Soundscapes Volume 4: A Conversation with Tak Nakamura aka Space Tak

Tak Nakamura is a composer, producer and multi-instrumentalist who has been creating and touring music globally for over 30 years. After studying the Lydian Chromatic Concept of Tonal Organization under jazz legend George Russell at the New England Conservatory of Music, Nakamura moved to New York in 1994, where he became an integral and sought after part of NYC's vibrant underground music scene. His masterful use of piano, trumpet and various electronic instruments, paired with a diverse musical background and fusion of uncommon and exciting styles of music, has distinguished Takuya Nakamura’s work and brought him to perform with and alongside acts such as Sun Ra Arkestra, Quincy Jones, Lee Scratch Perry, Laurie Anderson, David Byrne, Coco Rosie and many other notable artists. 

We connected visual artist Diana Lynn VanderMeulen with Tak to celebrate the launch of Teenage Engineering’s pocket operators, now available on Laundry Day. Initially drawn to TE’s design sensibility, the pocket operators really speak to us because of their playful and curious nature. This conversation gives some insight into Takuya’s use of Teenage Engineering in his musical process, and his ever expanding jazz practice.  

This Interview has been edited slightly for clarity. 

LD: We are so excited to launch your Soundscape with Teenage Engineering.  How did you come to discover their instruments?

TN: I was looking for new sounds for myself also for a band I started to be involved with called CocoRosie. I was also looking for high end sounds from late 20 century European music studios like ILCAM in Paris.

LD: What are some features that you really enjoy in the Teenage Engineering synths? I personally have a few Pocket Operators & really love the playfulness and accessibility of them! I would love to hear more about the OP-1 or OP-Z which you use in your video feature for Laundry Day. 

TN: I used both, OP-Z is great as a beats machine. Great for any modern beats and fun play, it’s like all kinds of pocket operators in one box. I like OP-1 more for its great synth sounds, though it also has great drum sounds, and a great four track tape machine function. Amazing machine for composing and crazy sounds!

LD: Jazz is incredibly avant-garde in nature as it is pushing boundaries and fusing genres. How does your sound evolve and flow between mediums, and what is your writing process like?

TN: Jazz is dance music with all kinds of expressions and the spirit of jazz is alive through all music that came after like hip hop, jungle D’n’B etc…When I write music, I hear beats, scales and sounds and all come to me

LD: Does moving between mediums such as composing, producing, djing & a diverse instrumental practice expand your concept of what Jazz music can be?

TN: Yes, That is my jazz.

LD: Although I am a longtime appreciator of Cosmic Jazz - initially through the discovery of Sun Ra & his Arkestra - I have never really dove into the theory side of jazz. Can you tell me a little bit about the Lydian Chromatic Concept of Tonal Organization and how studying under George Russell may have led you to create Cosmic Jazz? 

TN: First, George Russell found the Lydian scale fit naturally as a primary scale to explain the simple and beautiful nature of harmony rather than the diatonic scale based western music theory we have been setting as foundation. Scales create harmony and also the other way around, and all work with the nature of gravity between note/frequency. It’s all free for us to use these 12 notes as long as you understand this way of thinking.

LD: How does community and collaboration inform your work?

TN: What I play and produce are mirrors of the sounds from our community and my collaborators. I shape these sounds with my joy and a little bit of surprise. 

LD: What is your favorite way to perform or share music? 

TN: Just be on the stage and play for people!

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Listen to Soundscapes Volume 4
Watch the mix

Find Tak on

Bandcamp: Here
Instagram: @space_tak