DJ Irv and T Tucker
D.J. Mellow Fellow
In July, the 20th anniversary of D.J. Jimi’s “The Original Where They At” which was released by Avenue Distribution will take place. As we reflect back to my involvement in the creation of a sub-genre, bounce, The Heat Magazine will give you the unadulterated and accurate accounts on the 20 year catalog of rap music that New Orleans is known for pre and post Hurricane Katrina.
T Tucker and DJ Irv recorded the hottest analog recording and original master of “Where Dey At?” late 1991 via Charlot Records and Loren Phillips.
In 1992, I (Devious) was signed to Avenue Records and was currently working on an album, “Life From a Devious Perspective” with Cise Edwards and my new deejay “Mellow-Fellow” who replaced my original disc jockey “D.j. Baby T aka D.j. Lil Daddy” after D.j. Lil Daddy went on tour with M.C. Thick who had recently signed with Atlantic Records.
During this recording, I was granted permission to sign other talent. I was made aware of D.J. Jimi’s share of this unique subgenre by Mellow Fellow. DJ Jimi and DJ Irv were friends and eventually went on tour together after T Tucker went through legal issues. Jimi showed Mellow Fellow and myself a VHS recording of him and DJ Irv dated 1991, mixing and doing this new genre “bounce” which was basically just “Triggerman” at the time.
Shortly after in 1992 , Jimi was signed to Avenue Distribution and Soulin’ Records. In opposition to the style of Tucker and Irv’s recording, I frankly advised Jimi that in order for me to produce this type of track, it would have to be more organized and structured with added lyrical skill. He agreed and we both wrote “The Original Where They At?”
From that day, New Orleans music scene underwent a facelift. Tucker first took over the local scene of New Orleans. D.J. Jimi’s went on to sit on BillBoard for 26 weeks and toured for 2 1/2 years straight nationally. Several artists like Ceelo, Nelly, Project Pat, and Ying Yang have used bits and pieces of DJ Jimi’s recording. Good has transpired and some erroneous media configurations have also surfaced. Many of the media sources are inaccurate or untrue. There are some accurate sources but it appears that New Orleans art is being labeled as something else other than “bounce music.” Movies, DVD’s, books, websites, clubs, and tours have all manifested from something young black males from New Orleans created 20 plus years ago.
With a true source rooting from the St. Thomas Project and other housing facilities in New Orleans, the “hold it down” dance and “playing the dozens” between females and males on the microphone shaped the sub-genre sound in New Orleans. The Heat Magazine plans on covering the creators of New Orleans rap sound during its peak moments.
A call and response party style music with a complex recording traveled through the mouths of Tucker and Jimi with the production and arrangement being supplied by Irv, myself, and Mellow Fellow. Juvenile and Cise Edwards would join Jimi’s team and help arrange lyrics for Jimi after Mellow and myself pulled out the deal due to contractual differences. 2o years later, it is still here with added flavor and several young artists and producers such as “Blaq N Mild” lead the bounce movement.
The Heat Magazine hopes that the true and concise story will be revealed. In the future, it is my hope that media organizations show a sincere appreciation and respect for New Orleans music. In the meantime, the true creators of New Orleans Bounce music as it relates to audio recordings and the music industry have just been mentioned.
For more information on any of the artists above, email Dion Norman at itsdevious@yahoo.com. Contact Loren Phillips for information on Dj Irv and T Tucker. Contact Arlene Culpepper assistant editor for additional information. The photos in this article are used courtesy of Loren Phillips, Dj Jimi, Mellow Fellow, and wheretheyatnola.com (Aubrey Edwards) These are the original band members including Dion Norman of the original and largest bounce songs released in New Orleans.
