Now-Again Japan Tour 2009 – Day One

I was up at dawn, then again at 7.30, then again at 8… The first night’s sleep in Japan is always the worst, this trip was no exception. Thank god we’re finally at the point in our career trajectories where we can expect a decent hotel… one with, ahem, facilities. “A good spa is, at this point, mandatory,” Cut remarked over breakfast. I, fresh out of one of those Japanese sauna/hottub/lap pool/whirlpool jaunts, heartily agreed.

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By noon, after we’d met up with Stones Throw’s Man-In-Japan, Kota, and our Tokyo-based promoter Youichi. The days of getting excited by Rufus Harley and random Strata East albums have passed me by, so, while Cut made his way through the usual suspects (he didn’t do much better than I, but his tolerance for sympathy buys at this point surpasses mine), I stumbled upon schools of Japanese twenty-somethings dressed as Victorian-era maidens. “That fad already passed,” Kota mentioned. Funny that I’d never seen this phenomenon before.

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As I was about to call it an afternoon – it’s as humid as New York in Osaka – Cut asked Kota if he knew of any stores to buy Japanese new-wave. I could almost hear the disgust in Cut’s rhetorical “Is this the store” when Kota walked us into a spot ingloriously called “Rare Groove.” But, myself, seeing a copy of Madlib’s fave Japanese jazz record on the wall – priced about a third of what he bought his copy for – put me in the right state of mind.

(Cut didn’t do so bad either)

From there, it was off to the Random Rap temple at Vinyl 7. But I’ve already completed my collection of Connecticut early 90s classics (except for that damn Fashion Disc comp that Edan has) so I went walking. Imagine my surprise when I stumbled upon a world music store chock full of Indonesian, Thai, Malaysian and South Korean albums. Imagine my further suprise when the owner knew of every album to appear on our forthcoming Indonesian psych comp – and of his intimate knowledge of the He 6’s ouvre, including which of their discs were promotional-only and which weren’t. “So how am I going to get He 6 Go Go Sound Volume One?” I asked. His reply, in the most broken English, dashed the hopes I momentarily held. “So impossible, especially for tourist with no Korean friends.”

ARTHUR VEROCAI UNSEEN PHOTOS BY FERNADO BERGAMASCHI

Now-Again Records has supplied Waxpoetics previously unseen photographs of Arthur Verocai’s landmark 1972 recording session for his self-titled album shot by Fernando Bergamaschi for the magazine’s forthcoming Brasil issue. Now-Again will make some of the one-hundred and eighty photos available in some format in the coming years.

GALT MACDERMOT / HAIR / DOOM

Egon has worked with HAIR composer Galt MacDermot since he was a college student, living in Brooklyn every summer and commuting to MacDermot’s house in Staten Island. Anthologies such as Shapes Of Rhythm/Woman Is Sweeter, Up From The Basement and Galt MacDermot In Film are some of the collaborative projects Egon assembled for MacDermot’s Kilmarnock Records imprint.

Records like Oh No’s Exodus Into Unheard Rhythms and “Mash” from J Dilla’s Donuts are the result of Egon spreading MacDermot’s musical gospel.

Recently, Egon visited MacDermot in New York to check in on the pre-production of HAIR’s revival on Broadway and help DOOM clear the use of MacDermot’s “Princess Gika” for his newly released “That’s That.” Along the way, he got the chance to have lunch with MacDermot, bassist Wilbur “Bad” Bascomb and legendary drummer Bernard Purdie.