is that people get caught up in dominating the bay scene as opposed to expanding world wide. However, recently the music industry has paid more attention to the bay and encouraging artists to expand and represent worldwide.

Is there any forthcoming equipment/gear to be released that you're really looking forward to? Like maybe the Controller 1?

T: Well, I was told that I would receive a controller 1 from Vestax as me and Mike Boo assisted in its design and they used a few of our ideas. So, I am looking forward to exploring the instrument although I think there can be more sufficient designs and the turntable as an instrument will continue to evolve as long as its players do.

If you had carte blanche to put on a night regrouping some of your favourite artists who would you have on stage?

T: That's a tough one, but recently I've been pondering a collaboration with Medeski, Martin and Wood, along with my saxophonist of choice Kenny Brooks. It’s hard to think about this one cause there are so many talents out there and I am already very thankful to be able to work with the ones I do now.

Before we finish is there anything else you want to say to the readers or let them know about?

T: I love you all and want to make love to your ears… Sonically that is, haha… Seriously though, thank you all for the support.

Last words or shout outs?

T: 4onefunk.com - "Gettin down just for one funkin it!"

Thanks to Teeko for his time. ‘MySoundstation’ is out now on CD and double vinyl – you can order it from musicESP.com or get your local dealer to order copies from TRC Distribution. Listen to extracts at 4onefunk.com and on recent Turntable Radio Podcasts. And don’t forget to check the website for more info on the man, tours etc…