[Dixielandjazz] speaking of Turntable Scratchers and OKOM jazz
david richoux
tubaman at batnet.com
Tue Apr 6 19:47:16 PDT 2004
Hi all,
I was talking with another KFJC DJ this afternoon about the recent
thread on this list - Rap and Turn Table experts - he mentioned the
work of a Canadian mix-master named "Kid Koala" that includes a lot of
early jazz in his productions. I did a quick web search and turned up
this little story:
http://remixmag.com/ar/remix_bebop_beat_juggler/ (see below for a snip
- I really suggest that you will find something of interest in the
entire article!)
He is also just now releasing a new CD with some other Dixieland
influences and has said he wants to record with a live Dixieland band!
Dave Richoux
> Philadelphia's Mann Center for the Performing Arts is an open-air
> theater that is more accustomed to performances by Weird Al Yankovic
> and the Mormon Tabernacle Choir than the alien beats and advanced
> technology of electronic music. Kid Koala (aka Eric San) is on Mann's
> stage, working three turntables and a mixer as the opening act for
> alt-folkie Ben Harper. As stoned youth enter the venue, Koala serves
> up background music for their enjoyment and occasional derision.
>
> “Welcome to the Canadian portion of your show,” Koala announces. “If
> you don't like what you hear, talk amongst yourselves.” Koala mixes a
> set of The Pharcyde, A Tribe Called Quest, Björk, Autechre and Boards
> of Canada. Some of the cranky and less-informed youth start to boo.
> Koala wants to have fun while entertaining the Neanderthal mass, so he
> rips out a surreal freak-beat fiesta: his tribute to Louis Armstrong,
> “Drunk Trumpet” (from Koala's Carpal Tunnel Syndrome [Ninja Tune,
> 2000]), and Henry Mancini's Breakfast at Tiffany's theme, “Moon
> River.”
>
> “Drunk Trumpet,” one of Koala's inspired takes on traditional jazz,
> climaxes in a scratched trumpet solo that Armstrong could have never
> imagined. Koala furiously rubs the vinyl, making the trumpet stab,
> wail, spit, trill and slide, all the while smiling like a mischievous
> tyke farting in church. The audience finally gets it, to which Koala
> replies, “Thanks for your jaded applause.”
>
> “Moon River” is even more stunning and sonically daring. As Audrey
> Hepburn sings over the song's acoustic guitar strums, Koala
> beat-juggles two copies of the record into a slow-motion dirge and
> then rearranges every syllable of the vocal until Hepburn is
> stuttering like a Tourette's syndrome victim. Koala then mixes in a
> third record over the free-spinning first platter, adding screaming
> seagulls, looped orchestral strings, an ecstatic Moog solo, rocketing
> explosions and a final scratch of Hepburn reciting “end, end, end,
> end, end.” It's “Moon River” as an apocalyptic nightmare and angelic
> vision.
>
> Koala closes the set with The Muppet Show's song “Mahna Mahna/Lullaby
> of Birdland.” An excited female fan jumps onstage and gives Koala a
> bear hug, embarrassing the DJ, who quickly retreats behind his
> equipment.
>
> Kid Koala is one of today's most inventive, original and humorous DJs,
> and high-profile groups and producers such as Radiohead and Dan the
> Automator have taken notice. Working the turntablist ethic into his
> smashed jazz 'n' beats cutups, Koala pushes the boundaries of DJ
> culture as few can. His 1997 underground tape, Scratch Scratch
> Scratch, sounded like Public Enemy remixing Walt Disney with literal
> samples of Charlie Brown and Björk. Koala's Ninja Tune debut, Carpal
> Tunnel Syndrome, followed after several singles and remixes. He toured
> with Coldcut, Beastie Boys and Radiohead. He then got busy with
> Deltron 3030 (as Skiznod the Boy Wonder); Lovage; and his longtime
> band, Bullfrog. An accomplished cartoonist, Koala released his
> early-2003 book, Nufonia Must Fall (ECW Press), a dialogue-free comic
> story accompanied by a downtempo soundtrack. To support the release,
> he toured, playing shows with two pianos (Koala studied classical
> piano for 10 years before vinyl and comics ate into his brain), four
> turntables and the help of his friend DJ P-Love.
>
> Kid Koala operates in a space that is rare for any musician. Although
> it draws on hip-hop, trip-hop and turntablism, Koala's music is
> practically without parallel. His turntable-based style is only really
> challenged by DJ Shadow, who follows a similar loner's path to
> fanatical vinyl ecstasy. With a gentle science of spoken-word humor
> (“Shake loose; don't be silly; you can dance” is one obscure sample
> that he often cuts in), scratched solos and lazy beats created on a
> simple analog setup, Kid Koala upends the turntablist's machismo with
> songs that are as ingenious as they are hilarious.
>
> Sitting down with Remix, Koala is shocked to hear that he's on the
> cover: “Oh, geez,” he says with a sigh, fidgeting. “Great! The
> Neptunes deserve to be on the cover — now, I am nervous. [Laughs.] By
> the way, did I mention I worked with Madonna?”
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