The theorem of turntablist as musician has been long proven in the capable hands of DJ Logic, whom with jazz as his foundation has become a wax innovator by crossing genres and mixing his sound across the map. As one of the world’s most accomplished turntablists, DJ Logic is widely credited for introducing jazz into the hip–hop realms and is considered by most as a highly-respected session musician and an innovative bandleader.  Since his emergence in the early nineties amidst the Bronx hip-hop scene, the New York City based deejay has been amassing a veritable mountain of collaborations, including a full-fledged band with members of Blues Traveler (The John Popper Project ft. DJ Logic), a trio with Steve Molitz & Freekbass (Headtronics), a jazz project with Georgian prodigy Beka Gochiasvili, and as a member of Grammy-winning Arturo O’Farrill & The Afro Latin Jazz Orchestra’s The Offense of the Drum album. He also has a long list of other collaborations with artists ranging from the likes of Bob Weir, John Mayer, Medeski Martin and Wood, Christian McBride, O.A.R., Carly Simon, Marcus Miller, Jack Johnson, Vernon Reid, Warren Haynes, Charlie Hunter, Jack DeJohnette, Ben Harper, Mos Def, The Roots, Bernie Worrell, Bill Laswell, Melvin Gibbs, Fred Wesley, Sean Kuti and many more. DJ Logic and his role as an electronic-music ambassador keeps him at the top of his game. Whether the scratch artist instructs tablas to flirt with drum ‘n’ bass (such as on his Nina Simone and Billy Holiday remixes found on Sony Legacy’s Remixed and Reimagined volumes), meshes free styling MC’s with Afro-Cuban rhythms (such as on ‘Share Worldwide Funk’ – a remix produced for Jack DeJohnette and Golden Beams Collected, Volume 1), or remixes tracks for rock bands such as Moon Taxi, DJ Logic can always be found paying homage to his predecessors while contributing his vision to the deejay genre. While the context of his work may vary, DJ Logic’s spinning skills are definitely beyond reproach. He works with a phenomenal roster of invited guests, and he knows how to pick his collaborators as well as his samples. With a growing catalogue of recordings under his belt, DJ Logic’s supreme musicianship and eclectic tastes will allow him to journey wherever an infectious groove may take him.

Gilmore was raised in Hollis, Queens, a New York City neighborhood renowned as a settling place of jazz musicians for decades. His musical pedigree runs deep on both sides of his family. His father, a saxophonist, and his mother, a singer, had a gospel group in the '70s. His uncle Craig Haynes, Roy Haynes' son and also a drummer, lived upstairs. Another uncle Graham Haynes, also son to Roy, is a cornetist, composer and one of the founding members of the M-Base Collective. Music was inescapable, but Gilmore came to the drums on his own terms. In fact, he had to convince his grandfather that percussion was his passion. "I knew I wanted to be a drummer as a profession at 7 years old," he says. "I knew at that point, but I don't know if everybody else knew I was as serious as I was." It would be three more years until Gilmore received his first drum set. On his 10th birthday, his grandfather gave him the one he'd been using. Both Haynes and Gilmore started their professional careers as teenagers. But while Gilmore attended LaGuardia High School (New York City's arts magnet), The Juilliard School's Music Advancement Program and The Manhattan School of Music, Haynes is primarily self-taught. "He would say, 'Back in my day it's what you call [being] a natural,'" Gilmore says. "I remember it was so simple, the way he would explain things. 'Just start here, and then take it wherever you want to take it ... that sounds about right,' and that was that. "It was really good for my development," Gilmore adds. "It wasn't that his views were so definitive. He allowed me to find my voice, the way he gave me the information. He was never dictating how things should turn out. He was giving me so much information without saying much at all. Older, wiser people usually do." While Haynes wasn't giving his grandson formal lessons, he was grooming him for the inevitable. Gilmore was sitting in with his grandfather while still a junior in high school. In 2002, Haynes' Fountain of Youth band was closing out a jam-packed week at the club Birdland, which would become part of a live album. After the set, Haynes introduced the audience to Gilmore, and summoned him on stage to take a solo.