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STUDIOMUL 018CD
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$15.00
PREORDER
RELEASE DATE: 5/10/2019
Mule Musiq's sub-label Studio Mule has formed a group of shifting members and are now releasing a debut album with eight tracks of reworked, obscure Japanese gems. BGM contains the three singles the group released so far, featuring Miyako Koda of the experimental pop band Dip In The Pool -- whose On Retinae was reissued by Music From Memory to great acclaim (MFM 010EP, 2017) -- on vocals and Mule Musiq staple Kuniyuki on production with direction by label head Toshiya Kawasaki. One of them, "Carnaval", is a cover of the Japanese dance classic by Taeko Ohnuki, produced by Yellow Magic Orchestra. "Shinzo No Tobira" is a remake of the track by Mariah, a band led by sax player Yasuaki Shimizu, from their album Utakata No Hibi (2015) -- which was one of the reissues that sparked the global interest in obscure Japanese music in the last few years. Studio Mule's version features Japanese lyrics rewritten by Miyako Koda. "Face To Face" is a cover of the ambient pop gem from the ultra-rare album by Yumi Murata of Mariah. Also included is a rework of "Kagami No Naka No Jugatsu", a song by Tamao Koike produced by YMO, turned into a dubby Balearic pop track -- dubbier than the version included on the Yen label compilation -- sang by Nanako Sato, one of the artists enjoying some newfound success following a string of reissues stemming from the "city pop" revival craze. The oriental ambient pop "Yugao" by singer songwriter Mioko Yamaguchi is covered by vocalist Saho Terao, who some describe as this generation's Taeko Ohnuki. "The April Fools" is a rework of Yukihiro Takahashi's track, which itself was also a cover of the original song by Burt Bacharach. This new version boasts a more experimental arrangement with Nanako Sato handling the vocals. YMO's "Ballet", originally with vocals by Yukihiro Takahashi, was reconstructed into a dancefloor-ready instrumental by Kuniyuki. Many say Yoshiyuki Ohsawa's "Soshite Bokuwa Toho Ni Kureru" is one of the greatest songs of the '80s. The 12" dance version is reshaped here into a melancholic Balearic house track. The album cover is by the increasingly popular hotshot photographer Kota Shouji.
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STUDIOMUL 018LP
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$29.00
PREORDER
RELEASE DATE: 5/10/2019
LP version. Mule Musiq's sub-label Studio Mule has formed a group of shifting members and are now releasing a debut album with eight tracks of reworked, obscure Japanese gems. BGM contains the three singles the group released so far, featuring Miyako Koda of the experimental pop band Dip In The Pool -- whose On Retinae was reissued by Music From Memory to great acclaim (MFM 010EP, 2017) -- on vocals and Mule Musiq staple Kuniyuki on production with direction by label head Toshiya Kawasaki. One of them, "Carnaval", is a cover of the Japanese dance classic by Taeko Ohnuki, produced by Yellow Magic Orchestra. "Shinzo No Tobira" is a remake of the track by Mariah, a band led by sax player Yasuaki Shimizu, from their album Utakata No Hibi (2015) -- which was one of the reissues that sparked the global interest in obscure Japanese music in the last few years. Studio Mule's version features Japanese lyrics rewritten by Miyako Koda. "Face To Face" is a cover of the ambient pop gem from the ultra-rare album by Yumi Murata of Mariah. Also included is a rework of "Kagami No Naka No Jugatsu", a song by Tamao Koike produced by YMO, turned into a dubby Balearic pop track -- dubbier than the version included on the Yen label compilation -- sang by Nanako Sato, one of the artists enjoying some newfound success following a string of reissues stemming from the "city pop" revival craze. The oriental ambient pop "Yugao" by singer songwriter Mioko Yamaguchi is covered by vocalist Saho Terao, who some describe as this generation's Taeko Ohnuki. "The April Fools" is a rework of Yukihiro Takahashi's track, which itself was also a cover of the original song by Burt Bacharach. This new version boasts a more experimental arrangement with Nanako Sato handling the vocals. YMO's "Ballet", originally with vocals by Yukihiro Takahashi, was reconstructed into a dancefloor-ready instrumental by Kuniyuki. Many say Yoshiyuki Ohsawa's "Soshite Bokuwa Toho Ni Kureru" is one of the greatest songs of the '80s. The 12" dance version is reshaped here into a melancholic Balearic house track. The album cover is by the increasingly popular hotshot photographer Kota Shouji.
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STUDIOMUL 017LP
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Studio Mule present a reissue of Doctor Umezu Diva's Diva, originally released in 1988. Doctor Umezu Diva is Japanese sax player Kazutoki Umezu's one-off project which he invited two female artists: legendary marimba player Midori Takada and vocalist, pianist, and half of Japanese new wave band Colored Music, Ichiko Hashimoto. This album was one of the best kept, secret jazz albums from Japan; it's really hard-to-find and very limited. Dubby from Ondas Tokyo -- who compiled Midnight In Tokyo Vol. 2 (STUDIOMUL 006CD/LP, 2018) on Studio Mule -- brought this record to Studio Mule's attention. This album is a unique mixture of modern classical sound and avant-garde jazz, which is kind of similar with Strata East or Nimbus.
