Miami-based trio Fat Produce returns with Soulful Days, a warm, analog-driven celebration of deep groove culture—recorded live to tape and rooted in soul-jazz, funk, and reggae tradition. Guitarist Addison Rifkin and drummer Michael Duffy talk about musical lineage, developing a trio voice, and why a no-overdubs recording makes all the difference.

Preston: I’m thrilled to talk with guitarist Addison Rifkin and drummer Michael Duffy of Fat Produce about their excellent new album Soulful Days, the follow-up to their debut Fresh Squeeze. I discovered the band on Bandcamp, grabbed their vinyl, and immediately fell in love. The new album deepened that connection—warm, intimate, and beautifully recorded. Gentlemen—welcome.

Let’s go back to the beginning.

Addison: We’re both from Studio City in Los Angeles, but we never met there. We each moved to Miami independently and ended up on a gig with organist Adam Scone and the Scone Cash Players. At the end of the set, Duffy turns to me and says: “We’re going to make records together.” And here we are.

Michael: We always wanted a trio, but finding that third member is tough. For Fresh Squeeze, we brought in Rene Camacho—who plays with War —and Kevin Eubanks, because he would set the tone for our sound. Here in Miami, we’re fortunate to have great bassists; Nestor del Prado became part of the fold when we started performing the music that became Soulful Days. If the permanent third member shows up, we’ll know.

Preston: Was Soulful Days recorded live to tape?

Addison: We sit on the floor and play everything down, like you’re hearing us onstage. It’s honest.

Michael: It’s a Two-day process, 10 to 5, with lunch. The long part is waiting for the label to schedule the release. We’re probably going to have five records in the can by year’s end.

Preston: The new album also represents a change in concept from Fresh Squeeze. 

Addison: Fresh Squeeze was completely original—songs we wrote together over a year.

Michael: Soulful Days is a tribute to the people who inspired our sound—not a “covers” record. These are tunes from our live set, songs we built the band around before we even recorded the originals. It felt like the natural next step.

Preston: Has your sound also evolved?

Michael: The biggest shift for me was learning to play quieter. My drum-sound heroes—Max Roach and Idris Muhammad—weren’t hitting hard, but the sound was huge. Let the microphones do the work. The bass drum is wide open—no muffling—what I call “boingy.” It becomes a third melodic voice.

Addison: For me, it was about making a trio sound full, leaning into chord-melody guitar and arranging so the textures vary. A guitar can be an orchestra; the challenge is deciding when to show it and when to leave space.

Preston: The album has a warm sound to it…

Michael: The drums love that machine. Equipment & the analog “secret sauce”. The album was recorded to a Tascam 388, an ’80s home 8-track unit.

Addison: The guitar sound is a Fender Blues Deluxe and an Epiphone Sorrento 1960s semi-hollow. It’s closer to what I sound like every night.

Preston: Let’s talk about a few of the songs.

Tell me about Gator Bait.

Addison: It’s a  New Orleans funk party starter. A platform for D-minor funk nods and James Brown inflections.

Preston: How about Hung Up On My Baby”

Michael: The lineage from Isaac Hayes to Geto Boys’ Mind Playing Tricks on Me.

Preston: 90% of Me Is You / Bam Bam is an interesting choice!

Michael: Yes! It recalls Gwen McCrae, Sister Nancy, and Main Source’s Just Hangin’ Out. Connecting Miami, reggae, soul, and hip-hop.

Preston: How about Stand Up? 

Michael: It’s a love letter to LA via Breakestra and Miles Tackett.

Preston: 54-46 Was My Number is another interesting pick.

Addison: Yes! It has  Ernest Ranglin inspiration and Caribbean heritage.

Preston: Zebra Walk?

 Michael: It’s a Charles Kynard deep cut featuring Idris Muhammad; rewritten faster and punchier.

Preston: Another favorite of mine is On Love. 

Addison: It’s a David T. Walker classic. Lush chords and melodies; one of the band’s proudest recorded moments.

Preston: What’s next for Fat Produce?

Addison: We’re headed to Northern California—San Francisco, San Rafael, Santa Cruz—and playing Florida again in February. We’re working on festival dates and getting outside Miami more often. If you’re in South Florida, you can catch us weekly.

Michael: Check out F-Spot Records. Ten incredible bands on that label—Night Owls, Bombillas, White Blinds, Mestizo Beat.

Addison: Support the whole community. Buy vinyl, go to shows, follow @fatproduce.

Preston: Soulful Days is out now on vinyl and digital via Bandcamp.

Oh, what equipment do you use to get your sounds?

Gretsch Drums

Tim Robert’s Cymbals 

Bopworks Sticks 

Tama Hardware 

Addison uses:

Epiphone Sorrento Guitar 

Fender Blues Deluxe amp

My (Michael) top 5 albums 

Grant Green-Alive 

Bobby Broom-Modern Man

Jackie Mittoo-The Keyboard King at Studio One 

The City Champs-Safecracker 

Donny Hathaway-Live 

Addison’s top 5 albums 

Wes Montgomery – Full House
Little Beaver – Party Down 
People Under The Stairs – OST 
Joe Pass – For Django 
NG La Banda – En La Calle 

Preston: Soulful Days is one of my favorite jazz releases of 2025—fantastic production, deep groove, and a warm analog sound.

Addison Rifkin and Michael Duffy—thank you for your time.

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