Soil & Pimp Sessions

The stage at Camden Jazz Café in London is a riot of Japanese musicians rocking rainbow-colored boutique hip-hop wear, skater steez, and ’70s gangster suits. The saxophonist thrusts his instrument towards all four corners of the crowd before dropping to his knees and soloing his sax like it’s an electric guitar. As he finishes, the six-piece band launches into a crescendo of jazz. The drummer roars like an animal, the trumpet ricochets around the stage, and the pimped-out frontman–referred to as “The Agitator”–feels the groove, rocking his head like a believer seized by the spirit and warbling, “Ahhohhhhhahhh! Can you feeeel thisssssss?”

Ladies and gentlemen, fasten your seat belts. This is death jazz, as performed by Tokyo’s mind-blowing musical collective Soil & Pimp Sessions.

Soil & Pimp annihilates stereotypes, bringing a heavy metal-meets-rock-meets-1980s hip-hop ethic to the jazz arena. Their smash-and-grab, almost kitschy style doesn’t dilute jazz tradition; rather, their sublime musicianship–coupled with a youthful, nihilistic approach to playing (they literally thrash their instruments)–gives them the kind of revolutionary rebel status not witnessed since the jazz scene’s formative years.

The group started in 2000 in a coffee bar in Roppongi, a hipster district of Tokyo. It was originally a free-for-all titled Soil & Hemp, a jam session for experimental musicians. Saxophonist Motoharu explains. “We knew all these musicians from the hip-hop, rock, Latin, jazz, and reggae scenes. Although people had their specialist area, everyone was open and inspired by a huge range of sounds. Yet the scenes were separate. The sessions were a place where everything could come together freely.”

Vital to the night’s success was Shacho, a DJ, promoter, and all-around music and style fanatic who, although unable to sing or play, guided the sessions like a guerrilla conductor with his repertoire of emotive shout-outs, ad-hoc instructions (“Break it dooooown,” “Oh-yeah-oh-yeah-oh”), and fragmented prose.

Out of these sessions, Soil & Pimp–the hardcore collective of Motoharu, Tabu Zombie (trumpet), Josei (piano), Akita Goldman (bass), Midoryn (drums), and Shacho (“The Agitator”)–was born. At their first major gig, Japan’s prestigious Fuji Rock Festival, they tore the house down and soon signed to Japanese label Victor Entertainment to release their first album, Pimpin’, in June 2004.

UK world music honcho Gilles Peterson came knocking at their door and, soon after championing them on his Radio 1 Worldwide show, he signed Pimp Master (which the band refers to as their first “full album”) to his new indie label Brownswood. Amazingly, the album captures the virtuoso anarchy of their live shows, with breakneck tracks like “Avalanche” and “Suffocation” sitting next to more spiritually inspired compositions such as “Waltz For Goddess” and “A Wheel Within a Wheel.”

“The album is our feelings, souls, and worlds in sound,” says Shacho. “We are music lovers who have grown up being inspired by many different cultures, yet we feel them like they are one and our own.”

Somewhere: Tecnobrega in Brazil

Brega, in Portuguese, means something of bad taste; it also refers to a genre of Brazilian popular music whose songs are usually about heartache, and include questionable use of synths and strings. Despite being virtually ignored by the media of Rio and São Paulo, brega has been hugely popular for decades with the favela dwellers of Northern Brazil, particularly in Belém do Para. Eventually, brega met electronic music, birthing the rudimentary dance music known as tecnobrega (roughly translated: “cheesy techno”).

Tecnobrega revolves around various soundsystems (aparelhagem), like Treme Terra Tupinambá (Tupinambá Ground Shaker) and Poderoso Rubi (Mighty Ruby); despite hailing from Brazili’s poorest regions, these soundsystems operate complex networks of computers, lights, special effects, and speakers.

The distribution of tecnobrega is similar to the hip-hop mixtape game in the U.S.. CDs are only sold in big, open-air markets; all copies are “pirated,” but getting music for free isn’t problem–it’s the solution. Selling mixtapes at the market is an artistic boon for the DJs, allowing them to increase their popularity and get more gigs.

