DJ Logic
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Tuesday, 07 July 2009
Written by Mike Greenhaus

Blues Traveler first performed at Morrison, CO’s Red Rocks Amphitheatre in September of 1991 with Widespread Panic and Acoustic Junction. The band returned the following year with the Allman Brothers Band for a two-night stand from July 3-4, kicking off an Independence Day tradition at the famed Colorado venue that continues till this day (though the band cancelled its 1999 appearances at the venue when John Popper underwent angioplasty surgery).

In 1993, the group rolled into Red Rocks as part of the second H.O.R.D.E. tour and, in the years since, the band has returned over the holiday with the likes of God Street Wine, the Tragically Hip, Leftover Salmon, Agents of Good Roots, Gov’t Mule, Robert Bradley's Blackwater Surprise, Pete Yorn, Pat McGee Band, Howie Day, G. Love, Ziggy Marley, Donavon Frankenreiter Band, North Mississippi Allstars, The Wood Brothers, Johnny Lang, Girl Talk, Violent Femmes, Collective Soul and Live, among others. This year the band changed things up with support spots by Black Joe Lewis & the Honeybears and Lewis Black, the latter of whom first bonded with the band at Bonnaroo. In addition, DJ Logic spun between sets and took the stage for a freeform jam and “You, Me & Everything.” Longtime band friend Jono Manson also played guitar and song on a cover of the Jackson 5’s “I'll Be There.” Blues Traveler also nodded to Michael Jackson by teasing “Billie Jean” during “Brother John.” Blues Traveler will appear at Ventura, CA’s Ventura Theatre this Wednesday.
- Relix


Posted by T. Ballard Lesemann
Mon, May 4, 2009 at 3:48 AM

cclaimed New York City based spinner and mixer DJ Logic will hit the Pour House on Fri. May 8 with a set of jazzy-funky tracks. The genre-crossing turntablist’s Southern spring tour brings him back to Charleston for the first time since his two-night stint at the Coliseum with Widespread Panic last October.

DJ Logic (a.k.a Jason Kibler) came up in the hip-hop scene of the Bronx during the 1980s and ’90s. He initially garnered attention for lending elements of vintage soul, funk, and jazz into hip-hop with his group Project Logic. Over the years, he collaborated in the studios and on the road with a wide variety of funky acts, including Panic, Medeski Martin & Wood, Vernon Reid, moe., the John Popper Project, the Roots, John Mayer, Bob Belden, Jack Johnson, and many others. His latest solo album is titled Zen of Logic (Ropeadope Records).

N.C. electro-groove duo Eymarel — keyboardist/singer Mary Frances and drummer Lee Allen — opens the show on Friday. Admission is $12 in advance (by way of www.etix.com) and $15 at the door. - charlestoncitypaper


By: Greg Gargiulo
7/4/08

DJ Logic and Jason Miles haven't merely epitomized the term "world music" with their brainchild Global Noize (Shanachie), but rather redefined what that vague musical classification can encompass. In creating such a diversified mixture, they've set an entirely new bar of what the genre is capable of implying. Blending flavors of funk, jazz, calypso, Afrobeat, reggae and Arabic music, to name a few, the album takes listeners on an auditory odyssey around the entire planet, making stops at notable locales and infusing the native styles with hues of more modern ones like electronica and hip-hop.

Rounding out the remaining core members of Global Noize on top of Miles' keyboards and Logic's turntables, kalimba and Korg Kaoss Pad are saxophonist/flutist Karl Denson, Medeski, Martin & Wood drummer Billy Martin and percussionist Cyro Baptista. But the cast of characters doesn't stop at the core. The span of additional guests includes Bernie Worrell, John Popper, guitarist Vernon Reid, jazz musician Christian Scott and acclaimed tabla player Suphala.

