Cuts so deep

WHEN IT COMES to DJs, the epithet 'pioneer' is applied far too liberally, often covering anyone who has ever held a residency at a superclub. But Satoshi Tomiie has a legitimate claim to the tag. Japan's most successful international DJ was spinning as long ago as the late 1980s alongside two of the so-called godfathers of house music, Frankie Knuckles and David Morales. After almost two decades in the business, the grey-haired Tomiie - who has long since given up bleaching his hair - has been on something of a nostalgia trip. He was asked by Renaissance, the club label bringing him to Hong Kong next week, to launch its new 3D compilation series. The triple album project that's out this month covers three dimensions of the DJ's career: a mix of his current club favourites, a disc of his studio tracks, and a third featuring his musical influences and what he listens to at his homes in Tokyo and New York. Whereas the first two feature the upbeat, vocal-led house classics typical of his career, it's the last disc that gives an insight into the DJ's soul, featuring the likes of Miles Davis and Gil Evans alongside Roy Ayers and James Brown. 'My first passion for music was jazz,' says Tomiie. 'I was really into it and learnt a lot from listening and playing jazz piano. Maybe you don't hear the direct influence of jazz in my music, but this became part of my 'flesh' for sure.' Tomiie's influences reach even further back than jazz, having begun with classical training. 'I learnt classical piano from a girl who lived across the street when I was 14 or so,' he says. 'Soon after I started, I was getting into jazz piano.' But by the mid-80s, hip-hop had arrived in Japan and turned Tomiie's life upside down. 'I was shocked that the turntable had become an instrument,' he says. The shock jolted him into forming his own band and making a foray into DJ-ing and production. Then house music arrived in Japan from Chicago and Tomiie was hooked, picking up on the beats to make his own dance music. Studious as ever, he delved into this new sound. 'Tracing back to its roots, I found [classic] tracks,' he says. 'Discovering the history made me understand house music better. These grooves from classic dance tunes influenced my music greatly.' When a Japanese cosmetic company asked Satoshi to produce a track for a party headlined by Knuckles, the US DJ was impressed with what he heard and suggested a collaboration. The resulting tune, Tears, became a seminal track of the vocal house era, prompting Tomiie to move to New York where he joined the Def Mix crew. The rest, as they say, is history. He has since remixed and worked with artists such as Simply Red, David Bowie, U2 and Mariah Carey, all the while maintaining his credibility as a top DJ and producer. With Morales and Knuckles as mentors, Tomiie carved his own sound and played clubs around the world. Even so, it wasn't until relatively late, in 2000, that he finally wrote and produced his debut album. Full Lick featured guests vocalists such as former Sneaker Pimps singer Kelli Ali, Diane Charlemagne and Robert Owens, and spawned a host of dance floor hits. Tomiie says Tokyo is his first home, but New York comes close. 'Both are very international cities and very different,' he says. 'I love Tokyo, that's the place I'm used to and I think my music became like it is because I'm from there. New York is a great place, it's like a human magnet. People come from all over the world and exchange energy - very inspiring.' He played in Hong Kong several times during the 90s, but his trip to the mainland will be his first foray across the border. 'I'm really looking forward to it,' he says. 'Relatively new markets such as Eastern Europe and South America are growing, and more and more people are getting into the club scene. I'm interested in the direction these places are taking.' In recent years, Tomiie also launched his own label, Saw Recordings, which he's using to create more experimental music. The label has already released more than 50 singles and four albums, including one by Dutch maestro Chab that melds rock, electro and house. Tomiie credits his ability to make dance music to his classical training, but does he see electronic music surviving as long as classical? 'All 'classical' was once cutting-edge, new music,' he says. 'Good music will always survive.' Renaissance presents 3D: Satoshi Tomiie Album Tour with special guest Krafty Kuts, Mon, 10pm, Edge, The Centrium, 60 Wyndham St, Central, $200 (advance, HMV), $250 (door)