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31 May 2022

"We produce and tend to overproduce things. I think we're looking for perfection, really taking the time with a mix. There are drawbacks as well as positives." - Mista Savona

About the 


Mista Savona, is the visionary keyboard maestro and producer behind the acclaimed "Havana Meets Kingston" albums. Renowned for his fusion of Cuban and Jamaican musical traditions, Savona seamlessly intertwines salsa and reggae, creating a groundbreaking sonic journey. His innovative approach celebrates cultural diversity, earning him praise as a musical trailblazer.

The Production Talk Podcast - The modern way of producing music

In this episode:

  • Jake's early days as a music student in Australia and the UK

  • Jake's first releases, and working on international collaborations (before it was hip)

  • The story of how "Melbourne Meets Kingston" was produced in Jamaica and Australia

  • What's special about Jamaican vocalists

  • Jake's take on songwriting, recording & producing

  • How Jake mixed "Havana Meets Kingston" with digital and analogue technology

  • How the idea for "Havana Meets Kingston" started in a café in Cuba

  • Recording "Havana Meets Kingston" at EGREM studio, Havana, Cuba

  • Mixing "Havana Meets Kingston" in Jake's home studio and on the big SSL at Sing Sing, Melbourne

  • How "Havana Meets Kingston" went viral overnight.


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Extra Content:

Contact the podcast host Jan 'Yarn' Muths at

Disclaimer: The Production Talk Podcast is independent of (and not related to) my teaching responsibilities at SAE.


