[{"content":"Songs in Motion is a 2018 release from guitarist Yudo Matsuo that he recorded with a quartet featuring Junichiro Ohkuchi on piano, Yoshimasa Otsuka on bass, and Sota Kira on drums. While this album follows his previous debut release Bonanza (2012), there was a full six years in between, so the guitarist/composer surely had a lot to say. As a result, Songs in Motion is an album full of his stored-up musical ideas and performances, and that spirit is bursting forth as the quartet’s energy lets loose.\nFigure 1: Front cover\nThose musical statements make up ten tracks that run for over an hour’s worth of material. Matsuo’s quartet plays on eight of the tracks with performances that flow atmospherically between robust displays of fun virtuosity and more laid-back pieces. Two tracks feature Matsuo alone on overdubbed guitar, simulating a duo that offers a view into his lyrical writing and close-up playing style.\nIt’s also interesting to note that the category keywords tagged to the online digital version of this album include acoustic, country, and folk along with jazz, and although Matsuo’s influence and personal style may lean towards these different genres here and there, the overriding jazz spirit, attitude, and improvisational showcases are the main features of this album, from start to finish.\nFigure 2: Back cover\nFigure 3: Inner fold\nSticker Notes Wildness and intelligence intertwine, stirring up the fiery sparks of tumultuous phrases. This is guitarist Yudo Matsuo’s first album in six years, recorded with his perfect lineup for a quartet. Beautiful fingers race elegantly over his original songs that are brimming with ideas.\nFigure 4: Inner panel\nFigure 5: Sticker\nFigure 6: Disc\nSongs in Motion by Yudo Matsuo Quartet Yudo Matsuo - electric \u0026amp; acoustic guitar Junichiro Ohkuchi - piano, Fender Rhodes Yoshimasa Otsuka - bass Sota Kira - drums Released in 2018 on Song X Jazz as SONGX-055.\nJapanese names: 松尾由堂 Matsuo Yudo 大口純一郎 Ohkuchi Junichiro 大塚義将 Otsuka Yoshimasa 吉良創太 Kira Sota\nAudio and Video Time Thieves (track #5) - live version: Asalato (track #7) - live version: Recording studio montage: Digital album streaming/download (Bandcamp)\nExcerpt from track #2: “Blue violet”\n","permalink":"https://mirror2.jazzofjapan.com/yudo-matsuo-quartet-songs-in-motion/","summary":"\u003cp\u003e\u003cem\u003eSongs in Motion\u003c/em\u003e is a 2018 release from guitarist Yudo Matsuo that he recorded with a quartet featuring Junichiro Ohkuchi on piano, Yoshimasa Otsuka on bass, and Sota Kira on drums. While this album follows his previous debut release \u003ca href=\"https://www.jazzofjapan.com/archive/yudo-matsuo-bonanza/\"\u003e\u003cem\u003eBonanza\u003c/em\u003e\u003c/a\u003e (2012), there was a full six years in between, so the guitarist/composer surely had a lot to say. As a result, \u003cem\u003eSongs in Motion\u003c/em\u003e is an album full of his stored-up musical ideas and performances, and that spirit is bursting forth as the quartet’s energy lets loose.\u003c/p\u003e","title":"Yudo Matsuo Quartet: Songs in Motion"},{"content":"This I Have Heard is a 2025 release from pianist Otohito Fuse, a second album as a leader quick on the heels of his Isolated from 2024. Joining him on this release are his regular trio members, Riku Takahashi on bass and Kaito Nakamura on drums. It’s a continuation and evolution of the trio sound created on their previous release, with an increased maturity and depth added to the new music. This music is patient and deep, and while there are intense tempos with free-flowing jazz improvisation and burning solos, the musicians do not hurry to get there, as if there is an abundance of confidence in building beautiful moments that will come together when the time is right.\nFigure 1: Front cover\nThose moments are contained within eight songs that run from six to eleven minutes apiece on the 65-minute album. Several songs open with Fuse’s solo piano, a style of improvisation that starts from players like Bill Evans and Keith Jarrett and seems to bring in some modern jazz and classical concepts as well. Those absorbing introductions can wind out for several minutes before the trio coalesces and the main rhythms, melody, and harmonies of the written compositions begin. In series, the album traverses a path as if flowing through an opening meditation, brighter stimulation, a tropical lilt, a ballad break, more inner mediation to modern pop jazz, some free improvisation, wavering suspense, and a final piece for peaceful reflection.\nFuse composed all the songs for his trio, and in contrast to his previous release that included no explanatory musical notes, this CD includes a booklet of Fuse’s detailed observations (riffing on the phrase Thus I Have Heard?) about Buddhist concepts and how they relate to this present work\u0026hellip; and how it all connects to isolation, self-realization, and the ability to lay down an artistic statement (for any work) in the context of what one has experienced.\nFigure 2: Back cover\nFigure 3: Inside case\nLiner Notes (Translated from Otohito Fuse’s original Japanese liner notes.)\n“Thus Have I Heard” is the English translation of “如是我聞”, a phrase that opens many Buddhist texts to announce that what follows is a record of what was said. This is usually said at the opening of Buddhist scriptures due to the fact that they were not written by the Buddha himself, but recorded in that form by his disciples who listened to his teachings.\nFigure 4: Booklet page 1\nThe teachings of the Buddha are boundless, and since the ways of teaching these lessons to humankind is so varied and dependent on each individual, it is impossible to put those into words. “Being conscious of that, this is what I have heard and understood so far.” I think this is a wonderful phrase that overflows with humility and sincerity.\nFigure 5: Booklet pages 2-3\n***\nPeople are all isolated. Perfect understanding between people is an impossible task. Of course, we are able to make efforts through words to understand one another. Yet, lifespans are limited, and both people and the world gradually change over time, so efforts towards mutual understanding cannot be fully achieved.\nFigure 6: Booklet pages 4-5\nThe same goes for oneself. Memories are vague and capricious, and even intense feelings that you sense you will never forget can become unexpectedly difficult to recall. Moreover, even if a certain region of the brain is experiencing an emotion, it often happens that completely unrelated thoughts are occurring at the same time, preventing the whole system from appreciating that emotion.\nFigure 7: Booklet pages 6-7\nCreating a piece of work. The appreciation of the work that has been created. What may drive people to these actions is awareness of their isolation. Even though we all are painfully aware of our own isolation, we are so strongly moved by our joy, pain, and emotions that we cannot help but try to create some kind of work to leave behind. And those people who appreciate that work are encouraged by the fact that there are others, living in the same conditions of isolation as themselves, who produced such pieces.\nThe issue of time is also a critical one for people. Time keeps flowing in only one direction and can never be reversed. It can be said that much suffering stems from by this irreversibility of time, not the least of which is aging and death. Even as symbols and information, things that do not change with the passage of time, can go on to explain this suffering, it is impossible for them to directly represent this suffering themselves. This is exactly why the creation of work from an earnest mind, whether in literature, art, music, writing, photography, or whatever form, always brings forth something that evokes a realm that cannot by reduced to symbols and information. Music in particular only exists in conjunction with time. For this reason, it can give us the most direct connection that resonates to the inner struggle of human existence in the flow of time. Not only is this what I love about music, there are also times when I find it awe-inspiring.\nFigure 8: Booklet pages 8-9\n***\nFigure 9: Booklet pages 10-11\nConsidering the progress and spread of generative AI, the activity of human-derived works is approaching a turning point. When it comes to music, paintings, and photography, the listeners and viewers may be reaching a stage where they cannot determine based solely on the data if those works were made by a human or generated by AI.\nIn this sort of era, how can those who stake their lives in creating works of art find hope?\nFigure 10: Booklet pages 12-13\nPerhaps it’s by returning to the starting point: that we are all isolated, we cannot oppose the flow of time, and one day we will inevitably die (in some unknown way). There are countless people who have shared in this same suffering and have used up their lives to bring forth their work. That work has in turn comforted and encouraged many other people. The fact that such endeavors have continued unbroken throughout human history can give us a great amount hope.\nFigure 11: Booklet pages 14-15\nFrom this perspective, the essence of the person who created the work stands out distinctly. However, that essence is not a fixed characteristic, but rather one that is unstable and ambiguous in the extreme. In the vicissitudes of the flow of time, it’s unknowable whether some future self, or some different self that is occupied by other thoughts at the moment, will later betray the fact of “At this moment and in this place, I feel moved in this way.” Even while struggling to give a sense of form to this emotion, both the self and the world are changing moment by moment, and there is no guarantee of consistency in that which is being created. Still, a work that has been born of strong emotion is the only thing in existence that can speak for its creator’s voice at that time and place, and once it leaves their hands, it drifts on through time and space.\n***\nFigure 12: Booklet pages 16-17\nBy the way, I enjoy taking photos. There’s a repetition in the act of taking photos in the naive hope of capturing what you see just as it is, but then those expectations are more or less betrayed by the results once the shutter is released and you examine the picture. Within that trial and error process of recognizing the difference between the two states and attempting to bring them closer to one another, you can suddenly notice a way of viewing the landscape that you had not seen before. Or, there are times when the emotions conveyed through a scene are captured best through a photo with a slightly different form. Through photography, the way of engaging with a landscape can be disassembled and then reconstructed, and this sense is fascinating.\nFigure 13: Booklet pages 18-19\nI also like the kind of impartiality involved in how the camera records photographs through a completely mechanical process. In theory, anyone can take the exact same photo if they use the same camera, the same settings, are in the same location, and release the shutter at the same time. Conversely, it is for that exact reason that the photographer’s individuality manifests as the person who existed there at that time and place. Photographs become very significant in the life of the photographer as a modest proof of an isolated existence that emotes “Certainly, I was there, and I observed this scene.”\nAnd this is a quality that is common to all forms of human creation to some degree.\nFigure 14: Booklet page 20\nWhen someone creates something, whether consciously or unconsciously, it is slice of the world that that person experienced at that time. Even still, unending differences rise from that. When confronting those differences, the relationships between that person, their work, and the world is reorganized little by little and becomes multi-layered.\nFigure 15: Obi\nFurthermore, the premise of impartiality that suggests that anyone could produce exactly the same work given the exact same time, location, and movements, makes prominent the uniqueness of the work and the creator themselves. This is precisely why it is so interesting that completely different things are be produced through the same instruments and materials. The work becomes one with the fact that that creator existed and was there at a certain time and place.\n***\nA work of art is the only thing that conveys how the form of world was revealed to the artist up until that time. In that sense, almost all the works that have been produced in the world are “/Thus I Have Heard/”. This is truly why I want to sincerely and carefully observe how the world appears and sounds to me. And I want to trust in what I see and hear, and transform those experiences into works. Whether this takes the form of improvisation or that of honoring the traditions of a designed style is a completely different matter. There is nothing more pleasurable than creating music together with musical partners who place such importance on what they hear and respond to each place and situation independently. I want to express my gratitude to the members of the trio with whom I make music on a daily basis.\nTsutomete\n“Tsutomete” is an old word that carries the meaning of early morning.\nA phrase from The Pillow Book that is widely known is “In winter the early mornings.” The atmosphere of the morning is special, particularly those refreshing early mornings in winter. The eastern sky gradually begins to glow, and the gap between it and the deep blue of the night sky create a twilight in clear gradation. Hope for the new day uncontrollably springs in the heart while at the same time there’s a painfully bittersweet feeling as the scene disappears before your eyes, moment by moment. And once the sun fully emerges, you can no longer peacefully gaze upon the eastern sky. While storing away in your chest that landscape that was visible only just moments ago, you find comfort in the morning scenery of the interweaving of soft light and long shadows as you return to the ordinary habits of the day.\nNorthbound Journey\nA trip to the north always carries some sense of loneliness. For someone from the north like me, the northward direction includes connotations of cold versus warmth, stillness versus motion, neutral colors versus the chromatic, and death versus life. Simultaneously, the north summons a feeling of nostalgia. Perhaps this is because of the warmth of the people who live within that bitter cold. Or maybe it’s because the north is superimposed with the afterlife, where we project memories of our loved ones who have died and memories we have lost. As travel continues northward, it’s also interesting how in spring the season seems to rewind, and in autumn, fast-forwards. For those traveling north, it’s as if time moves at a different speed and different moments flow and intersect in time.\nWhite Lycoris\nIn the autumn of last year, I visited a habitat of red spider lilies (Lycoris radiata) in Hidaka, Saitama. The full bloom had just passed, so depending on the spot, there were specimens in various stages, from those that were still vivid red to those who were beginning to lose their form, fade in color, or even whose withering petals on drooping branches where eerily hanging like wisps of hair. Flowers’ colors and forms are always changing, and their peak viewing period is shorter than one thinks. I was struck again when admiring the beauty of flowers that aside from their colors and shapes, those fleeting and precious qualities are even more crucial factors. And, thoughts of kazuso (Buddhist contemplation of the nine stages of decomposition) entered my mind as I kept on looking at those wilted flowers for a while.\nLater, mixed in the midst of those red spider lilies I spotted a tiny sprinkling of white ones. Coupled with having just been looking at those withered flowers, those white flowers made me feel how especially beautiful, noble, and precious they were.\nSado\nThere are several places that I have a special attraction to for some unknown reason. Sado Island is one of those places. To date, I have visited Sado three times.\nThe Aikawa Gold and Silver Mine is a recognized World Heritage Site, the port city of Shukunegi flourished with Edo-era cargo ships, and the locally-bred Japanese crested ibis is headed for a resurgence. This is an island with innumerable points worthy of mentioning. What I cannot forget is the feeling of driving along the Sotokaifu Coast.\nThe undulating region next to the sea has almost no areas of flatland and is abundant in peaks and valleys. The landscape is covered with grass and bamboo, with almost no tall trees growing there. Large, strangely-shaped rocks rise from the ocean, including Futatsugame and Onogame, reaching heights of several tens of meters to over a hundred meters above sea level. A single road weaves its way through the middle of this landscape of such huge scale. The days that I’ve visited so far have been calm. Yet, this terrain causes me to wonder about its severe landscape and the hardships faced by the people who live there, as well as those woh maintain its transportation system. This magnificent scenery is etched in my heart, and at the same time makes me keenly aware of my own tiny existence while the landscape comforts me quietly in its embrace.\nB.A.S.D.\nThe letters for the title of the song “B.A.S.D.” are derived from the Four Sufferings of Buddhism, that is: Birth, Aging, Sickness, and Death.\nThe older we get, the more we experience the issues of aging, illness, and the death of those close to us. However, despite the fact that we cannot evade the Four Sufferings, they are generally concealed in daily life, and it’s considered normal to go about our lives without acknowledging them consciously. Furthermore, just as one individual’s death can never be replaced by that of another, the anguish of the Four Sufferings is a deeply personal one. Therefore, once afflicted by these sufferings, people must be devoted to confronting their despair and powerlessness in isolation.\nIf even a little bit, I believe that one way out of this sadness is to come into contact with those who were burdened with grief in the past but still led inspiring lives. By offering respect and prayers to those who lived through suffering in the past, we may enter the same sphere ourselves and be able to gradually accept our own pain.\nNyoze\n“如是” is a phrase that often appears in Kanji-translated Buddhist scriptures. It is read as kaku no gotoshi and carries the meaning of in this way or manner. However, in Japanese culture where these Kanji-translated texts have long been chanted in the manner of incantations, one part of the allure of reciting these scriptures may be that are difficult to understand. Within that, the repeated sound of nyoze itself may affect both the person who chants the phrase and those who hear it, possibly bringing a kind of revelation that transcends any meaning or representation in language.\nIt’s also said that nyoze is a phrase that alludes to the common similarities between different things. I believe that identifying such likeness is one of the most primal ideas that drive human beings living on this earth. In a blank, featureless spacetime that was originally filled only with objects, people gradually discovered similarities and created a world of our own making. This is not limited only to objects which can be expressed through language. We can take some solace in the irreversible flow of time as we reflect on our memory of events that occur at different points in time yet vaguely resemble one another.\nWe Can Hardly See\nThe things that are truly important to us are actually just nearby. However, they are things we can hardly see. These kinds of words are commonly said across a range of domains, from spiritual contents to the commonplace search for a misplaced item. Isn’t life itself a pursuit of those things that are truly important to us, and that we keep approaching closer and closer to? Furthermore, those concepts of close and far are relative, and we continually recalibrate the meaning of those words as we live our lives. The journey and track of one’s life goes on as we traverse the perimeter of that unreachable destination, never too close nor too distant.\nAscending Shadow of the Mountain\nLiving on the Kanto Plain, you can see the sun setting in the direction of Mount Fuji on clear winter days. The setting sun is beautiful, of course, but I especially like the coloring of the sky just after sunset. It is as if time is standing still.\nOne day, right after the sun had set to to the ridgeline on the right of Mount Fuji, I saw a pale gray band of light rising from the summit and stretching towards the left. It must have been a shadow cast by the sun that was still setting on the west side of Mount Fuji. I felt that this sight was incredibly beautiful. I wanted to take a picture, but by the time I prepared my camera, the shadow had disappeared. On other days, the shadow never reappeared, even when the sun set in the same position. Perhaps it was related to the amount of dust in the air? But I had certainly seen that rising shadow. I keep dreaming of the day I can have a chance encounter with that shadow again, and today as well, I find my thoughts returning to Mount Fuji.\nObi Notes Otohito Fuse Trio’s second album, Thus Have I Heard.\nThis is the current marker for this trio with Riku Takashi and Kaita Nakamura, who have continued to perform together since the previous release Isolated.\nFuse’s music carries themes of scenery and spiritual concepts as a picture scroll of sound, as each member proceeds to perform what they heard at that moment.\nIncludes a 20-page booklet of photographs and writings.\nFigure 16: Disc\nThus Have I Heard by Otohito Fuse Trio Otohito Fuse - piano Riku Takahashi - bass Kaito Nakamura - drums Released in 2025 on Otohito Fuse Music as OFM-002.\nJapanese names: 布施音人 Fuse Otohito 高橋陸 Takahashi Riku 中村海斗 Nakamura Kaito\nAudio and Video Promotional video for Thus Have I Heard (album trailer): “Northbound Journey” (track #2) - recording session: Full Playlist (Bandcamp)\nFull Playlist (YouTube)\nExcerpt from track #7: “We Can Hardly See”\n","permalink":"https://mirror2.jazzofjapan.com/otohito-fuse-trio-thus-have-i-heard/","summary":"\u003cp\u003e\u003cem\u003eThis I Have Heard\u003c/em\u003e is a 2025 release from pianist Otohito Fuse, a second album as a leader quick on the heels of his \u003cem\u003eIsolated\u003c/em\u003e from 2024. Joining him on this release are his regular trio members, Riku Takahashi on bass and Kaito Nakamura on drums. It’s a continuation and evolution of the trio sound created on their previous release, with an increased maturity and depth added to the new music. This music is patient and deep, and while there are intense tempos with free-flowing jazz improvisation and burning solos, the musicians do not hurry to get there, as if there is an abundance of confidence in building beautiful moments that will come together when the time is right.\u003c/p\u003e","title":"Otohito Fuse Trio: Thus Have I Heard"},{"content":"Semendo Sementes is a jazz piano trio album from bassist Yuki Ito released in 2021. While bassist and composer Ito has recorded albums with different forms and combinations of musicians, and even a solo bass album, this is her first physical full-album release where she leads a piano trio. Joining her in the trio is pianist Yuka Yanigahara and drummer Hiro Kimura, regular members who were also on her previous digital mini-album release. As the leader for this group and live recording, for this set Ito plays original compositions that she wrote and arranged. To this set list, Ito includes one cover song, the old jazz standard “Time After Time” that was arranged by drummer Kimura.\nFigure 1: Front cover\nThe seven songs included on this album are modern sounding with straight-beat and brushed swing feels. Most songs are in the 9- to 12-minute range, and there is plenty of space for the soloists to explore their improvisations and raise the thrill levels (or deepen the mistique, as the case may be) while the trio propels forward as a group. Most of the solos here feature Yanagihara on piano and Ito on bass, but drummer Kimura also gets a few spots where he trades measures with the pianist or plays dynamic drum solos over rhythmic vamps. This trio is well-suited to one another, tightly-locked and exciting, and the energy of performing live is a visceral force present in their playing.\nWrapping up the live set is track #7, Ito’s “Hinageshi” with a beautiful melody that also appears on some of her other albums: Retattanni no Mori (for solo bass), and Shiro o Matoeba (“Koto Ha, To” vocal/piano/bass).\nFigure 2: Back cover\nSemendo Sementes was recorded live in 2021 at the Tokyo jazz club Plus Eleven in Ageo. Included below are videos of the making of this album and the trio’s concerts at Plus Eleven.\nFigure 3: Inside case\nSemendo Sementes by Yuki Ito Trio Yuki Ito - bass Yuka Yanagihara - piano Hiro Kimura - drums Released in 2021 on Yuki Ito as YDM-002.\nJapanese names: 伊東佑季 Ito Yuki 柳原由佳 Yanagihara Yuka 木村紘 Kimura Hiro\nAudio and Video Promotional video for Semendo Sementes from Yuki Ito Trio: “Snow Goose” - track #5: “ひなげし (Hinageshi)” - track #7: Full playlist (YouTube)\nExcerpt from track #1: “Aderante”\n","permalink":"https://mirror2.jazzofjapan.com/yuki-ito-trio-semendo-sementes/","summary":"\u003cp\u003e\u003cem\u003eSemendo Sementes\u003c/em\u003e is a jazz piano trio album from bassist Yuki Ito released in 2021. While bassist and composer Ito has recorded albums with different forms and combinations of musicians, and even a solo bass album, this is her first physical full-album release where she leads a piano trio. Joining her in the trio is pianist Yuka Yanigahara and drummer Hiro Kimura, regular members who were also on her previous digital mini-album release. As the leader for this group and live recording, for this set Ito plays original compositions that she wrote and arranged. To this set list, Ito includes one cover song, the old jazz standard “Time After Time” that was arranged by drummer Kimura.\u003c/p\u003e","title":"Yuki Ito Trio: Semendo Sementes"},{"content":"Introducing Koichi Hirata is the 2024 debut release from jazz guitarist Koichi Hirata. Hirata is a young, up-and-coming player who has established himself as a popular musician in the live Tokyo circuit, playing live often as a support musician or a leader at his own gigs and popular jazz jam sessions. His style is unadorned with a comfortably warm sound and style that immediately brings to mind the much-admired jazz guitarists of previous generations.\nFigure 1: Front cover\nThis album is a live recording made at the popular, long-running Tokyo jazz club Alfie and captures a date with Hirata and his quartet starring Mamoru Ishida on piano, Yutaka Yoshida on bass, and Yusuke Yaginuma on drums. True to its title, this is an excellent introduction the new player with a selection of old standards played in a completely satisfying, traditional way, and the perfect swing, taste, and synchronized group energy was not only for a fun live show at the time, but produced a great recording to boot.\nFigure 2: Back cover\nLiner Notes (Translated from Mikio Hasui’s original Japanese liner notes.)\nThe first time I saw Koichi Hirata live, my initial impression was that he was much younger than I expected, yet with a calm and composed demeanor. That first impression of him was a perfect match to the sound that poured out of his beautiful full acoustic guitar. The first song, “A Weaver of Dreams”, began with a quiet solo introduction, and it reminded me of a famous guitar player that I also love, Kenny Burrell. I thought that Kenny Burrell must be one of the guitar players that Koichi Hirata also surely admires.\nFigure 3: Inside fold\nSpeaking of that, that Kenny also has an album with a similar title, Introducing Kenny Burrell. Since this album’s title is Introducing Koichi Hirata, it must also contain a considerable amount of respect for Kenny. Hirata, originally from Sapporo, is currently a 22-year-old university student.\nFigure 4: Inside case\nHave you been playing jazz guitar from the start?\n“When I was in second grade of elementary school, I was influenced by the Beatles and started to play guitar. Initially, it was not jazz that I loved, it was blues and R\u0026amp;B, and I would play that a lot. Later, I discovered Larry Carlton and gradually developed an interest in jazz. I first learned about John Coltrane through one of Larry Carlton’s interviews, and through the album Blue Train and others, I became seriously devoted to jazz.”\nFigure 5: Booklet front page\nIf I had to pick one, I’d say it’s a quite orthodox jazz guitar style, right?\nFigure 6: Booklet liner notes\n“I feel that rather than saying I play jazz guitar because I love jazz guitar, it’s more that I love jazz and I play guitar. When it comes to jazz, I like the straight-ahead jazz style of the 50s and 60s, so my playing style and tone end up taking on characteristics from those eras. Of course, I also listen to the performances of guitarists from various genres as well. I especially like blues, and players like B. B. King, Albert King, and T-Bone Walker. I think our generation is blessed in that we can listen to that traditional orthodox style, as well as rock, avant-garde, modern contemporary music, and other genres in the same way and absorb them all equally.”\nWhat does standard jazz mean to you?\nFigure 7: Booklet back page\n“As for me, standard jazz is melody, after all is said and done. I also hold the content of the lyrics to be important, but what I want to express more is how the beauty of those melodies inspires moods and emotions. And I want to share the beauty of those jazz standards that we call masterpieces with as many people as I can.”\nFigure 8: Obi\nWas there any specific intention behind the songs selected for this album?\n“I chose songs from among those that I usually play with this group. If I had to say, these are standards that I particularly like. I am self-taught on guitar, so you could also say that my interpretation of jazz is also self-taught. These are all songs that I simply enjoy listening to as music.”\nAt the start, I wrote that Koichi Hirata’s quiet demeanor suited his orthodox guitar style well. But after intently listened to this album many times, I realized that I was mistaken. While you can hear that orthodoxy in his style and tone, I picked up on the additional attractions of soulful bluesiness and a funky side in the performance. The comments he shared for this interview are the very things that define his sound. After all, jazz is the performers themselves.\n1.A Weaver of Dreams\nA standard by Jack Elliott (lyrics) and Victor Young (music). Kenny Burrell’s version of this song is famous, but John Coltrane delivers a wonderful one-horn performance of this song on a Cannonball Adderley album. Hirata plays this at a slow medium tempo, and his simple but delicate improvisation honor great guitarists of the past with a mature performance that stands in contrast to his young age.\n2.This Could Be the Start of Something Big\nMusic and lyrics by American TV broadcaster Steve Allen. Translating the title literally as something big may be about to happen, these are lyrics that create that subtle anticipation of excitement. The performance starts with Yusuke Yaginuma’s lively drumming, and his characteristic drum sound makes this uptempo standard all the more thrilling. Following Hirata’s casually swinging guitar is Mamoru Ishida’s piano, which is also thrilling.\n3.The Shadow of Your Smile\nWith music by Johnny Mandel and lyrics by Paul Francis Webster, this was the theme song for the American movie The Sandpiper. It is a ballad loved and performed by many jazz musicians, including Oscar Peterson. It’s also loved by guitarists, and Herb Ellis and Joe Pass played this song as a duo. Hirata plays it simply, without altering the beautiful melody, but with lots of emotion. The soulfulness intensifies in the second half with a four-person jam that is delightful.\n4.These Are Soulful Days\nThis is a song by trumpeter Calvin Massey that seems to have become famous after it was included on the album Lee-Way by fellow trumpeter Lee Morgan. This session is supported by the powerful rhythm section of Yutaka Yoshida and Yusuke Yaginuma that gives this music, which is usually performed with horn sections, into something that has a completely different appeal. Yutaka Yoshida’s bass solo is hearty and engrossing.\n5.Frame for the Blues\nThis song, a blues tune written by American trombone player Slide Hampton, starts by featuring a robustly bluesy solo by Yutaka Yoshida that seems to proclaim “Now this is double bass!” It’s a perfect fit for Hirata, who started as a lover of R\u0026amp;B \u0026amp; blues, and his quartet delivers a soulfully traditional blues. In that sense, this may be the most Hirata-esque guitar playing on this album.\n6.Fungii Mama\nAn original song written by trumpeter Blue Mitchell. It’s a cheerful calypso tune that brings to mind “St. Thomas” [by Sonny Rollins]. You reflexively feel like dancing when listening to Hirota’s dexterous solo, Mamoru Ishida’s comping and improvisation, and Yutaka Yoshida’s sensitive bass solo. And here too, Yusuke Yaginuma’s drumming is again first-rate. Yaginuma’s distinctive style, somewhat elemental and with a sense of melody, positively directs the mood of this song.\n7.My One and Only Love\nA ballad composed in 1947 by Guy Wood. Lyrics were later added by Robert Mellin and it became known as a very popular ballad. The performance begins with the simple intro of a guitar solo from Hirota that brings out the beautiful melody genuinely with skillful harmonization that absolutely fascinates listeners. In the middle of the session, the performance ramps up to a jaunty medium tempo, and Hirata’s improvisation also begins to show his characteristic soulful side. Although it’s a staple ballad that is known by many people, here it becomes one that is filled with this quartet’s personality.\nObi Notes The eighth installment in the popular live stage recording series from Alfie, the long-running jazz club in Roppongi, is finally released. The eagerly-awaited debut album from Koichi Hirata in the orthodox style of jazz guitar!\nJazz guitarist Koichi Hirata is a current college student who has began to make his mark on the jazz scene. He pours his deep love of jazz into his guitar playing and seems to have already reached the level of mastery. A recording of the finest real jazz played with his trusted musical partners!\nFigure 9: Disc\nIntroducing Koichi Hirata by Koichi Hirata Koichi Hirata - guitar Mamoru Ishida - piano Yutaka Yoshida - bass Yusuke Yaginuma - drums Released in 2024 on Live at Alfie as AFCD-6008.\nJapanese names: 平田晃一 Hirata Koichi 石田衛 Ishida Mamoru 吉田豊 Yoshida Yutaka 柳沼佑育 Yaginuma Yusuke\nAudio and Video “A Weaver of Dreams” (track #1): “This Could Be the Start of Something Big” (track #2): “My One and Only Love” (track #7): Full playlist (YouTube)\nExcerpt from track #4: “These Are Soulful Days”\n","permalink":"https://mirror2.jazzofjapan.com/koichi-hirata-introducing-koichi-hirata/","summary":"\u003cp\u003e\u003cem\u003eIntroducing Koichi Hirata\u003c/em\u003e is the 2024 debut release from jazz guitarist Koichi Hirata. Hirata is a young, up-and-coming player who has established himself as a popular musician in the live Tokyo circuit, playing live often as a support musician or a leader at his own gigs and popular jazz jam sessions. His style is unadorned with a comfortably warm sound and style that immediately brings to mind the much-admired jazz guitarists of previous generations.\u003c/p\u003e","title":"Koichi Hirata: Introducing Koichi Hirata"},{"content":"Cheers! is the happy-go-lucky title of pianist Saki Ozawa’s debut release from 2023. It’s a fitting greeting as an introduction to this set as one that is pleasantly nimble and widely lighthearted in style. The merriment of this statement begins even from the front cover image: a fun shot of the smiling pianist in an illustrated setting with friendly-looking characters including happy drinkers, a cat on a couch, and a duck with a backstory.\nFigure 1: Front cover\nThe jazzy swing music is easy to get into being so likable, simple, and uncomplicated in the best way. It’s classic jazz piano trio music played by Ozawa on piano, Yusuke Yaginuma on drums, and the two bassists Koji Yasuda and Takumi Awaya, who share bass line duties on different tracks. One song, “I Wanna Be a Duck!”, also features vocalist Ema singing Ozawa’s wondrously imagined original lyrics.\nReferencing the title of Cheers! again, the musical mood has that celebratory feel of kicking off a party together, the shared good-will of plans to make time together well spent. Also like a party, the colors of the different songs are various and vibrant while mostly staying true to the straight-ahead orthodoxy of swing, bop, and groove-based jazz.\nFigure 2: Back cover\nThe majority of the songs are original compositions from Ozaka. Track #1 “Introduction” starts strong and gets into a fun light swing that glows with positive energy. #2 “Poppin’” combines smooth and grit with an infectious rhythm and a nicely decorated arrangement. Next, “Stella By Starlight”, one of the two standards on the album, is a brief intermission-style piano solo, slow and ruminative. Track #4, “Serendipity”, glides through a waltz beat with beautiful, serious harmonies with graceful touches.\nFigure 3: Inside case\nTrack #5 is “Something Like That”, an upbeat and addictive highlight with a riff based on a Northeastern Brazilian Baião rhythm with syncopated melodic hits and harmonic whorls. #6 “My Old Grandad” is a tender ballad, soft and pretty. The sole vocal song is next, and “I Wanna Be a Duck!” rises as the liveliest voice in the cheering section that takes on a silly-seeming waltz with a pure sweetness at its core.\nAnother highlight is #8 “M’s Mark”, a song that leans toward the hard bop corner of piano trio jazz with nods towards the groovy Blue Note sounds of pianists like Sonny Clark and Horace Silver. The familiar jazz tune “Time After Time” follows with more light-fingered and crisp swing. Closing the set is Ozawa’s “Dear Gene”, full of the deep soul and jazzy blues of the with a style somewhere between Herbie Hancock and Oscar Peterson. This closer is dedicated to the highly regarded jazz pianist Gene Harris, who Ozawa draws inspiration from here as she digs in with bluesy power and obvious pleasure.\nFigure 4: Obi\nOnline Liner Notes (Translated from the original Japanese online introduction to this album.)\nThis is the debut album from a young pianist of the classic jazz tradition who regularly plays at Blue Note Place in Tokyo!\nThis recording centers around her original material, rich in variety, and delivered by her usual trio with complete and reliable trust.\nIn addition to two famous jazz standards, the songs include her blues number “Poppin’” with its second-line rhythm, her charming “I Wanna Be a Duck!” featuring vividly imaginative lyrics and singer Ema’s bright and cheerful voice, and “Dear Gene” which is dedicated to the beloved pianist Gene Harris. The tradition of classic jazz is respected through all ten songs while presenting an authentic portrait of Saki Ozawa.\nFigure 5: Disc\nCheers! by Saki Ozawa Saki Ozawa - piano Koji Yasuda - bass (tracks #1, 4, 5, 7) Takumi Awaya - bass (tracks #2, 6, 8, 9, 10) Yusuke Yaginuma - drums Ema - vocal (#7) Released in 2023 on ReBorn Wood as RBW-0027.\nJapanese names: 小沢咲希 Ozawa Saki 安田幸司 Yasuda Koji 粟谷巧 Awaya Takumi 柳沼佑育 Yaginuma Yusuke エマ Ema\nAudio and Video “Introduction” (track #1): “Poppin’” (track #2): “M’s Mark” (track #8) - live performance from 2023: “Time After Time” (track #9) - live performance from 2023: Full playlist (YouTube)\nExcerpt from track #5: “Something Like That”\n","permalink":"https://mirror2.jazzofjapan.com/saki-ozawa-cheers/","summary":"\u003cp\u003e\u003cem\u003eCheers!\u003c/em\u003e is the happy-go-lucky title of pianist Saki Ozawa’s debut release from 2023. It’s a fitting greeting as an introduction to this set as one that is pleasantly nimble and widely lighthearted in style. The merriment of this statement begins even from the front cover image: a fun shot of the smiling pianist in an illustrated setting with friendly-looking characters including happy drinkers, a cat on a couch, and a duck with a backstory.\u003c/p\u003e","title":"Saki Ozawa: Cheers!"},{"content":"The Tokyo jazz club Velera features live jazz in a calm, cool room hiding amid the energetic Akasaka-mitsuke business district. Guests at this hidden music refuge are able to relax at several small tables and padded seats that face the musicians, who are bathed in calming color-changing lights and of a purplish-blue curtain. Considerate of providing a safe, comfortable environment, guests are encouraged to accept a hand-sanitizing spritz upon entering, and there are also bottles of cleaning gel available at the tables.\nFigure 1: Akiko Suda (vocals) and Yuichi Narita (piano) as “Botan” at Velera (April 2023)\nThe jazz calendar features a recurring selection of popular local artists, young up-and-comers, occasional tourist artists from overseas, and even open jam sessions where owner Kotomi Sato may join in on the drums. As a musician herself, Kotomi-san has a keen ear and fine awareness of how to put together a small jazz room. Here, the music is clear, and the atmosphere is immersive. The front bar area often has spectacular live jazz videos playing as background ambience between live sets. On the back wall is a classic portrait of jazz trumpeter Roy Hargrove, whose jazz concert was the first live event Kotomi-san experienced, and it was one that moved her deeply and remained fixed in her memory. As a tribute, she took the name of her jazz venue from the title of one of Hargrove’s original songs.\nAs for the stage area in this small-sized jazz room, half of the floor space holds a grand piano, upright bass, and drum set. Any vocalists or front players will take the space in the middle, and (depending on the night’s arrangement), one row of tables, chairs, and couch seats face the musicians from the back wall and bar area. There’s no elevated staged, so the musicians are at the same level as the audience. With one row of tables and seats that wrap around the stage area, there are only a few places where seats are in front of each other, so most views are straight-on, although popular events may draw a crowd such and people may likely be sitting right next to or in front of you.\nFigure 2: Akiko Suda (vocals) and Yuichi Narita (piano) as “Botan” at Velera (October 2025)\nVelera’s menu contains a great selection of wine, whiskey, original cocktails, beer, and snacks. While there are no large meals served here, hungrier patrons can enjoy the few larger options such homemade pizza and a mixed sausage plate.\nFigure 3: Akiko Suda (vocals) and Yuichi Narita (piano) as “Botan” at Velera (May 2026)\nOriginally opened in 2016, Velera has been at the current Akasaka-mitsuka location since 2019 after moving from the original location in Ginza.\nFigure 4: Rumi Abe (piano) Trio with Pat Glynn (bass) and Masanori Ando (drums) at Velera (October 2025)\nFigure 5: Wayne Shorter/John Coltrane Songbook Quartet with Takumi Nakayama (sax), Eriko Shimizu (piano), Yutaka Yoshida (bass), and Koichi Inoue (drums) at Velera (March 2025)\nFigure 6: Wayne Shorter/John Coltrane Songbook Quartet with Takumi Nakayama (sax), Eriko Shimizu (piano), Yutaka Yoshida (bass), and Koichi Inoue (drums) at Velera (March 2025)\nFigure 7: Shinpei Ruike (trumpet) and George Nakajima (piano) at Velera (January 2017, previous Ginza location)\nFigure 8: Portrait of jazz trumpeter Roy Hargrove at Velera\nFigure 9: Pizza at Velera\nFigure 10: Special original cocktail at Velera\nFigure 11: Yebisu beer at Velera\nFigure 12: Pickles and Coffee at Velera\nFigure 13: One of the wine bottle options at Velera\nFigure 14: Happy 8th anniversary coaster at Velera\nFigure 15: Velera business card (front)\nFigure 16: Velera business card (back)\nFigure 17: Entering the building where Velera is located in the basement\nFigure 18: Welcome to Velera\n","permalink":"https://mirror2.jazzofjapan.com/velera/","summary":"\u003cp\u003eThe Tokyo jazz club Velera features live jazz in a calm, cool room hiding amid the energetic Akasaka-mitsuke business district. Guests at this hidden music refuge are able to relax at several small tables and padded seats that face the musicians, who are bathed in calming color-changing lights and of a purplish-blue curtain. Considerate of providing a safe, comfortable environment, guests are encouraged to accept a hand-sanitizing spritz upon entering, and there are also bottles of cleaning gel available at the tables.\u003c/p\u003e","title":"Velera"},{"content":" Ochikochi is the 2013 album released from a trio of the same name consisting of Taiichi Kamimura on sax, Norikatsu Koreyasu on bass, and Manabu Hashimoto on drums. All songs are by the group’s front horn player Kamimura. It’s adventurous jazz music in the uninhibited hip style of rugged jazz legends like Ornette Coleman and Eric Dolphy. Even through to the current day, when Kamimura plays live, he still often leads Ornette Coleman-style concerts and jam sessions at various jazz spots around Japan.\nOchikochi, the Japanese word used as the band name and album title (オチコチ, oh-chee-koh-chee, 遠近), is an uncommon Japanese word that sounds like the more common, everyday word achikochi (あちこち) and shares a similar meaning. Ochikochi is apparently an old literary term with a mimetic repeated rhyming sound that means far and near, here and there, or even past and present. Written in Japanese kanji, the two characters 遠 and 近 literally represent the two distance words “far” and “near”, and together as 遠近 or ochikochi can also contain the nuance of perspective.\nAt 1:14 runtime, the album Ochikochi includes eight tracks lasting anywhere from six to twelve minutes apiece, long enough for the three musicians to settle into a mood and explore unhurried free improvisation. The songs were recorded by the trio at three different live concerts in 2011, two at Shinjuku Pit Inn (February 16 and August 29, 2011) and one at Yokohama Airegin (August 31, 2011).\nWith only three musicians, the sturdiness of the three-legged stool rests on the equal measure and coordination of the trio. With Kamimura on tenor and soprano saxophones as the main player up front, he is the de facto leader who captures attention visibly and audibly as the forefront melody and adlib player. Still, the songs (all composed by Kamimura) stand up firmly through the imaginatively constructed moods and the smart balance of free and locked-in patterns that the members generate. While there are some wild sections in the music (as in, some free jazz and wide-open improvisations), they rise from the groundwork of composed ideas, themes, harmonic structures, and frameworks that the trio uses to journey together. And through it all, there’s plenty of space for the three musicians to stretch out for extended improvisation, either out in front of the other two musicians, or in simultaneous soloing modes.\nThere is never the feeling that the musicians are lost or simply wandering without a map. These compositions are such that that the resulting music is fascinating but also dangerous and risky, as this kind of music can sometimes take a careful ear and deliberate attention to uncover the plan in the seeming chaos. Alternatively, just unplugging and letting the trip carry you along and wash through you is a completely enjoyable experience, too\u0026hellip; maybe even the best way.\nTrack #1 “Action \u0026amp; Talk” seems complicated at first with a seemingly unsteady beat (or, one that is initially hiding) but the melody played by synchronized sax and bass is one that guides listeners through the opening chapter of a complex, interesting, but potentially confusing story. This dual- or triple-barreled sharing of the melody is something that the sax, bass, and drums enjoy throughout the album.\n#2 “Autumn Song” (秋の歌, Aki no Uta) continues the adventure and pushes boundaries with freeish swing and vamp-like movements, that is, swing with its own thing that takes form out of a cauldron of potent musical chemicals and skill.\n#3 “My Home” (マイ・ホーム) is an offbeat tune with a steady beat that seems to be easier listening but with unexpected angles, and some 4 over 3 polymeter moments to keep the edges sharp.\nTrack #4 “Dr \u0026amp; Bass \u0026amp; Sax” pulls a melody with staggered fenceposts of gaps and wires, one that is doubled, linked, and responded to Hashimoto’s drums. Forward motion and creative spontaneity move according to an unpredictable plan, as irregular patterns bubble up in the turbulent flow. It’s a entrancing conversation between the three players.\nTrack #5 “Meyu Meyu” (メユメユ) is another highlight with a variety of action based on loops of melody, rooted tones based on vamps and breaks, and a series of open sections. The musical complexity can be seen through a close counting reveals a 13-beat meter (3/4, 3/4, 3/4, 2/4/, 2/4?) that is surprisingly easy to follow based on the clear melody and harmony, and the tightness of the rhythm section.\nTrack #6 is titled “Waltz (Peace \u0026amp; Love)” and is a medium-paced 9-minute ballad that leans mostly towards a quiet jazz waltz that encourages good feelings and ease, doubtlessly. It’s an extended moment of repose and contentment.\nTrack #7 is “2009, Trio Song” (2009年トリオの歌, 2009 Nen Trio no Uta) is also calm and pretty played with a straight beat that walks through unfamiliar but comfortable changes.\nFinally, the last song is track #8, “Igusanian Blue”, a meditative song that develops slowly and deeply. This song’s shifting tonal centers and straightly fashioned melody seems to share some ancient DNA with Herbie Hancock’s composition “Maiden Voyage” (could the mysterious title “Igusanian Blue” somehow be an undecipherable reference to Herbie’s prior album Empyrean Isles?) Be that as it may, this final statement on the album wraps up the lengthy and atmospheric journey into the distance, near and far, of Ochikochi’s layered concepts of near and far, here and there, simple and complex.\nObi Notes Sound - Space - Resonance - Jazz\nThree distant gazes intersect and unfold. Looking upwards, downwards, and far away - warmth emanates and dissipates.\nA recording of the distance, far and near (ochikochi), that is the musical performance of Kamimura, Koreyasu, and Hashimoto. At Shinjuku Pit Inn and Yokohama Airegin. First album.\nOchikochi by Ochikochi Taiichi Kamimura - tenor and soprano sax Norikatsu Koreyasu - wood bass Manabu Hashimoto - drums Released in 2012 on K’s Project as KP-0001.\nJapanese names: かみむら泰一 Kamimura Taiichi 是安則克 Koreyasu Norikatsu 橋本学 Hashimoto Manabu\nAudio and Video “Aki-no-uta (song of autumn)” (track #2) - 2009 live performance: Ochikochi 2012 live performance, another take on “Aki-no-uta (song of autumn)” (track #2): Excerpt from track #5: “メユメユ Meyu-meyu” ","permalink":"https://mirror2.jazzofjapan.com/ochikochi-ochikochi/","summary":"\u003cfigure\u003e\u003ca href=\"L1340914x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1340914x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003e\u003cem\u003eOchikochi\u003c/em\u003e is the 2013 album released from a trio of the same name consisting of Taiichi Kamimura on sax, Norikatsu Koreyasu on bass, and Manabu Hashimoto on drums. All songs are by the group’s front horn player Kamimura. It’s adventurous jazz music in the uninhibited hip style of rugged jazz legends like Ornette Coleman and Eric Dolphy. Even through to the current day, when Kamimura plays live, he still often leads Ornette Coleman-style concerts and jam sessions at various jazz spots around Japan.\u003c/p\u003e","title":"Ochikochi: Ochikochi"},{"content":" Struttin’ is saxophone player Ayumi Koketsu’s jazz quartet album released in Japan in 2010. This is her debut album, the first of over a dozen killer jazz albums that she has been releasing through the years, each filled with material ranging from straight-ahead, cool jazz, hard bop, ballads, bossa nova, and other themes. This first album features Koketsu on alto sax with her quartet of Yoshihiko Naya on piano, Masayuki Tawarayama on bass, and Mark Taylor on drums.