Sep 20, 2015 NUJABES ヌジャベス DISCOGRAPHY MIXTAPES Sweet Sticky Thing Mixtape ( Side A / B ) | Ristorante Mixtape ( Side A / B ) | Nujabes/DJ Ryow - Hyde Out Sound Lab | Tribe Sampler Vol. 1 compiled by Nujabes ( Side A / B ) SOUNDTRACKS Samurai Champloo - Departure OST | Samurai Champloo - Impression OST COMPILATIONS Hydeout Prod. 1st Collection | Hydeoout Prod. 2nd Collection | Free Soul: 1st Collection | Free Soul: 2nd Collection ALBUMS Metaphorical Music | Modal Soul | Spiritual State Luv(sic) Hexalogy (Shing02 and Nujabes) (Click on cover to listen) Official website of Hydeout Productions: http://www.hydeout.net/ Hydeout Tribe, best place to purchase Nujabes' projects: https://www.hydeout-tribe.net/store_en/ A Must Read Article on Seba "Nujabes" Jun's Legacy: https://eww.kr/the-immortal-legacy-of-seba-nujabes-jun/ ABOUT NUJABES: Spoiler: A History of Nujabes Infographic Spoiler: Luv(sic) Hexalogy History by Shing02 Luv(Sic) We all know that love can be sickening. That true love, it turns your world upside down, a feeling that can transform your constitution and render you helpless. How long that dream-like infatuated period will last, whether days, years, or a lifetime, is entirely up to you. It's all timing though, you can't ever plan on it, one day when you look back everything makes sense and scripted. Are simply a happenstance, or do we attract each other (things included) by metaphysical means, Love defies formula, it borders on insanity and spirituality, No matter how slim the chances, one you meet the love of your life, you might just end up creating something that may outlast your lifetime... I first dedicated "Luv(Sic)" to the goddess of music in the end of 2000, and fifteen years later, we have a six-part series (Hexalogy). There is a certain voice that unites the chapters, a character if you will. The way Luv(Sic) is spelled (as in the Latin sic, for a misspelled quote) symbolizes how it wasn't a straightforward love song, there's a layer of obscured honesty. Obviously, there's many classic hip-hop songs in the form of love letters, such as LL Cool J's "I Need Love," or Common's "I Used to Love H.E.R", but to me it was important to write something personal, a song that spoke about my own vulnerability about wanting to have a lasting relationship with music. At the time I wasn't really keen on writing mellow songs, since I was more inclined to the west coast underground freestyle scene. One day, Nujabes emailed me about wanting to collaborate for a 12" single. I had no idea who he was or where he came from, I was actually surprised to find out that he was a Japanese guy named Jun Seba, diminutive and shy. When we met up in Tokyo, we listen to beats in his minivan. I was impressed by his simple yet soulful layering of samples and chopped drums. You can always tell how good the producer is instantly by listening to the drum track. That day, we played each other's music and parted ways. As I listed more to Nujabes' beat tape, one song really stood out. I'm picky when it comes to choosing beats, because I really want to be inspired, and envisioning your voice on a track is much like predicting the future. The space will invite you inside so you can place your vocals in it. When I contacted Nujabes about the particular beat, he mentioned that Pase Rock had already taken interest, so I would have to take it up with him. Unlike the other collaborators of Nujabes, I already had a friendship with Pase Rock. We had recorded together in Ohio for a Five Deez project, and he was gracious enough to let me have the track. Maybe he understood how badly I wanted it, but I can't help but think what if he had said no? I would be forever grateful to him for that. When I told Nujabes I got the blessing he was genuinely surprised., but nonetheless it paved the way for our first collaborative record. Nujabes released a lot of records as the head of Hydeout Productions and Guinness Records (record shop in the heart of Shibuya). As a 90's hip-hop head, pressing 12" vinyl was a big deal to us, it was the only way to gauge if the song was a hit or miss. Oh how times have changed. Luv(Sic) (2001) I remember recording the vocals to Luv(Sic) on a Roland VS-1640 and an Octava mic (which I still use) at my home studio in El Cerrito. As noted, the song is a simple letter from a 25-year old rapper. It was a departure from my usual style, but a return to poetry I had written back in high school. In essence, rap is a form of creative writing and storytelling at its best. I was building a character that spoke in idioms and riddles, but also a narrative you can relate to by reading "between the rhymes." After listening back to the song, I wasn't sure about my delivery, but it didn't really matter, either. I was living the moment. The importance of the scratch DJ to the entire