Relocating to Jamaica in 1991 presented Jazzwad with the opportunity of working with Bounty Killer when the two met while Jazzwad worked at Tuff Gong Studio. Both collaborated on the Killer's first album, producing the track Copper Shot - a very good start to two illustrious careers. " Me a try start as a session musician in the studio and he was doing his deejay thing- the two of us wanted the break. Him need the good riddim and I needed a good artist to project my riddim so it made sense." This marked the beginning of a lasting relationship between the producer and the artist who have since collaborated on all of Bounty Killer's albums.

"Crazy" is how Jazzwad describes the music he creates. "I don't try to make the regular, same old type of thing. I'd describe my music as a soundtrack…I try to think about how it would sound in a movie." Whether up-tempo, laid back, or heavily bass driven, Jazzwad's soundscapes create the perfect background for any artist he works with.

CHECK THE RESUME

Below are some of the artists Jazzwad has worked with (in no particular order)

Bounty Killer- all albums
Tony Rebel- If Jah
Terror Fabulous- Lyrically Rough
Tony Curtis- Power of Love
Sizzla - Be I Strong
Frankie Paul- Remember the Time
Morgan Heritage- Don't Haffi Dread
Garnett Silk- Silky Mood
Beres Hammond-Getting Stronger
Beenie Man- Maestro
Anthony B- Universal Struggle
Gregory Isaacs- Yesterday
Everton Blender- Piece of the Blender
Capleton- Bun Down Dreadie

Source :: CD Now Discography (Paul "Jazzwad" Yebuah)

Dancehall fans may be surprised by the fact that Jazzwad has even co-produced tracks for Bounty Killer's (on again- off again) 'arch rival', Beenie Man's, Maestro. "Nuff people would think that true me an' Killer par so t'ick dat I wouldn't". To our surprise he adds, "But 'dem (Shocking Vibes) don't credit me because of music politics…because me and Killer is fren' dem feel that my name don't deserve to go pon dem album." One wonders if this failure of accreditation could raise legal issues but Jazzwad calmly dismisses this saying, " You can sue dem but that's a next ting…we don't try to bring certain bad vibes to the business...you mus' know wah yuh do." This is just another example of the level of corruption, which is rampant in our beloved dancehall industry.

Whaddat: Apart from the aforementioned, what are the other problems facing dancehall music?
Jazzwad: Not enough one-drop music playing in the dance, like singer's music… VC has made a come back and George Nooks, couple people but sometimes these things ain't official…sometimes it boils down to even buying out the charts…buying out the charts mash up the business too- you don't get to hear the real hits. When you go world wide everybody associate reggae with Bob Marley, and (his) music is a certain way so if you want to see the business go further you have to come back in that style… the young artists have to try do songs on one drop riddims- something different.
Whaddat: Recently you produced the Fiesta rhythm, which was adapted directly from R. Kelly's Fiesta, why did you choose to do this especially since such a move reflects a lack of originality?
Jazzwad: I know it's not original but Fiesta is like a reggae riddim and Wee Pow had asked me to do it for them because he liked it… so I just did.
W: How do you feel about hip-hop and R&B riddims being remade by local producers and being passed off as dancehall?
J: It's cool still but it's not doing anything good for the reggae or dancehall music whatsoever. Right now most of the Yankee music, hip-hop and R&B are looking to reggae for the bass line and drum pattern. Both sides of the music gettin' confused- dance hall wants to take from hip hop/R&B and vice versa.
W: With the exception of Fiesta do you refrain from excessive sampling of hip-hop and R&B?
J: We did No Digitty (Blackstreet) …Hypnotize (Notorious B.I.G.) But I don't try to depend on sampling from hip-hop.

CONTINUED....

READ JUNE'S YE :: Video Director Little X