Tag: Takuya Kuroda

Review: Takuya Kuroda – EVERYDAY

“Jazz-funk” is a term that’s a bit overused, but it’s a perfect description for trumpeter Takuya Kuroda‘s impressive new album, EVERYDAY. Kuroda takes joy in blending and playing with multiple styles of music, and his commitment to practice and make music every day inspired the album’s title.

The title track blends hip hop drumming from David Frazier and funky keys from Takahiro Izumikawa. “Bad Bye” (with guest vocals from FIJA) is fun and funky and could’ve been a Thievery Corporation track in another timeline. “Car 16 15 A” absolutely sizzles for five straight minutes, even in the mellow bits.

“Must Have Known” slows things down, with Kuroda’s trumpet stepping back just a bit to let Corey King‘s vocals take front stage. “Off to Space” might well take you there. It’s almost a prog-rock track at points (i.e., Frazier’s drumming) and cool lounge jazz in others (i.e., Martha Kato‘s Rhodes organ). Kuroda trades hot solos with saxophonist Craig Hill on “Iron Giraffe.”

I’m not sure if the title of the snappy “Hung Up on My Baby” means Kuroda is hung up (wistful for) on his lover or if he cut a phone call short with them. I think it’s the former. The album ends with the cool-as-a-cat “Curiosity.” Everyone seems to get a chance to shine on it, especially Izumikawa on his piano solo.

It’s another slick record for Kuroda, who is quickly becoming one of my “Have you heard this guy?” recommendations for anyone who even gives me a hint that they enjoy jazz.

Keep your mind open.

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[Thanks to Gabriel at Clandestine Label Services!]

Review: Takuya Kuroda – Rising Son (2024 reissue)

Back in 2014, jazz trumpeter Takuya Kuroda released Rising Son, an album that combined jazz, hip hop, and a little psychedelia and went to number one on the Japanese jazz charts. Now, a decade later, First Word Records has reissued the album (which would cost you a pretty penny if you were to buy an original 2014 pressing) and included a new remix with it.

The album is a collection of mostly Roy Ayers covers, but with added hip hop and Afrobeat rhythms and other flourishes that remind you of late nights in Brooklyn, New York (who Kuroda is based) or Kobe, Japan (where Kuroda was born). The crisp, snappy beats from Nate Smith on the opening title track alone will grab your attention and send hip hop producers scrambling for their mixers. Kuroda’s funky and lush trumpet comes in an has those same producers thinking they can’t get this stuff into a track fast enough. “Afro Blues” definitely has Afrobeat stylings all over it, and they mix great with traditional (Is there such a thing?) jazz organ riffs from Kris Bowers.

“Piri Piri” is so slick that you might slip and fall on it as it slides out of your speakers. “Mala” has this cool 1970s jazz lounge vibe to it, reminding me a bit of some of Boz Scaggs‘ material from then. Just when you think the album can’t get any funkier, along comes “Everybody Loves the Sunshine,” which will be one of those songs you want to play for everyone at every summer party from now until forever.

Kuroda’s trumpet and Corey King‘s trombone go together like hot chocolate and warm milk on “Green and Gold,” and Bowers’ keyboard work on it is the whipped cream on top. “Sometime, Somewhere, Somehow” takes its time to create a soulful love track that doesn’t rush anything…like a good lover. “Call” is over nine minutes of groovy, funky, and introspective (but never turning into mindless noodling) jazz-funk that seems perfect for both rainy and sunny days.

The album ends with a 2024 remix of “Everybody Loves the Sunshine” by Joe Armon-Jones, turning it into a synthwave jam that puts a neat, new spin on it.

It’s a groovy record, and one you’ll want in your collection. Get it now before it goes out of your price range again.

Keep your mind open.

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[Thanks to Gabriel at Clandestine PR!]