Jan 'Yarn' Muths or, in the studio


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Jan 'Yarn' Muths: Welcome to the Production Talk podcast with me, Yarn, of In this podcast series, we celebrate the modern way of producing music. We want to talk about all things related to songwriting, recording at home and music production. So, if you produce your music at home, this is the place to be. Please subscribe and recommend this podcast to all your friends. This is the Production Talk Podcast episode 45. [sound-check chatter] Mista Savona: Yeah. Check 1, 2, 1, 2. Jan 'Yarn' Muths: So we got to get fairly close, but when you speak sort of annexes, Mista Savona: Like this Jan 'Yarn' Muths: they're a bit sensitive to Mista Savona: Okay. So better about here. Jan 'Yarn' Muths: Yeah. And maybe just a touch closer. Do you have headphones right? There should be able to hear yourself. There's a bit of wind but Mista Savona: check one, two. Oh, I sound crisp and clear. Listen to that. Jan 'Yarn' Muths: it's not bad. Yeah. Just so maybe just turn the gain stone, just attach, Mista Savona: Check 1, 2, 1, 2 pop, pop, pop. Jan 'Yarn' Muths: I won't be Mista Savona: doing that. Don't worry. I won't, I won't be doing sirens. Jan 'Yarn' Muths: Oh, the headphones too loud for Mista Savona: No, it's good. I just like, I prefer that because then I'm less, self-conscious about my voice. Like when I can hear my voice really loud and present, then it's like, I become more. Mista Savona: I'm starting to think about how my voice sounds rather than what I'm saying. So I prefer like this. yeah, Jan 'Yarn' Muths: Look, we already talking about recording philosophy Mista Savona: There you go. Jan 'Yarn' Muths: ways that's great. Look, I like to start my Episodes with an acknowledgement of country. If You okay? With Mista Savona: a hundred percent? I would prefer that. Jan 'Yarn' Muths: Good. So welcome back to another episode of the production talk podcast and let's first acknowledge the traditional owners and custodians of the land that we're meeting on today. The Arakwal people of the Bundjalung nations, and I would like to pay my respects to elders past present and emerging. So, um, we're out in Suffolk park today sitting outside, uh, Jake's house with me is Mr. Jake Savona. Welcome to the podcast and thank you Mista Savona: Nice to be here. Thank you so much. And it's nice to start the show with a welcome to country, especially when we ride along national park here in a very beautiful tea tree lake, um, on the way to broken heads. So, um, it's yeah, definitely an area rich in history and culture, you know? Jan 'Yarn' Muths: it truly is. It truly is in. You are a full-time musician. Um, How old were you when you realized that music would be your future career? Mista Savona: Well, I started playing piano at six he's old, but I didn't really start to get super passionate about music until maybe I was 13 years old. And I remember listening to some of my mom's vinyl and I remember in particular putting on some JS Bach, I can't remember. Mista Savona: I think it was like a violin concerto was definitely something orchestral. And I suddenly remember being able to. For suddenly, rather than just being this massive sound, I could suddenly hear the bass parts and the high parts and the middle parts and all the polyphony and that music suddenly, I remember just like opened up. Mista Savona: It was like my consciousness had expanded or my ears had suddenly clicked and suddenly I could hear all the individual parts simultaneously in the music. I was like, wow, this is how the composers heard their music, you know? Yeah. And then, um, and then I started collecting a lot of jazz final, and that's when I started getting team provides station and blues and jazz and so forth. Mista Savona: And then my interest in music. Tripled quadrupled basically. And, um, but I, in my, when I, I studied music, I did a music degree at Melbourne university. I've got a scholarship scholarship and actually went over to the UK and finished it in Glasgow, which was an amazing experience. Yeah. And then I lived in Brixton after that, and that's where I started hearing all the sound system parties. Mista Savona: And I got introduced to bass music, you know, the proper, you know, just Shakar and the proper bass and sound system parties. And, um, it was like my initiation and really, yeah. I came back to Australia. I bought my first sampler and I started making beads, but I didn't become full-time music until about 26, 2017. Mista Savona: I think it was no, sorry, 2007, because, um, I'd released a album actually went to Jamaica in 2004 and I came back and released the album, which I called Melbourne meets Kingston. And she put J pick that up and suddenly I was booked for festivals and I became full-time music from about then. Jan 'Yarn' Muths: Yeah, right. Um, Okay. That basically started. Jan 'Yarn' Muths: a Musical story. We'll get a little bit more into that later on, but um, I think the first time that I saw you on stage, I'm not quite sure when that was, but I believe it was with a Melbourne scout Mista Savona: Yeah, Jan 'Yarn' Muths: Is that possible. Mista Savona: Yeah. Yeah. I was playing many shows with them. Yeah. I guess from we're in 22 now, I guess from like 2015 or 16. So about 2019, basically up until the pandemic. Mista Savona: Um, and we did, yeah, we did some really nice tours. We played WOMAD we played blues Fest. Um, so yeah, there's a big band. Nicky Bomba leads often there were two or three keyboard players. Um, yeah, very fun projects. Jan 'Yarn' Muths: band life. You know, I've never seen anything like this. Nothing comes close to that. And it's, it's one of those bands that even If you listen to the record, you don't even get a glimpse of just how powerful it Mista Savona: It's very antiques entertaining live Jan 'Yarn' Muths: It's very entertaining. Very chunky and, yeah. Lovely. Good. fantastic. So, uh, but you also, um, were involved in lots of your own projects so you are not just a musician, but you also were producers. Mista Savona: Absolutely. Yeah. I mean, how Jan 'Yarn' Muths: did you learn the craft? Mista Savona: Um, well, like I said, I, I studied sort of classical music and music composition and, um, and classical piano performance up until the age of about 20 21, 22. Mista Savona: I finished my degree in 2000 in the UK. Jan 'Yarn' Muths: Um, Mista Savona: But I remember actually at high school, cause I was the classical nerd, you know, and I wanted to start playing in the jazz bands and none of the jazz musicians are all a bit too cool for school and they wouldn't show me any scales or any of their tricks. I ended up doing what a classical musician would do and, and, and, and started notating all this solos like miles Davis solos and Wynton Kelly. Mista Savona: Who's one of my favorite piano players. And that's sorta how I learned the blue Skiles and I suddenly realized, okay. There's like, um, it's not just this. Unapproachable or impossible music for a classical musician, actually the scales and farms. I just like, yeah, I loved that. That's how I sort of taught myself. Mista Savona: And, um, and then fast forward, like I said, I finished my music degree in the UK. I lived in Brixton. I fell in love with Jamaican music. Um, and I came back to, I bought a Yamaha SU 700 sampler Jan 'Yarn' Muths: Uh, London Mista Savona: and brought it back to Australia and started sampling my vinyls and started experimenting with making beats. Mista Savona: You know, that was even before I had a laptop with pro tools, you know, I saw all my first beats were, were off the sampler. Jan 'Yarn' Muths: Um, Mista Savona: And I released an album in, I think it was 2001 just called based in roots. Actually it was my first record. And you know, the first two albums I did, there's a couple of tracks that are okay, but it was very much me learning my craft, but it was when I went to Jamaica for the first time in 2004. Mista Savona: And I took a whole lot of instrumentals that I'd recorded with my band in Melbourne, or I produced some of the tracks as well, and I took them to Jamaica and that was. Yeah. The first ever time, I believe an Australian producer gone to Jamaica and worked on a record. So that's why I called it Melbourne meets