You know when Jeff Mills (aka The Wizard) lends his incredible musical talent and forward thinking to any project, it’s going to be pretty special (he could probably make playing the spoons next level interesting!)

His new musical endeavor, Spiral Deluxe is such a mission. Born from a collaboration with him and three other diverse and talented musicians (Gerald Mitchell, Yumiko Ohno, Kenji “Jino” Hino) whose broad range of styles and influences has helped shape the new EP “Voodoo Magic” (out on Sept) We got the chance to discuss how four very different artists came together to make this new musical group happen.

So you’re sitting at home one day Jeff and you decide “Okay I’m going to fuse techno/house and jazz into an electronic musical ‘flurry” so to speak! What sparked that idea? Was it something you had been thinking about for some time?

Jeff
It was an idea I had as far back as 1992-93. While in the group Underground Resistance, Mike Banks and I worked with various musicians and vocalists on certain tracks. I really enjoyed the process of working together with other people. Before becoming a DJ, I used to play drums and I had been used to working with other people.

So since then, I had been waiting for the opportunity. The chance came a few years ago whilst creating an artist residency at Le Louvre in Paris, France. From testing the idea there, I began the search for the right players and present the idea. My goal was to create a quartet, where each person would have a vast amount of knowledge and experience so that we could explore various styles of music.

I’m a longtime listener of classic fusion rock and jazz. I’ve always listened for ideas of how to approach electronic music too. So, you’re almost right. I thought, “Wouldn’t it be cool to have a band that had the ability to explore all these type of styles!”

I suppose part of me is wondering if you felt you had reached the limits of what you wanted to do with techno and if that had propelled you in this other direction?

Jeff
Actually no. There are so many things to do and explore still with techno music. It should take all of my life and I may still only be scratching the surface. They aren’t any limits to music, and with techno, I still believe that the genre has been and remains ahead of society. I have no difficulties at all with understanding what the direction and pathway. It’s always been crystal clear.

How did you select the artists you wanted to work with for Spiral Deluxe – had you all worked together before?

Jeff
I had not worked with any of them before, so it took a dinner or two to learn about each other, but hey, these are real musicians – the coolest tribe of people ever. You know, all of us know what the objective is and we talk together with music.

Did you go to or play in jazz clubs in your youth? Any big clubs in the jazz scene in Detroit?

Jeff
In my youth, I was too wild to sit still to listen to jazz. I was more interested in Parliament Funkadelic and Sir Nose, Soul Sonic Force and Kano. I did not begin to really notice jazz until I entered high school in 1977 and played with older musicians. Too young for jazz clubs, I went to dance parties. When hip hop arrived, certain artists like Public Enemy would use jazz samples, etc. As I got older and less wild, I got into jazz much more.

What audience are you hoping to reach with this new project? Convert a few techno heads? Or find a whole new audience for this project?

Jeff
Well, anyone that listens to music unconditionally. People that love music for what it is. There are quite a few people in techno like this and I always keep them in mind when creating music in general. Overall, I would like to make music that’s fantastic to listen to. Music that people can grow with.

Your choice of vocalists on the tracks – were these artists you had worked with before or how did you go about picking them – so many wonderful vocalists – must be hard to pick one!?

Gerald
Tanya Michelle was a longtime friend of Kenji. During a practice session, we discussed the idea of having a vocalist on one of the tracks and Kenji immediately suggested a person he knew that lived in Paris. He said, she was an incredible singer and that he was confident we would love her voice and spirit. He was absolutely right. She is wonderful. Recording and working with her was a lot of fun. She really made the track happen.

What project got you familiar with electronic music?

Gerald
For me when I got into electronic dance music it was Jeff’s Purpose Maker album that really made me want to start making techno. I had heard other styles but for some reason Jeff’s music made me want to explore that style. However, being in Underground Resistance I learned that it would be better to find my own sound which led to the “Knights of the Jaguar” and ultimately my production company / band Los Hermanos after which I was introduced to Jeff at club Womb in Tokyo Japan. I was playing in the group “Timeline” and we were on the same lineup as Jeff at various clubs around the world then after I departed Underground Resistance to focus more on Los Hermanos we had finished a show in Tokyo. Jeff was coming to Japan for a show. He invited us to dinner and we found out that we had grown up in the same neighborhood and went to the same high school. I think he was finding out my personality. Later, I had a DJ touring gig in Paris, France and I received an email from Jeff about becoming a part of his new concept. Since I was coming to Paris anyways we met there and began rehearsing. I still couldn’t believe that I was in a band with one of my techno heroes and I’m still amazed and lucky that he saw something in me to ask me to play in his band. This was truly a sign of good music to come. I had been into fusion back in the early 70’s so I had a good Idea of what he wanted to create.

He is always pushing boundaries isn’t he? ☺

Gerald
Yes, but pushing boundaries is good when you are a musician / producer because once you find your certain sound people will begin to copy your style so it is very important to always be on the cutting edge of music and be a leader, I heard it once said “A great leader reproduces themselves” which is evident by all the producers who copied Jeff!