To get more airplay, artists make special tracks praising radio stations and soundsystems. When you go to a concert, not only can you buy a copy of the gig as soon as it is over, but you can buy a copy beforehand, then give them your name and pay to have it shouted out during the show–the ultimate in customization. CD-Rs are so yesterday in this scene; even MP3 compilations with 10 albums on one disc are being replaced by DVD-Rs that hold multiple gigabytes’ worth of information.

Ronaldo Lemos, head of Creative Commons Brazil and professor at FGV Law School, believes tecnobrega is evidence of a new music-industry model. “In this scene, the ‘pirates’ are incorporated in the music business chain,” he says. “Nobody distributes music as cheap and as fast as they do. The appropriation of technology by the ghetto is happening globally. What’s cool is that they have created an environment where intellectual property is not an important factor in their business model.”

Belém native Vladimir Cunha–who’s directing upcoming documentary, Brega S/A­–disagrees. “The only people who make money out of tecnobrega are the soundsystem owners,” he retorts. “Artists get paid really badly. On average, a six-piece band gets 150 dollars a gig. At first, piracy could be perceived as a good thing, because it’s spreading the artist’s work, but in fact they have to rely solely on live concerts to survive.”

Various Artists Justin Martin and Johnny Fiasco: OM Winter Sessions

OM delivers a two-fer for the holidaze, featuring table-mavens S.F.’s Justin Martin and Chicago’s Johnny Fiasco. Winter Sessions’ Disc One is Martin’s debut mix, and he delivers an accessible underground sampling with tracks from Skye, Switch, Mike Monday, and labelmate Andy Caldwell. Disc Two sees Fiasco veering from typical West Coast bounce, instead going deep and chilly. So if you couldn’t get down to the OM Winter Sessions tour, these discs will do.

Aereogramme My Heart Has a Wish That You Would Not Go

Scotland’s Aereogramme is one of the few post-Mogwai bands still churning out epic post-rock hits that don’t sound like throwaway tracks from Explosions in the Sky, Tortoise, and the like. While at times excessively emotive (see extremely sensitive pop vocals), this album finds the band tempering its submissive side with dense orchestration, a feat not quite realized on 2006’s Seclusion or In the Fishtank, their collaboration with Isis. Propelled by dramatic piano scores and layers upon layers of strings, My Heart… is a mature record that focuses more on tone than brutality.

Radio Jazz

Two styles of music relatively obscure in your average record store, but alive and kicking online, are the flourishing nu-jazz and broken beat genres. Nu-jazz encompasses pretty much anything in the “leftfield jazzy beats” realm–from downtempo acts like Mr. Scruff or Cinematic Orchestra to uptempo sounds from Jazzanova or Sleepwalker. Broken beat is a sound attributed to London-based artists like Bugz In The Attic and Mark de Clive-Lowe, but produced globally as well.

There’s no better place for the average music fan to get a dose of these musical flavors than on the plethora of international online radio broadcasts. Here’s our guide to a few of the best.

US
Since 2003, Philly’s Broke N’ Beat Radio has offered exclusive mixes from some of the world’s best nu-jazz purveyors. Patrick Forge, Rich Medina, and Domu (pictured) are among the many DJs whose sets are available in the site’s archives. Primarily run by DJ Argo, a recent show that featured tracks from Azymuth, Slope, Simbad, Lanu, and Inverse Cinematics. And if you missed a stream, you can always have it delivered to your iTunes folder as a podcast.

Australia
Simply put, Australia’s Straight Up features radio shows, interviews, live sets, and guest mixes from some of nu-jazz’s and downtempo’s best artists. A visit to the site recently revealed offerings such as an exclusive guest mix by the pieman and tea drinker from Manchester, Mr Scruff, a live set from Tru Thoughts artist Alice Russell, and interviews with 4hero. And did I mention the site’s 20-strong, multi-genre radio DJ line-up? Killer site, all-around.