\nAlong with Koketsu’s impressively dexterous sax improvisation is her embodiment of a real jazz sensibility. Although quite young when she made this album, her jazz language is authentic, filled with the spirit and tradition of influential jazz players. The giants of jazz sax players in particular are represented well, not only through Koketsu’s language but also by the songs she chose to record. The rousing excitement of Hank Mobley’s “This I Dig Of You” starts the set, and the band is off to the races from there. With similar associations to famous sax players, Sonny Rollins famously recorded track #2 “Without a Song” and #9 “Softly, As In A Morning Sunrise”, track #3 “Kary’s Trance” brings in the cool mode of Lee Konitz, #6 “The Kicker” is Joe Henderson all over, #10 “Del Sasser” is for Cannonball Adderley, and #11 “Blues Connotation” screams Ornette Coleman. Other candidates for some of the remaining songs could be Dexter Gordon, Stan Getz, and trumpeter Chet Baker. In any case, these songs are not only great vehicles for Koketsu and her band to interpret and improvise over, they must also serve as an homage to the renowned players that she listened to and learned from.\nIn addition to these choice jazz selections and some jazz standards, Koketsu also recorded an original song as track #4 “A Solar Eclipse,” a powerfully heavy tune in 5/4 time, and a hit pop song #8 “Orion” as a pretty ballad originally performed by Japanese singer Mika Nakashima.\nAfter the long-awaited and popular release of Struttin’, Koketsu continued to release albums every few years with her own bands and with partners, such as the 2024 release Trust, a duo album with pianist Akane Matsumoto. Her tenth album, Echoes of 15 Years, is a double album that was released in 2025 as a retrospective, best-of album.\nLiner Notes (Translated from Naoko Shimada’s original Japanese liner notes.)\nWhen you hear the word “jazz,” what immediately comes to mind are the leading wind instruments like sax and trumpet. Many works that are continuously called masterpieces often feature these wind instruments as main features. Also, the people that we refer to as jazz giants, like trumpeter Miles Davis and saxophonists Cannonball Adderley and Sonny Rollins, are all men. Was the reason for this a result of the times, or the assumptions and subjective impressions of listeners? I don’t know the truth of the matter, but there were almost no scenes were female players rose to prominence.\nOne player who did burst into the mainstream in the midst of that was Dutch saxophone player Candy Dulfer, who released her debut album Saxuality in 1990. She inherited the talent of her father who was also a saxophone player and continued the Dulfer bloodline with her boundless skill, ability, and beauty on top of all that. Highly praised, she received a Grammy nomination, became famous quickly, and started to perform as a supporting musician for Madonna and Prince.\nAnother woman that became famous is Carolyn Breuer, a hard-blowing player that could be likened to a female version of John Coltrane. There is also Tineke Postma from Holland, who ranges expertly from contemporary to challenging music. But, we can’t say there are many women like these.\nIf we look at Japan however, the rise of young female horn players in recent years has stood out. If you look at the schedules of jazz clubs in different parts of the country, you can always find groups led by female players many times each month. That content includes various styles including traditional jazz, bebop, smooth jazz, and Brazilian. Moreover, in an environment where young colleagues form jam session-type bands and are surrounded by veteran musicians at live performances, we can see a situation where female musicians don’t hesitate to take on different challenges just because they are women. And the fact that they are from younger generations makes it even more surprising.\nCurrently 21 years old, Ayumi Koketsu is another sax player who has performed in numerous live concerts since her teenage years. She is an artist whose name has already become known for performing alongside distinguished musicians. She is especially known at live spots in her hometown of Gifu and Nagoya, where several of the venues are always sold out when she plays. Those jazz fans who are in the known fill up the venues and the number of appearances seems to keep growing year after year. For people who have not heard of her, they may wonder what it is that attracts such a great amount of attention.\nOf course, the best and obvious recommendation is to go experience her live concert in person. But listening to this album might be another way to discover her charm using just your ears.\nBefore jumping into the contents of the album, let’s introduce her profile briefly.\nKoketsu was born in Gifu in 1988. She started piano lessons at three years of age. She became interested in jazz through her father’s influence and became attracted to the saxophone, joining the brass band in middle school. By this time her tonal approach was already geared towards jazz and made her adrift in a classical band setting. Likely due to this, she did not join the brass band in high school, joined the jazz orchestra studying under Kaoru Tsubakida, and began to study jazz in earnest under Kaoru Tsubakida who was active in jazz orchestra and other activities.\nAfter graduating from high school, she attended the Nagoya branch of Koyo Music Academy and, while in school, began to perform live in clubs based around Gifu and Nagoya. Upon graduating, she joined Toshihiko Naya’s Quartet “f” and began to play in diverse sessions.\nShe has real skills, of course, but even just standing on stage with sweet and graceful looks creates a gorgeous appearance. This visual combined with the sound of musical notes that seem to fly around creates a magnetic charm.\nHer popularity is on the rise. The number of people eagerly awaiting her debut release has been growing day by day, and at long last, this album now been completed.\nThe notable members include Yoshihiko Naya, a player with a dynamic tone who was introduced earlier as the leader of the Quartet “f” that Ayumi Koketsu is a member of. Naya also has his own trio, Samurai Bebop Trip, and is very active as a supporting musician with many other activities. On bass is Masayuki Tawarayama, a wonderful bassist who also plays in Samurai Bebop Trio and could be called Naya’s right-hand man and best partner, a craftsman who expresses freely with a cool style. On drums in Mark Turner, a versatile player who has performed countless times with Japan’s preeminent representative pianist Toshihiko Akiyoshi and sax player Lew Tabackin. These members form quite a powerful lineup.\nIt’s an album deliberately not made with players from the same generation as Koketsu, but with musicians with a certain composure who know how to let loose and have fun with the music.\nThere’s a very heartwarming feeling to the ease with which she freely seems to swim comfortably and confidently through the sounds, together with a natural flow together with her leading and conducting the music to some degree. And as if in response to that, the pure sounds she produces are very clear and direct. Even though there are no lyrics, she is communicating things. Plus, she has a very skillful style of blowing the horn, freely manipulating the degree of strength and intensity. The expressions that go along with each song are also considerably rich.\nIf you were to put this album in a category, broadly speaking, you could call it orthodox or traditional jazz. But its contents are filled with a refined sensibility and grace, while even not considering the label of female sax player, you could call it unaffectedly cool.\nThose agile parts of her playing and the neutral atmosphere remind me of Tineke Postma from the Netherlands. As a fellow woman, I feel a great affection for them.\nAlso from the perspective of taste, the songs included on this recording were carefully selected and appeal to connoisseurs. It’s completely different from those debut albums that can sometimes be a collection of the usual jazz standards.\nThe first song is a great opening as the uptempo, invigorating tune “This I Dig Of You” from Lee Morgan and Hank Mobley. The nimble phrasing is immediate and exciting. Without spoiling the original composition, her beautifully fresh playing breaks for the sky. It’s a pleasant number that also feels perfect for an early summer drive.\nNext is track #2, “Without a Song” by composer Vincent Youmans. It’s adorable from the first note, as if truly representing Koketsu’s outward appearance. Here and there, you can hear a coquettish charm surfacing, which is also original. The pop melody makes it a song that is very easy to listen to.\nTrack #3 completely changes things with a song that gives a very cool blue impression. It’s “Katy’s Trance” by Lee Konitz, a jazz sax giant in his seventies. What has to be said first is, this song selection is just too cool (ha ha). She continues her steady flow with composure all the way though to the end, with a jaunty lightness that is almost like playing a clarinet. You could say that this song fully showcases her ability.\nThe fourth song, starting with overwhelmingly powerful piano playing from Naya, is an original from Koketsu called “Solar Eclipse.” It’s a song that I personally interpret as wandering about while advancing forward, reflecting the mind of a 21-year-old woman. It’s a thrilling song that generates excitement while you listen and wonder what the next page will uncover.\nIn the middle of the album, the track #5 is “I Fall in Love Too Easily,” a melancholic song written by Frank Sinatra’s favorite popular songwriter, Jule Style. This song is played with a majestically sweet and beautiful tone. Hearing the song performed like this makes it hard to believe that such depth is expressed by a 21-year-old. Becoming absorbed in the listening brings the song to its conclusion before you know it.\nThe sixth track is Joe Henderson’s “The Kicker,” a pure hard bop song. While making active use of the original music for this take, Ayumi Koketsu expresses herself through her own vocabulary. You can feast on her bebop style, which is intense but also has a soft light shining through in places.\nWith another about-face, the seventh track is a modern version of “I’ve Never Been in Love Before.” It’s a relaxing number to listen to after the intensity of the previous song. Still, her detailed phrasing is brilliant, and Naya’s stylish and sophisticated piano played in response is lovely. It’s somehow all very gorgeous.\nTrack #8 is a beautiful jazz ballad arrangement of a hit song that Koketsu says she loves, “Orion” by pop singer Mika Nakashima. The poignant, delicate melody is wrapped up by Koketsu’s warm and gentle playing. It’s a number that she can play so well because she must understand that poetic sentiment.\nKicking off the final stretch of the album is track #9, “Softly as in a Morning Sunrise.” Yet, the song is definitely not played softly. It overflows with a sense of a mad dash, and as the song progresses, the groove intensifies and gets hotter and hotter. You can enjoy the musicians’ skillful coordination as they play with the contrast between refreshing softness and sweltering heat.\nThe tenth song is “Del Sasser” by modern jazz bassist Sam Jones. This is another fun piece that is very rhythmic. The melody is very cheerful and somehow feels like a song for summer. The way Koketsu’s sax moves through this bright melody so freely and full of spirit is really uplifting.\nAnd finally, closing the album as the last track is “Blues Connotation” by the king of free jazz, Ornette Coleman. It’s so astonishing that a 21-year-old brings out this song at the end (ha ha). But it’s a fitting song to be played as the ending, as if there’s an announcement saying “Well, today’s concert is over!” You can hear intricate techniques shining all through this song. It’s easy on the listener, but it’s probably a difficult piece for the musicians to understand. The song has a substantial sound that lingers in mind even after it’s over. And after all the songs are finished, it makes you want to listen from track #1 again.\nThis debut album from Ayumi is sure to create even more buzz going forward. Listening to it creates the feeling of immediately wanting to go to her live concert. You’re sure to be astounded by her charm even more.\nNaoko Shimada, Music Writer\nObi Notes Her passion is jazz!\nA talented woman makes her debut on the scene with her light yet intense performance at 21 years old!\nStruttin’ by Ayumi Koketsu Ayumi Koketsu - saxophone Yoshihiko Naya - piano Masayuki Tawarayama - bass Mark Taylor - drums Released in 2010 on Pony Canyon as MYCJ-30573.\nJapanese names: 纐纈歩美 Koketsu Ayumi 納谷嘉彦 Naya Yoshihiko 俵山昌之 Tawarayama Masayuki\nAudio and Video “Kary’s Trance” - track #3: “Orion” - track #8: “Softly as in a Morning Sunrise” - track #9: “Del Sasser” - track #10: Ayumi Koketsu: Struttin’ - full playlist\nExcerpt from track #3: “Karys Trance”\n","permalink":"https://mirror2.jazzofjapan.com/ayumi-koketsu-struttin/","summary":"\u003cfigure\u003e\u003ca href=\"L1350756x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1350756x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003e\u003cem\u003eStruttin’\u003c/em\u003e is saxophone player Ayumi Koketsu’s jazz quartet album released in Japan in 2010. This is her debut album, the first of over a dozen killer jazz albums that she has been releasing through the years, each filled with material ranging from straight-ahead, cool jazz, hard bop, ballads, bossa nova, and other themes. This first album features Koketsu on alto sax with her quartet of Yoshihiko Naya on piano, Masayuki Tawarayama on bass, and Mark Taylor on drums.\u003c/p\u003e","title":"Ayumi Koketsu: Struttin’"},{"content":" Jazz violinist maiko’s new album Reminiscence is a milestone release for the Tokyo-based musician. It’s both a look back at her start 25 years ago when she moved to Tokyo and began to play jazz, as well as a gratitude-filled mark of appreciation to the many musicians she’s played with and the experiences she’s had through her years of development as live musician in Japan’s music scene.\nThis is her twelfth album spanning those many years, but her prior album Solo was released in 2018 so it’s been several years between that and this 2024 work. In her online notes for this album, she explains how the unsteady times for musicians during the coronavirus period sparked a period of reflection on her Tokyo-based musical life and introspection about her next musical statement. For this project, she choose nine new songs she had written during that period, and settled on the musical partners she would bring this new record to life with. The process involved thinking back over those formative years spent with these and other co-musicians, and especially her hometown of Kobe where it all began.\nThe songs are all originals by maiko, with one song co-written with Aya Kurosawa. Tied to the album’s theme, there is a sense of reflection overall, with a depth of feeling that could even be called a gentle moodiness to much of the music. Moodiness is not the best description as it’s not of a gloomy quality, but of a deeply connected awareness to the changes that time and situation bring, with both longing and hope in the memories.\nThe first half of the album ranges through maiko’s violin arranged with different combinations of duos and trios to paint images of haziness (“Mirage”), wisps of breeze (“Windmill”), and peaceable jauntiness (“Migratory Bird”). Track #4 “Futo,” features the duo of maiko on violin and Aya Kurosawa on piano and vocals unwinding an emotional ballad, a piece followed by the spinning complexity of “Rotating Sphere” where the ten strings of violin and guitar conjure up something exciting and mysterious.\nFrom here, the album’s emotional directions turns further inward with slow to medium songs that embody the images conveyed by their titles: “Remininscence”, “Toi Kioku (Distant Memories)”, “Far away”, and “kiteki” all breathe with the feeling of nostalgic remembering and reflecting. As a final piece performed bravely alone and with a huge presence, Maiko plays track #9 “kiteki” as a violin solo, a heartfelt tribute to memories of her hometown shared intimately with her listeners.\nAlbum Notes (Translated from maiko’s online liner notes for this album.)\n01.Mirage\nA song created out of the pattern in the introduction. Feeling the haziness of a mirage, I wrote this song with the desire to express that sense of temperature and texture. Recorded as a trio of violin, piano, and bass, with guitar layered in.\n02.Windmill\nA song to represent something ever-turning and the wind. In the end, the image is one of wind power generation more than a windmill. Recorded with violin, piano, and voice.\n03.Migratory Bird\nThis is a song I wrote for the trio with Shikou (piano) and Yuki (bass). I was inspired by Shikou Ito’s song “啼く鳥を探して” (Search for Singing Birds). This song developed through live performances, so this take is filled with that sense of playing a live concert.\n04.ふと、 (Suddenly,)\nAya (piano/voice/vocals) and I wrote this song together. Initially I wrote a rough sketch of the song, and after that, Aya added poetry to the music. Aya and I started in May and continued with the season, a backdrop that is depicted in the music.\n05.Rotating Sphere\nA song I wrote for the duo with Kazuma (guitar). I was inspired by Kazuma’s song “Particle Dance”. As two different phrases ring out simultaneously like turning circles.\n06.Reminiscence\nThis is a song I wrote when 20 years had passed since I came to Tokyo. It reflects back on the events that occurred during all that time and is filled with hope for the future.\n07.遠い記憶 (Distant Memories)\nThe impression of pulling in memories from long ago. The duo with Shikou is two parts of a whole, recorded with the same sense of the wavering of time.\n08.Far away\nWhile thinking fondly of someplace remote, something far away\u0026hellip;\n09.kiteki (Steam Whistle)\nThis is a song that was originally expanded from a motif that was born during a violin improvisation solo concert. There is the sound of a boat’s steam whistle somewhere in my memories. I recorded this song at the end of this album as I thought about my hometown.\nLiner Notes (Translated from Aya Kurosawa’s lyrics for track #4 “ふと、 (Suddenly,)” printed on the CD cover.)\nSuddenly, (lyrics: Aya Kurosawa)\nMay’s chilly spring weather, suddenly, overlapping\nAs if guided by a single melody\nForward in time\nUntil these flowers bloom, let’s walk together\nUntil this pain is gone\nJust like this\nThe color of tomorrow’s sky\u0026hellip; no one knows\nBlurred, dimmed, tied together\nSeptember’s swift winds, suddenly, hearts race\nLike holding hands for the first time\nHeartbeats resonate\nUntil the blue night is gone, I want to be together\nUntil this prayer comes to an end, just like this\nThe color of tomorrow’s sky is someone’s\nConfirming our linked memories\nFebruary’s snow flurries, suddenly, burst forth\nObi Notes Arriving somewhere warm\nAnd the journey continues\nmaiko’s 25th anniversary album!\nThis album was created upon a foundation of the many encounters that have shaped her musical perspective, and maiko’s own now-established personal style. It’s a gem-filled collection packed with maiko’s musical life itself.\nReminiscence by Maiko maiko - violin Shikou Ito - piano (#1, 2, 3, 6, 7, 8) Yuki Ito - bass (#1, 3, 8) Kazuma Fujimoto - guitar (#1, 5, 6) Aya Kurosawa - voice (#2), vocals, piano, lyrics (#4) Released in 2024 on GardenNotes Music as GNM-1026.\nJapanese names: マイコ maiko 伊藤志宏 Ito Shikou 伊東佑季 Ito Yuki 藤本一馬 Fujimoto Kazuma 黒沢綾 Kurosawa Aya\nAudio and Video Excerpts from “Mirage” (track #1), “Windmill” (track #2), and “Rotating Sphere” (track #5): “Reminiscence” (track #6) - excerpt: “Mirage” - live performance (track #1): “Windmill” - live performance (track #2): “Migratory Bird” - live performance (track #3): ふと、(Futo,) - live performance (track #4): “Rotating Sphere” - live performance (track #5): “Reminiscence” - live performance (track #6): “遠い記憶” (Toui Kioku) - live performance (track #7): “Far Away” - live performance (track #8): Behind the scenes: Recording “Far away” (track #8): Excerpt from track #1: “Mirage” ","permalink":"https://mirror2.jazzofjapan.com/maiko-reminiscence/","summary":"\u003cfigure\u003e\u003ca href=\"L1290254x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1290254x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eJazz violinist maiko’s new album \u003cem\u003eReminiscence\u003c/em\u003e is a milestone release for the Tokyo-based musician. It’s both a look back at her start 25 years ago when she moved to Tokyo and began to play jazz, as well as a gratitude-filled mark of appreciation to the many musicians she’s played with and the experiences she’s had through her years of development as live musician in Japan’s music scene.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1290258x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1290258x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis is her twelfth album spanning those many years, but her prior album \u003ca href=\"https://www.jazzofjapan.com/archive/maiko-solo/\"\u003e\u003cem\u003eSolo\u003c/em\u003e\u003c/a\u003e was released in 2018 so it’s been several years between that and this 2024 work. In her online notes for this album, she explains how the unsteady times for musicians during the coronavirus period sparked a period of reflection on her Tokyo-based musical life and introspection about her next musical statement. For this project, she choose nine new songs she had written during that period, and settled on the musical partners she would bring this new record to life with. The process involved thinking back over those formative years spent with these and other co-musicians, and especially her hometown of Kobe where it all began.\u003c/p\u003e","title":"Maiko: Reminiscence"},{"content":" Rio is the first album from vocalist Rio Osawa, released in 2021 as a six song, 24 minute album of some favorite Brazilian and jazz bossa nova tunes.\nWith an organically rooted acoustic sound true to the honored form, vocalist Osawa is joined by guitar on all six tracks, with additional wind instruments (sax, flute, harmonica), hand percussion, and occasional backup voices from the band adding call and response dialogue and accents to the music. The songs selected for this album are from four names recognizable as leading songwriters and producers of Brazilian music: Antonio Carlos Jobim, Roberto Menescal, Milton Nasciemento, and Caetano Veloso. Rio includes two songs each by Jobim and Menescal, and one each by Nasciemento and Veloso.\nStarting off the short set is the song “Rio” by Menescal, and the reference to a gentle breeze on the obi sleeve immediately makes itself felt - it’s a comfortable groove from Osawa’s quartet of voice, guitar, sax, and percussion. Next is Jobim’s unmissable “O Morro Não Tem Vez” (“Favela”) with the slick upbeat of a dance feel and a sly smiling expressiveness in the singing.\nTrack #3 is Veloso’s “Desde Que O Samba É Samba”, with more of that sweet caress of a bossa swing beat. Next is Nascimento’s “Cravo e Canela”, invoking the spirit of a street party taken home to a calmer, controlled after-hours affair where the music doesn’t stop.\nTrack #5 is Menescal’s “Telefone” played with a vintage bossa feel that breathes with a swinging mod pop-ness, one that would fit nicely as a novelty tune in a humorous scene a la Austin Powers.\nFinally, the last track is Jobim’s lovely “Sabiá”, played intimately by Osawa and Yuichiro Hiroaka as a vocals and guitar duet, and the saudade voice of longing and light sadness adds another dimension to the otherwise joyful album.\nObi Notes やわらかな太陽の光の下で心地よく吹く風にきっと幸福感に包まれる! ブラジル音楽を愛する大澤理央の待望の1stミニアルバム遂に発売!\nUnder the sun’s gentle rays and carried by a gentle breeze, you sure to be engulfed in a feeling of happiness! Finally released, the long-awaited first album from Brazilian music lover Rio Osawa!\nRio by Rio Osawa Rio Osawa - vocal Yuichiro Hiraoka - guitar (#1, 2, 4, 5, 6) Gustavo Anacleto - soprano sax, flute, voice (#1, 2, 4, 5) Francis Silva - percussion, voice (#1, 2, 4, 5) Norihito Nagasawa - guitar (#3) (from Momijin) Matsumonica - chromatic harmonica (#3) (from Momijin) Released in 2021 on Noel Records as NR-001.\nJapanese names: 大澤理央 Osawa Rio 平岡遊一郎 Hiraoka Yuichiro 長澤紀仁 Nagasawa Norihito マツモニカ Matsumonica\nAudio and Video “Rio” from Rio Osawa: Rio (track #1): “O Morro Não Tem Vez” from Rio Osawa: Rio (track #2): “Cravo e Canela” (track #4) - live version: “Sabia” (track #6) - live version: “Corrida de Jangada” - live version: Excerpt from track #2: “O Morro Não Tem Vez” ","permalink":"https://mirror2.jazzofjapan.com/rio-osawa-rio/","summary":"\u003cfigure\u003e\u003ca href=\"L1340623x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1340623x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003e\u003cem\u003eRio\u003c/em\u003e is the first album from vocalist Rio Osawa, released in 2021 as a six song, 24 minute album of some favorite Brazilian and jazz bossa nova tunes.\u003c/p\u003e\n\u003cp\u003eWith an organically rooted acoustic sound true to the honored form, vocalist Osawa is joined by guitar on all six tracks, with additional wind instruments (sax, flute, harmonica), hand percussion, and occasional backup voices from the band adding call and response dialogue and accents to the music. The songs selected for this album are from four names recognizable as leading songwriters and producers of Brazilian music: Antonio Carlos Jobim, Roberto Menescal, Milton Nasciemento, and Caetano Veloso. \u003cem\u003eRio\u003c/em\u003e includes two songs each by Jobim and Menescal, and one each by Nasciemento and Veloso.\u003c/p\u003e","title":"Rio Osawa: Rio"},{"content":"Ten to Sen is a 2025 release from the duo of percussionist Hitomi Aikawa and pianist Masaki Hayashi. On this album, Aikawa plays marimba, glockenspiel, hand drums, and other percussion instruments, and she composed most on the music as well. Hayashi plays piano on all songs and contributed one composition to the album.\nFigure 1: Front cover\nThe duo’s music is harmoniously beautiful with an understated personality projecting a calm confidence, one that supports a balance of bold strokes and playful trepidation delivered by patient hands. The duo takes its time with gentle moments as well as the elevated dramatic energy of dots and lines swirling together on a canvas to create colorful stories. When not flowing free in rubato intros and sections, the duo locks into implied deep grooves and looped time-based phrases that repeat over one another, sometimes in offsets that create a crisscross of overlapping motifs combining simplicity and complexity all at once. It’s more soothing waves than sharp corners, still the playing is expert and precise.\nTen to Sen includes ten songs, nine by Aikawa and one by Hayashi.\nFigure 2: Back cover\n“Marigold” - an opening story where interlacing dots and lines dance in ray-filled grids “Ambiguous” - naturally vague in dreamy wide-open spaces “Empty Cages” - funky percussive mystery unveils an exciting plot “Pulsating” - stimulation of bouncy upbeats and offbeats with a bright funky asymmetry “Translucent” - quiet vibrant deep with cajón drum soul and creative flow “Ten To Sen” (dots and lines) - up-and-down riffs as impressionistic connect-the-dots, a meditation of abstract flying and bouncing “Benimidori” (紅碧, pale azure) - ambient colors floating with Debussy time and grace “At the Boundary Between Green and Blue” - moving and invigorating storytelling and depth “Ecosistema Representado por Cuentos Infatiles” (童話で書かれた生態系, ecosystem depicted in children’s fairy tales) - fun, folky, funky uplift with wild interplay “Nichi-Nichi-Kore-Kou-Jitsu” (日日是好日, every day is a good day) - peaceful sincerity and a gentle exit The album title Ten To Sen is written on the cover using the English alphabet, so interpreting the title without Japanese kanji characters can be ambiguous. (One creative translation could be 10 for ten in English, to in English, and 1000 for sen in Japanese, resulting in the title of “From 10 to 1000”). However, the most likely interpretation of the title is Dots and Lines. There is a 2019 video (included below) of Aikawa playing an early solo version of the title track where she calls it “TENTOSEN” (てんとせん, ten to sen, dots and lines). In a brief note for that video, she explains that she wrote this music for a special exhibit workshop titled “Dots and lines, colors, shapes” (てんとせん、いろ、かたち) at Iwami Art Museum in Shimane Prefecture in 2019.\nFigure 3: Inside case\nSince the words in the title Ten To Sen are written in English letters rather than Japanese kanji, their meaning is interestingly ambiguous as each word could be interpreted in a few ways:\nFigure 4: Booklet front page\nten - point (点), rotation (転), sky/heaven (天)\u0026hellip; to - and, with, if/when (と)\u0026hellip; sen - line (線), thousand (千), immortal/celestial being (仙)\u0026hellip; Figure 5: Booklet introduction pages\nThe album liner notes by Yoshihide Omoto also play on this flexibility of interpretation.\nFigure 6: Booklet musicians pages\nConsidering the art museum workshop, a likely first translation of Ten To Sen would be Dots and Lines. Especially with the spirited soft wood sounds of marimba running through the music, it’s easy to imagine myriad dots bouncing and tracing long lines through space, interlaced and increased by the fullness and attack of the piano. The cover art, with its spatter of dots and curved lines, also adds to this visual imagery of dots and lines, an interpretation that becomes more obvious when taking the album images into account.\nFigure 7: Booklet details pages\nLiner Notes Figure 8: Booklet back page\n点と点に転と天 線と線に千の仙 色彩の快楽と響き合うことの偕楽 Figure 9: Obi\nわたしが愛する最高の音楽家二人による最高に幸せな47分間 \u0026ndash; 音楽家 大友良英\nThe first two lines from the poetic liner notes play on the main words from the title, ten and sen, by repeating the rhyming sounds using differently words:\nten to ten ni ten to ten (点と点に転と天) sen to sen ni sen no sen (線と線に千の仙) Translated, the complete liner notes read:\nFrom point to point, rotation and heaven Between the lines, thousands of immortalities The sublimity of color, the shared reverberations of pleasure An incredibly pleasing 47 minutes from two brilliant musicians that I love \u0026ndash; Yoshihide Otomo, musician\nObi Notes The obi notes for Ten to Sen are the same as the last two lines of the liner notes:\nThe sublimity of color, the shared reverberations of pleasure An incredibly pleasing 47 minutes from two brilliant musicians that I love \u0026ndash; Yoshihide Otomo, musician\nFigure 10: Disc\nTen To Sen by Hitomi Aikawa \u0026amp; Masaki Hayashi Hitomi Aikawa - marimba, percussion Masaki Hayashi - piano Released in 2025 on Hitomi Aikawa as HICD-002.\nJapanese names: 相川瞳 Aikawa Hitomi 林正樹 Hayashi Masaki\nAudio and Video “Ten to Sen” (track #6) - Hitomi Aikawa solo marimba version from 2019: “Pulsating” (track #4): “日日是好日” (track #10): “Onomatopoeia” by Hitomi Aikawa ＆ Masaki Hayashi (live): “Cleanse” by Hitomi Aikawa ＆ Masaki Hayashi (live): Excerpt from track #1: “Marigold” ","permalink":"https://mirror2.jazzofjapan.com/hitomi-aikawa-masaki-hayashi-ten-to-sen/","summary":"\u003cp\u003e\u003cem\u003eTen to Sen\u003c/em\u003e is a 2025 release from the duo of percussionist Hitomi Aikawa and pianist Masaki Hayashi. On this album, Aikawa plays marimba, glockenspiel, hand drums, and other percussion instruments, and she composed most on the music as well. Hayashi plays piano on all songs and contributed one composition to the album.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1350338x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1350338x-1200.jpeg\"\n         alt=\"Figure 1: Front cover\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eFront cover\u003c/p\u003e\n        \u003c/figcaption\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe duo’s music is harmoniously beautiful with an understated personality projecting a calm confidence, one that supports a balance of bold strokes and playful trepidation delivered by patient hands. The duo takes its time with gentle moments as well as the elevated dramatic energy of dots and lines swirling together on a canvas to create colorful stories. When not flowing free in rubato intros and sections, the duo locks into implied deep grooves and looped time-based phrases that repeat over one another, sometimes in offsets that create a crisscross of overlapping motifs combining simplicity and complexity all at once. It’s more soothing waves than sharp corners, still the playing is expert and precise.\u003c/p\u003e","title":"Hitomi Aikawa \u0026 Masaki Hayashi: Ten To Sen"},{"content":"There’s a nice choice of small jazz bars in the bustling Asagaya neighborhood mere steps from the train station, including Manhattan, Staccato, and the recently renewed Klavier.\nFigure 1: Setsuo Sato (drums) Trio with Masahiro Ishiwata (piano) and Yuki Ito (bass) at Klavier (October 2025)\nJust west of Tokyo and right along the Chuo line train station, Klavier is a great choice to listen to jazz in a cozy environment with a dark wood den-like atmosphere. In business since 1982, Klavier exudes a palpable sense of local jazz history and classic elegant touches in its comfortable environment, one that combines classy service levels with the friendly tone of a neighborhood hangout.\nInside Klavier, an impressive scotch and whiskey bottle collection are on display behind a beautiful wooden bar that extends toward the performance area. A nice selection of cocktails and mixed drinks is available, as well as a limited but dependably delicious selection of otoshi and small dishes - grilled chicken, pizzas, and other reasonably priced options (the menu changed with the 2026 reopening, and not all options are available). The dapper and friendly husband and wife team running the club (now retired from Klavier) makes the bar area very personal and quickly serviced.\nFigure 2: Owner Chika Toyota sitting in with the band at Klavier (October 2025)\n2026 update: The original owners closed jazz bar Klavier last year with a final event on January 25, 2025. Fortunately, the location was quickly reopened again a few months later under new management connected to the annual Asagaya Jazz Street event. The venue’s name, location, signs, and layout remain mostly the same since the reopening.\nNew owner Chika Toyota is steeped in jazz, with both parents coming from the jazz music world, and with considerable musical experience herself in Japan and internationally. Toyota is a jazz vocalist and may sometimes sit in with the scheduled band for an impromptu performance when requested. Occasionally, she may even headline a night on piano and vocals, taking over the stage for her own scheduled events. Not limited to music and business talent, Toyota is also the artist who painted the portrait of Ron Carter seen at the end of the bar, and may have a story or two to tell about her jazz hero if the time is right.\nFigure 3: Mitsuaki Furuno (bass) Trio with Mikiko Nagatake (piano) and Makoto Oka (sax) at Klavier (June 2019)\nOn certain nights, new menu dishes are available (there was a much-ordered quesadilla option the last time I visited that seems popular). Since reopening, the food options and system may still be settling in, and any available options may be daily specials that are not reflected in the bar’s menu and current information. Until more detailed information is available, it may be safest to assume that food options at Klavier, if available, will be limited.\nFigure 4: Mayu Tamura (vocals) and Yukari Inoue (piano) at Klavier (September 2018)\nKlavier is right outside the southern exit of Asagaya station. As part of the chain of Chou-line jazz joints, it’s possible to hop on and off the line at different stations to visit other bars along Chuo, but this may be easiest done on successive nights rather than trying to bar hop to multiple jazz spots in one night. Bar-hopping that is dependent on short train rides is possible and fun, and is an exciting plan for those who are in the city for a few days and want to visit as many venues as possible during their limited time. It’s also not uncommon that local listeners want to attend more than one specific performance on the same night, truly fortunate conditions for music fans in the jazz abundant areas of Japan. But, this bar hopping does involve missing chunks of each set, or even entire sets, at the different venues, and sometimes it’s hard to pull yourself away from a good time spent at one venue where you can catch all the music from beginning to end.\nThe new Klavier celebrated its first anniversary last month in March 2026, and their current events calendar shows Friday and Saturday night live concerts set for at least several months out.\nFigure 5: Yuya Wakai (piano) and Yasuhiko “Hachi” Sato (bass) at Klavier (March 2013)\nBest of luck to the new Klavier and long live Asagaya jazz!\nFigure 6: Maki Fujimura at Klavier (January 2013)\nFigure 7: George Nakajima at Klavier (February 2013)\nFigure 8: Otoshi appetizers at Klavier (June 2019)\nFigure 9: Approaching Klavier\nFigure 10: Outside Klavier: since 1982 BAR jazz bar KLAVIER\nFigure 11: Sign at inside door\n","permalink":"https://mirror2.jazzofjapan.com/klavier/","summary":"\u003cp\u003eThere’s a nice choice of small jazz bars in the bustling Asagaya neighborhood mere steps from the train station, including \u003ca href=\"https://www.jazzofjapan.com/archive/manhattan/\"\u003eManhattan\u003c/a\u003e, Staccato, and the recently renewed Klavier.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20251011_211331748-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20251011_211331748-1200.jpeg\"\n         alt=\"Figure 1: Setsuo Sato (drums) Trio with Masahiro Ishiwata (piano) and Yuki Ito (bass) at Klavier (October 2025)\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eSetsuo Sato (drums) Trio with Masahiro Ishiwata (piano) and Yuki Ito (bass) at Klavier (October 2025)\u003c/p\u003e\n        \u003c/figcaption\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eJust west of Tokyo and right along the Chuo line train station, Klavier is a great choice to listen to jazz in a cozy environment with a dark wood den-like atmosphere. In business since 1982, Klavier exudes a palpable sense of local jazz history and classic elegant touches in its comfortable environment, one that combines classy service levels with the friendly tone of a neighborhood hangout.\u003c/p\u003e","title":"Klavier"},{"content":"Fuse is a 1999 album from saxophonist Toshihiko Inoue and his fuse quartet made up of Inoue on sax, Nobumasa Tanaka on piano, Benisuke Sakai on bass, and Ken Tsunoda (Tsunoken) on drums. After growing up with jazz and accumulating years of experience with other jazz musicians’ bands and albums, Inoue started his own quartet in 1998 right before recording and releasing this album. With the album title fuse, it was also the name for his quartet, and in this way, a sort of self-titled album as his debut release as a band leader and composer.\nThere’s a feeling of unbounded youthful abandon balanced with technical precision on this recording, characteristics that were consistent parts of the fuse band and their live shows. Like atomic particles swirling, repelling, and attracting around a shared core and bound together in a tight form, the quartet’s energy was contained by Inoue’s modern compositions and leadership.\nThere are eight songs included on fuse, all original compositions by Inoue. The band is ablaze right out of the gate with the album opener “The last is the first”, with a group sound that recalls the loose tightness of some 1980s post bop jazz, like Wynton Marsalis’ Black Codes (From the Underground), with its forward-leaning sound. Track #2 “Breathe in-out” is a highlight of sustained moodiness, with a slow opening up during Inoue’s saxophone solo to a Kenny Kirkland-style bursting from Nobumasa Takana on piano.\nTrack #3 “Kuresaka” is a well-balanced construction in an odd-meter (partially in nine-beat time), where Inoue’s soprano sax shines in an exploratory mood rising from the wide foundation of a spiritual nature. #4 is “Nano Machine”, a very fast swinger over a modified minor blues pattern, where precisely meshed gears are driven towards their limits by the indefatigable propellants of Tsunoken’s drums and Sakai’s bass.\n#5 “Apoptosis” is the album’s first of two shorter tunes (this and the last song are under four minutes long, while all other average seven to ten minutes apiece), and it is free jazz ambiance of a sparsely leapfrogging melody, tense folds of piano and bass, and roiling drums. Track #6 “I kin ye” is a jazz waltz played in as a straightforward jazz tune with a style somewhere between the neighborhoods of Bill Evans and Wayne Shorter.\nTrack #7, “Gratitude”, is one of Inoue’s most famous and adored compositions. The delicate beauty of the song’s melody captivated listeners and became a favorite at live shows. Played as a gentle ballad, Inoue’s tender sound foreshadows a “soft wind” tone that he developed more in later years, as on his solo sax album Vayu and with his Zephyr trio, a band that is itself named for a gentle breeze, poetically.\nThe last track is #8 “Flood”, another aggressively uptempo swinger like #4 “Nano Machine”. The intro and outro melody are spiral steps leading down to a subterranean maze of free chaos and hellfire where all four members of the quartet unleash their free jazz demons for one final rally before finding the way back out, unified on the melodic theme, and close the session.\nInoue and fuse followed up this album with their next album Grasshopper in 2002 and Live fuse in 2005. Besides fuse, Inoue explored other sides to his writing and playing styles with his other groups and collaborations, including with Clepsydra, Zephyr, a duo with the pianist Hitomi Nishiyama, and many others. He was a quiet but powerful giant in the Japanese jazz scene, and after Inoue’s passing in 2015, there are still “Toshihiko Inoue Songbook”-style tribute performances and occasional fuse live reunions with the remaining members.\nFuse by Toshihiko Inoue Toshihiko Inoue - saxophone Nobumasa Tanaka - piano Benisuke Sakai - bass Ken Tsunoda - drums Released in 1999 on Ewe Records as EWCD-0010.\nJapanese names: 井上淑彦 Inoue Toshihiko 田中信正 Tanaka Nobumasa 坂井紅介 Sakai Benisuke 角田健 Tsunoda Ken\nAudio and Video Toshihiko Inoue Fuse playing “Breathe in-out” and “Zutto”: Toshihiko Inoue and Hitomi Nishiyama playing “Witchi-Tai-To”: Toshihiko Inoue playing “Giant Steps” at a 1984 jam session: Toshihiko Inoue plays ballads: Excerpt from track #1: “The last is the first” ","permalink":"https://mirror2.jazzofjapan.com/toshihiko-inoue-fuse/","summary":"\u003cp\u003e\u003cem\u003eFuse\u003c/em\u003e is a 1999 album from saxophonist Toshihiko Inoue and his \u003cem\u003efuse\u003c/em\u003e quartet made up of Inoue on sax, Nobumasa Tanaka on piano, Benisuke Sakai on bass, and Ken Tsunoda (Tsunoken) on drums. After growing up with jazz and accumulating years of experience with other jazz musicians’ bands and albums, Inoue started his own quartet in 1998 right before recording and releasing this album. With the album title \u003cem\u003efuse\u003c/em\u003e, it was also the name for his quartet, and in this way, a sort of self-titled album as his debut release as a band leader and composer.\u003c/p\u003e","title":"Toshihiko Inoue: Fuse"},{"content":"Trumpeter Yuto Komatsu released his second album Defune in 2025, introducing nine new songs performed by his quartet that includes Mikiko Nagatake on piano, Daisuke Ijichi on bass, and Makoto Rikitake on drums. This new album is a follow-up seven years in the making after his 2018 debut release Circle of Dreams, marking his journey through the pandemic years and noting what he picked up along the way. His love of music sustained him through that unpredictable period, one that was particularly hard on independent musicians, as he discusses a bit in the liner notes.\nThe title Defune is a rendition in English of the Japanese word 出船 (デフネ, deh-foo-neh, setting sail, departing from port), which is a perfect fit for Komatsu. In addition to music and jazz trumpet, sea fishing is also a part of the leader’s lifestyle, and several of the songs are thematically linked to his hobby. There’s the opening track “Rising Sun” where the quartet’s live and present sound immediately tunes listeners into the group’s positive energy. Similar in theme, tracks #4 “Aketara (When It Comes to Dawn)” (a deeper groove), #6 “On the Sea” (a comfortable bossa), and #7 “Lucky Fish” (a boppy swinger) dip into his same source of oceanic inspiration also shared through photos throughout the CD.\nHis other songs are equally fun and convey a sense of someone who could not wait to get his new music out into listener’s players. There is a round cheeriness on songs like the bouncy #7 “Lucky Fish” and #5 “Peaceful Sound”, where the trumpeter’s buoyant mood evokes the fun of Louis Armstrong’s playing. Similarly, on songs like #3 “Brulee” his joyful playing recalls trumpet personalities like Clark Terry’s humor and good nature.\nRounding out the album are the smooth-grooved #2 “Urban Night View”, the melancholic #8 “Pine Wood”, and the blisteringly fast #9 “Burst”, racing to an high-energy close.\nLiner Notes (Translated from Yuto Komatsu’s original Japanese liner notes.)\nThank you for picking up this album.\nIt’s been seven years since my first album from 2018.\nI will never forget that time, when the whole world was thrown into disarray by the coronavirus, and all of my work as a musician had stopped. But even during that time, music continued to sound out in my heart.\nAfter a long period of isolation, there was an almost unbelievable sense that the ordinary life before Covid-19 was gradually beginning to return. I learned not to take the things we are accustomed to for granted, and that they are not always guaranteed to be considered what’s usual.\nAs work opportunities started to return, little by little, I began to have a strong desire to travel, to go on tour with my band, and to make a second album.\nThis album’s title of Defune relates to songs from the recording having to do with my hobby of fishing at sea. I came up with some titles like setting sail and leaving port (出船, 出港), but I chose to purposely use English characters for the title.\nThere are nine original compositions here. I aimed for a sound that is easy to understand and nice to listen to.\nI really hope you enjoy this album.\nYuto Komatsu\n1 Rising Sun\nWhen I go to sea to fish, I begin to drive before dawn. When I arrive at the fishing spot, I see the rays of the rising sun. It always makes me feel excited. As with the earth, the sun’s energy is vital. This bright song was inspired by the sunrise.\n2 Urban Night View\nI always write songs using a keyboard, and I wrote this one thinking of the skyline of the city. In the chorus, I hope you enjoy the feel of the chord changes (how the harmonies transition) and the unison rhythm playing in the second half (all hitting the same note at the same time).\n3 Brulee\nDuring the coronavirus pandemic, I was at home with a lot of free time, so I got a little better at making coffee. One thing that goes well with coffee is crème brûlée (the dessert meaning “burnt cream” in French), which this song was inspired by. It’s a medium tempo tune, and I used a flugelhorn in the first half of the piece.\n4 Aketara (明けたら)\nAt the time, I used to talk with my friends and say things like “When the pandemic ends, I really want to\u0026hellip;”, yet there were days when I wondered whether it would ever really truly end. Still, even in the midst of all that, music was created. I hope you like how the dark atmosphere of this song’s theme suddenly brightens in the middle.\n5 Peaceful Sound\nOne night, I was listening to the sounds of Louis Armstrong while happily strolling along the banks of the Sumida River with a drink in one hand. How much more peaceful would the world be if everyone could hear such wonderful music?\n6 On the Sea\nI wrote this song thinking of a fishing boat out at sea, on a day when the wind is strong but lulling and the boat is relatively steady. It’s so enjoyable to be fishing that the time seems to fly by, and it especially feels good when the weather is nice and the sea is calm. I used flugelhorn on this bossa nova.\n7 Lucky Fish\nFishing is a serious competition between humans and fish. Once, there was a huge mackerel caught on my baited hook, and after a fierce struggle, the fish was finally brought into the boat. It was a win for the humans, or so I thought. Suddenly the fish raged and slipped from my hands, bounced once off the cooler, and returned to the sea.\nIn useless mode, a secret technique, to let a fish escape from the boat.\nAnd, amazingly, a victory for the fish. Lucky Fish.\n8 Pine Wood\nWhen I returned home for a visit, I went for a walk at my old elementary school in Hamamatsu City, Shizuoka. I was surprised at how the beautiful playground equipment had been so carefully maintained, as if it hadn’t changed at all, and I was filled with nostalgia. I remembered that there was a pine forest behind the schoolyard where I often played, so I went to go see it. But, the trees must have become diseased, as they had all been cut down and removed. I tried to write a song expressing my sadness for the pine trees that were gone.\n9 Burst\nI had thought that bursts were things that happened in the world of F1. Then, one day, I was driving on Japan National Route 6 from the Matsudo region to Tokyo when my tire burst at an uneven bridge junction. Fortunately, I wasn’t on the highway, and I managed to avoid an accident. But ever since then, I’ve tried to change my tires sooner rather than later. This song is explosively fast and ends before you know it, but I hope you enjoy the ensemble performance of the band.\nDefune by Yuto Komatsu Quartet Yuto Komatsu - trumpet, flugelhorn Mikiko Nagatake - piano Daisuke Ijichi - bass Makoto Rikitake - drums Released in 2025 on YK Offshore as “02”.\nJapanese names: 小松悠人 Komatsu Yuto 永武幹子 Nagatake Mikiko 伊地知大輔 Ijichi Daisuke 力武誠 Rikitake Makoto\nAudio and Video Promotional video for Defune: “On the Sea” (track #6) — live performance in 2024: Excerpt from track #1: “Rising Sun” ","permalink":"https://mirror2.jazzofjapan.com/yuto-komatsu-quartet-defune/","summary":"\u003cp\u003eTrumpeter Yuto Komatsu released his second album \u003cem\u003eDefune\u003c/em\u003e in 2025, introducing nine new songs performed by his quartet that includes Mikiko Nagatake on piano, Daisuke Ijichi on bass, and Makoto Rikitake on drums. This new album is a follow-up seven years in the making after his 2018 debut release \u003cem\u003eCircle of Dreams\u003c/em\u003e, marking his journey through the pandemic years and noting what he picked up along the way. His love of music sustained him through that unpredictable period, one that was particularly hard on independent musicians, as he discusses a bit in the liner notes.\u003c/p\u003e","title":"Yuto Komatsu Quartet: Defune"},{"content":"Listen to My Blues is a 2025 jazz release from saxophonist Wataru Hamasaki and pianist Akane Matsumoto. The two musicians are known for performing together many times at live events and recording sessions, including as co-leaders of their Big Catch Quartet, a classy orthodox jazz unit with a soulful, big jazz sound. Additionally, each musician is popular individually as a leader of their own groups, like with Hamasaki’s Encounter quartet, Matsumoto’s jazz piano trios, and as members of many other bands and combinations.\nThis latest album is the first time the two have released an album as a duo. Their duo format here neatly follows the intimate, two-musician approach patterned in Matsumoto’s recent recordings. While her early releases focused on the piano trio format (as jazz models, she’s a big fan of the piano styles of Oscar Peterson and Phineas Newborn Jr., with an addictively fascinating play solidly in that mold), her recent albums have explored solo and duo formats. And while Hamasaki’s power and fluency are on mighty display with his co-leader Hideaki Hori in that pair’s long-running Encounter group, his versatility extends to other emotionally rich duos such as with the amazing pianist Mayuko Katakura.