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ARTICLE
Dave Evans catches up with Adriel Leff better known as Jet Boot Jack, to talk about his illustrious career and what the future may hold for the man they call the ‘Bootleg DJ King’
From growing up in Camden to DJing all over the world, Adriel Leff (aka Jet Boot Jack) is one of the UK’s most prolific and popular remixers, boasting a collection of over 300 remixes and bootlegs as well as amassing over six-million streams of his tracks.
As a busy DJ and producer, he releases a remix, original track or DJ mix on a weekly basis (#BootyTuesday) and has become known for updating the best in disco, soul and funk in his unique style to bring a feel-good vibe to any dancefloor.
Not content only with dominating the music world, Adriel is also a multi-award-winning screenwriter and director. As well as writing TV episodes for BBC1, his directorial debut feature film ‘Bloody Lip’ won at the LA Comedy Festival and was selected as the closing film of the British Urban Film Festival.
Q: You grew up in Camden in the 90s when the likes of Orbital, Future Sound of London and Jamiroquai were massively successful. What influenced you to get into music and, ultimately, DJing?
FSOL and Jamiroquai were certainly influences, along with a whole host of other artists across dance music, acid jazz and multiple other genres that were flourishing at that time in local venues, DJ bars and nightclubs. But it’s fair to say that the pivotal moment for me was when I purchased the original Megabass album in 1990.
It was the first time I had heard a studio mix album and was fascinated by how the Mastermixers combined and manipulated tracks to create something entirely new, teaching me that music wasn’t just something to play but something to play with – and that invaluable lesson has stuck with me ever since.
Q: How would you describe the music you play? Do you have a specific genre?
I’m best known for playing and producing disco and house, but having been an open-format DJ for many years previously, I’m very comfortable moving outside of that bracket and, when the opportunity arises (at a festival gig or specialist club night), I relish being able to break up the four-to-the-floor beats with a bit of drum ’n’ bass, reggae, soul, funk, or golden era hip-hop.
Q: You’re quoted as saying your favourite DJ is the legendary Sir Norman Jay. What was it about him and his style that you like, and what did it feel like when you played alongside him for the first time?
I’ve always been a massive fan of Notting Hill Carnival, attending religiously every year since 1993, and it was there that I first discovered Sir Norman at his notorious Good Times Sound System. He was the very first open-format DJ I ever saw live and, similarly to Megabass, opened my eyes to how pieces of often disparate music could be creatively arranged to produce a DJ set that was greater than the sum of its parts. Of course, DJing alongside Sir Norman was a dream come true, but actually a more significant moment for me was when he played one of my first ever disco house releases several times on his BBC Radio show back in 2005. At that time, that was my equivalent of having a worldwide number one.
Q: Why did you move into remixes and bootlegs? Which do you prefer doing and which are your favourites?
I started making remixes and bootlegs solely for my own DJ sets, building up a catalogue of exclusives that I knew no other DJ could play. Having seen how well they worked in the clubs, I then made the decision to put them online to see if they would spark any interest from other DJs and so created the Jet Boot Jack persona to release them under. I enjoy producing remixes, mash-ups or original tracks equally, but what I really relish is having the luxury to switch between these different creative formats, which always keeps things fresh for me. My favourite production is usually whichever one I’m currently working on!
Q: Which software do you use for the remixes and do you have a set way you build them up?
I’ve used Logic for many years and, although I obviously have established methods and techniques that I utilise time and again, I try to approach each project with an open mind, allowing the track to inform me how best to develop it. But, as you can hear in my work, one element that is always consistent is a funky bassline, often played live myself, anchoring the mix.
Q: You have supported the likes of the Chemical Brothers, Freemasons, DJ Yoda and many others. Who is your dream artist to be on stage with and where would it be?
I’ve recently been working closely with legendary singer Kathy Brown, which has certainly been a dream for me. But despite our time in the studio, we’re yet to perform live on stage together – other than when Kathy sung as a surprise guest at my wife’s birthday! I am very much hoping that may happen at some point and, although any location would be blessed to host her incredible talents, I think I’d have to pick Ibiza as the ideal spot.