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STUDIOMUL 016LP
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Studio Mule presents a reissue of King Kong Paradise's Atsusa Mo Samusamo..., originally released in 1984 on Johnny's Disk. Johnny's Disk was an independent jazz label run by the owner of jazz cafe Kaiunbashi No Johnny located in Rikuzentakata City in Iwate Prefecture, Japan. The legendary label released a string of albums of high quality but down-to-earth music, spanning modern jazz, avant-garde jazz, and left-field pop. Albums such as Teru Sakamoto's Farewell My Johnny/Left Alone and Eiji Nakayama's Aya's Samba (STUDIOMUL 013LP, 2019) have reached cult status among fans as some of the best works to come out of the Japanese jazz scene. Following a cult classic jazz fusion album on Bourbon Records, King Kong Paradise delivered Atsusa Mo Samusamo... an album of alternative, left-field Balearic rock that was way ahead of its time. An anomaly that sticks out in the Johnny's Disk's catalog, this rare record may appeal more to new wave, reggae and rock fans than jazz heads; in fact, one might not be surprised if people like DJ Harvey or Theo Parrish dropped this oddity in their sets. If one digs the kind of weirdness that's being reissued by Music From Memory, one might find this record intriguing.
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STUDIOMUL 015LP
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Studio Mule present a reissue of Mayumi Sonoda with Kichiro Sugino Trio's Gogo Sanji No Aki, originally released on Johnny's Disk Record in 1982. Johnny's Disk Record is an independent jazz label run by the owner of jazz cafe Kaiunbashi No Johnny located in Rikuzentakata City in Iwate Prefecture, Japan. The legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz, to left-field pop. Albums such as 1980's Farewell My Johnny / Left Alone and 1978's Aya's Samba (STUDIOMUL 013LP) have reached cult status among fans as some of the best works to come out of the Japanese jazz scene. Gogo Sanji No Aki is an album by vocalist Mayumi Sonoda -- a jazz vocalist who looked up to Chris Connor and made her debut at a US Army camp at the age of 16 -- that was recorded with the help of Kichiro Sugino's Trio. Opening with the bilingual ballad "It's over", in which she sings in both English and Japanese, the album sees her covering standards that giants like Helen Merrill, Frank Sinatra, and Billie Holiday have popularized, while showcasing her vocal abilities that set her apart from her peers. A hidden, Japanese female vocal jazz gem.
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STUDIOMUL 014LP
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Studio Mule presents Yoshimi Ueno's Taiko No Uminari, originally issued in 1980 on Johnny's Disk Record. Johnny's Disk Record is an independent jazz label run by the owner of jazz cafe Kaiunbashi No Johnny, located in Rikuzentakata City in Iwate Prefecture, Japan. The legendary label released a string of albums of high quality but down-to-earth music, spanning from modern and avant-garde jazz to left-field pop. Albums such as Teru Sakamoto's Farewell My Johnny / Left Alone and Eiji Nakayama's Aya's Samba (STUDIOMUL 013LP, 2019) have reached cult status among fans as some of the best works to come out of the Japanese jazz scene. Taiko No Uminari is the only solo record drummer Yoshimi Ueno released before passing. The album features "Sea Sound", a hard bop number with soulful melodies and impressive saxophone playing by Yasuaki Shimizu, the folky and melancholic "Tsuchi Ningyo", composed by labelmate Nakayama, the romantic ballad "My Spirit" by pianist Keisaku Takahashi, poly-rhythmic jam "Skip" written by Ueno himself, "K.Blues", a bluesy tune with a bit of a New Orleans jazz vibe, and "Uzushio," a duet between Nakayama's bass and Ueno's drums. Edition of 500.
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LP
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STUDIOMUL 013LP
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Johnny's Disk record is an independent jazz label, run by the owner of jazz cafe Kaiunbashi No Johnny located in Rikuzentakata City in Iwate Prefecture, Japan. The legendary label released a string of albums of high-quality, but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. Albums such as Farewell My Johnny / Left Alone (1980) and Aya's Samba (1978) have reached cult status among fans as some of the best works to come out of the Japanese jazz scene. The Japanese jazz classic, Aya's Samba, was a debut effort by bassist Eiji Nakayama, who played as part of Elvin Jones' Jazz Machine and toured with Don Friedman. This album is an important release in the Johnny's Disk catalog, not only because it is the first ever release, but also because the owner hearing the band play was the reason why the label came to be. Aya's Samba is a mellow jazz samba in minor key that's considered a Japanese jazz classic. Slow ballad "Yellow Living" is drenched in melancholy with emotive keys and sax notes.