\nSpeaking of versatility and variety, one special feature of this album that Hamasaki had in mind when planning the recording was to accomplish one of his persistent goals, that of using a wide range of instruments throughout the session. Spanning the whole sax family, he blows the baritone sax (track #1, “Listen to My Blues”), tenor sax (#2 “Black Orpheus” and #9 “Over the Rainbow”), alto sax (#6 “Hometown Blues”), and soprano sax (#8 “In a Mellow Tone” and *10 “Someday My Prince Will Come”), as well as two flutes (#3 “Sometime Ago”, #4 “On a Clear Day”, #5 “Sun Shower”, and #7 “How My Heart Sings”). All tracks but one were recorded in the studio, and the last song is a live bonus track recorded at the famous Osaka club Mister Kelly’s. This closer is included here as a tribute to that favorite jazz club and beloved owner Akira Sakurai, who passed away around the time that the album was being produced, and to whom this album is dedicated.\nListen to My Blues contains ten songs, eight great jazz standards and covers with two originals from Hamasaki, with a running time of about fifty minutes. The sax player’s two original compositions, #1 “Listen to My Blues” and #6 “Hometown Blues” are down-to-earth mid-tempo grooves, as bluesy as the titles indicate. Yet, much of the album switches in high gear, perhaps unusual for a duo recording, and a majority of the songs are taken at uptempo speeds: “Black Orpheus”, #4 “On a Clear Day”, #8 “In a Mellow Tone”, and others are all off to the races. The duo gets into a blue, deeply affecting mood on Kenny Barron’s beautiful song “Sunshower” (#5), and the romantic ballad “Over the Rainbow” (#9) becomes a lovely showcase for Matsumoto’s finely crafted piano intro and Hamasaki’s emotive tenor voice.\nLiner Notes (Translated from Akane Matsumoto’s and Wataru Hamasaki’s original Japanese liner notes.)\nThank you very much to everyone who got a hold of this album. From songs that are familiar to all listeners, to heart-stirringly beautiful tunes and soul blues (!), this work is fully packed with the enjoyment of jazz. It brings me so much pleasure to be able to deliver this music to you, unified into singular its form with Wataru-san as we traveled all over the country.\nThere’s no greater joy than sharing the happiness of jazz with you all, whether through CDs or at live performances. It would make me so happy if this album could result in thoughts like “Wow, jazz is great” and “I like jazz even more than before.”\nI would like to thank the listeners, bar masters, and mama-sans at the live venues throughout the country for all your constant and kind support, and I’ll take this opportunity to thank you from the bottom of my heart.\nAkane Matsumoto\nThank you to everyone who listens to this album. This is also thanks to all those who continue to support us. Gratitude!!\nOne challenge that I’ve always wanted to try is to bring out the full saxophone family of soprano, alto, tenor, and baritone! There may be a strong impression of me as a tenor player, but I love soprano, alto, and especially baritone sax. Probably most people have not seen me playing those (I’m always hiding when I do so, ha ha).\nFor many years, I’ve been endorsing Woodstone soprano, alto, and tenor saxophones with the full support of Ishimura Wind Instruments. I am truly grateful.\nThe baritone sax is a Selmer Mark VI. It’s an excellent instrument that was entrusted to me by an old friend. The flutes include a Flute Masters handmade silver flute and a Brannen 14K handmade flute, both which I use depending on the song.\nOf course, paying attention to the relentlessly explosive pianism of Akane’s playing is absolutely essential. I’m so happy that we are able to release an album from the duo that we’ve been cultivating for a long time.\nFinally, the bonus track “Someday My Prince Will Come” is a performance from Osaka’s Mister Kelly’s, which regrettably has closed down. I am also greatly indebted to the recently deceased Sakurai-san of Mister Kelly’s, who supported us incredibly, and my fond memories of him and the diving and wine-drinking every month in Okinawa are endless. Dedicated to Sakurai-san.\nWataru Hamasaki\nObi Notes An explosive pianist, a roaring horn. The mad rush of movement and rare presence of the full use of the saxophone family, from baritone to soprano, and even flute playing. An appetizing recording that fully expresses the allure of jazz and pulls listeners into a state of joy.\nListen to My Blues by Wataru Hamasaki \u0026amp; Akane Matsumoto Wataru Hamasaki - saxophone Akane Matsumoto - piano Released in 2025 on Concept Record as CR-21.\nJapanese names: 浜崎航 Hamasaki Wataru 松本茜 Matsumoto Akane\nAudio and Video “Listen to My Blues” (duo live, version 1): “Black Orpheus” (duo live): “Listen to My Blues” (duo live, version 2): “In a Mellow Tone” (duo live): “What a Wonderful World” (duo live, aquarium version): “Like Sonny” (duo live): Excerpt from track #1: “Listen to my Blues” ","permalink":"https://mirror2.jazzofjapan.com/wataru-hamasaki-akane-matsumoto-listen-to-my-blues/","summary":"\u003cp\u003e\u003cem\u003eListen to My Blues\u003c/em\u003e is a 2025 jazz release from saxophonist Wataru Hamasaki and pianist Akane Matsumoto. The two musicians are known for performing together many times at live events and recording sessions, including as co-leaders of their Big Catch Quartet, a classy orthodox jazz unit with a soulful, big jazz sound. Additionally, each musician is popular individually as a leader of their own groups, like with Hamasaki’s Encounter quartet,  Matsumoto’s jazz piano trios, and as members of many other bands and combinations.\u003c/p\u003e","title":"Wataru Hamasaki \u0026 Akane Matsumoto: Listen to My Blues"},{"content":"In Japan, Asuka Watanabe is a recognizable name for fans of old jazz standards and Japanese vocals. Her emergence in the live jazz scene in the early 2000s was elevated by her 2004 debut album, Unaffected. The album’s title fits the meaning of unpretentious sincerity, and that is what the music here is all about. Fans of classic jazz will appreciate Watanabe’s great selection of familiar tunes centered on her straight-forward singing without affectation, presented in the traditional format of a jazz vocalist backed up by a jazz piano trio. Her locked-in trio for this recording features equally Hideaki Yoshioka on piano, Koji Yamashita on bass, and Yoshitaka Uematsu on drums.\nAs jazz standards go, the music is true to form without varying too much from the usual patterns. The musicians honor the music, stay true to the charts, and enhance the character of each song with their personalities without overdoing it or mishandling the music that jazz fans continue to appreciate throughout the years. It’s good-feeling music enjoyed by musicians who love that classic style and want to share it with similarly minded listeners, and it’s good to see and hear that this kind of devotion lives on.\nUnaffected is a 47-minute album with 11 tracks, most in the short-and-sweet range of three to six minutes each. A few uptempo tunes are even shorter (the wild Annie Ross-inspired “Twisted” at 2:17 and a quick “Tea for Two” at 2:48), while the longest track is an instrumental version of “Will You Still Be Mine?” (7:11) where Watanabe steps aside as the piano trio performs this song in a bouncy, Red Garland-inspired version.\nLiner Notes (Translated from Yozo Iwanami’s original Japanese liner notes.)\nUnaffected Asuka Watanabe\nAsuka Watanabe, a fresh new singer who devotedly continues to sing old era standards\nThe debut album of up-and-coming singer Asuka Watanabe was about to be released, so I went to the jazz venue San Marino in Ebisu to listen to her sing. It seems that she sings there about three times a month, and the owner of San Marino, Mariko Kato, recognizes her talent and supports her enthusiastically. As a former singer, Mariko Kato has a discerning ear when it comes to singing, and that fact that Asuka Watanabe caught her attention is proof that she is a strong, distinctive singer. Also, drummer Yoshitaka Uematsu has performed in the US for many years with top American musicians, and he has listened to a great number of first-class singers, and being recognized by him is a great blessing as a vocalist.\nI listened to all three sets that night, from the first to the last, as I didn’t feel like leaving my seat throughout. I was drawn in by the charm of her singing, and I kept wondering what standards she would bring out for the next set. With that sort of anticipation filling my chest, I ended up staying through to the end. She sang four to five songs for each set, by somehow none of those songs ended up being included in this album. I was surprised at how extensive her repertoire was, as she had only been singing for about seven years since starting out. I even caught of glance of the thick folder of music charts that she had brought. It was about 15 centimeters thick and must have contained hundreds of songs. The songs she sang on stage, as well as on this album, were all standards from the good old days of the 1950s and earlier. Not a single new song from the modern era was sung. Usually, when vocalists are singing standards, they may also include two or three newer songs in the mix. But Asuka Watanabe seems to have no interest in singing anything other than the old standards, and she is completely devoted to those songs. It’s wonderful that this has even become part of her distinctive personality. What’s more, she arranges all the songs that she sings to bring forth the beauty of the original melodies through her natural style of singing. Sometimes, singers intentionally pick beautiful standards and then fiddle with them by adding a novel style or a strange approach that ruins the allure of the original composition. Asuka Watanabe identifies resolutely with what it means to sing standards, and sings them with propriety. Somehow, she embodies a lovable singing style that exudes the atmosphere of a swing era big band singer combined with a subtly glamorous feminine presence and sexiness.\nHow does someone so young find a repertoire that impresses even seasoned vocalists? I was curious, and when I asked about this, she told me that she prefers listening to albums with instrumental performances more than vocal albums. When she listens to instrumental performances, she gets inspired and feels like singing those songs. It seems that she likes tenor saxophone in particular, and it would be nice someday to track down some tenor sax versions of the songs she sings. Come to think of it, regarding “Early Autumn” on this album, there was a famous version of this song performed by the Woody Herman Orchestra starring Stan Getz in a saxophone ensemble.\nWhen Asuka is inspired by a song, it seems somehow as if the lyrics suddenly descended from heaven, and she begins to feel the urge to sing that song. So in that sense you could call her a vocalist with a mysterious sixth sense. At first, she tended to sing relatively newer songs like “The Days of Wine and Roses,” but she soon became enamored with older standards and became absorbed with those. Lately, the ability of Japanese singers has been rising. With an increase in the number of skillful vocalists comes a potential decrease in those fans of vocal jazz who support a particular singer, especially that singer lacks a distinctive personality or outstanding magnetism. I even noticed that in myself, when I don’t feel like going to hear someone sing at a jazz club if I can’t sense their special qualities or unique charm. On that point, Asuka Watanabe honors the songs intimately. She brings out the appeal of the original melody and lyrics without mangling them, sharing the pleasure of rediscovering how wonderful the original songs are after all.\nBy the way, usually when a vocalist performs at a live jazz club, it’s common for the band to play up to two instrumental songs first, after which the vocalist joins to sing about four to five songs. As for Asuka Watanabe, when the band is playing their last theme, or after she is done singing, she joins the band and sings the melody softly, creating a sense of oneness of the band and singer. This results in a good feeling all around that also envelops the listeners, and strengthens the impression of being a singer who pays attention to fine details.\nAs I was listening to her singing through the three sets, I gradually began to remember that I had heard her sing before. In 1998, when vocalist/trumpet player Hideo Kamimura recorded his album Million, he introduced a new young vocalist who sang one or two songs. That singer was Asuka Watanabe. I remembered because I was present at this recording. This was essentially the first time she had sung seriously. Then, I remembered that a few years before, a friend and I were at an Roppongi-area Azabu Italian restaurant with live music, and she was there singing some lovely songs. However, the reason I could hardly remember her from before was because the gap between that woman and this grown-up version was so tremendous. You could say that she transformed into a wonderful singer with an individuality so different from several years earlier.\nNow, as this is her first album, I’ll briefly touch on her background. She was born Yokohama and started piano lessons at four years old. Throughout middle and high school in private girls school, she studied piano and received a classical music education. After graduating, she listened to jazz through cable broadcasting, and she became spiritually awoken by the jazz she heard. She switched from piano to vocals and studied singing and jazz theory.\nThen, while she was working and singing at a Tokyo piano bar, an acquaintance introduced her to Hideo Kamimura, and this led to her being a guest singer in 1998 on the album mentioned above. Following that, she started singing professionally at several live music venues and quickly gained attention, appearing with top jazz musicians including Yuzuru Sera, Norio Maeda, Terumasa Hino, George Kawaguchi, and Tatsuya Takahashi.\nIn March 2001, she was introduced as a New Face [/up-and-coming talent/] in the jazz magazine Swing Journal. In August of the same year, the magazine published a feature interview with her and a radio personality, which also attracted attention. Then, in 2003 she was introduced as “a musician to watch” in the magazine Jazz Hihyou. In October of that year, she appeared at the National Culture Festival Jazz Festival produced by Tatsuya Takahashi. Now, starting in April of this year, she has been the main personality for the Music Bird satellite digital radio show Open Sesame. As a singer, she is an active in Tokyo and surrounding suburbs at live music venues and hotels, and is regarded as one of the top young singers deserving of attention even through now. Although it seemed she never had direct instruction from a vocal teacher, she received training from voice therapist Miyoko Fukuda and successfully recorded this album without any problems. By the way, Fukuda-san also coaches Ayako Hosokawa and others.\nHere, I need to mention the excellent musicians costars.\nYou could call this album’s pianist, Hideaki Yoshioka, a player with the best swing in Japan. He has an innately good-feeling groove that causes listeners to absorb the essence of jazz whenever they hear it. There is a piano trio performance for one song on this album, “Will You Still Be Mine?”, that gives us a full serving of Yoshioka’s magnificent piano. Of course, when accompanying Asuka Watanabe’s vocal tunes, he is also a gentle and delicate back up player, fully demonstrating his superb musical sense.\nAdditionally, the heaviness and dynamics of well-known bassist Koji Yamashita’s supporting playing makes the music even more pleasurable to listen to. His warm tone is also great.\nDrummer Yoshitaka Uematsu pushes his fellow musicians with drumming that is ideal for inspiration. His amazing stick and brush work has a great swing that seems to rise from the depths of the earth. I’d love for young players to regard him as a model.\nAs mentioned several times already, this performance consists of old standards, including many familiar songs. But there are also songs that ordinary vocalists rarely sing, selections that only someone like Asuka Watanabe would pick, impressively.\n“Just a Gigolo” is one of those selections.\nOriginally from Austria, this song became famous in the United States when performed by the Vincent Lopez and his Orchestra. It was published in 1930. Her cute style of singing brings out the unaffected and nostalgic atmosphere, and it’s simply wonderful. This is a song that really shows her personality and style, and it’s one of my favorites.\nThe next song is “Once in a While.” Asuka’s vocals completely draw you in and invite you to leave reality behind to enter a dream world of romance. This 1937 song was also sung by Patti Page.\n“Let’s Do It” swings stylishly. It brings back the delightful atmosphere of big band singers that were often heard in the 1930s and 40s. I couldn’t help but whisper “Yeah, nice\u0026hellip;” This is an even earlier song from 1928, with music and lyrics by Cole Porter. I remember Frank Sinatra and Shirley MacLaine singing this in the movie Can Can.\nThe singing on “Don’t Blame Me” gracefully expresses the feeling of a woman’s heart saying “Don’t blame for me for loving with you one-sidedly.” Asuka may be young, but she expresses the subtle details of love skillfully with what could be a deep knowledge of the complications of love\u0026hellip;\n“Twisted” is a song composed by tenor saxophonist Wardell Gray that was sung by Annie Ross with her own lyrics. Asuka deftly sings the humorous lyrics filled with tongue twisters.\n“You Go to My Head is a passionate love ballad. As I felt when I heard her sing on stage, Asuka is very good at ballads. It’s amazing how her expressions can completely grab listeners’ attention all the way through to the end.\nAfter one piano trio song, she sings “Solitude.” Duke Ellington’s songs are distinctive in and of themselves with their characteristic moods. Asuka stretches out with her voice to vividly bring the Ellington mood to life, something I greatly appreciated as I listened.\n“The One I Love Belongs to Somebody Else” is an adorably light song where Asuka’s true self can be heard. This 1924 song is a distinguished standard written by Gus Khan (lyrics) and Isham Jones (music). The manner in which she sings, wavering with pathos, is perfect.\nOn “Tea for Two,” she shows us another side as she surprises us with bright and cheerful singing.\nAs mentioned above, “Early Autumn” is a song that was made famous by the performance of the saxophone section in the Woody Herman Orchestra featuring Stan Getz. These poetic expressions can steal your heart and offer a glimpse into the secret of her singing, which lies in being inspired by instrumental pieces.\n岩浪洋三 Yozo Iwanami\nObi Notes You’re invited to spend a sublime sophisticated time with mellow singing that is as smooth and gentle as silk and fragrant as a full-bodied wine! The debut album from a new jazz vocal star, Asuka Watanabe.\nUnaffected by Asuka Watanabe Asuka Watanabe - vocal Hideaki Yoshioka - piano Koji Yamashita - bass Yoshitaka Uematsu - drums Released in 2004 on What’s New Records as WNCJ-2135.\nJapanese names: 渡辺明日香 Watanabe Asuka 吉岡秀晃 Yoshioka Hideaki 山下弘治 Yamashita Koji 植松良高 Uematsu Yoshitaka\nAudio and Video “Just a Gigolo” - track #1 from this album: “Sweet Georgia Brown” (live): “This Is No Laughing Matter” (live): “Sometimes I’m Happy” (live): “All The Things You Are” (live): Album playlist (YouTube)\nExcerpt from track #3: “Let\u0026rsquo;s Do It”\n","permalink":"https://mirror2.jazzofjapan.com/asuka-watanabe-unaffected/","summary":"\u003cp\u003eIn Japan, Asuka Watanabe is a recognizable name for fans of old jazz standards and Japanese vocals. Her emergence in the live jazz scene in the early 2000s was elevated by her 2004 debut album, \u003cem\u003eUnaffected\u003c/em\u003e. The album’s title fits the meaning of unpretentious sincerity, and that is what the music here is all about. Fans of classic jazz will appreciate Watanabe’s great selection of familiar tunes centered on her straight-forward singing without affectation, presented in the traditional format of a jazz vocalist backed up by a jazz piano trio. Her locked-in trio for this recording features equally Hideaki Yoshioka on piano, Koji Yamashita on bass, and Yoshitaka Uematsu on drums.\u003c/p\u003e","title":"Asuka Watanabe: Unaffected"},{"content":"The jazz album Blending Tone is the 2012 debut release from the Tokyo-based Akihiro Yoshimoto Quartet. Saxophone player and leader Yoshimoto recorded this with a tightly bound group of musicians including Aaron Choulai on piano, Takuya Sakazaki on bass, and Shun Ishiwaka on drums, working together to blend their tones while staying on top of Yoshimoto’s music.\nThe CD version of this album includes ten tracks running at 54 minutes of mostly original music from Yoshimoto. The popular jazz standard “Body and Soul” is the sole cover tune, played as duo of piano and sax as a gentle closing.\nThe music on Blending Tone is contemporary jazz with a modern, open feeling build on the confidence and closeness that the members of the quartet exhibit with one another.\nThroughout, this is a finely attuned album that rewards paying attention to the details. The musician’s individual solos seem to positively search for new expressions, pushing their improvisations for creativity as much to satisfy their own voices as well as to connect with the other players. As leader, Akihiro gets most of the time in the spotlight for his extended solos, and pianist Aaron Choulai gets an almost equal share and solos on nearly every track. The two partners even have an back-and-forth trading session in the greater part of #7 “Dark Matter” before drummer Ishiwaka and bassist Sakazaki take over the music.\nThrough the themes and adlibs, the locked-in band seems to naturally push one another to heights of greater ambition and near abandon. For balance, tracks #3 “Pale Green” and #10 “Body and Soul” are two ballads that alight to ground during their slower moments, essential for the coming down to calmer settings within the journey though the adventurous terrain.\nLiner Notes (Translated from Toshihiko Hoshino’s original Japanese liner notes.)\nThe first time I heard Akihiro Yoshimoto was in late November 2009, at the live jazz club Apple Jump which had just opened. The quartet was built from the Jun Furuya Trio, with Kunpei Nakabayashi on bass and Ryo Shibuya on drums, and I was really impressed by the performance. The tenor produced a rolling groove that had nicely thick tone stacked with short phrases. My ears were completely tuned into their fresh contemporary sound that was centered on their unique originals. Then, a giant foreigner who was sitting alone at a corner table joined the band, sitting in for one song. That was Aaron Choulai, the pianist who plays on this album. With just one song, I was knocked out by his brilliant playing and novel ideas that overturned the usual stereotypes. I can still vividly remember the excitement I felt that night, as I walked back to Ikebukuro station, like witnessing the prenatal stirrings of something new as I thought “What I just heard was unbelievable.”\nI’ll briefly introduce Akihiro Yoshimoto. He was born in Kobe in 1980. In 2004, he entered Boston’s Berklee College of Music. After graduating from Berklee, he moved to Tokyo and started performing. In 2007, he was awarded the grand prize in the band category at the Yokohama Jazz Promenade Competition. In autumn 2009, he first played with Aaron as a member of the Australian-Japanese crossover band the Aaron Choulai Sextet at an event called Tokyo JAZZ 2009 - Australian Jazz Night. In spring 2010 he played with Italian trumpeter Max Ionata who came to Japan. In fall of that year, he played as a member of the Aaron Choulai Quintet on an Australian tour. In 2001 he performed as leader of a sextet at the third Summer Jazz Revolution event. In summer of that year, his other activities including touring with the band of mainstay bassist Isao Suzuki’s band OMA SOUND and earning the strong trust of players including those from his generation through to veteran players.\nIt’s undeniable that contemporary jazz has the image of being difficult to understand. The dark, edgy sound can sometimes give a cold impression. I also very much agree with the inclination to wanting to hear hot jazz that simply says “yeah!” The allure of Yoshimoto’s tenor sound is that he can play modern contemporary jazz to deep blues without any sense of conflict. He creates a natural resonance with listeners through his throaty tone and cutting-edge phrases. His tenor captivates everyone from staunch hard bop elders to discriminating contemporary jazz enthusiasts.\nWhen it comes to expressing his personal sound, there is probably no one more inspiring to Akihiro Yoshimoto than Aaron Choulai. At the same time as he formed his quartet with Aaron, they also began performing together as a duo. He had become an indispensable musical partner. Aaron Choulai was born in Papua New Guinea in 1982. He won a number of awards in Australia and was regarded as one of the most promising young players. In New York, he performed with musicians including Clarence Penn and James Genus, and released the albums Place (2004) and RANU (2009) on the Sunnyside label. He actively performs in Japan, New York, Australia, and in places all over the world. With his excellent time sense, sensitive harmonies, beautiful tone, and comping that can sometimes even seem wicked, he’s a pianist worthy of being called a rare genius.\nWith Blending Tone as the album title, it contains the meaning that each individual sound is blended into a single musical piece. The opening “di di” symbolizes this. As the theme is played by a trio [of sax, bass, drums], the moment Aaron’s piano enters, the sound’s landscape changes completely. Indeed, you can call it the moment that captures where the individual sounds mix together and change into a singular band sound. On the dreamy ballad “Pale Green”, the intertwining of the tenor’s melody and Aaron’s comping is breathtaking. “How About This Cat?” is outstanding, as Aaron’s piano and Ishiwaka’s aggressive drums back the strong and continuous blowing of the tenor as the theme completely changes from mysterious to thrilling. More highlights to listen for include Sakazaki’s foundation of solid bass lines that support the band, and 19-year-old drumming prodigy Shun Ishiwaka, whose playing is a combination of both aggression and finesse.\nThe prenatal stirrings that I felt in November 2009 developed over a period of two and a half years and was delivered to me in the form of this album. This recording retains that sense of impact I received at the time and captures an even deeper combination together with Aaron. This is an album that will become an important piece in the history of contemporary jazz in Japan.\nToshihiko Hoshino 星野利彦 / Music Writer\nObi Notes Young, fierce tenor saxophonist Akihiro Yoshimoto with his quartet releases his long awaited debut album Blending Tone!\nBlending Tone by Akihiro Yoshimoto Quartet Akihiro Yoshimoto - tenor sax Aaron Choulai - piano Takuya Sakazaki - bass Shun Ishiwaka - drums Released in 2012 on Orbit Records as ORB-1001.\nJapanese names: 吉本章紘 Yoshimoto Akihiro アーロン・チューライ Choulai Aaron 坂崎拓也 Sakazaki Takuya 石若駿 Ishiwaka Shun\nAudio and Video “How About This Cat?” (track #4) — live at Kamome quartet version (ts/p/b/d) #1: “How About This Cat?” (track #4) — live at Sometime quartet version (ts/p/b/d) #2: “di di” (track #1) — live duo version (ts/b): “Boston Subway” (track #2) — live solo version (ss): “Pale Green” (track #3) — live duo version (ts/ts): “Pale Green” (track #3) — live trio version (ts/b/d): “Enpitsu Hiko” (track #5) — live trio version (ss/ts/b): Streaming version of Blending Tone (Bandcamp digital album)\nExcerpt from track #1: “di di”\n","permalink":"https://mirror2.jazzofjapan.com/akihiro-yoshimoto-quartet-blending-tone/","summary":"\u003cp\u003eThe jazz album \u003cem\u003eBlending Tone\u003c/em\u003e is the 2012 debut release from the Tokyo-based Akihiro Yoshimoto Quartet. Saxophone player and leader Yoshimoto recorded this with a tightly bound group of musicians including Aaron Choulai on piano, Takuya Sakazaki on bass, and Shun Ishiwaka on drums, working together to blend their tones while staying on top of Yoshimoto’s music.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1340170x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1340170x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe CD version of this album includes ten tracks running at 54 minutes of mostly original music from Yoshimoto. The popular jazz standard “Body and Soul” is the sole cover tune, played as duo of piano and sax as a gentle closing.\u003c/p\u003e","title":"Akihiro Yoshimoto Quartet: Blending Tone"},{"content":"A respected elder jazz spot in the Tokyo jazz club scene, the much loved Ginza Swing is an upscale restaurant-styled jazz room in Ginza. Swing has been serving up live jazz for nearly fifty years in a sophisticated setting that pairs jazz with gourmet food in the legacy luxury district of Tokyo.\nFigure 1: Toshimitsukuni Vocal Matsuri live concert with Hibiki Sato and Eri Yazaki on vocals, Rena Toshimitu on drums/vocals, Mitsukuni Tanabe on guitar, Hideaki Yoshioka on piano, and Yosuke Terao on bass (October 2025)\nIn addition to the great jazz performances performed in Swing’s elegant setting, their menu is touted as an equal draw, with not-your-average-jazz-bar-grub dishes that appeal to foodies and connoisseurs. In particular, lobster-based meals (using premium Ise ebi, or Japanese spiny lobster) are highlighted, and the sloganized phrase “Jazz \u0026amp; lobster” can be found on signs and menus. Past menu offerings have included lobster jambalaya, Lobster Thermidor, lobster \u0026amp; fruit herb salad, and lobster tomato cream pasta, and some dishes come with a presentation of the carapace on the plate to accompany the meal.\nWalking into the dark club, you notice how the modestly sized room makes full use of the space for customers to feel immersed in the music. Not only that, but the chairs and tables literally surround the music: The performers’ stage area, at floor level, hugs the middle of one wall, and the customers’ tables line up against the other three walls to provide views from three different perspectives.\nFigure 2: Taking a seat in the corner before the music starts (showing up without a reservation)\nA beautiful wrap-around bar is also popular and may be the best place to sit, serving as a sort of front row location right up next to the performers and adjoining the stage. For a good idea of the layout, Ginza Swing’s website includes a 360-photo view of a virtual walkthrough of the club.\nFigure 3: Lighter food options include the roast beef salad at Ginza Swing\nIn the past, Ginza Swing offered a membership system that included discounts and special offers for repeat customers, but this may be slightly confusing to first timers and not necessarily useful for short-term visitors. A revised fan club system may be introduced later this year, but details are unknown at the moment.\nClose to the station and located in small complex of bars and restaurants, Ginza Swing is a great place to go in this luxury district for a professional yet fun jazz-with-dinner option.\nFigure 4: Ginza Swing’s notice of closing\nMuch to the surprise of dedicated jazz fans and musicians, in 2025, Ginza Swing posted a note to social media about the planned closing of this historic jazz spot on May 12, 2026, exactly 50 years to their original opening day. This is translated below.\nFortunately, this difficult decision to close was reversed just recently, as a result of the outpouring of support and love from loyal fans and musicians. In an update from early March 2026, Ginza Swing stated that they have decided to remain open (or, reopen quickly after their planned closing). Along with the reopening, Ginza Swing will introduce some new ideas into the shop, perhaps including earlier opening hours as a jazz cafe, offering rental space for private events, an electronic reservation and ordering system, and other improvements. This good news was posted to social media as a video and as a note on their website, also translated below.\nHere is that note translated to English:\nSince opening on May 12 in 1976 (Showa year 51), Ginza Swing has been supported by many people.\nWe would like to express our sincere appreciation for your patronage through these many years.\nDue to various circumstances, Ginza Swing will be closing on May 12, 2026, 50 years since opening.\nThere are innumerable reasons that are difficult to accurately explain in full, so please allow it to be left at “various circumstances”.\nHan Fei said “Water conforms to the shape of the vessel.” While we don’t know what will happen in the next year, we continue to strive to offer exciting, thrilling music to as many people as possible through to the end.\nPlease understand that we cannot respond to inquiries about the closure by phone or email.\nHiroshi Iwamoto, Nijo Co., Ltd, President and CEO\nAn early March 2026 statement of the decision to keep Ginza Swing open delighted many jazz fans. Translated to English, the statement reads:\nImportant Announcement from Ginza Swing\n“Ginza Swing” Keeping the flame of history lit\nAnnouncement of Continuing Business\nWe are sincerely grateful for your continued support of Ginza Swing and the jazz scene in Japan. Last year, we announced with a heavy heart the closing of Ginza Swing. Since then, there has been an incredible outpouring of warm messages of support directed to us.\n“It’s like the passing of my youth\u0026hellip;” “Let’s preserve this exemplar of the Showa-era Ginza jazz club!”\nEach one of your words strengthened my trembling spine, reopening the door to my heart that had been firmly shut.\nTo get straight the point, Ginza Swing will remain open.\nAlthough we had decided to “bring the curtains down,” your overflowing support has convinced us that we must not stop here. Our renewed mission is to maintain the intimate distance between the stage and the audience that Ginza Swing is known for, through the person to person interaction, and by bringing smiles to everyone, above all.\nWhat’s planned for the future:\nIt’s not about just “remaining.” We are reborn in order to honor our tradition and to continue this culture for the next generation.\nThe theme is “New Heritage New Swing.”\nSupporting young artists:\nWe will create a more dynamic live scene, featuring both veterans and up-and-comers.\nDeepening the musical experience:\nWith improvements including the reinstallation of audio equipment, and the introduction of an easy-to-use reservation system, we will pursue the “pinnacle of time spent” worthy of a night in Ginza.\nStrengthening the community:\nWe will introduce a new “Fan Club” system to further deepen the bond with our supporters.\nIt is precisely because the light had nearly gone out once before, that we exist to continue brightening your nights even more strongly and more warmly than ever.\n“It Don\u0026rsquo;t Mean a Thing, If It Ain\u0026rsquo;t Got That Swing”\nGinza Swing will temporarily close on May 12th.\nAfter that, we plan to reopen on June 1st. We will post information on our website and social media. (Please refrain from phone inquiries.)\nGinza Swing and all of our staff are counting the days until the reopening, when we can once again share the greatest swing with you all, together, here.\nThank you for your continued support.\nGinza Swing\nHiroshi Iwamoto, Nijo Co., Ltd, President and CEO\nNote: After 50 years in operation, Ginza Swing was scheduled to close in May 2026, but later announced that their historic club will remain open, introducing some new changes to build on their many successful years. I’m happy to hear that this jazz spot will keep swinging and am eager to experience their new changes. With the closure of many old favorites in Japan during and after the pandemic, it is encouraging to see long-time jazz locales like Ginza Swing, with the support of their dedicated fans, doing all they can to stay open, keep looking forward, and welcome new generations of jazz fans.\nFigure 5: An illuminated sign at Ginza INZ2 shopping center lets you know that you are in the right place to find Ginza Swing in a prime location on the 2nd floor.\nOther Links Virtual walkthrough of Ginza Swing\nPromotional video (November 2022)\n","permalink":"https://mirror2.jazzofjapan.com/ginza-swing/","summary":"\u003cp\u003eA respected elder jazz spot in the Tokyo jazz club scene, the much loved Ginza Swing is an upscale restaurant-styled jazz room in Ginza. Swing has been serving up live jazz for nearly fifty years in a sophisticated setting that pairs jazz with gourmet food in the legacy luxury district of Tokyo.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20251027_200042216-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20251027_200042216-1200.jpeg\"\n         alt=\"Figure 1: Toshimitsukuni Vocal Matsuri live concert with Hibiki Sato and Eri Yazaki on vocals, Rena Toshimitu on drums/vocals, Mitsukuni Tanabe on guitar, Hideaki Yoshioka on piano, and Yosuke Terao on bass (October 2025)\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eToshimitsukuni Vocal Matsuri live concert with Hibiki Sato and Eri Yazaki on vocals, Rena Toshimitu on drums/vocals, Mitsukuni Tanabe on guitar, Hideaki Yoshioka on piano, and Yosuke Terao on bass (October 2025)\u003c/p\u003e","title":"Ginza Swing"},{"content":"Pianist Yukari Sekiya released Duets Till Now, From Here fourteen years after her 2011 debut recording It’s Ordinary Love And\u0026hellip;. This new album offers both a retrospective and a forward view of her music and musical partners through her years of playing. Duets is a two-disc album with 16 songs, and the temporal themes of past and future are reinforced by the label assigned to each disc, with disc one titled “Till Now” and two as “From Here”.\nAs the title reveals, the songs on this album are duets played by Sekiya with one other musician. That is, each song is performed by a duo of piano and bass, or piano and drums, or piano and sax, and so on. Sekiya plays two songs a piece with each of her eight guests, another link to the overall duality theme that references the number two. Her guests include three bassists (Michihiro Morisada, Megumi Otsuka, and Masaki Kai), two saxophonists (Taiichi Kamimura and Tsutomu Takei), a guitarist (Suomi Morishita), a vocalist (Yuzumi Tanimukai), and a drummer (Jin Mitsuda).\nAlong with the dual perspectives, a similar division can be found in Sekiya’s music itself. As pianist Akira Ishii’s introduction on the obi sleeve describes, Sekiya’s playing comfortably swings between composed themes and free jazz playing. The composed versus free division is not aligned by disc, but programmed into the track listing in different places. This porous boundary is arranged within certain songs on Duets as well.\nMost of Sekiya’s compositions are just that: composed scores that the pianist and her guest read from and play to. As with jazz music, the players are not strictly bound to the written notes and chords and can ornament and transform the music, or play extended solos created through their musical skill, experience, and spontaneous feeling, all while coordinating in time with their musical partners. And, as with free jazz, the players are able to jump off of the score even more. It’s like floating in space with no tether save their individual self-controlled guidance and confidence in navigating an unknown territory together.\nFor instance, there are a few mostly freely played tracks. The first track “Nobody Is There” is a great patient introduction from piano and drums, a pre-workout stretch with specific harmonic statements embedded in the free-form movements. Similarly, #4 “Forest Valley” features a bass and piano dialogue that pings back and forth briefly before building to an intertwined sculpture of abstract sounds, a raw and improvised self-portrait of the duo’s musical personality. Sax player Sam Newsome’s recent article Embracing the Unscripted describes this type of improvised music from a first person point of view very well.\nOther songs have free sections between arranged intro and outro themes, such as on disc one’s #5 “Happa” and disc two’s #2 “In Touch” and #7 “Octopus Blues”. These sections are wild and fun, as the musicians completely adlib and veer off the written score with unconstrained musical creation that is neither noise nor chaos.\nFree playing aside, Sekiya leans strongly into her composer role for the most part. Much of the music is penned with detailed chords, melodies, and assigned sections that the pianist and her duet partners follow carefully. These songs run the gamut from suspenseful to peaceful, with doses of jaunty jazz, quirky oddness, and somber developments that extend the tonal variety in always interesting ways.\nLiner Notes As a duo, we can closely feel each other’s inner voice\nImportant sounds that I’ve cherished “till now”\nSounds that I want to deepen “from here”\nA colorful time with eight musicians\nYukari Sekiya | pianist/composer\nBorn in Osaka. She is a musician with a unique performance style that utilizes swells and pauses, who creates vivid, original songs that practically sing themselves. She works nationwide focusing on collaborations across genres with performers and artists from both Japan and overseas, her solo project “Out of the Window” which includes improvisation and landscape, seamlessly connecting and deepening improvisation and composition — the abstract and the concrete. Her music is adored, not only by music fans, but also in various fields as “music that shakes your emotions”.\nObi Notes There are no “thorns” in the piano she plays. That is not something with a hidden meaning. With accompanied tension, it is a pleasurable world that also contains a sense of “poison”. Through this album I want to keep an eye on the past and the future of this pianist who moves at will across the borders of free improvisation and coordinated, composed music.\n— Jazz pianist Akira Ishii\nDuets Till Now, From Here by Yukari Sekiya Yukari Sekiya - piano Taiichi Kamimura - tenor \u0026amp; soprano sax Tsutomu Takei - tenor \u0026amp; soprano sax Yuzumi Tanimukai - voice Suomi Morishita - guitar Michihiro Morisada - bass Megumi Otsuka - bass Masaki Kai - bass Jin Mitsuda - drums Released in 2025 on Umishima Records as USM-001.\nJapanese names: 関谷友加里 Sekiya Yukari かみむら泰一 Kamimura Taiichi 武井努 Takei Tsutomu 谷向柚美 Tanimukai Yuzumi 森下周央彌 Morishita Suomi 森定道広 Morisada Michihiro 大塚恵 Otsuka Megumi 甲斐正樹 Kai Masaki 光田じん Mitsuda Jin\nAudio and Video Promotional video #1 (Disc 1 excerpts): Promotional video #2 (Disc 2 excerpts): Promotional video #3 (brief introduction): “Making Of” video, behind the scenes of the recording of this album: Live performance of “Room 401” (track #8): This album on streaming platforms\nExcerpt from track #107: “Canja”\n","permalink":"https://mirror2.jazzofjapan.com/yukari-sekiya-duets-till-now-from-here/","summary":"\u003cp\u003ePianist Yukari Sekiya released \u003cem\u003eDuets Till Now, From Here\u003c/em\u003e fourteen years after her 2011 debut recording \u003ca href=\"https://www.jazzofjapan.com/archive/yukari-sekiya-trio-with-yuko-tanaka-its-ordinary-love-and/\"\u003e\u003cem\u003eIt’s Ordinary Love And\u0026hellip;\u003c/em\u003e\u003c/a\u003e. This new album offers both a retrospective and a forward view of her music and musical partners through her years of playing. \u003cem\u003eDuets\u003c/em\u003e is a two-disc album with 16 songs, and the temporal themes of past and future are reinforced by the label assigned to each disc, with disc one titled “Till Now” and two as “From Here”.\u003c/p\u003e","title":"Yukari Sekiya: Duets Till Now, From Here"},{"content":"Yukari Sekiya (Sekichu) is a jazz pianist, composer, and free improvisationalist who released her first album in 2011 with the group Yukari Sekiya Trio with Yuko Tanaka. The Japanese title of this debut is ありふれた愛なので・・・ translated on the cover as It’s Ordinary Love And\u0026hellip; Sekiya’s trio is completed by Michihiro Morisada on contrabass and Tatsuya Hashimoto on drums, and Yuko Tanaka joins as guest vocals and voice.\nThis album is a live recording of seven of Sekiya’s original compositions, performed on one night in December 2010 at the jazz club Big Apple in Kobe. The four musicians all embrace spontaneous, simultaneous creation, and Sekiya’s music is wide open for creativity. Bounding several free jazz sections are the pianist’s composed musical themes and thoughts, written down on the page as clear melodies, structures, accents, and band signals that are coordinated parts of Sekiya’s musical design. At the same time, whole sections of several pieces are set free to allow the musicians to stretch out together. In those sections, the four members improvise freely but together as a group, reaching towards one musical mind, and building to wild crests of sound or subtle unified soundscapes as feelings and the moment dictate.\nVoice artist Yuko Tanaka performs on six of the songs, switching between vocals and voice to match Sekiya’s music to her lyrics or voice effects. On about half the songs, Tanaka sings Japanese lyrics written by herself, and on other songs, she unites with the instrumentalists using all manner of unconstrained non-speech sounds, gibberish words, and nonsense syllables to dynamic effect.\nHere’s a brief overview of the music. The absorbing opening track #1 “Stop call” unleashes a band that is energized and eager to flex their group improvisation muscles. #2 “Night lights” shifts down to a gentle ballad with light Japanese lyrics. #3 “floating” continues the graceful mood and lyrical singing with a soft waltz feel. #4 “KOSAME” (小雨, light rain) is an instrumental exploration, as the trio draws a scene that builds to a rousing climax. #5 “Ballerina at midnight” evolves from a vintage loose swing to the uncontrolled passion of a mad dance. #6 “In the Cave” stir up chaos with glazed fragments of multiscalar notes and intense free association. Finally, the closer #7 “Grampa’s Hand” features vocalist Tanaka returning to sweetly sung lyrics as the band holds steady and brings the intoxicating experience of this live set back to ground.\nLiner Notes (Translated from the original Japanese liner notes.)\nStop call Night lights floating KOSAME Ballerina at midnight In the Cave Grampa\u0026rsquo;s Hand Grampa’s Hand\n１．I look down and see your shadow\nA soft wind stirs\nWe gaze at momentary happiness\nand laugh together\n２．Troubled by lies\nEveryday regrets\nEven cruel words\nWrapped up in tenderness\n３．Your evening shadow\nFloats, overflowing\nThe time hasn’t come, yet\nThe wind has already gone\nSuspended in the night\nA soft, yellow-colored hand\nNight lights\nYou, reflected softly,\nJust for two alone\nThis feeling thinned out,\nQuietly expanding\nA feeling of closeness, but just that\nWith you who lights the way\nAs hair flows softly\nJust for two alone\nObi Notes it\u0026rsquo;s ordinary love and\u0026hellip; Yukari Sekiya Trio with Yuko Tanaka\nThe heart pounds, begin to cry, begin to dance, betrayal\u0026hellip; Long ago memories overflow\nDec. 14, 2010 A live recording on the final night of the tour The long-awaited debut album is completed\nIt’s Ordinary Love And\u0026hellip; by Yukari Sekiya Trio with Yuko Tanaka Yukari Sekiya - piano Yuko Tanaka - voice Michihiro Morisada - bass Tatsuya Hashimoto - drums Released in 2011 on Itazura Records as YUMO-713.\nJapanese names: 関谷友加里 Sekiya Yukari 田中ゆうこ Tanaka Yuko 森定道広 Morisada Michihiro 橋本達哉 Hashimoto Tatsuya\nAudio and Video Promotional video for this album: “Stop call ストップ・コール” (track #1) — excerpt: “Ballerina at midnight 真夜中のバレリーナ” (track #5) — excerpt: Yukari Sekiya Trio with Yuko Tanaka live excerpt: Excerpt from track #1: “ストップ・コール (Stop Call)” ","permalink":"https://mirror2.jazzofjapan.com/yukari-sekiya-trio-with-yuko-tanaka-its-ordinary-love-and/","summary":"\u003cp\u003eYukari Sekiya (Sekichu) is a jazz pianist, composer, and free improvisationalist who released her first album in 2011 with the group Yukari Sekiya Trio with Yuko Tanaka. The Japanese title of this debut is \u003cem\u003eありふれた愛なので・・・\u003c/em\u003e translated on the cover as \u003cem\u003eIt’s Ordinary Love And\u0026hellip;\u003c/em\u003e Sekiya’s trio is completed by Michihiro Morisada on contrabass and Tatsuya Hashimoto on drums, and Yuko Tanaka joins as guest vocals and voice.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1340831x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1340831x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis album is a live recording of seven of Sekiya’s original compositions, performed on one night in December 2010 at the jazz club Big Apple in Kobe. The four musicians all embrace spontaneous, simultaneous creation, and Sekiya’s music is wide open for creativity. Bounding several free jazz sections are the pianist’s composed musical themes and thoughts, written down on the page as clear melodies, structures, accents, and band signals that are coordinated parts of Sekiya’s musical design. At the same time, whole sections of several pieces are set free to allow the musicians to stretch out together. In those sections, the four members improvise freely but together as a group, reaching towards one musical mind, and building to wild crests of sound or subtle unified soundscapes as feelings and the moment dictate.\u003c/p\u003e","title":"Yukari Sekiya Trio with Yuko Tanaka: It’s Ordinary Love And…"},{"content":"Kakusareta Guwa is a 2025 release from pianist Shikou Ito’s Trio Syncretia. A translation of the Japanese title, 隠された寓話, is also printed on the cover, and reads allegorical stories-shaded.\nIto’s trio is a piano-bass-percussion combo, and their music is robust and detailed, soulfully rugged. The sounds from Gen Ogimi’s percussion kit are a change from the regular drum kit that is de rigueur for jazz piano trios, and the sounds of hand drums alongside the snare, toms, and cymbals add a lot of character and color to the music. Intuitively linked to the pulse and beat is bassist Benisuke Sakai, who enhances the rhythms through his firmly connected upright bass with both grounded and adventurous playing.\nOn top of everything is pianist Shikou Ito, whose unrestrained style reflects his professional technique and wide experience with many jazz, pop, and non-genre musicians, not to mention his captivating free solo improvisations on other albums and live performances. On Kakusareta Guwa, Ito’s nine original compositions are filled with atmosphere and mystery. He writes and plays as if he is pulling inspiration from ancient secrets and foreign cultures to fashion new sounds from ethnically rich legends.\nFor example, through his written melodies, Ito deftly plays twists, ornaments, and scales that, in certain places, seem to have characteristics of Middle Eastern melodies and Latin traditions. Uncommon time signatures with odd meters, extra measures, and interludes are written into his music as well, enhancing the storytelling effect and increasing the musical and rhythmic interest. Ito’s use of prepared piano and damping the piano strings using one hand while playing with the other, adds an extra timbre of metallic shimmering from the altered tones. All together, Trio Syncretia’s playing is rooted in jazz with a vibrant personality aligned towards the image of secret, hidden fables described by the title.\nTrue to the ideal of artistic independence, Ito is uncompromising with his music. Although all his song titles here are in Japanese, just as with the album title, the song titles are also written with English translations on the back cover:\nechoed under the hazy moon - 朧月に谺す (Oborozuki ni kodama su) star reading dreamscape - 星読みの夢 (Hoshiyomi no yume) the judge and the empress - 審判と女帝 (Shinpan to nyotei) undine’s nocturnes - ウンディーネのノクターン (Undīne no nokutān) sylphes’ rhapsody - シルフォのラプソディー (Shirufo no rapusodī) alchemy fire place - アヌノル（錬金戸）(Anunoru (renkin to)) gnome’s elegy - グノームのエレジー (Gunōmu no erejī) salamander’s dance - サラマンドルダンス (Saramandorudansu) searching for tweeting birds - 鳴鳥を探して (Meichō o sagashite) Themes from these titles include nature, fantasy, and musical ideas, but taken as a whole, the tales told through allegorical stories-shaded are evocative and, just like Trio Syncretia’s music, absorbing and thrilling.