Japan
Put me close to a computer, and before long I’ll probably be surfing over to Samurai.FM for whatever dope exclusive DJ mix it has in rotation. The other day John Tejada was live-cast from the Yellow club in Tokyo, followed by web-DJ sets from Amsterdam’s Aardvarck, Germany’s Luciano, and USA dub cats theAgriculture. Also, Samurai’s artist- and label-profile section has an “A-to-Z” of coolness, from Herbert’s Accidental Recordings to Brighton hip-hop label Zebra Traffic. Tune in.

Germany
You have selectors and you have selectors. Matthias Desch is a DJ’s DJ, knowing just how to program and select a swath of devastatingly dope tunes. His Munich, Germany-based Boogaloo Radio gets right down to business each week, with a compressed set of excellent new music. In between the exclusive tracks, you’ll hear lovely business from labels like Kindred Spirits and Sunshine Enterprises. Subscribe to the RSS-Feed.

Also recommended: Switzerland’s Lounge Radio and Italy’s Jazz It Up.

DJ Food & DK Ready New Mix

It’s been six years since DJ Food and DK launched the highly sought-after Solid Steel series with Now Listen. The duo perpetuated such mega-hip-hop mash stylings by propelling a Solid Steel radio show and club night, unveiling a scene of Z-Tripian mash enthusiasts who follow its every move. Now, we’re refreshed with the sequel, Now, Listen Again.

Not unlike the original, Listen Again is a conglomeration of so much different shit. On one hand you’ve got Primal Scream’s “Revenge of the Hammond Connection,” edited into a northern-soul operatic, rock track. On the other, New Order’s “Blue Monday,” colliding into Part 2’s grimey two-step “One of Them Days” remix. It’s like it’s ’99 all over again. Pants are just a little less baggy now.

Ninja Tune is at the top of its game with releases from Amon Tobin, Pop Levi, and now this mother of all mash-up mixes. This is a good time to be alive¬–as long as you’re into partying and disjointed jams.

Now, Listen Again is out April 2, 2007 on Ninja Tune.

Tracklisting:
1. MVP “Rock Your Body”
2. Z-Trip “Listen to the DJ”
3. Timbaland “Cop That Shit”
4. Eric B & Rakim “I Know You Got Soul (a capella)”
5. The Human League “Being Boiled”
6. Area Code 615 “Stone Fox Chase”
7. Cut Chemist “A Peek in Time”
8. Pepe Deluxe “Salami Fever”
9. Cozy Powell “Dance with the Devil”
10. DJ Format “You Hear That?”
11. Ram Jam “Black Betty”
12. Johnny Jones & King Casuals “Purple Haze”
13. Primal Scream “Revenge of the Hammond Connection”
14. Bomb the Bass “Megablast (a capella)”
15. DJ Shadow “Right Thing (Z-Trip’s ‘Get the Party off’ remix parts 2 & 3)”
16. Gorgio Moroder “Tears”
17. AC Lewis “Tickles”
18. Aphex Twin “Nannou”
19. The Irresistible Force “Underground (Ambient mix)”
20. New Order “The Beach”
21. Part 2 & Fallacy “One of Them Days (remix)”
22. Freestylers “Painkiller (Ed Solo & Skool of thought remix)”
23. 5 Deez “Funky (a capella)”
24. TTC “Dans Le Club (instrumental)”
25. Reggie Steppa “Drum Pad Sound”
26. DJ Zinc: Reach Out “(remix)”
27. Roots Manuva “Swords in the Dirt (The Quemists ’03 remix)”
28. Pendulum & Fresh “Tarantula”
29. Roots Manuva “Witness (Walworth Road Rockers Dub Steinski rework)”
30. Jo Ann Garret “It’s No Secret”
31. Ronnie Hazelhurst “Are You Being Served? Theme (Film version)”
32. The Dragons “Food for My Soul”

Justine D Releases Mix CD

The ’90s were a strange period for music. There was (of course) grunge, which stiffened the rise of innovative punk and indie rock bands from Earth to Sebadoh from coast to coast, but a goth-wave hovered over New York City during that time–and longtime promoter Justine D gives us a modern reminder of it on Rvng Prsnts Mx5: Justine D.

