As a DJ facing an endless river of ever-changing music, Jluvv (or Jamil Hossain during the daytime) always aims to get a real connection with the crowds who attend his parties, sharing as much as possible all the musical resources available. No matter where the gathering point for one’s musical taste, even on four separate stages at the same event, Jluvv sees “the whole community essentially in the same rhythm.”

That theme will be evident Friday, Nov. 9, when Jluvv hosts his signature event – the annual White Party, this year at Bliss Nightlife, beginning at 9 p.m. Following the classic tradition, everyone is encouraged to dress in white and the interactive effects of black lights and costumes – along with fire, dancer and DJ performances – will heighten the mood and vibe of the environment, he said.

And, on four simultaneous stages will be an impressive musical spectrum of electronica – including downtempo, dubstep, classic funk and soul, a wide range of house from deep minimal to big room electro along with hints of trance. The featured out-of-state act is the Dirty Sound Tour featuring Starkillers (a/k/a Nick Terranova), which will celebrate a new release on the Made Records label. Event and ticket details are available here.

A free, all ages, pre-party event with a live Starkillers performance will be held at Mechanized Records from 7 to 9 p.m., the day of the show.

But, music isn’t the only attraction as Jluvv also will bring a piece of the popular Burning Man festival to the estimated 1,000 Salt Lake City partygoers with the showing of a solar-powered crashed UFO saucer, featured earlier this year at the desert festival.

For more than six years, Jluvv has played a key role in energizing the local party scene with a passion for creating a sense of musical communion that is powerfully infectious. And, while he is accepting of the most advanced digital forms of music, his philosophical approach to the dance party scene pays homage to those small band of musical explorers in New York City who, 35 to 40 years ago, endlessly dug up crates of vinyl to find and reshape music for the demands of dancers and partygoers.

He always is keen on structure, especially as he describes his personal evolution. “I am on part three of four in a westward journey,” he said, adding that he spent most of his early years (he soon will be 30) on the east coast of upstate New York graduating from high school in 1996.

Part two brought him to Austin, Texas – home to perhaps the nation’s most diversified and adventurous musical scene – where he spent the next five years working toward his degree in architectural engineering from the University of Texas system. There, he expanded his expertise in producing and mixing his own blend of electronic dance music – working as he said in a 2001 interview with me that it provides a gathering point for “an intelligent crowd looking to socialize with intelligent people who are into intelligent music.” As a student, he formed an Electronic Music Organization on his campus that featured music parties for between 200 and 700 people. As he noted then, “our organization’s aim was to throw parties to show the world that dance music is more than raves and drugs.”

He fine tuned that musical goal in the third – and current – part of his journey when he moved to Salt Lake City in early 2001, working then and now as a structural designer for residential homes throughout the Wasatch Front. However, he didn’t anticipate part three would be now entering its seventh year. “I thought I might be here for six months or maybe a year,” he explained. “After Austin, I didn’t think the passion for fresh dance music would be as strong here but it was.” Today, his email list, more than five years running, regularly goes out to more than 450 dedicated music lovers and partygoers.

Hossain eventually will complete his journey, likely along the west coast, perhaps in Los Angeles or San Francisco, moving forward in his architectural career and in his musical exploration. The symbiosis is clear. “Throughout my travels, I have always balanced working professionally with professionally partying,” he said. “I enjoy seeing the world from two sides, and the contrast between them drives my musical goals and ideas.

“I interact with music in several ways: first, as a dancer, releasing on the dance floor. Second, as a DJ, sharing emotion through music. And, third, as a promoter, funding and supporting local events. In all manners, I have been able to work with so many amazing people throughout Salt Lake City.”

Jluvv, indeed, enjoys the flexibility of working independently of the constraints of a musical industry focused more often on the bottom line than on the novelty of music that resists the need to be categorized according to a particular genre. Preferring instead to maximize the connections with musical artists who produce their own distinct blends, he hardly worries whether his events make money or not.

And, in a significant way, Jluvv’s events represent a healthy evolution of the oft-misunderstood rave culture and a worthy counterpoint to the bland generic pop acts that blare daily from radio stations and video music channels. Indeed, it is possible to slip into a party for soulful, cerebral, and energetic music where you won’t need any substances to get high. As a Time magazine journalist wrote approvingly of the rave culture in 2000, “the music will take you there all by itself.” The White Party certainly is a worthy stop on that transcendental journey.