by PETER LIGHTBURN

One McCoy who's as real as it gets, New York City's Timmy Regisford (known as the Maestro) has gone from spinning at high-profile clubs like Area and Palladium to remixing, producing and eventually signing talent as an A&R executive. He helped unleash classic garage quakers like Visual's "Music's Got Me" and an early version of Colonel Abrams's "Running," contributing significantly to house music's evolution. As music director at the radio station WBLS under Frankie Crocker, he produced the influential Dance Party mix show, adding dancehall to a potent cocktail of R&B, hip hop, and soul. His sharp musical instincts and marketing acumen brought him to the boardrooms of MCA, Atlantic and Motown, where he went to bat for heavies like Teddy Riley, Guy, Eric B & Rakim, Blaze, Femi Kuti and Johnny Gill. Today he holds court at NYC's Shelter, bringing his devoted flock to auralgasmic heights with a knockout playlist of R&B-tinged house, world beats and Garage/Loft anthems. His Montreal debut coincides with This Old House, the 13th birthday party for CKUT 90.3 FM's Utopia's Paradise. (Disclaimer: okay, I fess up to my own involvement with UP, but I've been following this cat's exploits since house music became part of my DNA. Work with me here!)

Mirror: Do you transcend the categories you're normally associated with, namely deep house and garage?

TR: People may call what I play disco or deep house, but for me it's soulful dance music because it's lyric-oriented and has feeling, not just rhythm tracks.

M: What sparked your devotion to club music?

TR: Got my education from Frankie Crocker and my inspiration from the Paradise Garage.

M: You went from DJ to music-biz professional. Is this something all DJs should strive for?

TR: DJs should have the mentality to educate themselves about the music business and not just put out records. There's marketing, cross-marketing, promotion, video shoots and artist development to think about.

M: Would mainstream success for the kind of music you feature at Shelter be a good thing? Or does this affect the integrity of the music?

TR: It would be a great thing. Artists in our music are not that different from the ones in R&B. The artists that sing songs are the ones that will break out, like Ce Ce Peniston or Robin S. It's about putting good songs to what is produced.

M: Your new day gig is at Def Soul/Island Polygram - what does this label mean for the marketplace?

TR: I am VP of A&R and we signed Patti Labelle, Chaka Khan and others. There are 85 million Americans in their forties who represent an untapped market for classic soul. Frankie Beverly and Maze concerts are sold out because of them.

M: How was the Shelter put together, and what sustains its vitality?

TR: It was put together by myself, Merlin Bobb, Freddy Sanon and Kevin Hedge. We're an underground club that doesn't strive for commercial success or being trendy or hearing banging music all night long. If you stay true to what you're doing, you're protected.

M: Are there important values inherent in your music and the club?

TR: Nothing more than having a good time, releasing and expressing yourself musically and going out and starting your week. It isn't rocket science.

With Tony Desypris at Gravity on Friday, Feb. 27, 2am, $18

>> Music Listings