Kingston. Mista Savona: And I never dreamed at that time that later on, I will be going to Cuba and I'd have a Havana meets Kingston project, but the names turned out to be really useful later on, you know, but yeah, back in 2004, I, I called it Melbourne mates Kingston, and we released the album on elephant tracks, the Sydney hip label in 2007, it came out. Mista Savona: And yeah, triple J really supported it. And that was great. Suddenly I was being booked for festivals and at the time I was like, but I'm not a DJ. I don't. He said, no, you just have to do it, go and do it. And so I became a DJ almost by accident. Jan 'Yarn' Muths: Yeah, right. that's cool. So in some ways you were actually, years ahead, you'd basically did international collaborations before it was hip. Mista Savona: Well, I kind of had to, I think if I'd been living in London or living in Berlin or living somewhere where there's a big Caribbean population, or there's at least a lot of travel because when I grew up in Australia, there's almost no Africans in Australia. There wasn't any Jamaican vocalist. And even in Melbourne now there's very, very, very few Jamaicans that come to Australia. Mista Savona: We're so far away, you know, so I was craving the sound of Jamaica and obviously seen the Regos. They sent a dance hall and Jamaican singing Patois. They have they singing. Um, their music is very culture and, and, and identity and, uh, orientated, you know, like, so I just realized early on, okay, I'm going to have to get to Jamaica if I really want to hear how the music sounds there and how it feels. Mista Savona: I actually need to get to the Heartland of the music. So yeah. Went to Jamaica for the first time in 2004 and just kept going back. I loved it so much. Jan 'Yarn' Muths: And I would imagine, you know, the cultural differences, obviously are pretty impressive, I guess, what is the difference in their production? and style And in their performance style? how is that different to what you were used to here in Australia? Mista Savona: Well, I mean, I was still learning my trade even back then, you know? Um, and I guess. Um, my first trip to Jamaica, I wasn't really seeing how other people were producing beats. Cause I went basically went to Jamaica with a bag of instrumentals, you know, so, and then I would just play artists over their rhythms in the studio. Mista Savona: I ended up in a grill, which is on the other side of Jamaica to Kingston. And in the end there was this, you know, And this was even before Facebook or Instagram or anything, you know, so it's a lot of word of mouth. Um, and yeah, you know, at the time I was sort of humble guy just starting up, but word sort of spread in that town that there was this like famous for juice I'm but totally not famous. Mista Savona: And I still don't believe I'm famous. So like, you know, so I ended up having queues of, of Jamaican singers. Um, you know, especially younger seniors was just starting up queuing to audition actually. And so I had all these like great singers that I found just because they've rolled up to the studio and waited patiently some to, for days, you know, for a chance to get in the studio. Mista Savona: Yeah. Yeah. So I was a very, very interested, interesting. Sorry. I had Jesse, I, my friend who I went with, who, who, um, runs the chant down, Babylon Babylon burning. Sorry. The show on PBS FM in Melbourne. It's one of the longest running radio. Shows in the world. It's definitely the longest reggae show in Australia is I think they hit that 20 year mark recently, but, um, uh, yeah, he, he was, he, he called me, uh, what did he call me? Mista Savona: Jake Ruby after Jack Ruby, because Jack in the, in the, some famous old film, um, is it rockers or it's one of the films that you see Jack Ruby who produced paintings? Auditioning artists, you know, and there's a queue of Jamaican artists, um, in that all film waiting to, to perform for him. So, uh, yeah, you know, it was quite this there's that culture there of, of, of produce. Mista Savona: So one interesting thing in German, It's changed a lot now in the last five to 10 years. But when I first went to Jamaica was you're either a producer or an artist, you know? So a producer, someone that make the Rita make the instrumental and the artist is the someone that scenes or rap. So seeing JS, which is what they call in Jamaica when it's a mix of melodic singing and rapping, you know, um, and it's very rare that any artists would do both roles. Mista Savona: So those, the singer would go to the producer, find the rhythm, and then they record. But now artists like production. I think even chronics, a lot of them are getting very much involved in their own production. The Molly's had been doing that for a while. Stephen, Molly's a great producer as well as a singer. Mista Savona: know, I think, I don't know how many Grammys Steven, Molly has now, Jan 'Yarn' Muths: I love his music. Mista Savona: yeah. Um, so yeah, a lot of the artists now in Jamaica realized, well, if they produced the rhythm as well, then they'll get a hundred percent of the publishing, not just 50%, you know? So, um, it's become a lot more common that artists are involved in the music and the production. Mista Savona: Yeah. Jan 'Yarn' Muths: I've worked with a handful of Jamaican singers over the years. And what struck me is that all of them seem to be tending bees louder than anybody else I've ever met. They seem to have really, really strong loud walkers. Is that your experience. as well? Mista Savona: Oh, a hundred percent. It's like, one of the things I love about Jamaican music is yeah. Mista Savona: Like the confidence of the vocals. Um, definitely a dance home. It's like high energy and, um, you know, they have these thoughts. Uh, wrapping that they call deejaying, you know, w we, we think of a DJ, someone that plays the songs, they, since Jamaica, since the sixties, I'm in there for some of the. Jan 'Yarn' Muths: first, Mista Savona: One of the first countries to have vocalists that would improvise lyrics over a record, you know, like artists way back, like you Roy and big youth. Mista Savona: And, um, these artists, you, right. Um, I mean, king Toby was doing some of the first sound system parties in, in Kingston. Some of the first sounds to some parties in the world, I believe. So, you know, they'd start in the afternoon and go to lunchtime the next day, you know, and they string king taboo with string up these massive sound systems. Jan 'Yarn' Muths: to them. Mista Savona: I just missed the beginning of the remix as well. And we're talking late sixties, early seventies because king Tubby would get the mixes and he would cut a dub plate, like a acetate, like a one-off final. And he'd do his own unique mix cause he had the tape. So you can imagine in Jamaica back then, like say a hit record had just come out and then suddenly the next day they they're hearing ed Jamaicans are hearing it on the radio. Mista Savona: And the next day, or that week king Tubby sort of sounds is somebody somewhere. And you actually play the hit song, hype up the crowd and then flip the record and actually play his own unique dub or version. And actually Jamaicans thought he was a Weezer. They, in the beginning, before it became common practice, they actually thought he was a magician and he was somehow doing magic up there because they couldn't believe that we're here. Mista Savona: The, the hit song, they just come out, but a stripped back version, a different mix, maybe with vocals coming in and out in dub. Like it's almost like quite ghostly, you know? And then Uriah was he traveled with the mood to do it live Vogue sort of wrapping the DJ style over the, over the record. So it w it would have been something to behold because now we take it for granted, you know, the remakes and we got to a party and we'll see someone emceeing over the track or hyping up. Mista Savona: But back then it was revolutionary, you know, Jan 'Yarn' Muths: Um, Mista Savona: So this little island in the Caribbean, Jamaica, they basically invented the remix. They've been embedded the version they invented and they, they were very key in the beginning of rap and hip hop. In terms of like you see Euro in the studio doing his, um, DJ versions or tracks, he's