\nKakusareta Guwa by Shikou Ito Trio Syncretia Shikou Ito - piano Benisuke Sakai - bass Gen Ogimi - percussion Released in 2025 on Musica Visionaire as MVSI-1003.\nJapanese names: 伊藤志宏 Ito Shikou 坂井紅介 Sakai Benisuke 大儀見元 Ogimi Gen\nAudio and Video Studio recording from Shikou Ito Trio Syncretia’s 2017 album 毒ある寓話 (Doku aru guwa) from 2018: A dance set to music by Trio Syncretia: “Take the A Train” (Shikou Ito solo piano): “Everything Happens to Me” (Shikou Ito solo piano): Excerpt from track #1: “朧月に谺す (Look at the Moon)” ","permalink":"https://mirror2.jazzofjapan.com/shikou-ito-trio-syncretia-kakusareta-guwa/","summary":"\u003cp\u003e\u003cem\u003eKakusareta Guwa\u003c/em\u003e is a 2025 release from pianist Shikou Ito’s Trio Syncretia. A translation of the Japanese title, 隠された寓話, is also printed on the cover, and reads \u003cem\u003eallegorical stories-shaded\u003c/em\u003e.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1320818x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1320818x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eIto’s trio is a piano-bass-percussion combo, and their music is robust and detailed, soulfully rugged. The sounds from Gen Ogimi’s percussion kit are a change from the regular drum kit that is de rigueur for jazz piano trios, and the sounds of hand drums alongside the snare, toms, and cymbals add a lot of character and color to the music. Intuitively linked to the pulse and beat is bassist Benisuke Sakai, who enhances the rhythms through his firmly connected upright bass with both grounded and adventurous playing.\u003c/p\u003e","title":"Shikou Ito Trio Syncretia: Kakusareta Guwa"},{"content":"Jazz pianist Fumio Karashima’s 2006 album Great Time scratches the itch for a straight ahead jazz recording, bringing with it the satisfaction of the promised enjoyment conveyed by the title. Joining Karashima are Drew Gress on bass and Jack DeJohnette on drums, making up a trio of well-known and highly respected musicians in the jazz world. In particular, DeJohnette, who passed away in October 2025, was a worldwide legend whose influence has been immense. Fumio Karashima was also highly visible in the Japanese jazz world, and internationally to a lesser degree (admittedly, few musicians worldwide achieved DeJohnette’s level of fame). Yet, as an undeniable force and a recognized name in the jazz community, Karashima lived a life full of jazz, performing, touring, and recording for spans of years at at time with other jazz giants including American drummers Elvin Jones, Tony Williams, not to mention an abundance of amazing Japanese musicians.\nThe eight songs on Great Time are brawny but clear, and they hit with an impact. From quick uptempo 4/4 swing, bluesy grooves, graceful flights, and moody suspense, the music moves and dances. Like with a lot of excellent jazz, there’s a conversation happening between Karashima, Gress, and DeJohnette, one that is filled with a simple joy, but also a deep respect for each other and the seriousness of the music they are creating.\nKarashima passed away in 2017 and leaves behind a lasting memory of incredible live concerts and jazz recordings, such as this one. A Great Time indeed.\nLiner Notes (Transcribed text of Jin Nakahara’s original English liner notes from the CD, with light editing for readability and minor correction of typos.)\nFumio Karashima released his first album in 1976, making this year (2006) the thirtieth anniversary of his debut release.\nFor 30 years he has remained a constant and active figure on the live scene. In the early 8o’s he was a member of Elvin Jones’ Jazz Machine and in 2003 he has taken his trio on a tour of Central South America from Cuba to Argentina, leaving his mark all over the world.\nAn artist with a refined and precise touch Fumio Karashima’s outstanding technique and skill, whilst evident, does not overpower the warm-blooded spontaneity of his sound. Born in Kyushu, the southernmost main island of Japan, whose men are renowned for their determination, it is perhaps no surprise that he continues unperturbed by changes in fashion to head straight along the path he has cleaved for himself. He has a stable and unfaltering base to rest on which leaves listeners free to entrust their hearts to him without fear.\nNearly two years since the release of his last album, It’s Just Beginning, recorded with Yousuke Inoue (bass) and Shingo Okudaira (drums), Fumio Karashima’s new album, Great Time marks his first collaboration with Jack De Johnette and is an album more than worthy to celebrate his 30th anniversary.\nFumio Karashima spent 6 years as a regular member of Elvin Jones’ band, after, in 1978, Elvin participated in Karashima’s leader album, Moonflower, which he recorded as a trio. In 1993, he was joined by Tony Williams in the recording of Fumio Karashima San Francisco, once again a trio album. So after recording with Elvin and Tony, this is now the third album for Karashima to collaborate with a master jazz drummer.\nAfter distinguishing himself as a member of the Miles Davis’ group in the late 60s during the “Bitches Brew” period, Jack De Johnette has as a member of Directions, New Directions, Special Directions continued to release influential and powerful pieces, and since the passing of Elvin Jones and Tony Williams, is without a doubt the most prominent drummer alive today. And, as the albums of the bands mentioned above show, his skills are not limited to drumming, but he is also a very talented producer. Before he began drumming he played the piano and his talent is such that he has also released several albums as a pianist.\nFor 20 years Jack De Johnette has with Keith Jarrett and Gary Peacock been a member of the well-known piano trio commonly known as “Standards Trio”. He recently appeared with John Patitucci in Hank Jones’ The Great Jazz Trio — whose first drummer was in fact Tony Williams — and has already released two albums. In 2002, he recorded with Hank’s younger brother, Elvin Jones. Whilst only a coincidence, the resemblance to Fumio Karashima’s history with costarring drummers is quite remarkable.\nThis new album Great Time is a collaboration between Fumio Karashima and Jack De Johnette bound together by bassist Drew Gress, recommended by Jack. As well as his leader albums 7 Black Butterflies and Spin \u0026amp; Drift, Gress has appeared on saxophonist-turned-pianist Mark Copland’s trio album Haunted Heart \u0026amp; Other Ballads, and Ravi Coltrane’s new album In Flux. A musician who can move effortlessly from mainstream to avant-garde, he continues to provide a reliable framework in all his recordings.\nOne look at the piece selections reveals the unrivaled enthusiasm with which Karashima has approached this recording with Jack De Johnette and Drew Gress. Unlike his last and most recent solo album, It’s Just Beginning, which concentrated on standard numbers, five of the eight tracks on this new album are Karashima’s original works, and we are once again reminded of Karashima’s genius as a composer. Through his performance Karashima expresses everything that he is now, confronting Jack head-on who in his turn gives as much as he gets. According to Shinagawa, who produced the album in New York with Karashima, the session break-time ping-pong matches were equally heated.\nThe first track is an original song dedicated to Jack “Like Blues For J.D.” and the unison of the trio makes it hard to believe that it is their first collaboration. What strikes the listener more than anything is the harmony of the sound that the three musicians’ performance creates, most evident perhaps in the second track, Karashima’s original piece, “Quiet Moment”. One by one the notes float crystalline from the piano, and the cymbal appears to sing as it retains enormous presence at even the smallest of volumes. Supporting all this is the crisp sound of the bass reply. The three musicians blend so seamlessly together that any listener would think that they were witnessing the three primary colors of music.\n“Just Enough” is a Herbie Hancock piece which, amongst others, has been performed by Herbie with Grover Washington Jr. and also as a duet with Eliane Elias. Previous versions have been performed as slow ballads but here an up-tempo performance reveals a different side of the song.\nWith the forth track we return to Karashima’s original works: “Those Years” is a piece with a reminiscent flavor and is followed by “Brilliant Darkness” whose thrilling performance is matched by the perfect harmony of the three artists’ sound, and next is the impressive dry lyricism of “Stillness”. Listeners are likely to find this part of the album the most absorbing.\n“I Fall In Love Too Easily” is the only standard number on the album and a song which Jack performed on Keith Jarrett’s Standards Vol. 2 (1983). Finally is Chick Corea’s early work “Straight Up And Down”. With a performance so immaculately timed that you can almost hear the musicians breathing in unison, this is perfect finale for the album.\nA concert performance of this dream trio is something that we hope to look forward to in the future.\nDecember 2005 Jin Nakahara\nGreat Time by Fumio Karashima Fumio Karashima - piano Jack DeJohnette - drums Drew Gress - bass Released in 2006 on Pit Inn Music as VACM-1277.\nJapanese names: 辛島文雄 Karashima Fumio\nAudio and Video “Fumio Karashima: Great Time (full album audio): Excerpt from track #5: “Brilliant Darkness” ","permalink":"https://mirror2.jazzofjapan.com/fumio-karashima-great-time/","summary":"\u003cp\u003eJazz pianist Fumio Karashima’s 2006 album \u003cem\u003eGreat Time\u003c/em\u003e scratches the itch for a straight ahead jazz recording, bringing with it the satisfaction of the promised enjoyment conveyed by the title. Joining Karashima are Drew Gress on bass and Jack DeJohnette on drums, making up a trio of well-known and highly respected musicians in the jazz world. In particular, DeJohnette, who passed away in October 2025, was a worldwide legend whose influence has been immense. Fumio Karashima was also highly visible in the Japanese jazz world, and internationally to a lesser degree (admittedly, few musicians worldwide achieved DeJohnette’s level of fame). Yet, as an undeniable force and a recognized name in the jazz community, Karashima lived a life full of jazz, performing, touring, and recording for spans of years at at time with other jazz giants including American drummers \u003ca href=\"http://www.pit-inn.com/karashima/en/disc/1990/\"\u003eElvin Jones\u003c/a\u003e, \u003ca href=\"https://www.suruga-ya.com/en/product/229003679\"\u003eTony Williams\u003c/a\u003e, not to mention an abundance of amazing Japanese musicians.\u003c/p\u003e","title":"Fumio Karashima: Great Time"},{"content":"A few minutes walk from Nishi-Ogikubo station in Tokyo lies a scruffy stairway that leads down to the entrance to Aketa no Mise jazz bar. Above the stairway lies the Japanese name アケタの店 (Aketa no Mise — more on this later) and the words LIVE, SINCE 1974, and, in small print in a corner, アケタ革 (Aketagawa), and attached to the walls are crinkled flyers, schedules, and faded pictures of jazz events. There are enough clues for first-timers who lack Japanese fluency to know that this must be the jazz bar near Nishi-Ogikubo station that they were told about. Plus, it’s another legendary jazz spot right off of the lengthy Chuo train line, aka the “jazz line”, along with Velvet Sun, Manhattan, Shinjuku Pit Inn, and others.\nFigure 1: The downstairs entry to Akena no Mise\nDescending the well-worn stairs leads to a lower landing and the inner door to Aketa no Mise. This leads to a dark and plain square of a room with a floor-level stage and instruments set against the back. As you step in and to the left, a simple handwritten menu is on the wall just to the side, making it convenient to order a drink or a snack (quickly scanning the handwritten Japanese menu) as you pay the admission fee to enter. Once done, take a seat from either the various low tables and basic chairs in the room or on the few bench-style seats against either side wall.\nTake in the small room at a glance. A grand piano, drum set, and instruments at rest fill up the stage area before an expressively colorful wall mural with a funky beatnik vibe. Crates prop up speakers, cables are draped over and run where necessary, and threadbare carpet is repaired in patches with tape. Decorations may be hanging from some previous celebration. The walls are covered with papers, signs, and plastic CD cases that have absorbed decades of captive smoke. An independent spirit lives here in a genuine sanctuary for improvised music where artistic freedom is uncompromising.\nFigure 2: Stage area at Aketa no Mise\nAs a mild caution, the initial ragtag impression that the bar exudes may be offputting, especially to those who avoid dark, dingy spaces. It may even seem intimidating, like a members-only spot where outsiders seldom go. While its may be true that the setup is spartan and some of the furnishings are improvised and frayed, Aketa no Mise is welcomes jazz lovers with a live and let live attitude. Those are come to listen and appreciate the art and edge of jazz will feel comfortable here.\nFigure 3: Ko Omura (drums), Kosuke Ochiai (bass), and Taeko Kurita (piano) at Aketa no Mise (March 2025)\nThis all results in a great sense of authenticity, history, and support through the generations of opened minded jazz fans and the musicians who play here. It is a jazz haven with deep roots and a tangible soul. The fact that Aketa no Mise has been in business for over 50 years (opened in 1974), and much loved by jazz musicians and dedicated listeners throughout, makes itself immediately felt. The musicians take their music seriously here, and the piano sounds great.\nAs an overview for the general jazz club goer who is deciding whether to try this spot, there are two things that make Aketa no Mise a unique spot among the many places in Tokyo. One is the shop’s support of and focus on diverse acts including avant-garde, experimental, and free jazz.\nFigure 4: Taeko Kurita (melodica) and Takeshi Shibuya (piano) at Aketa no Mise (October 2025)\nThe other is Aketa’s spotlight on one particular instrument, the ocarina, which is a type of small, potato-shaped ceramic or clay flute with a lineage to vessel flutes going back 12,000 years.\nFigure 5: Taeko Kurita (piano) at Aketa no Mise (October 2025)\nSomething that may put off some jazz bar seekers is the name of this jazz bar, written in Japanese as アケタの店 rather than the “Aketa no Mise” romanization used here. Unlike many other jazz spots in Japan, considering a shop name that is in Japanese among the abundance of English-named venues in Japan (many borrowed from the names of popular jazz songs or familiar jazz themes) could put up a hurdle that makes it an easy place to skip over and possibly look into later. Yet, the use of Japanese script should not be seen as an exclusive “Japanese speakers only” indication, and it does not mean to imply anything. It’s just an unpretentious name, clear and to the point.\nThe name “Aketa no Mise” literally means “Aketa’s Shop”, and Aketa is an abbreviated nickname for the owner Aketagawa (明田川) Shoji (荘之), or Aketa in short. Aketa’s full name is Shoji Aketagawa (明田川荘之) (discography).\nFigure 6: Sign at entrance to Aketa no Mise: “Live \u0026amp; Ocarina アケタの店 Aketa”\nThe man Aketa is famous for being a performing pianist, ocarina player/instructor/maker/museum curator, writer, jazz bar owner, and an overall jazzy guy. He inherited and ran the original ocarina storefront passed down from his father, Takashi Aketagawa, who was widely known as the father of the Japanese ocarina, responsible for creating the 12-hole style of ocarina modified from the traditional 10-hole European model in 1928, and a fully chromatic ocarina in 1948.\nFigure 7: Mixed nuts and Sapporo can beer at Aketa no Mise\nShop-owner Aketa also started his own independent record label Aketa’s Disc in 1975, and he also operated a storefront for those same instruments known worldwide as “Aketa ocarina” that were designed by his father Takashi Aketagawa.\nAlthough ocarinas are not often played in jazz contexts , Aketa did a lot to promote the instrument in the world of Japanese jazz, being one of if not the central figures in the spheres of the country’s jazz and ocarina scenes. Popular knowledge of the instrument increased tremendously due to Nintendo’s popular 1998 ocarina-themed video game The Legend of Zelda: The Ocarina of Time. In the jazz context, a superb ECM recording that features ocarina is Eberhard Weber The Colours of Chloë (full album, playlist) from 1974.\nFigure 8: Wall of CDs at Aketa no Mise\nEver dedicated to having a regular schedule with a great lineup of musicians, Aketa no Mise has nighttime shows on most nights, usually from 8:00pm to 11:00pm. In addition to these nighttime shows, there are also some daytime events (3-6pm) and occasional late-night after shows (12:00am to 1:30am).\nFigure 9: Aketa no Mise T-shirt\nOne last aside about this bar’s name:When translated to English, “Aketa no Mise” simply means “Aketa’s shop”. But with some imagination, it could also be read as “The Open Store” through some playful wordplay.\nOutside of written context, the spelling for “Aketa” can be both 明田, from his name Aketagawa, and 開けた, from aketa. Aketa is the past tense of the verb to open, akeru (あける). The middle word no is the possessive marker in Japanese, like ’s in English. Mise (店) is store or shop. So, with some imagination, Aketa no Mise (アケタの店) could be interpreted as “The Open Shop” or “The Store that Opened”, in a roughed-up grammar sort of way. Ok sure\u0026hellip; but the letters for Aketa in the signage are written in katakana (アケタ) rather than hiragana (あけた) or even kanji (開けた, etc), reinforcing the impression that this is really a name rather than a common verb when used here. The spelling for “Aketa” can be both 明田, from his name Aketagawa, and 開けた, from aketa, opened.\nFigure 10: Shoji Aketagawa 1950/10/23 - 2024/11/16\n","permalink":"https://mirror2.jazzofjapan.com/aketa-no-mise/","summary":"\u003cp\u003eA few minutes walk from Nishi-Ogikubo station in Tokyo lies a scruffy stairway that leads down to the entrance to Aketa no Mise jazz bar. Above the stairway lies the Japanese name アケタの店 (Aketa no Mise — more on this later) and the words LIVE, SINCE 1974, and, in small print in a corner, アケタ革 (Aketagawa), and attached to the walls are crinkled flyers, schedules, and faded pictures of jazz events. There are enough clues for first-timers who lack Japanese fluency to know that this must be the jazz bar near Nishi-Ogikubo station that they were told about. Plus, it’s another legendary jazz spot right off of the lengthy Chuo train line, aka the “jazz line”, along with \u003ca href=\"https://www.jazzofjapan.com/archive/velvet-sun\"\u003eVelvet Sun\u003c/a\u003e, \u003ca href=\"https://www.jazzofjapan.com/archive/manhattan\"\u003eManhattan\u003c/a\u003e, \u003ca href=\"https://www.jazzofjapan.com/archive/pit-inn\"\u003eShinjuku Pit Inn\u003c/a\u003e, and others.\u003c/p\u003e","title":"Aketa no Mise"},{"content":"The new album Orbital Resonance from Sumire Kuribayashi, released in September 2025, is the latest creative output from the popular Japanese jazz pianist and composer. This graceful album contains eight original songs performed by the trio of Sumire Kuribayashi on piano, Motohiko Ichino on guitar, and Kyrie Anderson on drums, with guest trumpeter Niran Dasika making it a quartet on three songs.\nFor this release, two prominent jazz players from Australia join Kuribayashi and Ichino, yet Kuribayashi is no stranger to international connections. In addition to her frequent concerts in Japan, she’s performed with many non-Japanese musicians for overseas tours and recording sessions, including this album’s guest trumpeter Niran Dasika, who has recorded several of his past albums with Kuribayashi.\nNaturally, Kuribayashi’s sense of cross-boundary collaborations in jazz extends to this album as well. Although the musicians span continents, and the title grants images of far-away orbiting bodies resonating grandly, their music here is firmly grounded with a warm hum. It conveys introspection, as if to encourage and reward inward meditation. The atmospheric music, at-times dark and intimate, sets the right mood for pulling true emotions out of the musicians, not to mention the listeners. Even the cover art seems to invite an infinite inward/outward gaze, as four planes narrow to a point bounded by distant clouds where a solitary bird explores the limits.\nThis jazz trio consists of piano, guitar, and drums (and quartet with trumpet for three songs), so this is a somewhat unconventional jazz combo format in terms of classic combo setups.\nThe so-named bass-less trio format has no low notes produced by an upright bass player. While, technically, the piano range covers the same low notes as an upright bass, the effect is audibly different. The large double bass instrument is not just visually imposing, but naturally creates its own distinctive thumps, slides, hits, and pulls, and all manner of dynamics that a player’s direct fingers on the strings can pull off, in addition to the occasional bowing and the unique personality and style of the individual playing the instrument.\nSome say bass-less trios can open up the sound of the group, in so far as the harmonies can be more ambiguous with a floating feeling in the absence of expansive low bass notes that lock the musical roots in and set the pulse of time. Having no bassist can also influence the rest of the group as they adjust their playing to compensate or experiment with different styles of playing in the sonic space.\nOn Orbital Resonance, the musicians may be more conscious of their roles and their unique tones playing without a bass net. They interact closely and there is a heightened effect of their unified texture of interlaced sounds. The piano’s tender delicacy and steady riffs, the warmly organic guitar tone, and the drums’ kaleidoscopic shimmering, combine to produce a sound that is mellow but alive. This vibrancy is increased when evocatively whispered trumpet is added, and when those whispers grow to more intense effusion.\nAn emotional hue colors the album, with colors ranging from ethereal and gentle (#1 “Deep Breath”), soothing as a balm (#2 “Family”), moodily exciting and dramatic (#4 “Tanabata Song”, #6 “Road”, #7 “Green Sprout”), and mournful (#3 “Bittersweet”). There are also bright and positive moments (#5 “Yell”, #8 “Onaji Fune ni Noru” (riding on the same boat)) where hope rises and swells to orbit above the clouds, promising better days ahead.\nThis late 2025 release and the followup tour dates for Sumire Kuribayashi’s Orbital Resonance also marked a special anniversary for the pianist, as it has been a full decade since her debut album Toys (2014) came out. This CD was released in September 2025, and an LP release of Orbital Resonance is planned to be released in May 2026. More information on this album can be found at Orbital Resonance album/streaming links and the Sumire Kuribayashi Online Shop.\nOrbital Resonance by Sumire Kuribayashi Sumire Kuribayashi - piano Motohiko Ichino - guitar Kyrie Anderson - drums Niran Dasika - trumpet (#4, 5, 7) Released in 2025 on Somethin’ Cool as SCOL-1078.\nJapanese names: 栗林すみれ Kuribayashi Sumire 市野元彦 Ichino Motohiko キリー・アンダーソン Anderson Kyrie ニラン・ダシカ Dasika Niran\nAudio and Video Promotional video for Orbital Resonance: “Tanabata Song” from Orbital Resonance: Interview with Sumire Kuribayashi on the RoseLove’s Love Power Podcast about Orbital Resonance, with album excerpts and discussion: Excerpt from track #5: “Yell” ","permalink":"https://mirror2.jazzofjapan.com/sumire-kuribayashi-orbital-resonance/","summary":"\u003cp\u003eThe new album \u003cem\u003eOrbital Resonance\u003c/em\u003e from Sumire Kuribayashi, released in September 2025, is the latest creative output from the popular Japanese jazz pianist and composer. This graceful album contains eight original songs performed by the trio of Sumire Kuribayashi on piano, Motohiko Ichino on guitar, and Kyrie Anderson on drums, with guest trumpeter Niran Dasika making it a quartet on three songs.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1340562x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1340562x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eFor this release, two prominent jazz players from Australia join Kuribayashi and Ichino, yet Kuribayashi is no stranger to international connections. In addition to her frequent concerts in Japan, she’s performed with many non-Japanese musicians for overseas tours and recording sessions, including this album’s guest trumpeter Niran Dasika, who has recorded several of his past albums with Kuribayashi.\u003c/p\u003e","title":"Sumire Kuribayashi: Orbital Resonance"},{"content":"Yuri Hirota’s album Magical Moonlight was released in 2017 as a petite jazz gallery of some of her favorite songs and original compositions songs. These are played by pianist Hirota with her group,“Quartet Tsukino no Sampo” (月夜の散歩), which roughly translates to The Walk on a Moonlight Night Quartet.\nAlthough this is a slightly older album, Hirota announced recently that this album and her earlier release Flea Circus (2015) were now available on streaming platforms, making this a good time to refresh this short article about the album.\nMagical Moonlight is a full release on the shorter side, a quick play-through of eight songs that runs for about 36 minutes. It’s an easy-going affair, a stroll through good old-fashioned sounding jazz. The nostalgia is enhanced by the group’s format, a quartet made up of Hirota on piano, Daisei Mii on violin and viola, Yusuke “Kilin” Sato on bass, and Gen Date on conga/percussion. A fifth musician, guitarist Yuichiro Hiraoka, joins as a special guest on three tracks, adding more close-up tangibility to the group’s grounded sweetness.\nThe eight songs are arranged by pianist Hirota, and three were composed by her. Overall the songs have a pleasantly throwback feel. Track #1 “Pepe le moko” is a languid start with a Parisian atmosphere that leads to a cute waltz with #2 “Furuhon-ya no Waltz”. #3 “C’est si bon” is that well-known French chanson, and #4 “Doggy Rhumba” is an uptempo rhumba version of Chopin’s “Minute Waltz” (aka “Waltz of the Puppy”).\nFor track #5, the Japanese min\u0026rsquo;yō folk song “Tanko Bushi” gets the “Ahmad Jamal ‘Poinciana’” treatment. The old classic #6 “Into Each Life Some Rain Must Fall” is simply cheerful. #7, Hirota’s “Ron Zaca Party” is played like a festive party arising from the wordplay of “Ron Zacapa”, a premium Guatamalan rum. Finally, the last track #8 “Can’t Take My Eyes Off You” is a sentimental stride piano with a dusty saloon vibe, smoky, sultry, and comfortable.\nLiner Notes (Translated from Yuri Hirota’s original Japanese liner notes.)\nNotes on a moonlit walk.\n1.Pépé le Moko - Yuri Hirota\nA port city in a distant foreign country. A soft serenade can be heard from an alleyway bar. You have a nostalgic scent of Paris about you. I wish we could walk together a little longer. A song from Jean Gabin’s Pépé le Moko, a French classic film that I saw.\n2.Furuhon no Waltz (Waltz of the Secondhand Bookstore) - Yuri Hirota\nWe re-recorded songs from the “Kurofune Lady and the Ginsei Orchestra” [黒船レディと銀星楽団, /a swing-pop-retro band that Yuri Hirota was a member of/] period as instrumentals.\n“That book is still half-read\nLeft behind, sometime, forgotten on a train\nTime flows on\nThe days of my youth are distant and hazy”\n— lyrics Fumi Mizubayashi (Kurofune Lady) from Furuhon-ya no Waltz\n3.C’est si bon - Henri Betti\nIt’s soooo wonderful. It’s chanson.\n4.Koinu no Rhumba (Doggy Rhumba) - Frédéric Chopin\nI throw a ball and they run at full speed to go snatch it. I love the sound of their nails as they grab at the floor. Of course, the original song is a waltz.\n5.Tanko Bushi (Coal-miner’s Song) - Japanese Traditional\nAn homage to Ahmad Jamal, a pianist I love. It seems as if exotic music and Japanese folk songs are compatible.\n6.Into Each Life Some Rain Must Fall - Doris Fisher\nA great song by The Ink Spots, a chorus group active in the 1930s. As long as we live, there are sure to be some rainy days. It’s just a spring rain\u0026hellip; So why not get wet?\n7.Ron Zaka Party - Yuri Hirota\nDedicated to the great rum from Guatamala. Drink it, and it’ll make you want to stomp your feet in high spirits.\n8.Can’t Take My Eyes off of You — Bob Crewe \u0026amp; Bob Gaudio\nA killer tune from the 1980s disco era done with a vaudeville arrangement. Don’t skip the shocking finale!\nMagical Moonlight by Yuri Hirota Yuri Hirota - piano \u0026amp; arrangement Daisei Mii - violin \u0026amp; viola Kilin Sato - bass Gen Date - conga \u0026amp; other percussion Yuichiro Hiraoka - guitar on #1, 3, 7 Released in 2017 on Malt Oriental as MORI-0003.\nJapanese names: 廣田ゆり Hirota Yuri 三井大生 Mii Daisei 佐藤きりん Sato Kilin 伊達弦 Date Gen 平岡遊一郎 Hiraoka Yuichiro\nAudio and Video Audio for “ぺぺ・ル・モコ”, track #1 on this album: Audio for “古本屋のワルツ”, track #2 on this album: Full playlist (YouTube)\nFull playlist (Spotify)\nExcerpt from track #5: “炭坑節(Tanko Bushi)”\n","permalink":"https://mirror2.jazzofjapan.com/yuri-hirota-magical-moonlight/","summary":"\u003cp\u003eYuri Hirota’s album \u003cem\u003eMagical Moonlight\u003c/em\u003e was released in 2017 as a petite jazz gallery of some of her favorite songs and original compositions songs. These are played by pianist Hirota with her group,“Quartet Tsukino no Sampo” (月夜の散歩), which roughly translates to \u003cem\u003eThe Walk on a Moonlight Night Quartet\u003c/em\u003e.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220509x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220509x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAlthough this is a slightly older album, \u003ca href=\"http://miss.blog20.fc2.com/blog-entry-900.html\"\u003eHirota announced recently\u003c/a\u003e that this album and her earlier release \u003cem\u003eFlea Circus\u003c/em\u003e (2015) were now available on streaming platforms, making this a good time to refresh this short article about the album.\u003c/p\u003e","title":"Yuri Hirota: Magical Moonlight"},{"content":"Anitya is pianist Harumi Nomoto’s fourth trio record, released in 2025. It’s been a decade-plus since the trio’s previous release Virgo (2014), with their earlier albums released as far back as 2007 and 2002, so it was a thrilling surprise when plans for a new recording were announced at one of their live shows early last year. The anticipation from their loyal fans rose in 2025 as the trio scheduled more concerts before the recording, to fine-tune the new songs and oil the performance gears at live concerts around Tokyo. Following that, Anitya was quickly recorded over two days in June and released in December 2025 right in the midst of a busy holiday season.\nThe 45-minute album contains all original compositions from the pianist, eight new songs in her consistently original but true-to-jazz-roots style that incorporates different rhythms, influences, and cultures. The trio members — Harumi Nomoto on acoustic piano, Ryoji Orihara on fretless electric bass, and Sohnozuke Imaizumi on drums — are the same as 2014’s Virgo, and they gel perfectly as a fun, intuitive, and locked-in trio playing a variety of Nomoto’s compositions and great picks from the standard jazz canon.\nThe album starts with track #1 “Double Touch” with an immediate shift into Nomoto’s style of creative, straight-ahead piano trio jazz. Unexpected accents written into the melody pique curiosity with a feeling of near-imbalance that is rooted in the solid ground of unshakable groove. This sets the mood for a special loose-but-tight feeling in the music, one that displays the skill and excellence the musicians bring together through puzzle-piece coordination and trust.\n#2 “Seiran” could be heard as a dichotomy of J-Jazz, where the intro and outro sections serve up a smooth club jazz/hip hop posture surrounding an inner core of medium-tempo good ol’ jazz blues.\n#3 “Sudoku” is a song built on a musical challenge as Nomoto arranges twelve notes and twelve chords of the chromatic scale into a hopscotch framework of music. (This puzzle formulation is reminiscent in jazz of Bill Evans’ “T.T.T. (Twelve Tone Tune)” and, in Japanese jazz, Hitomi Nishiyama’s “T.C.T. (Twelve Chord Tune)”.) With Orihara and Imaizumi covering the foundation, Nomoto’s adlibs through most of the song with a wildly unconstrained yet carefully controlled solo. As with many of the moments on this album, the trio walks a tightrope of concentration and relaxation, where only their familiarity, intuition, and skills keep them aloft in the air as they improvise spontaneously.\nTrack #4 “Cucumber Man” is a happy groove jam in the direction of Herbie Hancock hard bop and New Orleans-style funk, filled with the brightness of three jazz musicians settling in for some fun.\n#5 “Guitar no Yo Ni” is another smooth offering that brings laid-back comfort with a rock/hip-hop beat to the fore, similar to the intro and outro of #2 “Seiran”. Some sounds from Nomoto’s earlier releases and also in this style, particularly Belinda (2007) with its emotionally stirring loops of chords-to-chord wrinkles on certain progressions with deep groove drum beats.\nTrack #6 is the title track “Anitya”, a forward-learning modern jazz song that grabs the attention with its sharp writing and performance.\nThe last two tracks, #7 “Warm Winter” and #8 “Jacques”, work nicely together as a pair of songs to wrap things up, guiding the listener out gently and lovingly. As the album starts to close, the sounds are slower and more tranquil, as if luring us into a deeper state of peace, an extended goodbye. “Warm Winter” sets a lovely and sweet mood as Nomoto plays expressively throughout the song. The closing track “Jacques” dives even further for a darker feeling of intensity with peace, an immense tidal blue expanse that surrounds and supports everything.\nLiner Notes (Translated from Harumi Nomoto’s original Japanese liner notes.)\n1.Double Touch\nThis is a blues-form song with accents set in certain places to shift the timing. The title comes from a soccer term related to footwork.\n2.Seiran (青藍, indigo blue)\nThis song is an 8-bar blues progression. I love the color of indigo blue that is called seiran in Japanese.\n3.Sudoku\nI created a song that uses 12 notes for the melody and 12 chords. There was a time when I was hooked on sudoku (“number place”). The way the performance starts like a puzzle and gradually turns chaotic resembles the way that I feel when I am solving a sudoku.\n4.Cucumber Man\nThere’s an anecdote about a person who was told “In a past life, you were a cucumber”. For some reason, I remembered this at a time when I wrote a cheerful-sounding tune. It’s a play on “Watermelon Man” by Herbie Hancock.\n6.Guitar no Yo Ni (ギターのように)\nI originally started writing this thinking about the soft strumming of a guitar. As I continued to work it, it became something completely different\u0026hellip; but that’s alright, too.\n6.Anitya\nI wrote this song thinking of a Spanish 3-beat song that I happened to hear. Once again, the result turned out to be something completely different. Anitya is a Sankrit word that expresses the meaning of impermanence. Although it’s is unrelated to the song itself, I come to think more about these things as I grow older, so I chose this title.\n7.Warm Winter\nIf I recall correctly, around the time the coronavirus had started spreading, there was a warm winter without any snowfall. This is a melody that came to me at the time, when I was feeling uneasy for some reason or another.\n8.Jacques\nI created this song while imagining waves coming in and going out. I borrowed the name from the legendary diver Jacques Mayol, who loved the sea around Tateyama in his later years.\nAnitya by Harumi Nomoto Trio Harumi Nomoto - piano Ryoji Orihara - fretless bass Sohnosuke Imaizumi - drums Released in 2025 on Okra Record as MIKO-9001.\nJapanese names: 野本晴美 Nomoto Harumi 織原良次 Orihara Ryoji 今泉総之輔 Imaizumi Sohnosuke\nAudio and Video “Cucumber Man” (track #4) — live at Bon Courage, Tokyo, in February 2025: “Guitar no Yo Ni” (track #5) — live at Pit Inn, Tokyo, in June 2024: “Warm Winter” (track #7) — live at Pit Inn, Tokyo: Harumi Nomoto Trio: Anitya promotional video with short excerpt from “Aniyta” (track #6): Harumi Nomoto Trio: Anitya promotional video with short excerpt from “Cucumber Man” (track #4)\nFull album (YouTube)\nFull album (Spotify)\nFull album (Apple)\nExcerpt from track #1: “Double touch”\n","permalink":"https://mirror2.jazzofjapan.com/harumi-nomoto-trio-anitya/","summary":"\u003cp\u003e\u003cem\u003eAnitya\u003c/em\u003e is pianist Harumi Nomoto’s fourth trio record, released in 2025. It’s been a decade-plus since the trio’s previous release \u003ca href=\"https://www.jazzofjapan.com/archive/harumi-nomoto-trio-virgo\"\u003e\u003cem\u003eVirgo\u003c/em\u003e (2014)\u003c/a\u003e, with their earlier albums released as far back as 2007 and 2002, so it was a thrilling surprise when plans for a new recording were announced at one of their live shows early last year. The anticipation from their loyal fans rose in 2025 as the trio scheduled more concerts before the recording, to fine-tune the new songs and oil the performance gears at live concerts around Tokyo. Following that, \u003cem\u003eAnitya\u003c/em\u003e was quickly recorded over two days in June and released in December 2025 right in the midst of a busy holiday season.\u003c/p\u003e","title":"Harumi Nomoto Trio: Anitya"},{"content":"Guitarist Hiroshi Fukutomi’s first album is Rings of Saturn from 2010. On this recording, the guitarist plays modern jazz compositions under the flag of his own quintet featuring Masahiro Yamamoto on alto and soprano sax, Koichi Sato on piano (also on Fukutomi’s 2014 followup Memory Stones), Hiroshi Ikejiri on bass, and Ryo Shibata on drums.\nFukutomi’s debut album runs for 54 minutes and features seven original compositions, six from Fukutomi and one from saxophonist Yamamoto. The songs are composed by Fukutomi to be platforms for interplay, where the front-most instruments of guitar, sax, and piano merge and relay with an intimate immediacy, rather than each musician stepping back to make room for longer periods of singular adlibs. As with great jazz combos, there’s close collaboration where all five members listen closely to one another, pick their moments to step forward or back, and raise or relax the tension with the right-timed notes and rhythms.\nThe first six tracks are from leader Fukutomi and display a thoughtful sense of development. The opening songs, “Rings of Saturn” and “Lost and Found” are comfortable on the surface but potentially complex, with extra structures and ornaments added for increased interest, fun, and depth. For example, the latter offers odd-time meters (11/4 and others?) with changes and extra beats to offset regular expectations. Through the strength of the snappy rhythms, melodies, and progressions, it all works together to make elaborate yet catchy tunes.\nTrack #3 “Lotus” is a backing off from the fire, a relaxing meditation of hopeful optimism. The pretty lines filled with a spiritual, uplifting sound, mellow yet involved. #4 Sakasama-no-Tokei features a steady soft-rock pulse, flexible and full of life with time to breathe, relax, and be aware. #5 “The Place We Had” is patient as mild mysteries of memory are presented and unwrapped. #6 “New Moon” is another swinger with odd-beat measures to increase the journey’s adventure. These sounds recall some of Bungalow’s (with Yamamoto, Sato, and Ikejiri) original music and playing. In a similar mold, #7 “Chasing” is an exciting song written by saxophonist Yamamoto and is a mature and lyrical shapeshifter, swirling and folding time.\nIncidentally, Masahiro Yamamoto, along with Sato and Ikejiri, was a founding member of Bungalow, a richly eclectic jazz quartet formed in 2010. They released two albums together with Yamamoto on sax and composing duties (2011’s Metropolitan Oasis and 2013’s Past Life) before Yamamoto left, after which Bungalow released three more albums with Australian saxophone player Mike Rivett. In the same jazz family sense and general time period, bassist Ikejiri also plays on Koichi Sato’s debut release Utopia (2011).\nLiner Notes (Translated from Masato Maedomari’s original Japanese liner notes.)\nI can’t help but think that great jazz guitarists seem to have considerable craftsmanship in their approach to some extent. This is not limited to their outstanding performance skills. Even the distinctiveness of their atmosphere and presence can be noticed, perhaps moreso than guitarists of other genres. I sense that type of characteristic in Hiroshi Fukutomi. Despite this being his debut album, he has the courage to enter the ring with all original songs that he wrote, aside from one track. Further, for the one cover song, he did not simply choose a jazz standard, but he went so far as to pick a song by Masahiro Yamamoto, the band’s sax player. The degree of self-discipline is admirable. And it’s no wonder, since each song offers up a beautiful melody that compels you to whistle along.\nThe straightforward quintet form produces an attractive sound where both thrilling and relaxing sounds coexist. Guitar and soprano, alto sax, piano and sax\u0026hellip;the balanced and unified ensemble is breathtaking. Similarly, their unison performance on the same note or melody can be astonishing. It feels like this is the pinnacle of the ensemble. It’s like a kaiseki meal at a traditional Japanese restaurant, with various rice dishes, boiled and stewed foods cooked with light soy sauce, and everything looks beautiful at first sight, with a delicate sensibility. The sounds of the instruments are carefully woven together like wickerwork, taking on a perfect harmony. All seven tracks on this album are filled with the smooth warmth of skin, pleasing to the ears. The synchronicity of the five musicians is perfected and brings out the full beauty of each song.\n1.Rings of Saturn\nThe opening tune “Rings of Saturn” is the CD’s title track. This is a number with a refined transparency that symbolizes the essence of the album. An elegant guitar with a masculine bass. Comfortable yet stimulating. Bravo to the five musicians who pull off such difficult and complicated things with ease together in unison. According to the composer Fukutomi, the song is about this world that is made up of many different things mixed together, but something that may appear to be a unified thing when viewed from afar, like the rings of Saturn. That’s the reason for the title of this song.\n2.Lost and Found\nThe melody is nostalgic, easy to remember. The literal translation is “the lost and found office” (遺失物取扱所, ishitsubutsu toriatsukaijo), but when you listen, you notice that it’s about the forgotten things of the ages. This is a time when we can get anything, but in reality, the things we have lost are innumerable. It’s dazzling, seeming to be saying, let’s restore in this busy world something, even just music at least, to the brilliance of the past. Sato’s piano is fascinating in the way he adds balance to the spacey progression. Fukutomi explained this song to me. It’s a story from his personal experience. It seems that just after arriving in Tokyo, he lost his wallet. While lost in the despair of losing his credit cards and drivers license, he expresses the sense of relief he felt when some kind person found the wallet and returned it to him. Nothing was missing.\n3.Lotus\nA beautiful and gentle introduction from Fukutomi’s guitar and Ikejiri’s bass. Yamamoto’s soprano sax is soothing and relaxing. The guitar tone almost resembles a recorder playing finely. It makes you feel the depth of the guitar. Lotus is the pedestal the Buddha sits upon, that is the “lotus flower” (蓮華, renge). It’s a pure and gentle song, filled with the tranquility that could perhaps be compared to a state of enlightenment, completely free of worldly desires. Fukutomi explained that in the middle of writing this song, he felt a mysterious moment where it seemed as if he could see a flower blooming.\n4.Sakasama-no-Tokei (Upside-Down Clock)\nWhile listening to “Sakasama-no-Tokei”, I was flipping through the magazine Agora (November 2009 issue), and there was a feature on live jazz in New York, written by the author Haruki Murakami. Quoting from the beginning: “If you were allowed to use a time machine in any way that you like just once, what would you want to do? My answer is decided. I would like to fly back to New York in 1943, to hear Clifford Brown and the Max Roach Quintet perform live at a jazz club there. That’s what I want.” It was an exciting piece. Around the 3-minute 10-second mark, Sato’s piano arouses a world of illusion, like going back to the past in a time machine. There was perfect synchronicity. Fukutomi explains that the title refers to time travel. The song itself is like a story with the feeling of traveling through time. Hmm. Be that as it may, it’s skillful expressed.\n5.The Place We Had\nAnd we come to this beautiful number. It feels like there is also a story being told through the sequence of songs. Yamamoto’s soprano sax is filled with translucence, and following that is an excellent bass solo from Ikejiri. A hero in the shadows. Nevertheless, it’s a heartwarming slow number, like a calm state of mind. Fukutomi confirmed that the “The Place We Had” contains the meaning of a secret base or hideout. He remembers experiences from childhood when “No Trespassing” signs were put up and caused him to suffer the loss of places that he used to go. The same thing happened to me. That’s why it’s so understandable, and I feel like almost everyone has had similar experiences: Back then, that place that I shared with my best friend. In any case, the naming of this song is exceptional.\n6.New Moon\nRegarding the somewhat mysterious song title “New Moon” (新月, shingetsu), Fukumori speaks of the image of the sun being hidden during a total solar eclipse, and how the song’s motif is like a premonition that something is about to happen. Fukumori’s guitar is graceful without any sense of hesitation. Shibata’s drums and Sato’s piano are also striking.\n7.Chasing\nThis song is by saxophonist Yamamoto. Although Fukutomi had a wide repertoire of songs to choose from for the recording, he asked Masahiro Yamamoto to allow him to record one of Yamamoto’s songs. In the second half, the fierce battle of exchanges brings to mind an intensely competitive car chase. Yes, it’s a suitable last song to cap the album. After listening, there’s a satisfaction similar to the invigorating feeling that remains after reading a good book. By including a song at the end that is a change from those before, it adds more depth to the overall album. There is a sense of balance. Just as you would expect.\nHiroshi Fukutomi Quintet Profile\nFollowing are profiles of these five musicians, leaders in the jazz scene in Japan, drawn mainly from their websites. For more details, check their respective websites or My Space pages.\nHiroshi Fukutomi (guitar)\nBorn in Osaka, Hiroshi Fukutomi started learning guitar on his own at age 14 and played rock and pop music. After graduation from high school, he entered Koyo Conservatory of Music and discovered jazz. He formed a group and began to perform his own music. Later, he was deeply influenced by Bill Frisell and decided to study at Berklee College of Music in order to take lessons from Jon Damian, who was Frisell’s teacher there. In 2006, he received the Guitar Department Achievement Award. After graduating, he returned permanently to Japan and has been actively performing around the Tokyo area with his own group and others. He offers the following artists, who he deeply respects, as influences: John Scofield, Bill Frisell, Keith Jarrett, Dave Holland, Dave Liebman, Kurt Rosenwinkel, Ben Monder, George Garzone, Paul Motion, Sting, Thelonious Monk, John Coltrane, Chris Potter, Brad Mehldau, Pat Metheney, aiko, etc.\nMasahiro Yamamoto (alto, soprano sax)\nBorn in Kobe in 1980, Masahiro Yamamoto started playing alto saxophone when he entered Konan Junior High School. In the second year of high school, he served as section leader in the Student Jazz Festival and received the Kobe City Major’s Prize and the Individual Award. When he was 18 years old, he met Hiroshi Ozone, who he studied under for 5 years. After graduating from high school, he entered Konan University and became a member of the Newport Jazz Orchestra there. After entering university, he was active with performances with his own band and other musicians at local clubs and live venues around Osaka. After graduating, he performed at Blue Note and Dizzy’s Club with Rachel-Z’s band. He is currently active and performing with his own band.\nKoichi Sato (piano)\nBorn in Yokohama in 1983, Koichi Sato started learning piano at age 5. At 16, he switched from classical to jazz piano. At 18, he enrolled in the jazz course at Senzoku Gakuen College University (now Senzoku Gakuen College of Music). In 2005, he was a member of the Yota Miyazato Quartet at the Asakusa Jazz Festival, who received the grand prize in the band category. In the summer of 2005 he moved to the United Stated to study as a student at Boston’s Berklee College of Music. He received the Piano Department Achievement Award in 2006. In that same year, he was picked for Berklee’s select band of musicians to perform at the North Texas Jazz Festival, where he won the Outstanding Soloist Award. In the spring of 2007, he moved his base to New York to perform there. He returned to Japan in 2008, where he is vigorously active with his own band and various other groups. Starting with the jazz giants, he lists numerous people and groups that have influenced him. To avoid overlapping with other the members, he also offered the following influences as additional examples: Lars Jansson, Ahmad Jamal, Wayne Shorter, Aaron Goldberg, Kevin Hays, Miguel Zenon, Aaron Parks, David Binney, Tomonao Hara, Dairiki Hara, etc.\nHiroshi Ikejiri (bass)\nHiroshi Ikejiri was born in Chiba in 1979. He started learning the Electone (Yamaha electronic organ) from a young age and got interested in improvised music. He joined the band in junior high and high school where he gained the opportunity to play various instruments. After entering Chiba University, he joined the modern jazz study class. Drawn to the world of acoustic low notes, he aspired to become a jazz double-bass player. He honed his skills by actively playing at sessions and street performances, developing into performances at jazz spots. In an ensemble, he believes in being a stimulus at the center while also providing a solid foundation for the sound. He won the Grand Prize award in the 2007 Yokohama Jazz Promenade Competition and appeared on the NHK-FM Session-2008 the following year. His hobbies include swimming. The essence of his influences are not “people” but “music”, and include the music of the following seven artists: Miles Davis, Bill Evans, Oscar Peterson, Dexter Gordon, Ron Carter, Scott LaFaro, Larry Grenadier, etc.\nRyo Shibata (drums)\nBorn in Osaka in 1981, Ryo Shibata had a love for music at a young age and began learning drums at the age of 10. He entered the Koyo Conservatory of Music, and started to perform in jazz clubs in the Kansai region, accumulating experience by playing in various bands and genres. In early spring 2003, he entered Berklee College of Music. Starting in 2007 until graduation, he played in the select student band with tours in Oregon, California, and at the JVC Jazz Festival in New York City. In September of that same year, he played at the Monterey Jazz Festival in 2008 as part of the Berklee Monterey Quartet. Continuing his musical activity, in March 2008, he participated as first chair as part of the same group with the SF Jazz Collective led by Dave Douglas for a concert in Boston, and played at Boston’s Institute of Contemporary Art in August. He moved to Tokyo in September 2009 and began to actively perform around the Tokyo Metropolitan area. After returning to Japan, he performed twice with Simon Yu on tour in China, in 2008 and 2009. Also in 2009, he played at the Montreux Jazz Festival with Jeff Miles, winner of the Montreux Jazz Guitar Competition 2008, in addition to other activities performing on the world stage. He is a drummer who continues to build on his reputation with this album and the previous release from D-musica, Jun Fuyura’s Exprimo.