Luv(Sic) series cannot be overstated. It was engrained on me from early on that having a good scratch to a rap song is key, so I took the time to select the samples from various sources. Of course we only used vinyl records without exceptions, which enhances the analog aesthetic that Nujabes adhered to. For my first record, DJ Top Bill got on the decks. I took samples from a comedy record and a rap song (easily recognizable), and also featured some vocals from Entense that was on Top Billion Dollar Banks, a battle break record pressed by Top Bill. It's always a nice return of investment when you can feature a scratch from your own pressings. For the cover art, I was traveling to the island of Yakushima with artist Emuse and he snapped a photo of me holding a dog of my friend Mr. Kurotobi. Emuse was nice enough to send me a print of that photo, which I scanned along with my rhyme book on the back cover, put my tag on it and it was done. Luv(Sic) Part 2 (2002) September 11, 2001. That week I was schedule to fly back to California when the world shut down for a week. I ended up postponing my trip home, and decided to work on music in Tokyo instead. While I was focusing on writing my Japanese album, Nujabes emailed me another track. It was a nice release from the task at hand and the vibe inspired me to write what I was feeling towards the world. the first line came naturally, "once again now..." It wasn't too commonplace to have a series in a rap song, but it felt it as only appropriate to title it as a sequel for a letter, as if I was writing someone that I had lost touch with. I recorded the vocals in Shibuya and DJ Dai Nasty come in for the cuts. Technically he was my first live DJ back in San Francisco. His rhythm is impeccable, we used an a cappella by Jah Earl form my previous Japanese album, among other samples. For the cover I asked SYU, a young graffiti artist. His sister had emailed me out of the blue to introduce me to him. He was a quiet character, but his sensitive touch matched nicely with the song. The finished artwork (also the cover of this CD, which we rescanned to preserve the original tones) presented a unique look. He would go on to do more covers for Nujabes, and I believe that SYU started a lasting trend with water colors and feminine motifs for record covers. Luv(Sic) Part 3 (2004) It seemed as if we had struck a chord with Part 2, and Nujabes would mention working on the next installment. I was mostly in Oakland at the time, so we would exchange emails. When I received the next instrumental for Part 3, I just wanted to speak about the power of music, and the fact that we need to go back to our roots to discover it. DJ A-1 (currently SPIN MASTER A-1) recorded the scratches at my studio using odd records that I have a healthy collection of, and we knocked it out pretty quickly. I structured the song so that the second verse would mirror the first (a technique I used previously used for a song called "Pearl Harbor"), and the third verse would round it out. At this time, Nujabes decided to include Part 3 on CD ("Modal Soul") and postponed plans to press the single, and he left the third verse out. Although he mentioned that the full version will be on the 12", it didn't materialize then. My friend's blog leaked the full version and Nujabes was none too pleased. However, I would convince him that there were many fans worldwide who are fully behind the series concept, and that we shouldn't deprive them from content. In the end he folded, and that was an example of us working out our differences. Jeff Resurreccion aka Jeff the Beatbox Prince was a young, talented musician. In late 2009, Jeff's family conctacted me that he was bedridden with terminal cancer and he would like to meet me. Coincidentally, he lived very close to my home in Los Angeles and had even attended my show at Citrus College. He requested that I sing Luv(Sic) Part 3, but it wasn't a part of my repertoire so I performed Battlecry and Luv(Sic) Part 2 with my friend CAV3. Coincidentally the word "Resurrection" is scratched at the beginning of Part 3, I'm sure he was aware of that. In the end, he passed away in January of 2010, and Nujabes offered his condolences as well as I was in touch with him for the instrumental for Part 3. I was heartbroken over the loss but also a renewed sense of commitment to perform the Luv(Sic) series. In Februrary I re-recorded Part 3 with a band, released an a cappella as a tribute to Jeff, unaware that I would never hear from Nujabes again. 