S.A.R. - Verse of the Kool

With its roots in soul, funk, jazz, and reggae, it’s hard to know what exactly to expect from Tokyo-based seven-piece band S.A.R’s debut album “Verse of the Kool”. The album opens with an exotic sounding introduction, perhaps a subtle Japanese influence with a classic pentatonic melody. But gradually other distinct elements are added, the sound of an African shaker, reversed sounds, and then lead singer Santa’s unique vocals, singing a refrain of the lead single. Off the bat, you sense you’re in for an interesting sonic journey. 

This segues into their breakout single “Cannonball”, which is rightly enjoying airplay on Japanese media. It starts with a swinging trumpet courtesy of guest Reiya Terakubo, but sounds more like modern blue-eyed soul, and just as catchy. But halfway through you get a rap breakdown from Imu Sam, which then goes into a psychedelic wailing guitar solo, followed by the trumpet’s solo. Normally you’d think these elements don’t go together, but the tone of the guitar blends really well with the trumpet, creating a natural handover and eventual combination. This is supported by the dynamic bass, the smooth piano, and the rich percussion. While not strictly a formula, this gives you the kind of idea of what S.A.R. delivers. Things like casual jazz guitar solos, hip-hop rhythms, and psychedelic distortion, expertly combined.

Naturally, S.A.R. has a preference for vintage equipment, and according to guitarist Imu Sam, during the recording process, they used an analog 24-track Studer open-reel tape recorder and a Leslie speaker to achieve a warm, classic kind of sound. At the same time, they also recorded digitally, and experimented with feeding the digitized parts back into the Studer to make it a more custom, modern sound. True to their jazz roots, the interludes were jam sessions without any retakes or punch-ins, giving it an authentic live-performance vibe.

Indeed, the album has a very in-the-moment feeling. Though sometimes difficult to discern, the lyrics focus on the present, trying to do whatever it takes to get by. Dreams are distant, relationships fleeting, and external actors are out to get you. With their unique personalities and lifestyles, S.A.R. go their own way, and you’re either with them or against them. It’s fast living, almost destructive even, but that sounds about right for volatile jazz players. On “You be Kool”, Santa is in the moment, a drunk guy in the club trying to find something for real. On “Cannonball”, Imu Sam says “365 I’m just trying to be free”, and on “Desolate” he says “Everyday living on my life like the last day”. Meanwhile “Kaminari” is all about being under pressure to survive and being messed up by trauma.

This makes “Verse of the Kool” very much a product of the times young people find themselves living in, with the odds stacked against them. Particularly in modern Japan, living in the concrete jungle of Tokyo, hope is scarce when there’s inequality, corrupt politicians, low wage growth, and the long-term economic prospects for the country are dim. You can sense the energy and stress in the music of S.A.R., it’s bleak at times but you can’t blame them for it. However, that kind of struggle historically makes for good music, and “Verse of the Kool” is another excellent example of that.

As you might have guessed, the title is a riff on Miles Davis’ landmark album “Birth of the Cool”, which ushered in the age of cool jazz. However it’s intentionally misspelled as “Kool”. Aware of the weight of the original, the band expresses its admiration for the music and culture that inspired them, but at the same time they are comfortable with changing it up, unconcerned about whether they’re doing music faithfully or not. This attitude is expressed in Santa’s line “praise the way you were born”. Deftly combining soul, funk, jazz, hip-hop, and reggae, S.A.R. is making a sound movement all their own, and “Verse of the Kool” is a stunning, well-crafted album that will blow you away. Isn’t that the very definition of cool?

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