Q: DJs nowadays are highly visible within the music world, playing at arenas and stadiums as the main act. You have played the likes of Brownstock and Wilderness festivals but would you like to play at an arena for a Jet Boot Jack concert?
I love the fact that, given the adaptability of disco and house, I am able to DJ at a whole range of venues, from large nightclubs and intimate bars to huge festival stages and private events. I’m sure an arena would be an incredible experience but, if that opportunity ever arose, I would definitely put a great deal of thought and effort into creating an elevated multi-media show. Pre-pandemic I actually assembled an all-female band to perform my productions live on stage, so maybe an arena gig would be the perfect opportunity to get the band back together.
Q: Which DJs do you admire today?
I regularly attend Bill Brewster’s Low Life parties, which always feature fantastic DJs such as Frank Broughton, Bruce Tantum and Ray Mang. I’m also a big fan of Timmy Regisford, Cube Guys, Point G (aka DJ Gregory), and of course all the Disco Waltons are a great bunch – look them up if you’re not familiar!
Q: You are also a renowned writer and have directed award-winning movies. How did you get into writing and directing?
I worked as a published music journalist, which gave me the confidence to write, and eventually I decided to create my very first screenplay, which was optioned [bought] by esteemed TV and stage producer Allan McKeown [Birds of a Feather, Lovejoy, Jerry Springer: The Opera]. Allan told me in no uncertain terms that I should take screenwriting seriously and his sage advice has certainly paid off.
Q: You wrote, directed and edited your first film, which has won many awards and received nominations across the world. How did it feel for you to get that recognition for your work?
The journey I went on with my first independent feature film ‘Bloody Lip’ was very special indeed – it was produced for a total budget of just £100, so to see it screening at prestigious film festivals in NYC and LA alongside more lavish productions was incredible. Not to mention the film festival afterparties...
Q: Are you looking to continue your film career and can we expect to hear any of your remixes in the soundtracks?
I did actually produce some of the music for my earlier movies, however I have now moved away from independent film and into TV, which means I have less creative control around aspects like the soundtrack but can reach a much bigger audience. In fact, I’m currently working on an original mini-series that will be broadcast on primetime BBC1 – certainly my biggest audience yet!
Q: You are a phenomenally successful producer – what advice would you give to DJs just starting out or are looking to make the step from playing music to producing their own?
Don’t be afraid to take influence from other DJs and producers but always try to have at least something in there that reflects your own personality. It can take a while to develop your own sound, but it’s a good goal to have. People often say in screenwriting that its crucial to find your own voice and I believe the same applies to DJing and producing – I might be remixing a popular song that has already been reworked dozens of times, but I hope that listeners will hear my version and know that it’s a Jet Boot Jack remix. By the way, if anyone wants more in-depth advice, I do also offer one-to-one production tutorials so don’t be afraid to reach out!
Q: Comparing the days of carrying around lots of vinyl and decks from gig to gig, relying on word of mouth, to now where you have everything available on devices that can fit in a pocket alongside online avenues such as Soundcloud for content distribution. Would you say it’s harder or easier for today’s DJs and producers to stand out?
In terms of producing, the infrastructure that dance music was built on was wholly centred around vinyl – pretty much anyone could press up a few hundred, take them round the record shops and, if the material proved popular, turn a decent profit that could then be reinvested into studio equipment or club nights. Now, although it’s a lot easier to reach a wider audience, it’s much harder to generate significant income from producing and that is certainly restrictive to the scene as a whole – without that revenue, aspiring producers may not have the freedom to fully dedicate themselves to the craft.
Regarding DJing, again the record shops were key hubs for in-person networking and discovering
obscure material, but with popular platforms such as Twitch and Mixcloud, DJing is no longer just about nightclubs and radio stations. The medium itself has evolved, so you can potentially build a decent following without ever having to step foot in a nightclub or broadcast studio, as long so you’re willing to be your own promoter/manager.
Q: Which track would be your dream track to remix (that you haven’t already) and what is your secret guilty pleasure record?
