2nd Street Jazz (or LAND, as it's otherwise known as) is a Jazz club
and bar located in downtown LA's Little Tokyo. It's an inconspicuous
spot, unassuming, situated on a corner between a couple of sushi restaurants and an American Apparel. Actually, it's very easy to miss. However, it's a spot that has been gathering ample attention not by
flyers or ads, but through word of mouth.

2nd Street Jazz was founded six years ago by former trumpet player and
entrepreneur, Kohei Matsumoto. Kohei was a businessman whose passion
for jazz inspired him to open a jazz club in Little Tokyo. Unfortunately, after having achieved his dream, Kohei passed away. However, his son Koichi soon took over and is keeping his father's vision alive.

The week starts off on Monday night, which tends to be a little tamed. You can find your usual suspects enjoying a cold 24oz. Sapporo and speaking with Koichi or the bartender Lisa, from my hometown of Gardena. On Tuesdays, 2nd Street hosts an open jam session that attracts many of L.A.'s up and coming jazz musicians. Wednesdays are reserved for local Jazz groups playing mostly original compositions. In fact, in the multiple times that I have been there on a Wednesday night, I have yet to witness a single mediocre act.

Other nights are reserved for different events, my favorite night being an amateur night with the participants being some of the regulars from the bar. It's funny, some people will surprise you with their talent and others, well… it's amateur night. It's never boring. The acts cover various musical styles: R&B, rock, samba, hip-hop... etc. Lots of cover songs that range from the musical tastes of Alicia Keys to Michael Franks (remember "Popsicle Toes"? ah… yeah, that one) to Miles Davis.

There are three things you need to know about DJ Sloe Poke: 1. He doesn’t mess around with any of the artsy stuff. 2. You won’t hear him tactlessly scratching and 3. He goes to a club to rock it.
 
What makes Sloe Poke one of L.A. ’s best DJ’s is that he can spin several styles of music with ease. Sloe Poke attributes his skills to the years of spinning for people with diverse tastes, ages and cultures. Most DJ’s can spin two or three different genres of music but get lost when it comes to Latin music. This is where Sloe Poke excels. He’s the kind of DJ that can entice the older generation to go out on the dance floor and put a younger crowd to shame. He can mix a Salsa classic like Joe Arroyo’s “Rebelion” with Celso Pina’s Sonidero hit, “Cumbia Sobre El Rio,” then follow those songs with Thalia’s poppy, “Piel Morena” and Frankie Cutlass’ club fave, “Puerto Rico,” making it all flow together somehow.


Because of Sloe Poke’s range, he can spin almost anywhere in the city. Besides being a resident DJ at places like Little Temple and the Rhythm Lounge, he spins at clubs like Sonido, playing Dub, Dancehall & Lover’s Rock. At the Root Down on Thursday nights he plays funk alongside some of L.A. ’s best funk DJ’s. At ¡DESCARGA! Sloe Poke keeps the floor moving with Salsa, Merengue & Cumbia. When he’s DJing at The House of Blues in San Diego, he compliments whatever act is headlining. He has opened for shows as diverse as Mos Def, David Lee Roth, Yellowman & Jaguares. It really doesn’t matter who or what genre Sloe Poke is spinning for -- he always has the perfect mix.

Si Para Usted is a well put together compilation of Cuban artists from 1970-1980. The now legendary artists such as Irakere, Los Van Van and Juan Pablo Torres were the new wave of Cuban music that broke away from the traditional Cuban sound and started their own thing. Influenced by the sounds that were prominent at that time (Jazz, Afro-Beat, Rock, Funk and Brazilian Tropicalia), this compilation shows a hip side of Cuba that may not be known to many people, especially those who think Cuban music is played strictly by little old men dressed in Guayaberas. (Thanks, Wim Wenders & Ry Cooder!)

Here is a video of Irakere playing a red-hot version of “Bacalao Con Pan,” which is the second track on Si Para Usted. The thing that strikes me about the video is that although the Puertorriqueños were already doing this sort of music in New York for many years, Irakere style had an Afro-Beat feel to it. Most of the funkier tracks on this compilation have that same African vibe as well. Also, the drummer is playing on a trap set, which was pretty rare for the time.