literally got like a sort of a 58 or something similar to this. Mista Savona: Like running around the studio, like he's onstage, you know, you just never see that in the studio. Normally you've got the mic and you got your headphones on and you know, you want to make sure there's no noise and sound like you see some of the footage of you, Ryan. It's literally like he's on stage, but he's in a studio, you know, and he's just improvising the vocals and that's the cut. Mista Savona: And that gets rid of. Yeah, it's a, it's a great, great tradition that they began. That's still very strong. So back to what you're saying about the vocals being so confident and loud. Yeah. I think they have that when they're in the studio, that's like the performing live, you know, it's like any Jamaica, you have to be good at. Jan 'Yarn' Muths: to get us Chaz issue. Mista Savona: There's so much competition that their quality, their skill level is so high anyway. So you have to be up there to actually even get a chance to get in the studio. You know, you can't be sort of timid or shy. It doesn't work. Jan 'Yarn' Muths: And that leads to, I guess, a rather quick. production turnover Mista Savona: Yeah, I F a show. I mean, look at Lee Perry. Mista Savona: I was thinking about him the other day. Like he releasing 10 LPs a year or more, you know, like, and saw many sevens and singles. Like I'm almost ashamed of how slow, you know, we relate, you know, we have a three-month release plan and rara Ralph for one song and this whole thing. And like back then, I just churning it out, you know, and same with the Motown on all these labels, they just had great musicians who wanted to work. Mista Savona: We wanted to play really creative, banging it out, you Jan 'Yarn' Muths: Yeah. Yeah. Right. So you prefer that you know, fast workflows when it comes to producing but what are the pros and cons of, you know, spending a year or two in a studio and, you know, taking two days to tune a snare or just get it together. and knock it out in a Mista Savona: I much prefer the quick process because it's so satisfying. Mista Savona: Like sometimes I'll ride a bait and I'll have all the inspiration and excitement in five minutes, you know, I can basically write a new track and have all that vibe and energy and all the new ideas, like within half an hour, the bed, the basic tracks. But then by the time you get a vocalist in and record and write the vocals and mix that it could be a year later, you know, so it's a bit, it kind of drags it out a bit, but that's quite normal in these days and times. Mista Savona: Cause we, we kind of produce and tend to overproduce things, I think as well, you know, like we're looking for perfection or, you know, really taking the time with a mix. Um, you know, there's drawbacks as well as positives to them. Jan 'Yarn' Muths: Yeah. And, um, is it right that you also mix your own music or some of it at Mista Savona: Yeah, no, I mean, I generally I'll mix everything to maybe I'm 90% happy with the mix. And then I generally get like Glen Christiansen, Tara stylus is his producer name. He's in Melbourne. He helps me with the final mix. It can be great to have another set of ears, you know, just because when you've been working on something for months, you can lose perspective. Mista Savona: Um, and yeah, and he's like, he's a very experienced mix engineer, so he can kind of add a bit of that extra. Jan 'Yarn' Muths: minute. So you formed like a, like a team there where, you know, you get it to one place and he takes it to the next level with you together. Mista Savona: Yeah. Yeah. But I mean, I'll always do the final final mix, but I'll ask him, you know, tighten the police, tighten up these drums, or I'm not happy with this vocal sound. Mista Savona: Can you get a bit more, um, you know, shine or silkiness or magic or something? So yeah, they come, it's really good to have a, uh, sort of, uh, And it's like, uh, I don't want to use the word assistant. He's not my assistant, but someone to assist me with Jan 'Yarn' Muths: Yeah. Second opinion or Mista Savona: Yeah, yeah, yeah. Yeah. Jan 'Yarn' Muths: And say, are you happy to talk about your mixing setup Um, do you work from home or do you rent studios to mix, you know, Mista Savona: a bit of both. Mista Savona: Like, I don't, um, I love like, especially with a project, like Havana meets king somewhere, it's, you know, these amazing musicians like sly and Robbie, the Jamaican rhythm section. Um, you know, some of the musicians from the blend of Vista social club. And so I've got these amazing musicians that were recorded in this incredible studio in Havana, but yeah, so I want to run it to tape. Mista Savona: I want to run it through a nice desk. Um, I don't have a million dollar SSL desk. That would be nice. So often I've mixed that sing, sing and Melbourne, or now the box hill TAFE have the sing in desk. So I've mixed a bit there. Um, I've also mixed on a nice nave desk and, um, Um, yeah, at a friend's studio in Milan. Mista Savona: So January, I like to I'm that stay back comes by the way from, um, uh, let's see his project, um, have come to him in a minute, but he's got a nice, you do a Malone with a nice neat Jan 'Yarn' Muths: Is that Dave Mista Savona: yeah, Dave. Yeah. Jan 'Yarn' Muths: at Kenzie's he's got a custom Cirrus. I installed that No, actually I didn't I've maintained that. I was involved in the build of that consult a long time ago. He's a legend. What a drummer. Mista Savona: Yeah. It's hardly amazing. Mista Savona: Yeah. Jan 'Yarn' Muths: Cool. All right. Look, You've given us a couple of teasers already. of, of, uh, Of course, the project that we need to talk about uh, have Vanna meets Kingston, just before we talk about this, can you just describe, uh, you know, it was a new thing. It wasn't possible up until Mista Savona: you Jan 'Yarn' Muths: took this project and made it real. What was the political climate before? Jan 'Yarn' Muths: You know, Havana and Cuba to make are they were close together. but can you describe why they Mista Savona: So, yeah, it's it's so it's so interesting because Jamaica and Cuba, two islands in the Caribbean, they're literally 160 miles apart. I didn't realize how close they were. I was going to Jamaica for all these years. Um, you know, I love Cuban music. Mista Savona: I've grown up with the blend of Vista social club. I think I found that album when I was about nine, nine or 20. And as someone that loved to play jazz piano, I mean, they Cuban jazz is just another level. They have a very unique sound, you know, But then yeah, I got distracted by Jamaica and kind of forgot about Cuba and just, um, it was like, I first went to Jamaica in 2004, but I didn't get to Cuba till 10 years later, 2014. Mista Savona: And how that happened is obviously. San Fran. And I had a flight to Jamaica a few days later and a friend of mine said, Hader, just come back from Cuba. And I saw some of her photos on Facebook of Havana. It's like, wow, I'd seen photos of Cuba before, but I'd just forgotten how beautiful it is. I thought, wow, I really need to get there. Mista Savona: It looks so amazing. And I looked it up on the map and suddenly. Madness right next to Jamaica. I didn't realize. And then I looked at flights and they were cheap from, from, from Jamaica to Cuba. So I thought, wow, I'm going to, and so I booked a 10 day in that Jamaica trip in 2014 in the middle of the trip, I booked a 10 day trip to, to Cuba. Mista Savona: So I flew Kingston to Havana, had 10 days in Cuba and traveled around and had all kinds of crazy stories. I was really. And on the last day, um, in Havana, I remember sitting in this nice cafe and older van, uh, um, drinking, coffee and daydreaming, and they were playing Cuban Roomba on the CD player. And room was like a percussion music with a it's folkloric, but it's also very spiritual. Mista Savona: It's connected with the Santeria, the religion in, in, in Cuba and Sunday, I had this idea of, well, how would it sound with the Nyabinghi, the Jamaican, the Jamaican sort of sacred music mixed up. How would reggae sound was salsa? I just thought that, wow, this would be a cool project. I'd love to do it. And I thought, for sure someone would have done this before because in Miami there's so many Jamaicans