A New Sound for 2014

Kenichi Ikeda, known as "ROOT SOUL," has been involved in Okino's projects since the first KYOTO JAZZ MASSIVE album, contributing as a programmer, bassist, and arranger. Ikeda himself has worked at "The Room" in Shibuya for over a decade, hinting at the depth of their connection. Upon arriving for the interview, they were already engaged in recording their next project. Amidst this, we spoke with them about their recently released album,『DESTINY replayed by ROOT SOUL』.

OkinoIkeda also helped me with the demo production for my first solo album,UNITED LEGENDS. He's also the musical director when I perform live with my band. Basically, I give him the melody I've created, and he lays down the basic drums, bass, and keyboards. Then, we send that to the vocalist to record their part.


IkedaMy first task was to take those recorded melodies and flesh them out here. The melody data was essentially Okino's humming, recorded on his iPhone. And apparently, he always comes up with these ideas while walking his dog, 100% of the time (laughs).

──We were impressed by the sound quality of this album,『DESTINY replayed by ROOT SOUL』. It has the power for club play, yet strikes a perfect balance for headphone listening or enjoying at home.


IkedaI don't believe in compromising for either. It should sound good on the radio, and I want people to be able to dance to it loud in a club. The key is the live drums; making them powerful enough to compete with programmed beats is challenging, but it was something I focused on for this album. We recorded at The Room, and checked the sound at high volume. Being able to check the sound in that environment immediately, something not possible in a typical studio, was a significant advantage. We were creating it in the club, working on it at home, and listening on headphones. During mixing, I paid close attention to ensuring a balanced sound across all listening environments.
We recorded at The Room and checked the sound at high volume. Being able to check the sound in that environment immediately, something not possible in a typical studio, was a significant advantage. We were creating it in the club, working on it at home, and listening on headphones. During mixing, I paid close attention to ensuring a balanced sound across all listening environments.


──What aspects of this album do you, Okino, want to highlight?


OkinoI'd say it's how, despite being recorded with live instruments, it achieves a contemporary sound. The Room is quite analog, and many DJs there play older music compared to other venues, but it's not about nostalgia. They play it as contemporary music. It's about rediscovery, and also about editing and playing old recordings. Everyone listens to new music too. This『DESTINY Replayed by ROOT SOUL』is a live sound that could only be made in 2014. I also want listeners to pay attention to the changes and the distance between the original『DESTINY』and this remix.


──The musicians involved also seem like a selection of "The Room All-Stars," don't they?


OkinoI'm fortunate that we can create music just with the staff and people associated with The Room. They're at the venue even when they're not recording. They're either drinking or coming to see a live performance.


IkedaI truly trust them. They are genuine musicians, but they understand what can be learned from programming and DJing. That's why they can handle simple tasks like repeating loops.


──What message does this album convey to the music industry and the club scene?

IkedaAs you can see, this is all the recording equipment we used. CDs aren't selling well, and budgets are shrinking, but funk, soul, hip-hop, and other street and dance music genres were born from the challenge of shining and creating something interesting within limited circumstances. Music existed before records, and the power of music to connect people and uplift spirits will never change or disappear. Therefore, I want to continue making and preserving music. As musicians, we need to put in the effort and ingenuity for that.

In that sense, it was a challenge to see how much we could achieve with just this equipment. I also wanted to capture a certain warmth, so everything except the vocals was recorded live. We aimed for the best possible result with a handmade approach. The production method itself isn't something the listener needs to know, but『DESTINY replayed by ROOT SOUL』is also a testament to myself, proving what can be done in this environment.


OkinoBy using The Room, we drastically reduced recording costs. Compared to『UNITED LEGENDS』, it's one-tenth the price. Conversely, I wondered why we hadn't done this at The Room after being here for 20 years (laughs).

Also, I really think it comes down to ideas. Separate from the cost-cutting aspect, the concept of being able to check the sound in the place where it will be played is a huge advantage.


Of course, I'm not dismissing studios; there are things that can only be done in a studio. However, we chose to compete with the idea of recording in a club. While I want people to appreciate the quality of the songs, the excellence of the recording, and the interesting arrangements, I also want this album to convey the importance of concepts and ideas in this era.

