Feel the Bossa Bounce with J Paul Getto

J Paul Getto’s productions have been consistently booming out of the world’s speakers though such esteemed labels as Milk and Sugar, Nervous, Z Records and of course his very own Fogbank; the critically acclaimed imprint alongside Armand Van Helden’s manager, Neil Petricone.

J Paul’s latest Fogbank release is the Traxsource exclusive ‘Bossa Nostra’, alongside the irrepressible ‘Good For You Records’ label boss, Kenny Summit. We sat down with the Boston based producer to find out more about the track and how J Paul creates that unmistakable Getto bounce that continues to drive the world’s dancefloors wild.

Firstly, thanks for taking the time out to chat with us. Tell us where you are and how you are feeling right now.

Thanks for reaching out! I’m home in Boston at the moment, locked in the studio. This is the time of year when I get the most done. It’s cold, not many gigs, so I have time to get the production flowing.

Feeling good right now, have some collabs almost finalized with Man Without A Clue, Brillstein, Demuir, Dennis Ramoon, Milty Evans and Bad Boy Bill. Also, a bunch of new tracks coming out on Guesthouse and Whitebeard (with Joey Chicago). A different release with Kenny Summit just came out on Play It Down (Jesse Rose’s label) and is getting support on BBC1. Very excited about this year and definitely looking forward to Miami coming up.

The topic for today is your new ‘Bossa Nostra’ release with Kenny Summit. What was it like working with him, how did you guys connect and tell us a little bit about the process?

Kenny and I have become close friends from our insane trips to Amsterdam and sleeping on his couch in LA, so the collaboration was pretty easy! We always bounce back and forth with ideas. This was just a case of him sending me a rough session. I really liked the vibe of it and finished it within a day or two. We both have a strong old school hip hop influence in our sound, so we were on the same page for our last two productions, The Herb and Bossa Nostra.

What piece of equipment did you use the most on ‘Bossa Nostra’ ?

For all of my productions in the last 6-7 years, I’ve used Ableton Live with a basic midi keyboard. The most important thing for me are good monitors and sound card. The UAD Apollo is the best investment I’ve made in the last year. The hardware and plug-ins that come with it blow away everything I’ve personally used in the past. The plug in I used the most is CamelPhat. I love the grime that it gives the samples. The company that make it were sold to Apple and they no longer update the software. I’ll use it until it dies!

What’s it like running Fogbank and what do you want to accomplish as an imprint?

I love having a voice, as small as it may be. It’s good to have an outlet to release stuff that we believe in. I don’t personally ‘run’ the label, but I oversee a lot of aspects of it. I have a good team. The best part about having the label is the connections that I’ve made with some of the artists and the opportunity I’ve given them to get their name out. Angelo Ferreri, Joey Chicago, Alex Herrera, to name a few, are all artists that I believe in and happy to see their success as part of the Fogbank family. In the end, it’s all about respecting artists work and paying them (something a lot of labels do not do, unfortunately).

What’s you’re opinion on the current state of house music?

As someone that has been a house music fan since the late 80s and living between Italy and the US (thus completely different perspectives), I’ve seen it’s ups and downs, to say the least! I think we are having a good moment but now more than ever, you really have to dig deep to find good music or music that you can’t wait to play out. House for me is about the GROOVE. That’s it.

Where does a music media store like Traxsource fit into your musical agenda?

I’m glad Traxsource exists. I think it’s the perfect place for someone like me and what I’m trying to express. I do exactly what I want to do and you guys just get it.

What would be your short list of dream collaborations, past or present – dead or alive

The biggest reason I do what I do is because of Armand Van Helden, hence the reason I reached out to work with his manager in 2004. I’ve met Armand a few times but working with him would be the ultimate for me. Besides that, I would love to work with Phil Weeks, Oliver Dollar, Doorly, Anime Edge & Dance and many others that inspire me.

Any gigs lined up for 2016?

At the moment, I’m working on finalizing my Miami Music Week gigs. Also working on a small tour in UK for the Spring. I still haven’t been there and it’s definitely overdue!