Lounge
May 11, 2015
Tomoki Sukenaga | Defining the Cool Man: Part 7, Tomoki Sukenaga x Shuya Okino
Tomoki Sukenobu | Defining a Cool Man
Part 7: Tomoki Sukenobu x Shuya Okino
—You were also in charge of styling for Okino-san's solo album, of course.
OkinoSukenobu-san had asked me to work on shoots a few times, and I had him style for my unit called "Cosmic Village." So, when I decided to release a solo album, I knew he was the only one I could ask.
SukenobuBefore I started working with Okino-san on this project, he introduced me to work for a music and fashion magazine called "Men's Fudge." We exchanged several emails. He had some styling ideas I really liked, and for the album "UNITED LEGENDS" shoot, we decided on a bow tie and leather jacket look.
OkinoI asked him to style for Mondo Grosso once before, but I only ever check Sukenobu-san's styling.
—Please tell us about the album yourself, Okino-san.
OkinoNormally, solo albums tend to scale down in scope. I've heard that when leaders of rock bands release solo albums, for example. I'm in a unit called Kyoto Jazz Massive, but I wanted to maintain that sense of scale even when performing solo. To achieve this, I wrote all the melodies myself and commissioned 10 vocalists and 10 trackmakers.
SukenobuOkino-san has declared himself a "composer" this time and is creating his own music. I think it's an interesting album that successfully blends classical and jazz elements.
OkinoWhat's more, I created this entire album just through email correspondence. When you count the strings, a total of 96 people were involved. It's a super big project disguised as a solo endeavor, but I didn't meet anyone until it was complete.
—What? Just email?
OkinoOf course, it's not that I don't want to meet people. But the email exchanges were important in the creative process. To clarify what I wanted to do. My melodies were a message, and I wanted to see how the vocalists and trackmakers would respond. In our case, I responded to your reactions in our email exchange, which took the form of a discussion for a magazine, and you responded again.
SukenobuWe exchanged emails a few times, like a correspondence.
—So, was Sukenobu-san the only person you met during the album's production process?
OkinoYes, I suppose so (laughs). Looking back now. I thought it would be interesting to create an album this way. My previous productions involved friends of friends, so communication was smooth and we could create good work, but I've already done that. Since this is a solo project, it's also an experiment, so I wanted to change my approach to production. I've experienced musicians gathering for live jazz recordings before, and I can't quite match that kind of excitement, that catharsis. So, I decided to boldly try to see how emotional the music could become without meeting anyone. I sent the melodies I created in my head to the vocalists as karaoke tracks to make them easier to sing, recorded the vocals, then sent them back to the producer via email, replaced the entire backing track keeping only the vocals, and had them send it back via email.
photo by Emiko Fukuda
So, it was also an experiment to see how emotional the music could become without meeting anyone. I sent the melodies I created in my head to the vocalists as karaoke tracks to make them easier to sing, recorded the vocals, then sent them back to the producer via email, replaced the entire backing track keeping only the vocals, and had them send it back via email.
—So, was Sukenobu-san the only person you met during the album's production process?
OkinoYes, I suppose so (laughs). Looking back now. I thought it would be interesting to create an album this way. My previous productions involved friends of friends, so communication was smooth and we could create good work, but I've already done that. Since this is a solo project, it's also an experiment, so I wanted to change my approach to production. I've experienced musicians gathering for live jazz recordings before, and I can't quite match that kind of excitement, that catharsis. So, I decided to boldly try to see how emotional the music could become without meeting anyone. I sent the melodies I created in my head to the vocalists as karaoke tracks to make them easier to sing, recorded the vocals, then sent them back to the producer via email, replaced the entire backing track keeping only the vocals, and had them send it back via email.
—Amazing.
OkinoThis is actually my first solo album, and I'm turning 40 next year. I decided to become a DJ when I was 20, and founded my company when I was 30, so I have milestones every 10 years. I wanted to create something as a culmination of my music career up to age 40.
