Product Description
30th Anniversary compilation from one of Japan's best record labels, Respect Record.
Throughout musical history, record labels have reflected the personal tastes of the label’s founder. These label’s whole identity and vision are often built around that one person. Perhaps one of the best examples and one of my favourite labels is ECM Records of Germany founded by Manfred Eicher. There’s a very definite ECM sound, although it’s somehow undefinable.
When it comes to ‘world music’ or more broadly roots music, the end of the 1980s and early 1990s saw quite a few labels establishing themselves in the UK. One of these was World Circuit. Although not one of the original founders, the label’s output gradually came under the direction of Nick Gold, culminating in the release of Buena Vista Social Club. Long time producer Joe Boyd founded Hannibal Records around the same time, following a path of mainly Eastern European, Latin and African music. I was lucky enough to have some involvement with both of these labels at the time and other similar labels too. What was noticeable was their attention to detail, the recording process, artwork, packaging, liner notes to produce an album and product of the best quality as possible. They also created their own label sound and identity
I first had contact with Kenichi Takahashi in 1993 when he was working for Ki/oon Sony in Tokyo. I was living in Japan and had become interested in Okinawan music, including the female quartet Nenes. I rang up Kenichi and told him I wanted to go to Okinawa to interview Nenes for the UK magazine Folk Roots. I wasn’t expecting much enthusiasm, but instead Kenichi was more supportive than I could ever imagine. Sony helped pay for my air ticket, I was living in Kumamoto at the time, and set up the interview at their Shima Uta bar in Koza. The interview ended up on the cover of Folk Roots and garnered a big reaction. It set in motion a tour of Europe and dates in US, and attracted a posse of musicians all who became enchanted with Nenes; Lou Reed, Laurie Anderson, Michael Nyman, Talvin Singh among others. Nenes albums that Kenichi was in charge of, became some of the most significant in Japan’s own contribution to the burgeoning ‘world music’ scene. Especially the ambitious Koza Dabasa that featured Ry Cooder, David Lindsey, David Hidalgo and Jim Keltner.
I met Kenichi for the first time later that year over a Chinese lunch near his office in Tokyo and we’ve been good friends ever since. By the time Kenichi started Respect Record in 1995, I was living in Tokyo. I admired him for leaving what seemed like a secure job for the rather less secure position of starting a record label. I wasn’t surprised though, Kenichi always follows his heart and is prepared to take risks. I soon noticed in Respect, some of the same qualities that World Circuit or Hannibal had: the attention to detail, recording, artwork and more.
First and foremost, Kenichi is a music lover. He enjoys upbeat songs as well as the slower ballads, reflecting his personality; fun and infectious, emotional and sensitive. Kenichi is very much a people’s person. He’s forged deep friendships with many of his artists. Both in Japan and around the world. This album therefore is like a document of those friendships.
Kenichi has a great respect for tradition and a desire to record some of these traditions before they die out. This is especially pertinent to music from Okinawa and Hawaii; elder artists from Okinawa such as Seijin Noborikwa and Misako Oshiro, the music of Yonaguni and Kuroshima islands, some of which you can hear on this album.
In Hawaii he became great friends with slack key guitar player Ray Kane and his wife Elodia. Even after the passing of Ray, he’s kept in touch with his family. On this album is another brilliant veteran musician from Hawaii, pianist Rene Paulo. Without these recordings made by Respect, traditional songs and the last recordings by legendary musicians would never have been heard.
Some of the best experiences of my time in Japan were with Kenichi and Respect for which I’m eternally grateful. Recording on Taketomi island for Bob Brozman and Takashi Hirayasu’s first album, numerous live concerts and promotion tours with artists from Japan and overseas, recording projects in California and Hawaii, and tours in Europe, America, Asia and Africa with Respect artists.
During the second half of Respect’s history, quite a lot of the music has been from Europe, especially France, but also Italy. The music is typically French or Italian, but arguably has fallen out of favour in those countries. It’s remarkable to think it took a Japanese label to go to those countries and record archetypal local music, including Paris Musette with musicians such as accordion player Daniel Collin and Chanson singer Claire Elzere.
Despite not speaking great English and even less French, perhaps unusually for a Japanese man, Kenichi is not afraid to make mistakes in those languages. He is adept at making the funniest jokes, which immediately puts everyone around him at ease.He never fails to get his ideas across in a charming and endearing manner. This has enabled him to make lasting friendships with so many people who hold Kenichi with great affection and admiration.I am in awe of his energy in promoting his music to radio, newspapers, magazines and TV. For a small company he was definitely punching above his weight. Twice I was there when Respect artists were performing live at the end of the popular TBS News 23 presented by the legendary news presenter Tetsuya Chikuchi. It seemed remarkable at the time and still does now.
Kenichi has spent his years connecting music and people. Numerous musicians in Japan and around the world have had wonderful experiences and in many cases their lives changed by Kenichi. He’s connected the music he has a passion for to numerous listeners in Japan and around the world. He has touched the lives of so many. Another of Kenichi’s guiding principles has been curiosity. Where others might follow trends, he has preferred to follow sounds. Within the bustle of Tokyo, Respect Record hums along with gentle persistence. Through Kenichi’s open-hearted vision, music becomes more than sound: it becomes an invitation to imagine, to listen differently, and to connect. Through Respect Record, he reminds us that music is not just something we listen to, it is something that can widen our sense of the possible. And emanating from a city as large and hurried as Tokyo, that gentle widening of horizons feels like a small miracle.
1. Uchina Jazz All Stars, Kariyushi
2. Mathilde Febrer, Japan Feeling
3. Cathy Claret, Rayo
4. Nancy Vieira & Fred Martins, Proeza
5. Tadayuki Matsubara, Bangamuri
6 Takashi Hirayasu & Bob Brozman, Bebe nu Kusakaiga
7. Clare Elziere, Sous Les Ponts de Paris
8. Christophe Lampideccia, Brise Napolitaine
9. Rene Paulo, Waikiki
10. Fabio Galliani & Cantaluna, Danny Boy
11. Italian Rondinella Quartet, Pizzica di San Vito
12. Keiko Higa, Tenmikachi Donmikachi Hiyamikachi
13. Kuroshima Dentogeinoh Hozonkai, Kuroshima Kudochi
14. Dominique Cravic & Friends, Swing 42
15. Eiki Maezato Big Band, Getto
16. Yuu Yonaha, Dunan Tobarama
17. Hirokazu Matsuda, Seibun Tokohara, Mika Uchizato, Akane Murayoshi,
Ushinawareta Umi e no Banka 2019
18. Daniel Colin, La Pontissalienne
19. Seijin Noborikawa, Acheme Gwa
20 Hasiken, Itsumo, Arigato
