Haruomi Hosono welcomes listeners into his world every Sunday at 1 AM on Daisy Holiday!, his long-running radio show on interfm. On November 17, 2024, he was joined by Sam Gendel, an artist he had been curious about for some time. Gendel, known for his distinctive, understated style, has garnered a strong following in Japan, frequently performing at Festival de FRUE and other events.
As a contributor to HOSONO HOUSE COVERS, Gendel’s interpretation of Koi wa Momoiro became the focal point of a relaxed yet insightful conversation between the two musicians. In this special episode, Hosono and Gendel reflect on the essence of reinterpretation, sound, and the enduring spirit of HOSONO HOUSE. Their discussion, now translated into English, offers a rare glimpse into their musical perspectives.
INDEX
A Favorite Among Japanese Musicians and a Collaboration with Pino Palladino
Hosono: Hi, this is Haruomi Hosono. It feels like we’re finally meeting today. I’m here with Sam Gendel, and his wife is with him as well. Nice to meet you. I just asked where they came from, and he said Kakegawa in Shizuoka. So, what were you up to there?
Sam: I had a show yesterday.
Hosono: I’m so happy to finally meet you, as your name has been buzzing around in Japan.
Musician. Hosono made his debut in 1969 as a member of April Fool. In 1970, he co-founded Happy End, and in 1973, he launched his solo career while also performing as part of Tin Pan Alley. In 1978, he formed Yellow Magic Orchestra (YMO), contributing to the pop music industry as a songwriter, producer, and label owner.
Following YMO’s disbandment, Hosono explored world music, ambient, and electronica, engaging in composition, production, and film scoring. In 2019, celebrating the 50th anniversary of his musical career, he released HOCHONO HOUSE, a reimagining of his first solo album, HOSONO HOUSE (1973).
In 2024, marking his 55th anniversary in music, the tribute album HOSONO HOUSE COVERS, featuring 13 artists, was released.
Sam: I am very happy too.
Hosono: What is your latest work?
Sam: “Dream Trio.”
Hosono: Exactly. Both your cover of “Koi wa Momoiro” on HOSONO HOUSE COVERS and your version of “Satin Doll” were so different from the originals, it was really interesting [laughs]. Is that just how you are?
A cover album of jazz standards released in 2020 under the label Nonesuch Records.
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Sam: Hmm… I’m not sure… I’m trying to figure out how to express music. I’m a musician, but when it comes to talking about music, it can be pretty difficult.
Hosono: Well, should we skip the music talk then?
Sam: It’s okay! [laughs]. Just like how I felt when I listened to your music, I hope you can understand mine too. There are elements in your music that are hard to describe.
Hosono: It’s the same with your music, Sam.
Sam: Cheers.
Hosono: Cheers.
Emerging multi-instrumentalist, producer, and singer-songwriter based in Los Angeles
Hosono: A few years ago, I asked some young musicians around me, “Who are you listening to right now?” and they all said, “We really like Sam Gendel.”
Sam: That’s interesting. I’m not sure how to put it into words, but I do feel a connection to Japan.
Hosono: Aren’t you one of the musicians visiting Japan the most right now?
Sam: I’m not sure about the exact number, but maybe that’s true.
Hosono: I think that’s the case.
Sam: I’m really surprised by how often I can come to Japan and feel such a strong connection to another country.
Hosono: Where are you living now?
Sam: I’ve been living in Venice Beach, Los Angeles for a while.
Hosono: Do you have your own private studio there?
Sam: It’s just a house and a table.
Hosono: Do you listen to music there?
Sam: Sometimes I do, sometimes I don’t.
Hosono: Same here.
Sam: It feels like that, yeah.
Hosono: You’ve been working with Pino (Pino Palladino) for a long time, right? Are you still working with him recently?
Sam: Sometimes we work together, and a few years ago we did some recording, but I lost track of the material we recorded. But we’re still friends, and we do collaborate.
Hosono: He’s got a lot of fans in Japan, especially for his bass.
Sam: He recommended a restaurant in Tokyo to me.
Hosono: Where is it?
Sam: I can’t say the name, but it’s an Italian place.
Hosono: I wonder where that could be.
Sam: I’ll tell you secretly later.
Hosono: Please do. Since it came up, let’s listen to “Satin Doll.”
Hosono: I see. Listening to it now, this really is “Satin Doll.” Is that a saxophone?
Sam: It’s alto sax, electric bass, and an analog drum synthesizer. I recorded it in one take.
Hosono: I think improvisation is important, but you really stick to that.
Sam: Yeah.
Hosono: The questions are long, but the answers are short [laughs]. It’s totally fine though.
Sam: I prefer playing to talking…
