” He further commented that his favorites “have atmosphere or some kind of smell. “I pick up stuff mostly from records of the ’60s and ’70s -music before the digital age. “I have thousands of records, ” Konishi told BAM.
#JAZZ PIZZICATO MOVIE#
This vision has a great deal to do with his enormous record collection, which boasts the now-hip “bachelor pad ” recordings of Les Baxter and Juan Esquivel, the orchestral pop of Burt Bacharach, along with soul jazz, hippie folk, spy movie soundtracks, electronic dance music, and virtually everything in between. P5 became increasingly popular in Japan based in the hip Tokyo neighborhood of Shibuya, they continued to hone Konishi ’s eclectic vision. Takanami eventually departed to do solo work guitarist Bravo Kmatsu brought his thrashing, metallic theatricality to the group in 1995. The personnel shifted numerous times in the ensuing years in 1988, Kamomiya and Sasaki departed and Takao Tajima joined the group, only to be replaced by Nomiya in 1990. The group released its debut single, “ Audrey Hepburn Complex, ” in 1985. After several years the group enlisted vocalist Mamiko Sasaki.
Konishi, who grew up adoring his family ’s lounge and jazz records, met Keitaro Takanami while the two were at Aoyama University in 1979 the pair started a band with another friend, Ryo Kamomiya. “Then try to imagine something better than that and you might be begin to understand what happened Thursday night at the Great American Music Hall.
An attempt by Barry Walters of the San Francisco Examiner to describe the P5 concert experience was typically lengthy: “Imagine every great record you ’ve ever heard stuck in a blender overlaid with the most experimental heavy metal guitar you ’ve never heard combined with the most outstanding montage of video clips you can ’t imagine plussuperadorable camp fashions, all synthesized through a demented Japanese consumerist impression of America, ” he wrote. Assisted by singer-model Maki Nomiya and a rotating crew of musicians, DJs and dancers, Konishi has brought his “smile pop ” to a growing cult audience in the United States as well. ” This celebration of surface pleasures has resonated strongly with international audiences, and has helped P5, as the group is called for short, to surmount the language barrier. ” Konishi, the musical director of the Japanese group -which makes a collage of obscure samples, dance beats, noise, movie chic and fashion absurdity -added, “Whenever I compose, I just imagine, in my mind, what to wear for the song. Pizzicato Five leader Yasuharu Konishi told the San Jose Mercury News, “I always think about pop not as pop music but just as pop art.
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