Digger, DJ, producer, radio host at dublab.de, under electronic influences but always soulful and jazzy, Dusty is also the boss of Jazz and Milk Recordings. Tireless music lover with strong DIY spirit, based in Cologne, Germany, he has produced two albums and early 2025 he has just released a generous 5-track EP: “As Above So Below”. A creative man to discover without delay.

Hello, a glass of?
Fresh spring water, please!

Could you tell me about your first experience with DJing?
I bought my first hip-hop records in 1997 when I was 13. I remember sneaking into a night club and spending the whole night mesmerized, watching the DJ at work. Back then, I only had an old turntable from my dad, which had a pitch control that I repurposed to also allow variable tempo adjustments between 33 and 45 RPM. A friend gave me a tiny old 80’s mixer, but I didn’t have a second turntable to practice mixing properly. That night, I was so energized and motivated to mix records on two turntables, even though I only had one. In a rush of excitement, I came up with a workaround: I played music from my Walkman while trying to beatmatch it with a vinyl record on my single turntable. It wasn’t ideal, but it helped me practice while saving up for another turntable. The next school holidays, I worked illegally - I was actually too young - on a construction site, hauling heavy cement bags for two weeks until I could finally afford a used Technics 1210. From that point on, I spent years practicing beatmatching and scratching almost daily, and soon or later, I started recording and hand-distributing mixtapes. My first big gig came in 2001 at the Up2U club night at Muffat Café in Munich when I was 17. At the time, it was the go-to spot for Hip-Hop, Funk, Drum&Bass and like-minded sounds. I played an eclectic mix of soul, funk, hip hop, trip-hop, nu-jazz, breakbeat and d&b and soon became a resident DJ there, eventually promoting my own label nights a few years later.

Could you tell me about your first experience with beatmaking?
It must have been around 1999 when I first started experimenting with sample-based beats. I was heavily influenced by DJ Shadow and artists from Mo’ Wax and Ninja Tune at the time. By then, I had already been DJing Hip-hop for a couple of years, and my childhood jazz piano lessons had sparked my curiosity about the origins of the jazz, soul, and funk samples in my favorite tracks. That curiosity naturally led me to take my first steps in beat production using an early version of Cubase, mainly because I couldn’t afford a hardware sampler at the time. I had no clue how to properly use the software, so I approached it in a very raw, hands-on way - more like people used multitrack cassette decks back in the day. Without a mentor to guide me, I spent months manually recording different samples and adjusting their tempos on the turntable to make them sync in Cubase. I still vividly remember the moment a friend dropped by and casually showed me the time-stretch function - a total game-changer that could have saved me countless hours. I didn’t know whether to laugh or cry! But looking back, I wouldn’t trade those early struggles for anything. Learning through trial and error gave me a kind of patience and skill set that you don’t necessarily develop from watching polished YouTube tutorials today.

Before long, I started inviting jazz musicians to play over my productions, which deepened my love for collaboration and live instrumentation. Over the years, I launched my label Jazz & Milk, released two studio albums : « Keep It Raw » and « Mood Matters », and put out several EPs of my own, alongside releases from artists worldwide. At some point, I got tired of staring at a screen and clicking a mouse all day, so I switched to the MPC 1000. It’s intuitive workflow, limitations, and distinct sound felt like a breath of fresh air. My new EP, in many ways, is a love letter to this machine, blending both worlds - I now sketch ideas and lay down the basic groove on the MPC before arranging everything in Cubase, adding live instrumentation, and finally running the stems through an old analog broadcasting desk and a ½-inch tape machine for that extra warmth.

Can you explain the vision-artistic direction of Jazz and Milk Recordings? 
I started the label in 2005 as a home for my first vinyl release without really knowing what I was doing, but with a strong DIY spirit and a lot of passion. I wasn’t thinking about business strategies, I just wanted to share the music of artists I discovered and believed in. Basically, I started putting out records that I, as a DJ, would’ve loved to have on wax.

The first compilation was an eclectic mix of genres, which I felt was missing at the time - everything seemed so categorized. I reached out to friends and artists from around the world and put together the "Jazz & Milk Breaks" series, blending jazz, funk, Latin, Afrobeat, Trip-hop, Nu-jazz, and House music. Ever since, I’ve been following my gut, working with artists I meet on tour or at gigs - open minded people who bridge the gap between old and new sounds. To this day, I don’t have a fixed release schedule or business plan. I let my instincts as a music fan guide the label’s direction. That led to a variety of compilation projects like "Footprints, Community", and "Levanta Poeira", as well as the "Twelve Inch Jams series". I’ve also had the pleasure to release music from artists like Sam Irl, Caixa Cubo, Àbáse x Zeitgeist, Steve Spacek, and many more.

Your favorit audio and video link of your work ?

« Mood Matters »: Below, this is the video for the title track of my second studio album, released in 2013. I spent months building an MPC, a 909, and speakers out of white paper cardboard, bringing them to life through stop-motion animation. I handled all the planning, building, filming, animation, and editing myself, with a little help from Christopher Pawlowski - who also makes an appearance dancing inside the milk carton. 

Then « Heavy Lights » stream below. My friend Karim Dabbèche helped bring my studio, production process, and various ideas to life through hand-drawn animations. And I’m hosting a Jazz & Milk radio on dublab.de, regularly sharing my favourite musical discoveries and exclusives. Plus, you can check out my latest EP “As Above So Below”, listen to it via the player below - just before the footer - or here.

What is your favorite German adage?
"Reden ist Silber, Schweigen ist Gold." In English : Talking is silver, silence is gold.