My ethos has always been that if I want to remix something then I’ll just go ahead and do it, but of course I would love to be asked to produce official remixes for so many artists that I admire – I don’t think I can even start to list them as there are so many! I have to say, I don’t really believe in the concept of guilty pleasures – no one should ever feel guilty about taking pleasure in any piece of music. I’m sure there are tons of tracks I love that other DJs and producers would turn their noses up at purely because of who made them. But I’m not going to let that dampen my enjoyment one bit – if something sounds good to me, then where it originated from isn’t going to affect that.
Q: You have recently signed with Mastermix to produce material. What can we expect from this exciting collaboration?
I’m so excited about this! Mastermix is a brand that I’ve always looked up to, ever since buying that first Megabass cassette at Our Price with my pocket money. So to come full circle and actually be working with the team now is absolutely phenomenal. Going forward, Mastermix will be my distribution platform of choice and I’ll be regularly releasing brand-new exclusive Jet Boot Jack material via their website, as well as making my back catalogue available in WAV format for the very first time. We’ve been cooking up loads more ways to partner up, so there’ll be lots of other collaborations to come between Mastermix and myself. I’m genuinely so happy to be involved and simply can’t wait to see how it all progresses.
Q: DJ, producer, remixer, writer, director. Do you get time to relax and what do you enjoy doing?
Free time is definitely a luxury for me, but I strongly believe that it’s equally as important to consume material as it is to produce it. So my idea of relaxing is listening to other producers’ music, going out to dance to other DJs’ sets, and reading scripts or watching films and TV shows by other writers and directors. It can be all too easy to live in a bubble of your own creativity, but I love to absorb anything that passionate creatives put out there into the world.
Q: Finally, what does the future hold for both Adriel Leff and Jet Boot Jack?
If these last two years have taught us anything it’s that the future is even more unpredictable than ever – but maybe that’s how it should be. After all, the story’s never as fun when you know how it’s going to end.
For further info on Jet Boot Jack please visit:
www.instagram.com/djjetbootjack
www.facebook.com/DJJetBootJack
www.soundcloud.com/jet-boot-jack
From growing up in Camden to DJing all over the world, Adriel Leff (aka Jet Boot Jack) is one of the UK’s most prolific and popular remixers, boasting a collection of over 300 remixes and bootlegs as well as amassing over six-million streams of his tracks.
As a busy DJ and producer, he releases a remix, original track or DJ mix on a weekly basis (#BootyTuesday) and has become known for updating the best in disco, soul and funk in his unique style to bring a feel-good vibe to any dancefloor.
Not content only with dominating the music world, Adriel is also a multi-award-winning screenwriter and director. As well as writing TV episodes for BBC1, his directorial debut feature film ‘Bloody Lip’ won at the LA Comedy Festival and was selected as the closing film of the British Urban Film Festival.
Q: You grew up in Camden in the 90s when the likes of Orbital, Future Sound of London and Jamiroquai were massively successful. What influenced you to get into music and, ultimately, DJing?
FSOL and Jamiroquai were certainly influences, along with a whole host of other artists across dance music, acid jazz and multiple other genres that were flourishing at that time in local venues, DJ bars and nightclubs. But it’s fair to say that the pivotal moment for me was when I purchased the original Megabass album in 1990.
It was the first time I had heard a studio mix album and was fascinated by how the Mastermixers combined and manipulated tracks to create something entirely new, teaching me that music wasn’t just something to play but something to play with – and that invaluable lesson has stuck with me ever since.
Q: How would you describe the music you play? Do you have a specific genre?
I’m best known for playing and producing disco and house, but having been an open-format DJ for many years previously, I’m very comfortable moving outside of that bracket and, when the opportunity arises (at a festival gig or specialist club night), I relish being able to break up the four-to-the-floor beats with a bit of drum ’n’ bass, reggae, soul, funk, or golden era hip-hop.
Q: You’re quoted as saying your favourite DJ is the legendary Sir Norman Jay. What was it about him and his style that you like, and what did it feel like when you played alongside him for the first time?
