One of the dangers anytime an artist decides to forgo the organic approach and back his primary instrument with electronic effects is relying too much on the machinery. Fortunately, Ryo Kawasaki, as strong a producer as he is a lyrical electric guitar master, makes sure his silky urban rhythms on Sweet Life are simply an enhancement, rather than a burden, to his fluid lines. Whether the track is straight-out funk, smooth late-night seduction, or a loping ride like the title cut, his hypnotic synth lines simply set the mood. Kawasaki's plucky, winding way with a melody is textured over that, working its way toward varying degrees of emotional resonance. While the fully plugged-in mode carries the majority of the collection, Kawasaki earns his most memorable kudos for the simple and sparse acoustic gems, a lush cover of Janet Jackson's "Again" and on "Sweet Life," which improvises a flamenco-like edge over fingersnap percussion that sounds more real than machine-generated.
The Book "The Art of the Start" was the textbook for my senior bioengineering/entrepreneurship class. This is a video presentation of the same concise, powerful, and well-communicated material. When you get pregnant, you read What to Expect When you’re Expecting. When you get laid off, you read What Color is Your Parachute?. When you get entrepreneurial, you read The Art of the Start.
Jazz fusion guitarist Ryo Kawasaki was born in Toyko, Japan, on February 25, 1947. Although he originally planned on becoming a scientist, Kawasaki put an end to his studies early on and concentrated solely on guitar, playing with a variety of Japanese jazz groups throughout the '60s. During the early '70s, Kawasaki had relocated to the United States (New York, to be exact), where he played regularly with such jazz notables as Gil Evans, Elvin Jones, Chico Hamilton, and JoAnne Brackeen, and issued such solo releases as Juice, Ring Toss, and Nature's Revenge. Although he would issue several albums during the '80s (Little Touree, Ryo, Lucky Lady, etc.), Kawasaki had turned his back on musical performance and concentrated solely on penning music software programs for computers. Kawasaki also formed his own record label, Satellites Records, as he produced techno dance singles, but eventually returned back to his first love, releasing a steady stream of jazz releases once more, starting in the early to mid-'90s (Love Within the Universe, Sweet Life, Cosmic Rhythm, Reval, etc.).