10 years have passed since the recording of Part 3 we finally released the 12". I wanted to update the takes so we recorded vocals at Nujabes' studio in Kamakura, and mixed and mastered for vinyl at M's Disk in Tokyo. For the B-side, we enlisted the help of Australian produced Ta-ku. He had released a tribute beat series for Nujabes, and we met up in Hawaii and became good mates. He was very open to contributing a remix for the project and he did an excellent job. Luv(Sic) Part 4 (2011) Around 2008, we started talking about adding another Part to the Luv(Sic) series. When we met as his studio in Shibuya, I told Nujabes "I already feel the series is complete, so I don't want to add another part, but I'd be up for it if you give me three more instrumentals that I can't refuse." It was a bold statement on my part, but I wanted to challenge him as a friend. I'm sure that I gave him a hard time about it, as I heard jokingly from his peers, but after a while he sent me a message that he was ready. He had started working with a lot of musicians, including Uyama Hiroto. among the beats he sent me, two of them would become Part 4 and Part 5. When Nujabes passed away unexpectedly in February of 2010, I had the chorus sitting around for a long time, so I finished up the verses and recorded the song at Nujabes' studio. The unfinished songs gave me the motivation to finish the work at his place, which Hydeout has kept around. This ritual to record in Kamakura will continue for the rest of the series. The scratches for Part 4 was done by another longtime collaborator, DJ Icewater. His scratching technique and touch is world-class. I gathered spoken word records that I had found in LA, Portland, and Seattle, then Icewater chipped in his two cents as well. FJD contributed great cover art for Parts 4-6. His art enhances the feel of the new trilogy, which represented "encounter, parting, and reuniting." It was also our ope that by relaunching the series, we can go back to the essence and fun memories of making music for the passion, regardless of how commercialized the genre has become. Luv(Sic) Part 5 (2012) The beat for Part 5 was initially intended for a separate collaboration, but after meeting Jeff I wanted to use a somber feel for Part 5. Initially Nujabes rejected the idea to use the beat for Part 5 citing it was indeed to dark, but eventually he agreed. i really wanted it to be a serious departure from the harmonic atmosphere that surrounded the series and make the last part a spiritual one, but obviously the turn of events made it much more intense. I had already finished the first verse about Jeff when I received the news of Nujabes' passing, and while being overwhelmed by the outpouring of condolences form all around the world for Jun, I finished the second half of Part 5, so now the two events were represented in the verses. We recorded the vocals in Kamakura and found scratch samples from Nujabes' vinyl collection. SPIN MASTER A-1 laid down the cuts. When the pieces fit perfectly, there's always a strange sense of serendipity. I'm sure all artists can attest to that, those are moments that remind us why we fell in love with creating. Luv(Sic) Grand Finale (2013) In the spring of 2010, when I visited Tribe Records (a floor beneath Guinness, both gone now) Takumi, then-manager for Hydeout, told me that there was a song called "Luv(Sic) Grand Finale" they had discovered in his cell phone. I was quite shocked and he played me the loop inside the store. It was a simple loop, but I instantly knew that we had to finish it. The only reason that he hadn't sent me the beat was because he was a perfectionist, if I had seen him more we could have developed the foundation together. For the last three parts, I exchanged data with Uyama Hiroto to finish the mix. He laid down a lot of layers to replace the samples, but the hip hop feel is preserved. Nujabes beats are not complex, the drum patterns deceptively simple, but the mixing process is quite sensitively tailored to each part. Uyama has been literally instrumental in finishing up the new trilogy, and I also loved the remix he did for Part 6, for which we did a music video, the only official video among the entire series. The video was directed by Kimie Tanaka, shot at the Kamakura studio, and when we finished shooting the last scene, I felt a sense of real peace in the silence. Scratching duties for the main and remix version went to Dj Kou, who also did the cuts for "F.I.L.O" years ago. We also went through Nujabes' records to pick out samples and string together a nice sentence for the finale. It's amazing to this day that Hydeout music has never been officially distributed officially internationally, but the internet connected us. The Luv(Sic) Hexalogy had been received by many listeners worldwide, despite initial releases limited to vinyl copies, we've managed to reach all corners of the world and younger generations keep discovering our music. I've performed the songs with many DJs and live bands, and it never feels repetitive. I sincerely hope to meet more of you in a live performance setting. Perfect Circle (2004/2014) This