"Spice Island" opens sounding much like a hip-hop number out of Logic's catalogue, but quickly transitions and builds: first with the inclusion of Worrell's organ/clavinet, then the addition of steel drums, turning it into more of a jazzy, spacey, tropical boogie. A number of other tracks possess the same type of evolving nature, starting one way then subtly shifting into something else, then either returning to the origin or finishing off altogether differently. "Spin Cycle" has an intro that gives it the guise of a seemingly straightforward rock & roll piece that also features Logic's scratches at front and center. Bar after bar, however, as the woodwinds and later the brass take over the lead, it becomes a splendid modern jazz assortment, with the drums remaining constant and scratches taking a backseat.

Karl Denson alternates from saxophone to flute, sometimes overlaying both simultaneously, to power "Planetary Beat," supported further by a funky bassline and some animated helpings from Miles on keys. "Bollyhood," with its delicately dreamy vocals by Falu, can pass for either the backbeat of a Brazilian capoeira session or an early attempt at Indian rap. Whichever the case, though brief, the exotic track can easily move those stationary while listening. "What I Know" is less structured and more whimsical than most others on the LP but still nonetheless brilliant. A mechanical beat lays the groundwork for Logic's swapping of his ones and twos for a kalimba - a small, metallic African sound box that sounds like a jaw harp - plus intermittent pianos, random flutes and soothing spoken word by Aline Racine. "Exotic Thoughts" ascends and descends to the pace of Scott's trumpeting, textured more so by the rapid tablas and tingling wah-wah guitar licks, making it yet another song with a nationalistic identity crisis that one couldn't be more content with.

JamBase | Worldwide - JamBase


March 19, 2008

When legendary front man / harpist John Popper and company return to Colorado, audiences throughout the Rocky Mountain State will be treated to an entirely unique, yet thoroughly organic experience. For seven nights, the John Popper Project featuring DJ Logic deliver their inimitable blend of experimental rock, jazz, and hip-hop fusion straight from the heart of four highly touted musicians and performers.

Bolstered by John Popper’s mind bending harp prowess and machine gun vocal delivery, the John Popper Project serve up blistering dishes of bluesy-pop breaks and jazz fusion grooves. With Tad Kinchla’s (Blues Traveler) meandering bass lines locked tightly with Marcus Bleecker’s (Mosaic) danceable rhythms and DJ Logic’s ever tasteful turntable percussion and accents, the four piece is completely comfortable within the boundaries of a well crafted studio pop gem or a spontaneous, all-out, live show improvisation.

From an auspicious union between Popper and DJ Logic in 2003, the special JPP chemistry is effortlessly recognizable within the group. “From the beginning the four of us immediately realized that our musical conversations are unique. We look forward to sharing that special Popper Project throw-down with audiences any chance we get,” shares DJ Logic. John Popper adds, “Whether you want to dance to it, drink to it or smoke to it, the John Popper Project is musical exploration meant to be enjoyed, all in good fun.”

The John Popper Project has proven to be enjoyable by lifelong fans of Blues Traveler and DJ Logic, all while reaching new audiences along the way. Even in the midst of their own hectic touring schedules, the chemistry shared between the four always leads them to take a time out for a few special JPP performances. The one-week-plus stint of Colorado dates promises to be no different.

Mar 25 Sherpa & Yeti’s - Breckenridge, Colorado
Mar 26 Mesa Theater - Grand Junction, Colorado
Mar 27 The Eldo - Crested Butte, Colorado
Mar 28 Belly Up - Aspen, Colorado
Mar 29 Cervante's Masterpiece - Denver, Colorado
Apr 1 Aggie Theatre - Fort Collins, Colorado
Apr 2 Vail Street Beat - Vail, Colorado - Glide Magazine


By Wendy Kale, kale@coloradodaily.com
Friday, August 29, 2008

The clubs in Boulder are ready to rock you with a full schedule of shows.

<b>DJ Logic and Global Noize<b>

DJ Logic is always coming up with new ways to show off his turntable skills. He's toured with his own outfit, Project Logic, and joined forces with Blues Traveler's John Popper for the John Popper Project.