and Cubans living together. Mista Savona: So when I got back to Australia, I did some research and I realized, well, actually, no, there hadn't ever been anything like this because in Miami, uh, the Jamaican, so speak Spanish and the Cubans don't really speak English. So there's not a lot of mingling, you know? Um, and then I thought, well, maybe over the, over the years, there'd been some projects like this, but I spoke to people and they literally never had been because what happened with. Jan 'Yarn' Muths: the, Mista Savona: When the Cuban revolution happened before that, that was in the, in the fifties before that there was a lot of cross-pollination between Cuba and Jamaica and a lot of travel back and forth. But when Fidel had his revolution and took over Cuba, um, you know, became the president of Cuba, um, America imposed the sanctions and suddenly it was cut off from the world. Mista Savona: And so that kind of blocked all that, all that trade. And also, you gotta remember Cubans again, don't speak English, Jamaicans don't speak Spanish. So that was. Jan 'Yarn' Muths: that the Mista Savona: Like literally a language barrier. And then the economics, both islands are very poor, particularly Cuba. I mean, both have rich pockets for sure. Mista Savona: Like all countries, but it was crazy, no record label or no one had ever funded something like this. So I got back to Australia and I realized that would cost a lot of money, but I really wanted to do it. So me and my friend Mariella did a grant together and I got the grant. And so that was, uh, that was from the Australia county. Mista Savona: And that was $50,000. So I literally put all that money into the flight. I called up sly, actually it's from slide Dumbos. Who's part of the slide rugby team and said, do you want a trip to Cuba? And they all loved the idea. They'd always wanted to go to Cuba, but they never had, they never had the chance. Mista Savona: So everyone loved the idea. That was the great thing about this project. Everyone loved the idea so much that it just opened the doors, you know, and so fast forward, six months later and I'd bought them all flights. I'd book, the studios I'd organize, fit the fees for everyone. That was pretty much the whole grant gone, but it was such a good use of the money, you know, and yeah, we flew into, I flew to Jamaica, pick them all up, flew to Cuba, and the rest is history, as they say, we did 10 days at agrem studios in central Havana, which is the most beautiful studio. Mista Savona: It's where the, when a Vista social club album was recorded Jan 'Yarn' Muths: Yeah. It's a legendary studio. Yeah. Mista Savona: was magic. Yep. Jan 'Yarn' Muths: Who was The engineer there? Did you engineer a cell Mista Savona: took Eric Coelho who I believe, you know, Jan 'Yarn' Muths: Yes, I know Eric, Mista Savona: Eric is the partner of Ana Coello and Anna. Um, was managing the project that time for about three or four years for the whole time, the Havana meets Kingston was sort of initially happening. Mista Savona: And they both actually came to Cuba, sort of, I think halfway through the session she CA she flew in, um, and Eric was wonderful cause he's Argentinian. So he's fluent Spanish. Um, he loved the idea of the project. He knows he loves reggae. He came to Jamaica before Cuba as well. And that was his first time in Jamaica. Mista Savona: So it was an amazing trip for him. Yeah. Jan 'Yarn' Muths: Um, Mista Savona: We also had the assistant engineers that work at agrem. Um, but they, they are lovely, but quite lazy, actually, we really had to push them to do anything. Jan 'Yarn' Muths: it Mista Savona: was really good to have Eric there cause he was just onto it working fast, working hard and a lot of the, a lot of the equipment and Agrium wasn't working, which was frustrating on one hand, but it kind of didn't matter because the room itself sounds so good and all the microphones are working. Mista Savona: They have these beautiful. Thirties and 1940s microwaves, they had four or five original youth, 47. And, um, it's funny cause you're already bro. Who's the amazing conga player on the project. Then a is considered maybe Cuba's top conga player. He literally grabbed all the 47 and put them on the Congress and he said, that's how we do it with, this is how we recall the Congress. Mista Savona: And I had to slowly wean the 40 sevens away from him because we wanted to use them for vocals and other things as well, you know? Um, but yeah, they had some beautiful ribbon mics as well, 80 sevens. They might've had a 67 there as well, so yeah, very, very nice micro. Jan 'Yarn' Muths: What really stands out to me on this record is the horn sound and whatever you did there, there's just sound so natural. Jan 'Yarn' Muths: It's so punchy. So clean but also so, so full of character all at the same time, Mista Savona: well, there's such amazing players like Julio, pat, John, who's the key trumpet player who, who I've taken on to a, he has this. Almost a Cuban version of the miles Davis tone, I guess he's so atmospheric. And so every note he plays is just brilliant and yeah. Mista Savona: Recording in that room. The horns are sound good. Agrem has this amazing kind of short, but Woody and really nice reverb as very unique sound, actually that studio, um, horns, piano, everything sounds so good in them. Jan 'Yarn' Muths: Yeah. Fantastic. And, Um, how did the songs come together? Did you rehearse with a band? Did you give them directions? Did you write all the songs and put them. Jan 'Yarn' Muths: together before you got Mista Savona: Yeah. Before leaving Australia, I was thinking about doing charts and everything, and I realized it's going to be so time consuming. But I also realize no, I just want to sketch out the songs because that way, if it's AC charts, just with chords and a few riffs and a few ideas for sort of baselines or. You know, melodies, then that will give them enough, enough structure, but also enough freedom to really, to relax and to really play. Mista Savona: And it worked out the best possible thing I could have done because everyone just took those ideas and took them to another level. Robby almost always changed the baselines that I gave him and improve them. Of course, you know, there was only a couple of tunes where I had to say no, Play at least a little bit of the baseline that I wrote. Mista Savona: And then I would mix the lines, you know, uh, Chan sham was one of those ones and yeah, he, he, he made up his own baseline, but he also, we recorded the one. So in the, in the mix, I would just make a sort of switch between history baselines, you know? Um, and yeah, by doing that, it was just nice. It just meant the musicians could relax this. Jan 'Yarn' Muths: so Mista Savona: Good. This Cuban jazz is very advanced. So, you know, a song with eight chords is very simple for them and, Jan 'Yarn' Muths: Yeah. Yeah. yeah. All right. Well, so when you work with musicians on that level, do they still get nervous in the studio? do you need to work with the performances? Do they Mista Savona: Not at all. Like, it was like the V the very first song we recorded was actually the instrument. Mista Savona: Um, that it's called four 10 San Miguel, which is the address of the studio. And actually I took the instrument over recorded there and later I took it to Jamaica and I found it in a strangle and we went out to his country house and I recorded his guitar. And he's basically Jamaica's top guitarist. And one of the inventors of reggae music, you know, way back in the studio one day is on before. Mista Savona: Um, but that initial session like main Eric. I remember we just looked at each other's the Mishi since started playing. I remember they couldn't, there was the language divide, you know, the Cubans don't speak English and the Jamaicans don't speak Spanish and I'd put the cards out and I'd kind of on the piano for Rolando. Mista Savona: RPNs sort of showed him the chords and everyone, and then I just counted the band in. And as soon as everyone started playing, it was like, wow, this is so from the beginning, it was already sounding amazing, you know? And it was a very nice atmosphere in the studio. Yeah. That was so interesting. This though everyone was so interested in the project. Mista