It sounds like you have your priorities in the right order.

A musician needs to make music, and the record company has to think about the PR. Today things are going very fast and, for music, it is good to stay yourself and produce some personal stuff. This is quite hard to do when hype comes in. I like the musicians who give me more than sound, who provide some flavours, when you feel that their soul is in the music. Sometimes you think you know the guy and may hate him - like Miles Davis - but love his music.

Sometimes I nearly cry when listening to music. I feel that music is more than sound, and that it comes from the heart. That is not possible if you're looking for fame! Of course I don't pretend that I succeed in putting my soul in the music each time I play or produce.

You're doing pretty well so far. Can you say more about Lyon - I'm curious about how you got into the jazz, reggae and soul stuff growing up. Is there a big music scene there?

I would say that the music scene is not developed enough. Some guys do very well for the town like June Matsuoka, DJ and programmer of the club 'La Marquise'. DJ Jean Marie Sevain brings us some good London flavours too. Eric Duperray (Mr Day) sings with me - he is a brilliant singer.

Actually, Lyon is fantastic because the musicians are underused if you know what I mean. As a producer I work with many highly talented people who would be superstars in London and then wouldn't work with me.

So are all your collaborators from Lyon too?

Almost everyone I work with is in the neighbourhood. It's a wonderful place on the hill "uptown top rankin". I meet them in bars or through friends. Some are from the US, some are from the UK, others are from the French West Indies and Africa. The neighbourhood is pretty international actually.

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Think about my reggae band, The Dynamics: two French guys, one girl from Cameroon, one Boston US guy and a dirty Devon singer! I make music every day and can't pretend to get inspiration all the time. Working with or for other people is a good way to feed myself with ideas and influences.

I love The Dynamics version of 'Move On Up' by the way. When is it coming out?

Well, The Dynamics have no record opportunity right now which is a shame. Reggae in France is not that open to soulful stuff and I don't know the reggae scene in the UK. Dealing with a Jamaican record company is very complicated and not that lucrative, and Q-tape already have 100,000 plans. So, for now, The Dynamics do not have any record plan.

What's the idea behind releasing your musical projects under all those different names?

My ambition is to build a proper identity for the various projects I have. For example, Porks Watch is electronic deep stuff. I don't compose the same way when I work for Porks Watch - I put myself in another direction. Metropolitan Jazz Affair is another project and I work 100% differently for that, with jazz musicians.

I guess that different names are a good way to stay free in creation because it avoids having to think about the logical career evolution. I would be bored playing jazz all the time. Or any other kind of music.

Are there any styles that you haven't tried yet that you would like to experiment with?

I plan to make a record with Nasree Noreynee - a very talented singer from Senegal - in a roots African style. Ali Farka Toure bluesy style. I'm very excited about that. I'll never go too far into what I call 'cold music'. I do not feel any influence from Kraftwerk. Iron Maiden is nothing to me too. But I'd like to dig a pop music direction. I love The Zombies. I love The Stooges too, so who knows...