I’ve always been a massive fan of Notting Hill Carnival, attending religiously every year since 1993, and it was there that I first discovered Sir Norman at his notorious Good Times Sound System. He was the very first open-format DJ I ever saw live and, similarly to Megabass, opened my eyes to how pieces of often disparate music could be creatively arranged to produce a DJ set that was greater than the sum of its parts. Of course, DJing alongside Sir Norman was a dream come true, but actually a more significant moment for me was when he played one of my first ever disco house releases several times on his BBC Radio show back in 2005. At that time, that was my equivalent of having a worldwide number one.
Q: Why did you move into remixes and bootlegs? Which do you prefer doing and which are your favourites?
I started making remixes and bootlegs solely for my own DJ sets, building up a catalogue of exclusives that I knew no other DJ could play. Having seen how well they worked in the clubs, I then made the decision to put them online to see if they would spark any interest from other DJs and so created the Jet Boot Jack persona to release them under. I enjoy producing remixes, mash-ups or original tracks equally, but what I really relish is having the luxury to switch between these different creative formats, which always keeps things fresh for me. My favourite production is usually whichever one I’m currently working on!
Q: Which software do you use for the remixes and do you have a set way you build them up?
I’ve used Logic for many years and, although I obviously have established methods and techniques that I utilise time and again, I try to approach each project with an open mind, allowing the track to inform me how best to develop it. But, as you can hear in my work, one element that is always consistent is a funky bassline, often played live myself, anchoring the mix.
Q: You have supported the likes of the Chemical Brothers, Freemasons, DJ Yoda and many others. Who is your dream artist to be on stage with and where would it be?
I’ve recently been working closely with legendary singer Kathy Brown, which has certainly been a dream for me. But despite our time in the studio, we’re yet to perform live on stage together – other than when Kathy sung as a surprise guest at my wife’s birthday! I am very much hoping that may happen at some point and, although any location would be blessed to host her incredible talents, I think I’d have to pick Ibiza as the ideal spot.
Q: DJs nowadays are highly visible within the music world, playing at arenas and stadiums as the main act. You have played the likes of Brownstock and Wilderness festivals but would you like to play at an arena for a Jet Boot Jack concert?
I love the fact that, given the adaptability of disco and house, I am able to DJ at a whole range of venues, from large nightclubs and intimate bars to huge festival stages and private events. I’m sure an arena would be an incredible experience but, if that opportunity ever arose, I would definitely put a great deal of thought and effort into creating an elevated multi-media show. Pre-pandemic I actually assembled an all-female band to perform my productions live on stage, so maybe an arena gig would be the perfect opportunity to get the band back together.
Q: Which DJs do you admire today?
I regularly attend Bill Brewster’s Low Life parties, which always feature fantastic DJs such as Frank Broughton, Bruce Tantum and Ray Mang. I’m also a big fan of Timmy Regisford, Cube Guys, Point G (aka DJ Gregory), and of course all the Disco Waltons are a great bunch – look them up if you’re not familiar!
Q: You are also a renowned writer and have directed award-winning movies. How did you get into writing and directing?
I worked as a published music journalist, which gave me the confidence to write, and eventually I decided to create my very first screenplay, which was optioned [bought] by esteemed TV and stage producer Allan McKeown [Birds of a Feather, Lovejoy, Jerry Springer: The Opera]. Allan told me in no uncertain terms that I should take screenwriting seriously and his sage advice has certainly paid off.
Q: You wrote, directed and edited your first film, which has won many awards and received nominations across the world. How did it feel for you to get that recognition for your work?
The journey I went on with my first independent feature film ‘Bloody Lip’ was very special indeed – it was produced for a total budget of just £100, so to see it screening at prestigious film festivals in NYC and LA alongside more lavish productions was incredible. Not to mention the film festival afterparties...
Q: Are you looking to continue your film career and can we expect to hear any of your remixes in the soundtracks?
I did actually produce some of the music for my earlier movies, however I have now moved away from independent film and into TV, which means I have less creative control around aspects like the soundtrack but can reach a much bigger audience. In fact, I’m currently working on an original mini-series that will be broadcast on primetime BBC1 – certainly my biggest audience yet!
