It’s hard to imagine that a track as unique and quirky as Cajmere’s “Percolator” has become one of electronic music’s most well-known – and beloved – anthems of all time. But very little about Curtis A Jones’ music and career as an artist, DJ and label boss, has been predictable. For the last 20+ years, he has served as one of Chicago’s most intriguing musical ambassadors, alternating between the straight-up and soulful Windy City jack of Cajmere, and the more sinister, techno-laced Green Velvet. Under both personas, however, he’s had enormous success, developing into a global performer who routinely headlines the world’s top clubs and festivals. And he’s kept his music fresh and relevant to today’s dancefloors, collaborating with a wide range of contemporary artists, many from the generation that grew up dancing to his music.

On Saturday, October 9th, Jones returns to New York to rock the Sullivan Room for Basic NYC, this time taking to the turntables as Cajmere. With two of his biggest all-time hits – “Percolator” and “La La Land” recently getting a fresh set of 2010 remixes, we had the opportunity to catch up with Jones, and find out about the origins of “Percolator”, some of his upcoming collaborations, and how his spirituality and faith influences his life and music. It’s clear from speaking to him, especially considering his frequent bouts of laughter, that no matter what the alias, Jones is as energetic and enthusiastic about his music as ever. He’s here to have some fun, to make you dance, and to show everyone what his love of house music is all about.

So tell us what you’ve been up to this summer?

This summer I spent a lot of time touring, going to a lot of different places. A lot of planes, a lot of airports. A lot of different food and a lot of different beds. Also I’ve been doing a lot of collaborations with other artists, so that’s been really fun.

Have you been playing at new places? New clubs, new scenes, things like that?

Well, some of the clubs that stood out this past summer were like, Space in Ibiza for the Carl Cox night. I meant it’s an established club, but it’s always amazing, it’s just like, unbelievable. It was a really good night and Carl is just a really nice guy. I had a really good time there. I went and played a lot of different festivals down in Brazil that were amazing. It was the first time I played at the festivals. Those are the ones that are really fresh in my mind. The Carl Cox one being just like… You have no idea. Really good.

Let’s talk about the “Percolator” remixes. For such a classic and well-known track, there must have been so many artists who wanted to have a go at it. How did you choose the producers who you wanted to be featured on the remix release?

For the most part, the guys reached out to us. Not too many guys did that, so we were fortunate in that regard. It turned out to be a lot of artists that I’m cool with. So it really worked out.

Who’s coming out on the second part?

Well, that’s like…stay tuned. You have to wait for that one. We’re not ready to release that information at this time.

Do you have any favorite mix out of the new ones?

I mean, to me, they’re all great, they’re good for different things. It depends on what type of party. And that’s why I’m really happy and pleased with how the remixes came out. It’s not that often that you can get a remix package that covers a lot of the different areas within the dance community and scenes. So the remixes for this one did really well…be it Claude Von Stroke, or Riva Starr, I can just name them all. Mixin’ Marc and Lex Da Funk – I know they’re getting a lot of love in the New York clubs. And the Gant Man, you know he’s a Chicago fave with the jukestyle, which gets a lot of play in say Chicago or Detroit. And then you have Bad Boy Bill, who, you know, more – I call him the Jersey Shore (laughs). It was a really good package and all the remixers did an incredible job. So I was happy with that.

Talk about how that track originally came together. Was there some kind of percolator dance that you made the track for?

The “Percolator” dance came after the track. There was the track, and then the kids just totally embraced it. And they came up with a dance for the track, and that was “The Percolator” dance – here in the South Side of Chicago. But the track started essentially back in either ‘90 or ‘91, which was the official release date of a track I did called “Keep Moving”. I did a little remix of it, and it had that, like, perking sound. And I liked it so much but the people weren’t on it. So I decided to remix that track and called it “Coffee Pot” and I put it on another EP, which probably came out in ’92 or something. And I had a track on there called “Chit Chat” which was doing really well on the East Coast – in Baltimore, you know with Tony Humphries. So what I decided to do was remix that whole EP, and on that EP, it had “Chit Chat”, it had “Coffee Pot” and something else. So when it came to the next EP, it was just a remix EP of that one. And then it had the “Percolator” on it. So the “Percolator” that blew up was actually the 3rd version of the track. And it was just a track that I loved and I just thought that people were overlooking. And when I finished the remix, I was like, “Ehhh, it’s OK.” I liked the first one I did the best, the “Keep Moving” version. So I was like “ehh, OK, whatever.” But it just took off.

