Jamma*Wun {thanks, Jamma*Wun}

From today’s b, the paper

J.W. Hudson is lovesick. He has yearned for hip-hop since that day he couldn’t get the song “Stop the Violence” out of his head on the bus stop. His enchantment with that message led to a raiding of his older brother’s tape collection later that evening after school; there he would find Golden Era kings like KRS-One and Just Ice calling out to him from the radio speakers to preserve the true culture of their music. Not much has changed since that fateful dusk for the West Baltimore-bred emcee known today as Jamma *Wun. After learning that dope rhymes can get you attention from the girls, the musical mastermind has gone on to become one of the most gifted musicians in the city, one who hopefully will soon have a major platform to show his talent. With his album “The Odd 7″ now available on CDbaby.com and the LP “Oddly Romantic” coming in January, Jamma took some time to talk about his history, his technique and his undying love.

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Talk a little about the legendary group New Testament. How did that affect your outlook on hip-hop in Baltimore?

You know how all great emcees have a great crew behind them? Well, New Testament was my crew. We were the early birds on the scene, before all the open mics and clubs that were down to book local hip hop; they were around, but not like the way they are now. Our stage was the street, particularly at the inner harbor because that was the spot at the time. Our name got out there thanks to dudes like Snow (the psycho), Apple (the leader), Prodigy (the therapist), 92Q deejay Pork Chop (the general) and 4OD (the jester).

It was a good 20 of us, plus another 30 or so outside of the crew who represented. We were one of the reigning crews in the area between 1994 and 1997. Everybody kind of started doing their own thing during and after the time we recorded the New Testament album. We chose 10 members who would make the album, and sure enough, a lot of members got pissed for not being chosen. Of course there was some animosity, which is never good, but we kept it rolling. After we finished recording the album we were stuck; it was like, ‘OK, now what?’ That failed attempt was our high point, but WEAA 88.9 Strictly Hip-Hop had our backs.

They had some of our joints in rotation, but we never released that record because we had no clue of what to do next. It’s sad because that was our legacy; something that people could remember us by. We’re Baltimore hip-hop pioneers, but no one knows it. I’m a pioneer on the scene but people see me as a new jack because of that one mishap. owadays most of the guys quit, got regular gigs, became alcoholics, or became stronger, smarter, and faster. I, Ab-Rock and Pork Chop are the only active members of the movement that was “The New Testament”.

What do you think about the current Baltimore hip-hop movement?

Our thing is coming along. We have talent, but we lack executives to help that talent advance. People in Baltimore are lazy as hell, believe it or not. It’s a lot of smart people here, but the problem with them is they have a blue-collar mentality. Another thing is most of our deejays are wack - straight up. How much local music do we hear in the clubs - not including club music - when we go out? None! But they’re quick to play Lil’ Wayne. Any other major city you go to in America, their deejays are representing. Think about it: There would be no hip-hop if it wasn’t for the deejays in the Bronx. The people heard it, demanded it, it expanded and the rest is history. I know some deejays who do play locals — it’s not a lot of them though and that’s gotta change.

How would you describe your musical style?

My style is oddly romantic. I love melody, vibes, brass, and strings. I also love indie rock and ‘70s electric jazz instrumentals. Take that, add some boom-bop and abstract rhymes and you have Jamma* Wun.

What’s the future for a unique sound like Jamma*Wun’s?

[Laughs] That’s for the most high to decide.

For more on Jamma*Wun and his music, visit myspace.com/jammawun.

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