What are your favorite record stores?
I grew up in Munich, where Echt Optimal was the go-to spot for new releases, while Best Records always had a great second-hand selection. After moving to Cologne, I’ve been enjoying Groove Attack for fresh releases and Kontrapunkt Vinyl for digging into older gems. Whenever I’m traveling, I love checking out local stores. Last time, I came across Mr. Frog's Record Store in Istanbul, which was a great experience.

What comes to your mind if I say Zen? 
Nothing… and everything at the same time.

Your top 3 venues in Cologne?
King Georg is my favorite spot in Cologne - an intimate live jazz club that showcases everything from classic jazz to forward-thinking acts that push beyond the genre, plus soulful DJs. It’s also the new home for our Jazz & Milk label nights. In the summer, the kiosk across the street often transforms into a DJ booth, setting the vibe outdoors before the party moves inside at night. Mäurer is a cozy little bar with soulful music and DJs, always a nice place to hang. Acephale was a great spot to spin records, dance, and just hang out, but sadly, it had to close down recently… RIP.

One of your favorite tracks of “Above so Below” EP and why ? 
Probably "Ayalolo" feat. King Owusu because it will always remind me of that amazing studio session with Eric Owusu, an outstanding Ghanaian musician based in Germany. I originally invited him to play percussion on a heavy dub-influenced house track, but I also asked if he’d be up for trying vocals, even though he had never heard the track before. He just smiled, said, “Hit record,” and improvised the lyrics and harmonies in one take. My jaw dropped. He left me absolutely speechless. Eric is a true master of his craft. Make sure to check out his band, Jembaa Groove!

The Dj that puts you crazy systematically?
Watching DJ Koco spin is just something else. It’s rare to see a DJ who’s both technically flawless and still plays with so much soul, charisma, and creativity. He’s definitely not from this planet!

7 or 12inch?
As long as the music moves me, neither size nor format really matters. While I have a strong preference for playing vinyl - I always carry an insane amount of 7 and 12inches with me to every gig - I also bring a USB stick with exclusives and tracks that aren’t available on wax. So I enjoy mixing across all formats just as much as I appreciate a proper vinyl-only night, depending on the event and club setting. At the end of the day, if you ask me, as long as you can make a crowd move and take them on a musical journey with a solid selection and skillful mixing, it doesn’t matter to me whether you’re playing vinyl, Serato, or USB. Prioritizing format over music has never made much sense to me.

What comes to your mind if I say Disco? 
Honestly, Boogie. I do love a great disco record, but it’s those boogie-style tracks that really hit home for me. Boogie took disco’s danceability but leaned even more into soul, funk, and early electronic production, paving the way for soulful house and electro.

What makes you proud today?
Living more from the heart and less in the head. Music played a big role in that journey, but it can't heal all wounds - that's something you have to take responsibility for yourself. Over the past years, self-healing and deep self-inquiry have become top priorities in my life.

If you could teleport yourself for a few days…
It would be something so simple yet increasingly rare - untouched, wild nature, free from human interference. It took me years to realize that nature is the greatest source of inspiration. My needs have changed a lot over time, and these days, I find the most joy in simply sitting quietly in still places, observing and appreciating the endless beauty and wisdom of Mother Nature.

Your top 5 new releases?

- My friend Fred Spider, who moved to Cape Town years ago and runs a record and vintage shop called Voom Voom, recently compiled a beautiful selection of rare ‘70s South African jazz on Heavenly Sweetness. It’s called : « Fred Spider Presents Chakalaka Jazz ».

- Nigel Hall & DJ Harrison dropped an incredible full-length EWF tribute album called « The Burning Bush: A Journey Through the Music of Earth, Wind & Fire ».

- My brother Àbáse recently released his second album « Awakening », recorded at Brewery Studios in Berlin. It’s nothing short of a masterpiece.

- D’Monk’s « Shine » on Touching Bass is a fresh release packed with playful MPC-driven electronic grooves - perfect for fans of broken beat, soulful house, and Detroit sounds. The drum sound and programming are absolutely sick.

- I had the pleasure of recording, mixing, mastering, and releasing the album « Agôra » by Brazilian jazz trio Caixa Cubo last year on Jazz & Milk. It’s full of jazz, electric funk and Herbie-esque eclecticism, featuring international guest artists like Xênia França, Zé Leônidas, Ghanaian musician Eric Owusu and South African artists Bongani Givethanks & Mpho Nkuzo.

Your top 5 oldies?
That’s a tough one. I grew up listening to so many different genres that narrowing it down to just five is almost impossible. But here are a few essentials that still mean a lot to me:

- Yusef Lateef « Eastern Sounds »

- Ahmad Jamal « The Awakening »

- Monty Alexander « Rass »

- Fela Anikulapo Kuti & Egypt 80 « Beasts Of No Nation »

- Common « Like Water For Chocolate »

What job would you like to do if you weren’t a DJ-label owner? 
I’m grateful for the mix of things I do for a living: DJing, producing, mixing and mastering, running a label and publishing company, promoting club nights and concerts, and occasionally working as an event technician and FOH engineer for live bands. On top of that, I work part-time at a radio station as a producer/technician. In the future, I’d love to do more social work, helping kids unlock their full potential while sharing foundational insights on spirituality, meditation, nature, self-healing, and, of course, music.

Your future projects? 
With my new EP just released, I’m excited to get back into the studio, fire up the MPC, and create freely, without worrying about the outcome. I always have a few ideas brewing, just waiting for the right moment to take shape. In the future I’d love to bring together an international cast of friends and musicians for a jazz or ambient project and take my MPC on the road for more global collaborations. I’m also looking forward to DJing in South Africa again in October, diving into their thriving music scene and working with local talents. As always, I avoid over-planning, preferring to leave space for creativity to flow naturally.

Interviewed by Dj coshmar / Picture Joel Heyd.