Did it take off in the clubs when it first came out? Did the Chicago DJs at the time embrace it?

It came out – I think the remixes came out in ‘92? Yeah it came out in ’92. It didn’t take off until the following year, ’93. And like, summer of ’93, it was just huge, it was just played everywhere here in Chicago. It was great.

Any thoughts on why it’s stayed so popular over the years? It almost always gets a big reaction when DJs drop it, no matter what kind of crowd or party.

I mean, I don’t know what it is about that track that people like! You know, I really don’t know. If I knew that, I’d probably have a lot more hits (laughs). But it’s just really great to have done something that really resonates with people. It’s just great to see people dancing to the song, the reaction, the smiles on everybody’s faces. The cheers. It’s great.

The other big release that just came out is the “La La Land” remixes. Again, that’s another huge track of yours. Why come out with all these remixes now?

Well the “Percolator” one happened –it’s actually a funny story about “The Percolator” remix, I had no intention of doing remixes. But DJ Chuckie – he said, “Dude, I love that track, I want to do a remix!” And I said, “OK!” And that started the whole process of us getting remixers and all that stuff for it. And it just happened that Chuckie, when it came to the release date, he’s just been so busy and in such demand, that he wasn’t even able to finish a version that he was happy with. So he’s not on the part one. He’ll be on the part two. And after that with “La La Land” – well originally I did that 10 years ago. I finished it in 2000 but it came out in 2001. And I’m thinking, it would probably be cool to do some remixes for the kids. Because what happens in our scene –the dance scene – it’s more or less like a 5year cycle period. After 5 years, you sort of get a whole new host of clubgoers and fans, so it’s just something for the new kids out there.

You’re pretty aware of that, the different generations that come through on the dancefloor?

Oh yeah, as a DJ you have to be. Unless you’re one of the DJs who tend to play for a lot of the old-school heads, which is really fun – going to those New York places where they throw, what is it, the baby powder on the floor? (laughs) Which is great. But for me I just love the energy that the young kids bring to the dancefloor and to the scene. It’s just always refreshing and exciting. It’s just a good thing. So I like to stay relevant with the young kids, you know.

You’ll hear different things among artists – a lot of people say, oh it was better back in the day, and then you have people who really are popular with the younger kids, who feel differently. And obviously those kids don’t have any connection to this other than something they’ve heard in the last couple of years.

Those people who say it was better back in the day – they’re right. It was better back in the day. But those people who say they love what they hear now, they’re right too. You know? Its just like you said, because to them, this is the scene that is really getting them excited and getting them to be a part of the house, or techno or electronic scenes. So its all a good thing.

So you said you’ve been working on a lot of collaborations – is that going to be part of a new Green Velvet album?

I started out, I was like, “OK I’m going to do an album.” And five years later (laughs) its like, I just never got around to doing it! And so I said, you know what, I’m just going to start doing some 12-inches and if I can just compile those 12-inches into an album, so be it. For me being as an artist, sometimes when I get in the thought mode or process to do an album, it drags on. Right now I’m more happy and content with just doing some 12 inches, and then, maybe at the end I’ll be like “OK, I‘ll do an album now,” put some of the songs that are released out, and do some new stuff. That’ll be the easiest and probably the most fun way to do it.

So what are some of the collaborations you’ve wrapped up?

It’s so funny, right before you called, I just put up a video on Facebook and Twitter– which is a collaboration I did with the Japanese Popstars. That’s their project – it’s different, it’s quirky, it’s fun. And the video is just amazing – the video is off the charts. I’m working on a project with Basement Jaxx. It’s like I got so busy – I should have had it done back in like in May or so. But I’ve been so busy. So there’s the collaboration with Basement Jaxx. I’m doing something with Fedde le Grand, Joris Voorn.

We read somewhere that you worked Afrojack?

