DJ Maestro: “My goal was to introduce jazz to a wider audience by presenting it in a fresh context”

From a crate-digging jazz enthusiast to one of the most respected curators in genre-blending music, Dutch DJ and producer Martijn Barkhuis, better known as DJ Maestro, has built a career out of bridging jazz’s timeless soul with the ever-evolving pulse of modern sounds.

Best known for his iconic Blue Note Trip series, Maestro introduced a new generation to legends like Herbie Hancock, Donald Byrd, and Nina Simone through cinematic mixes that brought together smoky lounges, dancefloors, and headphones around the world.

When Blue Note Records entrusted him with their storied catalog in the early 2000s, Maestro didn’t just remix tracks—he reimagined them. That same blend of reverence and reinvention would later define projects like Little Girl Blue Remixed, a bold reinterpretation of Nina Simone’s debut album.

Over the years, his collaborations with jazz bands, producers, and filmmakers have only deepened his reputation as a cultural connector—one who honors the past while constantly pushing jazz into fresh, unexpected territory.

DJ Maestro now returns with Deep Trip, a new compilation on Black Hole Recordings that dives into the deeper side of house, swapping funk’s sharp edges for warm grooves, hypnotic rhythms, and soulful textures.

Available as a mixed CD and a triple vinyl set of unmixed tracks, it’s an invitation to slow down, sink in, and let the music move you.

You’ve created a unique sound mixing jazz with modern grooves. Where did your love for jazz begin, and how did that turn into a career as DJ Maestro?
I started playing records when I was 15, first disco, then hip-hop. While digging into the samples used in those hip-hop tracks, I quickly found myself discovering funk and jazz.

With a limited budget, I began visiting second-hand shops and flea markets, slowly building up a collection. Before long, I was playing at Acid Jazz parties. Things really took off when I became the music director at Dutch national jazz radio.

Unfortunately, about a year later, the station was sold and I lost my job. But something good came out of it: two former colleagues had moved to EMI, the parent company of Blue Note Records at the time, and they invited me to compile what would become Blue Note Trip.

We never imagined it would be such a success. Twenty years later, I still get emails every week asking when the next volume is coming out.

As someone so connected to jazz, what do you think a DJ’s role is in keeping jazz alive and giving it a fresh twist?
I believe the primary role of a DJ is to share music with an audience. Of course, technical skills matter, but above all, it’s about selecting the right tracks.

With my Blue Note Trip series, my goal was to introduce jazz to a wider audience by presenting it in a fresh context. (Coincidentally, A New Perspective was also the title of the first Blue Note record by Donald Byrd that I ever got my hands on).

And it worked. Music found its way into cool bars, restaurants, and lounges. We started organizing parties across the Netherlands, and occasionally in other parts of Europe and Asia. I’d play original jazz tracks, blend them with dance beats to give them new energy, and always had live musicians on stage to bring that authentic jazz feel to the experience.

The Blue Note Trip series really took off around the world. How did you end up working with Blue Note Records and mixing old-school jazz with fresh beats while still staying true to the label’s roots?
It’s a common misunderstanding that I added beats to the tracks on Blue Note Trip. I didn’t. By remastering the tracks and presenting them as a continuous mix, it only felt that way.

What was more important to me was blending tracks from the '50s and '60s with those from the '70s—a period in Blue Note’s history that critics once claimed wasn’t “real jazz.”

Personally, I feel the '80s and '90s weren’t the label’s most creative years, but that shifted in the 2000s with artists like St Germain and later Gregory Porter, who helped usher in a new chapter. The goal was always to introduce jazz to a new audience while staying true to its golden era.

Taking on Little Girl Blue was a pretty bold move. How did you even begin approaching such an emotional and iconic Nina Simone album? Were there any tracks that really stuck with you or were tricky to rework?
Nina’s album was a real challenge to work on. I collaborated with several remixers, and the main message to everyone was clear: treat the original with respect. I think most of the remixes have achieved that goal.

Now, ten years later, I’m still proud of the majority of those tracks. What made the project especially difficult was that we didn’t have access to the original master tapes. That meant we had to get creative—adjusting pitch and tempo, sampling carefully, and working around the limitations.

Your mixes really take people on a journey. How do you go about creating that kind of vibe and flow when you’re putting a mix or remix together?
It always starts with a few tracks that I really love. From there, I dig through my record collection to find others that could fit into the mix. But each track has to stand on its own as well.

With Deep Trip, I begin on a very jazzy note with Trinidadian Deep, then gradually move into a more danceable territory—deeper sounds along the way and close with an upbeat, jazz-funk-inspired track. For me, there’s always a clear beginning and end.

And yes, that’s exactly what a trip is all about.

You just released a new album. With Deep Trip, you’ve taken things into deeper house vibes. What sparked that shift and what makes this project feel different from your earlier compilations?
Well, most people know me for my jazz compilations, but I’ve been collecting and spinning all kinds of music since I first started DJing.

I still love playing across genres at gigs, starting with jazz, getting funky, raising the tempo, moving from African rhythms to Samba, and blending everything from old-school house to modern disco and techno.

For me, it’s not about the genre—it’s about creating a vibe and giving the dancers a great night out. I’m really happy to showcase more of those broader influences on this compilation!

You’re releasing Deep Trip on vinyl and as a mixed CD, which really stands out in today’s digital-first music world. What inspired that decision, and what does it represent for you?
When I connected with Arny Bink (owner of Black Hole Recordings) last year, thanks to an introduction from Paul Oakenfold, we had a great conversation.

Arny knew about my work with Blue Note, but he didn’t realize I was also involved in dance music. I told him I was eager to do something different, and that over the next few months, I would send him some of my favorite house tracks.

Eventually, we agreed to put together a mix compilation. Clearing the tracks wasn’t easy, but in the end, we secured a great selection. I went into the studio and mixed it in a single day. When I sent it to Arny, he gave me the most amazing compliment:

"I was convinced you’d make a lovely mix, but this goes beyond my expectations!"

Having the release come out on triple vinyl was really important to me. That was my one big condition. Yes, I sometimes play with USBs, but as little as possible. I still prefer spinning records, and I wanted to be able to play my own record!

You’ve worked with jazz bands, teamed up with other artists, and even done some film scoring. How have all those different experiences influenced your approach as a DJ?
What matters most in these moments, especially when I’m on stage with musicians (and sometimes even a full 20-piece Big Band), is that we all listen to each other.

I play my beats and create space for the musicians to really showcase their skills. In situations like that, I see myself more as a beat conductor: laying down danceable grooves with a solid bassline but keeping the melodies minimal, so the musicians have room to improvise.

I love that combination—bringing jazz to the dancefloor and making people move to it!

What do you enjoy most about playing with live musicians compared to producing solo?
As a DJ, I’m usually on the road alone and I’ve really come to enjoy that. But playing with musicians creates a completely different energy and atmosphere.

Over the past few years, most of my gigs have been solo, but I’ve recently started performing with musicians again, and I’d love to keep that going. I’m currently working on sharpening my production skills to take those live sets to the next level.

Jazz has such a rich history but it’s always changing. Where do you think jazz fusion will be heading in 5 years? And do you have any new projects or sounds you’re excited to explore and share with the audience?
I love what’s happening with the new wave of jazz. It’s becoming more electronic, yet it still holds true to its roots as improvised music.

I’d love to see more of this amazing new jazz reach a wider, more mainstream audience. The beauty of jazz is that it’s always evolving, breaking barriers, blending genres, and constantly reinventing itself.

As for where it will be in five years? I honestly don’t know—but I’m sure it’ll be something great!