With an impressive resume in rap that includes membership in the legendary Juice Crew (along with Marley Marl, MC Shan, Big Daddy Kane, Biz Markie, Roxanne Shante, and Craig G) and a verse on the 1988 classic posse cut "The Symphony," Brooklyn's Masta Ace is truly an underappreciated rap veteran and underground luminary. Two years after "The Symphony," Ace released his debut album Take a Look Around on rap's version of the Motown label, Cold Chillin' Records. While not a huge commercial success the album spawned a hit single and video for "Me and the Biz" which popped up on many popular rap video shows in the late '90s for nostalgia's sake. The album has Marley Marl's keen production aura all over it and also features a guest appearance from the Biz himself. After three years on the hush, Ace returned to the fold in 1993 this time with his crew as Masta Ace Incorporated (Lord Digga and Paula Perry) and dropped Slaughtahouse. The album broke new ground by taking the synthesized West Coast Sound and filtering it through an East Coast mentality. The memorable "Born to Roll," with its tweaked Moog/Kraftwerk bass line, brought Ace some serious commercial attention. In 2000, De La Soul used this classic beat on a remix of "All Good" featuring Chaka Khan. The album also produced a few hits for undergrounders including "Jeep Ass Niguhz" and "Style Wars." The album is highly notable for its cross-coast compatibility. In 1995 Masta Ace Incorporated dropped Sittin' on Chrome, a continuation of the themes on Slaughtahouse and owning an even slicker sound. Using the Isley Brothers' much-sampled "For the Love of You" for the track "I.N.C. Ride" may have offended some of Ace's loyal fans but the song's catchy vibe made it a hit. Sittin' on Chrome is another album chock-full of Jeep beats that doesn't relinquish its standing with underground tastes. "B Side" and "4 the Mind" featuring the Cella Dwellas are also crucial jams. Ace has been known to release sleeper singles that cannot be found on his albums; one of the rarest, 1996's "Ya Hardcore," is a bumping indictment of studio gangsters and thug rap neophytes. The talented survivor in the rap game released a variety of singles in 2000 including "Hellbound," a duet with Eminem marking his 12-plus years of experience in the rap biz. The Disposable Arts album from 2001 was a well-received protest against watered-down rap with some hints that the rapper was retiring. It was all a red herring as he returned in 2004 with the conceptual album A Long Hot Summer. A year later he formed the eMC with rappers Wordsworth, Punchline, and Stricklin. ~ Michael Di Bella, Rovi

Beats are life. Marco “Polo” Bruno, by way of Toronto and now making his home in Brooklyn, lives by this mantra. In a few short years the T. Dot native has gone from green producer with a new MPC 2000 XL to a highly sought after purveyor of boom-bap, laying down tracks for the likes of Masta Ace, Boot Camp Clik and Sadat X. Now the 28 year-old production wunderkind is set to release his own debut album, Port Authority on Soulspazm/Rawkus. A Hip-Hop head since copping the first A Tribe Called Quest album, in 2003 Marco Polo was fresh out of audio engineering school and despite sending his resume to over 20 recording studios in NYC, was without a single job prospect in site. Unfazed, he made the move to New York, staying with a friend in Queens before moving to his current Brooklyn confines. One day while meeting with recent acquaintance Ayatollah at The Cutting Room Studio, Marco finagled his way into an internship at the studio. From then on it was grunt work-fetching coffee, cleaning up, answering phones-and in a few months he landed a gig as an Assistant Engineer/Manager (coincidentally, the same job held previously by one Just Blaze). It would prove to be perfect locale for Polo to shop his beats. “I would have my beats blasting out of the office so that when clients came through they would hear my stuff,” he recalls. After having a hand in engineering records from the likes of Fat Joe, Talib Kweli and even R&B crooner Carl Thomas, a Juice crew member put the battery in Polo’s career after sliding him some tracks. “Masta Ace came through a Beatnuts session and I gave him a CD and he hit me back a couple of days later for the “Do It Man” beat that I did on “A Long Hot Summer.” Ace wasn’t Polo’s first placement. He had already been working with respected lyrical crew Brooklyn Academy which includes Jean Grae, Block McCloud and Pumpkinhead while he had showcased his work at a Beat Society show in NYC, which led to his relationship with Soulspazm. But the “Do It Man” track placed Polo on plenty more radars. Since the song was a late addition to A Long Hot Summer, in lieu of Ace’s depleted budget the two decided on a trade. In turn, Ace recorded “Nostalgia” which ultimately became the first track recorded for Polo’s Port Authority project. Says Polo, “That’s what set off the whole idea for me to do a whole album. My ode to Soul Survivor, that type of album.” Polo left The Cutting Room a couple of years ago, saying, “That was the best thing that ever happened to me cause it forced me to go into producer role full time.” Since then, Polo’s beats have sonically benefited folks like the Boot Camp Clik, Supernatural and Sadat X. Polo’s creative sampling, knocking drums and throwback grooves are fresh, never dated; while the warmth of sounds he is able to achieve has also led to mixing work for rap legends. “I learned enough [at The Cutting Room] to take it into my crib and I get a really good sound. So when O.C. or G. Rap were hearing the sound I was getting and it was sounding better than the studios they were paying for so I ended up following into that too.” Upcoming benefactors of his skills at flipping samples include Large Professor, Heltah Skeltah and Ed O.G amongst others. But for now, the focus is his Port Authority project. Boasting lyrical contributions from a who’s who of today’s most talented lyricists including O.C., Buckshot, Kardinal Offishall and Kool G Rap, all over his own production, the album will sure to please fans of progressive hip-hop old and new.