CD contains a bonus track called "Perfect Circle", which we also finished in Kamakura. This instrumental was sent to me in 2004, already with a title and a concept. It could have been a figurative phrase, or referencing Earth. I finished writing to it but never recorded, as no immediately plans were made. I used the instrumental for a Faderboard demonstration, with Nujabes' permission (but I couldn't reveal the source then). The existence of the song was somewhat of a mystery to us, including his brother Mao (who currently is in charge of Hydeout) and SYU (who was asked to work on the artwork for it), so at the request of Hydeout, we set out to excavate the session and breathe life into a sleeping beauty. Personally, I made it a point to not alter any of the lyrics, as I wanted to preserve the feel of what it would have sounded like had we finished the song then. The scratches are by DJ Kou, and again we stumbled upon the perfect phrase that matched the pitch of the beat. It made us smile, as if we were still discovering the joy of working with Nujabes. For the vinyl release, SYU created a new piece of art, with Uio Loi, another Nujabes fan, producing a fresh remix. Spoiler: The Story of Aruarian Dance The Story of Aruarian Dance Aruarian Dance is one of the most well known Nujabes tunes, but the inspiration for it's haunting melody stretches back over a century. We start in France in 1899. Under the instruction of Gabriel Fauré, impressionist composer Maurice Ravel (who is still astudent at the time) writes Pavane for Dead Princess. The bit of melody first appears at 0:40, but I recommend giving the whole piece a listen. In this early version we can already hear the longing in the melody, and the incredible beauty that future versions would try to emulate. Nearly 40 years later, a pop song using fragments of melody from Pavane is written by Peter DeRose and Bert Shefter, with lyrics by Mitchell Parish. It's name: The Lamp is Low, made famous by Mildred Baily. It garnered quite a bit of attention in 1939, prompting several other big bands of the era to record their own covers. As a side note, the tiny wikipedia page for this song is the only thing connecting Aruarian Dance to it's original source material. For confirmation that this song was directly inspired by Pavane, the clarinet solo at 1:44 is a direct quote of the main melody. Finally now we get to 1969, a full 70 years after Pavane was conceived. Brazilian guitarist Laurindo Almedida records his cover of the 1939 Mildred Baily hit, and we now finally have the recording that Nujabes would sample. The Almeida cover is a distinctly Brazilian cover, incorporating several elements of Samba and Bossa Nova, which were two fast growing styles in the US at the time. This version also harkens back to the original with it's soaring countermelodies and lush orchestration. It stands on its own as a beautiful piece. Finally, 105 years after Maurice Ravel wrote Pavane for a Dead Princess in the Conservatoire de Paris, Nujabes samples Laurindo Almeida's cover of a Mildred Baily tune to create Aruarian Dance . I'll be honest, I was not expecting the origin of this song to be so complicated. It links some of my favorite artists and genres across more than a century, and really shows how music is a collaborative process. No one person can claim credit for this piece. It took four versions and at least 6 different writers before we could have what is definitively a Nujabes tune. (credit to u/LicensedProfessional) Spoiler: The Story of Feather The Story of Feather Feather, from the 2005 album Modal Soul is probably most most well known track Nujabes ever produced. The words preach a resonant message of frustration with the way people so easily forget each other’s humanity -- yet the impression the song gives is not that all is lost -- instead there is an optimism that seems to be almost bursting out of every bar, an optimism that things can change. One of the most recognizable elements of the song is the beat, which uses a six second sample as the framework for the entire song. If you look for the origin of this sample, though, you’ll find a rabbit hole that stretches back nearly two centuries and spans four continents. We start in Munich, on June 10th 1865. German composer and essayist Richard Wagner (pronounced vahg-ner) is premiering what many consider to be his masterpiece, Tristan und Isolde. The opening chord shocked audiences, and the unresolved tensions produced a music more daring than anything previously imagined. The emotions were raw and visceral, the passion almost overbearing. An entire generation of composers would come to define themselves in alignment with or opposition to Wagner’s style. Composers and musicians had (and still have) very strong opinions about Wagner’s musical style, but they all agree