Music That Transforms Scenery and Atmosphere

InoueI believe we first met at WAVE in Roppongi. That was when I was working there, from about 24 to 28 years old.

OkinoYes. I had just moved to Tokyo around the time you started working there. I used to buy CDs and records at WAVE in Roppongi. When Kenny Dope came to Japan, I took him to WAVE because he wanted to go somewhere.


InoueI remember being so thrilled when Kenny Dope came while I was working there, and getting his autograph on the record jacket. Also, Club King had a regular event on Mondays at THE ROOM back then. Thinking about it, it's been about 20 years since we met. Does that mean THE ROOM is also celebrating its 20th anniversary?


OkinoYes, thanks to everyone, we are celebrating our 20th anniversary. You performed at the "Tokyo Crossover/Jazz Festival" (hereafter, TCJF) in 2009, and at the pre-party last year, so this year you're in the main event. You also performed at the cruise party for the Greenroom Festival in Yokohama.


InoueYou've always been so energetic, Okino-san. Everything you create feels like the "Okino Group." I was in a band until my early twenties, but after starting a part-time job at a club, I discovered acid jazz and rare groove, and became a DJ. So, of course, I knew your name.

—TCJF features the two of you with your deep connection. What is the theme this year?



InoueI don't think there are many artists who can truly do this. I certainly couldn't.
And it's amazing that the unifying element of TCJF is "jazz." While I DJ house and dance music now, jazz was actually my entry point. It's about musical richness, isn't it? I still love jazz, of course, but there are few venues where I can play it these days.


—This is the second time TCJF is being held at Ebisu Garden Hall.


OkinoThis size is just right. The performers aren't too far away to see, but it's not so cramped that it's uncomfortable. It fits the current scale I envision for music events. Of course, I want to make the event bigger. But at that point, the booked artists and the concept will likely change. For now, I like the idea of having fun with everyone in a venue that can hold 1,000 to 2,000 people, centered around danceable jazz and dance music influenced by jazz.



InoueI'd love to see it held outdoors someday.



OkinoOne of the reasons I booked you, Inoue-san, was to bring in the atmosphere of an outdoor festival. Even though TCJF is indoors, I hope that when you start DJing, it will feel like, "Huh? Doesn't this feel like an outdoor festival?" Music can change the scenery and the atmosphere of a space. While we call it club jazz and crossover music, the genres are actually quite broad.



InoueThat's cool. I think it's about conveying our experiences. Our generation should all move forward with that same spirit.

A Demand for "Quality"

OkinoWhen I started DJing in clubs, I didn't have much money. Of course, I needed to make a living and wanted money, but if my goal was to "earn money," I wouldn't have become a DJ or been in clubs.


InoueI agree. It started with just going out to have fun, and then I got opportunities to DJ. I was even playing sets on weekdays. I was doing that while working other jobs. Eventually, what I produced was well-received, and I was able to do it professionally. So, it wasn't about wanting to make money that got me started.


OkinoAt some point, DJs started earning money, and the focus shifted to sales figures and attendance numbers. However, I don't think the current situation, often called the "music recession," is entirely bad. It's a turning point where those who create out of passion become clear, and those who can't make a living stop.


InoueYes, I think a process of elimination has begun. The situation makes it difficult to continue, and people naturally drift away. Since the earthquake, there's been a shift in Japanese society, hasn't there? People's mindsets change. So, I truly feel we are being tested now. We're being challenged to see how long we can continue without the income we used to have, and what we need to do now. Of course, I want CDs to sell, and I'm not saying I don't want money, but I feel my passion for music is being tested.



InoueThe demand for "quality" is probably true in every industry. Things are just overproduced. I think we were pulled into that, and I was too, of course. Looking back, there were times when "quantity" was prioritized over "quality." But I feel that's reversing now. It seems we have no choice but to pursue "quality."
I want to focus on refining what I've accumulated through my experiences.



OkinoI believe there are people who support that.
For example, for about six months after the earthquake, even when THE ROOM was open, very few people came. But the fact that 50 to 100 people, who loved THE ROOM's unique style and worldview, gathered each night was my support. By focusing on that "quality" and protecting my vision, there are definitely people who will support you. I want to gradually increase the number of people who follow me by pursuing quality. Looking back, that commitment has been supported for many years. I'm glad I've been able to continue for 20 years without compromising or pandering.
This is the ninth iteration of this event. When I started, I was worried if people would come, and others told me it was impossible. But the fact that I've been running a club for 20 years and a festival for 10 years has shown me that if you work hard on what you believe in and share it with your friends, you can achieve results.



InoueThat's truly incredible effort... "Persistence is power." And you have such great charisma, Okino-san. Always having people who support you is a rare talent and truly wonderful. Oh, and congratulations on THE ROOM's 20th anniversary!



OkinoThank you!
We now call THE ROOM a "tamariba" (gathering place) rather than a "club." One day, during a staff meeting, we asked ourselves, "What are we?" Some clubs today focus on filling the space with many people and creating excitement, but nothing remains afterward. I love clubs, and I'm still a club DJ, but if those places are considered clubs, it deviates from my concept of what a club should be. So, THE ROOM declared itself "post-club." We even joked about exporting it as "Fujiyama" or "Tempura," or perhaps "Tamariba" in katakana or English!
It's a space between a bar and a club, where the staff are artists, and music and culture are born from that space – the kind of club we used to love. So, it didn't suddenly become a "tamariba"; it was always a "tamariba," but we just called it a "club" for convenience. Then one day, we realized, "We've always been a 'tamariba' from the beginning!"