Very true! Did you freestyle improvise on the keys or how does the composition part work?

Gerald
Yes, this is a collaboration between us we work together well and usually we would only have just a couple of days to create, arrange and perform new material on the spot. so freestyling and improv is encouraged.

This is a departure in some ways for Jeff. Obviously you know his techno productions – how was it working on this project with him?

Gerald
At first I was a bit nervous because again I am playing keyboards in Jeff’s band! However, once I got to know his style and the way he wanted things done the nervousness faded and I began being free. Now when we get together I almost know what to expect. I know that this group has depth and a unique sound that will grow into more amazing recordings because everyone in the band is so professional at what they do.  It is exciting to hear the compositions that we arrange together with just a few days of rehearsals. Usually in bands there are months of rehearsals but when you get a good team, it doesn’t take long to come up with the magic.

Tell us a little about this no syncing “MIDI” connection and how that helped shape the music you made?

Gerald
As much as I love MIDI and syncing music, I also love the freestyle method because there are no handcuffs; meaning we can change tempo and keys on the fly. This is the element I started with in local bands. However, MIDI syncing will allow that but it has to be pre-programmed and for me that is something I still would like to experiment with in this band as it offers many advantages to playing live

I read that you play regularly in church – with a gospel group. I wondered how that regular performance and that discipline of performing every week helps shape your work in the studio?

Gerald
Yes, I started playing in church at the age of 16 where my father was the pastor and my mother and brothers sang, I also teach choir songs and I still play in church every Sunday. This has always helped my live performance because things may change at any moment, like having a guest singer who will ask me if I know a certain song. If I do, often times they will tell me what key they will sing in and this happens usually during service! So you have to always be prepared for these type of changes. The most important fact is that this is where I learned to play soulfully. There have been times where I will make some melodies on the fly then take that melody to my studio and make a track. I have made a lot of songs that have been released this way.

Tell us some more about your own group, Los Hermanos? How did that come about and what’s the style of music involved?

Gerald
The concept behind Los Hermanos started by fusing gospel and Latin music rhythms into techno dance music. We first formed the Los Hermanos record label. After 3 releases we formed the band although we went through a few personal changes, I have maintained the group because I believe that we are brothers and sisters in music no matter what background of each member.

Our live performance eventually evolved into myself playing keyboards while DJing and conducting the band members who bring more of a live band feel over electronic music. We have been working on a different approach to our live shows as new technology is on the horizon but the basic concept remains: that people from different cultures and backgrounds can make music together.

Do you think techno and jazz borrow from each other?

Gerald
Yes of course both styles of music are free flowing and I have always been inspired by music that is rare and different creating its own genre also both are experimental especially with the addition of electronic instruments such as the synthesizers and drum machines which used in jazz becomes fusion.

So how is it when you get a call/email from Jeff Mills asking you to be involved in a new musical project?

Yumiko
I will play with him and Spiral Deluxe whenever he asks me. Jeff’s ideas and thoughts are always interesting.

Coincidently the record label in Tokyo which distributes Jeff’s albums also releases Buffalo Daughter (my own project). One day I was told by them that Jeff was looking for a bass player and a synth player for a new project which would focus on new styles of jazz and fusion.  I have never had a chance to play that type of music but I was attracted by “a new style” and I have been a fan of Jeff Mills since the 90’s so I accepted an offer.

So you decide to come together in the studio Yumiko. Had you already some ideas of songs and what you wanted to do, arrangements etc. or was it a much more free-flowing improv style of collab? Did Jeff send you some percussive elements before the session to sort of jog things up a bit?


Yumiko
Usually there is no preproduction nor even conversations and we just play on the spot.  When the session starts, I try to read the atmosphere or the mood and try to express what I feel is good and how I think it should sound like.  Then if some sounds are not appropriate, Jeff will tell us no.

Were you able to incorporate some of your ideas from working in theater on this project?


Yumiko
My experiences at theatre and with other various collaborations help me at Spiral Deluxe.  But Jeff and Gerald have a long and great musical career. I used to dream of playing with someone like them, the musicians’ musicians who have been working in the genre I adore. I am learning a lot from them.

At the very first session, amongst various chaotic sounds, all of sudden I felt like playing a catchy melody, which I did. Everybody loved it and I was very happy.

Who came up with the track titles?

Yumiko
Most of the time Jeff came up with the track titles.  E-MC2 is exactly what it is!

My local jazz spot (around the corner) seems to have many Japanese musicians playing there regularly. Is there a strong jazz scene in Japan?

Yumiko
There has been a broad jazz scene in Japan from standards to more avant garde jazz.

There are sounds in there (spacey synths) that seem to lean heavily on Jeff’s techno background – were there some you knew instinctively you wanted to use?