that one of his strokes of genius was the use of leitmotifs: short musical ideas that accompany characters, settings, or ideas. You probably know a few already: the Force theme from Star Wars, the Hobbit theme from the Lord of the Rings, ET’s theme, and so on. Wagner was a master at using these themes, and just as they worked well to keep people engaged during a 4 hour opera, they worked well in movies to give the music some coherence and relevance. For more on Leitmotifs, I recommend the Nerdwriter. Austrian composer Arnold Schoenberg was an admirer of Wagner, and pushed the emotional style he had created to its very limits. With the Nazi party gaining power in Germany, he moved to the United States. While there, he became a teacher for a generation of up-and-coming film composers, including Alfred Newman). In 1953 Newman composed the music for a film called The Robe, which was about the life and death of Jesus. To give the film a more authentic feel, Newman included not just music from the German tradition of Wagner and Schoenberg, but the music that people associated with Jerusalem and the Middle East. Listen to this example of classical Persian music, and then compare it to the Love Theme that Newman Composed. You can hear how Wagner’s sense of drama mixes with the influence of the Persian music. As a bonus, you can also hear how Newman incorporates leitmotifs in a track later in the film. Despite all of this, we still do not have the source of our sample. For that, we need to turn to the Jazz scene of the 1950s. Jazz is the result of European harmonies mixing with the rhythms and melodies of black music. The origins for these melodies and rhythms spans all the way back to West Africa, but I don’t have the space to give a full history of jazz. It suffices to say that Jazz in the 1950s was a music primarily informed by the experience of black people in America. One musician who looked to change that was a saxophonist and flautist by the name of William Emanuel Huddleston, who in 1950 converted to Islam and became Yusef Lateef. Islam was a major religion in Africa, and there was a strong view at the time that Christianity was something imposed onto black slaves in America by their masters. Politics aside, Lateef decided that he wanted to explore cultures other than the culture of Black America and incorporate it into his music. The result was the album Eastern Sounds. On this album Lateef included not only original compositions, but also covers of movie themes (a common practice for jazz musicians). Since his album was about Eastern influences, Lateef picked movies set in the Middle East to Cover. One of these movies: The Robe by Alfred Newman. And now, finally, we have the track that would get sampled. Newman’s theme, Lateef’s cover. Forty-four years later, Nujabes came along this track and sampled it, turning it into what it is today. phew (credit to u/LicensedProfessional)
Sep 20, 2015 Oh man is Chad Warden glad to see this thread come to fruition. Nobody did Jazzy instrumentals like Nujabes did. He also picked the best features for his amazing production. That car accident robbed all of us from experiencing great music. Who knows how much potential music he took with him to heaven. And shoutout to Joel, C-Wizzys always been a fan, you're a good dude.
Sep 20, 2015 Anywhere is a good start to be honest. I did link his albums in the OP but for some reason they aren't showing up. Metaphorical Music and Modal Soul are his go-to albums for most. His albums are easily accessible via Soundcloud or Youtube.
Sep 20, 2015 I only became a fan early this year but from the first song I heard (which was Feather), I felt an urge to sift through his discography. One of my favourites of all time now. And thanks man, good to see fans of his all over the internet.
Sep 20, 2015 Depending on what time I get home today, I'll let you know some of my impressions I'm going to my first professional baseball game in a few hours, my friend got free tickets
Sep 20, 2015 When you come back just check the OP of this thread. I've hyperlinked the Soundcloud playlists for each mixtape/album so it's readily available for you to listen to.
Sep 20, 2015 One of my favourites for sure @shoryuken. This one is pretty underrated compared to his more well known beats imo Spoiler: Light On The Land
Sep 20, 2015 If you guys already aren't, you should definitely check out the anime Samurai Champloo. One of the greatest shows ever.
Sep 20, 2015 Looking at you @Akio. It's got a perfect blend of action, adventure and story-telling. The music just tops it off.
Sep 21, 2015 I only heard of Nujabes a couple of years ago, like most, after his passing. Such a loss. First song I heard was
Sep 21, 2015 I was a huge Nujabes fan back in the day. Haven't listened to him in a while, but I might have to now
