Part of the Siano-Levan-Mancuso generation, he was a regular at the Loft and Paradise Garage, he lived through the Disco Sucks movement, he played to both disco and hip-hop crowds in the ’80s and to house music crowds today, and is one of the most well respected DJs around.ĭanny Krivit is also known for his extensive editing career where he perfected the techniques needed to maximize the dance floor dynamics of a song whilst adhering to its original spirit. ![]() ![]() Bought up in Greenwich Village New York City in the 1960s, Krivit was DJing at a club called the Ninth Circle by the time he was just fourteen years old. Krivit is one of a select group who can legitimately employ the biographical cliche of growing up surrounded by music as his mother was a jazz singer, his father jazz trumpeter Chet Baker’s manager. Artists like DJ Koze, Ron Basejam, DJ Harvey, Greg Wilson, Joey Negro and Late Nite Tuff Guy have all made re-edits a big part of their respective careers in various ways, demonstrating that recycling older material can reap rich creative results.īut if you want to talk about re-edits, then why not go back to the source, to one of the central figures in the development of re-edit culture, New York resident, DJ and producer Danny Krivit. Re-edits range from the opportunistic or lazy to the sublime, and all points in between, and as access to production has lowered, so the gap between re-edits, remixes and original tracks has become somewhat blurred. Re-edits have become more and more prevalent over the last few years, with a seemingly endless reservoir of obscure disco and boogie cuts available to be plundered, cut up, looped and re-released every week. ![]() 5 Magazine, Danny Krivit talks about Editing
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