Well, Afrojack– but you know, Afrojack just blew up. So it’s like, you know, if he could squeeze me in after doing his Lady Gaga remixes or something, if he can make time for little ol’ me that would be great. But now he’s just super busy. And you know, Kid Sister – I’ve been doing stuff with her. And she’s just great. Oh, and A-Trak! I just reached out to A-Trak on Twitter. He’s like, “Yo!” He said that he likes one of my new songs, “Beats That Go Boom” and I said “Yeah? We need to do something” and he’s like “Yeah!” and I said “OK, it’s on.” So I’ll be doing something with A-Trak and that’ll be fun. Harvard Bass, you know he’s from LA, that’s the new school.

So you’re really tied into a lot of the new faces and artists that are coming up these days.

For me, it’s like, that’s what it’s all about. I mean, once I get out of my comfort zone a little bit and see what the younger generation is doing, it’s really good. I love it. It’s refreshing, it’s energizing. I really like working with the new school, as they say.

Do you find that a lot of the younger artists you work with, they’ll say “Oh this record is really inspirational” – because you’ve obviously been around for a while now making music.

I mean, you’ll get some of the kids who’ll be like, ”Man, I was dancing to ‘The Percolator’ when I was in my diapers!” Because you’ve got to realize that “The Percolator” was out like 18 years ago now. You know, you have some young kids that are like that. Or they’ll mention songs like “Flash” or something like that. It’s really cool.

When you get on the decks and you’re DJing, where’s your head at musically these days?

I’m always doing the house and techno stuff, and stuff that I feel is a little cutting edge or interesting, and just fresh. I like playing the stuff that may not necessarily get the attention that it should, or the radio play. And sometimes it is the stuff that is a little more popular that I like to play. For the most part, I like to play stuff that where people hear it, they’re like “Oh man, that was just off the charts!” and really good dance music – it’s about playing music that gives people a good dance experience. I love dancing, so I love playing that music that gets you moving.

So you’re happy to be dancing to music too.

Oh yeah. I love to dance. I love to have a good time just like everybody else. I love to shake my booty! (laughs)

So speaking of dancing, “The Percolator” video is really fun. All those kids dancing, everybody just hanging out in the gym. How did that idea come together?

Actually that video came together from the people over here at the labels. One of the guys named Jon, he’s really creative, so he came up with the idea of getting these Future Funk kids in the video. And so from there we did that video, and it was just so much fun, and it was so refreshing. And we also used some of the outtakes and we did a video to the Riva Starrr remix version – which is really cool because you get to see the footwork style in that. If you like dancing, that’s the video for you. I’m like, “I need to get out here and get into shape so I can do some of these moves! For real. Oh, my goodness gracious!”

Your set at the Sullivan Room this Saturday is going to be you DJing as Cajmere. When you do a gig as Cajmere, is it a little different from a Green Velvet set?

Well you know the Cajmere stuff is more…Chicago house. Once again it’s all about dancing, and it’s soulful, and with a lot of energy to it. And definitely with the boom. So you can definitely expect the boom.

Now you’ve mentioned New York a few times, anything particular you enjoy about playing in New York, or just being the city?

Oh New York, it’s just always fun. Oh my goodness, it’s always fun and it’s always different. And it’s always good. That’s been my experience. You have so many different scenes, so many different people, but it’s really cool when I go to New York and I’ll see like the young kids and I’ll also see the old school heads. That’s always fun. New York is very good for that.

Well, we’re looking forward to it.

I’m looking forward to it! I mean, it’s just gonna be fun. I’m just coming there to have fun, enjoy myself, and hopefully have some other people enjoy themselves too.

Anybody who follows you closely these days knows that you’re a very spiritual person and Christianity has become very important to you. It must have really taken people aback when you kind of went public with all this. Did people think you were sincere, or some other type of Green Velvet gag?

Honestly, I don’t know. Because I didn’t get the feedback directly. And I’m being honest you know. I remember one time, I was just telling people my story and then someone was like “What happened?” Or something like that – and that was basically it. For me, I just had to – you know, I’m an artist. I just had to share what was going on in my world. And I didn’t care how people took it at the time because I knew what I was experiencing and what happened to me. The part about the other fans, I don’t know exactly. I’m quite sure people were like “OK, that’s interesting.” And then maybe that turned some people on, and turned some people off. But it is what it is, you know. It is what it is.

How does your faith play into the music you make now and your performances?

