Interview: Jerome Derradji
The innovative and influential Jerome Derradji is joining us for our next conversation. His name is synonymous with the revival and celebration of underground music culture. As the founder of Still Music, Jerome has been at the forefront of discovering and re-releasing some of the most significant and often-overlooked gems in house, boogie, and funk. His passion for music history and dedication to preserving the legacy of these genres has not only made him a respected figure among other collectors and DJs but has also introduced a new generation of listeners to the soulful sounds of the past.
Hi Jerome, how's life? Life's ok, kinda busy lately. Hope it’s great for you guys. Everything is great over here. Thanks for asking. Let's start at the beginning. Can you tell us about your early life and what initially sparked your interest in music? Sure, I was born in France to an Algerian dad and a French mom. Growing up in a multicultural family in Poitiers, a small city with a strong indie music scene, really shaped me. Thanks to my brother, a true punk, I got into music early on. I was giving presentations about punk rock at 12, going to underground shows, and by 15, I was deep into the British sixties mod movement. I started collecting American soul and jazz records from the 50s to the 70s, along with British blue-eyed soul and psych gems. This led me to form bands, perform locally, and get some recording and producing experience. I also started DJing at 15, with my first "headlining" gig at Le Comfort Moderne, spinning ska and reggae for 400 people. What were some of the first records or artists that influenced you as a young DJ and producer? My biggest influences are rooted in jazz, soul, funk, disco, and Northern Soul. Peven Everett, Roy Davis Jr., and Lil' Louis were pivotal in shaping my taste in house music.


How did you get into dance music, and what was life like for a dance music lover in France? I got into dance music in the mid to late 90s, which was an amazing time in France for this scene. Artists like Laurent Garnier, Daft Punk, Alex Gopher, and Etienne De Crecy were making massive waves globally. My childhood friend, Didier Beaudry, owned a record store and played tons of new stuff, which got me hooked. I used to go to London a lot, attending countless raves. It was incredible to see the impact of the music on a dance floor for hours, whether from DJs or live hardware sets. It felt like the dance energy of soul and funk but more contemporary. The rave scene in my area was small, but France was catching up with events like the Love Parade and a surge of indie record labels. Chicago is the birthplace of house music. Why did you move here, and how has the city shaped your musical journey? In the late 90s, I visited my sister in Chicago. The first night I went to Smart Bar and met my ex-wife there. A few years later, I moved to Chicago. This city, Detroit, and the Midwest have been instrumental in shaping my musical journey. Although I knew a little about dance music, living here deepened my understanding of American dance music culture. I've been here for 24 years and have worked with countless amazing artists and label owners. I started working at Dr. Wax, then Groove Distribution, where I got the idea to start my first label, Still Music. What inspired you to create Still Music, and how did you come up with the name? While working at Groove Distribution, I realized that many of the artists I loved weren't getting the exposure they deserved. So, I started a label to support the music I was passionate about. The name "Still Music" came out of frustration after a previous label venture failed. I was venting about my shady partner, saying, "It's still music after all!" and the name stuck.