InoueClubs in the current sense are indeed a bit different. It might be inevitable to focus on numbers, but many places operate under the logic that they need to accommodate many people because they've invested in the infrastructure.
"Tamariba" sounds great. The other day, I was invited to KAWASAKI-kun's event again, and it was wonderful to see the audience genuinely excited to be there. No one was on their phones or taking pictures; everyone was dancing their hearts out.
And the proximity is unbelievable for a club. It's too close! The DJ is right in front of you. The booth is in the middle of the dance floor, like in Ultimate Frisbee. There was even someone playing percussion on the floor, and it was incredibly lively.



OkinoEven with a small space, if there's a concept or message, it creates a gravitational pull. TCJF operates on the same principle. It's a massive tamariba, on a scale of 1,000 people.







OkinoOf course. Four years ago, with KYOTO JAZZ MASSIVE, I created a cover of "Mystery of Ages" with vocalist Benbe Segue, and gave a demo version to some DJs with the instruction not to copy it.
Then, when I went to Toronto, Canada, a DJ named Moonstarr somehow got it and even made his own edit and played it (laughs). He told me, "I have a song that Shuyas is sure to love, so I'll give it to you." When I received it, it was indeed my song. I told him, "Love it or not, this is my song!" He replied, "Sorry, I didn't know who it was! But this is Benbe Segue, right?" I said, "Benbe Segue or not, I recorded this at my home!"
Last year, Moonstarr released it as a 7-inch single. I gave him permission because the story was interesting. When he contacted Carlos Garnett to get his permission as the composer for the release, Garnett liked my version with Benbe Segue singing and readily agreed. Then he said, "Invite me to Japan."

I thought, "This would be perfect for the headliner of TCJF!" Then, my brother and I thought, "If we're going to invite Carlos Garnett, we need to complete this," so we're recording a new version this year. And when I asked Benbe, "Carlos is coming, will you sing?" he said, "I'd be delighted!"
Everything has come together to lead to this event, so it holds a very special place in my heart. Furthermore, I took a shot and asked him to perform five of his favorite songs from past albums, including "Mystery of Ages," and he said, "Okay" (laughs).


InoueWe're not allowed to play this, are we?

OkinoThat's a no (laughs).

— So, finally, could you say a few words to our readers?

InoueThe other day, I DJed in Hokkaido for the first time in a while, and afterward, I traveled to eastern Hokkaido, all the way to the Shiretoko Peninsula. I want to project that vast nature here in Ebisu, so I'll adjust everything accordingly. I want to condense my enthusiasm and do my utmost to ensure that everyone who comes truly enjoys themselves.

OkinoInoue-san is a crucial piece of this event. It confirms that our booking was the right decision. If one of the performers sparks interest, people will enjoy the entire event. That's the difference between my festival and others. I want people to experience the catharsis that arises when individuals from different genres and generations come together, from beginning to end.





Delivered after two years, "A Missing Myth" is Kaoru Inoue's long-awaited new album. It's a conceptual work radiating "universal appeal," composed as a non-stop mix (CD version only) that depicts a prayer from a beautiful night scene towards dawn and reaches a shamanic trance, weaving together memories and histories of various music, including ethnic music from Asia and Africa, with the dynamism and impulse of electric dance music like house and techno. (From the liner notes)

The Second Official Compilation for Tokyo Crossover/Jazz Festival,
"TOKYO CROSSOVER/NIGHT 2012" is Released!

"The Beetle Presents TOKYO CROSSOVER NIGHT 2012" V.A.
2012.9.12
¥2,400 (tax included)
VIA-0080 (Village Again / Extra Freedom)
http://www.tokyocrossoverjazzfestival.jp/2012/news.html#0807_1







KYOTO JAZZ MASSIVE Presents SOUND SANCTUARY
~Shuya Okino Monthly Compilation
"Mix for OPENERS" 50th Anniversary Special x The Room 20th Anniversary Party Vol. 10 ~
Industry First: DJ Set Where All Tracks Can Be Purchased on iTunes Music Store Instantly!
Shuya Okino will reveal the links to each song on Twitter and Facebook for his DJ set using only tracks available on iTunes,
allowing immediate identification and download.
Following the highly talked-about fully legal play broadcast on USTREAM, an experimental party promoting legal downloads will be held!!
Date | Saturday, October 13
Time | Open / Start: 10:00 AM
Charge | 10:00 PM - 11:00 PM: ¥1,500 (1 drink) / 11:00 PM onwards: ¥2,500 (1 drink)
Venue | The Room
15-19 Sakuragaoka-cho, Shibuya-ku, Tokyo, Eighth Toho Bldg. B1
Tel. 03-3461-7167
DJ | SHUYA OKINO (KYOTO JAZZ MASSIVE), TSUYOSHI SATO
FOOD | Taro Komiya *One plate / ¥1,000 Limited to 20 servings
http://www.theroom.jp/