Savona: So the Cubans really wanted to hear what the Jamaicans were going to do and vice versa. And so they really listened and they really sort of made a lot of space and it was a very enjoyable experience. I think everyone was loving the fact, this was such a new, different thing, you know? Jan 'Yarn' Muths: Yeah. Yeah. Wow. And how long did the entire project take from basically, you know, when you start a recording until the record Mista Savona: Well, we did 10. We did 10 days at agrem in 2014, and I flew sly and Robbie and Bango home. And the, the famous Jamaican percussionist Jamaican guitars, who to live with Dennis Brown and has a really, really nice rhythm section. And then we had these Cuban legends. It was about, I think, in the end for the first record they were over. Mista Savona: I think it was. Over 50 difference musicians, you know, so, so many, but I couldn't so many vocals someone to work with in Jamaica and I didn't have the funds to fly everyone in, you know, so basically the, I used those 10 days to get all the instrumentals together and I got a lot of the Cuban vocals, choruses and melodic ideas. Mista Savona: And then after those 10 days, I did a lot more sessions in Cuba, smaller sessions with vocalists one-on-one or a small group. Then I took all that music back to Jamaica. And that's where I linked up with turbulence and loot and fire and all these singers that I wanted to work with that I hadn't been able to fly into Cuba, you know? Jan 'Yarn' Muths: Oh, wow. Mista Savona: So there were a lot of vocal overdubs done cause literally, otherwise I would have. PI for 30 flights, you know, something and it just, it wouldn't make sense. So what, what the magic was having the Cuban and Jamaican musicians in the studio together in Cuba, in Havana at agrem, that was the magic. And then I took some time to sort of mix and arrange those instrumentals. Mista Savona: Um, and like I said earlier, some choruses we'd already recorded. Then I took it to the vocalists to, to kind of, to complete the songs, you know? Jan 'Yarn' Muths: Well, okay. And, uh, then I guess you would have to go through some editing process cleaning up, Mista Savona: Oh my God. It's. I mean, some of the tracks had like 20 musicians on them, so I realized pretty quickly, depending how I was going to arrange the songs, you know, I could pull out eight instruments and, and it was still sounding. If I had everything at once, maybe sometimes it was too busy, some of the tracks I wanted to strip back. Mista Savona: So there was a lot of freedom there as a producer was basically, and I also recorded it quite cleverly. I had sly he's drums in isolation. I had the Cuban double bass and I isolation. I had Bango helmets, percussion in isolation. Then in the main room in Agra, my, I had the piano, the horns. Um so you get that amazing room sound. Mista Savona: And then I. Robbie space in the main control room died. And, um, I'd have guide vocals in the, in that room, in the mixing room. Dai does. I mean, as a, as a guide, then later we'd record them with a better mic set Jan 'Yarn' Muths: up Mista Savona: and more preparation, you know? So this way it was really good at men. I had an enough life mix to get that feeling of alive sound and enough isolation that later I could do remixes or, or just totally dramatically or radically change the arrangements. Mista Savona: You know, Jan 'Yarn' Muths: when you say. Jan 'Yarn' Muths: in isolation. So the drummer was in his own room, I Mista Savona: Yeah. So basically it can imagine the Edgar, I mean, it's this beautiful, big, rectangular, uh, room with these amazing yellow wooden panels all around, um, beautiful wooden floorboards. And at the back of the, that room, there were three books. So I had slides, drums and the double bass and percussion, Jamaican percussion isolated in those three rooms. Mista Savona: And then you had the grand piano horns and the percussion in the main room with a little isolation, but not much it's really, really mix. And then, um, and then in the, in the mixing room, that's where I'd have Robbie on base. He wanted to have his own space and a guide vocal, Jan 'Yarn' Muths: and where they're all still able to see each other. Jan 'Yarn' Muths: other rooms arranged with glass windows to, to actually vibe each Mista Savona: hear each other and there was enough of a window that he could at least see. Yeah. But yeah, red headphones were very important Jan 'Yarn' Muths: yeah, Jan 'Yarn' Muths: of course, of course. Good. And obviously that gave you all the abilities to, you know, chop it up later in factly, Mista Savona: Re arrange rearrange and remix Jan 'Yarn' Muths: And, and how many takes did you record per song? Jan 'Yarn' Muths: Approximately Mista Savona: often. the songs like, you know, that first song, I mentioned that we became the owner strangle and instrumental. I think we did three. Jan 'Yarn' Muths: takes Mista Savona: Three or four takes maybe a couple of rough starts and then yeah, generally two or three takes. And we know that one of them would be the, we know, you know? Mista Savona: Yeah. Um, almost everything with a click track as Jan 'Yarn' Muths: well. Mista Savona: just to keep things tight. And also again, later, if we were going to remix or stuff, we know we wouldn't have to, like, it wouldn't be super painful process. There was one or two tracks we did with that click track. Cause the musicians asked, but generally everything was quick chart. Jan 'Yarn' Muths: yeah. Yeah. Cool. Nice. And. Jan 'Yarn' Muths: then how long did the mixed mixing stage take? Did you start mixing yourself? Let's say, on, on your computer or Mista Savona: I do rough mixes of everything, especially to get it ready for the vocals, but for the final mix. Yeah, we took it that I took all the sessions down in Melbourne and we mixed on the sing sing SSL. It's a gold series as a G Jan 'Yarn' Muths: It's a 9,000 K if I'm not mistaken. Mista Savona: you go. Jan 'Yarn' Muths: Yeah. Lovely console. everything on that Mista Savona: as a sound amazing. Mista Savona: So we wanted to get that level of. We want it to be very beautiful and analog and warm, you know, and not just mixing the Jan 'Yarn' Muths: And how long did the mixing stage take Mista Savona: Um, I think we do two songs a day mix, two songs a day, basically. Jan 'Yarn' Muths: Oh, that's good. Mista Savona: yeah, I think it's like about what's would've been a good week or so, or 10 days, but then we'd do, then we'd find, then we'd bounce from the SSL. Mista Savona: We'd bounce out. Jan 'Yarn' Muths: stems Mista Savona: And then adjust those stems as well. We wouldn't try and get a final mix again, because we want to stems for remixes. So we basically get these massive sessions, maybe like 50 tracks on, more down to about 10 stems. And then from them, we can take our time from, from the SSL, we get 10 stems and then we can take our time in the box, so to speak just a queuing or slightly adjusting Jan 'Yarn' Muths: Mm, straightening it out. yeah, Yeah, yeah, That makes it makes a lot of sense. yeah. And who mastered that record? Mista Savona: Um, it was mastered by Joe Laporta in Sterling studio, New York. Yeah, he may. He was, it was interesting. Carnival was our first single in 2017. And I said that, you know, we were like, whoa, we didn't know were going to match that. So I actually sent it to seven or eight mastering engineers and I explained, look, we've got this project, but we're not sure who we want to get to master. Mista Savona: Could you master this and give us a demo? And Joe's master was just a mile ahead of everyone else. He just managed to get that beautiful top end, without it sounding harsh. He just opened up and brought the mixes to life, but not too loud and not too squashed. It was just perfect for the Jan 'Yarn' Muths: project. yeah. Jan 'Yarn' Muths: Right in nowadays, a lot of people will mix and master themselves. Jan 'Yarn' Muths: What's your take on this? Is that a good idea? Mista Savona: Ah, again, I feel like I'd be too close to I too. Close to the mix and also mastering such a unique art. I'm not qualified to master. I don't mind. I can just do some basic mastering sometimes for people, but yeah, for this level of our project, I wanted one of the best mastering