http://www.mastersatworkinc.com
English fansitehttp://www.masters-at-work.co.uk/ official site
http://www.mastersatworkinc.com
English fansite
http://www.masters-at-work.co.uk/ official site
Both Vega and Gonzalez were born to parents living in New York , though of Puerto Rican heritage. Consequently, both were early influenced by the Big Apple's fertile salsa scene during the '70s.
During the early '80s, both were noted DJs around New York, though Vega immersed himself in house and freestyle while Gonzalez entered the rap scene. (The separate interests came in handy later, as dance fan Vega concentrated on songwriting and groove-making while hip-hop head Gonzalez programmed beats and samples.) The pair were also working separately as producers, and Vega had already made a name for himself working on dozens of freestyle tracks and remixes by Nice & Smooth, Information Society and India. Gonzalez, working as a mobile DJ with a team calling themselves the Masters at Work, founded his own Dope Wax Records and worked on production for all of the major New York dance labels: Strictly Rhythm, Nervous, Cutting and Big Beat. In 1987, he loaned out the name Masters at Work to Todd Terry for the 1987 single "Alright Alright", then Terry returned the favor one year later by introducing him to Vega.
Since joining forces, "Little" Louie Vega and Kenny "Dope" Gonzalez have set the standard for remixes by "reconstructing" records for the likes of Michael Jackson, George Benson, Bran New Heavies, Lisa Stansfield, Ce Ce Peniston, Vanessa Williams, and Deelite among others. The have developed a knack for sending records that seemed to have little club potential (Tito Puente, The Neville Brothers, St. Etienne) to the top of the dance charts with their Masters At Work Dubs. Their productions, including the Bucketheads, Barbara Tucker, The Braxtons and the forthcoming Nuyorican Soul Album featuring artists Tito, Puente, Eddie Palmieri, Roy Ayers, George Benson, India, and Jocelyn Brown have established them as premier producers. With the formation of MAW Records, the Masters At Work set out to further establish themselves as a production force, as well as expose the talents of other producers and artists such as Ruffneck feat. Yahahn.
In early 1997, DJ / Producers the Masters At Work ("Little" Louie Vega and Kenny " Dope" Gonzalez) made their critically acclaimed album Nuyorican Soul which pushed the boundaries of dance music to unexplored limits by blending the current underground club attitude with latin beats, hip-hop, jazz, funk, disco and soul, yet paid full respect to a rich musical heritage. A definite autobiographical scheme and track-by-track segue (on the CD version) gives the effect of an eclectic Masters At Work set. If you can imagine Louie & Kenny playing their favourite records in your front room on a pair of Technics, you'll get the picture.
It was an ambitious project that featured guest appearances from Jocelyn Brown, Roy Ayers, India, Tito Puente, Vincent Montana, Jazzy Jeff and Dave Valentin amongst others.
MAW Presents a Tribute to Fela
"Expensive Shit" / "Zoe"
Cat. No: MAW 027
Release: JAN. 1999
"A Tribute To Fela", boasts a list of accomplished musicians who can hold their own when it comes to throwin' down, especially for Fela. The tribute features three cuts; "Expensive Shit" on the A-side, "Zoe", and an accapella version of "Expensive Shit" bringing it on the B-side. MAW did right by bringing Latino legend, Luisito Quintero in on the project. He rips the percussion down on "Expensive Shit". Quintero holds his own and carries heavy weight and keeps the fast paced rhythm steady. Wunmi, an accomplished vocalist in her own right, sings lead. She keeps this Fela cover air-tight, as if she penned the original vocals herself. Her sound and delivery is crisp as well as sharp. Dave Valentin flows on flute. He flutters against a barrage of beats and verbal expressions that transform "A Tribute To Fela" into a cut that's sure to make you want to sweat it out on the dance floor. Also, John Wheeler blows the trombone like there's no tomorrow, while John Scarpulla blasts holes through his one-man saxophone section which include both tenor and baritone horn play.
