Erykah Badu. D’Angelo. Lauryn Hill. Mos Def. The Roots. De La Soul. They’ve all reported for work — either in writing lab sessions or for production purposes — at 413 N. Seventh St. Along with The Roots’ rehearsal rooms, the address is home to James Poyser (whose birthday they celebrated at Eden Roc last Thursday) and his Axis Music studio. This Brit-born, West Philly-raised son of the church knows how to keep soul gritty and soupy, even under technology’s weight. (Poyser’s West Indian parents were from Sheffield; his dad is pastor of the Testament Church of God near 58th and Baltimore, where James accompanies to this day.) Poyser may be responsible for the fleshy, acoustic "neo-soul" tag — a sound he’s lending to locals like Jill Scott and Jersey’s Malik Pendelton. I caught up to Poyser — laying keyboards for R&B artist Will Downing as well as working on tracks for Hootie’s Darius Rucker.

Forget about favorite music — what about keyboard players? Who did you like growing up?

Top of the list would be Herbie Hancock. Keith Jarrett. Greg Phillinganes. Richard Tee. I think I’m attracted most to singers who’re great keyboard players as well — Donny Hathaway, Stevie Wonder. There’s a couple of gospel cats in Philly that I learned a lot from. Steven Ford has been a musical director for Jennifer Holiday and the Winans. Anthony Walker plays with Richard Smallwood. Both guys are from here, though. I sat at their feet, bugging them, "what’s that?," at every step.

That’s it. They’re not frivolous. I’m blessed by that. I do consciously choose artists that choose to tackle issues. Gospel does that. Where they’re coming from lyrically is a higher plane, talking about things true to the heart, true to their beliefs.… The artists I work with are familiar with gospel, they know, like I know, the difference between real soul food and soul food sold at a Chinese restaurant.

The Axis sound feels like a part of the Philly soul continuum as well as having touches of Southern traditionalism.

Me and Master Vic [an associate from Jazzy Jeff’s Touch of Jazz studio] started this in 1993, out of Vic’s apartment. Until Mr. G., Kenny Gamble, stepped in and offered us space in their facilities at Philly International. That’s where I learned the art of songwriting. He and Mr. Huff took us to another level. Masters of the game. They taught me that this biz is about publishing. Not a money hunt, but making songs classic, not trendy.

I’m a stem [laughs]. Part of the family. I’m the part that goes really, really left. Real crazy stuff.

What about Mailk Pendelton? He’s from North Jersey, comes from similar gospel traditions.

He’s like Common [another Poyser production]. Not a trivial man. Both have things to say.… Malik takes this view where he’s astounded by the bad things that befall mankind. He’s one of my dogs.

Speaking about your dogs — D’Angelo’s new Voodoo has been slagged for not having the same melodic sensibility as Brown Sugar.

I’ve been playing in his band for the last few years.… I understand what they’re saying about D. It’s not as hooky or single-oriented. Like Stevie, he comes from a poppy background then busted out with something new. D’Angelo wanted to make a piece of art that will still have commercial appeal. He wasn’t struggling with it. People around him were struggling with the fact that he took his time.

She captivates you. You watch her and your mouth hangs open cuz she becomes so many different people on stage. She’s not another Erykah though. Jill is Jill, way unto herself.

It’s very cool. It breeds friendly competition. You got Larry [Gold] doing his stuff like No Question. Scott Storch is doing Jay-Z. He’s gonna have to lend me some money [laughs]. Jazzy [Jeff]’s down the street. I think there’s a friendliness abounding, and that there’s a lot of Philly dogs doing great. My friend Rory Bennett’s running around with Quincy Jones, producing K-Ci & JoJo. Another friend just got off tour with Janet Jackson. Will’s winning stuff all over the place. It makes me feel good to see Philly doing all this. We’re blowing up.