Wild Pitch: The Infancy Years — A First-Person Account

My involvement with Wild Pitch goes back to its infancy. This was before the name had weight. It was also before the flyers meant anything. None of us realized we were building something that would echo through New York’s dance-music history.

I met Greg Daye in 1985 at Hi Tech Music, where I was working at the time. The store was located at 68 Bleecker Street in SoHo. Like many great things in this culture, the connection was immediate. Greg and I bonded quickly. We shared a musical taste, not just records we loved, but the way we thought music should move a room.

From there, our friendship grew organically through the clubs.

We spent countless days and nights together moving through the New York club ecosystem. We visited The Loft, Paradise Garage, and Lovelite. We also took trips out to Club Zanzibar in New Jersey. There were countless other rooms, too, that no longer exist except in memory.

What stands out most from that period weren’t just the parties, but the conversations. Greg and I spent hours discussing the structure of our own club. We talked about the sound and the dancers. We considered the night’s pacing and the DJ’s relationship with the floor. At the time, we didn’t realize we were laying down the blueprint for what Wild Pitch would become.

The Early Core: Dancers Before a Party Had a Name

Whenever I DJed at certain clubs, Greg would show up, not alone but with 20 to 30 hardcore, paying dancers in tow. These weren’t casual club-hoppers. These were committed dancers who followed the music and trusted Greg’s ear.

That’s how I met Patrick Lafontant. I also met Monique Brooks and Trevor Biggs. They are what I’ve always thought of as the Holy Trinity of Wild Pitch. They embodied the energy, discipline, and musical intelligence. This would define the party long before there was a fixed venue. It also did this before there was a recognizable brand. Timmy Richardson Ernest Manigo, and Mark Blagrove (key comrades) joined our collective shortly after we started.

The First Wild Pitch Party: Off Stage Theater

Our first official party took place at an old theater space called Off Stage Theater. It was located on the west side of Manhattan, somewhere around 25th or 26th Street, if memory serves. (It’s been a while, but the feeling of that night hasn’t faded.)

We weren’t officially branded as Wild Pitch yet, that identity came later. In those early days, we moved under a variety of names as the party took shape.

The original DJ lineup was:

• Myself
• Patrick Lafontant
• Ashe The Hyper Freak — an original member of David Mancuso’s record pool

All of us promoted that first party heavily, flyers, word of mouth, and dancers we trusted. And when the night was over, we knew we had something. The returns were solid. The music flowed. Most importantly, we learned that we could play together musically. We did not compete for attention.

A Different Era of DJing

It’s important to understand the context of that time.

Back then, clubs were open for eight hours or more. It was normal for a single DJ to command most of the night. We built musical arcs, tested the dancers’ patience, and rewarded them. DJs told long stories. Having three DJs in one night was a new concept for me; I was used to playing eight-hour stretches. Still, I was willing to work with like-minded DJs toward one common goal: the success of Wild Pitch. Wild Pitch was born in that tradition.

The DJ wasn’t just “playing records,” we were guiding the room, responding to dancers who were deeply invested in the journey. That philosophy became one of Wild Pitch’s defining traits. It set the party apart from many others emerging in the post-Garage landscape.

This was different from today’s model. Today, there are ten DJs in five hours. Quick handoffs, social-media moments, and no real musical connection or direction.

Why These Early Moments Matter

Looking back, what strikes me most is that Wild Pitch didn’t start as a business idea. It started with relationships. It also began with shared musical values. Dancers believed in the sound enough to follow it wherever it went. Those early conversations at Hi Tech Music. Those long club nights at the Loft and the Garage.
That first risky night at Off Stage Theater. That’s where Wild Pitch really began. We didn’t set out to create an institution. We were just trying to create a room where the music, the dancers, and the DJ all mattered equally.

Becoming a Traveling Party

We would have loved to stay at the Off Stage Theater. But the space had other commitments. We weren’t able to lock in a weekly event. What we did know was that we couldn’t afford to lose the momentum we had built.

We decided not to wait for the perfect room. That choice would define Wild Pitch forever. We would move.

We began renting dance studios, small theaters, and clubs, wherever we could create the right conditions. That’s how Wild Pitch became a traveling party. The location changed, but the vibe never did. No matter where we landed, when people walked in, they knew instantly they were at Wild Pitch.

