Kick back and check out the conversation with Devonne Harris aka DJ Harrison, a down-to-earth local with some serious skills. He started Jellowstone Records from his living room, signed to the legendary Stone’s Throw label, put out several great albums, solo and with Butcher Brown, got a Grammy nod along the way, collabed with Polo and is right now hitting almost 600k monthly Spotify listens. DJ Harrison is on the up and taking his friends with him, but home’s where the heart is — and that’s still right here in Richmond. We catch up about all this and his latest release, Shades of Yesterday, a blend of classics with his signature twist.
DJ Harrison: Yeah, I mean, the past few weeks have been crazy. New album, then going to the Grammys, and now I’m doing this thing this weekend. Jazzy Jeff’s doing a tribute to J Dilla, and he asked me to come play along with it. Oh, yeah, man. Trying to get ready for a lot of stuff.
R. Anthony Harris: You’re kind of on a train right now, like a bullet train. From the outside looking in your life looks crazy.
DH: I mean, you know me, I’m a fan of the slow burn, ensuring we can still keep that visibility. But with Butcher Brown’s album coming out last year, the cover of “Down With The King,” my album, a lot of good stuff has been happening. And then, like, the Polo stuff too — kind of forgot about that.
RAH: Looking back at the last interview that we did, which was like six, seven years ago, and then reading all the new stuff you are on. I’ll first off say congrats, man. Yeah, just congrats. I remember you starting with Jellowstone Records working out of your house. And to me, you always seemed kind of like an alchemist. You’re just putting beats together, some of it was really good. Some of it was just like, in your own zone and kind of incredible to see you go from that to where you are now.
DH: Thank you, man. I mean, like, it’s funny, you mentioned Jellowstone, you know, still here, still in the same place, same instruments, you know, same deal. You know, trying to not lose sight of the mission.
RAH: Let’s go back to that real quick. When you started Jellowstone back then in 2014, what was the point of starting that?
DH: Ideally was to have an outlet to get our music out there, but also was just like an outlet for us to really hone in on the talent. Everything is really trying to hone in as far as bringing a bigger scope and a bigger lens on what was going on here. ‘Cause I mean, obviously in the age of the internet now, and people realize that Richmond definitely has some good stuff going on. It’s just, I feel like it’s kind of just banding together in a sense by trying to get everyone’s projects out there. And also to kind of establish my role as a music producer as far as like producing other people’s projects and trying to really hone my skills at that level. I always thought of my house like the Voodoo sessions, like D’Angelo’s Voodoo. The story is they were doing D’Angelo’s and Common’s album, and Erykah Badu’s album, and everybody was in the same room at the same time. And everyone was on each other’s projects. And I basically just wanted to create a vibe here at home. Jellowstone, for me, was like a Richmond Electric Lady for a time. So like, it was a meeting ground for people to come through and put their songs together but also like, someone pulls up during somebody else’s session and like, they ended up offering their spin on it. Just like really trying to make it an open people community kind of thing, communal kind of thing.
RAH: At the time, I mean it didn’t really seem like the instrumentalists had a lot of outlets to get their work out here.
DH: And between me doing the Jellowstone thing, releasing records here, there was a guy, who was like my first manager, his name was Dan Guerra. And when I started going to California, I would go out there, sometimes with Reggie Pace of No BS! Brass and Dan will be booking these solo tours, like he started doing stuff with Butcher Brown trying to get us up to the West Coast and get our name out there, but it was easier to bring over one person versus like trying to bring over an entire group.
And so once I started doing those tours, it was just things started looking up and then he ended up booking me a show in Downtown LA it’s called Space 1520, I’m not sure if it’s still there, that was in 2013. And so like after that I ended up doing one of those early Boiler Room Sessions and it slowly got bigger and then actually got a chance to meet up with [Peanut Butter] Wolf and talk to Stone’s Throw Label and they got interested. That’s kind of where like, the intersection happened between like Jellowstone and Stone’s Throw, it was like here’s the opportunity for me to be on my dream label — like I wrote my music history paper about how I wanted to be signed to this label and make my own samples and it’s literally exactly what I’m doing.
So it was like a crazy level of manifestation. But it’s also just in terms of me trying to make calculated moves, it’s kind of hard to really know where it’s gonna lead in the future. But I had a good feeling about the moves I made and like maybe this is the right thing to do.
It’s like a trip. It’s a trip to be able to still be here in Richmond and to still be here with my homies. Like just to be with the homies, a lot of them still doing music and see they have they have that dream within them. You know what I mean? It’s like, it’s very inspiring.
RAH: That’s amazing. And I’ve noticed that you’ve done everything you can to include a lot of those guys in what you’re doing now.
DH: Yeah, it’s beautiful, bro.
RAH: And you’re like a true producer. You know, like Riza from Wu-Tang. He took all of his homies with him, you know?