Yumiko
I started to learn classic piano when I was little and back then I liked impressionists such as Ravel, Debussy.  Since high school I started to listen more variety of piano compositions:  I was attracted and influenced by mystic harmony by Russian composer, Scriabin, “Zen and Universe” concept by John Cage, and space-y electronic music by Ligeti.  I started to play a mini-moog, leading me to listen to “Moog Music” (monde music) and experimental electronic sounds such as using old synths or tapes from the 50’s.  I encountered Jeff’s music in the 90’s and collected his records.  My most favorite and the one which influenced me the most is “Growth”. The electronic music composers from the 50’s and Jeff are in the same vein and have taught me so many things.

How did you come to use Tanya Michelle on the vocals for Voodoo Magic?

Kenji
Tanya and I are long-time friends and she’s on my first solo CD “JINO in Wonderland” on GRP/Universal Records.

Funny thing happened when I was recording my first CD, I wanted Chaka Khan on vocal duties and my producer Poogie Bell (drummer for Eryka Badu, Marcus Miller, Laylah Hathaway) said “I’ll ask her but it’s gonna cost $$$.”

However, he came down to see me play with Tanya in the West village in NYC and fell in love (musically) immediately said “Let’s do the song with her instead of Chaka Khan!”

With Jeff, a similar thing happened, Tanya moved to Paris awhile back so we had dinner and I asked her to come and jam with Jeff at the rehearsal and the rest is history.

So how is it being asked to be involved with Spiral Deluxe?

Kenji
I couldn’t believe I was actually getting call to do a project with The Wizard! Freaked me out!  Playing live is the difference with Jeff!  it’s always an adventure!

Had you a specific approach in mind when thinking about this project?

Kenji
We jam, that’s all! That’s how we create. Jeff directs us and when to lay it in or when to lay out.

Listening is 95% of the process and being ready to be repetitive and morph into some kind of motif, and rest is groove!

What do you feel are the musical strands that connect jazz/fusion/techno?

Kenji
Techno, electro, jazz; it’s all the same. So yes it’s always borrowing each other.

Music is about the pulse (our heart beat) and the groove is from mother Africa so when jazz or techno is experimental and creative yet groovelicious; to me ….it feels the same.  People feeling the pulse with the beat and melodies and harmonies form both genres. Voila!

I can definitely hear Pastorius influence there in the sounds – amazing! I have only recently discovered him myself but one of the greats. How was it learning from him and what lessons were you able to apply to this project?

Kenji
Yes, Jaco Pastorius and I lived with each other in NYC, That’s a whole another story!

He heavily influenced the bass world. I guess his spirituality, essence of sincerity in music and his rhythm Is always with me! 🙂

Also I went to LaGuardia High School of Music and Art and Performing Arts where I met my friend Marcus Miller at age 15 and played in his band as a guest last year at Tokyo Blue Note. Another bass giant who changed my musical life.

I’ve noticed just from tipping in and out of my local jazz spot, that there are many Japanese musicians playing. Culturally is jazz a ‘big thing” in Japan?

Kenji
Japanese love music, especially jazz. I guess during the WWII and after the war, soldiers were listening and dancing in the ballroom where my grandfather and my father Terumasa Hino & my uncle Motohiko Hino were playing gigs at early age. It just remained after all these years.

It’s wild, lyrical and modal, yet sophisticated spiritual sympathetic, romantic, and much more!

Playing jazz is just meeting a person in a seconds, and when you start play, one can have a serious wild conversation or humorous funny conversations or go without speaking a single word.

A high level of communication and it tells who the person is about in a matter of seconds. I love meeting people and conversing with them. But playing and conversing is fun too! That’s what I love about playing jazz.

You can play the same song and it almost never comes out the same way. And just by changing a pianist, or drummer or any other instrument it changes the feel of the same old song into something exciting and fresh and new or sad and lonesome. I guess it touches many people’s hearts.

It’s also being an individual and having integrity. In society where people tend to stereotype a lot. Like say meeting for the first time. You never have to worry about first impressions in jazz it’s also infinite, It just keeps getting better every day as you grow and age. So addicting!

Had you a specific approach in mind when thinking about this project?

Kenji
No specific ideas. Just listening and always keeping an open heart and open mind.  Being ready to pull back and being ready to thrust into Jeff’s world with Gerald and Yumiko.

Do you all have plans to tour now with SD?

Kenji
I love Spiral Deluxe, I’m ready!! When is the next tour? ? ! !

And fitting the last question is for Jeff

There is hardly a techno dj/music producer that I know – and I’ve interviewed 100s, literally that don’t cite you as an influence in their music/djing. It’s a pretty heavy crown – just wondered what your thoughts were about that! Positive and negative – 🙂

Jeff
That’s an interesting topic and question. I actually think and mostly understand the opposite. The term “influence” in Electronic Music is often suggestively stated. Meaning that people’s claim of influence changes depending on the conversation and who they’re talking to.

So I prefer to think that “claims of influence” are not to be seriously considered and think of them as more of a kind compliment rather than fact.

Would it hold weight or pressure?
No. I try not to consider what people think of me or subjects like this – that’s dangerous in this business!

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