Hardly a stranger to the city’s grimier side, the nightlife diva takes a cue from legendary clubs like the Limelight, Pyramid, and Palladium for this disc, offering a glimpse into those aforementioned dark days of the New York underground. With tracks ranging from Death in June’s “Nation” (so amazing), to Arthur Russell’s “Make 1, 2,” to Crass’ “Walls,” the club matron takes us on a narrative hike through different periods and genres that shaped generations of creative thought. Limited to 1000 copies and produced at Optimo’s Glasgow studio by Twitch, Rvng Prsnts Mx5-is a monumental-mix.
Rvng Prsnts Mx5: Justine D is out now on Rvng.

Tracklisting:
1. Robert Fripp & Brian Eno: “Swastika Girls”
2. The Orb: “Little Fluffy Clouds (7” Mix)”
3. My Bloody Valentine: “Soon (Andrew Weatherall 12” Mix)”
4. Shocking Blue: “Acka Raga”
5. Nitzer Ebb: “Warsaw Ghetto”
6. Turntablerocker: “Love Supreme (Reduce to the Dub)”
7. Daniel wand: “Like Some Dream (I Can’t Stop Dreaming)”
8. Ministry: “All Day Remix”
9. Glass Candy: “I Always Say Yes”
10. The Cars: “Moving In Stereo”
11. Hot Chip: “No Fit State”
12. Arthur Russell: “Make 1, 2”
13. Chic: “I Want Your Love”
14. Delia Gonzalez & Gavin Russom: “Black Spring”
15. David Bowie: “1984”
16. Crass “Walls”
17. Malaria: “Kaltes Klares Wasser”
18. Human League: “Marianne”
19. Christian Death: “Romeo’s Distress”
20. Death In June: “Nation”
21. Goblin: “Susperia”
22. Syd Barrett: “Love You”
23. The Zombies: “Don’t Go Away”

Sa-Ra Creative Partners The Hollywood Recordings

Sa-Ra is officially off dick-tease status. The trio has been promising a proper full-length since they hit the ground running with 2004’s off-kilter funk sensation, “Glorious.” Well, ladies and gentlemen, here ’tis. As we patiently await their G.O.O.D. Music debut, this 19-track romp, chock full of synth-laden debauchery and extraterrestrial musings, fills the void with a little help from friends like Erykah Badu, Bilal, Pharaohe Monche, and J. Dilla. SRCP tosses in a few previously released singles and some cyber-funk jawns from the archives of their mothership for an eventful affair. Cuts like the Rhodes-heavy twilight jam “So Special” and the head-nodding “Feel The Bass” (featuring Talib Kweli) truly take the lead. And while the album has small bouts of inconsistency, it further cements SRCP’s status as genre-bending Hollyweird squares on the verge of reinventing funk, from Sunset Blvd to the stratosphere.

Stones Throw and Parra Event

Stones Throw clearly hasn’t gotten its fill of parties. Though the 2007 onslaught of SXSW/Miami madness is less than a week old in the music scene’s collective memory, the L.A.-based hip-hop label returns home just in time for another event, this time to showcase the bizarre-but-playful graphics of Dutch illustrator Parra.

Given Stones Throw’s evident taste for the not-so-cutsey side of illustrated characters (see Quasimoto’s ever-present cigarette, Madvillain’s menacing mask, and Chrome Children, who seem appropriate for a haunted house), the self-taught, Amsterdam-based artist’s often bawdy and audacious characters make for an apt presence at any of the label’s parties. A slew of Parra-designed items, from silkscreens, to shoes, to T-shirts, will be on display at the event.

Festivities go down at 7 p.m. on Thursday, April 5, at The Standard Hotel in downtown L.A.

Jennifer Marston

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