Now DJ Logic is out touring behind his new group Global Noize. The act was formed by Logic and Jason Miles, and features a rotating set of players. Saturday's Fox Theatre show will host pro players Bernie Worrell, Ron Johnson, Mike Clark, Falu and Jay Rodriguez.

"I've been exploring all different areas of world, electronic and hip-hop music," DJ Logic said. "I'm incorporating some of that into my music -- I feel it's the next logical step. The Global Noize CD is a world beat and electronic record. I had taken a trip abroad and I really loved listening to all the world music I heard.

"I knew I wanted to use those sounds on my next record."

Umphrey's McGee

The latest local concert trend finds bands playing both intimate venues in Boulder and larger shows in Denver.

Sunday, the progressive rock and jam outfit Umphrey's McGee hits the stage of Red Rocks to open for Gov't Mule, and then Monday. the band heads over to the Fox to play a Labor Day acoustic show.

"The last time we played Colorado was our Halloween show at the Fillmore," keyboardist Joel Cummins said. "We're always trying to do something different and we hadn't done an acoustic show for awhile. You can get different textures when you play acoustic. It's nice to take our electric songs and flush them out. The Fox is the perfect venue to do that and this will be a special event."

Umphrey's McGee is also in the process of making its next CD. Cummins promises the new record will be a new treat for the fans.

"We're working on recording 10 songs that we've never played live before," Cummins said. "Our music's really evolving into more melodic, progressive rock. This is easily our most cohesive collection of songs and each tune stands up on its own."

These United States

After last weekend's Girl Talk party, the University of Colorado will be heading into a quieter music mode this weekend.

Sunday, CU's Program Council hosts its first concert of the year at Old Main, featuring These United States.

These United States is newly signed to United Interests, a spin-off label of Boulder's own What Are Records? The band's brand of psych-folk is earning the group international notice for its intricately layered songs and lit-pop lyrics.

Elliott founded These United States one player at a time, and now he has a solid music outfit behind him. The musician knew that he wanted to focus on American music, but he also wanted to change up the sound and make it more contemporary.

"We take elements of traditional American stuff, then we add more modern stuff to make it proper rock 'n' roll," Elliott said. "We also mix in elements of electronic and dance stuff. All these elements work their way into the songs, so we get this ethereal atmosphere.

"The term psych-folk probably makes the most sense." - Colorado Daily


By MARC CABRERA
Herald Staff Writer
Updated: 10/17/2007 10:38:27 AM PDT

For Bronx-born DJ Logic, the turntable isn't just a machine that plays records, but a percussion instrument with roots in the blues.
Jazz traditionalists, along with organizers of the Monterey Jazz Festival, would seem to agree.

DJ Logic, along with San Francisco-based DJ Vinnie Esparza, will play the new Lyons Lounge DJ tent at the 50th annual Monterey Jazz Festival. Logic and Esparza will spin all weekend, the first ever solo DJ sets in the festival's storied history.

The idea was part of festival General Manager Tim Jackson's ongoing effort to bring exciting innovations to the festival, said Timothy Orr, marketing associate for the festival.

"This year, instead of saying 'There's more people coming and let's create another stage for a jazz group,' what we wanted to do was create a lasting legacy that would look toward the future," said Orr. "The concept was to look forward and backward at the same time. The formation of jazz has always been an assimilation of what was popular at the time. DJs and hip-hop music are what's popular today."

While Logic is doing his first solo set, this will not be his first performance at the festival. In 2004, Logic joined bassist Christian McBride's set for an impromptu jam session.

"That experience was so great," said Logic (real name Jason Kibler). "That's such a legendary festival. I was happy and fortunate to be one of the first DJs to be up there and play and actually be the rhythm section for those artists. I was just happy that everyone accepted me (as a musician)."
When collaborating with artists like McBride or John Popper, frontman for the pop-blues band Blues Traveler, Logic doesn't just scratch and cut sounds like a typical hip-hop DJ. He blends his sounds into the rhythm, filling the space between the musicians chords with his own found sounds — horn stabs, percussion sections and "anything that has something I could use to manipulate with the turntable to work with the mix."

