Ad Lib Magazine, February 1995 Cover Story
Toshi Kubota Embraces New York
Special Report From The Editor-in-Chief
I heard the new album "Bumpin' Voyage," in a Manhattan studio near 25th Street on November 30th of last year. Even though I was particularly struck by four songs- the funk tune "Onna DJ Fonk," the ballad "6 to 8," "Dive into the Base," which had a really cool riff, and a reggae song called "Not Yet"- I also felt that Toshinobu Kubota's stylistic range has expanded beyond the scope of these songs. Also, what really left a deep impression was the fact that this one had the single most well-devloped, full sound of all of his albums to date.
Kubota really took the time to settle down and focus on this record. For the better part of 1994, he's been living in New York, meeting and collaborating with various musicians to make demo tapes, even for material that doesn't appear oin the new record. For example, he took one song and explored various aspects of it with Ray Chu, the musical director of the Apollo Theater. Although it wasn't included on the album, I think these behind-the-scenes workings come out in the positive vibe of the album. And, while this isn't an official announcement, he has also been working on an album planned for American release this fall. For this project he's been co-producing the songs with people like Tony Toni Tone's D'wayne Wiggins, and others. On working with D'wayne and the others, Kubota says "It expanded the possibilities of what I could do." This is certainlt not to say that these producers opened up different genres for Kubota, but rather they helped him to touch deeper aspects of his music that he had not reached before.
There's a certain power in the sounds created by human interaction. I truly felt this power on the album.
While we were chatting in the studio, Kubota abruptly told his staff to include the names Marvin Gaye, The Isley Brothers, Gamble and Huff, and George Clinton on the album's credits. The reason? "They gave me courage as a singer."
Even though he would one day become hip-hop/soul's "samurai," his love affair with soul music began many years ago. He especially adored 70's soul; to him it was the most emotionally powerful. It was the music that inspired him to become a singer. On the new album, a musical combination of elements of his beloved old soul and the essence of today blends together sweetly.
Beautiful soul music lives in Kubota's heart. The 70's soul that Kubota likes has strong harmonies, and rich chord voicings and melodies. In the songs "6 to 8" and "Sagashite wasureta mono," the spirit of that classic soul music lives on. The end result is that Kubota maintains the vibe of classic soul in his vocals, and it takes his music to a new place.
I wrote earlier of the power in the sound created by human exchange/ interaction, and though I believe both those in the music world and everyday people experience, what is even more important is that this interaction adds to the richness of human life. Therefore, it can also be said that it's critical to "wear a fragrance that will attract human beings," so to speak.
"In New York, I've had many adventures, but at the same time, many stresses. In the middle of the detailed process of making sounds, something else would often come crashing in. For me to say it may sound strange, but I learned that I needed to shape up and get my act together. It's helped me to distinguish positives and negatives."
In order for the creative elements to emerge from the background, he had to be in the thick of it all. And New York epitomizes the kind of place that serves that stimulus-providing function. This energy became critical countless times. This city has "how long can you stand it without flinching or turning back" kind of atmosphere. Of course you have a responsibility to minimize your risk as well. Kubota chose to do things as he pleased and it shows in the 11 songs on the new record.