engineers in the world. Mista Savona: That's why we went with Sterling. You know, I've got three record labels. The project has a lot of Jan 'Yarn' Muths: instability. Mista Savona: I want it to sound. I wanted to, yeah. I want it to meet that kind of, uh, very high level audio. Um, yeah. Sound quality. So to speak, you know, Jan 'Yarn' Muths: Fantastic. Well, what a journey. And then of course the next stage was, you know, a lot of promotion and you toured a lot. And Mista Savona: we did this, my filmmakers that came to Cuba, we did a little three minute promotion, became like the EPK for the project. Jan 'Yarn' Muths: Yeah. Mista Savona: And yeah, it was amazing actually in 2017, I just posted that on the Havana meets Kingston, Facebook page without any publicity or promotion or ads or anything. And I think we had 900 followers at that time. And it went viral within a day. It had got to one and a half, a million views Jan 'Yarn' Muths: no way, Mista Savona: tens of thousands of comments and everyone tagging each other. Mista Savona: Let's go to Cuba, let's go to Jamaica. It was sort of during the Trump era. And I think everyone was just over that racism and they Jan 'Yarn' Muths: say this Mista Savona: project how beautiful and inclusive and celebrate tree it is. And it's such a good vibe of. That's three minute introduction, video, and people love the idea of the project again. Mista Savona: Um, so yeah, this video went viral and it was amazing to watch. Like, cause that night I went out to a friend's property. They didn't have much reception and that night I did. That millions of people over the other, wherever listening to it. And literally I woke up and it was true. You got to, it had gone from 800,000 to one and a half million in like eight hours. Mista Savona: And that was really good for the project because suddenly we had, we could show the record labels, look, people are going to love this. And that's how we got ABC on board. We got, um, Barca records in France to do your distribution. And we got vapi to come on board for the rest of the world distribution. Mista Savona: And Havana meets Kingston till we've got another us label involved to combat your records, to involve with the world music releases. And, um, yeah, it's been really nice to have that support, you know. Jan 'Yarn' Muths: Fantastic. And um, do I remember correctly? Did you get some of the musicians to Australia? to tour with you? Mista Savona: Yeah. In 2018, we do the massive tour. Mista Savona: I don't know how we pulled it off. We'll never be able to repeat it. I see. Because both BOPA and Rabiah passed away, you know, it's just really sad, but, um, yeah, sly and Robbie, we brought to Australia, we have Barbarito Torrez from the point of it's the social club and it's a real meeting of legends and it was so good to have them here. Mista Savona: We did. WOMAD Australia, Bowman, New Zealand, and we did big, big shows in Melbourne, Sydney and Brisbane. Jan 'Yarn' Muths: Well, okay, Well, and, Um, then recently you did it all again, and now let's talk about part two, which is about to be released So we'll hopefully Mista Savona: So yeah, it's a bit less than three weeks Jan 'Yarn' Muths: Wow. Fantastic. Mista Savona: weeks, two and a half weeks. Jan 'Yarn' Muths: Tell us about how that record came to be. Mista Savona: well, luckily in these 10 day sessions at Grameen Havana, um, I mean, I was thinking to the 15 track album, you know, I think. Jan 'Yarn' Muths: maybe Mista Savona: I probably knew we would be able to record a bit more music, but I didn't actually know how prolific the group was going to be. So I did 10 days in their grim planning for one or two songs a day, we're doing 3, 4, 5 songs a day in the end. So I had to like every night, quickly write new charts and I'm like, what are we gonna do tomorrow? Mista Savona: I'm I'm prepared. You know, I like to keep up with the band and it was in a really interesting day in the middle of the session. Jan 'Yarn' Muths: where Mista Savona: I think it was Robbie actually said, let's kick out the Cubans for half a day. Let's just have the Jamaicans. And so in that half day, I think I did eight rhythms with sly and Robbie and Bango home and, and Bobi, you know, it was so nice. Mista Savona: Um, so there was already immediately enough material for two or three records from the outset. So with Havana meeting meets king, some pot to. I went back to those original sessions and about half this new album has sly and Robbie and about half the sessions are completely new. So, and the new album, I want to focus a lot more on original material. Mista Savona: Like the first album we do these really interesting versions or re recordings. Re-imagining if you like of like some, when a Vista social club classics like Chan Chan and Candela and El quarto, the Tula. Jan 'Yarn' Muths: Um, Mista Savona: But with this record, there's only a couple of three covers, I think, and much more original music and, and much more groundbreaking. Mista Savona: Like one of my favorite singles from the new album is a song called and we did a beautiful music video on a 1920s. Cusser in Havana. That was a gift. From the Spanish king to the Cuban family. Cause they'd helped save his life in world war. Oh no. In the Spanish civil war, I think it was. Hmm. Um, and yeah, we, we did this music video all in period. Mista Savona: So everyone dressed in 1940s and thirties clothes and it's amazing music and it starts with this Cuban flamenco and then it builds into a Spanish groove and then it goes into this, uh, then there's Afrobeat rhythm in there and then it goes into Timbo is just the modern salsa style. So it's a very dynamic. Mista Savona: Um, very dynamic song and yeah, really special music Jan 'Yarn' Muths: Hmm. Wow. So it was all based on some original a rhythm tracks. And then Added overdubs Mista Savona: Yeah, lots of over lots of overdubs, lots of, kind of often, you know, I'll write the basic sketch of the piano. Generally find some nice chords or some ribs. Mista Savona: And then when I take it to the musicians, that'll expand from there. So often there's new ideas will come about that really unexpected. Or, and then I always just jump on that. If there's a moment of inspiration or some cool idea, or I get a flash of inspiration, then I just will go with it. You know? So, um, some of the tracks were called. Mista Savona: Like the Clinton Farron song from the, from Clinton Ferron who, who signed with the gladiators, the famous Jamaican vocal group. Um, his rhythm track is actually one of the tracks we did just through the Jamaicans at agrem with and Robbie. And he loved that song. So later he wrote vocals and we recorded that in Paris. Mista Savona: Um, Jan 'Yarn' Muths: in Mista Savona: yeah, he was in Paris at the time. Um, and, and so, you know, because again, I couldn't take all the, all the seniors to Cuba or Jamaica, you know? So I worked when I traveled the world, I'm working with them as I go along. So, yeah, every song has different kind of story, how it come about, but, um, what, what it has, what the whole project has in common is these amazing, and you're making the Cuban musicians playing together. Mista Savona: And then later when I do the vocals, I'll work with, if there's a vocal. So I want to work with, obviously I'll reach out to them and you know, if they're in Europe or the UK, or if they're in Jamaica, then that's where I'll try and I'll link with them. You know, Jan 'Yarn' Muths: fantastic. And how many songs. have you got on that new record? Mista Savona: The new records, 15 tracks, I believe. Jan 'Yarn' Muths: big for an album. Mista Savona: Yeah. There's a couple like, w there's one really nice, like short instrumental with Rolando Lunam bribery to Taurus. It sounds like it was straight from the point of Vista social club sessions. Um, but yeah, it's 14 full tracks and the interlude style track, I think so. Yeah. Beautiful. Jan 'Yarn' Muths: it's ridiculous. A beautiful musicianship, at least what I know at this stage. Jan 'Yarn' Muths: So Mista Savona: Well, I can play you some, I can play some more checks today and then hopefully by the time this, this podcast comes out, you'll be able to play some of the songs too. Um, Jan 'Yarn' Muths: what are your plans? next? Are