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STUDIOMUL 011LP
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Studio Mule present a reissue of Mitsuaki Katayama Trio's First Flight, originally issued in 1979 on Johnny's Disk Record. Johnny's Disk Record is an independent jazz label run by the owner of jazz cafe Kaiunbashi No Johnny, located in Rikuzentakata City in Iwate prefecture, Japan. The legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz and avant-garde jazz to left-field pop. Albums such as Farewell My Johnny/Left Alone (1980) and Aya's Samba (1978) have reached cult status among fans as some of the best works to come out of the Japanese jazz scene. This debut album by drummer and actor Mitsuaki Katayama is a Japanese jazz masterpiece consisting of five original compositions. The no-filler album includes the tracks "Unknown Point", a danceable jazz samba with tight and powerful drumming and the melancholic "Arizona High Way", a tune that perfectly epitomizes what Japanese jazz is about. "It's Over" features beautiful piano work by Kichiro Sugino, a promising pianist who tragically succumbed to a chronic illness and couldn't fully realize his potential. Edition of 500.
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2LP
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STUDIOMUL 012LP
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Double LP version. Midnight In Tokyo is a compilation series that aims to be the perfect companion to nights in Tokyo, collecting tracks by Japanese artists that sound best at night. Vol. 2 (STUDIOMUL 006CD/LP, 2018) focused more on '80s jazz fusion, but the latest installment, Vol. 3, picks up where Vol. 1 (STUDIOMUL 001CD/LP, 2018) left off, bringing together forgotten soul, disco, and new wave gems. The compilation opens with Japanese rare groove classic "More Sexy," a provocative song by Yoko Hatanaka. "Kimi No Yume," from the album Yume No Yonbai (1984) by Masumi Hara, is one of the best Balearic acid folk songs to come from Japan. "Silhouette Call" is an electric bossanova track in the vein of Antena, from a rare album called Octopussy (1982) by Yuki Nakayamate, a singer-songwriter who worked with Motoharu Sano. "Theme Of High School Student" is a dubby cut featured in the Japanese film Kougen Ni Ressha Ga Hashitta (1984), written by Atsuo Fujimoto (Colored Music), one of the key artists in the recent wave of global interest in Japanese music. "Get To Paradise" is a stone-cold funk jam by Mari Kaneko, who was known as the Janis Joplin of Shimokitazawa. Following that is one of Japan's greatest new wave disco tracks, "Hannya", taken from Tomoko Aran's popular third album Fuyu-Kukan (1983) produced by Masatoshi Nishimura, who was part of Friends Of Earth with Haruomi Hosono. Masako Miyazaki, whose rendition of Seawind's "He Loves You" is a fan favorite, puts her own spin on Earth, Wind & Fire's "Fantasy," singing in her accent-heavy English, giving the song an undeniable character. "Watashi No Koukoku" is a certified disco-boogie classic by Junko Sakurada. The Brazilian-esque jazz fusion, "Sunshine Bright On Me" is by fusion group Kangaroo, who were often billed as "the japanese Shakatak". "Stranger's Night" is a synth-pop number by Maiko Okamoto, which bears a suspicious resemblance to Rah Band's "The Shadow Of Your Love". Electro-pop disco "Singing Lady", off the sole album by The Fad sounds like something Giorgio Moroder could've cooked up. "Magic Eyes" is a disco anthem recorded by Tetsuji Hayashi's disco project, The Eastern Gang. Following that is Japanese soul gem "Crazy Baby," found on a rare 7" entitled Minato No Soul by Rinda Yamamoto also composed and arranged by Tetsuji Hayashi. Closing out this collection of 14 Japanese rare groove goodies is "I'm In Love", a bittersweet mellow dance number by Tomoko Aran.
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STUDIOMUL 012CD
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Midnight In Tokyo is a compilation series that aims to be the perfect companion to nights in Tokyo, collecting tracks by Japanese artists that sound best at night. Vol. 2 (STUDIOMUL 006CD/LP, 2018) focused more on '80s jazz fusion, but the latest installment, Vol. 3, picks up where Vol. 1 (STUDIOMUL 001CD/LP, 2018) left off, bringing together forgotten soul, disco, and new wave gems. The compilation opens with Japanese rare groove classic "More Sexy," a provocative song by Yoko Hatanaka. "Kimi No Yume," from the album Yume No Yonbai (1984) by Masumi Hara, is one of the best Balearic acid folk songs to come from Japan. "Silhouette Call" is an electric bossanova track in the vein of Antena, from a rare album called Octopussy (1982) by Yuki Nakayamate, a singer-songwriter who worked with Motoharu Sano. "Theme Of High School Student" is a dubby cut featured in the Japanese film Kougen Ni Ressha Ga Hashitta (1984), written by Atsuo Fujimoto (Colored Music), one of the key artists in the recent wave of global interest in Japanese music. "Get To Paradise" is a stone-cold funk jam by Mari Kaneko, who was known as the Janis Joplin of Shimokitazawa. Following that is one of Japan's greatest new wave disco tracks, "Hannya", taken from Tomoko Aran's popular third album Fuyu-Kukan (1983) produced by Masatoshi Nishimura, who was part of Friends Of Earth with Haruomi Hosono. Masako Miyazaki, whose rendition of Seawind's "He Loves You" is a fan favorite, puts her own spin on Earth, Wind & Fire's "Fantasy," singing in her accent-heavy English, giving the song an undeniable character. "Watashi No Koukoku" is a certified disco-boogie classic by Junko Sakurada. The Brazilian-esque jazz fusion, "Sunshine Bright On Me" is by fusion group Kangaroo, who were often billed as "the japanese Shakatak". "Stranger's Night" is a synth-pop number by Maiko Okamoto, which bears a suspicious resemblance to Rah Band's "The Shadow Of Your Love". Electro-pop disco "Singing Lady", off the sole album by The Fad sounds like something Giorgio Moroder could've cooked up. "Magic Eyes" is a disco anthem recorded by Tetsuji Hayashi's disco project, The Eastern Gang. Following that is Japanese soul gem "Crazy Baby," found on a rare 7" entitled Minato No Soul by Rinda Yamamoto also composed and arranged by Tetsuji Hayashi. Closing out this collection of 14 Japanese rare groove goodies is "I'm In Love", a bittersweet mellow dance number by Tomoko Aran.