\nObi Notes The resonance of five distinct personalities blossoms with a rich harmony.\nRings of Saturn by Hiroshi Fukutomi Quintet Hiroshi Fukutomi - guitar Masahiro Yamamoto - alto and soprano sax Koichi Sato - piano Hiroshi Ikejiri - bass Ryo Shibata - drums Released in 2010 on D-musica as DMCD-04.\nJapanese names: 福冨博 Fukutomi Hiroshi 山本昌広 Yamamoto Masahiro 佐藤浩一 Sato Koichi 池尻洋史 Ikejiri Hiroshi 柴田亮 Shibata Ryo\nAudio and Video “Rings of Saturn” (track #1): “Chasing” (track #7): “Lotus” (track #3) — solo guitar version\nFull album (YouTube)\nFull album (Spotify)\nExcerpt from track #2: “Lost And Found”\n","permalink":"https://mirror2.jazzofjapan.com/hiroshi-fukutomi-quintet-rings-of-saturn/","summary":"\u003cp\u003eGuitarist Hiroshi Fukutomi’s first album is \u003cem\u003eRings of Saturn\u003c/em\u003e from 2010. On this recording, the guitarist plays modern jazz compositions under the flag of his own quintet featuring Masahiro Yamamoto on alto and soprano sax, Koichi Sato on piano (also on Fukutomi’s 2014 followup \u003ca href=\"https://www.jazzofjapan.com/archive/hiroshi-fukutomi-memory-stones\"\u003e\u003cem\u003eMemory Stones\u003c/em\u003e\u003c/a\u003e), Hiroshi Ikejiri on bass, and Ryo Shibata on drums.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230466x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230466x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eFukutomi’s debut album runs for 54 minutes and features seven original compositions, six from Fukutomi and one from saxophonist Yamamoto. The songs are composed by Fukutomi to be platforms for interplay, where the front-most instruments of guitar, sax, and piano merge and relay with an intimate immediacy, rather than each musician stepping back to make room for longer periods of singular adlibs. As with great jazz combos, there’s close collaboration where all five members listen closely to one another, pick their moments to step forward or back, and raise or relax the tension with the right-timed notes and rhythms.\u003c/p\u003e","title":"Hiroshi Fukutomi Quintet: Rings of Saturn"},{"content":"From 2022, Breathe Beneath the Sun is pianist Mikiko Nagatake’s second release, a jazz piano trio recording that came out just one year after her debut album Into the Forest (2021). With the same members as on her first album, her trio includes Ryoji Orihara on fretless bass and Sota Kira on drums, two popular players in many Tokyo jazz groups. Another similarity between Nagatake’s first two albums is the addition of special guest horn players on a few songs. While the first album featured saxophonist Nami Kano on a bonus track, this album features two more saxophone guests well-known in the world of Japanese jazz, Kosuke Mine and Eiichi Hayashi, who join Nagatake as special guests for one track each near the end of the album.\nThe sound of Nagatake’s jazz trio is compelling and modern, with a youthful style that is dynamic, energetic, and fun. Running at about 71 minutes, all ten tracks were composed by Nagatake and are bursting with her creative force, one that builds on the adventurous leanings of jazz pianists like Carla Bley and Cecil Taylor. Skillful and quick, Nagatake’s fingers can go from quiet and patient loveliness to a key-jabbing with barely contained energy, always in control but often peeking over the edge in risky provocation. Live audiences and album listeners cannot help but be drawn into her magnetic presence.\nHere is a quick run through of the album flow. It starts with three highlights: #1 “Introduction -Breathe Beneath the Sun-” is Nagatake starting up the engines alone with a solo piano riff, deep and low on the keys with a rhythmically addictive pull and sharp lines coming in from above. The trio format begins with #2 “Not Even Heaven Knows”, a fiery and percussive fastball. #3 “Lucky You!” is another uptempo roller coaster with thrilling drops and bends, a frenetic Horace Silver-ish fever dream. #4 “Just Like He Sings” is a brushed ballad with the grace and sweetness of an Ellington/Strayhorn tune. #5 “Clover 9” is a wild and fast blues transmogrification, another album highlight (lots of these).\nTrack #6 “Teoribata” is a slower song written for bassist Orihara to shine peacefully in a long-form fairy tale. #7 “Say No More” has a classic hardcore dark jazz vibe with Chick Corea-esque Latin/straight waltz-time mix, grippingly edge-of-seat at a dangerous speed. #8 “I’ll Send You Good Vibes” is the first quartet track, as veteran saxophonist Kosuke Mine joins for a soulful and warm gospel/rock groove with his great playing. #9 “Nekokai no Ballad” continues the bluesy quartet atmosphere, gritty and genuine, with Eiichi Hayashi on sax, another distinctive and renowned Japanese jazz player. Finally, #10 “Get Ready to Say Goodbye” is a melodically beautiful and moving outro song with the elements of a hit pop song tenderly refracted through a Brad Melhdau-ish jazz prism.\nLiner Notes (Translated from the original Japanese liner notes.)\nIntroduction\nBefore anything else, I would like to thank you very much for listening to this CD, Breathe Beneath the Sun. We’ve been fortunate to be able to able to release another trio recording in quick succession after the previous trio recording released in March 2021. I can’t express enough the appreciation I have for the label, Owl Wing Records, and Aratake-san. On this CD, all the songs are original compositions that I wrote over the past year, mainly, including two songs in the memory of people who have passed away.\nWhen I am riding on the train and dazzling sunlight pours in from the train window and washes over me, I really feel alive. The sunlight permeates me just like soaking into French toast. Whether it’s morning, evening, or even if I’m still tipsy from the previous night, it’s always great. I realize how good it feels to be alive, and the motivation to do my best increases as I’m being treated with unconditional kindness.\nI contemplated different album titles while thinking that it would be great for this CD to have that kind of presence of sunlight. I thought, Something like French toast or\u0026hellip;, and so on. I tried to express my ramblings to a close female friend, a high-school classmate who returned from abroad, and she understood what I was trying to say perfectly. Ultimately, she gave me the wonderful title Breathe Beneath the Sun.\n永武幹子 Mikiko Nagatake\nIntroducing the Musicians\nIn February 2020, this trio entered our third year together.\nRyoji Orihara, the trio’s senior member, supports the band on fretless bass. He’s active with his solo project “Invisible Furniture”, serves as a member and musical director of “Virtual Silence”, and plays with Lisa Ono’s band. He is a professional fretless bass player specialist.\nAfter we finished recording this album, he went to perform in a concert in Taiwan with Lisa Ono’s band. This was at a time when coronavirus was spreading in Taiwan, and he was forced to stay quarantined in a hotel for two weeks. However, he wanted to keep working on this album even at that time. We made full of video conferencing and other specialized tools and finished the mixing (working on the sound balance of the recording)! I was so surprised at the modern technology that allowed us to do the mixing while being far apart, without any time lag.\nAfter this album was recorded, our trio went on to perform at various locations. One thing I have to mention is Orihara-san’s lunch presentations. In the mornings, we would gather in the hotel lobby and be treated to his presentation of notable restaurants in the area, including their websites, business hours, distance, and travel time. There was a passion for food overflowing with hospitality. Kira-san is also passionate about food, and so all throughout the tour we would prepare for the evening concert by having delicious meals.\nDrummer Sota Kira is active in a wide variety of musical acts, from Kei Akagi’s band and Junko Onishi’s band (that is to say, he started with jazz bands) to even STUTS’s band and others. Kira-san has been supportive of me ever since my student days. He also plays drums in “J.J.Soul”, another of our regular jazz trios. There, too, his incredibly energetic drumming always enriches the band’s sound and boosts the excitement of everyone present.\nRecently Kira-san has been focusing his attention on the proper ways of body movement. Backstage, he has been sharing his techniques and instructing us on effective stretching methods. Even on the day of the recording, there was quite an odd scene when everyone was facing the same direction and doing stretches (ha ha).\nAt the live venue Nardis in Kashiwa, there was a three-day event where our trio was featured as the core band with special guests. At that performance, the masters Mine-san and Hayashi-san were each featured on a one-horn ballad. It was so intense that I absolutely wanted to capture that in some form, so I asked them to make a guest appearance on this recording.\nSince my student days, I have often gone to hear tenor saxophonist Kosuke Mine play. I’ve listened to him with Mine-san’s Quartet, the Takeshi Shibuya Orchestra, and others. Recently I’ve been working consistently with him in live concerts as a duo, and as a trio with saxophonist Miyuki Moriya. I am always moved by his one-of-a-kind tone and phrasing, and his warm, charming personality.\nAs for alto saxophonist Eiichi Hayashi, it’s possible that I heard him on CD before seeing him play live. When I was a student, there were special listening sessions in the Waseda Danmo (Modern Jazz Research Group) study room between jam sessions. That’s where I heard CDs like the Eiichi Hayashi and Fumio Itabashi Duo, and Daidarabocchi with Shun Sakai. I was totally blown away. When I went to see him play live, I was even more amazed. I’m so grateful that I am able to play with Hayashi-san in duos and with Masayo Koketsu’s “Ataira no Ei-chan”.\nThis recording is a performance featuring these kinds of trio members and two special guests!\n1.Introduction -Breathe Beneath the Sun-\nIn the same way that we can hear the chimes of nearby elementary schools, wouldn’t it be so interesting if we could hear the songs and sounds of foreign countries carried by the wind? I wrote this short motif with that kind of feeling in mind. I hope that the performance on this CD can also reach people in all kinds of countries and regions.\n2.Not Even Heaven Knows\n“God has six fingers on each hand and twelve fingers on both hands.”\n“See, this is why the first perfect number is 6, time is divided into 12 parts, and the seasons also end with the 12th month.” This is what my private school principal taught me when I was in middle school.\nI suddenly remembered this a few years ago and thought “I should write a song with a time signature that only God can count on his fingers!!” So I wrote a song titled “God Has 12 Fingers”.\nTime passed, and the threat of the new coronavirus appeared in 2020. Conventional common sense changed in the blink of an eye, and the world was thrown into disorder. I couldn’t help but think that not even God could have predicted something like this. I wrote a 13-beat song with a theme that even Got could not count (but since 13 is an unlucky number, the improvisations are in a 7-beat meter. Lucky seven!).\n3.Lucky You!\nI wrote this song with Kira-san in mind. The image of Kira-san is happiness! Yet, around the time we first had met, no matter how many times we performed, drank, and hit it off together, the next time we met, it felt like we were meeting again for the first time. I tried to project a sense of that somewhat not-straightforward feeling into this song (ha ha). It feels as if 吉良(Kira)(-san) is taking on the meaning of “lucky” in the lingo of business buzzwords.\n4.Just Like He Sings\nI wrote this song inspired by Shinji Hashimoto, a guitarist I love who passed away in July 2020. One day, Shinji-san appeared in my dream. In the dream, Shinji-san was playing “Naima” by J. Coltrane, and his improvisational approach was melodious like a vocal jazz standard song. It made me realize the affinity between modal-style songs and vocal standard songs.\nTo be able to listen to Shinji-san’s guitar in my dreams was like a dream (well, it was a dream)!! That’s why I wrote this song. I would love it if Shinji-san would play this song in my dream someday.\n5.Clover 9\nThe “deck of cards” series. The previous release Into the Forest included “Clover 2”, and this time it’s 9. There are currently eight songs in the “deck of cards” series. The goal is a complete 53!\n6.Teoribata (手織り機, hand loom)\nI wrote this song with Orihara-san in mind. The title is just a joke [/The title in Japanese is 手織り機, or hand loom, and Orihara is 織原, containing the same Kanji character 織/]. I spun the melody based on the image of Orihara-san’s sound. It’s really nice to play this kind of mellow song with such emotion, and I love Orihara-san’s simple style of singing.\n7.Say No More\n8.I’ll Send You Good Vibes\nSometimes I think that if I were close by, I could send some positive energy with just a single handshake. These days, when we live in a world where we can send messages immediately, it’s good to know that we can check on faraway friends’ safety when natural disasters and emergencies occur. On the other hand, it can feel stressful when there is just not enough time to reply.\nIt’s rare that the timing works out such that someone contacts you just at the right moment when you need encouragement. At time like those, I would love it if you suddenly remembered to play this song with a click as if it just came to mind, and to feel a sense of positivity. The strong emotions I felt when writing this song perfectly match Mine-san’s gentle yet powerful saxophone, and this makes it a song I cherish even more.\n9.Nekokai no Ballad /(猫飼いのバラッド, Cat-keeping Ballad)/*\nIn the summer of 2021, there was a Mikiko Nagatake three-day event at Kashiwa Nardis. This is a song I wrote for that occasion while thinking of Eiichi Hayashi. I listened to Hayashi-san a lot in my student days. I wrote a melody for his kind of really cool Hayashi-san sound that stands out in all kinds of places, and the master was even more amazing than I expected!!\n10.Get Ready to Say Goodbye\nI wrote this song when I heard the news of the sudden passing of someone who always came to my shows with a smile. With the state of emergency and everything that began in 2020, it had felt as though time had stopped. But of course that wasn’t the case, and time passed moment by moment, and sometimes it was no longer possible to meet someone that you hadn’t seen in a while. Accepting a final farewell takes time, and I think it’s best to take it slowly and with a peaceful mind.\nAll Composed by Mikiko Nagatake\nA Letter from Yoshiaki Masuo\nDear Mikiko Nagatake\nI listened to the audio for your new recording. I apologize for the delay, later that the promised date. Although I was asked to write some liner notes, I decided to express my feelings in a letter to you after just listening to the music.\nFirst, all the musicians beginning with you were fantastic. The songs are good and there’s lots of variety. I’m very impressed by how it sums up your current feelings and how it comes together as one story all the way through to the end. The music was inspiring, and there were many moments that touched my heart directly. I love that kind of music.\nIt’s been almost six years since we started performing together. But it’s true that, when I listened to this recording, I realized that I know nothing about you, despite our working so long together. We’ve been linked only through music during these six years, without even having a drink together after a concert (ha ha).\nOne reason that I don’t know much about you is because of your intuitive sense about music. Because you can pick up so much just from listening meant that there was not much need to talk about it. Of course, human interaction and communication is also important for many reasons, and I’m reflecting on that.\nSix years ago, when I started to audition pianists for my new band, you happened to be the first person I called. By just hearing the music, you understood well without me having to say anything. You interpreted the songs with your own personal style a fresh sense and feeling. I remember how I instantly took to you, with your own free and delicate sensibilities, right from the start. I was planning to try out other people as well, but in the end it was just that one audition and it was over.\nIt may be quite impolite to put it this way, but when listening to this recording, I feel that I can truly understand your depth as a human being. Also, I’ve never thought too deeply about musicians being male or female before, but on this album I really get the sense of you as a women (with good meaning).\nIn the generation that I grew up in, there were almost no female jazz musicians, and in the midst of that male-dominated jazz world, I hadn’t really thought about female jazz musicians. Because of preconceived notions of women, there must have been very difficult situations, including sexual harassment, even unintentional in some cases.\nHowever, when I listen to your music, I feel strongly that we have already transcended that era and progressed forward one or two steps. Long ago, back in my day, all the role model jazz musicians that we looked up to were men, and Americans. Now, there is a big difference in the way of thinking between that generation and environment that we grew up in, and those of the young people of today. It’s good that this young generation is free of those previous boundaries, and especially the women of this generation.\nMen tend to use authority and power as a basis of comparison, but I think women may be resigned in those aspects from the start, or consider them to not be problems, perhaps. That’s why there is no unnecessary ego in the music. I think that purity is also good. In this sense, women are very cool and aware. I can say this confidently. A conclusion from this is that there is a great potential for the future development of music to be shaped by the sensibilities of female musicians.\nFor the future, the advancement of women is absolutely essential not just in music but also in the world. If the ones at the top are always power-hungry men, then, well, we are doomed.\nSorry, I went off on a tangent.\nAnyway, thank you for the wonderful music. I want to keep listening to it more and more. Please continue to push forward.\nJune 12, 2020 MASUO\nGUEST\ntrack8 Kosuke Mine (tenor sax)\nBorn in Tokyo on February 6, 1944.\nHe began playing clarinet when he joined the brass band in middle school. He played clarinet in part-time bands when he was around 17 years old, when he also started to play alto sax. He first encountered jazz in his second year of high-school when he would listen to records at jazz kissas. In 1963, he joined a jazz band and started to play at jazz clubs. In 1969, he was noticed by pianist Masabumi Kikuchi and joined his band, where he remained until the band ended in 1973. He released his first leader album, Mine, in 1970. In that year, he ranked second in the magazine Swing Journal’s reader popularity poll in the alto saxophone category, right after Sadao Watanabe, and attracted attention as a new alto sax player. After Masabumi Kikuchi’s band ended in 1973, he moved to New York where he stayed for two years. During this period he also made brief trips to Japan to continue performing in concerts with Masabumi Kikuchi and to record his own albums. After playing with groups including Four Sound with Fumio Itabashi, Nobuyoshi Ino, Hiroshi Murakami, and Masahiko Togashi’s J.J.Spirits, he formed his group Mine Quartet in 1992 and released his long-awaited leader album Major to Minor in 1993, which won the grand prize for Japan Jazz in Swing Journal’s Jazz Disc Awards that year. Currently, in addition to playing with his own group, he participates in many sessions including with the Takeshi Shibuya Orchestra.\ntrack9 Eiichi Hayashi (alto sax)\nHe became a professional musician at 17 years of age by training in big bands and R\u0026amp;B groups. In 1980, he joined the Yosuke Yamashita Trio as “Plus One”, and a concert recorded during their ‘83 European Tour was released as a live recording. In 1990, he formed his own band MAZURU and released an album under that name which was well received. To this day, he is active and widely recognized as one of Japan’s top alto players, and his inimitable sound is an essential part of groups including the Takeshi Shibuya Orchestra, Fumio Itabashi’s band, and Akihiro Ishiwatari’s Mull House. In 2012, he released GATOS Meeting’s self-titled album featuring his three-horn arrangements. In July 2015, in the culmination of his work as an arranger, he led the 13-piece Eiichi Hayashi MAZURU Hokkaido Orchestra where he was showered with applause from large crowds of free jazz fans who gathered all over Hokkaido. Among his numerous releases, his representative work includes de-ga-show, Monk’s Mood, Oto no Tsubu, MAZURU no Yume, Mori no Hito, Birds and Bees, and Tsuru.\nObi Notes “The music was inspiring, and there were many moments that touched my heart directly. I love that kind of music.” Yoshiaki Masuo\nBreathe Beneath the Sun by Mikiko Nagatake Trio Mikiko Nagatake - piano Ryoji Orihara - fretless bass Sota Kira - drums Kosuke Mine - tenor sax (track #8) Eiichi Hayashi - alto sax (track #9) Released in 2022 on Owl Wing Record as OWL-041.\nJapanese names: 永武幹子 Nagatake Mikiko 織原良次 Orihara Ryoji 吉良創太 Kira Sota 峰厚介 Mine Kosuke 林栄一 Hayashi Eiichi\nAudio and Video “Not Even Heaven Knows” (track #2): “Lucky You!” (track #3) — live performance (2021): “Lucky You!” (track #3) — live performance (2021): “Just Like He Sings” (track #4) — live performance (2021): “Clover 9” (track #5): “Say No More” (track #7) — live performance (2021): Excerpt from track #1: “Introduction -Breathe Beneath the Sun-” ","permalink":"https://mirror2.jazzofjapan.com/mikiko-nagatake-trio-breathe-beneath-the-sun/","summary":"\u003cp\u003eFrom 2022, \u003cem\u003eBreathe Beneath the Sun\u003c/em\u003e is pianist Mikiko Nagatake’s second release, a jazz piano trio recording that came out just one year after her debut album \u003cem\u003eInto the Forest\u003c/em\u003e (2021). With the same members as on her first album, her trio includes Ryoji Orihara on fretless bass and Sota Kira on drums, two popular players in many Tokyo jazz groups. Another similarity between Nagatake’s first two albums is the addition of special guest horn players on a few songs. While the first album featured saxophonist Nami Kano on a bonus track, this album features two more saxophone guests well-known in the world of Japanese jazz, Kosuke Mine and Eiichi Hayashi, who join Nagatake as special guests for one track each near the end of the album.\u003c/p\u003e","title":"Mikiko Nagatake Trio: Breathe Beneath the Sun"},{"content":"The jazz space at Cafe Cotton Club sits below street level in a multilevel building that at first glace seems like a sparkling but otherwise normal semi-fancy restaurant in the student neighborhood of Takadanobaba in Tokyo.\nFigure 1: Hideaki Yoshioka (piano) Trio with Kosuke Ochiai (bass) and Shinnosuke Takahashi (drums) at Cafe Cotton Club (November 2025)\nPart of the legendary jazz session scene in Tokyo, Cafe Cotton Club (or just “Cotton”) is a restaurant occupying several floors with a semi-secret speakeasy-fashioned jazz floor in the basement. Despite the humble image the simple label “cafe” may imply, the exterior hints at an above average atmosphere for a building located within the surrounding student populated neighborhood, a rough-and-tumble series of cheap eats and bars that can lean towards boisterous on weekends.\nAlso a bit out of the ordinary, Cafe Cotton Club’s warmly lit establishment makes use of four linked floors, from the jazz club in the basement to the third floor with an outdoor terrace. The three cafe and restaurant levels offer elegant yet friendly tables and kitchens, while a mysterious stairway on the ground floor leads down to a darker jazz level in the basement. There’s even a special annex on the 11th floor and an outdoor rooftop and beer garden section that is reserved for private events and opened seasonally.\nFigure 2: Hideaki Yoshioka (piano) Trio with Kosuke Ochiai (bass) and Shinnosuke Takahashi (drums) at Cafe Cotton Club (November 2025)\nOpened in 1984, Cafe Cotton Club’s basement level felt like an extension to the tiny bar Jazz Spot Intro across and down the street from Cotton. When sessions at Intro grew too busy or crowded, the party would migrate to Cotton’s basement, which was larger and had more seating and food options. A renovation to Cotton in 2019 opened up the basement level even more: The original bar counter was moved back and out of the way to make room for an elevated stage, with more tables and booths set closer up front. The new, remodeled feel also added a somewhat elevated jazz club stage performance (literally and figuratively), as the players are actually up on a stage, even if just a bit, compared to the original level. This created a subtle separation between the performers and the audience, more so than the original “All together, at the same level, and surprise! Who know who may join in at any time” sense of spontaneous happening.\nFigure 3: All-night jazz jam session at Cafe Cotton Club (July 2005)\nMeanwhile, the ground floor and upper levels of Cafe Cotton Club are also quite popular as restaurant hangouts, appealing to students and the Takadanobaba general public. There’s a sense that the shop attracts guests with reservations as well as passerby’s, and is attractive as a destination even for non-jazz-oriented customers.\nCafe Cotton Club is related to the legendary Tokyo jazz destination Jazz Spot Intro as if it was the more sophisticated older sibling to the spunky, authentic hole in the wall that is Intro. Both clubs are within close bar-hopping distance, across the street and just a minute or two away on foot. And, much like Intro, Cotton also hosts fun jam sessions where professional jazz musicians, semi-professionals, amateurs, hobbyists, and listeners mingle and sit-in, playing tunes from the common repertoire as practice drills, and just for the fun of it.\nFigure 4: All-night jazz jam session at Cafe Cotton Club (July 2005)\nIntro and Cotton are both run and overseen by manager Mogushi-san since their beginnings. His positive energy, big smile, and smooth dome brightly project his love and support of jazz in his professionally-run jazz room and the corresponding unforgettable experience.\nFigure 5: All-night jazz jam session at Cafe Cotton Club (July 2005)\nAlso a drummer who sometimes hits the skins at Cotton, proprietor Kuniaki Mogushi-san’s history is full of fascinating details. Some of his autobiographical articles and historically valuable photographs are available in the History section of the Cafe Cotton Club website. These artifacts detail his journey from high school to the world of jazz in 1960s Tokyo, and the opening of Jazz Spot Intro in 1975 and Cafe Cotton Club in 1984.\nIn the past, Cotton would hold all-night jazz jam sessions every week on Friday, like Intro’s Saturday night sessions. These party-like events would start around midnight and continue until the early morning, around the time that the first trains would start running at nearby Takadanobaba station. Jazz addicts would often come from gigs or other clubs, forego the last night train, and while away the hours in the basement drinking, eating pizza, listening to and chatting with friends and other jazz maniacs while local jazz musicians would trade space on stage all-night, plying their craft. (These sessions are still held but currently do not run overnight. And, if this is your thing, be sure to catch the sessions at the original branch Intro across the street, where jam sessions are held nearly every night of the week).\nFigure 6: On the upper balcony at Cafe Cotton Club (July 2005)\nThese days, Cotton’s jazz sessions are mainly on Friday nights, with occasional live concerts on special days, but may not continue all night until the morning. Usually local musicians will play a set of music, and the “all comers welcome” jazz jam sessions start from the second set. At those sessions, local and visiting musicians (sometimes including famous musicians as well, or touring musicians who stop by after gigs at other clubs) can join in the regular jazz jam session. These open sessions follow the usual jazz tradition of members rotating and sitting in, calling tunes, and playing together with strangers and old or new friends. And, if this is your thing, you can’t miss the sessions at Intro across the street, where jam sessions are held nearly every night of the week.\nFigure 7: All-night jazz jam session at Cafe Cotton Club with Atsushi Ikeda on alto sax (May 2009)\nBeginning jazz amateurs may feel wary of joining in the session, as many of the players are quite good, if not professionals jazz musicians. However, musicians who are jazz beginners with passion for playing and learning jazz, including those hesitant to get on stage out of nervousness, have always been encouraged at both Cotton and Intro in the spirit of jazz brotherhood. That is, we all learn, play, and love jazz together — this was and is the inspiration for clubs and places such as these.\nNote 1: Separate and apart from Cafe Cotton Club is another business called Cotton Club (or Marunouchi Cotton Club) located in central Tokyo next to Tokyo station. This other jazz spot is a grand concert space and bar and focuses on bigger names and international acts.\nFigure 8: All-night jazz jam session at Cafe Cotton Club with Atsushi Ikeda on alto sax (May 2009)\nNote 2: The calendar of events available on Cafe Cotton Club’s website may not display the details of live events and jam sessions for users in countries outside Japan. Unfortunately, in what seems to be an unintentional limitation of certain technologies or website scripts, some sites include calendar functionality that only responds to browser requests originating from Japan. As a result, some clubs’ schedules may not by visible to users located in other locations. In case of problems viewing Cotton’s schedule, Geo-spoofing often helps: Use a VPN to connect to a Japanese server before loading the schedule.\nFigure 9: All-night jazz jam session at Cafe Cotton Club (November 2009)\nFigure 10: All-night jazz jam session at Cafe Cotton Club (November 2009)\nFigure 11: On the upper balcony at Cafe Cotton Club (May 2009)\nFigure 12: All-night jazz jam session at Cafe Cotton Club (December 2010)\nFigure 13: All-night jazz jam session at Cafe Cotton Club (December 2010)\nFigure 14: All-night jazz jam session at Cafe Cotton Club with vocalist Nobuko Baal (January 2011)\nFigure 15: All-night jazz jam session at Cafe Cotton Club with vocalist Nobuko Baal (January 2011)\nFigure 16: All-night jazz jam session at Cafe Cotton Club with Josh Nelson (piano), Trey Henry (bass), and Gene Coye (drums), who played at Marunouchi Cotton Club earlier that evening (March 2012)\nFigure 17: Koji Yasuda (bass), Shigeo Fukuda (piano), and Keiji Matsushima (trumpet) at Cafe Cotton Club (August 2012)\nFigure 18: All-night jazz jam session at Cafe Cotton Club with Keiji Matsushima on trumpet (August 2012)\nFigure 19: All-night jazz jam session at Cafe Cotton Club (August 2012)\nFigure 20: All-night jazz jam session at Cafe Cotton Club with Toku (Jazz Samurai) on flugelhorn (March 2012)\nFigure 21: All-night jazz jam session at Cafe Cotton Club with Yurie Nejime on vocals and God Inoue on sax (March 2012)\nFigure 22: All-night jazz jam session with God Inoue (sax) at Cafe Cotton Club (March 2013)\nFigure 23: All-night jazz jam session at Cafe Cotton Club with Mogushi-san on drums (July 2016)\nFigure 24: Across the street from Cafe Cotton Club (February 2023)\nFigure 25: Outside sign at Cafe Cotton Club (February 2024)\nFigure 26: Holiday spirit at Cafe Cotton Club (November 2025)\nFigure 27: Stairs down to the jazz basement level at Cafe Cotton Club (November 2025)\nFigure 28: Reaching the jazz basement level at Cafe Cotton Club (November 2025)\nFigure 29: Reaching the jazz basement level at Cafe Cotton Club (May 2009)\nFigure 30: The jazz basement bar counter at Cafe Cotton Club (November 2025)\nFigure 31: Mexican pizza with jalapeno at Cafe Cotton Club (July 2016)\nFigure 32: Caprese salad at Cafe Cotton Club (November 2025)\nOther Links Jazz Spot Intro’s website\nLayout of Cafe Cotton Club’s jazz floor\nVideos from Jazz Spot Intro and Cafe Cotton Club\n","permalink":"https://mirror2.jazzofjapan.com/cafe-cotton-club/","summary":"\u003cp\u003eThe jazz space at Cafe Cotton Club sits below street level in a multilevel building that at first glace seems like a sparkling but otherwise normal semi-fancy restaurant in the student neighborhood of Takadanobaba in Tokyo.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20251111_195931515-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20251111_195931515-1200.jpeg\"\n         alt=\"Figure 1: Hideaki Yoshioka (piano) Trio with Kosuke Ochiai (bass) and Shinnosuke Takahashi (drums) at Cafe Cotton Club (November 2025)\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eHideaki Yoshioka (piano) Trio with Kosuke Ochiai (bass) and Shinnosuke Takahashi (drums) at Cafe Cotton Club (November 2025)\u003c/p\u003e","title":"Cafe Cotton Club"},{"content":"The 2023 release I’ll Be Home for Christmas is a pleasant holiday collection of seasonal music from Japanese pianist Harumi Nomoto. The 31-minute album is an unexpected departure from her usual releases, as her previous three trio albums are filled with her unique style of contemporary jazz, J Jazz, and various world genre influences that add interesting layers to straight-ahead trio music.\nIn contrast to her signature Harumi Nomoto sound, this holiday release offers shorter, simpler, and sincerely played versions of traditional Christmas carols, hymns, pop Christmas tunes, classical whimsy, and modern pieces. Whereas her trio albums have been filled with Nomoto’s original material, only one of her original pieces appears here, tying up the album as a set closer like a ribbon on a wrapped present.\nNomoto’s piano performance fills the album with her sensitive solo playing. On a few songs, she overlays her acoustic piano with a synth: an Nord electric keyboard layers a soft choir-like organ on track #1 “O Little Town of Bethlehem” for a holy effect, and #4 “Dance of the Sugar Plum Fairy” from Tchaikovsky’s ballet The Nutcracker has synth organ bells taking center stage for a sweetly dark atmosphere. Patient, precise, yet flexible and full of feeling, it’s all as warm and comfortable as a tranquil holiday fireplace setting.\nIn addition to traditional carols and Christmas classics, Nomoto also plays a few pop- and jazz-aligned tunes. John Lennon’s #9 “Happy Xmas (War Is Over)” is always popular in Japan at this time of year and gets a friendly, gospel-y solo piano treatment. Similarly, #6 “Merry Christmas Mr. Lawrence” is another iconic and nostalgic instrumental theme in Japan, originating from the 1983 Japanese film and soundtrack of the same name, and it is often featured in Christmas playlists despite its not being written specifically as a holiday song. #2 “Blue Christmas” is a groovy rock-and-roll country song that Elvis sung and made more popular. Perhaps the song here with the deepest jazz credentials is track #8, “A Merrier Christmas”, a rare, unrecorded holiday piece written by Thelonious Monk for his family.\nCheery and cozy, the spirit of jazz piano comes through each song on this album. The relatively short takes make it a quick one, too, and even those who may normally avoid jazzy Christmas albums will sense that, while I’ll Be Home For Christmas promises that tender reunion, it humbly does not overstay its welcome. Finally, the last song, Nomoto’s original composition “Snow Melts”, is a bittersweet parting, and its introspective mood recalls the promised closeness at the end of the year, charming as a hug, and something to look forward to again, someday.\nI’ll Be Home for Christmas by Harumi Nomoto Harumi Nomoto - piano, Nord Stage EX Released in 2023 on Okra Record as HTM-1224.\nJapanese names: 野本晴美 Nomoto Harumi\nAudio and Video “Merry Christmas Mr. Lawrence” (track #6) — live version: “White Christmas” — live version: Excerpt from track #1: “O little town of Bethlehem” ","permalink":"https://mirror2.jazzofjapan.com/harumi-nomoto-ill-be-home-for-christmas/","summary":"\u003cp\u003eThe 2023 release \u003cem\u003eI’ll Be Home for Christmas\u003c/em\u003e is a pleasant holiday collection of seasonal music from Japanese pianist Harumi Nomoto. The 31-minute album is an unexpected departure from her usual releases, as her previous three trio albums are filled with her unique style of contemporary jazz, \u003ca href=\"https://www.jazzofjapan.com/archive/whats-j-jazz\"\u003eJ Jazz\u003c/a\u003e, and various world genre influences that add interesting layers to straight-ahead trio music.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1330573x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1330573x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eIn contrast to her signature Harumi Nomoto sound, this holiday release offers shorter, simpler, and sincerely played versions of traditional Christmas carols, hymns, pop Christmas tunes, classical whimsy, and modern pieces. Whereas her trio albums have been filled with Nomoto’s original material, only one of her original pieces appears here, tying up the album as a set closer like a ribbon on a wrapped present.\u003c/p\u003e","title":"Harumi Nomoto: I’ll Be Home for Christmas"},{"content":"The Tree of Life is a 2019 jazz release from bassist Daiki Yasukagawa, pianist Hitomi Nishiyama, and violinist Maiko. These are three musicians who are each leaders of their own projects in Japan with many recordings, side projects, and frequent live schedules. Bassist Yasukagawa and pianist Nishiyama have worked as a duo before and released two albums together, but this album, with Maiko on violin, is the trio’s debut as “The Tree of Life”, a band name that they will continue to use on their followup albums Mahoroba (2021) and New Hope (2022).\nThe music spans ten tracks over fifty minutes, mostly original compositions from the trio. It’s emotionally stimulating music where dramatic moments arise from the structure of the compositions brought to life through the many vibrating strings. In particular, the bowed notes of Maiko’s violin and Yasukagawa’s double bass are viscerally stirring and penetrating, and beautifully supported by the strings of the piano delicately percussed by felt hammers.\nThere are eight original songs, four from Nishiyama and two each from Yasukagawa and Maiko. These are mostly slow to medium pieces, audio paintings of romantically peaceful or melancholic scenes. Their music is adorned with various touches of classical and pop on a backdrop of jazz structures, like sturdy branches spreading out from a solidly rooted tree. Mostly patient explorations and ballads, there are also several upbeat moments with bright colors for contrast. In addition to the original music, two covers of traditional folk-hymn songs, “Shenandoah” and “What A Friend We Have in Jesus”, add soulful depth and are graceful additions to the program.\nThe Tree of Life by Daiki Yasukagawa / Hitomi Nishiyama / Maiko Daiki Yasukagawa - bass Hitomi Nishiyama - piano maiko - violin Released in 2019 on Daiki Musica D-neo as DNCD-18.\nJapanese names: 安ヵ川大樹 Yasukagawa Daiki 西山瞳 Nishiyama Hitomi マイコ maiko\nAudio and Video “A Day Before The Last Day Of Summer” (track #1): Full album (YouTube playlist)\nExcerpt from track #8: “飛び立つ水鳥 (Waterfowl Taking Flight)”\n","permalink":"https://mirror2.jazzofjapan.com/daiki-yasukagawa-/-hitomi-nishiyama-/-maiko-the-tree-of-life/","summary":"\u003cp\u003e\u003cem\u003eThe Tree of Life\u003c/em\u003e is a 2019 jazz release from bassist Daiki Yasukagawa, pianist Hitomi Nishiyama, and violinist Maiko. These are three musicians who are each leaders of their own projects in Japan with many recordings, side projects, and frequent live schedules. Bassist Yasukagawa and pianist Nishiyama have worked as a duo before and released two albums together, but this album, with Maiko on violin, is the trio’s debut as “The Tree of Life”, a band name that they will continue to use on their followup albums \u003cem\u003eMahoroba\u003c/em\u003e (2021) and \u003cem\u003eNew Hope\u003c/em\u003e (2022).\u003c/p\u003e","title":"Daiki Yasukagawa / Hitomi Nishiyama / Maiko: The Tree of Life"},{"content":"Drummer Toru Takahashi’s debut album is Tokyo Groovin’ High, a 2021 release that presents addictive jazz bebop favorites performed by long-time musical partners and friends. This is a drummer-led album where Takahashi makes the most of arranging the musicians in various forms. With three different rhythm sections, the drummer plays with quartet and quintet forms, the classic piano trio, and even a septet featuring two special guests known for rakugo storytelling performances and television appearances.\nOf course, the title track, Takahashi’s own “Tokyo Groovin’ High”, leads the charge and captures the spirit of the original tune it is based on, the well-known bebop contrafact “Groovin’ High” by Dizzy Gillespie. It’s good straight-ahead jazz played by musicians who clearly love the music and are having fun playing it together.\nDriven by Takahashi’s expert drumming, the ultra-in-the-pocket swing and groove continues with songs including “These are Soulful Days”, “Dear Old Stockholm”, and “When You Grow Too Old To Dream”. Some atmospheric departures are featured through Ellington’s Afro-Caribbean “Limbo Jazz”, the New Orleans parade-style (Poinciana) groove on “The April Fools”, and the beautiful ballad “I’m Traveling Light”.\nThe musicians’ love for classic jazz, decorated and fun arrangements, and jazz improvisation shine, as the bebop spirit lets loose as the temperature goes up on several songs as well. The band burns on Sonny Stitt’s Rhythm Changes “The Eternal Triangle”, with a alto vs. tenor sax battle. In the same vein, Thelonious Monk’s leaping “Shuffle Boil” and McCoy Tyner’s high-octane “Inception” are fiery highlights, both played in a raw chord-less trio formation to capture that lean, wild Sonny Rollins trio sound.\nLiner Notes (Translated from Toru Takahashi’s original Japanese liner notes.)\nIt’s been a quarter century and three years since I came to Tokyo at the age of 25 and it went by in a flash. I’ve been fortunate to have been a part of many live band experiences, and now I have finally decided to make my own album as a leader. Nothing has brought me more joy than being able to record with these musicians who I have been with so long, both professionally and personally.\nThese members are: Atsushi Ikeda, who helped with composition on one song and consulting with me on the arrangements. Kengo Nakamura, who supported me spiritually in many ways.\nKeiichi Yoshida, who is my oldest friend since I moved to Tokyo. Masanori Okazaki, who has been fronting my band for such a long time. Yusuke Chigita, who has been playing with me the most over the last several years in various bands.\nJun Satsuma, who has the most beautiful tone.\nThe master Koyuza Sanyutei, my good friend from the TV variety program “Shoten” and leader of the Hanashika (rakugo) storyteller band, “New Oirans”, where I was allowed to occupy the drum seat for fifteen years, to my surprise.\nThe master Shota Shunputei, president of the Rakugo Arts Association, who granted our impossible request to join as a musician (ha ha!) on one song.\nMost songs were recorded in one or two takes with a raw, unpolished sound, and I sincerely hope you enjoy it.\nToru Takahashi\nM1 Theme Of Tokyo Groovin\u0026rsquo; High (Toru Takahashi) This is the theme song for Toru Takahashi and the “Tokyo Groovin’ High!” band. We’re all performing as jazz musicians born in the Showa era! When I asked Professor Ikeda to review my first idea, I received a score of 65 points\u0026hellip;\nM2 These Are Soulful Days (Cal Massey)\nOnce upon a time, there was a live house called “Sonoca” in Meguro. This song was often played there during the days of the second owner. There was also a year when I had the most number of appearances in one year among all the instruments\u0026hellip; Those were truly soulful days.\nM3 Limbo Jazz (Duke Ellington)\nBackstage at Asakusa Engei Hall, I begged master Koyuza Sanyutei to record for me. And, I begged master Shota Shunputei to record while we were drinking at a soba shop in Asakusa! The original recording was also made by great masters of the jazz world, Duke Ellington and Coleman Hawkins. There’s a “Making Of” video on my YouTube channel.\nM4 The Eternal Triangle (Sonny Stitt)\nWe recorded this because I wanted a sax battle with Atsushi Ikeda and Masanori Okazaki. These two have played together in many bands. Although they do battle in the performance, they are honestly really good friends!\nM5 The April Fools (Burt Bacharach)\nThis is the title theme from the movie. Among Burt Bacharach’s songs, this one is rarely played in jazz. The song is just too good\u0026hellip;\nM6 Dear Old Stockholm (Folk Song)\nKeiichi Yoshida’s melodic sense and nuances are truly wonderful no matter what song he plays\u0026hellip; so, I wanted to record one song as a piano trio. Kengo Nagamura is also explosive!\nM7 Don’t Take Your Love From Me (Henry Nemo)\nA hidden gem. It’s often performed as a ballad, this here we play it medium tempo and entirely straight-ahead\u0026hellip; The sax, piano, and bass give such a great performance!!! (Taking pride, if I can say so myself\u0026hellip;)\nM8 Forest Flower (Charles Lloyd)\nOver 10 years ago, I saw Charles Lloyd for the first time, and he left a deep impression on me. “Jazz is alive!” I thought. Since then, I’ve continued to play this song. Jun Satsuma does an amazing job on guitar!\nM9 Travelin’ Light (Jimmy Mundy/Trummy Young)\nI like Shirley Scott’s take on this song. But, don’t you think this tenor take of this song is also great? It was decided in just one take.\nM10 Shuffle Boil (Thelonious Monk)\nMonk’s songs have a unique feeling. Our sax trio is a long-running unit, but this song is a relatively recent addition to our repertoire. Yusuke Chigita supports the melody. Song selection 1 of “pianist’s songs that don’t include a pianist”.\nM11 Inception (McCoy Tyner)\nWhen I was living in Niigata, the mama-san of the friendly shop “Parthia” really loved McCoy Tyner. She would say things like “I wonder if I should finally quit the shop and call McCoy\u0026hellip;”. But, she ended up quitting before making that call. Song selection 2 of “Pianist’s songs that don’t include a pianist”.\nM12 When You Grow Too Old To Dream (Sigmund Romberg)\nHonestly, I really love sax players that could be called “honkers”. Arnette Cobb, Eddie “Lockjaw” Davis, and so on\u0026hellip; This song is originally a romantic tune, but it gets a little wild and fun here, serving as this album’s ending theme.\nNotes by Toru Takahashi\nTokyo Groovin’ High! by Toru Takahashi Toru Takahashi - drums Atsushi Ikeda - alto sax (#1-5, 7) Masanori Okazaki - tenor sax (#3, 4, 8-12) Keiichi Yoshida - piano (#1-7) Kengo Nakamura - bass (#1-7) Yusuke Chigita - bass (#8-12) Jun Satsuma - guitar (#8, 9, 12) Koyuza Sanyutei - special guest trumpet (#3) Shota Shunputei - special guest trombone (#3) Released in 2021 on T-Swing Music as TSM-0001.\nJapanese names: 高橋徹 Takahashi Toru 池田篤 Ikeda Atsushi 岡崎正典 Okazaki Masanori 吉田桂一 Yoshida Keiichi 中村健吾 Nakamura Kengo 千北祐輔 Chigita Yusuke 佐津間純 Satsuma Jun 三遊亭小遊三 Sanyutei Koyuza 春風亭昇太 Shunputei Shota\nAudio and Video “Tokyo Groovin’ High” (track #1 behind the scenes excerpt): “Limbo Jazz” (track #3 live performance): “When I Grow Too Old To Dream” (track #12 behind the scenes excerpt): Tokyo Groovin’ High! 2nd Set: Making of “Limbo Jazz”: Excerpt from track #7: “Don’t Take Your Love From Me” ","permalink":"https://mirror2.jazzofjapan.com/toru-takahashi-tokyo-groovin-high/","summary":"\u003cp\u003eDrummer Toru Takahashi’s debut album is \u003cem\u003eTokyo Groovin’ High\u003c/em\u003e, a 2021 release that presents addictive jazz bebop favorites performed by long-time musical partners and friends. This is a drummer-led album where Takahashi makes the most of arranging the musicians in various forms. With three different rhythm sections, the drummer plays with quartet and quintet forms, the classic piano trio, and even a septet featuring two special guests known for \u003cem\u003erakugo\u003c/em\u003e storytelling performances and television appearances.\u003c/p\u003e","title":"Toru Takahashi: Tokyo Groovin’ High!"},{"content":"The sign outside advertises “Jazz \u0026amp; Live | Manhattan | 3F | Jazz School” in an illuminated round sign. Coming down the street, it almost resembles a white baseball with red stitching from a distance. Manhattan is nestled along more bars and other joints on Star Road, a street running alongside the Chuo line train tracks, giving a sense of a classic, dark Tokyo neighborhood. Beyond Manhattan’s illuminated sign, the stairs up to the third floor are otherwise nondescript, until you reach Manhattan’s landing where friendly signposts and posters greet your arrival and welcome you in.\nFigure 1: Terumasa Nishikawa (bass) Quartet with Taiichi Kamimura (sax), Taeko Kurita (piano), and Yoshinori Shiraishi (drums) at Manhattan in November 2025\nAnd a nice welcome it is. Classic, low-volume jazz BGM plays from behind the bar, where Manhattan’s quietly friendly master waits. Yasutaka “JJ” Mochizuki (JJ for jazz爺, jazu jiji, or jazz geezer, affectionately) is a supremely pleasant older gentleman in a spiffy getup and sometimes a NY baseball cap, naturally. Some of his jazz writing, Jazz Never Sleeps, is published on the Manhattan website and describes his long history with the Japanese jazz scene.\nManhattan is another tiny and beloved Tokyo jazz bar with a long history. Opened in 1985, it’s been run for 40 years by the same jazz lover who runs it today, and is a favorite jazz spot among dedicated locals and curious travelers alike.\nFigure 2: Masanao Ozawa (piano) Quartet with Ryosuke Hashizume (sax), Masaharu Iida (bass), and Yusuke Lawson Yamada (drums) and guest Luca (vocals) at Manhattan in October 2025\nThe atmosphere immediately reads easy and comfortable, if a little dated. It’s an old-fashioned jazz-lover’s nook, and possibly contends for a tie with Thelonious for Tokyo’s current smallest live jazz bar.\nFigure 3: Masanao Ozawa (piano) Quartet with Ryosuke Hashizume (sax), Masaharu Iida (bass), and Yusuke Lawson Yamada (drums) at Manhattan in October 2025\nWith it’s homespun entrance and simple setting, Manhattan feels like a secret hole-in-the-wall where an authentic jazz atmosphere is maintained and celebrated by in-the-know musicians and regular patrons. But this storied venue is more well known than it appears, with recommendations and references found in local and international guides such as Time Out Tokyo, Japan Travel Navitime, Experience Suginami, and others.\nAdditionally, Manhattan’s reputation is raised by being located in the “jazz town” Asagaya district, known for having great live spots, an annual jazz street festival, and as being another stop on the JR Chuo train “jazz line”. Although, this is the kind of place that would be sought out no matter where it was located, with its inimitable personality in a tiny hideaway jazz bar providing authentic, no-frills jazz.\nFigure 4: Shinya Arasuna Unlimited Voyage Quartet with Jitsuhiro Masuda (piano), Yosuke Terao (bass), and Yosuke Nagayama (drums) at Manhattan in November 2013\nSmall and narrow, this spot may not be great for the claustrophobic, with its narrow seating space and a leaning-in window ceiling and curtain at an angle, making for slightly lower headroom on one side of the room. Taller customers may need to mind their heads if they are seated against the wall.