Can you describe the mission and vision behind Still Music? Still Music aims to document and expose lesser-known or forgotten dance music to the world, always with an open mind and free from current trends, while presenting it as professionally as possible. Were there any challenges you faced in the early days of running a record label? Every day is a challenge at Still Music. Running an independent label solo, with limited budgets and resources, while promoting lesser-known or emerging artists, is incredibly tough. About 90% of our artists are African American, and getting recognition in a less diverse dance music world is harder. It's always been a struggle to keep it going. Delano Smith, Rick Wilhite, and Solid Gold Playaz they all released on Still Music. How do you select artists and projects for the label? It's simple, they're geniuses in my book. These artists have a rich history, extensive body of work, and immense talent as producers and DJs. Their music has deep roots in the American Midwest, aligning with dance music traditions that span decades. It's real, genuine music from the soul, not manufactured for festival circuits. That's how I select projects for the label. Sometimes music gets overlooked and lost in time. Can you tell us more about your approach to reissuing these kinds of records? I love underground dance music, so whenever I discover an overlooked record, artist, or label, I feel compelled to share their story and reissue the music. I also look for unreleased material. I have a deep connection with artists I believe are geniuses who still don't get the recognition they deserve. I also often firmly believe these records will sound incredible on a massive sound system. So far, you've had a colorful career. What was your most memorable collaboration? As a DJ, organizing and playing with Rick "The Godson" Wilhite and Kenny Dixon Jr. (Moodymann) were the best experiences. They are incredible DJs, producers, and human beings. Releasing Seun Kuti & Egypt 80's first single "Think Africa". Working with my French hero Laurent Garnier and releasing his 12" and then DJing with him. Pretty much, every collaboration is memorable (good or bad), but my favorite of late is working with Richie Weeks from Salsoul's Weeks & Co and The Jammers. Richie and his family are amazing, and there's so much more music to release. It's mind-blowing.


Still Music has a few sub-labels. What's the difference between them? The difference is mainly in the names ”Still Music, Stilove4music, Past Due Records, Still Techno, etc.” to help people recognize different styles. In reality, it's all one big label. I created the sub-labels to help distributors and stores better categorize our music. I love all kinds of music, so this was the easiest way for everyone but me. The dance music scene has changed a lot over the years. How did you see it evolve since the start of your journey with this genre? This is a hard question as I don't think I have enough knowledge to give an educated answer. So I'll give a more subjective one. My entire love for dance music is rooted in the underground' small, sweaty, grimy clubs with wonderfully tuned sound systems, echoing the spirit of places like Paradise Garage. These are spaces where you're free to be yourself and where DJs can play whatever they want, ideally on vinyl. From my perspective, the white dance music scene has appropriated a lot from this underground culture that I've been exposed to and a part of. There are positives like music and artists getting reissued and released, but often it feels like appropriation for clout and fame rather than honoring the original creators. It feels wrong. It all seems a bit fake, with a lot of conformity and manufactured images. The records, graphics, and new releases all feel too polished and market-driven. I love DIY. Dance music has never been so popular in the last 20 years, but it also feels stolen from those who created it and live for it because it's part of their culture. It's lost its soul to the sync button, clout, fame, money, and high fashion, creating "product DJs" and "rock stars." DJs aren't rock stars and should never be. What matters is the dance floor and the experience the music provides. Luckily, many true fans are creating venues worldwide that (re)capture this underground vibe with bookings to match. I also have to praise the LGBTQ+ movement, which has saved dance music globally by reclaiming it with new patrons, DJs, and producers. They've brought in a fantastic breath of fresh air, making the scene fun and sustainable again. So yeah, if it stays "weird" and underground with massive respect for the creators and pioneers, I'm all in. The rest to me is just appropriation, marketing, PR, money, and bad drugs. And that's not interesting to me. Although like you all I could always use more money from DJing :) What is your favorite reissue or record to play in front of a crowd at the moment? Bim Marx (Duane Harriott & Jorge Velez)'s "Stronger" which I released on Stilove4music in 2008. It's an incredible edit with magical powers on any dance floor. It never fails to take the crowd and me to another dimension, which is what it's all about. Looking ahead, what can we expect from Still Music and Jerome Derradji in the future? As always, there are too many projects to list. In the immediate future, there's a fantastic boogie and modern soul compilation about the South Carolina band Midnight Blue from the late 70s to mid-80s, more unreleased or obscure music from post-disco legend Richie Weeks, and a lot more Chicago house as we celebrate 40 years of house! And maybe, if I get back in the groove, I'll finish up a few tunes I've been working on for a while. Thanks so much for the interview! You're very welcome! Thank you for taking the time to share your insights and experiences. It was a pleasure to have this conversation with you, and I'm excited for others to hear your story. Thanks again! ________ Editor: Levy DuymPictures: Bryan Edward & Silent J Studio