Q: You are a phenomenally successful producer – what advice would you give to DJs just starting out or are looking to make the step from playing music to producing their own?
Don’t be afraid to take influence from other DJs and producers but always try to have at least something in there that reflects your own personality. It can take a while to develop your own sound, but it’s a good goal to have. People often say in screenwriting that its crucial to find your own voice and I believe the same applies to DJing and producing – I might be remixing a popular song that has already been reworked dozens of times, but I hope that listeners will hear my version and know that it’s a Jet Boot Jack remix. By the way, if anyone wants more in-depth advice, I do also offer one-to-one production tutorials so don’t be afraid to reach out!
Q: Comparing the days of carrying around lots of vinyl and decks from gig to gig, relying on word of mouth, to now where you have everything available on devices that can fit in a pocket alongside online avenues such as Soundcloud for content distribution. Would you say it’s harder or easier for today’s DJs and producers to stand out?
In terms of producing, the infrastructure that dance music was built on was wholly centred around vinyl – pretty much anyone could press up a few hundred, take them round the record shops and, if the material proved popular, turn a decent profit that could then be reinvested into studio equipment or club nights. Now, although it’s a lot easier to reach a wider audience, it’s much harder to generate significant income from producing and that is certainly restrictive to the scene as a whole – without that revenue, aspiring producers may not have the freedom to fully dedicate themselves to the craft.
Regarding DJing, again the record shops were key hubs for in-person networking and discovering
obscure material, but with popular platforms such as Twitch and Mixcloud, DJing is no longer just about nightclubs and radio stations. The medium itself has evolved, so you can potentially build a decent following without ever having to step foot in a nightclub or broadcast studio, as long so you’re willing to be your own promoter/manager.
Q: Which track would be your dream track to remix (that you haven’t already) and what is your secret guilty pleasure record?
My ethos has always been that if I want to remix something then I’ll just go ahead and do it, but of course I would love to be asked to produce official remixes for so many artists that I admire – I don’t think I can even start to list them as there are so many! I have to say, I don’t really believe in the concept of guilty pleasures – no one should ever feel guilty about taking pleasure in any piece of music. I’m sure there are tons of tracks I love that other DJs and producers would turn their noses up at purely because of who made them. But I’m not going to let that dampen my enjoyment one bit – if something sounds good to me, then where it originated from isn’t going to affect that.
Q: You have recently signed with Mastermix to produce material. What can we expect from this exciting collaboration?
I’m so excited about this! Mastermix is a brand that I’ve always looked up to, ever since buying that first Megabass cassette at Our Price with my pocket money. So to come full circle and actually be working with the team now is absolutely phenomenal. Going forward, Mastermix will be my distribution platform of choice and I’ll be regularly releasing brand-new exclusive Jet Boot Jack material via their website, as well as making my back catalogue available in WAV format for the very first time. We’ve been cooking up loads more ways to partner up, so there’ll be lots of other collaborations to come between Mastermix and myself. I’m genuinely so happy to be involved and simply can’t wait to see how it all progresses.
Q: DJ, producer, remixer, writer, director. Do you get time to relax and what do you enjoy doing?
Free time is definitely a luxury for me, but I strongly believe that it’s equally as important to consume material as it is to produce it. So my idea of relaxing is listening to other producers’ music, going out to dance to other DJs’ sets, and reading scripts or watching films and TV shows by other writers and directors. It can be all too easy to live in a bubble of your own creativity, but I love to absorb anything that passionate creatives put out there into the world.
Q: Finally, what does the future hold for both Adriel Leff and Jet Boot Jack?
If these last two years have taught us anything it’s that the future is even more unpredictable than ever – but maybe that’s how it should be. After all, the story’s never as fun when you know how it’s going to end.
For further info on Jet Boot Jack please visit:
www.instagram.com/djjetbootjack
www.facebook.com/DJJetBootJack
www.soundcloud.com/jet-boot-jack
The full review can be found in Pro Mobile Issue 112, Pages 38-43.
