In Barcelona, where I live, The Sound is minimal techno or simply minimal as it is known here. I haven't found a part of that music that moves me yet, but the immersion in a very electronic-oriented place has left its mark on me. I still love the jazz, funk, hip-hop, deep house and myriad other genres I was associated with previously and in the proper contexts still play them, but I feel that if one is not influenced by one's surroundings something is very wrong. As for this new sound, think of it as 21st Century Soul, I call it Soul Tech.
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...A Bit Of History
When I started, acid-jazz was just getting its footing in the USA, acid-house was making itself known to people who weren't the hipper-than-thou clubbers and underground ravers, mainstream hip-hop wasn't about shooting folks or getting shot, and a few genres that would be very important to me didn't quite exist yet (namely, jungle/drum & bass, 2-step/UK garage and broken-beat.)
Although I was playing pretty varied stuff then, I'd say my sound (i.e., what I played mostly because I liked it) was late 70s/early 80s funk. Specifically, I tended to prefer tracks with synthesizer bass, but live drums, generally made by jazz musicians (e.g., George Duke, Lenny White.) For me, it was just a wing of what was beginning to be known as rare groove in the acid-jazz world and was known as original breaks (or just breaks) in the hip-hop world. I found out many years later, many UK broken-beat and soulful house producers liked the same stuff and called it by its English name, boogie.
The thing I really enjoyed about acid-jazz when I became a bona-fide member of the scene is that eventually I realized that rather than being a genre, acid-jazz was really more of an approach to music which allowed me to play anything I wanted. This was a wonderful thing as I could get away with playing funk/rare-groove, hip-hop, latin/world music, house, drum & bass and all sorts of styles without proper names at the same gig or even in a short set! I was greatly saddened when I and other acid-jazz veterans had to abandon the term once it lost association with dance floors around the beginning of the 21st Century.
Fortunately, at that time I was playing another style I was excited about. In addition to having musical elements I enjoyed, this sound also had a real potential to become popular (there were a few huge hits in the UK)--2-step/UK garage. Unfortunately, the next year (2oo1) the biggest group in that scene split up (i.e., Artful Dodger--Mark Hill kept the name and productions, Pete Deveraux went into radio.) Also that year was an incident in NYC that changed a lot of things (mostly for the worse): September 11. I do have to say that I benefitted from the fact that no-one wanted to fly after that horrible day; because the prices fell thru the floor, I flew more in the following 9 months than I had in the previous 9 years. The 2-step event I was putting on with a few partners was lucky enough to score Mark Hill as a guest DJ on his tour of the states and play a gig with him in NYC later that week. My trip with my DJ partners to NYC made me feel like a rock star, we got so much love from the crowds!
2002 we were booked to play in Miami for Winter Music Conference and while the 2-step scene was really dying in the states (dubstep is the only element remaining) I was treated to a bit of the next big thing on my musical horizon: broken-beat and Bugz In The Attic. Broken-Beat turned out to be the new acid-jazz for me -- something vaguely defined enough that once again I could play whatever I wanted, but this time the music was more uptempo. Bugz In The Attic was the collective that really lit the way for me, most of my favorite producers were either in the crew or associated with it (ex: Daz-I-Kue--Bug member; Phil Asher--Bug family.) That sound held me in thrall until my move to Barcelona.