you going Mista Savona: So I'm after I'm flying to Cuba tomorrow, actually. Um, I'm doing all my paperwork now, so hopefully everything's going to be smooth, which will be low please. Mista Savona: Cause it's flying after the pandemic a lot more complicated now. And. Jan 'Yarn' Muths: um, Mista Savona: But yeah, but a big concert in Cuba may 26 for the Havana world music festival. So that's the Havana meets Kingston band with some special guests, uh, in Havana. And I've also got, uh, some nice DJD gigs over there. Then I'm flying to London for glass and Berry festival, which I'm so excited. Mista Savona: And I'm not, that's not with anime skinks, and I'm Jan 'Yarn' Muths: the Mista Savona: two or three DJ sets there. At Glastonbury, then we've got to Havana meets Kingsman tour in Europe, which is six festivals. Maybe, maybe more, but definitely six confirmed and that's in July. And then I'm going to do, I'm hoping that I was immersed just a few months ago. Mista Savona: And did a really nice show there. So I'm hoping to get back there. And actually, I like to get into, because I was so close to Africa there. So I'd like to do a bit more I'm recording and I haven't, I've only traveled to Morocco before, so I'm really hoping to get to Ghana, possibly Senegal and a few other places and, and, and experience the African music scene, um, possibly with a project in mind for next year, you know, so yeah. Jan 'Yarn' Muths: well, what a journey that sounds phenomenal, Mista Savona: it's been two years of pandemic. I'm very, I'm ready to fly. Like literally metaphorically musically, you Jan 'Yarn' Muths: Yeah. you look ready? you look like you're ready to jump. Fantastic. Mista Savona: buying, it's getting a bit cold and cloudy at stock by 5:00 PM. Yeah. And I'm ready for the Europe. Some of first show I bring it on. Jan 'Yarn' Muths: Look, Jake. This, I would like to change the subject if that's okay. Just one question with young producers in mind, Now, if you think about young musicians were just starting out who are right at the beginning of their journey. Have you got one piece of advice, the most important thing from, you know, experienced engineer like yourself to all the young people, what is it they should focus on? What's the one piece of advice you wish you had received when you were. Jan 'Yarn' Muths: at the beginning? Mista Savona: Well, I guess, I mean the biggest thing is just go for it. And, you know, like I think I, I was lucky enough to travel a lot from a young age because my mom's Australian, but my dad's Maltese English and he was living, um, he lives in the UK. So, um, from the age of 16, I was flying to Europe, you know, every couple years or so to visit him. Mista Savona: Um, and I think that gave me a taste for music or the world, you know, It expanded. I was already listening in Melbourne on PBS. I was already listening to lots of world music shows, but the travel really helped expand my listing pallets. So I'd say to young producers, you know, uh, don't be afraid. Don't be shy, listen to as much different music as possible. Mista Savona: You know, a lot of you, obviously in Australia with dominated by commercial radio and so forth. So expand, listen, listen to underground music, different showrunners, listened to music from around the world, like expand your pallet, you know? And, um, don't be, don't be afraid. Don't the, the, world's your oyster. Mista Savona: There's no limit, you know, But the beautiful thing about music is it opens doors. Like really, like when I first went to Jamaica, I had no idea. I better be able to link with major artists over there, but music assists, it opens doors and the love for music opens doors. Um, you know, a lot of musicians, my idea, my idols, like artists, like Capleton and CSULA, Anthony B, they want to work. Mista Savona: They want to meet link with producers. They were ready to go, you know, so it was, it was much easier for me to link with these artists than I was imagining. And so I think like, You know, w work on the quality of what you do and, and work hard at your, um, um, you know, your musicianship and your production skills and, and get your music to a high level and then just go for it, you Jan 'Yarn' Muths: Just go for it. Yep. That's the essence I'm getting out of it. That's good advice. And Last question for today. if people want to know more about it, where should they go? What is. your online presence? Where should people start to find out more Mista Savona: I have band camp and that's a nice place to hear my music and high quality. It's Mr. Savona, Mr. Spelled M I S T a so bonus, but SAV Ona. Um, you can also look up the Havana meets Kingston website and, um, you know, my Spotify. Mista Savona: But good listeners. I think, um, I'm on about 20 million streams or something with across my projects, which is really nice. Um, so yeah, you can definitely find me on Spotify and SoundCloud and so forth. Um, yeah. Jan 'Yarn' Muths: I'm going to put all these links into the show notes. So just finish the episode, go straight there, click the buttons and listen to Jake's music. Mista Savona: you're welcome to put some of the songs in the podcast too, if that's like your, uh, if you'd like to have some music in the background or Jan 'Yarn' Muths: Well, if you give me permission, I would love to maybe just give a little teaser. That would be phenomenal. Mista Savona: of the music. People can hear it as Trudy episode. That'd be great. Jan 'Yarn' Muths: Thank you for, for, for that. I really appreciate this. And, you know, Thank you for meeting with me today. and sharing all your wisdom. That's fantastic. thank you. so much, Jake. I really Mista Savona: you. It's nice to talk about music. Isn't it. Jan 'Yarn' Muths: It is. it. is. Thank you so much. Mista Savona: right. Cheers man. Jan 'Yarn' Muths: Wow. How good was that? Mr. Jakes Nirvana gave us so much insight into his production of the Havana meets Kingston albums. Thank you so much. This is really, really inspiring. After we finished the interview, Jake showed me some new music in his homeschool. A nice pair of speakers set on a small desk in a medium sized room. Jan 'Yarn' Muths: It didn't look anything like a studio at all. And Jake told me that a lot of water came through this house in the reason floods, hence the sparse improvised appearance. It must have been. But Jake spoke about it all as if it was just a minor bump on the road. His mind seemed to be in full speed ahead mode off to the next adventure off to more musical projects. Jan 'Yarn' Muths: In fact, actually just hours or just minutes after I left, he went off towards the airport, constantly on the move. I really got a sense of Jags unstoppable stop of can do edits. Jake's album Havana meets Kingston pot to the booze on June 3rd, 2022. So three days after the release of this podcast interview. Jan 'Yarn' Muths: So the countdown is on everybody, but if you can't wait to have a listen, head over to the show notes, I added links to Mr. Savannah's social channels, and he also gave me seven music videos, which are all there in the show notes for. Each one is fantastic and well worth watching start to finish, but I'd like to point out a one in particular, it's called Guerra Ciara, which I probably pronounce incorrectly, but I reckon it might just be one of the best music videos of Ms. So, if you enjoyed this episode today, please head over to mix that a U slash production. Talk to find heaps, more amazing interviews with inspiring musical guests or hit the subscribe button in your podcast app. And while you're there, give this podcast a five-star rating, please. This would mean the world. Jan 'Yarn' Muths: But most importantly, spread the message and recommend this podcast to all your friends and all your fellow self-producing musicians everywhere. And of course, I'd like to invite you to visit that a U where I offer music mixing services to musicians who demand nothing, but the best sound and tasteful musical mixes. Jan 'Yarn' Muths: That's what I love to do. That's all for today. If you want to hang around for a little bit longer and listen to Jake's music, a little teaser here for you otherwise I'll see you next week. You have a fantastic week. Bye for now.
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