Pure paradise for ska and jazz lovers.
In 1989, ska/jazz band Tokyo Ska Paradise Orchestra released their first EP consisting of six tracks. Twenty-one years later, the band - also known affectionately as Skapara or just plain TSPO - is still bringing their energetic ska instrumentals to the world and show no sign of slowing down. Their 2000 release Full Tension Beaters was their first to be released outside Japan and brought them well-deserved global popularity.
The album kicks off with a solo whistler in Filmmakers Bleed, evoking close-ups of squinting eyes in a spaghetti Western. It then builds to full ska madness, showcasing all of the band members' talents in energetic, improvised solos throughout. This organised rowdiness opens the album with a huge bang and leads into the crowd-pleasing 5 Days of Tequila. This track, with stomping and hard beats, is filled with "Agitate-man" Tatsuyuki Hiyamuta's crazy spouting of "fire engines!" amongst more nonsensical offerings. Despite the fact his emceeing is mostly incoherent, his energy is so contagious it'll get everyone head-bopping and marching to the mariachi-esque trumpet and ska beats.
Next is the Skapara take on The Theme From Enter The Dragon, which works surprisingly well. The iconic brass opening remains relatively unchanged and the main tune is recognisable although given an enjoyable swing treatment. However, the band also delivers their distinct style and groovy improv in the track to make it their own. Considering the era that the theme was written, this jazzy version would have fit right in and is very likable.
The calmer Skarada Dub is a combination of the band's signature sound and lambada style. A laid-back pianica played by trumpeter Nargo delivers the slow, sensual main melody, supported by a characteristic but subtle ska punctuation on the upbeat by the band's percussion team: Hajime Ohmori and drummer Kin-ichi Motegi. Takashi Kato's echoing guitar creates the atmosphere of a smoky bar and conjures images of couples dancing closely in the semi-darkness.
Keyboardist Yuichi Oki has a chance to groove in the slightly cheesy Booker T and the MGs styled Jon Lord with his reverberating electronic organ. Then Howlin' Wolves allows Takashi and Tsuyoshi Kawakami to add bite with their growling guitar/bass combination. A minute in, the brass and keyboard pitch in as the tempo is bumped up a gear, and it becomes a full-on rock/ska festival. The racing tune is replayed again at hyper speed in the thoroughly enjoyable first of two Interlude tracks.
The BIG MAN Still Standing sounds like the older brother of the following track Moonsom Town: Atsushi Yanaka's baritone saxophone sets a wistful and reminiscent tone in the subdued BIG MAN..., and while Moonsom... is similarly laid out, it's much brighter and more optimistic with a jaunty lead from Nargo on trumpet and Gamo on soprano sax. The tracks really feel like two sides of the same coin, and are both solid ska/jazz pieces.
Prepare to be transported back to the 60's with the swinging Guts For Saxophone. Introduced and interspersed with more random exclamations from the charismatic Tatsuyuki, it has great rhythm and an extremely funky baritone sax and trombone riff. It also features more great crazy solos - especially of note are the rapid, helter-skelter piano and screaming tenor sax. It is more classic jazz than ska and fully demonstrates the band's sense of energy and fun.
The last three tracks are, from the titles, a bit of a downer compared to the others. Perhaps it's a reflection of the band's sorrow at having to depart. Streaming Tears is not quite as miserable as it makes out though, coming across as more of a chilled-out jam session with its 70's sound and bold saxophone driven melody. Sayonara, minna-sama is no more than a 20-second tongue in cheek farewell ditty sung - or rather shouted - affectionately by all the band members. The album is rounded off with In a Sentimental Mood, a sax-led, cheery piece which leaves the listener in the mood the title describes. It is a relaxing wind-down to the album, but a louder fanfare exit may have suited it more.
This is a purely instrumental album, so it will not be to everyone's liking. The inclusion of vocals is not to be seen until their follow-up album, and although that would have added more variety it is not really missed here. This offering gives the listener an idea of what their sell-out live tours may be like and is crammed with examples of J-ska at its best. It's not surprising that the world embraced the band following this belated introduction to them. Luckily, it looks like there is still plenty more ska paradise to come.