\nFigure 5: Shinya Arasuna Unlimited Voyage Quartet with Jitsuhiro Masuda (piano), Yosuke Terao (bass), and Yosuke Nagayama (drums) at Manhattan in March 2013\nWhile things in tuhe room seem may crammed together, the small space is used to greatest effect. An upright piano and drum set are nestled closely together by the entrance. An upright bass rests in a small alcove right next to the door, where the bassist stands and plays when the music starts. Front players (horns, guitars, vocalists) are indeed right up front, standing in the space before the first table and seats. Despite the closeness of the audience, the piano and drums are not overly loud. Even when seated up close, the live music is at a comfortable level and not too noisy, just real and raw and right in front of your eyes and ears.\nAs a result of Manhattan’s cozy layout and the musicians playing near the entrance, customers arriving during the performance may need to hang out just inside the door at the entrance, next to the upright bass player, to wait for a song to end and the musicians to make room for passage into the heart of the bar.\nFigure 6: Shinya Arasuna Unlimited Voyage Quartet with Jitsuhiro Masuda (piano), Yosuke Terao (bass), and Yosuke Nagayama (drums) at Manhattan in March 2013\nManhattan also provides support for up-and-coming young talents, featuring regular jam sessions as well. As the shop’s signs and website include “Jazz \u0026amp; Live | Manhattan | Jazz School” and “Manhattan jazz school”, generous attention is paid to providing learning opportunities for enthusiastic amateur musicians. Scheduled times for jazz jam sessions, where local amateurs and jazz students can play with and learn from experienced local and professional musicians, are on slotted on the calendar alongside events featuring professional jazz performances. For students and amateurs, practical playing experiences are the essential ingredients found at these frequent jam sessions, where experienced musicians mentor and play alongside younger generations, a new batch of players, and with whoever shows up. Manhattan can also be booked for private lessons with in-house teachers.\nFigure 7: Ryoichiro Masuda (guitar) Trio with Nami Kano (sax) and Ryo Noritake (drums) at Manhattan in July 2015\nAlthough Manhattan has long been a venue with ‘no smoking’ signs indicating such, at times, the smell of tobacco occasionally seems to leak in from adjacent snack and karaoke bars, along with the faint sound of party music. But in general, neither this odor or noise distracts from the vibe of Manhattan, and is all part of the well-worn charm.\nIn November 2025, Manhattan already has Christmas decorations hung up here, and, in the far corner, a small Christmas tree with lights on. Even in humble settings, the love for the space shows in the attention to decor and changing the setting according to the season. The owner, who is getting up there in age, makes these decisions and cares for his bar, his personal slice of the Big Apple in Tokyo. It’s good to see a cheerful attention to details — to the decor, atmosphere, and seasonal changes all in order to delight the customers and enhance the Manhattan environment.\nFigure 8: Ryoichiro Masuda (guitar) Trio with Nami Kano (sax) and Ryo Noritake (drums) at Manhattan in July 2015\nWith its unpretentious charm, Asagaya’s Manhattan is also relatively inexpensive. A recent kyukanbi (休肝日, liver resting day) ended up totaling only 3300 yen for one, including the live charge, a ginger ale, and a grapefruit juice. Of course, the charges do add up quickly, once food and alcohol enter the picture, but overall the prices are surprisingly modest.\nFigure 9: Ryosuke Hashizume Standard Side with Yoshifumi Matsubara (guitar) and Hirohito Miyagami (bass) at Manhattan in June 2019\nA last note on finding this spot: With a name like “Manhattan”, online searches may be trickier than normal: Typing “manhattan” or “jazz bar manhattan” into a maps app will likely lead to spots in New York City, but trying something like “manhattan asagaya jazz bar” will get you to the right place.\nFigure 10: Bar counter at Manhattan\nFigure 11: Coaster at Manhattan\nFigure 12: Menu #1 at Manhattan\nFigure 13: Menu #2 at Manhattan\nFigure 14: Pizza at Manhattan\nFigure 15: Jazz cats at Manhattan\nFigure 16: Jazz cats at Manhattan\nFigure 17: Jazz Bar Manhattan sign\nFigure 18: Jazzy \u0026amp; Sentimental Manhattan\nFigure 19: Welcome to Manhattan\n","permalink":"https://mirror2.jazzofjapan.com/manhattan/","summary":"\u003cp\u003eThe sign outside advertises “Jazz \u0026amp; Live | Manhattan | 3F | Jazz School” in an illuminated round sign. Coming down the street, it almost resembles a  white baseball with red stitching from a distance. Manhattan is nestled along more bars and other joints on Star Road, a street running alongside the Chuo line train tracks, giving a sense of a classic, dark Tokyo neighborhood. Beyond Manhattan’s illuminated sign, the stairs up to the third floor are otherwise nondescript, until you reach Manhattan’s landing where friendly signposts and posters greet your arrival and welcome you in.\u003c/p\u003e","title":"Manhattan"},{"content":"Vocalist Kaoru Azuma’s Japanese debut release is Footprints in New York, recorded in New York in 2008 and released in Japan that same year. Coming two years after her independently released album The Water is Wide (2006), this was her first album to be released in Japan.\nAzuma does something a little different from typical jazz vocal albums, selecting songs for Footprints in New York that are great modern jazz tunes known originally and primarily as instrumental compositions. She covers a nice sample of jazz genres — bebop, hard bop, classic, contemporary, and so on — in what could be called a “non-standards” vocal jazz album, or a vocal jazz album for instrumental jazz lovers. Through this selection she also pays homage to master instrumentalists and composers including Chick Corea, Charlie Parker, Thelonious Monk, John Coltrane, and Bill Evans. And, of course, Wayne Shorter, through his composition “Yes or No” and the classic “Footprints” referenced in the album title.\nThrough these fresh choices, her singing voice is in constant control of the tight NY-based quartet, powerfully graceful and confident. On some songs, she sings lyrics associated with or written for the songs (Corea’s “High Wire”, Parker’s “Confirmation”, Strayhorn’s “A Flower Is A Lovesome Thing”, and Bill Evans’ “Turn Out the Stars”). On other songs, she sings her original lyrics in English or Japanese. Monk’s “Bemsha Swing” becomes “Jungle City New York”, Shorter’s “Yes or No” is “Another Yes or No”, Coltrane’s “Giant Steps” is “Now’s the Time Giant Steps”, and Benny Golson’s “Along Came Betty” is “Along Came Memory”.\nIn addition to her singing of lyrics, Azuma’s oohs, ahhs, and scatting sections are also featured in parts of different songs and throughout Shorter’s “Footprints”. As for the rest of the band, Scott Reeves on alto flugelhorn and trombone, pianist Mike Holober, guitarist Jesse Forest, bassist Robinson Morse, and drummer Paolo Orlandi never waver and share the spotlight with the vocalist for plenty of improvisational solos, often doubling or trading with Azuma and her pinpoint scatting and crafted interludes on several songs.\nLiner Notes (Translated from Ryu Yamamoto’s original Japanese liner notes.)\nThis is a substantial debut album from Osaka-born jazz vocalist Kaoru Azuma. I was surprised to find that lyrics were added to Monk’s “Beshma Swing”. Plus, they are in Japanese. Using the title “Jungle City New York”, she sings about the five years she spent in New York and the various worries, thoughts, and real experiences in that period. Listening closely to the lyrics, it’s really relatable. Maybe it’s because the lyrics are in Japanese, but when I listened to this song, I thought of 1970’s Taeko Onuki (Japanese singer-songwriter) and tuned into a clear sense of single-mindedness. This may have not entirely been the intention, but I really like that kind of atmosphere.\nSeveral minutes after first listening to this CD, I thought about Marlene Ver Planck’s A Breath of Fresh Air and Cybill Shepherd’s Mad About the Boy, for some reason. Of course, the songs are different. Marlene’s album has “Mr. Lucky”, and Cybill’s has “Triste”. The instrumentation is also different. I wondered why, and it may be because I felt something in her of that energetic feeling of iki iki or kito kito (which is Toyama regional dialect for that very fresh, full of life feeling). It’s not that I know anything thing about her, but it’s something in her stance towards singing and music for jazz. You can feel the enthusiasm and spirit of a Japanese singer. I realized this as I continued listening.\nAnd wow, isn’t the song selection tasty! This refined sense impressed me most with the inclusion of an excellent tune featured on the great Art Blakey’s Moanin’, Benny Golson’s “Along Came Betty”. Jazz singers don’t usually take on this tune. I wouldn’t have thought that she would pick this song, not to mention adding lyrics in Japanese. Plus, on her first release! I would love to have this kind of sense.\nIt also really feels like autumn. And, another discovery was hearing the instrument called the alto flugelhorn that sound almost like a trombone. This instrument is used throughout the album in amazing ways, and it’s great.\nWayne Shorter’s “Yes or No”, Thelonious Monk’s “Bemsha Swing”, John Coltrane’s “Giant Steps”, and Bill Evans’ “Turn Out the Stars” are more showcases for her skillful self-expression. In that sense, these choices are also examples of freshness. She expresses herself sometimes in English, sometimes in Japanese. It’s not Misora Hibari and Eri Chiemi from 50 years ago, it’s a modern feeling.\nAs the album was recorded in New York, the clear, bright sound of the musicians and recording team further elevates her performance. This is an album where you can experience the joy of immersion into a vocalist’s work.\nRyu Yamamoto\nObi Notes “Tender and sophisticated” as not heard before, a jazz vocal album with a new sense.\nHere is an ambitious release from up-and-coming vocalist Kaoru Azuma, joined by Mike Holober (piano) and others from the New York contemporary jazz scene, recording only songs primarily known for being instrumental pieces.\nFootprints in New York by Kaoru Azuma Kaoru Azuma - vocal Scott Reeves - alto flugelhorn \u0026amp; trombone (track #6) Mike Holober - piano Jesse Forest - guitar Robinson Morse - bass Paolo Orlandi - drums Released in 2008 on River East Music as REM-1002.\nJapanese names: 東かおる Azuma Kaoru\nAudio and Video #1 “High Wire”: #1 “High Wire” (excerpt, alternative link): #2 “Confirmation”: #3 “Hana \u0026amp; A Flower is a Lovesome Thing”: #4 “Another Yes or No (Yes or No)”: #5 “Jungle City New York (Bemsha Swing)”: #6 “Footprints”: #7 “Now’s The Time Giant Steps (Giant Steps)”: #8 “Without a Trace”: #9 “Along Came Memory (Along Came Betty)”: #10: Turn Out the Stars”: Kaoru Azuma: Footprints in New York full album playlist\nExcerpt from track #4: “Another Yes Or No”\n","permalink":"https://mirror2.jazzofjapan.com/kaoru-azuma-footprints-in-new-york/","summary":"\u003cp\u003eVocalist Kaoru Azuma’s Japanese debut release is \u003cem\u003eFootprints in New York\u003c/em\u003e, recorded in New York in 2008 and released in Japan that same year. Coming two years after her independently released album \u003cem\u003eThe Water is Wide\u003c/em\u003e (2006), this was her first album to be released in Japan.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1290968x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1290968x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAzuma does something a little different from typical jazz vocal albums, selecting songs for \u003cem\u003eFootprints in New York\u003c/em\u003e that are great modern jazz tunes known originally and primarily as instrumental compositions. She covers a nice sample of jazz genres — bebop, hard bop, classic, contemporary, and so on — in what could be called a “non-standards” vocal jazz album, or a vocal jazz album for instrumental jazz lovers. Through this selection she also pays homage to master instrumentalists and composers including Chick Corea, Charlie Parker, Thelonious Monk, John Coltrane, and Bill Evans. And, of course, Wayne Shorter, through his composition “Yes or No” and the classic “Footprints” referenced in the album title.\u003c/p\u003e","title":"Kaoru Azuma: Footprints in New York"},{"content":"Decision is a 2020 album from the duo of vibraphonist Reiko Yamamoto and pianist Sumire Kuribayashi. This is their second album together as the duo “sumireiko” and follows their 2013 debut release Blue Bird. The two musicians have been playing together for fifteen years since meeting and forming their group, and in that time have developed a deep friendship that permeates their music with this intuitive emotional bond. In fact, the name sumireiko was made by overlapping their first names, Sumire and Reiko, to create the name of their musical identity. Their first names, Sumire and Reiko, are even combined and overlapped to form their musical identity “sumireiko” (すみれ + れいこ = すみれいこ), another indication of their close musical affinity built on trust and friendship.\nThe nine tracks on Decision are entirely original songs from both Yamamoto and Kuribayashi, who contribute four and five compositions respectively. The paired sound of piano and vibraphone meshes well through their balanced playing, as the fingers, hammers, and strings of Kuribayashi’ piano innately bonds with the mallets, bars, and pipes of Yamamoto’s vibraphone.\nKuribayashi lends her voice to some of the songs as well, for an angelic effect that is sometimes layered multiple times in a fantastic chorus. This creates an elevated level of joyful beauty and depth to the music.\nDecision was originally released online as a six-track digital album in the summer 2020, and later that year, was re-released on CD with three additional tracks.\nThe album opens with the slow burner “Lull in the Rain”, where Yamamoto and Kuribayashi take their time to set the scene, guiding listeners patiently into their world. #2 “Nobody There” is mysterious and moody, and brings to mind some of the Spanish, classical, and pop touches created by the great piano-vibes duo of Chick Corea and Gary Burton.\nTrack #3 “Look for the Almond Blossoms” lays out a straightforward jazz waltz, modern and contemplative. #4 “Déjà-vu” releases the beautiful chimes and reverberations of the two instruments with a grounded bluesy feel building to soaring emotions, with Kuribayashi’s voice adding another instrumental texture. #5 “With the Sound of Rain” is a pretty jazz ballad, gentle and refreshing.\nThe title track #6 “Decision” is a multi-part suite whose sections introduce dreamy rubato canvases, Joel/Jarrett/Folds-style piano rock, a multi-layered vocal choir, and dramatic developments as heavy and austere as a cathedral, magically conjuring images of medieval middle-earth ceremonies in misty forest glades. #7 “Piano Songs No. 5” is a chapter from Yamamoto’s collection of inspired songs, a peaceful, calming waltz interlude graced by vocal clouds drifting slowly above.\n#8 “Mattina” as written by Kuribayashi, played as a vibraphone solo by Yamamoto, and is as innocent and nostalgic as the memory of carousel ride from childhood. Finally, the album wraps up with #9 “Mean a Lot to Me”, where the duo works together empathically to develop the same steady and composed musical feeling together, expressed in this finale as a complex mix of a gradually developing farewell suffused with the lingering reluctance to part.\nDecision by Sumireiko Reiko Yamamoto - vibraphone Sumire Kuribayashi - piano Released in 2020 on Sumireiko as Decision.\nJapanese names: 山本玲子 Yamamoto Reiko 栗林すみれ Kuribayashi Sumire\nAudio and Video Promotional video for this album: Sumireiko: Decision (six-song digital album version on Bandcamp)\nExcerpt from track #1: “Lull In The Rain”\n","permalink":"https://mirror2.jazzofjapan.com/sumireiko-decision/","summary":"\u003cp\u003e\u003cem\u003eDecision\u003c/em\u003e is a 2020 album from the duo of vibraphonist Reiko Yamamoto and pianist Sumire Kuribayashi. This is their second album together as the duo “sumireiko” and follows their 2013 debut release \u003cem\u003eBlue Bird\u003c/em\u003e. The two musicians have been playing together for fifteen years since meeting and forming their group, and in that time have developed a deep friendship that permeates their music with this intuitive emotional bond. In fact, the name \u003cem\u003esumireiko\u003c/em\u003e was made by overlapping their first names, Sumire and Reiko, to create the name of their musical identity. Their first names, Sumire and Reiko, are even combined and overlapped to form their musical identity “sumireiko” (すみれ + れいこ = すみれいこ), another indication of their close musical affinity built on trust and friendship.\u003c/p\u003e","title":"Sumireiko: Decision"},{"content":"Almost Dusk is a 2019 album from the duo of pianist Yoko Kobayashi and drummer Kazumi Ikenaga. Their beautifully imaginative music is flexibly arranged, somewhat abstract, but solidly grounded to the music they have written upon which they improvise with linked hands and minds. The duo’s playing roams across their compositions as they tune into to themselves and to one another for in the moment inspiration and stimulation, simultaneously creating, responding, pausing, and reflecting. The written notes of their compositions are also guided by the images and stories that bind the music to their visions, whether it’s signals from outer space, precious childhood memories, or the beauty uncovered in slow daily life.\nLiner Notes (Translated from the original Japanese liner notes and commentary from Kazumi Ikenaga and Yoko Kobayashi.)\n1.Waltz for Mars (Y. Kobayashi)\nAt our first rehearsal, Yoko Kobayashi said “These are communications with Martians.” I didn’t understand that at first, but after trying several times, I thought “Hmm, maybe this is that Martian feeling?” I headed into the recording with that in mind.\nAccording to the composer, Martians and Earthlings (both children, apparently) are able to communicate well, and it’s pretty funny (laughs). For more details, certainly ask the author, please!\n2.Kazekaoru (風薫る, Refreshing fragrant breeze in early summer) (Y. Kobayashi)\nThe two of use play roles where Yoko is a balmy summer breeze and I start as a gentle breeze that turns into a gust of wind like a bullet train speeding away at the end.\nThis soundscape revives distant memories. Once, on my way home from school, it was still a bit chilly and I started to hurry back on the road home, when a gust of wind seemed to respond and brush past my cheek.\n3.Playground (Y. Kobayashi)\nIn the back room before our third live performance, Yoko gave me a freshly-written sheet music score and said “This is a song that I wrote with you in mind.” She even entrusted me to title the song. I felt the pressure, and I was thinking too hard on the first take of the recording, so I ended up going around in circles.\nFor the second take, I casually hit the drums with my bare hands, and I was just able to play as I returned to an innocent childlike state, thinking of nothing in particular.\n4.Mrs.Hummingbird (Y. Kobayashi)\nAfter Yoko’s comeback performance, a melody got stuck in my head during daily life. I thought, “Oh, what song is that, again?” I turned over some sheet music at home, and I noticed that it was that song. It’s exactly as if it were an old standard from long ago with a grand melody that evokes images of continents and oceans.\n5.Konomedoki no (“Shimogaredoki no” no Urakyoku) (木の芽時の [“霜枯れ時の”の裏曲], Early spring [The opposite song of “Dry winter season”]) (Y. Kobayashi)\nThe trees are green, and the insects that have been living underground start to become active and make rustling sounds as spring approaches. The activities of living creatures begin in earnest. This song captures the light of their lives in the natural world as they support one another.\n6.plastic moon (K. Ikenaga)\nThis is the title track of Plastic Moon, a 2010 album recorded in Denmark with the Magnus Hjorth Trio. We kept fine-tuning the song on an old beat up piano in the corner of a cafe in Copenhagen a few days before the recording, and it was included as the album closer. Every time I can play with these wonderful partners, my soul is enriched, I take further steps forward, and I continue to develop. This is the third album to record this song. Yoko’s lively sensitivity shines through.\n7.Wind Song (K. Ikenaga)\nOriginally, this was an improvised part from an original song. There’s a thrilling sense of excitement for what’s going to happen, and a feeling of spring. There’s also a light, pop-style effect that adds further coloring to the album.\n8.Danny Boy (Ireland folk song)\nOnce during my childhood, we were moving house during the chilly season. After we finished moving, we lit a bonfire in the vacant lot out front. My innocent child’s mind was absorbed in listening to the adults talking about the work combined with the sounds of the fire and of the music. The sounds of crackling\u0026hellip;crackling\u0026hellip;pop! from that time remain with me.\nOnce the conversations had ended, it was almost as if a lamp’s fire had been gently blown out\u0026hellip; After the adults were gone and the fire had died, a certain loneliness lingered.\nHere, the drums express the bonfire, and the piano represents the adults’ conversation.\n9.Bonne yeah rit\u0026hellip;..。 (Y. Kobayashi)\nAccording to the composer, this does not have a sense of melancholy, but the feeling of looking out absentmindedly from a room’s window and watching the hustle and bustle going on outside (perhaps a big city, or somewhere next to a station in the suburbs?). It is just absently spending time listening to the city noise, such as the sounds of cars and motorcycles, and the voices of children coming home.\nI have a memory from childhood when I would wait up late for my mother who worked night shifts. I kept myself entertained alone, feeling a little anxious and lonely while sitting at a window and watching the spotlight of a driving school across the way.\nAt a moment during the recording, I had the illusion that I had gone back in time to that memory, or maybe I was just daydreaming\u0026hellip;\n(Commentary: Kazumi Ikenaga)\nIntroduction\nWe would like to express our sincere gratitude to those who have gotten this CD, Nearly Dusk / The Third Tribe (TTT).\nOn this album, I’ve been able to approach very closely a place that only this particular unit, Kazumi Ikenaga and myself, could imagine. This has became a very precious recording for me. At the same time, this is an album that offers a glimpse into some future evolution.\nIf I remember correctly, the first time I heard Ikenaga’s music was at Shinjuku Pit Inn before they moved, about 30 years ago. The cymbals were set very high, his long hair was pinned up on top of his head, he was filled with the energy of youth, and was having so much fun while playing very beautiful sounds. The image is still etched in my mind. (Note: Of course, I was also young at the time, and my bangs were precisely cut.)\nAt that moment, I selfishly thought to myself that I wanted to perform with this Ikenaga-san sometime in the future.\nSince then, we’ve performed together many times during those long years, but it’s taken 30 years for this unit to officially begin in its concrete form.\nI returned to playing live performances in July 2018, and it was something that took a lot of courage. It’s not an exaggeration to say that the music of drummer Kazumi Ikenaga supported me. Without him and his music, it may have been the case that I remained removed from music, shut away in my shell. I am also so grateful that he proposed the idea that we perform as a duo of drums and piano.\nFortunately, The Third Tribe (TTT) got started. I am convinced that the fact that were are a bass-less unit, and that the birth of this unit was 30 years in the making, are outcomes that were inevitable.\nYet, I think that this unit is just one small part of something, like a pillar. I feel that there is something profound about how this unit may expand, both in terms of composition and musicality.\nReflecting on it now, I think that the several years that I was separated from music were indispensable for me. If that had not been the case, I certainly would not have been able to reach the “point of departure” that led to me where I am now.\nLast but not least, I would sincerely like to thank the engineer, Akihiko Goto, for his work with the recording and everything else, and Kei Sunayama for the jacket design.\nYoko Kobayashi\nYoko Kobayashi has been pursuing her own music since a time when there were far fewer people performing original jazz than there are now.\nAt first, her soft spoken style makes it hard to see the strength that is at her core as a pianist and her firmly established personal vision.\nHer work depicts the poetic scenes of daily life, with wit and humor, and sometimes even fantastic illusions, in songs overflowing with charm that draw many people in.\nIt is this clear image that allows the performers to freely immerse themselves entirely in the performance.\nThere was a period a long time ago when we performed as a trio, and we shared a special connection every time.\nSince then, there were many years that we spent where we each had many separate experiences. Now, this is where we meet again.\nThis time, it’s smallest configuration of a duo format where when one person rests, the other person performs solo. The canvas of open space allows for the fun of drawing a picture on a new piece of paper each time.\nWe play off each other’s sounds freely from our own positions. It’s like we’re constructing a building and decorating it together. Or, at other times, as if we’re back in childhood, running around the playground and making noise.\nAfter being so absorbed in playing, the sun starts to set\u0026hellip; This vision returned many times\u0026hellip; It’s exactly Nearly Dusk!\nNow, it’s our new unique culture not seen before, the start of The Third Tribe.\nWe hope that you will join us to watch how this duo evolves, and where we go from here.\nKazumi Ikenaga\nObi Notes Here begins the history of a new musical tribe!!!\nA prayer to the infinite universe, a completely new duo format and their shocking debut!!\nNearly Dusk by The Third Tribe Yoko Kobayashi - piano Kazumi Ikenaga - drums Released in 2019 on Timemachine Record as TMCD-1014.\nJapanese names: 小林洋子 Kobayashi Yoko 池長和美 Ikenaga Kazumi\nAudio and Video Promotional video for Nearly Dusk: “Waltz for Mars” (track #1, alternate take): “Playground” (track #3, alternate take): The Third Tribe “Improvisation”: Live performance of “Waltz for Mars” (track 1)/“Full Full Company”: Excerpt from track #4: “Mrs.Hummingbird” ","permalink":"https://mirror2.jazzofjapan.com/the-third-tribe-nearly-dusk/","summary":"\u003cp\u003e\u003cem\u003eAlmost Dusk\u003c/em\u003e is a 2019 album from the duo of pianist Yoko Kobayashi and drummer Kazumi Ikenaga. Their beautifully imaginative music is flexibly arranged, somewhat abstract, but solidly grounded to the music they have written upon which they improvise with linked hands and minds. The duo’s playing roams across their compositions as they tune into to themselves and to one another for in the moment inspiration and stimulation, simultaneously creating, responding, pausing, and reflecting. The written notes of their compositions are also guided by the images and stories that bind the music to their visions, whether it’s signals from outer space, precious childhood memories, or the beauty uncovered in slow daily life.\u003c/p\u003e","title":"The Third Tribe: Nearly Dusk"},{"content":"Echoes is the title of the second album from the Fumie Chiba Trio, made up of pianist and composer Fumie Chiba, bassist Tetsuji Koji, and drummer Kaoru Suzuki. This forty-nine minute album from 2013 contains ten original songs from Chiba and includes eight songs played by the trio and two for solo piano. Chiba’s trio playing style is modern contemporary jazz with rock-leaning straight beats and composed bridges, interludes, and heavy vamps that all add extra flair around melodies and jazz improvisation.\nEchos follows her debut recording Tip of Dream (2009) and solidly establishes Chiba’s focus on original compositions evocative playing continued on her later albums Roguequeue (2015), Beautiful Days (2017), and Canvas (2022).\nLiner Notes (Translated from Fumie Chiba’s original Japanese liner notes.)\n1.echo\nEcho imagines a trio that reverberates and dissipates together and is often played at the beginning of our performances. This song received a finalist song award in the 2012 John Lennon Songwriting Contest.\n2.dawn\nAs my train headed towards a place I was visiting for the first time, I had complex feelings of anticipation and anxiety mixed together. The dawn sky gradually moved from the east, overflowing with bright colors. I wrote about that time combined with my scenes from my imagination.\n3.snow\nI opened a window and, without realizing it, I saw the roundness of the sky’s ceiling through silently falling snow.\n4.flow\nFloating, the trio’s sound flows comfortably through space.\n5.closer\nIn a distant foreign country, dancers step and clap their hands as they continue to dance on\u0026hellip;\n6.garden\nA large green garden spreads out and brims with gentle feelings where a melody is played through warm bass tones.\n7.parabola\nJust as an athlete’s thrown javelin seems to go on forever drawing a parabolic path in the sky, this song also goes.\n8.memai\nThis was originally a song I wrote thinking that it would be played by string or wind instruments. I perform this as a classically arranged solo carried on the clear notes of a Bechstein piano.\n9.trinity\nWith a simple theme based on a trinity, the trio’s performance goes on to change kaleidoscopically.\n10.H.M.\nOne song, recorded as a piano solo, was added as a epilogue to the album.\n千葉史絵/Fumie Chiba/Piano\nFrom Saitama Prefecture. Started classical piano at 6 years old. After graduating from Shizuoka University Graduate School, studied under Manabu Oishi and Yukiko Nishi. Studied composition with contemporary music composer Satoru Ikeda. Currently active in the metropolitan Tokyo and Yokohama areas.\nReleased her trio album Tip of Dream on June 27, 2009.\nHer trio performed at the 2009 Yokohama Jazz Promenade Competition and won the Jazz Club Award.\nIn September 2012, her original song “Echo” received a finalist award in the John Lennon Songwriting Contest. She likes rabbits. She also likes curry. She is blood type A and bad at organization.\n铁井孝司/Tetsui Koji/Bass\nBorn in 1974. From Tokyo. With a father who was a woodblock artist and who loved jazz and classical music, he became familiar with various types of music by listening from a young age. Majored in jazz music at the University of North Texas College of Music. Studied bass under John Adams and Lynn Seaton.\nCurrently performing as a regular member of Shimpei Ruike’s band as well as with popular jazz diva Karen Aoki on the recording of her album Voyage and as touring support bassist, in addition to various live recording sessions in the Greater Tokyo Metropolitan area​. Received accolades as an arranger and composer, and supplied original songs and direction for singer-songwriter Yurika Ohishi’s third album gleaming line.\n鈴木カヲル/Kaoru Suzuki/Drums\nStarted drums at a young age as a member of the Kawasaki Boys and Girls Choir. Received a scholarship in 1997 to attend the Boston Berklee College of Music. Obtained an artist visa and performed at events including a reception party for former American Vice-President Al Gore and as the opening act for Ray Charles. Returned to Japan in 2001 and is currently active in the Tokyo area as a member of groups including the instrumental band RF and Takeshi Nakatsuka’s support band.\nEchoes by Fumie Chiba Trio Fumie Chiba - piano Koji Tetsui - bass Kaoru Suzuki - drums Released in 2013 on T-TOC Records Cadenza as CADE-0009.\nJapanese names: 千葉史絵 Chiba Fumie 鉄井孝司 Tetsui Koji 鈴木郁 Suzuki Kaoru\nAudio and Video “Echo” (track #1): “Flow” (track #4): Excerpt from track #2: “dawn” ","permalink":"https://mirror2.jazzofjapan.com/fumie-chiba-trio-echoes/","summary":"\u003cp\u003e\u003cem\u003eEchoes\u003c/em\u003e is the title of the second album from the Fumie Chiba Trio, made up of pianist and composer Fumie Chiba, bassist Tetsuji Koji, and drummer Kaoru Suzuki. This forty-nine minute album from 2013 contains ten original songs from Chiba and includes eight songs played by the trio and two for solo piano. Chiba’s trio playing style is modern contemporary jazz with rock-leaning straight beats and composed bridges, interludes, and heavy vamps that all add extra flair around melodies and jazz improvisation.\u003c/p\u003e","title":"Fumie Chiba Trio: Echoes"},{"content":"Astrolabe is an imaginative 2012 album from pianist and composer Hitomi Nishiyama. Nishiyama created the songs and this album with two goals in mind: First, she wanted to compose a story-like suite, a long-form composition that reflected the influence of guitar-based music she listened to as a youth, especially rock and heavy metal. Second, she wanted to record and release an album in a duo format with guitarist Takayoshi Baba, who joins her on this album.\nThe result is a boundary-pushing and vividly realized album centered around a six-part suite from Nishiyama, brought to life through electric guitar and acoustic piano. The two voices juggle dynamic changes and odd meters, novel structures, and riff-based comping rhythms that push the duo around edges as they race swiftly along paths in the fluid and melodic compositions. The musical story told in the suite seems to be filled with elements of fantasy, classical flourishes, and the energy of jazz fusion.\nThis is an album originating from two musicians who have a fondness for guitar-based bands like Dream Theater and Yngwie Malmsteen. The idea of the concept album that was popular in the 80s and 90s with groups like these, including Queensrÿche, Iron Maiden, and others, must too be a factor in the creation of this suite.\nNishiyama spent over a year composing Astrolabe and she wrote, edited, adapted, and performed the songs at intervals with Baba. Through it all, she maintained the goal of joining the separate songs in the suite’s tapestry of interweaving themes and patterns to tell a story where the plot moves through changes in tempos, meters, harmonies, and emotional moods.\nReleased in 2012, Astrolabe roughly falls in Nishiyama’s early-to-middle period between her first debut release I’m Missing You from 2004 and her current latest Songs from 2025. Up to 2012, she had already released several jazz piano trio albums as a leader of the Hitomi Nishiyama Trio and her Hitomi Nishiyama “Parallax” jazz piano trio. Her personal style has always blended smooth European modernism, classical pianist roots, and deep jazz studies. Add to that her equally recognizable compositional style that is filled with sublime melodies and beautifully intricate harmonies and rhythms.\nThe first six tracks on this album make up the “Astrolabe Suite”. In the liner notes (translated below), Nishiyama explains how the idea of writing a suite came to her, and the storytelling-like process she took with guitarist Baba in developing the chapters of the story over time.\nNo notes are provided about what the story’s concept is concretely, or if there is a fleshed-out plot with characters, scenes, and story arc, but listeners’ imaginations can be driven by what is gleaned from the song titles and how the music unfolds.\nTrack #1 “Aviator” flows at an uptempo pace with odd-meter measures and ornate syncopation decorating the piece. With some complex pieces, focusing too hard about what’s going on musically can interfere with the enjoyment of listening listening, such as when trying to identify and categorize the structural parts and how they connect like puzzle pieces. Yet “Aviator”’s opening flows along, rapidly and easily carrying listeners forward through beautiful melodies and mature, symphonic songwriting and playing.\nThe second movement is titled “Island”. This is a mid-tempo piece with the personality of a sentimental heavy rock ballad. A mysterious feeling arises from the shifting harmonies and close melodies, maintaining the sense of flying that was created on the previous track. The destination hinted at in the story (one possibly interpretation) moves from the perspective of the aviator to some remote island their aircraft landed upon. It seems that the melody and solos are also buffeted smoothly by the waves and glide over the terrain of the island like wind.\nThe next chapter, #3 “Voices in the Wind”, returns to a faster rhythm based pattern, where Nishiyama’s left hand pins down the rhythms like the chugging of a guitar riff. Still, harmonic grace bloom with refined filigrees of notes as classical, jazz, and rock root meld and the two musicians play with abandon. This part of the story increases the mystery with pulse-racing developments in plot as an unexpected phenomenon appears.\nThe suite’s fourth movement is “Underwater”. Strict time-keeping starts to dissolve and makes room for the duo’s rubato and flexible synchronicity. The guitar and piano both lead and follow indistinguishably as they stretch out for an interlude-like reflection in the peace and safety of aquatic submersion.\n#5 “Dancer” frames an angular up-and-down march of folk-style joy as the music transforms into dreamy classical arpeggios with a touch of Ghilbi-esque fantasy. The elaborate spell of the dance provides a solution to the mystery or dilemma, but one that must be executed perfectly and step-wise like a dance, with all notes correct in place and in order.\nThe last movement, “Frontier”, shifts between free and solid time with several inner developments in meter and structure. Precise angles and curves are taken by the piano and guitar together, then piano alone in a solo break, then back together as the five-beat meter and rock-heavy rhythms build to a climax for the story’s satisfying conclusion.\nTwo more songs follow the six-part suite. #7 “Something I Can Do for You” is a lovely ballad that seems to relate indirectly some themes developed in the suite like memories of a dream. The last track, #8 “Still Moving\u0026hellip;” revisits the oceanic tides implied in parts of the suite through a steady pulse and a double-note question of a melodic theme, alternatively comfortable and potentially threatening in its immense embrace.\nLiner Notes (Translated from Hitomi Nishiyama’s original Japanese liner notes.)\nI want to make a suite. This was something I had been thinking about ever since I wrote the song “Invisible World”, included on my 2008 album Parallax.\nThere was a time when I was in high school that I was addicted to guitar-based music like Yngwie Malmsteen, Steve Vai, and Dream Theater. It was just undeniably cool. There was a perfectly constructed beauty that was filled with respect for its roots in classical music and rock music, and I was fascinated by the large-scale compositions and the playing.\nAs fate would have it, now I’m playing jazz. With jazz music, both the piano and the guitar are chordal instruments, so it’s nice to have either one in a band.\nI met guitarist Takayoshi Baba one time at a jam session during my student days, but we didn’t meet again after that, despite the fact that we both often performed in the Kansai region. However, on the very same day as the final round selection of the 2005 Yokohama Jazz Promenade Competition, there was a Gibson Jazz Guitar Contest finals competition. I later heard from many people in Kansai that he also won the grand prize, and what’s more, we ended up playing the same selection of standards at our respective competitions! Just as I was wondering about what kind of player he had become, he showed up at one of my live shows to listen to my performance for some reason.\nIt was then that we talked about doing something together, and so I wrote the first song “Changing” (included on Parallax). We initially performed this as a duo. Since one aspect of Parallax itself contained the image of a pop guitar trio, we later invited Baba Takayoshi to join as a guest for Parallax concerts. I wrote “Invisible World” for our first performance together. That was when I started to feel that I wanted to write more music in this direction.\nAt that time, however, drummer Takehiro Shimizu was going to be moving to the United States, so the Parallax trio would be on hiatus following that. That was the beginning of this duo suite project.\nThis suite consists of six movements. Each movement took considerable time to compose, and the entire suite took one year and three months to complete. I rewrote it and unraveled it many times, but it was a very fun process. It was like I was writing a story about a place, thinking about where to head for the next adventure, while talking to Takayoshi Baba about this and that and searching for a way to perform what I’ve written. One thing we had in common was we had both been listening to the same guitar music at around the same time, so it was easy to share the same vision. Additionally, as a jazz player he’s extremely quick-witted. Of course, I was making a lot of parts for ad-libs all over, so while I included the elements of improvisation, there was also the enjoyment of “creating something”.\nAfter completing the story, naturally I wanted to make it a book. Like a bookbinding process at the end, this album represents the final packaging of this recording.\nDuring that one year and three months, at our live shows we were presenting in order the work that had just been completed. The listeners who came to those events were also witnessing the creation of this story in the same way. We thought to ourselves, wouldn’t it also be great to have listeners present in the final recording process as well? During a short one week period, we recruited supporters at our performances and invited them to observe at the recording studio.\nFor this album, the suite is concluded in six movements. Personally, I feel that the story is not over yet, and I have a sense that the time will come for a sequel someday.\nThe act of making music is nothing more than growing and traveling together with companions, with all the worries, struggles, discoveries, and joy encountered along the way. Along the journey, you can also make new friends as well.\nAs long as I am making music, the journey continues.\nMuch appreciation and thanks go out to everyone involved in the production of this album.\n西山瞳 Hitomi Nishiyama\nObi Notes A collection of songs crafted with overwhelming compositional sense.\nA sublime duo of guitar and piano create and expand a magical sound space of two interweaving instruments!\nAstrolabe by Hitomi Nishiyama Hitomi Nishiyama - piano Takayoshi Baba - guitar Released in 2012 on Meantone Record as MT-003.\nJapanese names: 西山瞳 Nishiyama Hitomi 馬場孝喜 Baba Takayoshi\nAudio and Video Promotional video for this album: Excerpt from track #6: “Frontier” ","permalink":"https://mirror2.jazzofjapan.com/hitomi-nishiyama-astrolabe/","summary":"\u003cp\u003e\u003cem\u003eAstrolabe\u003c/em\u003e is an imaginative 2012 album from pianist and composer Hitomi Nishiyama. Nishiyama created the songs and this album with two goals in mind: First, she wanted to compose a story-like suite, a long-form composition that reflected the influence of guitar-based music she listened to as a youth, especially rock and heavy metal. Second, she wanted to record and release an album in a duo format with guitarist Takayoshi Baba, who joins her on this album.\u003c/p\u003e","title":"Hitomi Nishiyama: Astrolabe"},{"content":"Organ Jazz Club Abecafe is a special jazz bar whose defining feature is the Hammond B3 Organ, a characteristic instrument in jazz that could almost define a subgenre in and of itself. OJC highlights this wonderful tradition of jazz organ by establishing itself a place that knows what it wants to do and does it extremely well.\nFigure 1: Drums and organ at Organ Jazz Club Abecafe in 2019\nThe large beast of the Hammond organ system includes the famous Leslie speaker system enclosed in a wooden cabinet next to the organ. This heavy box contains an upper and lower horn rotating at different speeds controlled by the player by increasing or decreasing their different rotational speeds.\nAs they play the keys, the musician can adjust the controls to create different three-dimensional effects: Doppler, chorus, tremolo, and phase modulations filter through layers of organ tones to change the vocal-like vibrato and breath-like fluctuations in the sounds spreading out through the room. Watching the organist manipulate the various dials, pedals, and switches, and hearing the resulting variety of amazingly different textures produced, is also a lot of fun, in addition to just enjoying the grit, groove, and beauty of the music they are playing.\nFigure 2: The Sayaka Kishi Organ Trio with Sayaka Kishi (organ), Ryotaro Shibata (guitar), and Kazu Odayama (drums) at at Organ Jazz Club Abecafe in 2019\nIn the past, for an extra viewing perspective, an angled, wall-hung mirror behind the organ allowed customers to watch the organist play the substantial instrument, which involves mastery of several keyboards using both hands and both feet operating different controls and bass note pedals.\nFigure 3: Hiroco Nagano and Maki Kikuchi at Organ Jazz Club Abecafe in December 2010\nJazz organ is the name of the game here, yet on certain nights, the organ rests to make room for a variety of other instruments, including the grand piano that is usually nestled away to the side of the organ.\nFigure 4: The band Hiroma with Hiroco Nagano (vocals), Maki Kikuchi (vocals), and Shigeru Kawashima (piano) at Organ Jazz Club Abecafe in December 2010\nFigure 5: Stage area at Organ Jazz Club Abecafe\nFigure 6: Bar area at Organ Jazz Club Abecafe\nFigure 7: Coaster at Organ Jazz Club Abecafe\nFigure 8: Smoothie at Organ Jazz Club Abecafe\nFigure 9: Taco at Organ Jazz Club Abecafe\nFigure 10: Outside Organ Jazz Club Abecafe\nFigure 11: Organ Jazz Club Abecafe, open, welcome\nFigure 12: Welcome to Organ Jazz Club Abecafe\n","permalink":"https://mirror2.jazzofjapan.com/organ-jazz-club-abecafe/","summary":"\u003cp\u003eOrgan Jazz Club Abecafe is a special jazz bar whose defining feature is the Hammond B3 Organ, a characteristic instrument in jazz that could almost define a subgenre in and of itself. OJC highlights this wonderful tradition of jazz organ by establishing itself a place that knows what it wants to do and does it extremely well.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20190630_134356021-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20190630_134356021-1200.jpeg\"\n         alt=\"Figure 1: Drums and organ at Organ Jazz Club Abecafe in 2019\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eDrums and organ at Organ Jazz Club Abecafe in 2019\u003c/p\u003e","title":"Organ Jazz Club Abecafe"},{"content":"The Word (2025) is the second collaboration album from guitarist Davy Mooney and drummer Ko Omura. As with their previous release Benign Strangers (2018), each leader contributes five original songs to the album, interspersed in squence. The music is played by the same quintet of Mooney on guitar, Omura on drums and tabla, John Ellis on saxes and bass clarinet, Glenn Zaleski on piano, and Matt Clohesy on bass.\nFrom first track, Omura’s “Sheep Wash”, you can immediately sense the great balance of dynamic energy and relaxed sweetness. The song’s bright swing and memorable melody initially seems simple but contains the subtle complexity of unexpected turns and rhythmic shifts. These qualities are found in all the superb writing and playing from Omura and Mooney, and the songs end up being finely crafted realizations of straight singable melodies that also act as reference ground for solo improvisations. While Omura plays drums on this first track, his devoted study to Indian tabla and music seem to be ingrained in his musical thinking as well, more so when he plays tabla and picks titles from Sanskrit words and concepts. (A different version of Omura’s “Sheep Wash” can be heard on Fe: Live at Virtuoso.)\nWhile co-leaders Mooney and Omura showcase guitar and drums respectively and write all the music, solos from the other musicians on sax, piano, and bass are also highlighted. The sound and playing of these members’ improvised solos are rounded more than acute, pervading more than intruding, and elevate the entire group to a higher level. Mooney’s electric guitar sound in particular is pure warmth and glows with the clear sound of strings and wood as he channels his introspective ideas fluidly with an easy confidence through his fingers.\nOn track #2, Mooney’s “Wormcast” thickly threads an earworm melody through a modified blues, crawling up and down a repeated riff of mellow hopscotching harmony chords.\n“The Word” (track #3) is also one of Mooney’s, where sliding guitar arpeggios and chords providing another back-and-forth harmonic backdrop for curious melodies to unfold and stimulate with a tinge of blues and groove.\nOmura’s “Purusha” (#4) is next, a front-pushing astral journey, suspended with brief drum pauses transformed to a steadiness to keep attention pinned, looking to the adventure ahead as the melody searches for and leads the way forward over the cliffhanging music.\nTrack #5 is “Groove for Clyde” from Mooney, where John Ellis’ heavy bass clarinet riff locks down a deep groove to steady the polyrhythmic cycles, all producing the effect of a floating-yet-grounded contradiction for heightened interest.\n#6 is “K.I. (Kaida Inspired)” from Omura, and it starts with an abstract chain, a single note pattern that quickly turns into a rhythmically intricate lattice of melody, drums, engaging chords, and wide-spanning solos.\nThis is another great example of how Mooney and Omura’s complex rhythms and repeated riffs are alive with interesting structures that are fine-tuned to gently challenge listeners without confusing them. In their music, crafted rhythms inhabit a large part of the musical structure and increase the creativity of each improvisers’ ad-libbed solos.\nTrack #7 is Omura’s “Ektaal”, where a repeated riff and tabla drums are surrounded by shakers, and delicate notes from the bass clarinet, piano, bass, and guitar. Ambient touches develop slowly as tabla becomes brushed drums, and the solos fade into and out of a lush background texture.\n“Lord is Master” (#8) is from Mooney, where a deep hook of a bass clarinet riff and solid drum playing balance a difficult rhythmic construction for the most down-and-groovy style on the album.\nTabla returns on #9 “Dattatreya” from Omura, where open ambiance and free jamming gel into a intricate puzzle-box of an arranged-but-flexible medium tempo composition. This is perhaps the most striking take on the album, like a signal originating from the universe of Wayne Shorter.\nThe final track is Mooney’s “Maybe” (#10), a softly swaying tune with rich harmonies played in a comfortable bossa nova style with excellent improv spotlights, light brushes, and dashing drums for a lingering pleasant memory.\nLiner Notes (Excerpt of Davy Mooney’s words from the CD liner notes.)\nThis is the second project Ko and I have done together, a sort of sequel to 2018’s Benign Strangers. The pandemic put a monkey-wrench into our collaboration for a few years there, and I’m glad we’re back with The Word. Most of the five tunes of mine that we recorded are new; “Groove for Clyde” goes back a few years though, and is a tribute to the late Clyde Kerr, Jr., the man who led me into this jazz musician’s life, back in New Orleans. I wrote the opening riff of “The Word” noodling around during a wedding ceremony (I had to play very quietly). “Maybe” reflects my Brazilian influence, and my desire to write at least one Chico Buarque song. “Lord and Master” and “Wormcast” are fun with triplet subdivisions. 🪶 I really enjoy the juxtapositions of my tunes with Ko’s on this project. His are more positive and open, in contrast to my meticulous darkness. 🪶 Here’s to many more collaborations. This is the latest word, but it won’t be the last! — Davy Mooney\nMore album notes and song explanations for The Word are available on Mooney’s Bandcamp page for this album.\nThe Word by Davy Mooney \u0026amp; Ko Omura Davy Mooney - guitar Ko Omura - drums, tabla (#7, 9) John Ellis - tenor \u0026amp; soprano saxophones (#5, 9); bass clarinet (#5, 7, 8) Glenn Zaleski - piano Matt Clohesy - bass Released in 2025 on Sunnyside Communications as SSC-1764.