DH: The thing with me, I’m always about community. Like, in a sense, when we go through stuff in life, learning how to do certain things, or putting stuff together, you pick up different things from people, different techniques, different ways to do things. So, for me, it’s about paying it back to your community, whether it’s the homies, family, or a mentor who showed you something along the way. Richmond is the reason my stuff sounds the way it sounds and helped shape my identity. So, I want to pay it back and ensure I don’t jepordize my sound, whether here or elsewhere. It’s been working so well here, with family around, everything slowly coming together over the years.
RAH: You know, Lucy Dacus took home three Grammys last weekend. And of course, you’ve been nominated.
DH: Yeah, it was crazy. I saw that. Yeah, bro, it’s deep-rooted Richmond at this point. It’s funny to watch her go up there and get the Grammys, like, “Hell yeah.” [laughs] That’s the shit.
RAH: There’s such a good buzz about the city. I mean, definitely, you, several others around here, and Lucy. It feels like Richmond’s on the map, in terms of music, in a different way. It’s been on the map before for metal music or D’Angelo, but it feels very diverse right now in the scene.
DH: Right. To me, it’s always been like that to an extent. It’s just funny now that we have social media and the internet; it’s kind of easy for everybody else to have a glimpse of what’s been going on.
RAH: Absolutely. What was the Grammys like? I mean, when you flew out there in 2021 for Kurt Elling’s Super Blue, right?
DH: I didn’t go for 2021. This one was for Super Blue 2, and we got nominated for Super Blue 1. But we went out there this year for the actual ceremony. It was surreal. Me and Corey were there, with Kurt and the homies.
We ended up playing, and it was like some sort of after-party and all that stuff. But it was surreal because, you know, there was this feeling of such significance. We were like—I was trying to find my seat, but I think Corey had already found his. As I was walking in, I saw Killer Mike walking offstage. Right then, we sat down for a while, just taking it in, but soon we had to leave for soundcheck for the gig later that night. So, we got up, and as I looked at my phone, I saw, “Wait, Killer Mike has been arrested! He was just right there!” It’s surreal, but it’s also a realization. I mean, being in a room full of celebrities, I’m thinking, “Okay, I’m nominated, but I’m also a nobody.” So, I’m just trying to navigate, taking everything in. I was definitely a fanboy on a larger scale, with Jelly Roll, H.E.R., and all these different people around. It was surreal, in a way. I remember as a kid seeing the picture of Michael Jackson and Quincy with all those Grammys for Thriller, and now, here I am. It’s like, damn, the fact that I came from VA and somehow ended up playing with Charlie Hunter, and you know, D’Angelo being from Richmond, he’s on, and I’m at the Grammys playing with him at the after-party. It’s a testament to the mission, like I never gave up. There were moments where I questioned if this was the right thing, but then the universe seemed to align, telling me, “Okay, you’re somewhat on the right track, you know?”
RAH: When you met Peanut Butter Wolf from Stone’s Throw, was that wild? Because I’m guessing you’re a fan of Madvillainy by MF DOOM. Legendary record label.
DH: Oh, yeah. Definitely. I mean, that was a thing. I first met him at a show with Jonwayne in Philly at a spot called the Boot & Saddle. I think it was me, Marcus (Tennishu), and Reggie there. I met Wolf in passing, we took a picture together, but I never got to talk to him. The conversation with the label started once Jonwayne, Knowledge, and Ringo (Mind Design) started bringing my music to them. Devon is a homie and said they were digging my stuff. So, I went out there, I think with my friend Xavier, and we hung out with Knowledge, made some beats, then gave him a ride to the Stone’s Throw headquarters. Jason Maguire, the head guy, said everyone in the office loved my stuff, and that’s when the negotiations for the deal started. It was around June 2015, I believe.
RAH: it’s kinda crazy how well your music fits perfectly with that label. Let’s talk about your new album — Shades Of Yesterday. I’ve been listening to it all day. And I love that you’re a fan of Steely Dan, Donald Fagen. We’ve never talked about it when I’ve seen you around town.
DH: It’s one of those groups where, like, Donald Fagan and Walter Becker were chasing perfection. They understood that when they created a record, it had to be the best — the best songwriting, arranging, and production. They had so many meticulous levels of trying to achieve that. Granted, I took a lot away from that. But what gravitated me towards Steely Dan, especially doing a Donald Faden cover, was that certain sound you associate with a certain group. Even if you hadn’t heard it before, it felt familiar because of the voice, the productions, and the arrangements I grew up listening to.
RAH: You know, this album is a lot of looking back. Is it kind of like a book of your influences?
DH: The thing is, with all these covers, whenever I do original music, I’m constantly looking at other records for inspiration. Whether it’s from YouTube, vinyl records, or different media formats, I’m always seeking that mood. If I’m listening to Marvin Gaye all day, I gravitate towards a certain song, certain elements that I want to incorporate into my own music. Doing a cover is like research for me. It’s like being an author surrounded by books. You have to draw inspiration from what you love to influence your own work.
