One of the things we’ve enjoyed doing here at U.G. Digital Magazine is providing coverage and showing love on all levels of entertainment and music. One of the many features we do within the magazine is “Meet the Producer”, which gives us an opportunity to spread the word about some of the industry’s best and brightest producers. These individuals are creating some of the biggest staples in music, and it’s beyond fitting for them to get some love out there. Naturally, there’s not a lot who really shine a light on the producers, so we’ve taken that lane with “Meet the Producer”. 

 

We’re excited to transition the feature directly to the site with this new feature with JazzFeezy. It’s definitely fitting, and lends to the things I just spoke of because our connection actually came via us showing love for one of the big hits he handcrafted, that being Hardo’s “I Know You Ain’t Got Act Like”, which also featured rapper T.I.. We tend to post via social media about a lot of the songs we enjoy, and through that post, JazzFeezy hit back showing his gratitude, which ironically is something we don’t see a lot of, whether it’s with us, or anyone. It’s honestly was pretty refreshing, and we knew at that moment we needed to connect with JazzFeezy, who we truly view as one of the game’s super-producers. 

 

JazzFeezy gives us an open view into his life, what got him to this point, and the things he’s got planned to elevate the production game to an all-new level. 

 

Check out our exclusive below…

 

U.G. Digital Mag: This is really awesome that we’re connecting man. Obviously, it’s been a while since we posted to that track, and it was so dope, but I honestly had never looked into the overall production. Once I saw your post, and really looked it up, I felt a little crazy. You’ve worked with so many people I follow, from Travis Porter down to T.I. and MGK, who hails from here in Cleveland. It’s dope to see all you’ve done. Kudos for everything you’ve done, and thanks again for tagging the post. 

 

JazzFeezy: I’ve been listening to a lot of different motivational speakers, and they’re basically like have you ever sat down and searched the hashtag of all of your hit records? That’s what prompted me, and I saw so many people showing love. Someone recommended I post, say thanks, and introduce myself. You never know what could from that, whether it be a follow, or a production relationship. That’s honestly what I did, and it’s how we ended up here.

 

U.G. Digital Mag: I think another thing that makes me appreciate you so much more is so many producers are out there, but they kinda disassociate themselves with “enjoying” the fame and wanting to know who really digs their music. They don’t really care who is following, and it makes them lose that human side. For you doing this, it shows that side, and my thought is that this is supposed to be fun. I think it’s really cool, and people see that you’re just like them. 

 

JazzFeezy: Of course. Before I started production, I was a lover of music first, and it also goes back to manners. If someone shows you appreciation, you give it right back. The fact you took the time to show love and post it, it means a lot because without that support, the song is dead. We release these songs by the ten-fold, but it’s the fan appreciation that gives it the longevity. Saying thanks is nothing, but it shows that this is a human being. Comments will say that it’s dope, but you don’t really know if it’s a bot or something. To actually say thanks and a few words behind it, it gives that person the idea they’re talking to a human being. 

 

U.G. Digital Mag: You’re from Canada, right?

 

JazzFeezy: Right. Where Toronto is, I’m about an hour north of there in Barrie, Ontario. If Toronto was like the hubcap, there’s like an hour of trees, farms, and uninhabited land; then you have a city called Barrie, and that’s where I’m from. 

 

U.G. Digital Mag: It’s dope man. I connected with Peter Jackson, and I thought he was so dope too. I know you guys have worked together before. What got you into music, and how did it really start? 

 

JazzFeezy: At 16 and 17, I began to see how easy the school system was, and I stopped caring as much. I started doing more with Sony Sound Pro, Fruity Loops 2, and Cool Edit Pro. I started tinkering with it, finished high school, went to school for a computer systems degree, and then realized that wasn’t what I wanted to do. My father let me go to a private school called Harris. It’s basically a studio, but they offer production engineering. Upon completion, they promise you a job, but there was nothing, and I was always on the Toronto scene. I went to the battle of the beatmakers, and I met Matthew Samuels who is Boi-1da, and T-Minus from Ajax, and I kept in contact with them and kept sending them beats. I had the drive and just kept following music man.

 

U.G. Digital Mag: I think you’re perfect for this column though. There’s a lot of people who know your work, but it’s been easy for them to overlook. You’re behind so many people. What comes next, and what more do you have planned?

 

JazzFeezy: In 2016, I put down the roots by working with a lot of labels. One of my managers, G. Roberson, has me locked in for a few different projects, so I’ve been working on those. We’ve been plugging away since October. 

 

U.G. Digital Mag: In terms of your brand, what plan is there for continuing to get yourself out there? I compare you already to the biggest names like Dre. Where do you want things to go, and what outcome do you envision?

 

JazzFeezy: I always write my plans down. If you’re familiar with the Boi-1da kit series, I created the first one with him. 

 

U.G. Digital Mag: Right. I know you have your own kit as well. 

