Thanks for chatting with us, Coflo! I discovered your music on Bandcamp and can’t stop playing your new hit jazzy house single, If It Goes. The grooves are infectious, spotlite by flourishing keys and live instrumentation that swirl around the mix—what a trip! What was your process creating the record?
Well I am glad you found me! Bandcamp has been one of so many places I have tried to capture new ears to hopefully find interest in what I have been doing musically. There is an insane amount of new music hitting the “digital shelves” on a weekly basis, I am always VERY grateful for anyone giving me even a few minutes to check out anything I am making.
The tune “If it Goes” was actually spearheaded by Cataleya’s label owner/head producer Jonathan Svenheden. He had got me involved in a remix for a Vick Lavender tune when he was first launching the label..and either as a fan of my work or at the very least my work ethic; I think he could see I am able to do a wide range of musical things. I really value the artistic role of an actual “record producer”. In dance music and a lot of modern “house music”; there is seemingly less and less music being created by record producers and more DJ editors/beat maker types. It’s not that it’s a BAD thing; I think anything that helps put more “good dance-able” shit out there is a benefit to us all… BUT, as I have grown and learned through my musical journey, I feel like I can really continue to grow into a more sophisticated role of a record producer. Which leads us to “If It Goes”.
“If It Goes” was almost a challenge / encouraged “I bet you can do this” type of project for Jonathan (Cataleya). He was a fan of my white label version of Jamilah Berry’s “If the Love Goes” and thought I could take what I remixed and re-write something original and new with the same rhythmic premise. Thus is the original story… a challenge to the cap I wear as a producer, writer and remixer. Jonathan really pushed me over the ledge and without his foresight and executive prowess; the song would have never been!
Curious how you connected with H. Litz, A Boquera, A. Vargas, and A. Eid, who also contributed some of the live instrumentation.
H.Litz (Han); I have been a fan for many, many years. We share a mutual friend and collaborator, Osunlade. Han had asked me to do a remix of his jazz group’s album, https://coflo.bandcamp.com/track/transition-deep-coflo-remix, which came out fantastic. Thus started our working relationship and what a lovely person he is. If I EVER need flute; not only does he get my “direction” but he also is able to write ideas that IMO are completely unique to his style. He has great sensibility for timbre placement and groove; I feel that is VERY special for a flute player.
A. Boquera (Abel); I have also been a fan of for many years. I am a huge B3 nerd. In my research of musicians through the years playing B3; I found Abel on youtube playing for I think it was Gisele Jackson (which I know he plays for but I can’t recall exactly when I found him). Anyways, I tried to get in contact with him and found out he was available for session work and ever since then I have used him for all kinds of “key driven things”. I play a number of instruments, most rather poorly; but “keys” is something I feel most comfortable at. I am so good at playing keys that I know exactly when I need someone far better than me to take my idea to the place it should go hahah! Abel gets my direction and is incredible… especially for real B3.
A. Vargas (Andrew) is a local guitar player and is in our dance nightlife scene here in the San Francisco Bay Area. We connected when he moved back 7 or 8 years ago and I have worked with him on a number of things. Really great guy with fantastic jazz sensibility.
A. Eid (Aya); is a Chicago transplant also living here in the Bay Area; she is a vocalist and jazz bassist. Unlike the others; she is newer to “recording” and I have been trying to find projects to work with her and to encourage her to do more. She is incredibly talented and an absolutely lovely person to be around. Full of positivity and has an incredibly insightful way about her. She is also a big dance music fan (house) and that adds to me wanting me to get her involved MORE in future projects. More to come!
I’m curious—how did you, a California-cat, end up collaborating with an obscure Swedish house label like Cataleya music to release If It Goes?
Well as I mentioned before, Jonathan—I think—was a fan of my music and reached out to me to get me involved in a remix for Vick Lavender. The rest is still being written! We have a number of projects in the pipeline. Cataleya is doing some really great things. I wish nothing but the best for Jonathan and his efforts; I hope he can keep up the projects and Cataleya grows into something really influential.
While your latest release has a strong jazz influence, your discography combines so many styles and sounds with house music: electronic, soul, afrobeat, etc.. How do you decide which styles to incorporate into your house music productions? Is it context dependent—i.e., like a specific time, place, or mood?
Man… It’s really cool he says “jazz influence”. I’m itching to do more of my take on “Jazz Funk” so to speak. My view on “jazz” is that it is a socially created music. It MUST have human interaction; exchanges of energy and ideas… improvisation and emotion. I am not a jazz musician. Working with jazz musicians doesn’t make my music jazz. Where I think “jazz” exists in some, if not the majority, of my music is that I am a dancer.
Dance is the PRIMARY focus of every record I remix, write, producer, feature on etc. I cannot hear music without seeing the dance that will derive from it. It is in my mind’s eye and as I continue to study and practice dance; it only becomes more of “human interaction” that appears in my music (the jazz).