You have to be able to draw inspiration from people that you like to actually influence what you’re going to do and how you’re going to invoke that feeling yourself. Without exactly trying to recreate the same thing. For me, I always make covers for research, whether it’s for the sound palette, trying to get a certain sound for the drums, or just learning. I really enjoy deciphering the deep process of songwriting. Everyone focuses on the performance, on the actual matter, but it’s just like, what the sonics is. You want to be able to know that it’s gonna be okay. For me, I want to know where it’s like, okay, this is gonna be like a nice starting point. And I’m actually doing the music justice. Like, whoever’s music I’m covering, I’m trying to cover it in terms of sound quality, core structure, and song structure. But then there’s also, like, the nucleus of what you can take and what you can do with it. Maybe there’s something else that they didn’t do that you might feel is cool to you. And all of a sudden, that’s your take on it.
RAH: Yeah, so you’re kind of like deconstructing it and figuring out how it works for you. Do you have a favorite track on the album?
DH: To be honest, I don’t. I mean, I like them all. Every track on the album is like its own experiment. If I were to say, because I’m looking at this album, there are certain songs that I’ve heard throughout my life, like “Little Birdie” and some of the Ohio Players stuff that I heard a lot when I was younger. But when I got to Richmond and school, I got into the Beatles. They all have their own space. The whole idea behind these covers is like, they’re all songs I’ve recorded over the years, some even 12 years ago. We touched up a lot of them in late August 2021, and even after that, like “L’Anthropofemme,” the Syntaxe joint. Tyler, The Creator showed me that song in December 2021, and I was infatuated with it. I had to figure out if I could cover it. This is what my journey has been. I’ve always been fascinated by records, certain artists, certain records, and I can retain the information and try to put my twist on it, still showing homage to the original artist and recording.
RAH: You brought up that Syntaxe track, and then I checked out the Spotify radio channel. It opened up a whole new world for me. I’ve been listening to not only that channel but the DJ Harrison and Butcher Brown radio channels, and I hear a lot of new jazz I’d never heard of. Am I late to the scene? Has there always been this new jazz thing? Or is this kind of new?
DH: It’s kind of new. We’re still delving into the age of, dare I say, Lo-Fi. When I was making recordings, and when certain producers I knew were making recordings, we were just making stuff on the gear that we had. The sound quality wasn’t always clean. Sometimes it was just skeletons, like you mentioned, like ideas. But there’s a certain aesthetic and sound associated with that. Back then, we didn’t call it Lo-Fi; it was just hip hop. It was just using the gear we had. After a while, maybe over COVID or before COVID, Lo-Fi became a genre, something people are trying to emulate. It’s funny to be on both sides of that.
RAH: Alright, I am going to end off with a couple of Richmond questions because we are RVA Mag. When you’re in town, where are you going to get lunch or dinner at?
DH: For lunch, I’m gonna say the sandwich spot is Union Market. The Turkey Panini at Union Market. Get that shit with a salad, maybe some soup. You know, I’m gonna be fucking with some Jamaican food, but like, I gotta eat this later on in the night because if I eat it earlier in the day, I’m ain’t gonna get shit done. [laughs]
RAH: Where are you getting dinner at?
DH: Oh, yeah, too many spots, too many. I mean, if I’m going Mexican — Mi Jalisco over the Northside, that shit is bomb. But then there’s also the Jamaican spots like M&F Jamaican, Irie Ting. I’m a huge chicken and rice guy, so I love to get rice from different flavors like Jamaican, Chinese, Mexican. So, yeah, I’d say Mi Jalisco and Irie Ting.
RAH: And then where are you getting a late-night drink at?
DH: Late-night drink? Ah, I mean, I’ve been on Bamboo from the jump, but it’s so funny, like, I haven’t been going there a lot. I haven’t been going out a lot in general, but I would say Don’t Look Back and Cobra Cabana.
RAH: All right. And then the last question for you is, I feel like a lot of Richmond musicians feel like they can’t get a break because they live in Richmond. What advice would you have for them?
DH: If you’re a musician and you feel like no one’s paying attention, you should look at your product or look at where you’re playing. It all starts with you as the person who’s trying to reach other people. If that’s not the case, then try and play different venues, try different social media tactics. I’ve always come from a school where I focus on your art, focus on your creative talent, and your actual product. It’ll transcend genre barriers and geographical barriers. Now, with social media, everything is everywhere, so it’s easy to be present online, depending on how much you post and the quality of things you post.
RAH: So it doesn’t matter where you are.
DH: I mean, you’ll probably have more opportunities in a bigger city, obviously. But at this point, we’ve cultivated our own sound and way of doing things. People in New York and LA talk about what people in Richmond are doing. Don’t be afraid to do your own thing. If you want to fit in with what’s popular, cool. But if you want to do your own thing, that’s cool too. People see more merit in that than just chasing superficial success.
RAH: Aight that’s all I got. Hit me up next time you are in town.
DH: What you mean? I live here still.
RAH: What? I thought you relocated. Damn, I should’ve just come over your spot to do this interview. [laughs]
Main photo by Joey Wharton
