Neo-soul songwriter José James has remained prolific over the past 17 years, though none of the solo or collaborative records he’s released in that time quite stack up to the ambition of his latest project. A sequel of sorts to 1978, last year’s homage to his birth year, 1978: Revenge of the Dragon was specifically designed to celebrate the kung fu and blaxploitation films that drew theater-goers at the tail end of a decade when cinema was revitalized with a handful of record-shattering blockbusters. In fact the record’s May 16 release is even being preceded by James’ own kung fu short film, created as a companion piece to the album, co-starring his bandmates.
While Bruce Lee, Jackie Chan, and Gordon Liu clearly provided inspiration for Revenge of the Dragon—to say nothing of the R&B tones rooted in the ’70s that he carefully reconfigures for the present day on these tracks—we asked James to take us a little deeper into his palette of influences on this latest chapter. While kung fu pictures from this era and martial arts figure prominently in his answer, he also walks us through some of the visual artists that aided his vision, from Basquiat to music photographer Janette Beckman to fashion designer Kenzō Takada.
Ahead of the LP’s release next week via Rainbow Blonde Records, check out a trailer for the short film, as well as his picks, below. You can pre-order the album here, and grab tickets to screenings of the short film in Brooklyn tonight here and in LA on May 12 here. The full film will drop on James’ YouTube page this Sunday.
Jean-Michel Basquiat
I’m a huge fan of his work and approach to painting, and especially relate to how jazz fueled his artistry. Jean-Michel’s whole approach was about capturing the moment—making it visceral and tangible. He also copied lists of words and facts, which is something I do mentally all the time. For Revenge of the Dragon, I thought a lot about his early days hanging at the Mudd Club in Tribeca, bumming cigarettes, performing with his band Gray, and dancing into the night. I wanted to capture the fun and freedom of that kind of club scene, mixed in with my own clubbing nights in London at Plastic People in Shoreditch. I have a huge book of Basquiat prints, and whenever I need inspiration, I open to any page and dive into his world. It never ceases to amaze me. We actually shot the album cover on Bond Street, on the same physical block he lived on. His spirit is definitely still there in the air.
Janette Beckman
She’s just the coolest photographer ever. Before we started shooting together, I was already a huge fan. She’s taken every music photo you love: Blondie, Salt-N-Pepa, LL Cool J, Slick Rick, Sex Pistols. It’s crazy. Being in her studio is like opening a thousand Christmas presents at once. Her walls are covered in beautiful photos and inspiring ideas. We’ve been shooting together since 2012 and have never missed once. Her whole ethos is punk and hip-hop, shot through with a bit of glamour. My label president, Talia Billig, rented a cherry-red 1978 MG convertible for the cover shoot, and we shot outside on the street. Janette has photographed a lot of great car album covers—most notably the classic EPMD cover. She’s such a legend. It was the most magical New York day. Everyone loved it.
’70s kung fu films
I’m a huge Shaw Brothers fan. Their films are a massive inspiration to one of my favorite directors, Quentin Tarantino. Lately, all I pretty much watch are classic ’70s kung fu films: Executioners From Shaolin, The Five Venoms, Invincible Shaolin, Drunken Master, The 36th Chamber of Shaolin, The Supreme Swordsman, and, of course, Enter the Dragon. I love the stories, the costumes, the soundtracks, and the fight choreography. They put me in a very pure and creative space that’s totally different from my usual cycle of writing, recording, and touring music.
Shaolin kung fu and qigong
I started off this year wanting to change things up, get healthier, and achieve clarity. My doctor diagnosed me with pre-diabetes, which really shocked me because I ate well and exercised often. I found this brilliant Shaolin Temple in Temple City, California run by Master Shi Yan Xu. It was exciting to try something new and break old habits. I’ve basically been very good at everything I do for a long time, and this was starting from the beginning. My brain couldn’t keep up with the class for at least the first three months, but the loving, serious, and powerful atmosphere brought me back. All the classes were taught 90 percent in Chinese, which was both a challenge and blissful. It reminded me that there are much deeper methods of communication beyond words. I also love that there’s no contact or sparring at the Temple. It’s a martial art whose main goals are self-discipline, unity, mind-body-spirit balance, and the betterment of the world around us. I can honestly say that training there has changed my life. Plus, it sounds badass to tell people you study Shaolin kung fu.
For me, there are a lot of parallels between Shaolin kung fu and jazz. Both come from a deep lineage and oral tradition, passed down generation by generation. You’re encouraged to learn traditional forms in order to find your own unique voice. And both art forms have been—and continue to be—hugely influential worldwide.
Museums, fashion, art
I treasure my art and fashion books. Sadly, I lost them all in the Eaton Fire. I looked to them constantly for inspiration. Artists like Ana Mendieta, Hassan Hajjaj, Yoko Ono, Takashi Murakami, Malick Sidibé, Omar Victor Diop, and Andy Goldsworthy encourage me to look deeper, see more, and express my truth. I love to visit museums everywhere I go, and I’ve been blessed to see some truly wonderful exhibitions at the Hayward Gallery, Mori Art Museum, Fondation Beyeler, Tate Modern, MASS MoCA, and, of course, MoMA. I’m also deeply inspired by fashion designers such as Yohji Yamamoto, Kenzō Takada, and Issey Miyake. They really see the world differently, and I’m fascinated by how clothes and costumes can change the energy of a space, tell a story, and leave a lasting impression. It’s high art, and I love to dress myself for every occasion. I can’t leave the house unless I’m feeling put together and in character, so to speak. Mostly I wear black like a good New Yorker, but after living in LA, I’ve expanded my palette a lot.
