Fall 2005; Interview by DJ Parallax

Longevity is one of those words that are seldom used to describe rappers. But the quality of true talent, even in this day and time, still rises to the top. While many proclaim the New York rap scene has been dormant, NYCONFIDENTIAL caught up with one of Brooklyn’s favorite sons who has been slept-on more than he’s actually been sleeping. With movies under his belt, a label deal in conjunction with Fastlife Records, a tour and other business ventures in the works, Anthony Cruz remains a transcender of the rap game whose tales create vivid images of the thinking man who quietly makes moves on and beyond the streets. We caught up with AZ Sosa on the eve of the release of his fifth album, A.W.O.L. to find out how he quietly makes a lot of noise. East New York stand up.

NYCONFIDENTIAL: Your June 2002 release, Aziatic, is a certified hood classic. The streets have been asking- what have you been doing between the release of the Aziatic project and A.W.O.L?

AZ: I been in the grind, getting out of the red tape I had to deal with (my deal with) Motown, raising my son, investments and other business ventures.

NYCONFIDENTIAL: What kind of ventures, can you speak on that?

AZ: No doubt, doing my (acting) thing. That’s been the most recent thing.

NYCONFIDENTIAL: Word, lemme find out about Hollywood Sosa.

AZ: (Laughs) It was a movie called Envy. It came out earlier this year to DVD. It also starred Ray J, Lisa Raye, Chico Debarge and Maia Campbell.

NYCONFIDENTIAL: Sounds good. What kind of role do you play?

AZ: I’d want for you to see it for yourself. It’s like the 2005 version of Belly, but a little stronger.

NYCONFIDENTIAL: The streets need another cult-type classic.

AZ: Most definitely. Will probably do some more experimenting with the acting thing, though.

NYCONFIDENTIAL: Speaking of classics, Aziatic has often been considered by many hip-hop heads and street veterans as your best work.

AZ: I was very happy with that album. I was very satisfied with how it came out. But now that I’m out from under the red tape from over at Motown I’m really ready to just do my thing. I am even happier with this album here, A.W.O.L.

NYCONFIDENTIAL: Is A.W.O.L. your best work to-date?

AZ: Yes, without a doubt.

NYCONFIDENTIAL: There was talk of an album set to be released in the middle of last summer, Final Call. What happened with that project?

AZ: I left that (album) and those songs behind mostly ‘cause of the bootlegging before (the album) got finished. It got leaked like crazy. I scrapped it and I been in the process of doing new songs since then. A.W.O.L. is a whole new project with new energy. Sometimes you gotta start fresh.

NYCONFIDENTIAL: What would you describe as the main difference between Aziatic, the initial Final Call project, and the A.W.O.L. project?

AZ: Aziatic and (what began as) Final Call were more soulful. I was on more of a spiritual vibe with the messages I wanted to get across then. A.W.O.L. is definitely more aggressive, much more militant in production and in content, lyrically.

NYCONFIDENTIAL: There’s definitely a more hardened edge to the songs we’ve heard before the album release, like “The Come Up” and “Serious”. What else can listeners expect from this release? What do you want your listeners to come away with when they get this record?

AZ: The people can expect a sound similar in the vein of Doe Or Die and Illmatic. They can definitely expect a sound more along the order of what the East Coast has needed to hear for a minute. I’m bringing some more order to the East Coast. But I still got love for everybody doin’ their thing. With this album I’m bringing some New York love back to the game. Hardcore lyricism, much more militant in meaning and message- it’s our lives in the times we in right now. Live life, respect life, but go hard in any and everything (you do).

NYCONFIDENTIAL: Let’s talk about how you crafted the militant sound you described. Which producers did you work with?

AZ: I got with Premo (DJ Premier), Buckwild, Heatmakerz, and Fizzy Wo. The others are up and coming producers that are hungry and wanna do their thing. It’s good to have new heat- different sounds keep everything fresh, you know.

NYCONFIDENTIAL: You typically don’t have that many outside artists collaborating with you on your projects. You approached this record a little differently. Who else did you collaborate with on the songs and why?

AZ: I got Raekwon & Ghostface on my album. I really wanted to capture a more militant, more aggressive vibe (so as) to speak on the current environment we (live) in. We did a track together on the album called “New York”. I got another track I did with Half-a-Mil called “Street Life”. We recorded the track before he passed away and I never had a chance to put out the record. He was a good dude, great artist. The “Magic Hour” track I did with C.L. Smooth was originally recorded for the Final Call project- and it’s that heat, you know? I felt very strongly about that record, so I wanted to make sure it was included with this project.

NYCONFIDENTIAL: The joint you did with Nas called “Serious”- that joint is crazy. You and Nas have always been great collaborators over the years. Did the thought ever come about for the possibility of the two of you doing an album together?

AZ: It just ain’t ever really pop off like that. He does his thing, I do mine. It’s all love, though. My door is always open. Always.

NYCONFIDENTIAL: Were there any artists that you wanted to work with for this project that just didn’t happen?

AZ: Nah, it is what it is. Aside from Pharrell, I ain’t really pressed to work with too many other people. I’m good on that. I’m in a class all by myself.

NYCONFIDENTIAL: That’s what’s up. Who influenced you to start rapping?

AZ: Big Daddy Kane, Kool G. Rap, Rakim, KRS-One, those are the main ones.

NYCONFIDENTIAL: What rappers are you listening to right now?

AZ: Right now, there’s actually quite a few: Fat Joe, Common, The Game, T.I. Everybody’s doing their thing.

NYCONFIDENTIAL: What are your general thoughts about the rap game right now?

AZ: Truly, it is what it is. I mean, like I said, I think everybody is doin’ their own thing, I think, in their own way. The South definitely got it on lock right now. I think it’s good for hip-hop. Everybody gotta have something different. I respect that. At the same time I wanted to bring a more aggressive tone to my music for the East Coast. This album for me, compared to the whole game right now, is a little bit more for my hardcore fans.

NYCONFIDENTIAL: There’s definitely a strong following over the years. The streets still talk about tracks like “Sugar Hill”, “Life’s a Bitch”, “Problems”, etc. But how did you end up getting discovered initially?

AZ: On the real, there was nothing premeditated as far as getting in the rap game. Honestly, I was in the right place and things started happening at the right time. Life creates opportunities to speak your mind. After “Life’s A Bitch” more doors opened, and since then I’ve had Blessings to grow as a person and as an artist.

NYCONFIDENTIAL: In your growth, what is the difference between the AZ we met in 1995 versus the AZ in 2005-2006?

AZ: I’m definitely a much more focused individual as a person, and I’d say I’ve grown much more as an artist as well. I’m more involved as a businessman, as an entrepreneur. I’ve grown from a boy to a man to a father.

NYCONFIDENTIAL: Speaking of being an entrepreneur, you have your own label situation, Quiet Money Records. What’s in the immediate future for the label?

AZ: Quiet Money is a joint deal with Fastlife Music. The name comes from my lifestyle, about how you make your moves- not just in music, but also in life. For right now I am focused on pushing A.W.O.L. I have artists I’m working with, like Trav, Animal, and others. I will look to further distribution for those projects.

NYCONFIDENTIAL: What’s in the future for AZ?

AZ: I’m definitely interested in tapping into more films, endorsements and so on. As far as music, I got at least another five albums in me. I ain’t goin’ nowhere.

*For more on AZ, go to www.az.ivnet.tv.

*Special thanks to Dan Green and Matt Conway