Ubiquity Records: Fifteenth Anniversary
Ubiquity Records is the musical lovechild of Jody and Michael McFadin, two DJs who shared the dream of starting their own record label. After they married, the pair so thoroughly enjoyed their honeymoon in San Francisco that they moved there. Combining their love of music with the need for financial support to fuel this dream, the McFadins opened the Groove Merchant record shop on Haight Street in 1990. Musically and financially energized by the local and international response to their new and newly uncovered sounds (praised, for example, by the Beastie Boys in "Professor Booty" from Check Your Head), the McFadins soon thereafter launched their own label, Luv n' Haight Records (named after a song by Bay City musical legends Sly & The Family Stone).
Interior of Ubiquity Records' new office location.
In 1993, they incorporated their fledgling company as Ubiquity Records, drawing "Ubiquity" from the word "ubiquitous": The label's catalog of new, restored, and re-done recordings aims to make what once was lost music available to everyone everywhere. Ubiquity's 1993 release of the debut album by DJ Greyboy (Freestylin') helped to not only put the music but the BUSINESS of acid-jazz on the industry map. The company has since grown into three different labels, each which its own distinct personality: Luv N' Haight for rare, re-issued soul-jazz, funk and groove-jazz treasures; CuBop for Latin jazz; and the main Ubiquity imprint.
Ubiquity received the 2004 Label of the Year award as voted by listeners of Gilles Peterson's Worldwide show on BBC Radio 1. These voters also awarded Om'mas Keith, of the Ubiquity collective SA-RA Creative Partners, the first annual John Peel "Play More Jazz" award, and several Ubiquity singles were nominated for Worldwide Track of the Year.
Ubiquity celebrated its fifteenth anniversary in 2005 by relocating into larger business space in California to accommodate its expanding business and creative operations. The personal involvement of Andrew Jervis, who began in the marketing department and is now Vice-President of A&R, sort of parallels the growth of the fledgling company. "I had just moved to San Francisco (literally got in that day) from London," he recalls. "I walked into the Groove Merchant record store and had nothing on me but a few records and a slightly tall tale about being a DJ from London. Within two weeks I was working at the store and recommending the occasional track for re-issue on the LuvN'Haight imprint."
Ubiquity Records' office interior.
"I had virtually no background in the music industry. In fact, none of us did," he allows. "We learned as we went on - in a way we still do, and that's perhaps what allows us to approach the business with a fresh face. We were just DJs and collectors who were very enthusiastic about music. We were in a great position to re-issue classic and rare American jazz, funk, and soul, which was going through a massive revival, and then later we began to release new music inspired by the old stuff, too."
Greyboy's Freestylin', Ubiquity's first release of new music, helped define the acid-jazz genre and put the label on the industry map.
Was there a "defining moment" when the McFadins, Jervis and company knew that the label would be a success? "We had great success right off the bat which might have been a case of being in the right place at the right time," suggests Jervis. "Nobody in the USA was re-issuing the music we were into, despite global demand. There were occasional bootleg compilations but no serious competition. So we were instantly able to make a name for ourselves as the US-label for quality jazz funk and soul re-issues."
"In addition, our first release of new music on the Ubiquity label by Greyboy was a huge hit without any marketing, and having been recorded on almost no budget. This time it was a case of his right sound at the right time as his record hit at the height of the acid jazz days."
Ubiquity's most recent crop of new, newly uncovered and restored, and newly redone classic soul, jazz, and funk sounds includes:
Hit the Floor
Their very name unifies two concepts behind the music of this ten-piece ensemble from LA: "Arkestra" from Sun Ra's intergalactic space-jazz ensemble, and "Break" from those drum and percussion breaks in the middle of funk songs that DJs splice and loop to form the rhythmic basis for rap and hip-hop. Hit the Floor is the first set of all-original material from one of contemporary music's funkiest live funk bands. Bassist, guitarist, cellist, composer, producer and frontman Miles Tackett explains, "While hip-hop DJ / medley-inspired covers are the foundation of Breakestra, it is only natural we'd want to express our own soulful proclamations."