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STUDIOMUL 010CD
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Studio Mule present a re-recording of Motohiko Hamase's Remiscence, originally issued in 1986. Remiscence scores a decent prize at online vinyl-selling platforms and it is worth every penny! It's a perfect "refuge from nasty reality", as the glorious British 20jazzfunkgreats blog once said. And it comes from a man that knows his trade: bass playing. An artisan on his instrument, Hamase also wrote many theoretical books in his more than four decades-long career. In the 1970's Hamase was no stranger to Tokyo's vibrant jazz scene. Together with jazz pianist Tsuyoshi Yamamoto and jazz-rock guitarist Kazumi Watanabe, he played in the Isao Suzuki sextet and was part of their landmark jazz-funk album Ako's Dream (1976). In the following years, he also played on records like Mikio Masuda's Latin-funk-jazz gem Moon Stone (1978) or Japanese female jazz singer, actress, and essayist Minami Yasuda's last album Moritato (1978). In the early 1980s, his work shifted from pure jazz to electronic and ambient spheres and he started to compose his own music around his deeply emotional bass playing. From 1985 to 1993, Hamase released five solo albums. Just recently Studio Mule issued his first one, Intaglio (STUDIOMUL 008CD/LP, 2018), in a new recording that sounds as stunning as the original release from 1986. Reminiscence is his second work for the celebrated defunct Japanese New Age record label Shi Zen, follows in a fresh shape on Studio Mule. As does the original, it features deeply touching moments of sheer pristine perfection and distributes Hamase's inner emotional landscape with a bewitching bass performance. A soothing beauty of an album, it reflects Hamase's search for spaces of melancholy, a rhizome of soundscapes that capture, settle and sound elusive while simultaneously being awe-inspiring. As with Intaglio, the 66-year-old artist gathered again some befriended musicians, rented a studio, staged his gear and recorded most of the original Reminiscence material anew, while keeping the moving musical story arc of the original album alive in a fresh wrapping. The result is a dazzling, blue mood seething, a strongly hypnotic long-player, full of personality and hybrid ambient electronic jazz spheres that open doors to unheard sound universes and that perfectly work for all those stress-relieved souls that love the disclosure of the mind and seek for a "refuge from nasty reality".
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STUDIOMUL 010LP
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LP version. Studio Mule present a re-recording of Motohiko Hamase's Remiscence, originally issued in 1986. Remiscence scores a decent prize at online vinyl-selling platforms and it is worth every penny! It's a perfect "refuge from nasty reality", as the glorious British 20jazzfunkgreats blog once said. And it comes from a man that knows his trade: bass playing. An artisan on his instrument, Hamase also wrote many theoretical books in his more than four decades-long career. In the 1970's Hamase was no stranger to Tokyo's vibrant jazz scene. Together with jazz pianist Tsuyoshi Yamamoto and jazz-rock guitarist Kazumi Watanabe, he played in the Isao Suzuki sextet and was part of their landmark jazz-funk album Ako's Dream (1976). In the following years, he also played on records like Mikio Masuda's Latin-funk-jazz gem Moon Stone (1978) or Japanese female jazz singer, actress, and essayist Minami Yasuda's last album Moritato (1978). In the early 1980s, his work shifted from pure jazz to electronic and ambient spheres and he started to compose his own music around his deeply emotional bass playing. From 1985 to 1993, Hamase released five solo albums. Just recently Studio Mule issued his first one, Intaglio (STUDIOMUL 008CD/LP, 2018), in a new recording that sounds as stunning as the original release from 1986. Reminiscence is his second work for the celebrated defunct Japanese New Age record label Shi Zen, follows in a fresh shape on Studio Mule. As does the original, it features deeply touching moments of sheer pristine perfection and distributes Hamase's inner emotional landscape with a bewitching bass performance. A soothing beauty of an album, it reflects Hamase's search for spaces of melancholy, a rhizome of soundscapes that capture, settle and sound elusive while simultaneously being awe-inspiring. As with Intaglio, the 66-year-old artist gathered again some befriended musicians, rented a studio, staged his gear and recorded most of the original Reminiscence material anew, while keeping the moving musical story arc of the original album alive in a fresh wrapping. The result is a dazzling, blue mood seething, a strongly hypnotic long-player, full of personality and hybrid ambient electronic jazz spheres that open doors to unheard sound universes and that perfectly work for all those stress-relieved souls that love the disclosure of the mind and seek for a "refuge from nasty reality".
