Hello family its Boyd Jarvis, I have unfortunate news for you. I recently undergone several surgeries and had cancer several types I went through esophageal surgery and had a larnegectomy I lost my Larynx which means of course I can not talk so texting is the best way to reach me. I am sorry and sad to share that bit Of bad news, but I am alive and well. This is my number for texting me and I also have a cell that you can text to 347 441 0582 and of course there is always email and facebook. as I said I am well stay in touch and get in touch. 347 441 0582 and please remember to donate I could use your help. Much love and Thank you.
I LOVE YOU SEND IN WHAT YOU CAN, ALSO VISIT MY BANDCAMP SITE https://thesuvonicmovement.bandcamp.com/music
AND BUY SOME RECORDS. PEACE LOVE.https://thesuvonicmovement.bandcamp.com/music
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THE FIGHT HAS JUST BEGUN
The music got him – and he got the music, 30-plus years and counting, Boyd Jarvis helped with shaping the building blocks of dance music as we know it today. Boyd has also been a crucial behind-the-scenes figure, writing, producing and remixing songs for everyone from Herbie Hancock and Latoya Jackson to Prince, Madonna and Boy George. Most Gotham music fans might fondly remember him from co-hosting Saturday Night Dance Party on WBLS radio alongside Shelter don Timmy Regisford, and his frequent collaborations with iconic producers like Joe Claussell, François K, Dave Morales, Little Louie Vega and more.
The Birth of House Music in New York City
How Larry Levan, Boyd Jarvis and Tony Humphries helped kick off a dance music revolution
May 11, 2016
By Matt Anniss
By 1983, New York’s musical landscape was changing. Disco, New York’s first great contribution to the evolution of dance music, had morphed into boogie, while new mutant genres – based around syncopated drum machine rhythms and the futuristic shimmer of bold synthesizer lines, rather than orchestral arrangements and re-purposed soul musicians – were beginning to make their mark.
At the fulcrum of New York’s rapidly changing dance scene stood the Paradise Garage and its beloved resident DJ, Larry Levan. He may not have been the city’s most technically gifted DJ, but he was certainly the most influential. Many copied his anything-goes approach to selecting records (a style itself inspired by David Mancuso at the Loft), while Levan’s remix and production work for the likes of the NYC Peech Boys, Gwen Guthrie, Imagination and David Joseph ushered in a new era of sparse, heavily electronic, dub-influenced records.
Out on the dancefloor, a group of self-proclaimed “club kids” were paying close attention. “One of the biggest teachers we had was Larry Levan,” says Kenny Carpenter, then a resident DJ at rival club Bonds and a regular at the Garage. “That’s really how many people learned to produce music, by listening to what Larry was doing, and how music sounded at those clubs – not just the Garage, but the Loft, too.”
We were just kids, with toys that we were playing with, and the record became big.
The weekly throng on the Garage dancefloor contained a group of friends who would go on to kick-start a new era of dance music in New York. There was fast-rising remixer, radio host and DJ Tony Humphries, his neighbor and fellow radio DJ Timmy Regisford, professional window dresser and synthesizer enthusiast Boyd Jarvis, editor-turned-producer Paul Simpson and drum machine obsessive Winston Jones. Throw in Kenny Carpenter and aspiring singer Anthony Malloy, and you had a group with the skills, enthusiasm, knowledge and contacts to change the musical agenda.
“Our ears were up like antennae all the time in clubs,” Malloy says. “Nothing would get past us.” Inspired by what they heard, this group went on to produce records that provided a blueprint for the style that would, with some alterations via Chicago, later become known as “house.”
“We all knew we were doing something different or new – a conspiracy of sorts,” Malloy laughs. “It felt like a movement, but a movement we were pulling the strings on.”
The Music Got Me
The record that spawned a musical revolution had its origins in Boyd Jarvis’s growing obsession with synthesizers, particularly his beloved Yamaha CS-15. “The synthesizer, for me, was an opportunity to get into the music business,” Jarvis says. “I read books about synthesis, and learned to make drum sounds using white noise, sub, click and so on. Through that I discovered how to make my own syn-drums, claps and kicks.”
His specialty, though, was coming up with killer synth basslines. It was a skill he developed by lugging his synthesizer down to clubs, and providing live overdubs for sets by Timmy Regisford and Kenny Carpenter.
“Boyd was never a featured artist or anything like that, but for those DJs he had a rapport with, he’d just plug in and get going,” Anthony Malloy says. “The breaks the DJs spun, or the instrumentals they dropped, left room for something else. Boyd would play these howling, bubbling basslines, and create this mixture that was tribal, space-like and urban at the same time. It was strange and very sensual for us out on the dancefloor.”
Jarvis quickly became a regular on Regisford’s radio show, and the two began to record home demos using one synthesizer, a reel-to-reel tape machine and a copy of an obscure, DJ-friendly drum record titled Mix Your Own Stars. “I would play over these breaks records, and that’s how our first demo, ‘One Love,’ got made,” Jarvis remembers. “I played the Peech Boys-style bassline over those drums. When we’d finished it, we took the reel down to Better Days and asked the DJ to play it. He put it on, and immediately everybody ran away from the bars and onto the dancefloor. We knew we were onto something then.”
While “One Love” would later get reproduced under the Circuit alias on the the 4th & Broadway label, the track that secured Jarvis and Regisford a record deal was a minimal, bass-driven instrumental groove originally called “The Stomp.” After picking up hype on the back of regular reel-to-reel plays, Prelude Records offered the young duo a chance to record it properly. Credited to Visual and featuring Anthony Malloy on backing vocals, the re-named “The Music Got Me” became a huge club hit.
Visual - The Music Got Me
“We had a vibe, and a ragtag, rough edge to what we did,” Jarvis says. “Our stuff wasn’t orthodox at all. We were just kids, with toys that we were playing with, and the record became big.”
Regisford recruited his neighbor and friend Tony Humphries to carry out the all-important mixes. “Trying to do digital mixes of it was hell, man,” Humphries laughs. “Boyd wanted the instrumental to be very similar to their original demo. We were in the studio for hours editing it, trying to recapture the feel of that version.”
While the A-side vocal version became a radio and club hit, it was the DJ-friendly instrumental dub that would become an inspiration for others in the friend group. With its restless rhythm, relentless synth bassline and cascading melody, it was a sign of what would follow, both in New York and elsewhere. In hindsight, it sounds like house music – albeit released two years before the first Chicago experiments reached record stores.https://www.gofundme.com/boydjarvisdonation
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