That flexibility became one of our greatest strengths. We weren’t tied to a building; we were tied to a feeling, a sound, and a community.

Building the Floor: Past, Current, and Future Together

Initially, our primary target audience was the Garage and Loft crowd. These were dancers who already understood musical journeys, patience, and emotional storytelling. Early on, we realized something important. For Wild Pitch to survive and grow, we had to cultivate a new generation. We also needed to honor the old one.

So we made a bold move.

We lowered the age limit from 21-and-over to 19-and-over, and we heavily promoted on college campuses throughout the tri-state area. That wasn’t just a marketing decision; it was philosophical. Young people represent the future. We wanted to build Wild Pitch with that future in mind. We integrated new dancers with established party members so the culture would be passed down, not diluted.

I felt it on the floor. Seasoned dancers were schooling younger heads without saying a word. They did it just through movement, timing, and respect for the music.

Ego at the Door

One rule mattered above all others at Wild Pitch:

Check your ego at the door.

As DJs, we were 100% focused on the party’s success, not on individual spotlight moments. It wasn’t about “my set” or “my records.” It was about continuity, trust, and serving the dancers. If the room needed lifting, grounding, or patience, that’s what you gave it, period.

That ethos shaped every DJ who joined Wild Pitch.

David Camacho: Emotion First

I knew David Camacho from New Jersey. I used to attend some of his parties. What always stood out was how he played with emotion. He wasn’t a jukebox DJ; he told stories. His music choices were thoughtful, soulful, and intentional.

Camacho was proud, innovative, and deeply musical.

Years later, we heard he was DJing at a club called The Space in Midtown. Greg and a group of us went to check him out. I hadn’t seen him in a few years. It was great to reconnect. It was even better to experience his music again in a room setting.

We had an incredible night.

Afterward, we approached him about joining Wild Pitch. Once we laid out the vision, he was quickly on board. The truth is, his vision was already our vision. Camacho also brought a serious group of devoted followers. Naturally, his crowd became part of the Wild Pitch family almost overnight.

Bobby Konders: Bass, Culture, and Controlled Chaos

Bobby Konders joined shortly after, and his arrival expanded the Wild Pitch universe in a major way.

At the time, Bobby worked at WBLS and had a massive fan base. What really drew us in, though, was his musical range. Bobby could play dance music flawlessly, but it was his reggae sensibility that truly excited us.

Our parties often ran from midnight to noon. With so many new, young college students on the floor, we made a deliberate choice. We dropped Dancehall right in the middle of house, disco, and soul classics.

Damn, and that shit worked!

When Bobby would crank that bass, the kids would lose their minds. The screams, the reload energy, the raw joy, it was electric. His productions, The Poem and Nervous Acid, quickly became Wild Pitch standards, records that would flip the room instantly.

More than anything, Bobby reinforced what Wild Pitch was about: culture over category. Dancehall became so popular at Wild Pitch that we had to create a separate room dedicated strictly to dancehall.

Why This Chapter Matters

This period is where Wild Pitch truly became what people remember, not because of a single venue or a single DJ, but because of intentional choices:

• Choosing mobility over permanence
• Choosing education over exclusivity
• Choosing community over ego
• Choosing emotional truth over genre rules

Wild Pitch wasn’t just a party you attended. It was a place where dancers and young up-and-coming DJs were raised. Seasoned DJs were sharpened, and musical boundaries were redefined.

The Wild Pitch Incubator: Where Careers Were Forged

Many people who later carved out their own distinct niche in the music industry actually worked at Wild Pitch. This wasn’t accidental. Wild Pitch attracted people who were serious about culture, movement, and sound. They were individuals who understood that a great party requires far more than a DJ booth.

One of the most important figures was our dear friend, the lateRaymond Ultarte. Raymond, also known as Mr. Voo Doo Ray, was a talented promoter. He was a also legendary dance choreographer. His understanding of movement and rhythm deeply influenced the Wild Pitch floor.

We also had Hisa Ishioka, long before King Street Sounds existed, working the front door on occasion. David Banks (DJ Disciple) was part of the ecosystem. The late Marjory Smarth was another extraordinary choreographer. Her presence elevated the room.

And there were countless others, people who learned the craft of nightlife from the inside out at Wild Pitch.