"I started out playing improvisation with jazz musicians, bass, drums, horn and just turntables. At that time, people were trying to figure out what I was doing," said Logic. "Once they got the idea, they were like, 'Oh, he's trying to play the role of the keyboardist, or the percussionist, just trying to put rhythms in the right place, not over scratch, just putting things in a tasteful place."

The technical term is turntablism, an art form that Logic and Esparza are at the forefront of.

"What these guys are doing is using technology to combine young people, the young audience, with the history of the music," said Orr.

Orr hand picked Logic and Esparza for the show. He said Esparza "fuses all the different rhythms — Afro-Cuban, Latin Jazz styles with bebop and jazz styles. It's a fusion."

Orr said while attending last year's Burning Man Festival in the Black Rock Desert of Nevada, he was drawn to one dance area where DJs were mixing psychedelic and classic rock in the middle of the desert.

"I was just like, 'What is this? This is crazy,'" Orr said. "It's all from the mind of the DJ who's able, like the jazz saxophonist, to recall any number of things from their knowledge of music and combine it with what's going on at that moment. It's the forward motion of jazz and the cross pollination of audiences."

The relationship between jazz and DJs dates back to 1984, when Herbie Hancock invited Grand Mixer DXT to play on his set. The collaboration resulted in the classic "Rockit," a synthesizer-driven, beat-heavy single that included Grand Mixer DXT scratching on the song's bridge. The song and video were hailed as ground-breaking achievements.

As the technology and DJ culture has evolved, so too has its role in jazz music, said Richard Bains, professor and chairman of the music and performing arts department at CSU-Monterey Bay.

"You have musicians like Herbie Hancock that have always used technology. He's used it in his music for years," said Baines, explaining the relationship between jazz musicians and DJs. "Bringing in DJs and utilizing the technology, I don't think that's surprising. I think it's an extension of the process."

An extension that Logic says is rooted in a blues tradition as well. The turntable is similar in both sound and appliance to the washboard, he said.

"I'd say the turntable is part of the washboard family. You go back and listen to all those old blues records and you hear the rhythms the same as the scratch rhythms," Logic said. "To me that's the relationship right there, that's why I say the turntable is an appliance just like the washboard was an appliance. The washboard became an instrument that became a part of blues just like the turntable became a part of hip-hop."

And now, it would seem, a part of jazz as well. With this year's DJ tent, the festival is looking to add to its legacy of expansion and embracing new ideas.

"What's been happening the last 20, 25 years is there's been a lot of codification in jazz that says this is the continuum, these are the songs you need to do in order to be considered Jazz. (As a result), there's been less of an integration of the pop music today," said Orr. "Our idea was to take something that is based on the music of today and reassemble it, reinterpret it on the grounds in real time. Who better to do that than DJs?"
- The Herald - Monterey County


By: Jeremy Buckley
Published: Wednesday, August 22, 2007
Updated: Sunday, July 13, 2008

With just a few sunsets left before another demanding semester of school and study, the dance party will be in full effect tonight when DJ Logic hits the stage at Knickerbockers, 901 O St.

Logic, who has honed his craft with the trio of Medeski, Martin and Wood, along with working with noted musicians like Widespread Panic, Jack Johnson, Ben Harper and Vernon Reid, will fly in from New York for this performance.
While it's a common misnomer that a DJ set means something akin to a rave, DJ Logic showcases a signature style that depends on hard rock, punk, salsa and the blues as much as on drums and bass. The fusion has allowed Logic to stand out from the crowd and contributes a great deal to the demand for his services.

Logic recently finished a record of Billie Holiday remixes and has been playing shows with John Popper (Blues Traveler) and occasionally hitting the stage with John Mayer. For the Knickerbockers show, Logic will showcase his solo performance, a rare opportunity he's excited to have.

"I want to make everyone that comes to my show a part of the project," DJ Logic said in a recent phone interview. "Getting the chance to perform solo keeps encouraging me to get out there and find new stuff to share with audiences. I come up with new ideas all the time and I want to see what you guys think of them."

