Hani AlBader is a prolific Brooklyn-based DJ / Producer / Remixer who has maintained an appeal in both underground and commercial circles. 
A Strong work ethic & gutsy attitude earned this prolific artist worldwide recognition as a top producer & the remixer to stars like Justin Timberlake, Alicia Keys, Pink, Christina Aguilera & Michael Jackson to name a few. 
Hani started out in 1984 as a bedroom Dj recording mixed cassette tapes for himself & close friends.   By 1988 during his college years in Denver Hani became a professional Dj at several major clubs.  Saved enough money to buy used Synthesizers,  Drum Machines & 4 track tape decks from pawn shops. Hani learned on his own the art of making Electronic Dance Music & was able to release a few underground records just to put his name out there but,  that was not enough. In 1993 Hani got his start doing underground Acid House tracks for Carl Craig's Label Planet-e & Deep Dish's label Yoshitoshi.  
By 1994 Hani was enrolled in the Institute of Audio Research in New York City. There he gained a well-needed knowledge of the fundamentals of audio acoustics, electronic circuitry, engineering & mixing.  While attending the institute Hani also wasted no time. Hani started his remix career working on projects for Artists such as Deee-Lite, Repercussions & Urban Soul.  Upon graduating IAR, Hani started at Bass Hit Studios as an intern assistant engineer. He chose this particular studio only because it was the closest to his apartment.  Soon Hani learned that Bass Hit was a Mecca for House music producers & remixers. Call it destiny.
It was at  Bass Hit Studios that Hani acquired a deeper sense of Electronic Dance Music by working for such House music luminaries as Masters at Work (Little Louie Vega & Kenny Dope), Roger Sanchez, and Danny Tenaglia. 
Hani cleaned the studio after them, picked up the garbage, and delivered food however, he also learned the basics of House arrangements and mixing.
The competition in New York City was very high & Hani had to quickly make a name for himself therefore, he did not follow the rules. He did not wait for record labels to give him a chance at remixing songs he liked. He chose songs he gravitated to & went on to produce his own remixes in his simple little studio without being commissioned or paid to do it. Through his connections, Hani built a long list of Dj friends who admired his talent & consistently played his work around the globe. His 1995 unauthorized remix of Sade’s "I Never Thought I'd See the Day" under the given alias Musk Men got him the exposure he'd been working for. It got bootlegged by several distributors in US & Europe and gave Hani a Jump-start. Sade was not into remixes so the remix never got approved by(Epic / Sony). Then came Hani's unauthorized remix of Sting's  "Sister Moon" bootleg. This was a big Sound Factory Bar/ Ministry Of Sound records thanks to Louie Vega & friends like Roger Sanchez . Due to its success, this one got the official approval by Sting & got released on AM:PM by Simon Dunmor. This bootleg remix & many others are available on http://djhani.com/
This Biography continues on http://djhani.com/hani-biography/

The tale of Danny Tenaglia's love affair with music, and the world's subsequent romance with him, is one of the critical veins in the body of dance music. He is every dancer's secret discovery; a random purchase at the record store, a reluctant night out that unexpectedly turned magic. Explosive success came not behind a major label release, or a world tour, or a radio hit remix: It happened when enough people had the private Tenaglia experience for themselves.

The momentum started building in early '70s New York, when a barely 10-year-old Danny first got the feel of vinyl in his hands. Enthralled by the music of artists like Philly Soul's The Trammps, Motown's Marvin Gaye, African trumpeter Hugh Masekela, and disco producer Giorgio Moroder, he started to collect records, plumbing the depths of each one, and frequently finding that he preferred the B-side to the A. It was 1979 when he discovered legendary nightclub Paradise Garage, where DJ Larry Levan's rich, genre-less blend of music seemed to mirror his own "no boundaries" policy. It was here where Danny found the club model he would one day emulate: Levan's bold style, the venue's plain décor, and the party's warmth and inclusiveness.

Danny left New York in 1985 and launched a successful DJ-ing career in Miami as a resident at Cheers nightclub. There he schooled the locals in classic New York and Chicago house, but five years later he returned home, tired of only playing other people's music. He started to assemble an impressive roster of remixes, including Right Said Fred's "I'm Too Sexy" (1991), Jamiroquai's "Emergency on Planet Earth" (1993), and Madonna's "Human Nature" (1994). But his first epic was The Daou's "Surrender Yourself" (1993): With the kick in the bass and the underlying rhythm as the foundation, Tenaglia blanketed Vanessa Daou's wispy vocal with grand, thick chords, a combination of classic groove and modern club-ready depth that was, at the time, entirely new. The title of his 1995 debut artist album on New York's Tribal Records described it perfectly: Hard & Soul. But even if the cocktail was his own, Tenaglia never hesitated to declare how heavily his influences weighed in his productions - everyone from Patti LaBelle to Kraftwerk, with countless lesser-known Soul, R&B, Latin, Samba, and Disco artists in between.