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12"
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STUDIOMUL 007EP
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Studio Mule's new project with Miyako Koda aka Dip In The Pool. Following a cover version of Ohnuki Taeko's "Carnaval", this is a new version of the Japanese new wave classic "Shinzo No Tibia" by Mariah, with new lyrics in Japanese, written by Koda; Yasuaki Shimizu kindly gave us permission to do this. The extended version on the A side is full of respect for the original version, while a dark new wave dub version is on the B side; Kuniyuki said the idea for this version came from an Adrian Sherwood remix for Depeche Mode.
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CD
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STUDIOMUL 008CD
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Studio Mule present a re-recording of Motohiko Hamase's Intaglio, recorded in Japan, 2018. Originally released in 1986. Currently the rediscovery of long-forgotten Japanese electronic, jazz, and new age music is at a peak like never before. Although many reissues have already hit record stores, the large, diverse musical culture of Japan still got some gems in store that are really missing. For example, the work of Japanese bass player, new age and ambient musician Motohiko Hamase. When the now 66-year old artist started to be a professional musician in the 1970s, he quickly gained success as a versed studio instrumentalist and started to be part of the great modern jazz Isao Suzuki Sextet where he played with legends like pianist Tsuyoshi Yamamoto or fusion guitar one-off-a-kind Kazumi Watanabe. He was also in the studio when legendary Japanese jazz records like Straight Ahead of Takao Uematsu (1977), Moritato For Osada of jazz singer Minami Yasuda (1978), or Moon Stone of synthesizer, piano, and organ wizard Mikio Masuda (1978) were recorded. In the 1980s Hamase began to slowly drift away from jazz and drowned his musical vision in new age, ambient, and experimental electronic spheres in which he incorporated his funky meditative way of playing the bass above airy sounds and arrangements. His first solo album Intaglio is not only a milestone of Japanese new age ambient, it is also a fresh sonic journey in jazz that does not sound like jazz at all. First issued by the Japanese label Shi Zen, the record had a decent success in Japan and by some overseas fans of music from the far east. With seven haunting, stylistically hard-to-pigeonhole compositions, Hamase drifts around new age worlds with howling wind sounds, gentle bass pickings, and discreet drums that mind remind listeners of the power of Japanese taiko percussions. Also, propulsive fourth-world-grooves call the tune and all compositions avoid a foreseeable structure. At large his albums seem to be improvised and yet are deeply composed. Music that works like shuffling through an imaginary sound library full of spiritual deepness, that even spreads, in its shaky moments, some profound relaxing moods. The release marks another highlight in Studio Mule's mission to excavate neglected Japanese music that somehow has more to offer in the present age than at the time of his original birth.
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LP
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STUDIOMUL 008LP
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LP version. Studio Mule present a re-recording of Motohiko Hamase's Intaglio, recorded in Japan, 2018. Originally released in 1986. Currently the rediscovery of long-forgotten Japanese electronic, jazz, and new age music is at a peak like never before. Although many reissues have already hit record stores, the large, diverse musical culture of Japan still got some gems in store that are really missing. For example, the work of Japanese bass player, new age and ambient musician Motohiko Hamase. When the now 66-year old artist started to be a professional musician in the 1970s, he quickly gained success as a versed studio instrumentalist and started to be part of the great modern jazz Isao Suzuki Sextet where he played with legends like pianist Tsuyoshi Yamamoto or fusion guitar one-off-a-kind Kazumi Watanabe. He was also in the studio when legendary Japanese jazz records like Straight Ahead of Takao Uematsu (1977), Moritato For Osada of jazz singer Minami Yasuda (1978), or Moon Stone of synthesizer, piano, and organ wizard Mikio Masuda (1978) were recorded. In the 1980s Hamase began to slowly drift away from jazz and drowned his musical vision in new age, ambient, and experimental electronic spheres in which he incorporated his funky meditative way of playing the bass above airy sounds and arrangements. His first solo album Intaglio is not only a milestone of Japanese new age ambient, it is also a fresh sonic journey in jazz that does not sound like jazz at all. First issued by the Japanese label Shi Zen, the record had a decent success in Japan and by some overseas fans of music from the far east. With seven haunting, stylistically hard-to-pigeonhole compositions, Hamase drifts around new age worlds with howling wind sounds, gentle bass pickings, and discreet drums that mind remind listeners of the power of Japanese taiko percussions. Also, propulsive fourth-world-grooves call the tune and all compositions avoid a foreseeable structure. At large his albums seem to be improvised and yet are deeply composed. Music that works like shuffling through an imaginary sound library full of spiritual deepness, that even spreads, in its shaky moments, some profound relaxing moods. The release marks another highlight in Studio Mule's mission to excavate neglected Japanese music that somehow has more to offer in the present age than at the time of his original birth.