Already this summer, Logic counts among his highlights a critically-praised performance at the Bonnaroo Music Festival in Tennessee and a handful of dates with Medeski, Martin and Wood, the trio of jazz instrumentalists with whom Logic collaborated and gained notoriety. With such a hectic schedule, Logic credits his manager for keeping him in work without overworking him.

Two local bands will open the bill, including Somasphere and Miss Knotty. Somasphere is an up-and-coming electronic band that drummer Andy Marker thinks will mesh well with what DJ Logic brings to the table.
"Logic is on the cusp of big things," Marker said. "He's reached a point where he's going to break out from playing clubs like Knickerbockers to appearing on the main stage at huge music festivals. Being able to coexist with something that we haven't been able to do as a band yet is a big step for us to accomplish."

Though this is his first trip to Nebraska, Logic wants the crowd to be ready to go wild.
"I want them to expect something logical but I want everyone to become a part of the project," Logic said. "I always want to do something different and if people are open to that then what you'll see at Knickerbockers will be something special."
- Daily Nebraskan


By Matt Forsman (Jun 29, 2007)

The first lady of jazz is back…well, in a manner of speaking. Billie Holiday, one of the most talented and renowned female jazz crooners has some of her finest original recordings "remixed and reimagined" by a number of DJs, producers, and artists such as Tony Humphries, Nickodemus, Ladybug Mecca, DJ Logic, and a litany of others. Appropriately enough, this compilation is entitled Billie Holiday: Remixed and Reimagined.

Legacy recordings first introduced the concept with Nina Simone: Remixed and Reimagined. The idea behind this album was to reinterpret classic recordings for a new generation. The success of this original remixed album helped spawn Billie Holiday. It’s a bold idea on Legacy’s part given that Billie Holiday is synonymous with the golden age of 20th Century jazz.

Fortunately, purists as well as those new to Holiday’s work shouldn’t be too disappointed. One of the first tracks that grabs your attention from the get go is the infectious "Spreadin’ Rhythm Around". The original swing anthem is infused with some excellent hip hop flavor by Roland Richards and Ladybug Mecca (of Digable Planets fame). Billie’s original vocals mix nicely with the hip hop beats and periodic trumpet blasts.

In a more somber, melancholy vein is the reimagining of Holiday’s "Trav’lin’ All Alone". Saddled with woe, fatigue, and loneliness, "Trav’lin All Alone" is given a new twist at the hands of hip hop/funk/modern soul mixmasters, Nickodemus and Zeb. With an infusion of some sauntering percussion and some dub undercurrents, a dark track is made a bit more shadowy.

Far from lacking rhythm, "He Ain’t Got Rhythm" brings rhythm in spades. The post-rock pop outfit, Poppyseed brings their own rhythm to this classic track replete with trumpets and a distinctly latin beat. Poppyseed’s reimagining of this track has a sound not entirely dissimilar from tracks that populated Paul Simon’s Rhythm of the Saints; there’s no shortage of rhythm in this track.

DJ Logic works some magic in his remixed version of "Glad to Be Unhappy". Unrequited love can suck and love in general can be more bitter than sweet sometimes, but in Billie’s world, the pleasure is worth the pain. DJ Logic takes this sweetly melancholy track and gives it a simmering funk/soul backbeat that mixes nicely with Holiday’s lyrics and vocals. Rounding things out are somber trumpet blasts in the background.

The remainder of Billie Holiday: Remixed and Reimagined is a wonderful mélange of jazzy grooves that are best played in a comfortable lounge with dimmed lighting, candles, a stiff drink, and romance in the air. For those unacquainted with Billie Holiday, this remixed and reimagined collection is a wonderful introduction to some of her finest work. The artists involved with this collection should be credited for maintaining the spirit of Holiday’s work while simultaneously putting a unique spin on it.