In 1996, after a brief stint at New York superclub Roxy, Danny landed a Saturday night residency at white-hot Twilo, a position that upped his profile but didn't satisfy his expanding artistry as a DJ and producer. While New York swooned for big-room diva anthems, Danny was turning his ear toward the more minimal, tech-y grooves originating in European production studios. This period produced solid remixes like Grace's "Not Over Yet" (1996) and Janet Jackson's "The Pleasure Principle" (1996), but by the time he moved to Tunnel in 1998, Danny had already created "Elements," an instant classic that caused the dance scene's collective jaw to drop. With his own warped voice providing the narration, "Elements" (one track off full-length Tourism) walked the listener through the different components of a dance track in real time, going from kick to drum loop to snare hit, letting each layer over the other until the track exploded with dark, drum-heavy energy. Next to ostentatious radio anthems, its simplicity was a revelation. 

It was around this time that the murmurs started to get louder: Who is this Danny Tenaglia, and just what does he do to people? Clubbers reported seemingly inhuman mixing capabilities, booth-to-floor telepathy, and the grittiest "modern yet classic" grooves they had ever heard come out of a speaker. A trio of label compilations - Mix This Pussy (1994) and Can Your Pussy Do The Dog? (1995) for Tribal, and Gag Me With A Tune (1996) for Maxi - were the first Tenaglia sets clued-in clubbers could take home to dissect, but the release of his first installment in the UK-based Global Underground series of DJ mixes, titled Athens (2000), lit the international fire. Athens (meant to reflect the set he played at the Greek capital's club King Size) remains one of the darkest, strangest, sexiest sets ever released, and its tame cover photo of a gentle-looking man in a Yankee cap just didn't seem to fit. DJ dates across Europe dispelled the mystery and started the spread of the infectious Tenaglia fever.

Back in New York, Tenaglia was tiring of the cavernous gloom of Tunnel and longed for a weekly home that better resembled where the DJ bug first bit him - the Paradise Garage. He landed at Vinyl, a black-walled, single-environment, no-liquor club about one-quarter the size of Tunnel. He named the night "Be Yourself," after the self-affirming, heavy-bottomed vocal track he had recently recorded with Chicago's Celeda. And he took the name to heart: Without the pressure of bar minimums or an expectant crowd, Tenaglia spread his DJ wings. Next to new tracks by young producers like Rui Da Silva, Peace Division, and Saeed & Palash, he played the artists of his youth, with nary a beat dropped. If he wanted to launch into a two-hour set of straight-up techno, he did. If he wanted to play old Michael Jackson records, he did. If he wanted to get on the mic and tell the crowd the name of the sound he was about to play, or who next week's guest opening DJ would be, or just give everyone a "verbal handshake" to welcome them to the club, he did. And a city tired of drama embraced the barebones, music-centered night. 

The world caught up to Tenaglia in 2000. His annual party during Miami's Winter Music Conference outgrew its home at the cramped Groovejet and moved to just-opened superclub Space. DJ giants like Carl Cox danced on top of the speakers with the Deep Dish boys, Fatboy Slim mingled on the patio, and for a day the ego inherent to DJ culture evaporated: Tenaglia was hailed as the undisputed king, the "DJ's DJ." His roof-raising revamp of Green Velvet's "Flash" won "Best Remix" at the UK's Muzik Awards, where he was also awarded the "Best International DJ" prize. 

In the two years that followed, Tenaglia released another Global Underground installment (London); toured the world, took the party island of Ibiza by storm, remixed Billy Nichols' "Give Your Body Up To The Music" (a Garage anthem); got nominated for a Grammy (for his remix of Depeche Mode's "I Feel Loved," also nominated for Best Dance Song); returned to Twilo for two special gigs - a President's Day marathon with Carl Cox that shattered all its attendance records, and the club's sixth anniversary party with John Digweed, which turned out to be even more meaningful than it seemed at the time (Twilo was shut down permanently a week later); graced the cover of every major dance music magazine; and won a Dancestar Lifetime Achievement award... all while keeping Be Yourself buzzing every Friday. 

In 2003, Danny came full circle with the release of Choice: A Collection Of Classics, a two-CD mixed compilation that let him pay direct tribute to many of the artists who had influenced his sound and style. It featured everyone from Blaze to Adeva to Imagination, as well as hefty liner notes explaining the significance of each track, penned by the man himself. He also remixed another Garage classic (Yoko Ono's "Walking On Thin Ice," which became her first Billboard number one ever), opened another Space during Winter Music Conference (the new location down the block), and took another Dancestar award, this time "Best Party" for Be Yourself. 