 

JazzFeezy: Right. I have one now, but in May, I’ll do volume II. I think it’ll bring more people to it. Every 3-4 months, depending on what people want, I’ll continue the kit series. Other than that, I want to get into the merchandising side of things. Maybe snap backs, T-shirts, and real merch. It’s a lot of ideas that once I get into a certain atmosphere of being known, there’s a lot that I’ll have in the works. Property out here is very cheap, so I want to buy like an acre of land and build my own house, but on the back end have my own studio with overnight accommodations. 

 

U.G. Digital Mag: I love the mindset. It makes perfect sense, and it’s outside the box. Not many have thought that through, and it really makes sense and goes next level. I say why not?

 

JazzFeezy: Absolutely. It all comes down to having better funding. The more cuts you have and credibility, people are more likely to get it and invest in you that much more. 

 

U.G. Digital Mag: In terms of Canada, do you look to take any of this back to that area? There seems to be so many artists there without the proper voice behind them. It’s really growing in that sense. 

 

JazzFeezy: That’s why I want to build the studio to have the infrastructure. We have some great studios, such as Metalworks, and Phase One Studios. I find there’s a lot of big sessions that producers go to, and they don’t necessarily keep notes about the experience. I start sessions off with my notepad, and at the end, I write down what we covered. Down the road, I want to write a book, and give my experiences. I want to offer some type of mentorship that Canada lacks. Truthfully, all of our talent goes to New York, to L.A., to Atlanta, and to Nashville. People rarely stay here. 

 

U.G. Digital Mag: I think it makes sense. A lot of places are that way where their talent will go to other areas, and in a sense, it’s like that here in Cleveland. The city is growing so much though, and people are now trying to build here so you don’t have to leave. Will that ever happen in Canada? 

 

JazzFeezy: You know what? I don’t know. There’s this mystique about L.A., and I can’t explain it. Over time I’ll talk to an artist, and they get hooked. They say L.A. has exactly what we have, but it’s also the weather. If we have a few producers come together and the proper infrastructure is there where we can set it up, they may stay. America just gives more opportunity. The actual budget you can get is much more in the states, and you just feel more valued in the states. 

 

U.G. Digital Mag: I get it. I love everything you have, and I’ve been going through your site. I like the set up, and can honestly say I haven’t seen it from very many producers. You make it a point to connect with your listeners, and again, I don’t see it a lot. It’s dope and game-changing. You’ll go a long way. 

 

JazzFeezy: It also helps with publications like yours and people who take the time. If someone takes even an email just to say I’m from here, and please check out my music, I’ll give them feedback whether it’s good or bad. I’m never out there to crush dreams, but if someone clearly recorded something on their computer and you can hear the reverb and mom cooking dinner in the background, then I’ll let them know it was a good first attempt, but if they want to take it seriously, then here’s what they can do. It’s only as serious as you want it to be. A guy wrote me back and said nobody took him seriously and that he was 16 and really wanted to do this. I was 16 once, but if you really want to do it, then you’ll find a way to get to where you want to be. 

 

U.G. Digital Mag: Exactly. What is the biggest take away from the time you’ve put in? What’s been the biggest lesson?

 

JazzFeezy: Oh man, I think it’s patience. When it comes to it, there have been situations where I know I got the cut, I know it’s on the album and everything is good to go, and then 6-months later, were still finishing paperwork and you’re still waiting to get paid. I think the mystique of people in the limelight who show you they have the money, cars, and whatever, that’s cool, but most of that is their advance. They never say 6-months from now, this will be happening. It’s too much smoke and mirrors. 

 

U.G. Digital Mag: Right. Now where can everyone check you out online? Facebook, Instagram, etc?

 

JazzFeezy: Twitter, IG, Facebook, and the website. My handle is @Jazzfeezy. People speak of Snapchat and Linked In, but you don’t have to do them all at once. I need to get more credits, stay creative, keep working, and keep following up with different A&Rs, artists, and managers. Down the road, I may do the whole Snap Chat thing. 

 

U.G. Digital Mag: I really appreciate this opportunity. This is something we love to do, showcasing producers man. 

 

JazzFeezy: I appreciate that as well. The other thing is it’s become this “cool” thing [for producers] to not have things in publications like your, and people just see songs that you do. I think it’s just the big producers who are doing articles, and the other producers are less likely to reach out and do it. To me, that makes no sense. You should do every publication you can. You need them to help you, otherwise people won’t know your story. 

 

U.G. Digital Mag: Right. Any kind of final thoughts at all?

 

JazzFeezy: It goes back to what I’ve learned the most. I think the biggest mistake I’ve seen is if you go to a networking party, and you get different email addresses for other producers, A&R people, or labels mates, I think the biggest mistake people make is they try to hit them up a week, month, or year after the fact. The best thing to do is hit them up right away so they at least know you’re serious. People always blame the A&R, but if the producer doesn’t even make the attempt to reach out, they don’t need the new guy. If you want to get into that infrastructure, you have to make that connection. So the best advice I can give is to follow up. You never know what kind of relationships can spark. The only one who suffers is that person.