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Akasaka Soul Funk 1969-1977

avant-pop
180g, 2025

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vinyl:37,95€
Out of stock
availability: 2 weeks ?
colour : black
format : 12"LP
number of discs : 1
weight : 180 gramm


no. title play mp3
1 Mieko Hirota - Soul Lady
2 Shinji Maki & Black Jack - Nabeyoko Soul
3 Tan Tan - Happy Day
4 Kenji Niinuma - Airenki
5 Hatsumi Shibata - Furui Fuku Nanka
6 Strawberry Jam - Arimasen
7 Mieko Hirota - Anata Ga Inakute Mo
8 Akira Yasuda & Beat Folk - Kaeroka Kaeroka (Single Version)
9 Miki Hirayama - Hatachi No Koi
10 Masaaki Sakai - Baby, Yuki Wo Dashite


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- For all fans of the Wamono series!

- Rare and killer Japanese soul funk tunes.

- 180g heavy vinyl pressing, reverse board jacket.

- Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

- Fully licensed Nippon Columbia masters.

- Text and track-by-track liner notes by Kazunori Harada.

---

At the start of the 60s, a new wave of gospel-influenced jazz started to emerge, with hits such as Art Blakey & The Jazz Messengers' "Moanin'" and Cannonball Adderley's "Work Song" epitomizing this evolution in the genre. The terms "soul jazz" and "funky jazz" were coined as a way to describe this new sound that was making an impact in the US and also on the other sides of the Atlantic and Pacific oceans.

In 1964, Ray Charles made his first visit to Japan. Then, in 1968, Martha & The Vandellas and Stevie Wonder set foot in the country, followed by Sam & Dave in 1969, Ike & Tina Turner in 1970, and B.B. King in 1971. The TV show "Soul Train" also began airing in Japan in the early 1970s. A watershed moment happened in 1973 when Sammy Davis Jr. was cast in a TV commercial for Suntory whisky — and the influence of the US Black entertainment world had really landed, with soul, jazz, and funk artists becoming household names.

Nippon Columbia played a pivotal role during this turning point. The company had contracts with Buddah Records and Blue Thumb Records, releasing notable works by artists such as Gladys Knight & The Pips, Curtis Mayfield, The Crusaders, and The Pointer Sisters. At the same time, the label was also releasing several Japanese soul, jazz, and funk projects under the lead of music director Jiro Inagaki. Inagaki, a saxophonist who began his professional career in the early 1950s, honed his skills at U.S. military camps, where he shared his love of music with the Black servicemen. In the 1960s, he pl
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