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2LP
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STUDIOMUL 006LP
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Double LP version. Midnight In Tokyo Vol. 2, the second installment to the compilation series that rounds up hidden gems by Japanese artists that's perfect for listening at night in Tokyo, is here. This time the collection brings together some tasty electric jazz fusion from the '80s, compiled by Dubby, the man behind the online record store Ondas. The compilation begins with "Hikobae", a dark and slow cosmic jazz by saxophonist Genji Sawai, followed by "Danza Lucumi", an odd Caribbean-style jam by Today's Latin Project, a band fronted by Tadaaki Misago of Tokyo Cuban Boys, with arrangements by Yasuaki Shimizu. "On The Coast" is a soulful and mellow vocal track arranged by Ryuichi Sakamoto, from guitarist Shigeru Suzuki's album White Heat (1979), and fusion boogie cut "In The Hot City" is by Air Suspension Club Band, which was a one-off project by a mysterious artist. The melancholic soul jazz number "So Long America" is the title track from the album Yasunori Soryo, along with Jim Rocks, released in '82, following a stint in America with the band Brown Rice. "Twisty" is a tropical reggae tune from the album Samba Kathy, an underrated classic by Jugando which was released on Trash, a sublabel of one of Japan's finest jazz labels, Trio. "Samarkand" is an electric Latin jazz jam that sounds like something Miles Davis and Santana could have played on, performed by a Latin funk band from Fussa. "Imagery" is a primal African fusion track by Katsutoshi Morizono With Bird's Eye View, Morizono was a member of the prog rock band Yoninbayashi. "Windmill" is the most acoustic sounding tune on this compilation, a breezy Brazilian affair with a Hermeto Pascoal feel. "Mystery Of Asian Port" is by the band Parachute, which consisted of Japanese fusion giants like Akira Inoue, Tatsuo Hayashi, and Masaki Matsubara. The cosmic jazz record sounds like something Daniele Baldelli would play in his sets. "Bay Sky Provincetown 1977" is a classic Japanese fusion tune by guitarist Yuji Toriyama. The set also features the mellow but danceable "Heatwave" by keyboardist Keiichi Oku, featuring a female vocalist (which some have identified as Rie Ida), and last but not least, closing out the 13-track compilation is "Day Dream At The Bob's Beach", a wonderful urban fusion with a beautiful vibraphone melody, from the Japanese fusion classic album that was a one-off project by studio musicians, Safari. Also features Kingkong Paradise, Om, and Safari.
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STUDIOMUL 006CD
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Midnight In Tokyo Vol. 2, the second installment to the compilation series that rounds up hidden gems by Japanese artists that's perfect for listening at night in Tokyo, is here. This time the collection brings together some tasty electric jazz fusion from the '80s, compiled by Dubby, the man behind the online record store Ondas. The compilation begins with "Hikobae", a dark and slow cosmic jazz by saxophonist Genji Sawai, followed by "Danza Lucumi", an odd Caribbean-style jam by Today's Latin Project, a band fronted by Tadaaki Misago of Tokyo Cuban Boys, with arrangements by Yasuaki Shimizu. "On The Coast" is a soulful and mellow vocal track arranged by Ryuichi Sakamoto, from guitarist Shigeru Suzuki's album White Heat (1979), and fusion boogie cut "In The Hot City" is by Air Suspension Club Band, which was a one-off project by a mysterious artist. The melancholic soul jazz number "So Long America" is the title track from the album Yasunori Soryo, along with Jim Rocks, released in '82, following a stint in America with the band Brown Rice. "Twisty" is a tropical reggae tune from the album Samba Kathy, an underrated classic by Jugando which was released on Trash, a sublabel of one of Japan's finest jazz labels, Trio. "Samarkand" is an electric Latin jazz jam that sounds like something Miles Davis and Santana could have played on, performed by a Latin funk band from Fussa. "Imagery" is a primal African fusion track by Katsutoshi Morizono With Bird's Eye View, Morizono was a member of the prog rock band Yoninbayashi. "Windmill" is the most acoustic sounding tune on this compilation, a breezy Brazilian affair with a Hermeto Pascoal feel. "Mystery Of Asian Port" is by the band Parachute, which consisted of Japanese fusion giants like Akira Inoue, Tatsuo Hayashi, and Masaki Matsubara. The cosmic jazz record sounds like something Daniele Baldelli would play in his sets. "Bay Sky Provincetown 1977" is a classic Japanese fusion tune by guitarist Yuji Toriyama. The set also features the mellow but danceable "Heatwave" by keyboardist Keiichi Oku, featuring a female vocalist (which some have identified as Rie Ida), and last but not least, closing out the 13-track compilation is "Day Dream At The Bob's Beach", a wonderful urban fusion with a beautiful vibraphone melody, from the Japanese fusion classic album that was a one-off project by studio musicians, Safari. Also features Kingkong Paradise, Om, and Safari.