So to answer your questions a bit more directly, I am a fan of music that inspires me to create dance art. Different “styles” of music produce different types of inspiration for dance. While I can characterize and categorize the music/influence in my music, it just comes back to the same fundamental principle. Can I see the dance in it? As a record producer, I love the challenge to grow what I am doing and do the music I think will be fun and dope. Sometimes “style” is at the forefront of what to attempt; in other cases, it’s a by-product of where the dance is taking me in my production/writing process.
Some of my favorite songs are your edits from the Fur The Love and Colors series, which are free to download. Do the featured artists on your edits ever hear your remixes and express interest in collaborating?
That’s great to hear you enjoy those projects! I started those projects as workouts. Meaning, to become better at producing and trying things. They aren’t always the most “produced” music, but that’s not the point. The point is to “workout” and become a better, more capable version of myself. This includes “tools” and original material for my performances as an aspiring DJ.
Yeah, in some cases, some of the artists have heard what I have done which have led to official licensing etc… But most of the stuff from the “Colors” projects etc. I have even tried to reach out to folks and generally I am met with crickets… LOL. The way I look at it is, someday I will be a bigger deal than I am now, and the right people will WANT to work with me and much better projects/music will come from that!
If you could bring only three edits to a deserted island, what would be your top three picks?
Of my edits from those projects?
1. Jamilah Berry – If the Love goes (Coflo remix)
2. Cleo Sol – When I’m In your Arms (Coflo remix) [this isn’t out yet but will be before end of 2024]
3. Elton John – Benny and the Jets (Coflo’s remix for Tsunami)
These are top of mind because they work. People love to dance to them, create dance to them and they always bring women to the middle of the dancefloor. Feminine energy on the dance floor is what gives life to a club IMO.
You are a DJ, music producer, and house dance instructor. That’s a lot! How do you decompress when you’re not touring, making music, or teaching?
Dance and Capoeira are my moving meditations. I also frequent the gym daily; although I don’t enjoy the gym LOL. The gym forces me out of the studio but doesn’t force me to think/practice dance or Capoeira. It forces me to look after my body for movement stability and conditioning. Staying fit makes you a happier person and, considering my livelihood is dance/capoeira, feeling like I can still physically express myself in those arts is a necessity. I’m not old, but I’m not young (anymore). My joints and whatnot can’t do the same things they could once do. So I have to put EXTRA effort into physical maintenance.
In 2025, I also plan on picking up some new instrument learning and also sewing. Sewing seems random, but I have ideas and I think it will be a welcomed distraction yet still a way to express myself creatively.
I’ve been listening to your music since last month, and there are still troves of undiscovered releases, new and old, in your catalog! Do you have any recommended albums for newcomers interested in exploring your music? I’m thinking like a Coflo “starter pack” that encapsulates your style and sound as an artist.
I have so much music and depending on someone’s taste in house/dance music, I may have it covered (I’d hope) LOL.
Maybe try these projects:
Coflo – Tsunami’s Muse
Louie Vega feat. Nico Vega – How He Works (Coflo remix)
Coflo – Toques
Coflo – Throwbacks (Grapefruit La Croix)
Coflo feat. Rawb Boss – Peanut Butter Lover
Tamara Wellons – You Are (Coflo remix)
Coflo & Lady C – Easy
What are some of your favorite memories while touring?
I am relatively new to touring. Most of my real touring has only been the last 2 years. I think opening for Louie Vega in SF; opening for Ron Trent in Houston are forever going to live with me. They are legends and major inspirations not only sonically but in terms of work ethic and longevity.
The closing party for IBE in the Netherlands was some of the craziest dance-floor energy I experienced this year.
Performing live with CEE. Montreal felt magical and we ended up with a whole new song idea as a result.
A weekend excursion to Stockholm to play Soulmates cemented my purpose for creating and performing house music. I feel like I belong doing this!
How do you decide whether to release something on your own versus another label?
Sometimes it’s other labels asking me for projects and it’s fun to try and craft something that will work for them. Sometimes I make something and I feel like it could exist in their (other labels) world and I want to offer it to their fans. Other times I feel like I want to take a chance and see if I can reach new ears by working with labels that have fans that maybe don’t know about “Coflo”. This next year I am planning on some projects that are going to be on my label and significantly more invested. I have been trying to develop a bigger fan base for well over a decade and now I feel like my investment can start to match the level of intention I have always put into things. It’s a mixed bag of what goes where and when… I just want to keep making music and however it can reach fans old / new… I’m going to go for it.
What was the most helpful advice you received from a mentor during your journey to make a living as an artist?
To be honest, I had ‘few’ actual mentors in my musical journey. That doesn’t mean there haven’t been a number of people that have REALLY helped me. Those that have supported me, that I also look to for guidance (whether direct or indirect), have helped me with one very simple concept: encouragement without deprecation of others. Rising tides raise all ships. We should all be better versions of ourselves and let that reflect in our ability to make art. Mentorship is a blessing and if you are fortunate enough to find yourself with an actual mentor, cherish the lessons. For others, find your own path and learn those lessons through evaluation of others’ lived experiences. As long as you work hard, don’t hate on people and stay true to yourself, you’ll find support. If you apply real intent into your art, people will recognize it. I think that has been a better lived lesson from those who have supported me early on… More so than a mentor.