It really got me back to doing the things that I was doing in the beginning, when I first fell in love with house music and first started doing it. What really drew me to the house music was just the fun and the love that I saw in the scene. It was about having a good time – you always see, even with the kids or whatever, it’s always about the love and all that stuff. Which is different than like say, hip-hop or rock. Which is why I really gravitated to the house music in the mid 80s. In the beginning, I would do those type of songs – just really fun, uplifting, inspirational songs – be it like “Percolator”, “Brighter Days”, “Day by Day”, “U Got Me Up.”. That’s where my head was. But then, you know, I went down and started doing some other things –I guess my way of looking at it was experimenting with the music and stuff. But now I’m back to doing things that are just fun and just uplifting, like where I started. So I’m right back where I started from to be honest.

But it’s been somewhat of a journey.

It’s been a journey, but the good thing is that I made it! (laughs) You know, I made it, and boy I am really enjoying myself now. It’s cool.

Do you attribute some of that to where you are now with your spirituality?

Oh definitely, because of God, and Jesus in my life for sure. There’s no doubt. I wouldn’t be the way I am now, and I definitely wouldn’t be, you know, as thankful and grateful for the people and everybody. And just doing whatever I can to help if I can. And sometimes I can’t. But I do what I can, and at the same time, I just let people know that how you feel and what you might think – you’re not in your situation alone. There are people out there that love you, and for those that are contemplating suicide, that’s not the way, that’s not the route. So that’s basically it. And you know, I’ve been in the scene, and like my song “La La Land,” I’ve been the one to party. So I know. It’s not like I’m talking from a place where I totally can’t relate. I can identify. It’s like for those kids who maybe, maybe, they want to get where I’m at now – I’m like, I just want to go to this club and enjoy the music and have a good time. That’s how it started out for me, it was all about the music and that was it. So I’m just hoping that there are some other people who are like, “Yeah, it’s about the music and that’s what I want to be about too,” and then I’m like, “OK, cool you can do it.” And you know, for those that do what they do, that’s their own choice. I’m not one to look down on somebody – I was there. If someone was going to say something about me, that wouldn’t have been cool. I’m not like that. That’s why I’m still in the scene, playing and enjoying the music.

So what can we expect now for the labels – any more re-releases or remixes coming up?

One of the things you have to realize about the remixes, a lot of it is not our own doing. A lot of it is the DJs and the artists. Just like “Flash”, for example. A lot of people want to remix “Flash”. And a lot of people have already remixed “Flash.” That’ll probably be the next one. That’s all I can think of at the moment.

Cajual and Relief really helped launch a lot of new names and producers from Chicago, but there was a lot of acrimony once things started getting bigger. How are things now? Are some of the artists still holding grudges from those days or have people kind of grown up and moved on?

Well, I would like to think people have grown up. Honestly, I don’t know. It’s like, I’ve just learned that, no matter where people’s heads may be at, it’s like, I’m just going to go ahead and do what I feel is the right thing to do. And try to add some positivity or just some fun to the scene. That’s where my focus is. The other stuff – and I’m just being honest with you – I don’t know. Because I don’t get it. That’s just how it is. I’m out, I go out, I see people – they say hi to me, I say hi to them. That’s about it. I would like to think that people are past that. There’s no reason to be – just allowing that negativity to be all consuming that it stifles the scene.

You and your labels are so heavily associated with Chicago and its house music history. What are your thoughts on the city these days, is it still inspiring to you as an artist?

Very good question. It is definitely inspiring to me as an artist. I played the North Coast Festival here this summer – and it was absolutely the most incredible experience. I forgot to mention that one; that was like, THE best time ever for sure! I had a blast, and the fans, I know they had a blast. And that was here in Chicago. From that, it really motivates me and inspires me to keep doing stuff, and to definitely make sure I do those songs that get the people moving.

Do you play a lot in Chicago these days?

I play…enough? (laughs) Well, enough where they don’t get too tired of me.

One last question – you’ve really embraced all the social networking outlets, and you’re definitely on top of your Twitter, your Facebook pages. How important is it for you to stay connected like that?

I definitely have embraced it. It is THE best thing ever! I mean, it is the best thing ever. And I would say that if there are artists out there that are not on it, they need to get on it. It opens so many doors, it really helps artists in so many ways, as far as like, making sure we stay in tune and connected to the fans. And It’s a good way of networking – if you wanna do a project with anybody, you just get on there, “Yo, you wanna do something?” “Oh yeah man I love you let’s do it!” It’s just the greatest. I love it.