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12"
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STUDIOMUL 004EP
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Ikue Asazaki is a veteran Japanese traditional music singer and Yoisura Bushi is a traditional music in the small southern island of Amami Oshima. Yoisura Bushi is highly emotional and Asazaki's take on it includes elements of deep house and trance. Includes Kuniyuki remix.
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CD
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STUDIOMUL 002CD
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Studio Mule present a reissue of Breeze, originally released in 1987. One of the best and most complex Japanese jazz fusion albums, 1987's Breeze was recorded by Hiroyuki Namba, Eiji Kawamura, and Toshiro Imaizumi's band Atlas. Hiroyuki Namba is one of the most important Japanese keyboardist of the '80s with a legacy that includes Japanese cosmic classic Who Done It?/Tropical Explosion (1983), a sought-after gem by diggers. In addition to his work with his progressive rock band Sense Of Wonder, he's also known as a member of Tatsuro Yamashita's band. Eiji Kawamura is a highly respected arranger who has worked on projects by major recording artists like Kyoko Koizumi and Hideaki Tokunaga, and Atlas's third member Toshiro Imaizumi is a skilled studio musician who's also worked on major projects. The album opens with the soothing sounds of ocean waves that turn into the melancholic fusion number that is "Mediterranean Breeze", setting the Balearic mood for the whole album. "Simpatia" is an album highlight with a euphoric feel that could be Tokyo's answer to the sounds of Ibiza -- an obscure Japanese gem. "After Brunch With You" is a sunny samba fusion with a playful, bright piano melody, followed by "Summer Breeze", an electric fusion jam that sounds like Holger Czukay wrote it. A track that was so ahead of its time, it wouldn't be surprising if International Feel picked it up and released it as is. Breezy mellow tune "Never Come Into Your Eyes" is reminiscent of the sentimental feeling one gets around summer's end. Another album highlight, "Indige", is one of Japan's most unique dance tracks of the time, an electric disco stomper that sound like it could've been produced by Todd Terje. "Breeze For Siesta" features Toshiro Imaizumi's beautiful piano paying, a relaxing song that wouldn't sound out of place on ECM. "Love Beach" blends prog influences with fusion in a way only Hiroyuki Namba can do. The album ends with "Madrigl", a magical song with dramatic and melancholic moments, full of quintessentially Japanese sense of beauty.
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12"
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STUDIOMUL 003EP
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The first release of the new project Studio Mule is a cover of Japanese '80s dance classic "Carnaval" by Taeko Ohnuki. Studio Mule never have fixed members, except Kuniyuki Takahashi in the role of track maker. The first guest is Miyako Koda, aka Dip In The Pool. Miyako Koda is one of the most charismatic models in Japan in the '80s and the vocalist of Dip In The Pool. The dance edit on the A side is true to the original, but more playful. The extended edit on the B side is a more club-friendly house version.
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LP
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STUDIOMUL 002LP
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LP version. Studio Mule present a reissue of Breeze, originally released in 1987. One of the best and most complex Japanese jazz fusion albums, 1987's Breeze was recorded by Hiroyuki Namba, Eiji Kawamura, and Toshiro Imaizumi's band Atlas. Hiroyuki Namba is one of the most important Japanese keyboardist of the '80s with a legacy that includes Japanese cosmic classic Who Done It?/Tropical Explosion (1983), a sought-after gem by diggers. In addition to his work with his progressive rock band Sense Of Wonder, he's also known as a member of Tatsuro Yamashita's band. Eiji Kawamura is a highly respected arranger who has worked on projects by major recording artists like Kyoko Koizumi and Hideaki Tokunaga, and Atlas's third member Toshiro Imaizumi is a skilled studio musician who's also worked on major projects. The album opens with the soothing sounds of ocean waves that turn into the melancholic fusion number that is "Mediterranean Breeze", setting the Balearic mood for the whole album. "Simpatia" is an album highlight with a euphoric feel that could be Tokyo's answer to the sounds of Ibiza -- an obscure Japanese gem. "After Brunch With You" is a sunny samba fusion with a playful, bright piano melody, followed by "Summer Breeze", an electric fusion jam that sounds like Holger Czukay wrote it. A track that was so ahead of its time, it wouldn't be surprising if International Feel picked it up and released it as is. Breezy mellow tune "Never Come Into Your Eyes" is reminiscent of the sentimental feeling one gets around summer's end. Another album highlight, "Indige", is one of Japan's most unique dance tracks of the time, an electric disco stomper that sound like it could've been produced by Todd Terje. "Breeze For Siesta" features Toshiro Imaizumi's beautiful piano paying, a relaxing song that wouldn't sound out of place on ECM. "Love Beach" blends prog influences with fusion in a way only Hiroyuki Namba can do. The album ends with "Madrigl", a magical song with dramatic and melancholic moments, full of quintessentially Japanese sense of beauty.