\nJapanese names: 大村亘 Omura Ko\nAudio and Video “Sheep Wash” (track #1): Album page with audio and detailed description (Bandcamp)\nFull album playlist (YouTube)\nExcerpt from track #5: “Groove for Clyde”\n","permalink":"https://mirror2.jazzofjapan.com/davy-mooney-ko-omura-the-word/","summary":"\u003cp\u003e\u003cem\u003eThe Word\u003c/em\u003e (2025) is the second collaboration album from guitarist Davy Mooney and drummer Ko Omura. As with their previous release \u003cem\u003eBenign Strangers\u003c/em\u003e (2018), each leader contributes five original songs to the album, interspersed in squence. The music is played by the same quintet of Mooney on guitar, Omura on drums and tabla, John Ellis on saxes and bass clarinet, Glenn Zaleski on piano, and Matt Clohesy on bass.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1300066x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1300066x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eFrom first track, Omura’s “Sheep Wash”, you can immediately sense the great balance of dynamic energy and relaxed sweetness. The song’s bright swing and memorable melody initially seems simple but contains the subtle complexity of unexpected turns and rhythmic shifts. These qualities are found in all the superb writing and playing from Omura and Mooney, and the songs end up being finely crafted realizations of straight singable melodies that also act as reference ground for solo improvisations. While Omura plays drums on this first track, his devoted study to Indian tabla and music seem to be ingrained in his musical thinking as well, more so when he plays tabla and picks titles from Sanskrit words and concepts. (A different version of Omura’s “Sheep Wash” can be heard on \u003ca href=\"https://www.jazzofjapan.com/archive/fe-live-at-virtuoso\"\u003eFe: Live at Virtuoso\u003c/a\u003e.)\u003c/p\u003e","title":"Davy Mooney \u0026 Ko Omura: The Word"},{"content":"Saxophone player Toshiki Abe’s first album is titled The Simplicity. It was released in 2022 under the name of his band the Toshiki Abe Life Memory Project, a trio formed just one year early as a channel for Abe’s original music. This group features Abe on sax, Sayaki Kishi on organ, and Tetsunori Morinaga on drums, resulting in a funky sax/organ/drums sound that works perfectly with Abe’s soulful compositions.\nWhile Abe’s band name “Life Memory Project” sounds as if it could be a type of memorial service product that adjoins death and melancholy (the mistaken assumption I originally had), it has a completely different meaning centered around life. The concept represents his goal of capturing and directing the daily events and life changes through his music. It’s similar to how a dairy is used to record the days’ happenings, but instead of capturing the past in notes, Abe directs his music and life forward by intention through his compositions, recorded music, and live events. It’s like a forward-looking planning system specifically constructed to pay attention to the immeasurably special value of each day.\nThe Simplicity is a 44-minute album contains seven tracks, five originals from Abe and two jazz covers. Right from the start and through to the last track, you can sense the fun the musicians are having on with medium- and up-tempo modern organ-flavored hybrid of jazz and rock with elements of funk. It swings with a solid beat generated by the bubbling-over drums, heavy organ bass lines, and warmly dense organ harmonies. Through it all, Abe’s good-natured slippery and screaming sax adds fire to the mix.\nFrom the foundation of the type of jazz organ music that creates a living-room party atmosphere (visions of Jimmy Smith’s House Party are embedded in me, no doubt), the music is straightforwardly simple and enjoyable. Yet, as Abe’s roots come from funk, he adds freshness by incorporating additional arranged inserts, curves, and synchronized band hits. The immense sound of the jazz organ, with its different chunky riffs and percussive and expressive vibrato, is a big part of the music, as is the consistently nimble and active drums rhythms that knit and surround the music. Still, Abe handily controls the scene with his fluid and unrestrained long lines of quick improvisation over it all.\nIn addition to Abe’s five original compositions, two jazz covers are included as jazz touchstones: “I Remember You” (Victor Schertzinger/Johnny Mercer) and “Caravan” (Juan Tizol/Duke Ellington) are handled in a standard way to frame sax, organ, and drum solos, also with enough slight rearrangements and vamps to add Abe’s personalty, and that of his Life Memory Project trio’s sound, to the classic songs.\nThe songs stay immersed in that fun and funky swing jazz zone, sometimes alternating with the occasional Latin sections and interludes, on most of the music: #1 “The Simplicity”, #2 “I Remember You”, #3 “Believe in Yourself”, #5 “New Beginning”, and #7 “Caravan” are all cut from that mode. The two slower songs, #4 “Utsukushiki Hibi e” (To the Beautiful Days) and #6 “See You Around”, at slower church and ballad tempos respectively, add some healthy bluesy repose. Throughout the album the music moves forward and engages, and nothing distracts from Toshiki Abe Life Memory Project’s concentrated fun and positive energy. Perhaps that is the simple, singular, and satisfying concept expressed by the album title.\nI recently asked Toshiki Abe his about the memories he had of Life Memory Project’s first album. Without hesitation, he responded about how fast they formed and recorded their first album, almost as one continuous action. The style and content of response reinforced the themes I had picked up on, that of forward-thinking, positive energy, and a hands-on, can-do attitude, all of which no doubt resulted in an instant simplicity of purpose.\nThe Simplicity by Toshiki Abe Life Memory Project Toshiki Abe - saxophone Sayaka Kishi - organ Tetsunori Morinaga - drums Released in 2022 on Yokohama Reunion as YRCD-020.\nJapanese names: 阿部俊貴 Abe Toshiki 岸淑香 Kishi Sayaka 森永哲則 Morinaga Tetsunori\nAudio and Video Video of the recording of track #1 “The Simplicity”: Video of the recording of track #5 “New Beginning”: Live version of #4 “Utsukushiki Hibi e”: Excerpt from track #7: “Caravan” ","permalink":"https://mirror2.jazzofjapan.com/toshiki-abe-life-memory-project-the-simplicity/","summary":"\u003cp\u003eSaxophone player Toshiki Abe’s first album is titled \u003cem\u003eThe Simplicity\u003c/em\u003e. It was released in 2022 under the name of his band the Toshiki Abe Life Memory Project, a trio formed just one year early as a channel for Abe’s original music. This group features Abe on sax, Sayaki Kishi on organ, and Tetsunori Morinaga on drums, resulting in a funky sax/organ/drums sound that works perfectly with Abe’s soulful compositions.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1290466x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1290466x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWhile Abe’s band name “Life Memory Project” sounds as if it could be a type of memorial service product that adjoins death and  melancholy (the mistaken assumption I originally had), it has a completely different meaning centered around life. The concept represents his goal of capturing and directing the daily events and life changes through his music. It’s similar to how a dairy is used to record the days’ happenings, but instead of capturing the past in notes, Abe directs his music and life forward by intention through his compositions, recorded music, and live events. It’s like a forward-looking planning system specifically constructed to pay attention to the immeasurably special value of each day.\u003c/p\u003e","title":"Toshiki Abe Life Memory Project: The Simplicity"},{"content":" Figure 1: Sign for Tokyo Club written as 東京倶楽部\nIntroduction There are some common impressions of hurdles that newcomers need to overcome with live jazz performances, and challenges with jazz in general for beginners. Jazz bars and clubs can seem hard to enter, especially on your own, and for the first time. What is the payment system? What music, and from which albums, is being played? Is it written down music, pure improvisation, noise? What’s a performance versus a jam session? When do I clap?\nFigure 2: Sometime jazz club money\nThis article is aimed to help first timers navigate the world of jazz spots in Japan, with Tokyo as a base example. I hope it is also interesting for anyone who wants to know more about what it’s like to be experience live jazz music in Japan.\nFigure 3: Sign at Salt Peanuts in 2014 showing opening times (early Sunday hours of 6:00pm to 8:30pm), musicians (Nomoto Harumi Live Trio+1), live charge (1500 yen), table charge (500 yen), drink prices (500 yen and up), and minimum charge of 2500 yen (live charge + table charge + drink orders)\nThe topics in this article include glossaries of useful terms used in the Japanese jazz universe, what preparations to make and know about before going, and what happens at the venues. Finally, the last section of this article presents a descriptive example in narrative form of what it is like to go to a jazz club in Japan for the first time.\nFigure 4: A lineup of Scotch bottles\nFigure 5: Arriving at Salt Peanuts\nBasic Lingo For some helpful terms that appear in Japanese jazz, here is a brief list of common words and phrases. Japanese translations are included to help when searching for or looking at venue websites and online information.\nFigure 6: Entering Salt Peanuts\nUseful Terms:\nFigure 7: Stage area at Salt Peanuts\nJazz: ジャズ (jazu) Musician: ミュージシャン (myūjishan) J Jazz: J・ジャズ (j jazu) Japanese jazz: What’s J Jazz? Figure 8: Snacks at Salt Peanuts\nLive: ライブ (raibu) or ライヴ (raivu) Live music, often shortened to just “live” in Japan. Live performance concerts and events. Stage: ステージ (sutēji) A set, as in “1st stage” and “2nd stage” used to show the starting times for each set Leader live: リーダーライブ (rīdā raibu) A performance with the specified musician as the leader, the main artist, the key musician, or the star for the night’s event. Jazz musicians often perform with many groups concurrently, in many group formats such as duos and trios, and can be side-musicians or co-stars just as often as leaders. Using the term leader live for certain concerts highlights their main, signature performances as recommended and helps to elevate the visibility of those events. Figure 9: Catching a live performance at Salt Peanuts\nJam session: ジャムセッション (jamu sesshon) A relaxed gathering of community musicians made up of amateurs, students, and professional musicians who gather together to practice jazz songs and improvisation using common jazz standards. Informal but organized. Also called jazz session. ジャズセッション (jazu sesshon). Session: セッション (sesshon) Usually means jam session, but sometimes used for an informal jazz performance centered around a leader or theme. Vocal session: ボーカルセッション (bōkaru sesshon) A jam session that is oriented for singers to join, as opposed to a jam session primarily for non-vocal instrumentalists. Open mic: オーペン・マイク (ōpun maiku) Commonly audience participation showcase for singer-songwriters and other genres besides jazz. Workshop: ワークショップ (wākushoppu) A class, lecture, or guided hands-on sessions for students of jazz. Regular customer: 常連 (jōren) or 常連客 (jōrenkyaku) or 常連さん (jōrensan) A regular customer at a certain venue, someone who is recognized for going there frequently. About the Venues The phrases jazz club, jazz bar, jazz spot, and others are mostly used interchangeably to mean any place that jazz music is featured, usually through live concerts, and sometimes through recorded music with a high-end stereo system and a fanatic’s personal collection of jazz CDs and LPs. However, perceptive customers may notice subtle differences between how the terms are used, briefly explained here.\nUseful Terms:\nJazz club: ジャズクラブ (jazu kurabu) Usually a venue for live performances. Club is sometimes also written 倶楽部, as with Tokyo Club / 東京倶楽部. Clubs may be more motivated to offer a “performance venue” or “listening” experience, sometimes with a pre-pay system, or even pre-sale tickets offered. Reservations are not necessarily required but sold-out events are possible. Some examples are Blue Note Tokyo, Pit Inn and JZ Brat. Sometimes include a restaurant-style menu. Jazz bar: ジャズバー (jazu bā) Usually a venue for live or recorded music and drinking. Some bars are more motivated to sell drinks, thus the use of the word “bar” with a similar bar atmosphere. Bars may offer snacks and light dishes, but generally not restaurant-style meals or complicated/cooked dishes. Jazz cafe: ジャズカフェー (jazu kafe) A jazz spot with good coffee or in a coffeehouse setting. Jazz kissa: ジャズ喫茶 (jazu kissa) A listening bar with recorded music. Usually a small bar for appreciating a curated selection of jazz while drinking. The atmosphere can be dimly-lit, authentic, and personal. (Kissa comes from the word kissaten 喫茶店, meaning coffee/tea shop, though alcohol is much more common now.) Jazz spot: ジャズスポット (jazu supotto) Any type of place for jazz, useful as an umbrella term to cover a wide variety of jazz-related spots. One famous Tokyo jazz club was named Jazzspot J. Live house: ライブハウス (raibu hausu) Live venues for jazz, differentiated from kissas, bars, and listening rooms by emphasizing live performances. Jazz joint: ジャズジョイント (jazu jointo) Another umbrella term, an older slang term made even more popular in the context of Japan with the success of the Tokyo Jazz Joints project and published book. Jazz fes: ジャズフェス (jazu fesu) Jazz festivals, like Yokohama Jazz Promenade, Sumida Street Jazz Festival, and Sapporo City Jazz. Performance space: (pāfōmansu supēsu) Usually a general-purpose venue which can be used for concerts, plays, and similar non-genre events. Listening room: (リスニング ルーム) A little vague, but can indicate a place for straightforward listening and music appreciation. Before You Go Understanding the System (システム) Useful Terms:\nDaytime show: 昼の部 (or 昼 (hiru no bu, or hiru) Nighttime show: 夜の部 (or 夜) (yoru no bu, or yoru) Non-reserved seating: 自由席 (jiyūseki) Reserved/assigned seating: 指定席 (shiteiseki) All seats unreserved: 全席自由 (zenseki jiyū) No replacement/changeover: 入れ替えなし, 入れ替え無し, 入替なし, and 入替無し (irekae nashi) No audience replacement during the intermission. Customers may stay for both sets with one admission fee. Reservation: 予約 (yoyaku) There will be an online form, email address, or phone number for reservations. Same day (as the event): 当日 (tōjitsu) Same-day entry/reservation price, or price without advance reservations. The price may be higher than advance reservations made more than one day in advance. Few seats remaining: 残りわずか (nokori wazuka), also called zanseki wazuka: 残席わずか (zanseki wazuka) Full house: 満席 (manseki) Fully booked, sold-out shows (no tickets available). Sold out: ソルド・アウト (sorudo auto) Fully booked, sold-out shows (no tickets available). Waiting list: キャンセル待ち (cancel machi) A waiting list may be offered in case seats become available due to cancellations. Some jazz venues include a System, or システム (shisutemu), or general information page on their websites, menus, cards, and signs. The system briefly explains their house rules, business hours, showtimes, reservations, and prices.\nMost important is the establishment’s business hours. Most places open at night, about 30 minutes to an hour before the first show. Some places are also open during the daytime on certain days or holidays, to serve lunch or host daytime performances. There also places that are open all day, and a few places that are open all night for jam sessions and late night events.\nJust as important when going to jazz bars are the live showtimes, or the start times for each set of a performance. Each set, or stage, constitutes about an hour’s worth of songs, usually about four to five tunes that may be a mix of original songs, covers, and jazz standards. For newcomers to jazz, this may seem different from some other genres, as many jazz performances are not always runthroughs of the group’s recent hits or albums. Many times, experienced jazz performers may not even decide what they are going to play until the day of, or minutes before the show begins.\nThe first stage is the set before the intermission, followed by the second stage. The listings for the stage start and end times are often fairly closely observed (although perhaps not as closely as Japan’s famously accurate and impeccably timed train schedules).\nAt most places, there are two sets of music per night separated by an intermission. There may also be one longer set, three sets, or different systems based on the venue and the event. This details will usually be described on their website.\nFor example, a schedule may show the calendar of events including business hours and live showtimes in a list, like these two days for example:\nMON 17: OPEN: 18:00 LIVE: 19:00~ \u0026amp; 21:30~ CLOSE: 23:00 TUE 18: OPEN: 18:00 LIVE: 19:00~ \u0026amp; 21:30~ CLOSE: 23:00 This shows the venue opening at 6:00pm, the first set starting at 7:00pm, the second set starting at 9:30pm, and a closing time of 11:00pm.\nAs another example:\n夜の部 1st 19:00〜20:00 2nd 20:30〜21:30 昼の部（土日祝） 1st 13:00〜14:00 2nd 14:30〜15:30 The first line shows that for evening performances (夜の部), the first set is from 7:00pm to 8:00pm, and the second set is from 8:30pm to 9:30pm\nThe second line shows that for daytime performances (昼の部) on weekends and holidays (土日祝), the first set is from 1:00pm to 2:00pm, and the second set from 2:30pm to 3:30pm.\nUnderstanding the Costs Useful Terms:\nMusic charge (MC): ミュージック・チャージ (myūjikku chāji) Admission fee, per person. May also be called Live charge ライヴ・チャージ (raivu chāji) or Admission fee 入場料 (nyūjōryō). Table charge (TC): テーブル・チャージ (tēburu chāji) Seating charge, per person. Sometimes waived for bar seats (depends on the place, and may be rare). Minimum order: - ミニマム・オーダー (minimamu ōdā) Usually one drink/food order per customer per set (depends on the venue). For example, ドリンク類 500円〜 means that drinks cost 500 yen and up. Minimum charge: ミニマム・チャージ (minimamu chāji) or ミニマム料金 (minimamu ryōkin) A minimum amount spent (total bill) per customer. Service charge (SC): サービス・チャージ (sābisu chāji) or サービス料 (sābisu ryō) A final percentage charge (5-10%, for example) applied to the total bill. More typical at higher-end places (similar to a luxury cost), but not exclusively. Consumption tax: The current consumption tax rate in Japan (generally 10%). For prices including tax, you’ll see 税込 or 税込み (zeikomi). For prices that do not include tax, you’ll see 税抜 or 税抜き (zeinuki), 税別 (zeibetsu), or 外税 (gai-zei). Otoshi: おとし (otoshi) A small appetizer, a seasonal or curated “dish of the day” starter that comes automatically with a small charge added. A “table charge appetizer” served at certain bars. Otsumami: おつまみ (otsumami) Small plates, finger foods, or snacks typically eaten with alcoholic drinks. Listed on the menu for optional purchase when available. Other charges: Any other miscellaneous charges. For example, in some cases, if a customer does not order the required minimum number of drinks, then the supplemental cost of drink(s) required to meet the minimum may be added. One considerate Tokyo jazz bar, The Deep, has started offering take-home cans of juice or tea, in cases where the customer needs to fulfill the two-drink minimum, but only ordered one drink before leaving. The venue’s system will usually list their prices clearly. This is specific guidance about what customers should to expect to pay for any given night’s performance.\nThe price system at jazz venues is made up of some combination of the following: table charge, music charge, and minimum orders/charges. Other possible charges are listed in the Useful Terms section above.\nAt first, it seems like there are a lot of possible extra fees to worry about, but this is really just information that the venue provides to make their price system transparent and clear from the start. Usually the presented bill boils down to music charge, table charge, and the cost of all drinks/food ordered, taking in to account the minimum order requirement (or minimum charge) to meet the rules.\nThis amount of detail regarding the various costs seems like a lot to understand at first, and you may be tempted to examine the final check to see how it was all calculated. However, usually just the grand total is presented on a simple customer receipt, a single slip of paper, in the end. You don’t need to worry too much about the breakdown or if you are being treated unfairly, such as with surprise fees or additional surcharges, which is why the system goes into price details up front.\nWhat is the Music Charge? Music charge (MC) is the basic admission fee for the live concert performance.\nThis term can be confusing when appearing just as MC and alongside other fees like table charge, minimum charge, and the rest. One jazz bar, Izumi, helpfully explains the charges in English for foreigners, as follows:\nTo first-time customers\nWhat is Music Charge? Apart from food and drink, the fee paid for music. (Please refer to the ticket prices for concerts, etc)\nBasically, it will be the performance fee of the performer. In general, like our venue playing live jazz music, it is not a ticket system but a charge fee.\nThe music charge according to the musicians who perform each day. You pay the same price for music at any stage of the live There is a 10% consumption tax and 10% service charge. What is the Service Charge? Service Charge (SC) can be an unclear addition. What service are you getting? This additional charge may be added at higher-end restaurants or bars with well-mannered staff in nice uniforms, for example, similar to a luxury surcharge at a five-star hotel or casino.\nSome venues explain their rules on calculating service charges. Here are some recent examples from September 2025 for a few venues (always check venues’ official websites for the latest accurate information).\nVelera jazz club has a 10% service charge plus consumption tax. Independence jazz club introduced a 5% service charge + 10% consumption tax. The Moment jazz club lists a 1,100 yen service charge This additional fee is just another way that certain venues break down their fees for clarity. Many clubs do not have an explicit service charge, and just roll up all their fees into music charge and table charge to keep things simple.\nWhen and How to Pay Most of the time, payment is made when you are ready to leave, but some places use a pay on entry system: Pit Inn, Velvet Sun, Zimagine, and Bon Courage for example. In these cases, the admission fee is paid at first, before taking your seat. The fee may include one drink order taken at the time, while additional orders will be pay on delivery. This makes exiting easy, as you can leave without having to settle a final bill.\nFor pay on exit places, the admission fees, table charges, orders, and any other costs are calculated and presented for payment when you are ready to leave. This is usually not presented in an itemized invoice, and can actually be as simple as one single figure, the total cost in yen, written down on a simple customer slip.\nIn these case, special payment requests like splitting a check, or asking for an itemized receipt on demand, is possible, but may be a frustrating experience — for example, if many customers are filing out at once and there is only one person collecting payments. If a detailed receipt, split checks for a group, or other special payment situations are a concern, it’s best to mention this first.\nRegarding payment methods, some jazz clubs accept credit cards or electronic payments, and a few clubs even have a pre-ticketing system to allow ticket purchases when reservations are made.\nBut still, there are still many jazz spots that only accept cash (in yen, of course). It’s usually stated on their entry sign or website information page. It’s not uncommon to see customers surprised when they pull out a credit card and are told that only cash is accepted. In those cases, if the customer does not have enough currency, they will usually be pointed to the nearest ATM or a convenience story with a cash machine.\nReservations Making reservations before going to go a jazz club is often a good idea, but not an absolute requirement. If you are flexible with your plans and like to roll the dice, showing up without a reservation, especially as a single guest, usually works out fine. The downsides are possibly having a poor seat in the back, or being told that all seats were sold out. Sometimes leaving it up to fate is fun, but other times, making reservations is the smart thing to do.\nSome places offer reservation forms on their websites (e.g., Blue Note Tokyo, Body \u0026amp; Soul, Pit Inn), or phone numbers to call to reserve a seat. Same-day reservations are often only available by phone.\nOn the other hand, making reservations shouldn’t be made lightly. Be committed to going, as it’s a nuisance to the owners to deal with no-shows, not to mention for other customers who could use those seats.\nSold out shows are not uncommon at both large clubs with popular events and small clubs where seats are limited. For nights where the musicians are known to be popular, or for clubs that you want to be sure to visit without any problems, making reservations ahead of time is recommended.\nOn the other hand, arriving early at jazz bars without a reservation, alone or in a two-person group, usually works out at most places on most nights.\nAlso keep in mind that many jazz spots in Japan are pretty tiny, and sharing a table with other customers is common. This can be the case with or without reservations. Rather than being an inconvenience, serendipitous meetings at shared tables can turn into highlights when friendly conversations become authentic, local experiences.\nSnacks, Bar Food, and Dinner When preparing to head to a jazz spot in Japan, you should consider whether you will want to eat there or to eat before you go. Since many nighttime concerts take place around dinnertime, it is convenient to decide to eat and drink while listening to the music, but not all jazz venues are equipped with food order kitchens.\nThere are certainly some great places with full menus, but the range of dinner options at different jazz spots can vary significantly. Some places have nice, full menus prepared in back kitchens, while others have simple home-cooking style Japanese dishes prepared right at the bar.\nOther places may only offer bar food, snacks, and appetizers that come straight out of grocery or convenience store packages. Many of the simpler, smaller places for live jazz only offer lights snacks like dried fruits, beef jerky, a cheese plate, and the almost ever-present dish of mixed nuts and kaki-pi. Thin individually-sized pizzas, prepared simply and cooked quickly in toaster-ovens, are also common.\nThe best advice is to check the venue’s website beforehand to see what kind of menu is available. If you don’t know if the place you are going to has a full menu, then try to avoid arriving hungry. Bringing your own food in is never allowed (although there are one or two exceptions, allowing outside food/drinks is very rare). Check the venue’s online information for their menu and look at reviews and photos of the menu or food options to know what to expect.\nIf there is no other information, then the best assumption to make when going to a jazz bar for the first time is that there may not be a full menu, but snacks, light appetizers, and plenty of alcohol, should be available.\nThe Moment jazz club includes this advice on their event calendar (translated to English):\nThis restaurant’s menu centers around alcoholic beverages, so meal preparations are limited to appetizers and light snacks. We recommend that you have dinner before arriving.\nAlcohol It can seem that jazz venues specialize as much in alcohol as they do in jazz music. The amount of different bottles and varieties of whiskeys, scotches, liquors can be impressively stunning. And similar to wine, the different regional varieties of shochu (焼酎 shōchū, Japanese distilled spirits from sweet potatoes, barley, and other ingredients) and sake/nihonshu (日本酒 nihonshu, Japanese rice wine) can pack a delicious punch, and they make quite an impression when poured from their large and beautifully decorative bottles.\nMany venues even implement a bottle keep system, whereby customers can purchase personal bottles of alcohol directly from the venue and identify them by name-tags, special straps and badges. With this system, the customer keeps their personal purchased bottle at the venue and can drink from it, with additional mixers, ice, or chasers, whenever they return.\nWhile getting tipsy or liquored up once in a while can certainly add to the musical experience, it can sometimes be too much of a distraction, or even an unhealthy one. Everyone needs an alcohol-free day, a liver-resting day (the pun 休肝日 kyūkanbi), from time to time. There are also those jazz fans who don’t drink alcohol, but want to go to jazz bars without feeling the pressure of having to order alcoholic drinks.\nLuckily, every jazz venue offers a small selection of non-alcoholic drinks, usually called soft drinks on the menu. Normally you can choose from ginger ale (dry, 辛口 karakuchi, or sweet, 甘口 amaguchi), oolong tea (ūroncha), orange juice, grapefruit juice, coffee, tea, non-alcoholic beer, and alcohol-free beer. There’s no shame in ordering from the soft drink menu, and ginger ale, oolongcha, and coffee are popular orders for many customers.\nSmoking The allure of a smoky, dimly-lit jazz bar filled with happy customers focused on passionate performers is an attractive one, and fits with the popular jazz image. Collectors of jazz records can no doubt easily bring to mind famous album covers with smoke-filled portraits or featuring players with lit cigarettes in their photos.\nIn the past, some Tokyo jazz bars were so small and smoke-filled that it was a guarantee that customers would return home with clothes, skin, and hair permeated with the smell of cigarettes. This was just part of the environment. I’ve even heard stories of places where the smoke was so thick, the audience could barely see the musicians on stage, and vice-versa.\nThese days, the rules and changes and the atmosphere has cleaned up a lot — as in, the air in jazz venues — and there don’t seem to be any establishments left where smoking is allowed inside. There may be a smoking corner or an area near the outdoor door where smoking is allowed, and it’s common to see customers go outside during the intermission for a smoke break. But, for customers who are allergic to smoke, you need not worry, as it’s no longer a part of the scene.\nGoing Alone Some solo travelers or listeners may want to try visiting a jazz club but worry about going alone. However, many customers in Japan do go to jazz venues alone, men and women alike, so this should not be a concern. In addition, many regular patrons of jazz clubs begin to recognize one another from unplanned meetings at various venues, and it’s often easier to strike up a conversation as a solo customer as opposed to being engaged in a couple or group conversation that other customers may not want to interrupt.\nOf course, like any other place, going to jazz clubs in couples and groups is also common, but large groups (more than four-five people, say) is not as common, as most venues are small with layouts that do not accommodate well large groups to always be able to sit and talk together. Even worse is the rare case that a large group makes a reservation and then doesn’t show up, making the bar owner worry over a large section of seating that was never filled, the money that was lost, and the other customers that were turned away due to no unreserved seats being available.\nAs for bringing children to a jazz venue, the audiences at jazz venues are mostly made up of adults, but I have seen parents bring their kids to jazz concerts a few times. Different venues may have their own rules about this, but as long as the kids are well-behaved and quiet, and not disturbing any other customers, it shouldn’t be a problem.\nAt the Venue Walking In How the venue handles entering customers depends a lot on their pay system, described earlier.\nFor places with post-pay systems, you usually just walk in, make contact with the bar owner or an employee, and then you will be directed to a seat, or be invited to choose any seats from those available.\nWith a pre-pay system, you will likely pass through a reception area to pay your entry fee. Then, you will be guided to your seat, if seats are reserved/pre-assigned. If not, you may be told that all seats are unassigned and you can sit where you like.\nNote that in many small jazz clubs, it’s common to be seated next to or at the same table with other customers, with or without reservations.\nIf you have bags, coats, or small items that you would like to remove, there are usually baskets under the seats or close by that you can use to store your things, instead of on nearby chairs or tables.\nArriving Late or Leaving Early Regarding the opening and start times, customers may arrive and leave at any time, but most people try to follow the schedule. That is, they try to arrive before the start time, and leave after the end time, to avoid disturbing the musicians and audience, and to be able to enjoy the entire show.\nOf course, Japan is a busy place where working overtime is common, which may cause late arrivals. Plus, when returning home after a show, there can be long transit times for some out-of-city dwellers. Also, there are unpredictable events like trains being affected by weather and accidents. Late arrivals and early departures are sometimes unavoidable for totally justified reasons. At those times, customers will usually go out of their way to politely enter or disappear with a minimum of fuss.\nHaving said that, there are some places that are so small that arriving, leaving, or going to the restroom during a performance basically requires walking through the stage area, and the musicians may have to physically move or reposition their instruments to allow customers to pass. (Asagaya’s Manhattan [web, map] and Kita-Senju’s Birdland [web, map], for example). At these places, customers will usually try to time their entrance or exit to take place between songs, at least, for a minimum of disruption.)\nAudience Replacement Most jazz bars have a “no replacement” or “no changeover” system, meaning customers can stay for both sets for one price, in a two-set system, for example.\nThe term for this was listed in the terms section earlier: 入れ替えなし (with spelling variations such as 入れ替え無し, 入替なし, and 入替無し ) irekae nashi, literally meaning no replacement/changing.\nThis means no audience turnover/changeover during the intermission. With few exceptions, it is the norm to pay one admission price to be able to stay for the entire night, which usually includes two sets of music by one band.\nWhile most places allow customers to stay for both sets when paying one admission price, some places do turnover the audience during the intermission. These are usually higher-end venues like Blue Note Tokyo, especially when particularly popular or famous acts are featured and demand is high. In these cases, the system should be clearly stated, and the venue will ask that customers leave or purchase a separate admission ticket for each stage. The standard rule regarding audience replacement for any particular venue is usually indicated on their website. Fortunately, most of the time, it is it 入れ替え無し (no audience replacement).\nTalking and Conversation Like any other place, conversational talking at your table is normal and allowed before the music starts, during the intermission, and after the music concludes. In fact, it’s not uncommon for strangers seated at the same table to strike up a conversation and make small talk.\nIn almost every case, however, talking during the performance is not allowed. Many jazz fanatics come to live events to listen closely to the music, and jazz venue owners will sometimes politely ask that any loud customers hold their conversations until the end. Plus, the performing musicians (listening to one another with especially attenuated ears) strive for inspiration and energy as they improvise on stage, and, unfortunately, random voices and other noises from the audience can negatively impact their concentration.\nThat said, it’s also common for the tuned-in audience members to regularly clap, or even whoop and exclaim, after an improviser’s particularly impressive solo section during the songs. This can be another big part of the fun and a way to become one with the event and the music.\nMusician and Song Introductions During the concert and between songs, the leader will often use the mic to take a few minutes to introduce the band and thank the audience for coming. Many times, they also will announce upcoming concert or tour dates, promote their new album, or tell an anecdote or two about the origin or meaning of some of their songs.\nI was initially surprised at how much MC-ing (‘Master of Ceremonies’ mic-work, not ‘Music Charge (MC)’ from earlier) there was at some concerts. Some musicians can be as skilled as minutes-long monologues as they are on their instruments, telling funny stories about recent tours, the origins of their songs, or their on-stage partners. This is all part of the fun, and it’s an extra benefit to be able to get to know the people behind the music as part of the show. Even if you don’t understand Japanese, a lot of personality comes through their way of speaking, which can be a lot like the way they play music.\nTaking Photos While taking a few photos politely and discreetly is usually not a problem at a jazz venue, in general, taking photos in overt or distracting ways during performances is frowned upon. Most places have their own rules about this, clearly stated or otherwise understood.\nSome places have signs declaring “photography not allowed.” That’s right, some clubs have a strict “no photographs during the performance” rule, sometimes more softly phrased in Japanese as “Please refrain from taking photos during the performance.” The rule may not be clear at first, but a staff member may ask customers directly if they see them taking photos in a no-photos venue.\nHowever, there are many jazz spots where taking photos is allowed during performances, although the rules may change based on specific performers or events.\nThe manner of taking photos is also important. Using flash or auto-focus spotlights is a no-no, and loud, audible camera sounds are distracting. Restraint is also key, and if a customer is taking too many photos, and holding up a bright screen in front of other customers, they may be asked to stop.\nEven in a venue that typically does not allow photos, the rules can be flexible, depending on the situation. Some customers will quickly snap a photo or two, without flash or shutter noises, at the end, during an encore, or after the last song has stopped and the musicians stand for final introductions during applause.\nWhen unsure of the rule, it\u0026rsquo;s usually smart to first watch what others are doing, try not to stand out, and to follow the behavior of other customers. If you don’t see anyone else taking photos, then it is probably because this venue doesn’t allow it. To be sure, customers can also politely ask the staff or musicians beforehand if taking one or two photos is okay.\nFor clarity, some places have recently begun to set specific rules for photography. For example, photos may be allowed only during the last song of a set, or maybe just the encore. Sometimes, photos are not allowed at all during the music, but the musicians will stay for group photos on stage after the performance. Interested customers may also be invited to take photos with the musicians after the performance if time allows.\nThe reason that taking photos is often prohibited is in consideration for other customers and the musicians. Shutter sounds, bright flashes, and the glow of screens can be a distraction to all and lessen the impact of the music or even disturb the performers to the point that the music suffers. The musicians may also have a harder time concentrating, improvising, connecting with their band mates, and reading the music in front of them, when auto-focus lights, flashes, or camera lenses are pointed towards them.\nLastly, taking videos and audio recordings is almost never allowed, unless it is organized and approved by the shop owner and musicians beforehand.\nTipping Tipping is not a common custom in Japan, and similarly, tipping jazz musicians is pretty much never done at jazz clubs in Japan (there are some rare exceptions). Also, tip jars are almost never seen. In general, tipping is not something that you ever need to think about at jazz spots in Japan.\nHaving said that, there are some places that hold free performances, and at these events, tips may be requested for the musicians. For example, the jazz spot A-Train lists many events on their calendar with the fee is listed as “Tipping”, instead of more common admission fees of around 3000 yen. In such cases, for figuring out what to tip, tipping with bills (1000, 2000, 3000 yen, for example) is the norm, and not with coins. As always, use your judgment with consideration for the musicians and the establishment.\nIn general, tipping is never expected or required, but in those rare cases with a tipping system, it will be stated or otherwise made obvious when it is in use. As with the A-Train example, it may be stated explicitly on the schedule, or on a sign near the entrance. At those times, a tip jar or bucket may even be passed around at the end of each set.\nEncores As the music progresses from the first set, the intermission, and the second set, the leader will often announce when they are about to play the last song for the night. After the last song ends, the final applause from the audiences may start to gel into one unified, steadily repeating slow clap that is a request for one more song.\nPerforming an encore is fairly common, and many musicians will come to their gig with a chosen song in mind as part of their set list. That is, those band leaders that do prepare a set list in some form may have also thought about the encore. Some leaders will improvise and decide what to play based on what feels right in the moment. Sometimes the leader will think for a few seconds and start to play any song that comes to mind, trusting that their experienced partners know all the standard material and can handle anything that comes their way.\nAfter the Show Many jazz bars will continue to play background music and sell drinks for a while after the live performance is over. Other places will start to close down the shop, and perhaps play a few songs as customers pay and exit.\nThis post-concert time is also an opportunity for customers to buy any CDs that the musicians brought to sell and sign. Sometimes, customers will also take photos of the musicians together on stage, or even join them for a photo together and for some brief conversation. The musicians may also have brought fliers and printed-out schedules to distribute during the intermission and after the gig.\nA Typical Scenario: First Time at Salt Peanuts Although the experience of visiting a jazz club is not like a movie with surprises or critical developments that could be given away prematurely, some visitors like to be surprised and enter with an open mind. So, in the spirit of “no spoilers”, I recommend skipping this last story-like section if you’d rather go in without a preconceived image of what it will be like to visit a jazz club in Japan for the first time.\nScene: About 7:00 pm on a cool fall night in Tokyo.\nYou’re a solo traveler in search of live jazz and heard about this place called Salt Peanuts in Tokyo. You get off the train at Ekoda station and walk through a few winding streets when you spot an illuminated sign that says “JAZZ BAR” with some Japanese that you can’t quite read\u0026hellip; but this must be the right place.\nYou take the stairs straight down and open the heavy steel door to find a dark space with half-a-dozen tables spread from the front stage area towards the back. Since you arrived without a reservation, you hesitate by the door and look around for the owner, the barmaster Nanako-san, who is the sole staff member and who works here every night.\nYou stand near the entrance, make eye-contact with the man, and hold up a single index finger to indicate that you are looking for a seat for one person. (Of course, you know it’s not the done thing to look around and immediately head to a seat, unless you are invited to do so.) The barmaster points to an empty seat and says douzo, walks to the back, and returns with a hard plastic menu listing a lot of different drinks. It’s all in Japanese, but you know the basic words for beer bīru, Asahi Super Dry asahi sūpā dorai, and scotch sukotchī\u0026hellip; or ginger ale jinjā ēru.\nYou look around and see that the musicians are sitting at the back table, thumbing through music sheets, and talking about arrangements. One is eating a small snack for energy before they play.\nThe front of the bar has a stage area where a grand piano, upright bass, and drums are set up. A back brick wall is painted pink and illuminated, and used as a display showcase for what seems to be a vintage racing bicycle. You remember reading somewhere that this was a bicycle-friendly bar, and that the owner used to occasionally change the decoration by rotating through his collection of bicycles.\nThe first set is scheduled to start at 7:30pm, so you check your watch and see you have about fifteen minutes to settle in and get comfortable. You have a table to yourself, but you notice another coaster with a slip of paper with a name on it nearby, and you figure that another customer has reserved that seat and will be sitting here when they arrive.\nThe barmaster asks if it is your first time here, and you say yes. He apologizes for not speaking English well and explains the basic rules of the bar (prices based on September 2025 system):\nThe music charge is 1500 yen per person. The table charge is 500 yen per person. The minimum order is 500 yen per person and up, based on the drink(s) ordered. Adding it up, the minimum total charge is 1500+500+500 = 2500 yen per person, collected at the end. The snack system is explained: Using your personal dish with the variety of snack jars spread throughout the bar, you gently shake and pour snacks from jars into dishes. Other varieties of snacks are in the jars on the bar. You can take your dish to the bar, but should not move the jars between the bar and the tables. No talking during the performance, please. Taking photos is allowed, but video/audio recording is prohibited. Wi-fi code is available. After listening to all that, at first you think, wow, this place seems strict\u0026hellip; But then you realize that it’s a good faith effort to communicate across language barriers and make the customs as clear as possible, to avoid common misunderstandings or embarrassing problems later. The constant goal of venue proprietors seems to be to create a place for everyone to enjoy the music and have a good time, while selling drinks and/or food of course, but mainly to create an ideal live concert environment with a smooth experience for everyone.\nRight before the music starts, the last few customers fill in, and someone takes a seat at your table. They seem to be a regular customer (jōrenkyaku) who exchanges friendly greetings with the barmaster. Soon thereafter, the barmaster brings that customer’s personal bottle of whiskey to the table with a bucket of ice and mixers to drink throughout the night (the bottle-keep system). Seems interesting, you think, I wonder how this works\u0026hellip;\nSeveral customers finish topping up their small plates with nuts from the jars on the bar and return to their seats. A few minutes later, three musicians make their way from the back of the room through the audience to the stage area, and take their positions at the piano, bass, and drums.\nThe music starts\u0026hellip; and in a flash, it’s over. You were so immersed that the time flew by, and the next thing you knew, it was over. You remember the energy, the clapping, the song introductions and storytelling (longer and with more laughter than you’ve experienced at other concerts). You remember ordering another drink or two, and finding the bathroom all the way in the back. You remember seeing some people taking photos from their seats using their phones, and so you quickly snapped a few too, and you remind yourself to look at them later to see how they came out. You remember how, after the last song was played, the audience kept clapping together in rhythm, to convince the band to play an encore, which they did with in good spirits and with appreciation for the very receptive audience.\nThe intermission between the two sets of music also few by. The barmaster continued to play music from his selection of personal CD and LPs, some on display on the back wall above regular customer’s reserved bottles. You see a few titles you recognize as newer releases from local Tokyo jazz musicians that had come up recently.\nAlso during the intermission, your table mate struck up a conversation with you in English. After asking about where you were from and how long you were going to be in Japan, you both enjoyed a pleasant conversation about the musicians and jazz music. You even got some tips about other jazz spots that sound really interesting.\nOn the way out, you see a small pile of new CDs on the bar near the jars of snacks, and realize that these must be the new releases from the musicians that played here tonight. You immediately decide to get one, as both a souvenir of this night and also a tangible way to help support the musicians who played here and the live jazz scene in Japan. The musicians are very pleased to hear that you’re interested in their music, and after letting you know the price, you agree to buy one. They ask if you would like to have it signed, and you do, so they carefully open the plastic wrap, pull out an autograph marker pen, and ask you your name as they sign and date the CD for you.\nFinally, you ask the barmaster how much your bill comes to. He tells you while holding up some fingers to represent the amount. No formalities of itemized paper bills or breakdowns here, but I’m sure if you needed one\u0026hellip; You happily pay for a night of great music and drinks and plenty of snacks, and you leave in a good mood with irreplaceable memories of a fun first time out at a jazz bar in Japan.\nLastly This covers some of the common patterns and information that I’ve collected over years of absorbing Japanese jazz culture. Let me know what you think, if I missed anything, or whatever you have to add. Is there anything you would like to know more about? Send me a message or leave a comment, and I will try to cover what I can in future articles. In the meantime, the next article will go into more detail about how to choose the right jazz spot to suit your taste.\nFigure 10: Now Playing at Salt Peanuts\n","permalink":"https://mirror2.jazzofjapan.com/first-timers-guide-to-live-jazz-in-japan/","summary":"\u003cfigure\u003e\u003ca href=\"IMG_20230315_135350313-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20230315_135350313-1200.jpeg\"\n         alt=\"Figure 1: Sign for Tokyo Club written as 東京倶楽部\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eSign for Tokyo Club written as 東京倶楽部\u003c/p\u003e\n        \u003c/figcaption\u003e\n\u003c/figure\u003e\n\n\u003ch2 id=\"introduction\"\u003eIntroduction\u003c/h2\u003e\n\u003cp\u003eThere are some common impressions of hurdles that newcomers need to overcome with live jazz performances, and challenges with jazz in general for beginners. Jazz bars and clubs can seem hard to enter, especially on your own, and for the first time. What is the payment system? What music, and from which albums, is being played? Is it written down music, pure improvisation, noise? What’s a performance versus a jam session? When do I clap?