Dancing Room Only welcomes Def Mix’s Quentin Harris & Maya Recordings boss and Defected Records artist Joeski!
Growing up in Detroit before moving to New York, Quentin Harris burst onto the international scene in 2002 and has remained at the very top of the tree ever since. Long before that however, he was making a name for himself as a technically brilliant resident DJ at seminal New York club The Shelter. Of course, he has also played around the world including at Stereo in Montreal, Balux and Home in Athens, Cheers in Paris, Roxy Blue in Toronto, Ministry Of Sound in the UK and many other such hotpots.
Quentin has also, naturally, dived head-first into production, releasing a collection of high-quality 12″ cuts on labels including Space Kat Records, 157 Shelter and NRK. Drawing inspiration from producers like Martin Solveig, Charles Webster, and Carl Craig, Quentin has received praise from Danny Krivit, Joe Claussell and Francois K among others released on 157 Shelter Recordings and has remixed Junior Vasquez, Jill Scott and Patti LaBelle. Some of his biggest tracks include The Shelter Anthem on Restricted Access, Got 2 Love on Space Kat and Let’s Be Young on Unrestricted Access. In his time Quentin has also compiled and mixed disc 3 of the Southport Weekender Volume 3 compilation alongside Dimitri and Jazzie B. 2010 saw the releases of the highly anticipated album Sacrifice on top US label Strictly Rhythm and it showcased impressive collaborations as diverse as Jason Walker, Ultra Nate, Georgia Cee, Koffee, Denise Henderson and Drew Vision. While these days he considers himself first and foremost a producer, Quentin’s DJ skills are still in high demand.
“As a Brooklyn-born/Queens-raised New Yorker, Joe Flores got in on the ground floor during the glory days of the New York House scene, playing his first gig as the artist we’ve all come to know as “Joeski” way back in 1991. With the opportunity to break in as a DJ at infamous dance institutions such as The Limelight, Palladium, The Tunnel, and NASA, those legendary venues served as the classrooms in which Flores earned his masters in the science and art of controlling a dancefloor. Plenty of DJs from that era have long-since vanished into obscurity, but Joeski has remained active for the long-haul, despite dealing with the struggles that the emergence of the digital era placed upon essentially every DJ and producer who was active and successful during the days when analog gear and vinyl were the only tools of the trade.
Joeski’s direction took an upward shift in recent years, following a stint that lasted several years in which he was forced to take a step back. During this period, he predominantly only released music on his label, Maya Recordings. Taking those steps back meant a slow fade from the spotlight, as the dance music industry, in the U.S. especially, was undergoing a period of great change, shifting toward a focus on EDM and simultaneously moving toward the digitally-driven industry we are in today.
The sudden incline in output from Joeski has brought us an onslaught of powerhouse EPs and remixes, growing his already staggeringly large discography. In 2016, Joeski’s name graced the catalogs of labels such as Defected, Get Physical, Crosstown Rebels, Poker Flat, and more. This sudden move toward ramping up his production output and returning to releasing on prominent labels has effectively put the name Joeski back on the map as a force to be reckoned with.
Not only one of the most diverse producers of House Music in the world, Joe is also one of the most capable and experienced DJs still around since those aforementioned and wildly revered days – back when “Sound Factory was like church,” as he put it when 5 Mag had a chance to link up with him as he prepped for a busy gig-filled schedule during Miami Music Week.
Being a man of many words and an equal number of passionate views led to our touching on what led to his ups and downs, as he reminisced about his early influences, explained his re-emergence on the international scene, and delivered his strong opinions on the state of today’s music industry.”- 5 Magazine