Musical Legend Wyclef Jean and one of the Hottest New Producers in Hip-Hop Talk the Carnival III, Collaboration and “Global Gumbo”
Even if you’ve never heard the name Supah Mario before, you probably have one of his productions in your music library. The South Carolina native has produced all types of fire for artists like Young Thug (“Wyclef Jean” – Jeffrey and “Two Cups Stuffed” – 1017 Thug) and Drake (“Ice Melts” – More Life). One of Mario’s latest projects? Cooking up a beat for music legend Wyclef Jean’s Carnival III album that will be available for preorder June 23, 2017.
The connection between Wyclef and Mario was naturally instantaneous. Both innovators like to bend genres, come from church backgrounds and share an insane work ethic (both working in the studio for 2 days straight).
We met with artist and producer in Wyclef’s studio in New Jersey to get an inside look at what happens when a music legend and a rising star come together..
Talk to us about what you’ve got in store for Carnival III. Can you talk a little about what you’ve been working on?
Wyclef: This is the cool thing about Carnival III for me. So the best thing about Carnival I, I’d just finished The Score, so I was barely 20-something. And I was like yo, “I want to make the most artsiest hip hop album in the world.” That’s what is so exciting about the Carnival III. The combination of what happens when two different producers come together from two different genres, two different backgrounds. We’ve seen it with Quincy Jones and Michael Jackson, Teddy Riley and Michael Jackson. Now we’re seeing it with the younger generation. What Khaled’s doing… What Supah Mario’s doing… what different producers are doing. It’s experimental artistry.
Mario: I mean, I feel like a lot of the stuff that I grew up listening to, a lot of the stuff that I do… and, honestly, I didn’t know this until I walked into this room. A lot of the stuff I relate to, he relates to. I feel like it’s a meant-to-be type of thing. With all of the hype, you know, with the “Wyclef” record I did recently for Young Thug, just being a part of that Island vibe and having “accidentally” made that a trend. I think it was only a matter of time before I was going to be in the studio with him.
Is anything in particular you’ve learned from one another while working together?
Mario: I can answer that question.
Wyclef: Of course. Supah Mario, you the young blood.. talk to these young people.
Mario: I don’t think so, because everything was so mutual. I can’t say that I learned anything except that dude is exactly as talented as I thought he was before I met him. But like, frequency-wise… musicality. It’s all to be expected. It was like, we on the same wavelength right now. I’m sure things that I can learn, but just so far it’s been all vibes.
Wyclef: For me, it’s always a great experience, like I said, to watch generations come over and over again. So for me, it’s that vibe when I’m watching it from a distance. It’s very exciting to see younger kids to be taking that complete musicality torch. So that’s what excites me, ya dig?
Both of your styles are super eclectic, incorporating everything from reggae to trap. Do you feel that genre bending is an essential part of your music?
Wyclef: Imma let Supah Mario definitely rock on that one first.
Mario: Yes. For me it is. It’s awesome. I love genre bending. I love incorporating different styles of music together. I feel like that’s why I’m in the room with him now. It’s because we’re both really good at taking, like, pop music, pop chords and incorporating jungle drums, and really making hits off it.
How about you, Wyclef?
Wyclef: Definitely. I told ya’ll, the word of the day is “global gumbo.” I keep telling you. I went to New Orleans. I had gumbo. The manager said she didn’t want pork on her gumbo. I said give me the gumbo, I want everything on it. And that’s what music is. When you’re actually able to blend and come up with that fusion and that mix, you Little Richard. You’re Stevie Wonder. You’re Michael Jackson. You’re Bob Marley…
Mario: [Laughs]
Wyclef: The idea of “do not put us in a box.” Because we not in a box. We universal. For me, I mean, it’s The Carnival. You gotta think like, I’m doing Spanish, Creole, French and English all on one album. I’m taking rhythms from all parts of the world and I’m mixing it together. And this is after The Score, so you know crazy they thought I was. They was like, “aw, man. He going back to Haiti for real this time.” [Laughs] But once again, I can hear it. Music is culture. And then that church background. And then that hip hop background. It just does something to you. You hear it different.
It seems like it’s more than just genre then; you also draw from the human experience.
Wyclef: Everyone has struggles, but because of where we came from, like, I can hear my dad echoing in my voice. Like, “yo, go clean that bathroom.” And he talking about The Ramada Inn. The Sheraton Hotel. He’s like, a custodian. You see that, when I hear things like that. The way that I’m gonna hear the chords, and the way that it’s going to translate, and the way it’s going to come out is a different experience than someone else, you know what I mean?
That’s why when we incorporate that global gumbo, it becomes earth, wind and fire. You know what I’m saying?
Both of your families have backgrounds in the church. Can you talk about how that influenced you?
Wyclef: I always say when you from the church, you cheating. I was telling Supah Mario that. It’s almost like, you know, by the time everyone is trying to figure it out, you done figured out like 6 or 7 instruments. You done figured out how to put the whole choir together. The next thing you know you the choir director. You ending up writing those songs every Sunday that people sing.
Mario: I think coming from a church background, definitely, especially a soulful gospel background, like he said, you have an advantage when it comes to the creation of music.
Every Sunday, it’s like a rehearsal. Every Tuesday, it’s a rehearsal. You’re preparing. You’re learning this instrument. You’re learning how to write songs. You’re learning how to listen and take instructions on songs. And all these things help you grow into a musician.
You know, my whole family is involved in music, so.. having all those people at church and every Sunday. And they kicked my ass to go harder. Like, “play harder, play harder.” They shoutin’. I gotta play faster, you know what I’m saying? All these things help later on in life… because… that was weird, I hated it.
Wyclef: [Laughs]
Mario: [Flexes] Build up some muscles for a little while, you know what I’m saying?
Wyclef, how does Supah Mario compare to other producers you’ve worked with? Mario, how does Wyclef compare to other artists you’ve worked with?
Wyclef: When I was working on The Carnival I a lot of kids thought I was weird at the time, you know what I mean? Through generations I find other weirdos that are similar to me that I meet over and over again. Meeting Supah Mario right now, he could have been born 100 years from now, 100 years past…. when I hear his stuff, I don’t have to meet him. I know what frequency that he’s on. There’s a code. If it’s music, ya’ll don’t ever have to talk to each other. Ya’ll can just sit on two different instruments. That’s the vibe I get when I’m in the studio with Mario.
Mario: Now, I’ve met legends. I’ve been around other people who are legends. But it’s never been a vibe like it is with him. I’ve been in the studio for two days and it’s like, yo, I could come here every day and feel at home.
Maryelena Voorhis