Rating: 4 out 5 stars - SF Station - San Francisco City Guide


Wednesday, May 30, 2001

Welcome to Sound Check, SFGate's live music column. Every week, our music critics will take on some of the most ear-opening shows in the Bay Area.


<b>DJ Logic and Project Logic<b>
May 26 at Fillmore, SF
Most people consider good DJing an art form, but only a small percentage of those people would actually consider turntables as an instrument. After all, a DJ really just plays other people's music, right? There are, of course, exceptions in which a DJ is really utilized as an integral part of a band, but it is even rarer when the DJ is the focal point of a live group.

Lee Jason Kilber, aka DJ Logic, is that kind of turntablist. He has bridged the gap between hip-hop, jazz and funk but pushes the boundaries of what music can be, hence distancing his work from any other DJ. And the NYC native continues to gain world-wide recognition as an innovator.

The Logic Project, now a five-piece band from the Bronx, took the stage at The Fillmore last Saturday night to a rousing welcome from a rather small crowd. The room may have been barely half full, but once the music started you would have guessed the place was filled to capacity, as the audience screamed and danced with unstoppable vigor. Joined onstage by a bassist, saxophonist, keyboardist and drummer, the 29-year-old Kibler scratched, cut and mixed through endless piles of vinyl. High-pitched squeaks, bass-heavy dubs and frantic rolling rhythms blended seamlessly into the soundtrack behind it.

Logic has been compared to Miles Davis, Thelonius Monk and Herbie Hancock to name a few, and like them, he's constantly striving for new sounds and ideas. His creativity was astounding, and the mere speed of the scratching and transition between various records was break-neck. The Fillmore audience was stuck somewhere in between dancing, jumping up and down and just standing still trying to figure out how he was doing what he was doing.

Logic's two turntables and mixer took on a life all their own as his scratches and cuts came to the forefront of every song. At times, the turntables took on the roll of a lead singer, while at other times, they merely kept a metronomic beat as the sounds stretched into the 10-minute range. Most of the material was from his new album, The Anamoly, with the single "French Quarter" drawing the largest crowd reaction. A few of the improvised tracks were a bit flat as they seemed to go on far too long.

One of the more impressive elements of the performance was the role Logic played as a bandleader for his great jazz combo. He signaled time changes and pointed at different musicians as they took their solos. And audience could definitely feel the jazz/funk element of his hybrid, although it was the hip-hop ingredients of the show that made the night a success.

Bringing the hip-hop to center stage was MC Subconscious. One of NYC's top underground MCs, Subconscious popped up periodically in the spotlight, but unfortunately, his rhymes were all but drowned out by the backing instruments and the bass-heavy sound. Nonetheless, his presence alone added a completely new dimension to an ever-changing musical textures.

-- Jon Setzen, SFGate - SF Gate: Home of the San Francisco Chronicle


Discography

The Anomoly - 2001 - RopeADope Records
Zen of Logic - 2006 -RopeADope Records
Project Logic - S/T - 1999 - RopeADope Records
Global Noize - S/T (DJ Logic & Jason Miles) - 2008 - Shenachie
Yohimbe Brothers - Front End Lifter - 2002 - Rope A Dope
Yohimbe Brothers - The Tao of Yo - 2004 - Thirsty Ear
John Popper Project Feat DJ Logic - S/T - 2006 - Relix Records
Groundtruther - Latitude (Charlie Hunter, Bobby Previte, DJ Logic) - 2004 - Thirsty Ear Recordings

Photos

Bio

“Logic's not just a skilled DJ, he's also a talented all-around musician. Eschewing flashy scratching displays, he fronts chunky hip-hop beat slinging, knob-twisting dub, and chaotic sound sculpting -- sonic trademarks that've made him the man to call when jazz cats want to tap into the hip-hop zeitgeist. The results - both on the album and in concert - favor multi-textured grooves over highflying solos.” – URB

Born in the Bronx, Jason Kibler a.k.a DJ Logic experienced the birth of hip-hop first-hand. As a young teenager, Logic received a pair of turntables for Christmas and was soon spinning music for dances and parties in gymnasiums and private homes all over his native borough. Influenced by both the boogie down and downtown jazz scenes, Logic got his start playing turntables with live musicians in 1990 as a member of forward-thinking rock group Eye and I. After some early tutelage from Living Colour guitarist Vernon Reid, many members of New York’s downtown jazz scene took notice of the innovative DJ and the fresh sounds he brought to their music.