Walking Into the Unknown, and Seeing a Thousand Souls

I remember inviting some of my seasoned DJ friends to come check out Wild Pitch. When they walked in, the reaction was always the same.

Picture this: you enter a nondescript building, nothing fancy, nothing that hints at what’s about to happen. Then you step inside, and suddenly, there are at least 1,000 people, all completely locked into the DJ’s beat. No phones. No posing. Just bodies moving as one.

They were blown away.

Almost instantly, those DJs wanted to secure a night. That’s when you knew Wild Pitch was special, not because of hype, but because the energy was undeniable.

Breaking Records Before They Were Hits

Wild Pitch wasn’t just responding to trends; we were creating them.

We introduced and broke countless new records and artists long before they reached wider circulation. One of the most important moments was when David Camacho first played Follow Me. This was before it was signed by Strictly Rhythm and became the international craze it is today.

In fact, Wild Pitch booked Aly-Us’ very first NYC appearance. That’s the trust labels and artists had in our floor; we were a proving ground.

Another defining moment came from DJ Pierre. He created an entire genre-inspired movement as a tribute to our party. This movement is known as the Wild Pitch Sound.

I personally introduced his iconic track “Generate Power” at Wild Pitch. The response was immediate. The kids went crazy. I played that track at least four times that first night, and every single time, the floor erupted.

That’s when you know you’ve touched something real.

DJs Who Understood the Mission

My favorite DJs to work with included Camacho, Bobby Konders, Patrick Lafontant, and Timmy Richardson. I also enjoyed working with DJ Manski, Kenny Carpenter (one of my mentors), the late John Robinson, and Victor Rosado.

Any one of us would have rocked the party solo. But that wasn’t the point.

We all understood the bigger picture. Wild Pitch’s success came first. That awareness, that lack of ego, is what kept the party strong and the floor and DJ booth unified.

From Wild Pitch to the World

The influence of Wild Pitch didn’t stay in New York for long. It spread internationally, and many of us secured global bookings directly because of what happened on that floor.

I remember DJing one night. Hisa Ishioka was at the party. This was before King Street Sounds was even a concept. He enjoyed my set so much that he told me he wanted to book me for a tour of Japan. This was 1990.

I’ll be honest, I didn’t believe him. In club culture, you hear a lot of promises that never materialize.

True to his word, Hisa called me the following Monday. He asked for a DJ mixtape and my résumé. I delivered them promptly. About two weeks later, I had a full eight-gig tour of Japan booked.

That tour marked the beginning of my international career, and it all started at Wild Pitch.

For that, I give thanks to Hisa, Hitomi Kimura, Daizo Murata, and, of course, Greg Daye.

The Global DJ Pathway

Today, international DJ tours are expected. In the late ’80s and early ’90s, they were earned, often on floors like Wild Pitch.

The idea that a DJ could be discovered organically was not common. Being invited abroad and building a global career based purely on musical integrity and floor control were rare occurrences. Wild Pitch helped normalize that pathway. It connected New York to Japan, Europe, and beyond, not through hype, but through trust.

That trust still fuels the global house network today. Promoters book DJs based on reputation. Dancers travel for specific nights. Scenes support one another across borders.

Legacy: Wild Pitch and the Global House Ecosystem

Wild Pitch didn’t end; it multiplied.

What began as a traveling New York party was born out of necessity. It became a template that the global house ecosystem still follows today. They follow it even if they don’t realize it. Long before terms like “community,” “curation,” or “safe space” were industry buzzwords, Wild Pitch embodied those values. We lived those values in real time. You can see the Wild Pitch DNA in an intimate loft party in Tokyo. It’s evident in a warehouse session in Berlin. You can also notice it during a soulful night in London. It is also evident in a marathon set in South Africa. These elements are part of how those spaces are structured, even if the dancers don’t know the name.

And when DJ Pierre named and shaped the Wild Pitch Sound, it wasn’t branding, it was acknowledgment. The party had become influential enough to inspire an entire sonic lane that still resonates in modern house production.

Final Word

Wild Pitch was never about nostalgia. It was about continuity.

As long as there are dance floors built on trust, DJs who play for the journey, and communities that value the collective over the individual, Wild Pitch is still happening, somewhere in the world, right now.

And that is the truest measure of its legacy.

Nick Jones

The Wild Pitch Flyer Gallery