MIYAZAWA/AFROSICK

ARE YOU AFROSICK?

Are you suffering from any of the following symptons?

A numbing sensation of the senses when listenening to most chart 'pop' music.Feelings of 'deja vu' when encountering a 'new' music trend. Panic attacks when considering exactly what is 'world music'. A sinking feeling when looking at the sales figures for the soundtrack to Titanic (often accompanied by a feeling of nausea).

If you answered yes to any of the above, Japanese musician MIYAZAWA has concocted a new treatment. He's taken various musical ingredients native to Brazil, then with an expert touch and insight combined them in unique quantities whilst adding his own spices to prepare a musical remedy titled AFROSICK. The first thing you may notice is a desire to repeat the treatment of listening to the album. For some this can be a concern, (especially for those who have never previously engaged the repeat button on their CD player), but this will be a quite natural first reaction. On repeated listens you are likely to discover more and more elements that at first escaped you. At the early stage of the recovery process your feet will be prone to large bouts of tapping. This is largely because MIYAZAWA recorded AFROSICK entirely in Brazil with an all star cast of Brazilian musicians, who are as skilful as the country's soccer players.

The rhythm is largely provided by MARCOS SUZANO, whose deftness on the pandeiro, a Brazilian tambourine, means he is able to provide an almost drum-machine like rhythm throughout. Suzano also plays a variety of other percussion instruments, that gives the music the rolling power of a steam train. Other guests include LENINE, an extraordinary vocalist and guitarist and FERNANDO MOURA on keyboards. Another key contributor to AFROSICK is dynamic performer CARLINHOS BROWN. As leader of TIMBALADA, Brown is one of Brazil's most revered musicians, and one of the country's biggest musical exports. He has also penned songs for other Brazilian musicians such as Marise Monte. AFROSICK contributing bassist DENGUE and drummer PUPILO are both members of Nacao Zumbi, backing band of the recently deceased Chico Science. EDUARDO BID, co-producer of several tracks on AFROSICK also produced Chico Science, while Nacao Zumbi's fans now include UK drum 'n' bass merchant Goldie, whose remixes will appear on their new album.

Although at first it's the rhythm on AFROSICK that will get your feet moving, soon the songs will begin to penetrate your soul, a feeling that you will find both soothing and uplifting. MIYAZAWA is first and foremost one of Japan's premier songwriters, creating melodies, hook lines, and phrases that will remain in your head, but without any annoying side effects. It's this combination of melodies with a Japanese essence, backed with the energy of the new Brazilian generation that makes AFROSICK such a compelling listen.

Having been cured and experiencing a state of bliss that is AFROSICK, we recommend further rehabilitation with MIYAZAWA's first solo album SIXTEENTH MOON. This was recorded in London with producer HUGH PADGHAM, whose production credits include The Police and Sting. Sixteenth Moon has a simpler sound, alluring melodies surrounded with the acoustic guitar of DOMINIC MILLER (Sting) layers of keyboard textures provided by PAUL 'WIX' WICKENS (Paul McCartney) and the drums of MANU KATCHÉ (Sting, Peter Gabriel).

After listening to both albums your treatment will be complete.

FROM- THE JAPAN TIMES

There's been a recent trend for Japanese artists to go overseas to record their albums. Often however, this has little more to do, than with the expense of studio time in Japan. For Kazufumi 'Miya' Miyazawa it was different. Ever since he proved roots based music could be hip in Japan, with the release of the million selling Okinawan influenced single "Shima Uta" as vocalist with his band the Boom, he's been on a musical journey of discovery. A prolific songwriter, and without a doubt one of Japan's best, he spent the end of last year, and the first part of this, recording not one, but two solo albums. He went to record in those places and even with some of those musicians who have most inspired him. The first in London England, the second in Rio de Janeiro and Salvador, Brazil.

The first of those solo projects, was "Sixteenth Moon". For Miya, the London recording was a journey to the home of those musicians who first influenced the music of the Boom. In the early 80s, he was listening to groups like the Specials and the Police. In London, he engaged the help of producer Hugh Padgham, whose production credits include The Police and Sting. Padgam assembled an impressive list of musicians who have all been playing with the world's best; Manu Katché, drums (Sting, Peter Gabriel), guitarist, Dominic Miller (Sting, Phil Collins), Pino Palladino on bass (Eric Clapton, Pete Townsend) and Paul 'Wix' Wickens on keyboards (Paul McCartney).

"I have actually been planning on making a solo album since the release of the Boom's fifth album 'Faceless Man'" explained Miya in an interview, "although I just never had the chance to make one. But after Tropicalism, (the Boom's seventh album) was released, the timing seemed right to do this project." Was he slightly awestruck at the prospect of working with such an illustrious group of musicians? "At first I was slightly nervous, but it was very enjoyable. Music is the same language whoever you play with. Before I went I just thought about the songs, and the melody. Before I'd been mixing different kinds of music, but this time I just wanted to keep it simple."

Producer Hugh Padgham also found making an album with Miya a rewarding experience. " After listening to the demo tape of Miya's songs, this was actually the first time that I've wanted to produce a Japanese artist. What was interesting about the Boom was the mix of music styles, but I tried to arrange the music more simply, to make a different sound to the Boom. I never even thought that Miya was mostly singing in Japanese, and I really enjoyed the whole recording." For two songs on the album, Miya does however sing in English. "I didn't want to write Japanese lyrics and then have them translated, as I don't think that really works. So original lyrics were written in English. I did write lyrics in Japanese, and in fact they were quite similar, although the English ones were better than mine. Usually when I meet other people, I want to sort of be better than them, and not rely on them. But for this recording I learnt how to trust them, and I recognized their incredible talent."

On tour, Miya also played material from and with some of those musicians who recorded with him in Brazil for the second album "Afrosick". Brazil has been the major source of inspiration for the Boom's music in recent years. As in London, he was joined by some of his favorite, and the very best musicians Brazil has to offer. Carlinhos Brown, Lenine and Marcos Suzano feature in an all-star cast. An album totally sung in Portuguese will be released in Brazil in May, one month ahead of the Japanese version in June. "I actually found it easier singing in Portuguese than English " said Miya. "I think that was because I can speak hardly any Portuguese so had no preconceptions, but because I can speak a bit of English that got in the way."

Miya is one of only a few Japanese artists in the mainstream of the music business with the ability and confidence to compare with the best in the world.