In conversation with Jerome Sydenham

Image: NSN Fotografie

Born in Nigeria to English and Jamaican parents, Jerome Sydenham moved to New York in the mid eighties to launch a career in A&R that resulted in over fifteen gold and platinum records for Atlantic and East West.

Later, he founded several influential record labels, including the esteemed deep house imprint, Ibadan Records. He returns to Liverpool on Thursday 2nd April to open the Bank Holiday weekend celebrations at The Magnet.

Can you tell me about the party you started in Philadelphia in the ‘80s?

[Laughing] That was a long time ago, how do you know about that?! You caught me off guard on that one. The venue was called The Bank and I hosted the party with my brother every Friday night.

I used to live in New York and go to Philly to see him. He did the graphics and the promotion and I supplied the music. There were a lot of really interesting people involved at an early stage. King Britt, for one, before he was famous, was always around.

Before that became a weekly thing, we used to throw more interesting parties in unusual locations like old burlesque and antique theatres. We had a few good months, it was a good run, then it was back to New York to start back from the beginning.

What was the scene like in Philly at the time?

It was new! The gay clubs were full and there were other clubs that were small and private. There was one I remember called the Black Banana.

They were more upscale, playing house music. So we really did have to promote the parties. We had to work hard to get the people into the room. But they came, and they were black, white, every colour, every creed. We did a few good parties that everyone in Philadelphia remembers even to this day. 

In the UK we mostly hear about what was happening in Chicago and in New York.

Yeah and in Philly too, those guys like Josh Wink, King Britt, they were all there doing it as well.

What songs were big?

The Zanzibar stuff, all that jazzy shit. Early Kerri Chandler, pre-Atmosphere. What else? What was hot then? Ten City (below). That whole big vocal sound was just coming out. This was before I worked for Atlantic, so we’re talking late eighties.

All that shit from the UK too, like Julian Jonah, Loose Ends. There was a lot of interesting crossover stuff coming out. All that R&B, there was a lot of soul mixed in with the early house. We were still playing hip hop and reggae in our sets then, I don’t think it had gone completely house at that time. Everything was still open.

I had a girlfriend in Philadelphia so I’d go and see her and check out the scene. Then when that relationship went sour, I ran back to New York. We all left actually, me, my brother. We all bounced at the same time. And then I got the hook up with Atlantic.

What did you learn from working with a major?

It was great, simply because I started from ground zero. I was Merlin Bobb’s assistant. I’d get there early and leave late. Listen to all the demos, wash the cars, take the clothes to the cleaners, do everything. And I got good guidance.

Merlin was not only a good leader, spiritually, business wise etc, but a big brother too. We were all young, eager and hungry. He was also very young. If I was 21, he couldn't have been more than 25 but it felt like a big age gap. He was the vice president and I was the assistant. He never led me astray, or put me in the wrong situation. He always taught me to be patient, to learn more about the music, and to open my mind.

Many of us get to work with good people but not everybody gets to work with Merlin Bobb. I did, and I feel very fortunate for that, for sure. I still respect and admire him today, and we’re still great friends.

Why did you then decide to focus on underground music?

It just called. After we’d had some success with En Vogue and a few other very popular acts, we reached a point where we had to choose. Timmy [Regisford] for example started a nightclub, and tried to create a sound and a movement in New York.

Merlin on the other hand tried to take the corporate reigns and did that successfully. So you have to kind of choose your path, and I was really into trying to do something new.

Even today if I run into anything that I feel is deserved of a major label, whether it be in the US or the UK, I’ll make the appropriate phone call. I kept the relationship open and I’ve always been kind of involved. I helped a few people on the way whose names I won’t mention at the moment, but I definitely felt better overall going with my instincts, which was to pursue dance music.

And that’s when you founded Ibadan Records?

Exactly, with the help and guidance of Joe Claussell and Kerri Chandler. I can’t thank them enough for those early, difficult days.

How did they come to be involved in what you were doing?

Well I knew them for years before the label. We signed Kerri’s first record to Atlantic, even though he had some indie ones with other people in New Jersey. And Joe was always around.

He was this great guy selling us records at Dance Tracks, being an amazing DJ and just being an inspiration. You know, like always. Always. Open hearted. And he was the best DJ. Joe was that other guy.

We were like, ‘Wow, who is this guy?!’ Then we all became really good friends and family. Before that, he was just that guy. There’s always one: who the hell is that? [Laughs] What’s his name? Oh, that’s Joe Claussell. Soon we became friends. It didn’t take long.

We first heard Joe’s remix of DJ Camacho’s 'Renegade' (above) on one of the Space Lab Yellow compilations – when they came out they were awesome. They still are. What was the idea behind the series?

It was a project to give accolades to those who pioneered that real electronic sound, without getting too nerdy about it. Records that people would know and understand. Like a beginner’s guide. Not a beginner’s guide to electronic music, but a beginner’s guide to sophisticated electronic music. And also they represented the club, hence the name of the series.

We listened to a lot of records, played them at the club, and there is a direct correlation between what people responded to at the club and the vinyl that we released. It was as simple as that. We are very proud of those compilations. I think they are really good still, like you said. They still are very good, even though they are now all sold out and unavailable.

I was in Croatia a couple of years back and I noticed a DJ playing Fela’s 'Water No Get Enemy' from the second volume. Well when cool shit like that happens, you know it was worth it!

And the 10” beat series, did you anticipate the success of some of those records when you first started out?

I don’t think in terms of numbers or perception when I do music, or when I try to put things together. We can only hope for the best. When I took that 10” theme on, I ran it past Dennis and he was ready. ‘Let’s do it.’ I didn't even have to convince him, which is the great thing about him.

He understood exactly what I was saying immediately, and we just did it. Boom! We knew it was either going go really well or really badly. There wasn't going to be an in between situation: it’s gonna roll through or it’s not gonna roll through. And it rolled through! We are very fortunate for that success for sure. 

Moving away from the dance floor, what other music do you listen to?

I’m moody! These days I’m mainly doing research. Trying to discover all of the records I'm unaware of within electronica. I'm also trying to research old disco records that I don’t know. So, unlike before, I now don’t relax at all!

What happens though, during this research process, is that I do run into things that really blow my mind, and turn me on, and cool me out. I’m always digging in the crates and searching online. And this spans all genres through African, classical, everything. It’s my inspiration, you know? I’m digging, digging, digging. Always looking for something to turn me on.

Folk music. Some Croatian music. You never know where you’ll find it. I found some rare Fela Kuti I hadn't heard before the other day. I enjoy music from across the field. I love techno. I love music that’s deep. I love soulful stuff. I love songs. I love rhythms and grooves man. So, you know, hey, from one extreme to another, I love it all.

Want to catch Jerome in action? Head over to his artist page here.

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