SukenobuYou're very consistent, Okino-san. Right on schedule.
【Kyoto Jazz Massive】
Shuya OkinoA DJ unit formed by brothers Shuya Okino and Yoshihiro Okino. They formed the DJ unit "KYOTO JAZZ MASSIVE" in the early 90s. For over 10 years, they have supported the Japanese jazz/crossover scene while also achieving international success. For more details, visit www.kyotojazzmassive.com/
photo by Emiko Fukuda
—You must have many mutual acquaintances in Kyoto, the two of you.
SukenobuThere's a club called Metro, and I heard that Tomoyuki Tanaka and Okino-san were there. I mostly stuck to Metro and Garden.
OkinoThere are many musically inclined people in Kyoto, such as Shinichi Osawa, Gota Yashiki, EYE from Boredoms, and singers UA and Bonnie Pink.
SukenobuOsawa-san used to work at a clothing store in Kyoto, and I used to buy clothes there. The next time I saw Osawa-san, he was playing guitar and singing at Isetan, and I thought, 'I know that person!' (laughs). Have you been back to Kyoto recently?
OkinoI DJ once a month at a new restaurant bar in Kyoto called a cabaret. It's an event called "Future Jazz Kissa" (Future Jazz Cafe).
SukenobuWhere is that located?
OkinoIt's in the Empire Building. North of Kiyamachi.
SukenobuThere used to be a club called Bauhaus on the 5th floor of that building.
OkinoThere was.
SukenobuI used to work there.
OkinoReally!? I used to go to Bauhaus.
SukenobuMy older brother's friend was the owner and asked me to help out, so I worked as a tout (laughs). At the time, China Express was at its peak, and Bauhaus was designed to be like Tools, with a low ceiling. We'd try to catch people organizing group events. They promised 500 yen per person brought in, and the highest was 280 people in one day.
OkinoThat's amazing. That sounds like a good part-time job.
SukenobuOther staff complained that he was making too much money, so that arrangement ended (laughs).
OkinoKyoto can be distant to strangers, but once you get to know someone, you form deep connections.
【Kyoto CLUB METRO】
A long-established club in Kyoto, located at Kawaramachi Marutamachi, which opened in 1990. www.metro.ne.jp/
【Kyoto China Express】
A disco located in Kiyamachi, Oyabaka-dori
SHUYA OKINO
『UNITED LEGENDS』
All songs composed by Shuya Okino (KYOTO JAZZ MASSIVE). His first solo album, featuring 10 prominent vocalists and 10 prominent trackmakers, is the ultimate masterpiece of crossover/club jazz!!
Styling/Photography: Tomoki Sukenobu
GENEON / GNCL-1097
3,150 yen (w/tax)
UNITED LEGENDS / SHUYA OKINO
01. THANK YOU feat. NAVASHA DAYA for FERTILE GROUND
Sound produced by KYOTO JAZZ MASSIVE
02. SHINE feat. DIVINITI
Sound produced by DJ KAWASAKI
03. IF IT IS LOVE feat. CLARA HILL
Sound produced by PIRAHNAHEAD
04. SUMMER LOVE feat. NICKY GUILAND for HEAVY
Sound produced by SEIJI for BUGZ IN THE ATTIC
05. LOVE IS THE KEY feat. JOSH MILAN for BLAZE
Sound produced by PHIL ASHER
06. A MILLION TEARS feat. COURTNEY DENNIE
Sound produced by DA LATA
07. TURN IT UP feat. MELISSA BROWNE
Sound produced by AFRONAUGHT for BUGZ IN THE ATTIC
08. PIECES OF YOU feat. YUKIMI NAGANO
Sound produced by DEGO+AKWASI for 2000BLACK
09. BEAUTIFUL SADNESS feat. CARLEEN ANDERSON
Sound produced by DOMU
10. WHAT WOULD I DO WITHOUT YOU? feat. VIKTER DUPLAIX
Sound produced by MARK DE CLIVE-LOWE