Japanese jazz-punk renegades SOIL&”PIMP” SESSIONS are an explosive band comprised of six musicians; Shacho (agitator, spirit), Tabu Zombie (trumpet), Motoharu (sax), Josei (piano), Akita Goldman (bass) and Midoryn (drums). The sextet’s roof-raising live shows (dubbed “Death Jazz” in a two-finger salute to Japan’s polite, noodling, straight ahead jazz cognoscenti) have earned them a fearsome reputation and new fans at every stop on their annual trailblazing European tours.
At its core, the group is about giving pulsating live performances. SOIL&”PIMP” SESSIONS combine the highest musicianship with the coolest of cool sounds and atmosphere. Their brand of jazz is rough around the edges, unadulterated entertainment and constantly kept at boiling point.
Each member brings his own unique talent and perspective. They originally met at a club event in Tokyo in 2001. The Tokyo club scene was dominated by DJs until SOIL&”PIMP” SESSIONS arrived, breaking the mold as live pioneers. Calling their music “Death Jazz”, they gained recognition for performing an original form of aggressive alternative jazz. The band comments; “We always felt that in the world of jazz, there was an unwritten rule that the musicians were to concentrate on their techniques and the audience were simply there to admire, like a transmitter/ receiver relationship. We wanted to break away from that and create exciting jazz with far more interaction between the players and the audience”. Shacho, who holds a rather unusual title in a jazz band as “the agitator”, plays a key role in this by stirring and stimulating the audience.
It did not take long for SOIL&”PIMP” SESSIONS to become one of the hottest new bands in Japan and becoming favorites of major festivals including Fuji Rock. Their international breakthrough came when Gilles Peterson, the renowned British DJ, introduced the them through his Radio 1 show ‘Worldwide’. Since then, SOIL&”PIMP” SESSIONS have been awarded the “John Peel Play More Jazz Award” at the Worldwide Awards and have released a string of storming albums on Peterson’s Brownswood recordings to widespread critical acclaim.