In 1996, Logic hit it off with funk trio Medeski, Martin & Wood at their historic Shack Parties. Logic’s ability to capture textures appealed to the trio and after a few collaborations the turntablist quickly became MMW’s unofficial 4th member. Logic toured with the band and recorded with them on their Blue Note album, Combustication. A big break for the DJ, his work with MMW made him a sensation in the jazz, jam band and hip-hop worlds, leading to work with jazz musicians like Graham Haynes, Don Byron, John Scofield, Joshua Redman and Christian McBride; jam bands like the Allman Brothers and Phish; and hip-hop masterminds like Prince Paul, Ursula Rucker, and Ahmir "?uestlove" Thompson from the Roots. By 1998, Logic was headlining at the Knitting Factory in New York City and word-of-mouth swiftly evolved the DJ into being the most sought-after in clubs all over the city.

Logic’s first gig as a bandleader was in 1999, implementing his own version of live band with turntablist concept as Project Logic. In 2001, Logic would dip into his fat book of contacts and record then premier his debut album entitled DJ Logic Presents Project Logic (Ropeadope). The album features cameos by Marc Ribot, Vernon Reid, and John Medeski. By the end of that year, Project Logic would criss-cross the nation on several tours, introducing the entire country to turntables in a live band setting. Fans were ecstatic.

In 2002, Logic released a follow-up solo record with Ropeadope. The Anomaly was critically acclaimed and the sophomore effort skyrocketed Logic’s profile, earning him respect not only from critics but also from a diverse array of musicians. John Scofield, Roy Hanes and Sun Ra Arkestra brought Logic on board as a collaborator as well as he worked with soul star Roberta Flack.

Later that same year, Logic co-lead two groups, each with a long-time collaborators: a duo with DJ Logic and Rob Wasserman (from the Grateful Dead), and The Yohimbe Brothers with Vernon Reid, the latter group recording Front End Lifter for Ropeadope (2002) and The Tao of Yo for Thirsty Ear (2004). The Yohimbe Brothers name is loosely based on an African herbal aphrodisiac – very fitting for the duo’s fertile partnership, which produced a well-received debut. Today, the Yohimbe Brothers continue to create experimental sounds that defy genres and combine the best of many elements into noteworthy packages, live and on record.

In Spring 2003, Logic was called to join a major U.S. summer tour with Ben Harper and Jack Johnson. The Harper/Johnson tour diversified Logic’s audience and in 2004 Logic would join one of the years highest profile summer tours with Grammy winners John Mayer and Maroon 5, introducing his old-school flavor to the nations young pop audiences.

In 2004, DJ Logic would go on to break new ground. He wasn’t thinking of the gigs as landmarks as he was booking shows at the Blue Note, but it would be the first time that a DJ would ever play the Greenwich Village venue. Both shows sold out.

DJ Logic has gone on to perform all over the world, circling states, countries and venues everywhere from France and the UK to Brazil and Japan. His role as a producer keeps him at the top of his game, fulfilling countless requests for remixes for groups such as Soulive, The Weather Report, Olu Dara and Phish. In 2005, Logic is busy in the studio laying down tracks for his long awaited third album. In addition, he plans to release a Ray Charles re-mix album, one that is bound to blow off the charts. DJ Logic is currently taking his music back to its roots, playing solo DJ gigs all over the country and participating in regional tours with The John Popper Band and one-off collaborations with artists such as Mos Def.

Instead of techno, DJ Logic’s growing catalog of recordings is more likely to be filed under jazz and hip-hop. This is no small accomplishment, and his popularity is as much