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2LP
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STUDIOMUL 001LP
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Double LP version. Mule Musiq announce their new label, Studio Mule. Midnight In Tokyo Vol. 1 is a compilation of Japanese disco, boogie, and soul music. The compilation starts off with the Afro disco classic "Mi Mi Africa" by harmonica player Nobuo Yagi. "Silver Spot" is a jazzy fusion disco track taken from composer, arranger, and multi-instrumentalist Nobuyuki Shimizu's first album (1980), released when he was 19. The track features singer Epo. "Samba Night" is by vocalist Keisuke Yamamoto and his band Piper, from their masterpiece second album Summer Breeze (1983) -- a delightful city pop number for fans of Tatsuro Yamashita. "Akogareno Sundown" is a Japanese soul classic, sung by singer Haruko Kuwana (sister of Masahiro Kuwana). Produced by Mackey Feary Band, known for the soulful classic "A Million Stars". "Koiwa Saiko (I'm In Love)" is a mellow and groovy track by singer Aru Takamura, the great-grandchild of sculptor Kouun Takamura. It can be thought of as Japan's answer to Cheryl Lynn's "Got To Be Real". "What The Magic Is To Try" is a cult electropop track by Honma Express, a project helmed by producer Kanji Honma. Hailed as Japan's Trevor Horn, he is also known as the producer of legendary techno pop band TPO. "Colored Music" is a song by Colored Music, a duo of pianist Ichiko Hashimoto and her partner Atsuo Fujimoto. Taken from their sole album (1981), the Japanese rare groove treasure is a mesh of new wave, synth pop, and jazz influences. The dubby electronic new wave disco "Electric City" is a B side of pop idol group Shohjo-Tai & Red Bus St Project's debut 12" single. "Love Is The Competition" is a breezy disco jam by Okinawa-born bilingual artist Hitomi Tohyama, originally featured on her album Next Door (1983). Taken from Mariah project's diva Yumi Murata's first album (1979), "Krishna" is a funky and soulful rockin' disco cut. Reminiscent of Chaka Khan's "I Know You, I Live You", "Live Hard, Live Free" is a song by jazz vocalist Eri Ohno who is known for her work with DJ Krush. "Rocket 88" is a melancholic disco number by singer Minnie originally released through Sapporo's independent label Paradise Records. Closing out the 13-track compilation is Japanese disco staple "Tokyo Melody", sung by Shoody and backed by Tetsuji Hayashi's disco band the Eastern Gang. Compiled by Toshiya Kawasaki. Mastering by Kuniyuki Takahashi. Cover photo by Mika Kitamura.
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CD
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STUDIOMUL 001CD
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Mule Musiq announce their new label, Studio Mule. Midnight In Tokyo Vol. 1 is a compilation of Japanese disco, boogie, and soul music. The compilation starts off with the Afro disco classic "Mi Mi Africa" by harmonica player Nobuo Yagi. "Silver Spot" is a jazzy fusion disco track taken from composer, arranger, and multi-instrumentalist Nobuyuki Shimizu's first album (1980), released when he was 19. The track features singer Epo. "Samba Night" is by vocalist Keisuke Yamamoto and his band Piper, from their masterpiece second album Summer Breeze (1983) -- a delightful city pop number for fans of Tatsuro Yamashita. "Akogareno Sundown" is a Japanese soul classic, sung by singer Haruko Kuwana (sister of Masahiro Kuwana). Produced by Mackey Feary Band, known for the soulful classic "A Million Stars". "Koiwa Saiko (I'm In Love)" is a mellow and groovy track by singer Aru Takamura, the great-grandchild of sculptor Kouun Takamura. It can be thought of as Japan's answer to Cheryl Lynn's "Got To Be Real". "What The Magic Is To Try" is a cult electropop track by Honma Express, a project helmed by producer Kanji Honma. Hailed as Japan's Trevor Horn, he is also known as the producer of legendary techno pop band TPO. "Colored Music" is a song by Colored Music, a duo of pianist Ichiko Hashimoto and her partner Atsuo Fujimoto. Taken from their sole album (1981), the Japanese rare groove treasure is a mesh of new wave, synth pop, and jazz influences. The dubby electronic new wave disco "Electric City" is a B side of pop idol group Shohjo-Tai & Red Bus St Project's debut 12" single. "Love Is The Competition" is a breezy disco jam by Okinawa-born bilingual artist Hitomi Tohyama, originally featured on her album Next Door (1983). Taken from Mariah project's diva Yumi Murata's first album (1979), "Krishna" is a funky and soulful rockin' disco cut. Reminiscent of Chaka Khan's "I Know You, I Live You", "Live Hard, Live Free" is a song by jazz vocalist Eri Ohno who is known for her work with DJ Krush. "Rocket 88" is a melancholic disco number by singer Minnie originally released through Sapporo's independent label Paradise Records. Closing out the 13-track compilation is Japanese disco staple "Tokyo Melody", sung by Shoody and backed by Tetsuji Hayashi's disco band the Eastern Gang. Compiled by Toshiya Kawasaki. Mastering by Kuniyuki Takahashi. Cover photo by Mika Kitamura.
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