Be Yourself took the same honor again in 2004, but this time the win was bittersweet. At the time of the ceremony, Vinyl, now called Arc, had already been sold to developers. Danny closed the classic club on Sunday, April 25, 2004, with an emotional set that lasted well into Monday afternoon, and culminated with his mix of Kings Of Tomorrow's paean to unending love, "Finally."

And as in every year since his DJ odyssey began, all across the globe, from Acapulco to Tokyo, more people experienced their first night with Danny Tenaglia, that clubber rite-of-passage that forever changes how you listen to music, go out to nightclubs, and think about DJs. 


Part of Elite Beatz 
DJ in the European Ballroom Scene
Bookings, remixes, love and contact: 
funkyloffe@gmail.com
IG:: www.instagram.com/funkyloffe
Bandcamp: https://loffebeats.bandcamp.com
Spotify: https://open.spotify.com/artist/4z77fjfHsC4fG2aQPzAM1B?si=Naet3tbeQB6sDCX8gnXt2w

Other stuff: www.soundcloud.com/funkyloffe

K-Klass are responsible for some of the biggest house tracks ever made. They are all about entertaining and playing for the crowd. They play at various events and venues all over the world on a weekly basis, which means it is important that they adapt their music to suit each venue and expose all house music styles they master.

Nights out at the legendary Hacienda “Nude” nights in 1988 led to the meeting of minds and the beginnings of the K-Klass phenomena that lead to regular performances at the Hacienda. From there K-Klass became residents for the worlds biggest dance brands CREAM, playing guest slots all over the world at some of the most prestigious and biggest dance events K-Klass had already gained under-ground support for their acclaimed “Wildlife E.P”, released in 1990 before they unleashed their sound onto a nationwide audience with the release of “Rhythm is a Mystery” (No.3 in U.K.Top 40) and the huge “Let Me Show You” (No.13 in U.K.Top 40)

With countless remixes/ productions under their belt it comes as no surprise that K-Klass won the International Dance Awards in 1995 & were nominated for the USA Grammy Awards in the 2002 remix category. When K-Klass are not behind the decks they spend their time in the studio and have worked alongside most of the biggest and most established artists around, some of these include : The Pet Shop Boys, Kathy Brown, Shake Down, Whitney Houston, Gerri Halliwell, Blondie, Bobby Brown, M-People, Level 42, Kylie Minogue, Rozalla, Sunscreem, Frankie Knuckles, Bizzare Inc, Kathy Sledge, New Order, Janet Jackson, Luther Vandross, Lisa Stansfield and Candi Staton and many, many more.

The last few years K-Klass have continued to create and release big tunes, like “Capture Me” on Nocturnal Groove (Shapeshifters label) “Right & Exact” on Stealth Records, “Bad Boy” on Hotfingers, “Let The Freak” ft. Reza on Mjuzieek Digital,  a collab with Rob Nutek “La Luna” on Whartone Records, “People Of All Nations”on Wazzup, a remake of their K-Klass 1994 hit “What Your Missing” on Lissat & Voltaxx and Marc Fisher’s Tactical Records, their massive rework of Duke’s “So In Love With You”, a smash remix for Eurovision winner Loreen’s single “Crying Out Your Name” for Warner Music Sweden and their latest deep house remix for Nicky Romero’s Protocol imprint on Tritonal & Paris Blohm ft. Sterling Fox – Colors .

Late 2012 the K-Klass have started their own label Klass Action, which will feature releases from up and coming as well as established producers and new K-Klass material. The first release setting the standard was “Rock The House”. Their single with Todd Terry called Just Come proved to be yet another smash and the latest release by Good & Plenty also gained widespread support.

K-Klass are still very much in demand on the production, remix and DJ-ing front, this year celebrating their 25 years in the business, with a K-Klass 25 comp through Newstate, a UK tour and their return as a full LIVE band for the first time in 18 years for an ecstatic Manchester crowd. Check the video HERE. 

Ultimate DJ Moment:

“With over a 2 decade’s of memories to choose from, two of our high light’s that spring to mind would have to be when Graeme Park dropped “Rhythm Is A Mystery” at the world famous Hacienda nightclub back in 1991, and when we where very honored to play the final set in the main room at Cream’s last weekly night in Liverpool which was the 10th birthday. The last record we played was “Let Me Show You”, the Cream self made anthem”

For management:

Get Real! Management / http://www.getrealmanagement.com/
Contact: Bas Jansen
bas@getrealmanagement.com



Freemasons / Russell Small

'EARWORM' Album Out Now: https://bfan.link/earworm-fm030

Management: martinsouthon@me.com

This is our K-Klass "Klass-Action" Radio show page that we update every month with a downloadable link to our un presented radio show. You can follow K-Klass with all our new productions/remixes and releases by following this link https://soundcloud.com/k-klass

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