February 28, 2016
I listened to swing every night. Scatman Crothers was a big part of my youth. Black culture; it’s enchanting, it’s fun, it’s got allure. I guess urban style vintage clothes are cool too. A chambray shirt with prison-striped pants like on the East Coast Blues album cover. Leo Watson wore a nassau vest, with like a long collar. It was really tough to figure out what the 40’s were like just from those record covers. The framework was like, Toyo Nakamura’s The People’s Music. The Mocambo Session ’54; it’s so black, but even Japanese people weren’t half bad. One time, the owner of El Sur said, “Narukiyo, you’re wasting your youth, the 60’s are great too.” I wasn’t thinking about, the 30’s, the 30’s, ya know, denim was just XX. “Try listening to other things a bit.” And I did…it was erotic…Latin music…it was such bad ass music. “It’s so cool, I can’t help it.” Music is so great; I really appreciate El Sur Records. The first 007, Dr. No, it was easy to get into so I got into calypso after seeing that. Ralph Robles, that one is dirty; it’s like, how could you even produce such original music?
An American musician, actor, singer, dancer, and voice actor. His career started in the era of prohibition and he was involved with an illegal tavern. He even performed for the infamous Al Capone. He acted in films such as “One Flew Over the Cuckoo’s Nest” and “The Shining.”
*East Coast Blues
A collection of blues from the east coast from 1926 to 1935 released by Yazoo Records.
An American musician. Jazz vocalist, drummer, and trombone player. Famous for his unique scatting, he performed in The Gene Krupa Orchestra and Artie Shaw Orchestra.
Japanese music critic and editor. Former Chairman of the Board and Representative Director of the Music Magazine Corporation. An expert in native Latin music, African music, jazz, blues, and particularly the origin of black music.
*The Historic Mocambo Session ’54
Starting July 27, 1954 and continuing to the next day, the Mocambo jam session was held in the Yokohama jazz club, Mocambo Club in Isezakicho. Mainly featuring Sadao Watanabe (alto sax), Akira Miyazawa (tenor sax), Akira Watanabe (alto sax), Moriyasu Shotaro (piano), Hisao Suzuki (bass), and Taketoshi Igarashi (drums). Others such as Toshiko Akiyoshi (piano), Keiichiro Ebihara (alto sax), Kiyoshi Yamaya (alto sax), Teruo Yoda (tenor sax), and Tsuyoshi Ueda (bass) also participated. Some say that America’s top jazz pianist Hampton Hawes, who was stationed in Tokyo as a soldier at the time, also joined in.
A trumpet player who left a strong mark on salsa’s history. The unique sense of nihilistic and manly Barrio Latin music, the intense sound and traction of his heavy brass section is everlasting.
It’s just the kids that said “Let me work here.” Okay, I say, even when it’s tough I take them on. I can just reduce my own salary a bit; it makes me happy, someone says they wanna work here. I still keep in touch with all of them, even if it’s the ones that were like mainstays that ended up going elsewhere. Charming kids that were always into fashion and music, they even let me spin records at their events sometimes. So if fate brings us together again, I care about those kids enough I would open a restaurant for them. A few years ago I thought about doing a cafe, I sent someone to New York; go and have a look around, I said. Just go take a look, you don’t have to eat anything, it’s not good anyway. [Laughs] But a place built with your bare hands, the vibes you can get from a storefront; France does that kind of thing right. Even when things are tough, the garçon is outside saying, “Bonjour, bonjour.” What these kids did here; I wanted to let them dream, I was the same myself. When they’re out on their own and face their own strengths and weaknesses, put down roots, they’ll create the next generation’s culture. As long as you have kids like that; Japan will be okay. I think the night scene is going to be revitalized; there is no night scene now. For example at a club; don’t show up in sandals, don’t show up in a jersey; you have to dress up. Back then, you worried about what to wear on the weekend, right? Just like getting fired up before a game; I want my place to be like that.
I want to do great things. Great things, it’s not looks, I think being great depends on how you use your cleverness. Even Bravo Chicken, eventually I wanna do a man’s shop. Like Natural Narkiyo. [Laughs} Like a local market, it’s got local stuff, but it’s not about the shop’s profits. I’d tell the farmers and fisherman to raise their prices a bit, at least add another buck, because well produced things are worth it. I want them to be proud of their work; I can make something out of it. For example, like chikuzen-ni, I cook it up, I make it so good that it’s like I finish it off by garnishing it with a bit of a lady’s cum. [Laughs] We’ll have fish too; adjusting the heat, mix it all up; I wanna do that kind of a man’s place. I think that’s got appeal too; and I wanna do a cafe, there’s so many things I wanna do so bad. The scene is like: people are coming to hang out and go in through this, like, black and gold corridor. There’s a valet parking cars and the lot is filling up, there’s a big band in the restaurant, and the kitchen is down beneath the band, they’re making noise, “Hey, you’re off beat today!” The band and kitchen are going together, you see, you’re doing that riff, and I’m making the main dish. I wanna do a place like that; it’s so cool, I wanna create nights like that. When you gotta sleep, there’s a hotel too; no matter how much money I had it wouldn’t be enough. [Laughs]
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