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STUDIOMUL 027LP
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$31.00
PREORDER
RELEASE DATE: 11/22/2019
A reissue of Little Tree by legendary Japanese jazz guitarist Ryo Kawasaki with his band The Golden Dragon, originally released in 1980. Some of his famous works are mellow jazz fusion masterpiece Tarika Blue (1977), dance jazz classic Trinkets And Things (1978), and cosmic new wave jazz Lucky Lady (1983). Little Tree, with his band The Golden Dragon, is probably the best album for fans of wired jazz, Brazilian, Balearic music. Japanese crate digger "Chee" picked this album as his favorite album from Japan on Resident Advisor. Little Tree is the first album that Ryo Kawasaki used a self-made guitar synthesizer. Rich in variety, Little Tree includes the Japanese Brazilian jazz fusion classic "Looking Around You", experimental guitar ambient piece "Capricho Arabe", the cosmic fusion of "Quasar Infection", Balearic jazz masterpiece "You Are The Sunlight", club jazz classic "Little Tree", folky jazz vocal "Jamiko" -- there's a lot of great songs on this album.
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STUDIOMUL 024LP
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Studio Mule present a reissue of BGM's Back Ground Music, originally released in 1980. The debut album from Japanese living legend, electronic music producer Takayuki Shiraishi. Released on legendary experimental music label in Osaka, Vanity Records, run by Yuzuru Agi when Shiraishi was high school student. Shiraishi was influenced by the music of post punk, new wave, kraut rock -- this album is his unique mixture of that kind music style. One of the most in-demand alternative music albums from japan finally reissued. Remastered from original tape and mastering by Kuniyuki Takahashi.
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STUDIOMUL 026LP
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A reissue of Japanese singer-songwriter Nina Atsuko's debut album, Play Room, originally released in 1983. This album is one of the most-wanted Japanese city pop albums, but it's quite hard to find the original vinyl. Nina covered her favorite bossa nova, Latin, and American pops tunes in Japanese with the sound of '80s urban jazz fusion. All tracks match the big Japanese city pop revival trend perfectly.
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12"
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STUDIOMUL 025EP
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$20.00
PREORDER
RELEASE DATE: 11/8/2019
A reissue of legendary Japanese jazz guitarist Ryo Kawasaki. Some of his famous works are mellow jazz fusion masterpiece Tarika Blue (1977), dance jazz classic Trinkets And Things (1978), cosmic new wave jazz Lucky Lady (1983), Balearic jazz album Little Tree (1980), and many more. Electric World was released on Kawasaki's own label, Satellites Records, in 1987. It seems the release was in very small production -- it's hard to find an original copy. The original version of "Electric World" and "727" are electric, jazzy, fusion disco. The main track on the EP is an extended version of "Electric World" -- a very playful, '80s freestyle boogie track.
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12"
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STUDIOMUL 023EP
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The first remixed release from Studio Mule/BGM. Portland based Visible Cloaks offers two mixes of. The original songs of both tracks are his all-time favorite Japanese tracks. Simply beautiful ambient music.
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STUDIOMUL 022LP
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Studio Mule presents Missing Link, a collection by Japanese living legend electronic producer Takayuki Shiraishi. Missing Link is a collection of unreleased material recorded in the late '80s. Shiraishi started his career in working with BGM, who released material on the Japanese experimental label Vanity Records. Their one and only album Back Ground Music (1980) has been one of the most in-demand Japanese new wave albums. The present album is unique mixture of dark new wave, post punk, kraut rock, and experimental electronic music.
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12"
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STUDIOMUL 019EP
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One of the most wanted Japanese early '90s house music 12-inches is finally reissued. The original was limited to 300 promo copies. Four unique very club friendly tracks.
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STUDIOMUL 020LP
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Studio Mule present their third reissue of Fumio Itabashi with Rise And Shine: Live At The Aketa's, originally released in 1977. Rise And Shine Live At The Aketa's was his second release of 1977, and it was recorded at legendary Jazz Club in Tokyo. This album was actually recorded before his first release Toh. "Jumping Board" on side A is a Japanese hard bop classic. Itabashi's cover version of "My Funny Valentine" is very sweet and elegant while the main track, "Rise And Shine", is one of his best work. At times the album is reminiscent of Pharaoh Sanders if he played piano. Limited initial press.
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STUDIOMUL 018CD
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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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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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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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Repressed; 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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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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2019 repress; 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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CD
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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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