Each Perspective: DJ vs. Musician

OkinoSeriously, there aren't many musicians like Ikeda. He's a player, yet he can see the song from a bird's-eye view. Perhaps this is because his daily life involves having his own band, working as an arranger and programmer, and observing the DJ scene at The Room.


──From your perspective, Ikeda, what do you think of Okino?


IkedaOkino doesn't touch instruments, but even from a musician's standpoint, he comes up with melodic lines that feel musical, and he understands the nuances of semitones, blue notes, and tensions. I don't think many other DJs grasp these concepts, and even fewer compose music.


OkinoFundamentally, when a DJ creates music, it involves direction, selecting members, choosing cover songs, and judging sounds, unless they are also a programmer. I'm the type who wants to write all the melodies myself when creating an album. There are actually few DJs who are composers like that.

Ikeda
Music is holistic, isn't it? Especially when it becomes a product, including visuals. Okino writes books, draws, manages a company – he produces everything with a consistent vision. What I particularly feel is the spirit of jazz and crossover from the 1960s and 70s. He connects people based on that. I'm always learning from him.


──What are your thoughts on the profession of a DJ?


IkedaDJs understand the image each song evokes in the listener. They seem like pure listeners with an immense library of images. They compare historical masterpieces and contemporary tracks on an equal footing. Perhaps that's why DJs often create good music. Musicians, on the other hand, rarely compare songs in that way. It's more about accumulating technical knowledge, like how to play a certain way for a particular song. In that sense, I have immense trust in Okino's judgment. When I submit demos, he offers feedback from a different angle than my own listening, which makes me realize things.

OkinoMusicians tend to be very attached to what they create, so perhaps they lack objectivity compared to DJs. They might get emotionally invested or idolize their favorite musicians' performances or personalities. DJs, on the other hand, are focused on the song itself. Not necessarily James Brown in his entirety or Miles Davis in his entirety, but rather, 'this specific song!' Of course, there's respect, but the distance from admired artists is greater than for musicians. DJ-producers assemble a team and direct them, so they maintain objectivity even with the finished track. That's why I tell musicians to raise the bar. For myself, I select my songs based on whether they could be played alongside Stevie Wonder or Michael Jackson.


IkedaDJs are in a position to 'choose.'


OkinoThat's why, in my case, since I also write the melodies myself, I'm also in a position to 'be chosen.' But I'm prepared for that. Incidentally, this album wasn't initially intended for release as a product; it started as a remix made solely for DJ play. The reaction when I played it live was so positive that it led to the album's creation.


──What can we look forward to in the release tour?


OkinoOn the tour, I'll be DJing, and I want people to listen to what I choose to play before and after the tracks from『DESTINY replayed by ROOT SOUL』. I expect it to pair well with older music, and of course, aiming for a contemporary feel with the sound pressure. As for the release party, Ikeda will perform live as ROOT SOUL, so the music from this recording will be experienced live. I think that will be a highlight of this tour.


IkedaThe live performance is only on February 22nd (Saturday) at The Room, but I really hope you'll come see it. We'll be performing with musicians who participated in the album, enriching the world of the work even further. We'll expand on the album's sound and deliver a live experience unique to this performance.


──We're looking forward to it.

iTunes Dance Album Chart No. 1!

『DESTINY replayed by ROOT SOUL』

SHUYA OKINO (KYOTO JAZZ MASSIVE)

Price│¥2,100 (ZLCP-0147)

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Extra Freedom / Village again

http://www.kyotojazzmassive.com

『DESTINY replayed by ROOT SOUL』Release Tour 2014

Friday, January 31st Kyoto - Metro

Monday, February 10th Osaka - CIRCUS

Friday, February 14th Fukuoka - MILLS

Friday, February 21st Hamamatsu - Planet Cafe

Saturday, February 22nd Shibuya - The Room [1st Set] 19:00～ [2nd Set] 23:00～ (Both sets are non-smoking)

Saturday, March 1st Takasaki - CANOES BAR

Saturday, March 29th Sapporo - ACID ROOM

Friday, April 25th Nagoya - club JB'S

and more…


Tour dates are updated regularly. For details, please visit the website below.

http://www.extra-freedom.co.jp/artists/shuya_okino