\u003c/p\u003e","title":"First-Timer’s Guide to Live Jazz in Japan"},{"content":"Sweet is the title of percussionist Hitomi Aikawa’s debut album. It was recorded and released in Japan in 2018 and contains fourteen of her compositions. A multi-instrumentalist, Aikawa plays various instruments on the songs and is joined on many of them by special guests Masaki Hayashi and Eri Uenoyama on piano, Hiroshi Suzuki on woodwinds, and Megumi Hattori on vibraphone.\nAs for the instruments Hitomi Aikawa is using on each track, the details are not listed on the CD or in the liner notes. However, clues can be found on her website, where a list of her percussion collection is displayed, and it can be fun to use your ear to try and figure out which instruments are producing the sounds you hear as you listen to Sweet. Her large percussion collection numbers in the dozens and ranges from mallet instruments (vibraphone, marimba, xylophone, glockenspiel), hand drums (djembe, cajón, congas, bongos, timbales), tambourines, castanets, triangle, cymbals, chimes, blocks, Afro-Latin instruments, and many others.\nThe track listing lays the songs out in an interesting sequence. There are a number of tracks were Aikawa plays alone, using different drum and percussion instruments for brief interstitial-style episodes lasting anywhere from seventeen seconds to just over a minute. In this way, tracks #1, 3, 5, 7, and 10 act as brief intermissions, like scenes changes between her longer songs. In these brief sketches, Aikawa creates rhythmic ambiance in an effective and transitionally interesting way.\nMost of the album consists of her other, longer composed songs, averaging about four to five minutes each. It is on these songs where Aikawa has her special guests join her to make up a different format from song to song — not only do the guests change, but she herself switches between different instruments, like Afro-Peruvian cajón, hand drums, cymbals, chimes and bells, and marimba, vibraphone, and xylophone. Aikawa and her guests combine duo and trio forms such as Aikawa plus piano (Masaki Hayashi and Eri Uenoyama), Aikawa plus alto sax/soprano sax/clarinet (Hiroshi Suzuki), and Aikawa plus vibraphone (Megumi Hattori). Some of these group-based highlights are found on track #2 “Silver Children” with its ancient folk style melody with subtle jazz elements, the exciting 11-beat meter #4 “Basilisk” with its tricky shapes and lines, the refreshing early morning sound of #6 “Earth-colored Gem” (where Aikawa plays mallets, piano, and all other instruments alone), the dramatic and adventurous #8 “elk”, and the entrancing #9 “I’m good more.”\nThe final four short songs make up a suite starting with track #11. Here, the wordplay hidden in the album title finally clicks: suite/sweet. In addition, the title of each short song in the suite (“Choice” [チョイス], “Alfort” [アルフォート], “Marie” [マリー], and “Galbo” [ガルボ]) is also cleverly chosen, as each song names a famous Japanese sweet, a brand of chocolate or butter cookies and biscuits commonly seen in supermarkets and Japanese convenience stores. Inspired by the sweets, Aikawa uses them as appetizing musical ingredients for creating musical visions out of them. #11 “Choice” is straight-laced with bubbling heat, #12 “Alfort” is a folky up-and-down march, #13 “Marie” is dreamy and melancholy, and #14 “Galbo” is a swift jazz-classical quickstep to the exit.\nLiner Notes (Translated from Hitomi Aikawa’s original Japanese liner notes.)\n01. Sand (砂, suna)\nA gray town.\nChildren are running around in a cloud of dust.\n02. Silver Children (銀色の子供たち, gin\u0026rsquo;iro no kodomotachi)\nEver since the day I saw a certain image, there are some “eyes” that I can’t forget. Iron can be used in many ways, right? It can be made into musical instruments, or weapons.\n03. Moon (月, tsuki)\nWhether we are looking up at the moon, or when it’s hidden behind clouds, the moon keeps glowing. It’s amazing that it keeps shining even when no one’s looking.\n04. Basilisk\nIt’s not that I wanted to write a song with an 11-beat meter. It was that, when I was writing, one eighth-note was missing.\nCome to think of it, it seems that the world is filled with things that we must pretend not to see, or that we mustn’t look at.\n05. Play (遊, asobu)\nI’ve recently come to think that when adults use the word “play”, it may actually mean taking a break.\n06. Earth-colored Gem (地球色の宝石, chikyū-iro no hōseki)\nI’ve been alive in this world for 34 years.\nThe earth is 4.6 billion years old.\nIt’s such a small and insignificant thing, the self.\n07. Ice (氷, kōri)\nI really want to try to see an actual aurora.\n08. elk\nThe story of the elk, the king of the forest.\n09. I\u0026rsquo;m good more\nIt’s often said that as long as you’re living, things are good.\nIn the past, I didn’t really believe that, but now I truly do.\n10. Dance (舞, mai)\nI’ve been told that in a past life, I was a gypsy with a tambourine.\nSweet Suite\n11. Choice (チョイス)\nLife is always a game of options, like a ladder lottery where you can choose where to draw your own lines. In my case, many others have taught me the method of how to draw the lines.\n12. Alfort (アルフォート)\nTranquil scenes of a pastoral song, sheep, mountains, blue skies, delicious air, and meadows.\n13. Marie (マリー)\nThe profile of a woman.\n14. Galbo (ガルボ)\nNo matter how much I chase, I just can’t reach it.\nIt’s only because of the people who support me that I can spend my life in music.\nBeing able to meet wonderful people, and to converse with them\nis the same as encountering wonderful sounds and playing music.\nI cherish the sounds that were delivered to me by Masaki Hayashi, Hiroshi Suzuki, Eri Uenoyama, and Megumi Hattori.\nAnd I would like to express my deep gratitude to everyone who got this CD.\nThank you very much.\nHitomi Aikawa\nSweet by Hitomi Aikawa Hitomi Aikawa - percussion Masaki Hayashi - piano (#2, 11, 13, 14) Hiroshi Suzuki - soprano sax (#2, 14), tenor sax (#12), clarinet (#13) Megumi Hattori - vibraphone (#4) Eri Uenoyama - piano (#8, 9) Released in 2018 on Hitomi Aikawa as HICD-001.\nJapanese names: 相川瞳 Aikawa Hitomi 林正樹 Hayashi Masaki 鈴木広志 Suzuki Hiroshi 服部恵 Hattori Megumi 上野山英里 Uenoyama Eri\nAudio and Video Hitomi Aikawa playing “Basilisk” (track #4) on piano, marimba, and percussion: Hitomi Aikawa playing “Elk” (track #8) on marimba, piano, and percussion: Excerpt from Hitomi Aikawa on djembe and cajón (solo performance): Excerpt from track #1: “砂 (Sand)” ","permalink":"https://mirror2.jazzofjapan.com/hitomi-aikawa-sweet/","summary":"\u003cp\u003e\u003cem\u003eSweet\u003c/em\u003e is the title of percussionist Hitomi Aikawa’s debut album. It was recorded and released in Japan in 2018 and contains fourteen of her compositions. A multi-instrumentalist, Aikawa plays various instruments on the songs and is joined on many of them by special guests Masaki Hayashi and Eri Uenoyama on piano, Hiroshi Suzuki on woodwinds, and Megumi Hattori on vibraphone.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1290178x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1290178x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAs for the instruments Hitomi Aikawa is using on each track, the details are not listed on the CD or in the liner notes. However, clues can be found on her website, where a list of her percussion collection is displayed, and it can be fun to use your ear to try and figure out which instruments are producing the sounds you hear as you listen to \u003cem\u003eSweet\u003c/em\u003e. Her large percussion collection numbers in the dozens and ranges from mallet instruments (vibraphone, marimba, xylophone, glockenspiel), hand drums (djembe, cajón, congas, bongos, timbales), tambourines, castanets, triangle, cymbals, chimes, blocks, Afro-Latin instruments, and many others.\u003c/p\u003e","title":"Hitomi Aikawa: Sweet"},{"content":"Mowna is a 2024 album from bassist and composer Hiroyuki Yamaguchi. For this release, Yamaguchi wrote and arranged all nine tracks, which he recorded with a quintet composed of several musicians that played on his previous album Inner Perception (2018) by his Thursday Night Sextet, a band formed through jam sessions at the Tokyo jazz bar and local institution Manhattan.\nOn Mowna, the returning members from Yamaguchi’s sextet are Hiroko Mase on soprano sax, Hinata Ishii on tenor sax, and bassist Yamaguchi, and newly added members for this release are pianist Toshihiko Kohno and drummer Tomoyuki Okabe.\nThe word used as the title of the album is an unfamiliar one in both English and Japanese, but an explanation surfaces in small lettering on the front cover:\nIn Hindu philosophy, MOWNA (Silence), which has a voice of its own, refers to peace of mind, inner quietude, Samadhi and the Absolute Reality.\nAs Yamaguchi goes on to explain in the liner notes, the music he writes centers around a concept of inclusion and harmony, of welcoming in new listeners while satisfying the already jazz-acquainted. As a result, the music is nice straight-ahead jazz, relaxed and to-the-point frameworks that include pleasing two-horn harmonies (soprano and tenor sax) and plenty of room for uninhibited improvisation from the soloists.\nListening to the hard bop and walking beat of the band brings to mind the music of Art Blakey and the Jazz Messengers, the sounds of Lee Morgan, Hank Mobley, Jackie McLean (esp. track #6, “The Puzzle”), and the modern touch of Benny Golson compositions. There’s sophistication and elegance in the grounded approach. And, once you read the liner notes and the subtitle, a deeper vibration begins to appear: Yamaguchi’s search for peace and truth, inner calm and wisdom, while observing what’s around you, and reacting with confidence as the plan adjusts but control is maintained.\nYamaguchi’s nine songs are steadfast in their fulfillment of his concept. Track #1 “For George” is immediately easy to listen to and to understand, bringing outsiders into the fold quickly. Yamaguchi’s straight-ahead bass walking and Okabe’s pinpoint drumming anchors the good vibes and twin saxophone melodies that ornament the prologues and epilogues to the bulk of the songs, that is, the jazz solos. Also straightforwardly done, most of the improvisation space is allowed to soprano sax Mase and tenor sax Ishii. Pianist Kohno takes his fair share, as well, captivating and swinging. Yamaguchi features his own bass solos just a few times, composed while keeping the music solid and rooted throughout.\nThe next track #2 “The Search For Wholeness” lays out a calmer melody of peaceful stabilization over smooth Latin downbeats. #3 “Mowna” follows suit like a teacher guiding the calm melody over calm changes. #4 “Reaching The Peak” increases the tempo for elevated excitement, and #5 “You Know Something?” brings the pace back down for a breather, allowing time for pondering questions and considering answers\u0026hellip; maybe as a prelude to the next track.\n#6 “The Puzzle” is slightly aggressively tinged in order to stimulate the senses, where the composing is more Jackie McLean than Benny Golson. #7 “What Are You Seeking For?” bring further good-feeling swing moments, with swing/Latin switch-offs that pop up in several of the tunes on the album a la the Horace Silver or Jazz Messengers style. #8 “Daphne Odora” is another Latin-beat tune with a locked-in pulse and energetic solos from the two saxes. Finally, #9 is a peaceful final word, a piano feature that Kohno beautifully paints from start to end, while the horns provide soft harmonies and the steady bass and drums reassure us, on the way out, that everything is in good hands and will be fine.\nLiner Notes (Translated from Hiroyuki Yamaguchi’s original Japanese liner notes.)\nYamaguchi Hiroyuki Quintet\nFormed during the coronavirus pandemic in 2020, and held their first performance in December of that year. Played songs from the previous release Inner Perception/Thursday Night Sextet (What’s New Records, ) as a quintet. Received positive feedback and started composing new songs for the quintet immediately. Performed a live concert on April 24, 2021, from a repertoire of all new songs.\nWe continue to play concerts to realize the concept introduced in the previous release: To make melodies that linger in the hearts of those don’t normally listen to jazz, as well being appreciated by jazz fans.\nThe Musicians\n紅野智彦 Toshihiko Kohno (piano)\nWe first performed together in 2003 at Takadanobaba Intro. He has innumerable points that are wonderful, such as his gracefully swung eighth notes, finely controlled accompaniment, and tasteful backing chords. We performed together as part of Hiroshi Murata \u0026amp; The Bop Band, and at Asagaya Manhattan as jam session hosts. Since 2015, he’s been a steadfast pianist in my Thursday Night Sextet (TNS). He’s active as a leader of his own trio and as one of the most dependable sideman musicians.\nませひろこ Hiroko Mase (soprano saxophone)\nWe first performed together at Asagaya Manhattan in 2015. I was amazed by her great technique, tone, poeticism, and rhythmic precision. She’s been a member of TNS since 2018. Despite having only a short preparation time before we recorded our previous album, she gave an incredible performance. She possesses a talent for deeply understanding the band’s repertoire and turning what is written on the page into gorgeous music. She has also released her original work with her “Multiverse Suite” project, and is involved in a diverse range of activities.\n岡部朋幸 Tomoyuki Okabe (drums)\nWe first performed together in 2020 at Odawara Spats. His tone is beautiful, and there’s a spring in the combination of his ride cymbal and hi-hat that gives a superb liveliness to the music as it pushes it forward. He immediately became a part of the quintet. His personality can be sensed in his how listens closely to the sounds around him and elevates the music to a conversation with ideas that fit the situation. He has experience studying abroad in Detroit and has recorded with the world-renowned bassist Rodney Whitaker.\n石井ひなた Hinata Ishii (tenor saxophone)\nWe first performed together in 2022 at Akasaka Bflat. I was impressed by his solid technique, poeticism, can-do spirit, and heartfelt performance. He joined the quintet in January 2024. He has the genius and ability to learn the repertoire in a short time and improvise high-quality solos. He started piano at four years old and released his piano solo album in 2022. Aside from jazz, he exhibits a versatile range as a member of a rock band and participation in overseas performances. He was 22 years old when we recorded this album.\n山口裕之 Hiroyuki Yamaguchi (bass)\nDebuted with leading Japanese pianist Sadayasu Fujii’s trio. Moved to Tokyo in 2003. With experience drawn from being a part of many bands and sessions, currently serving as a regular bassist for groups including guitarist Yoshiaki Miyanoue’s band, trumpeter Hiroshi Murata \u0026amp; The Bop Band, and guitarist Jun Satsuma’s quintet. Acclaimed for his steady beat and rich tone. Released his first leader album Inner Perception in 2018. Working on making his own music from the heart.\nPerformance Notes\n#1. For George\nA piece for alto saxophonist George Robert. I was inspired by the performances of his double-leader band with Tom Harrell. In 2016, he passed away due to leukemia in his home of Switzerland. (He was 55 years old.)\n#2. The Search For Wholeness\nA quote from The Power of Now by Eckhart Tolle, an author who influenced me. The book asks, if by being captured by the past or future concerns, are you overlooking the present moment?\n#3. Mowna\nFrom the Sanskrit word for silence, maunam. A quote from the Indian philosopher Ramana Maharshi.\n#4. Reaching The Peak\nA song to describe the feeling of “We’re almost at the summit, let’s go for it!”\n#5. You Know Something?\n“Hey, listen to this\u0026hellip;” Try to imagine the content of the story that follows.\n#6. The Puzzle\nNot about a puzzle game, but about someone who bewilders those around them. The song itself also strikes a confusing atmosphere.\n#7. What Are You Seeing For?\nFrom The Power Of Now, mentioned above. The words speak for themselves.\n#8. Daphne Odora\nThe scientific Latin name for winter daphne. The song describes the fragrance of spring.\n#9. Daydreaming\nThe image of being lost in thought in those intervals of free time.\nLastly\nAt a time when CDs that do not include famous songs may not sell well, and when subscription services are so popular that many people don’t own CD players, it may seem reckless to release an album of all original songs on compact disc. But, even if just one person likes a song on this album, I’ll be happy. I am grateful to everyone who bought this album, those who support us at our live shows, the band members, and the recording engineer.\n山口裕之 Hiroyuki Yamaguchi\nObi Notes Refined two-horn arrangements of melodies that will linger in the hearts of anyone who hears them\nThe long-awaited new album from bassist Hiroyuki Yamaguchi\nMowna\nHiroyuki Yamaguchi Quintet\nMowna by Hiroyuki Yamaguchi Quintet Hiroyuki Yamaguchi - bass Hiroko Mase - soprano saxophone Hinata Ishii - tenor saxophone Toshihiko Kohno - piano Tomoyuki Okabe - drums Released in 2024 on What’s New Records as GWNJ-2036.\nJapanese names: 山口裕之 Yamaguchi Hiroyuki ませひろこ Mase Hiroko 石井ひなた Ishii Hinata 紅野智彦 Kohno Toshihiko 岡部朋幸 Okabe Tomoyuki\nAudio and Video “The Search For Wholeness” (track #2) — live performance: “Mowna” (track #3) — live performance: “Daphne Odora” (track #8) — live performance: Excerpt from track #1: “For George” ","permalink":"https://mirror2.jazzofjapan.com/hiroyuki-yamaguchi-quintet-mowna/","summary":"\u003cp\u003e\u003cem\u003eMowna\u003c/em\u003e is a 2024 album from bassist and composer Hiroyuki Yamaguchi. For this release, Yamaguchi wrote and arranged all nine tracks, which he recorded with a quintet composed of several musicians that played on his previous album \u003cem\u003eInner Perception\u003c/em\u003e (2018) by his Thursday Night Sextet, a band formed through jam sessions at the Tokyo jazz bar and local institution Manhattan.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1290400x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1290400x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eOn \u003cem\u003eMowna\u003c/em\u003e, the returning members from Yamaguchi’s sextet are Hiroko Mase on soprano sax, Hinata Ishii on tenor sax, and bassist Yamaguchi, and newly added members for this release are pianist Toshihiko Kohno and drummer Tomoyuki Okabe.\u003c/p\u003e","title":"Hiroyuki Yamaguchi Quintet: Mowna"},{"content":"“On A Slow Boat To China”, (“(I\u0026rsquo;d Like to Get You on a) Slow Boat to China”) is a popular song from the 1940s that was covered by many pop and jazz artists. Benny Goodman had a classic top-ten single, and Woody Allen used versions of the song to great effect in his films.\nFigure 1: Hinako Hodoshima (bass) and Tsuyuki Tatsuya (guitar) at On A Slow Boat To\u0026hellip; in March 2024\nMany jazz spots in Japan take their names from familiar songs, jazz standards, and album titles, and this custom becomes a sort of a secret code that jazz fans can use to recognize places that draw them in. This can also be a reliable way to know where a shop’s mind and heart are directed.\nOn A Slow Boat To\u0026hellip; (aka SLWBT2) is a small cafe offering coffee and jazz in the Jimbocho district of Tokyo. While the name of this cafe references the well-known song and its descendant old-timey catch-phrase, the cafe’s introduction also cites an early short story by Harumi Murakami with the same title. Like the song’s meaning of taking a lengthy journey, the shop explains that their setting aims to be a place where time slips away, yet where there is plenty of time to relax and listen to music. The trailing off nature with its ellipses \u0026hellip; indicates that the destination, unplanned or unfinished, can be up to you, and you can take your time getting there.\nFigure 2: Yuka Ueda (vocals), Hinako Hodoshima (bass), and Tsuyuki Tatsuya (guitar) at On A Slow Boat To\u0026hellip; in March 2024\nThis shop operates during the day as a coffee shop and offers occasional workshops, events, and live performances on certain nights. The owners take care to offer hand-drip coffee from a selection of their hand-roasted coffee beans. Lunch options include keema curry, pasta, and similar dishes, and sweets include scones, rare cheesecake, and carrot cake.\nFigure 3: Ryosuke Kano (saxophone), Horie Hiroyoshi (guitar), and Reiko Yamamoto (vibraphone) at On A Slow Boat To\u0026hellip; in March 2025\nWhile customers enjoy their coffee or meals, jazz BGM (background music) fills up the room. Big wooden speakers are set at the inner wall and set for great sound, faithfully reproducing with mellow, rich, and warm sounds of music played through LPs and CDs. Once I noticed some customers (regulars, or friends of the owners?) bringing in their just-purchased CDs from the nearby Disk Union shop to request a spin on Slow Boat’s system as they enjoyed their coffee and conversation.\nThe hot coffee here uses a nel drip technique, a hand-drip style that uses a flannel cloth filter to improve the taste. It’s all handmade: hand-roasted, hand-selected beans, and hand-drip pour-over coffee. The owner takes coffee seriously, and it tastes seriously good. For food, the keema curry is also popular. It’s a house specialty made with up to 17 spices and no water, just daikon radish and tomato. It looks, smells, and tastes delicious, and is a perfect partner to some strong coffee.\nFigure 4: Ryosuke Kano (saxophone), Horie Hiroyoshi (guitar), and Reiko Yamamoto (vibraphone) at On A Slow Boat To\u0026hellip; in March 2025\nThe atmosphere at On A Slow Boat To\u0026hellip; is very friendly, just like a modest and honest family-run business should be. Every detail, from the menu, music, and decor, has been carefully considered by the owners. Customers can immediately notice that it is a nice comfortable place overall where you can relax with good music and good people.\nFigure 5: Interior at On A Slow Boat To\u0026hellip;\nLive performances at On A Slow Boat To\u0026hellip; are irregular but savored, and advance reservations fill up quickly. At these events, customers pay first upon entry, receive a printed menu slip to pick orders from, and take a seat at a table or counter. As live events here are popular, and space is limited (there are only 16-20 seats available), fully sold out nights are common. It’s best to make a reservation ahead of time. Alternatively, stop by On A Slow Boat To\u0026hellip; during normal business hours a stop on your way to the nearby jazz club Naru near Ochanomizu station, a classic and must-do stop for live jazz in Tokyo.\nFigure 6: Hand-drip coffee using nel drip technique at On A Slow Boat To\u0026hellip;\nFigure 7: Hand-roasted coffee beans at On A Slow Boat To\u0026hellip;\nFigure 8: Pastoral scene and pastries at On A Slow Boat To\u0026hellip;\nFigure 9: Menu and mini record players at On A Slow Boat To\u0026hellip;\nFigure 10: Interior entrance at On A Slow Boat To\u0026hellip;\nFigure 11: Stage area at On A Slow Boat To\u0026hellip;\nFigure 12: At the counter at On A Slow Boat To\u0026hellip;\nFigure 13: Lemon soda and audio speakers at On A Slow Boat To\u0026hellip;\nFigure 14: Keema curry at On A Slow Boat To\u0026hellip;\nFigure 15: Sausage plate at On A Slow Boat To\u0026hellip;\nFigure 16: Rare cheesecake at On A Slow Boat To\u0026hellip;\nFigure 17: Carrot cake at On A Slow Boat To\u0026hellip;\nFigure 18: Business card front\nFigure 19: Business card back\nFigure 20: Sign at On A Slow Boat To\u0026hellip;\nFigure 21: Welcome to On A Slow Boat To\u0026hellip;\n","permalink":"https://mirror2.jazzofjapan.com/on-a-slow-boat-to/","summary":"\u003cp\u003e“On A Slow Boat To China”, (\u003cem\u003e“(I\u0026rsquo;d Like to Get You on a) Slow Boat to China”\u003c/em\u003e) is a popular song from the 1940s that was covered by many pop and jazz artists. \u003ca href=\"https://youtu.be/r2PtPLe50U4\"\u003eBenny Goodman had a classic top-ten single\u003c/a\u003e, and \u003ca href=\"https://youtu.be/Y3yi6ZT9u_0\"\u003eWoody Allen used versions of the song\u003c/a\u003e to great effect in \u003ca href=\"https://www.woodyallenpages.com/2016/09/on-a-slow-boat-china-september-music-woody-allen-films/\"\u003ehis films\u003c/a\u003e.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20240316_190647554-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20240316_190647554-1200.jpeg\"\n         alt=\"Figure 1: Hinako Hodoshima (bass) and Tsuyuki Tatsuya (guitar) at On A Slow Boat To\u0026hellip; in March 2024\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eHinako Hodoshima (bass) and Tsuyuki Tatsuya (guitar) at On A Slow Boat To\u0026hellip; in March 2024\u003c/p\u003e","title":"On A Slow Boat To…"},{"content":"Live at The Moment is a new album from pianist Takako Yamada’s jazz trio. The music was recorded during a live performance at The Moment in 2024 and released later that year. The Moment is a relatively new Tokyo jazz club, a polished recording studio-styled spot designed to produce and capture high-quality live audio, as was done with this album (jazz improv in the moment is a winning concept). Here, this sixty-one-minute set includes seven tracks, six jazz standards and one original song from the pianist.\nPrinted on the cover of this album is the subtitle Plays Standards. It’s not unusual to see jazz album titles or groups that include the word standards — see Keith Jarrett’s great standards trio and set of albums — and it’s a smooth way to introduce the concept for the collection. As a result, fans of jazz piano trio albums will find familiar material in this latest album from the Takako Yamada Trio. Naturally, these song choices have been heard on other jazz albums in recorded history.\nIn particular with this tracklist, four of the selections are songs that the legendary pianist Bill Evans was known for and recorded famous versions of. Track #1 “I Should Care” (on Evans’ How My Heart Sings, Bill Evans at Town Hall, other live albums), track #2 “How Deep is the Ocean” (Evans’ Explorations, Jazzhouse, live albums), track #3 “Yesterdays” (Live at Ronnie Scott’s), and track #6 “All of You” (Sunday at the Village Vanguard, and many others). In fact, all four of these jazz standards could be said to be frequent picks of Evans and appear on his most popular trio and live albums.\nOf course, being standards, other famous jazz pianists have covered these songs. These are tunes that can be often heard today in jazz student classrooms and community jam sessions. Yet, the fact that four of the six standards were also favorites of pianist Bill Evans gives a good indication as to the influences and style that Yamada’s trio is playing at The Moment.\nIt’s not just songs associated with the jazz piano of Bill Evans on this album, though. Track #4 is “When Summer Comes” by grandmaster pianist Oscar Peterson, a pretty ballad inserted mid-set for a relaxing daydreaming delight. Following that, track #5 is bassist Charlie Haden’s signature tune “Waltz for Ruth”, a highlight of Haden’s duet with guitarist Pat Metheny, and its lightly descending melody and drifting quality lend itself nicely to Takako Yamada Trio’s graceful style.\nThe last song is one of Yamada’s original compositions, played as an encore for the live set. The open chords and patient melody traverse the shifting major and minor harmonies as drummer Ko Omura taps out soul-deep rhythms on tabla drums, and the album’s final three minutes wind down in a vamp, fading away from these live moments.\nAs for the long-lasting power and admiration of jazz standards, pianist/writer Ethan Iverson’s recent article on standards (and today’s part 3), explains the term and provides many examples of how jazz musicians throughout history absorbed and transformed the original music and transformed the templates. His invaluable analysis includes four of the songs on this album: How the original sheet music for “I Should Care” landed with Thelonious Monk. The impact of “How Deep is the Ocean” on Bill Evans (and vice versa) and Chick Corea. The reinvention of “Yesterdays” by Art Tatum and John Scofield. How “All of You” touched Ahmad Jamal, Miles Davis, Bill Evans, Scott LaFaro, Wynton Kelly, and Herbie Hancock. Like all masterful jazz musicians, they left their individual stamps on the standards, using the medium of the compositions as launchpads for their explorations.\nObi Notes Live at The Moment\nA special album recorded with an audience who was invited to wear headphones and compare the high-quality recorded audio with the live sound.\nTakako Yamada Trio\nLive at The Moment by Takako Yamada Trio Takako Yamada - piano Akiyoshi Shimizu - bass Ko Omura - drums, tabla Released in 2024 on GoodNessPlus Records as GNPR-1195.\nJapanese names: 山田貴子 Yamada Takako 清水昭好 Shimizu Akiyoshi 大村亘 Omura Ko\nAudio and Video Audio for “I Should Care” (track #1): Audio for “How Deep Is the Ocean” (track #2): Audio for “All of You” (track #6): Full playlist for this album\nExcerpt from track #7: “Hill Road-坂道- (Hill Road-Sakamichi-)”\n","permalink":"https://mirror2.jazzofjapan.com/takako-yamada-trio-live-at-the-moment/","summary":"\u003cp\u003e\u003cem\u003eLive at The Moment\u003c/em\u003e is a new album from pianist Takako Yamada’s jazz trio. The music was recorded during a live performance at The Moment in 2024 and released later that year. The Moment is a relatively new Tokyo jazz club, a polished recording studio-styled spot designed to produce and capture high-quality live audio, as was done with this album (\u003cem\u003ejazz improv in the moment\u003c/em\u003e is a winning concept). Here, this sixty-one-minute set includes seven tracks, six jazz standards and one original song from the pianist.\u003c/p\u003e","title":"Takako Yamada Trio: Live at The Moment"},{"content":"Tides of Blue is a 2025 release from the collaboration of Japanese jazz musicians Sumire Kuribayashi, Kazuma Fujimoto, and Takashi Sugawa on piano, guitar, and bass, respectively. On this album, the trio plays seven new songs, four composed by Kuribayashi and three by Fujimoto, for a total play time of 51 minutes.\nThe album brims with brilliant acoustic music full of clear harmonies and patiently developed melodies. The music reflects abstract themes represented by words in the song titles like movement (ways, roads), water (blue, dew, tides), and belonging and comfort (home, let me). The music is not abstract, however, but pinned down with the strength of conviction and personality that each player brings to the music. Each’s player’s identity does not dissolve in the trio but combines to create a new sound that is the sum of the parts. While there is, at first brush, a seemingly slow-moving surface that may describe meditative music as with a yoga playlist or a quiet church setting, there is an undertow of jazz, pop, blues, classical, free, and folk influences throughout. (It’s may be a high bar, but as a sound reference, think of concepts like Keith Jarrett’s Koln Concert\u0026hellip;). There is depth and nuance in the confident calm, in the ebb and flow. Quietness and patience allow for the trio’s delicate touches to be more noticable and emotionally powerful. It’s not overwhelming, not sparse, but comfortingly present, familiar, pervasive.\nLiner Notes (Translated from Akiomi Hirano’s original Japanese liner notes.)\nA day spent surrendering ourselves to making music as a trio.\nWe are grateful to be able to share this one-day, once-only performance with you.\nKazuma Fujimoto\nI wish for the music to accompany the subtle lyricism hidden in fleeting everyday moments and memories.\nTakashi Sugawa\nFor example, a deep shining ultramarine, a glittering emerald green swaying in a gentle breeze, a violet or azure blue that changes expression with every glance. Waves of multiple sounds coexist and overlap and expand like tides before they return to being calm. I imagined such a scene while listening to the finished recording. With love and gratitude to the wonderful team who assisted with this project, and to everyone who is listening.\nSumire Kuribayashi\nA divine combination\nIt can be described only as a divine combination. It’s a happy moment particularly encountered in live jazz. A phenomenon where a special sound emerges only by the combination of certain players, a matter of chemistry that can’t be predicted or planned in advance. Even when it does happen, it’s a delicate configuration where the magic could be lost if one member is absent or substituted with another musician.\nAlthough the mechanism of creation may not be understood, it’s clear that it does not happen through top-down commands or orders. Rather, it’s the opposite of having too strong a direction. The basis is formed by equality and a mutually inspirational relationship between the members.\nStrong personalities to inspire each performer, advanced skills to protect the music no matter what happens, creative ambition to expand individual musical potential\u0026hellip; Perhaps only musicians who possess these three qualities meet the requirements for a divine combination.\nHowever, assembling musicians who meet these requirements does not necessarily guarantee that the magic will happen. You won’t know unless you try, and the success rate is not very high. To put it plainly, it’s almost like winning the lottery, and not something that is created deliberately through intention.\nI recently had the good fortune to witness this special unit, this divine combination. It was this drumless trio that I saw at Shibuya’s long-running jazz bar Body \u0026amp; Soul in June 2023.\nI was very familiar with the three musicians, Sumire Kuribayashi, Kazuma Fujimoto, and Takashi Sugawa. But this was the first time I had seen them together. As it turned out, this wasn’t surprising, since this was their first gig together.\nThe music from these three musicians, filled with unique nuances, resembled nothing else I knew of. Without any hesitation, I proposed an offer to record them.\nFollowing that, they played three gigs in preparation for the recording. With each one, they improved the precision of their sound and increased their level of sophistication even further.\nStrong-willed yet elegant, natural yet meticulous. The result is that it’s beautiful without being cluttered.\nThese three know the virtues of acoustic music well, and their sound is gracefully shaped in an open space with lots of room for expression.\nTheir sound is worthy of special mention, as although it is tightly bound together for a cohesive sound as a mass feeling, each person’s individuality distinctly stands out as well. This unified yet multi-faceted aspect allows the sound of each to be heard clearly.\nI wanted many jazz fans to be able to experience this irreplaceable sound. That was the wish that led me to produce this work.\nEach of the three musicians works with their own bands made up of first-class musicians of different styles to expand the possibilities of expressing themselves.\nApart from her jazz influences, Sumire Kuribayashi was raised in a musically rich environment that included a koto master for a father, and she was blessed to hear a variety of music in her youth. While still young, she released her debut album in 2014, and after that she continued to release original records as a front-line pianist. What’s particularly noteworthy is that her traits and characteristics are unlike anyone else. Her individual style and underlying foundation are powerfully flexible yet unshakable.\nKazuma Fujimoto was also influenced by his father, who was a guitarist and singer-songwriter. He took up the guitar and formed the band Orange Pekoe in 1998. While gaining accolades for a unique sound that transforms diverse musical elements through his own interpretations, he is also active in the jazz scene and expanding his solo activities. Along with his radiant and beautiful personal tone, his lyrical and melodious original songs have also received high praise.\nTakashi Sugawa has had close ties with Days of Delight starting with the recording of his band Banksia Trio. He is a renowned top bassist in the jazz world both in name and substance. He receives continuous requests to perform with musicians of all types, not only due to how he expands the band sound with his creative playing style, but also through the high-quality stimulation that his musical intelligence provides to his co-performers. To hear his sound is to immediately recognize it as his inherent texture.\nThe biggest effect of the sound that these three create is that it is not a simple sum or mathematical average, but an amalgamation of the whole into one body of mass. Figuratively speaking, it is more like a derived compound rather than building blocks.\nHowever, this does not mean that their personalities are buried within the whole. As mentioned before, their individual identities are firmly noticeable. That is the crucial point.\nWhile the three maintain their strong individuality (that is, each keeping their musical presence), they create a new overall picture. That is exactly the grounds for the truly divine combination that is a unique virtue of this band.\nAt the rehearsal before the recording, what impressed me was how everyone was refining their sound while sharing ideas without compromising themselves to match the others. Their thoughts were along the lines of “What should we do to make the group sound good,” and the approach of “Let’s constrain ourselves to avoid making waves” was not entertained.\nThe music recorded here by these three is the result of a conscious choice to preserve their individual personalities. It may be a paradox, but their organic connection is realized as the three reject musical interdependence and reliance and avoid easy harmony.\nWhy does this combination produce a special effect? Naturally, they have no awareness of it, so it cannot be explained.\nIt’s interesting that, despite the musicians being old friends who hold mutual respect for one another, for some reason, they didn’t have the opportunity to play together until now.\nEach knows the other’s virtues and respects their musicianship. They had experiences as pairs [duos] but had none as a trio. These were the circumstances when I saw them on their first gig. This was the situation that sparked my sudden decision to record them.\nWhen a jazz insider is gathering musicians for a live event or recording, there are two basic approaches. Should you channel the power of the musicians to express your desired musical vision? Or, conversely, should you leave everything up to the musicians and see what happens?\n“But, this time it was a little different, you know.” This is how Sumire Kuribayashi described it, as she was the one who first considered this combination of players. For example, the songwriting process was different from usual.\n“When I am songwriting, I always concentrate on bringing the music out of myself. Before thinking about the instrumentation or which musicians to partner with, I write to express myself purely. But this time, I was thinking of these two musicians from the start. Listening intently to their music, I had reactions like “Oh, this phrase is so pretty!” and “I like this intro!”, and I began to write songs filled with these ideas.\nIt’s not about shaping the music to one’s own vision, or about simply enjoying a carefree jam session. In other words, it is a third path. What can be discerned behind her words is the joy of making music as a trio and her respect for the other two members.\nWhat types of musical perspective and musicianship do they have in common?\nKazuma Fujimoto’s words hint at this.\n“My ideal is that the music lets you hear the heartbeat, that is, a heart-connected highly pure performance\u0026hellip; to put out my inner self directly without any filters. In fact, I can sense this same characteristic in the other two musicians.”\nHe continues: Moment by moment, I want to express the scene and the images that arise without processing them. I also feel this with the other two. Perhaps it sounds good because they share the same feeling of what is important to extract from the music.\nConsideration is a factor, but constraint is not. Respect, not submission. Inspiration, not control.\nIt must be this integrated position that the three share that is the basis of their unified yet multi-faceted music.\nIt’s not something that everyone can do, of course. At a minimum, preserving this attitude requires sustaining an appropriate distance from others while maintaining control of yourself, regardless of how much the situation changes. It’s easy to say, but difficult to accomplish.\nThis group constantly maintains the right distance from each other without breaking, so they can maintain a comfortable state no matter where they go. Therefore, there is no need to sacrifice themselves and yield to another in order to adapt to them.\nThinking about it, all three are gifted with exceptional hearing and can assess the situation quickly. Their reaction times are fast, and their physical abilities are excellent. They are always seeing everything from above. These are the same qualities that top athletes possess.\nIt may be that only athletes can create a new overall picture imbued with their strong individuality. When I see the trio of Sumire Kuribayashi, Kazuma Fujimoto, and Takashi Sugawa, I truly think so.\n平野暁臣 Akiomi Hirano (Days of Delight) Founder/Producer\nObi Notes Sumire Kuribayashi / Kazuma Fujimoto / Takashi Sugawa Tides of Blue A gathering of three musicians who know the virtues of acoustic music well! An unparalleled chemistry created by leading personalities in the Japanese jazz world!\n“Strong-willed yet elegant, natural yet meticulous. The result is that it’s beautiful without being cluttered. These three know the virtues of acoustic music well, and their sound is gracefully shaped in an open space with lots of room for expression.” — Akiomi Hirano (from the liner notes)\nTides of Blue by Sumire Kuribayashi / Kazuma Fujimoto / Takashi Sugawa Sumire Kuribayashi - piano Kazuma Fujimoto - guitar Takashi Sugawa - bass Released in 2025 on Days of Delight as DOD-051.\nJapanese names: 栗林すみれ Kuribayashi Sumire 藤本一馬 Fujimoto Kazuma 須川崇志 Sugawa Takashi\nAudio and Video Promotional video for this album: Sumire Kuribayashi and Kazuma Fujimoto playing “Road”: Bassist Takashi Sugawa’s Banksia Trio: Excerpt from track #2: “The Ways To Come Back Home Again” ","permalink":"https://mirror2.jazzofjapan.com/sumire-kuribayashi-/-kazuma-fujimoto-/-takashi-sugawa-tides-of-blue/","summary":"\u003cp\u003e\u003cem\u003eTides of Blue\u003c/em\u003e is a 2025 release from the collaboration of Japanese jazz musicians Sumire Kuribayashi, Kazuma Fujimoto, and Takashi Sugawa on piano, guitar, and bass, respectively. On this album, the trio plays seven new songs, four composed by Kuribayashi and three by Fujimoto, for a total play time of 51 minutes.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1300733x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1300733x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe album brims with brilliant acoustic music full of clear harmonies and patiently developed melodies. The music reflects abstract themes represented by words in the song titles like movement (\u003cem\u003eways\u003c/em\u003e, \u003cem\u003eroads\u003c/em\u003e), water (\u003cem\u003eblue\u003c/em\u003e, \u003cem\u003edew\u003c/em\u003e, \u003cem\u003etides\u003c/em\u003e), and belonging and comfort (\u003cem\u003ehome\u003c/em\u003e, \u003cem\u003elet me\u003c/em\u003e). The music is not abstract, however, but pinned down with the strength of conviction and personality that each player brings to the music. Each’s player’s identity does not dissolve in the trio but combines to create a new sound that is the sum of the parts. While there is, at first brush, a seemingly slow-moving surface that may describe meditative music as with a yoga playlist or a quiet church setting, there is an undertow of jazz, pop, blues, classical, free, and folk influences throughout. (It’s may be a high bar, but as a sound reference, think of concepts like Keith Jarrett’s \u003cem\u003eKoln Concert\u003c/em\u003e\u0026hellip;). There is depth and nuance in the confident calm, in the ebb and flow. Quietness and patience allow for the trio’s delicate touches to be more noticable and emotionally powerful. It’s not overwhelming, not sparse, but comfortingly present, familiar, pervasive.\u003c/p\u003e","title":"Sumire Kuribayashi / Kazuma Fujimoto / Takashi Sugawa: Tides of Blue"},{"content":"Bigboy is a nice and clean jazz cafe in Jimbocho, a district known as “Tokyo’s Book Town” for its reputation of having many old bookshops, rare books, and literary-related institutions. This jazz cafe is nestled right off the big street intersection that sits atop Jimbocho Station, where the Toei Shinjuku, Mita, and Hanzomon subway lines meet. Bigboy is fairly close to the busy intersection, but tucked away in a shallow pocket of alleys. Wind through some turns along a few short streets to find the mostly plain exterior of a small, unassuming shop. This must be it: Covers of recognizable jazz albums peek out from the windows, and some instruments may be overlooking the entrance like over-the-door talismans. You’ve found Bigboy.\nFigure 1: Bigboy’s left exterior\nWalk into Bigboy and you will immediately notice the tiny, clean interior. Things are organized, tidy, and typical of big-city shops where space is at a premium. The tables are few, and seats can be nearly shoulder to shoulder. The atmosphere is pleasant, lit by artificial spotlights and natural daylight coming through the windows on two right-angled walls that surround the door. These windows also allow views out to pedestrians strolling by and the dynamism of street life, making tangible the border between real life and this jazz haven respite.\nJust as immediately, you’ll notice the good and loud jazz music pumping with clarity from two big speakers mounted behind the bar and opposite the door. The barmaster cycles through CDs and LPs in rotation according to mood. A recent time I visited, I was treated to some music from Gigi Gryce: The Rat Race Blues and other hard bop, soulful swinging Blue Note jazz albums.\nFigure 2: At a table at Bigboy\nUpon entering Bigboy, you will be invited to take a seat at a table near the door or at a seat at the bar — probably the table seats, if they are free, especially for visitors or those arriving in couples or groups. Initially, some customers may feel disappointed to be seated right by the door at the tables by the entry, as you wish to explore further into the inner sanctum of this jazz haunt, to be fully absorbed in the experience. But, these seats, near the windows and entry, allow customers to take in a view of the entire shop. You may even get the sense that these front table seats are special, used for both honored guests and welcomed first-time visitors. These tables are actually a great place to really hear to the music: the speakers behind the bar point directly out to this position, and the shop, after all, isn’t really that large and can be taken in at a glance from almost any seat. These tables may also be the only option for those coming in pairs or groups. If you’re really keen on it, and depending on the situation, you may request a seat at the bar. If you’re too far in the corner, though, the directed sound from the speakers may not be as clear, and the owners, ever the good hosts, strive to promote the best and most comfortable listening experience for their guests.\nFigure 3: At the counter at Bigboy\nBigboy is a shop that strives to make people feel relaxed while they enjoy the jazz music. That is the overall vibe here. Small but not cramped, the space seems to have just enough room for possibly another table and a set of chairs. On the other hand, too much furniture with too many people in a limited space could detract from the hospitable, lose-yourself-in-the-music experience.\nThe shop’s introduction on their website describes Bigboy as a place where first-time visitors can relax and enjoy listening to their selection of jazz music. They also advise that, as the shop is quite small and seats are limited, groups should confirm ahead of time if there are enough available seats to accommodate their party\u0026hellip;in a friendly way, of course:\nFigure 4: Interior and window at Bigboy\nBIGBOYは、初めての方でも、\nFigure 5: Jazz and coffee\n気軽にJAZZを楽しめる神保町のお店です。 小さなお店なのでお席がご用意出来ない事も ございますので、\nFigure 6: Bigboy business card front\n大切なお仲間とご来店の際には、 事前に席の確認をしていただくことを おすすめしております。\nFigure 7: Bigboy business card back\nご来店を、心よりお待ちしております。\nBigboy is a place where even first-timers can enjoy jazz easily. Since the shop is small and all seats may be occupied, if you plan to come with friends, confirming seats ahead of time is recommended. We look forward to your visit.\nThere are two menus for daytime and bar time, with a two-hour gap separating the intervals. The menu is limited to coffee, tea, soft drinks, and some choices of alcohol, with otsumami or finger-food snacks (nuts, chips, etc.) also available.\nRecently, there appears to be an increase in visitors to Bigboy, possibly due to a general rise in tourism and the resulting number of jazz fans and tourists seeking something special and unique. Bigboy may be one of the better-known jazz cafes in mid-Tokyo, and although it’s a specialized jazz listening venue, it’s not an overly intense or deeply underground kissa-style jazz haunt that could be intimidating to the jazz curious. The increased audience may also be due to advertisements and business cards for Bigboy showing up at jazz-related haunts like the nearby Disk Union “Jazz Tokyo” near Ochanomizu Station, an excellent spot to pick up current and used offerings from Japanese jazz musicians in their J Jazz sections.\nFigure 8: Welcome to Bigboy\n","permalink":"https://mirror2.jazzofjapan.com/bigboy/","summary":"\u003cp\u003eBigboy is a nice and clean jazz cafe in Jimbocho, a district known as “Tokyo’s Book Town” for its reputation of having many old bookshops, rare books, and literary-related institutions. This jazz cafe is nestled right off the big street intersection that sits atop Jimbocho Station, where the Toei Shinjuku, Mita, and Hanzomon subway lines meet. Bigboy is fairly close to the busy intersection, but tucked away in a shallow pocket of alleys. Wind through some turns along a few short streets to find the mostly plain exterior of a small, unassuming shop. This must be it: Covers of recognizable jazz albums peek out from the windows, and some instruments may be overlooking the entrance like over-the-door talismans. You’ve found Bigboy.\u003c/p\u003e","title":"Bigboy"},{"content":"Abyss is a 2007 studio album from pianist Chihiro Yamanaka, recorded with bandmates Vicente Archer on bass and Kendrick Scott on drums. Like her previous albums, this is a jazz piano trio album featuring Yamanaka’s creative arrangements and impressive piano solos. With Archer and Scott as bandmates, the lineup on this album is a new one, as previous releases featured bassists Larry Grenadier and Robert Hurst, and drummers Jeff Ballard and Jeff “Tain” Watts, among others.\nSince starting to release albums in 2001, Abyss is Yamanaka’s sixth studio album out of 32(!) releases to date, a collection that includes three live DVDs and two compilation albums. This is her third release for Verve Records. (Similar to Yamanaka’s schedule of releasing something new every year, I seem to be covering her albums here also at a one-article-per-year pace, so I had better up the pace or I will never catch up to her current-day releases!)\nWith 10 tracks, all arranged by Yamanaka, and a running time of 50 minutes, Abyss is a whirlwind of fast music, uptempo tunes, and plenty of jazz soloing from the nimble keymaster. The music is delightfully assertive with fluid playing throughout. Yamanaka’s style is also embodied in her personal arrangements, used as a stage for her fascinating piano improvisation in the spotlight. Right out of the gate, uptempo to near-breakneck speeds are immediate and consistent from tracks one through four and seem to tempt a risk of crashing. Yet, the band’s focus never falters, and their group playing and individual solos shine with confidence.\nIt’s not just dexterity and upfront rhythms at play, though, and as before, Yamanaka’s arrangements are fun and distinctive. In opposition to the abyss of the title, her whimsical personality also comes through (as with “Plum the Cow” and “S.L.S. (Silly Little Song)” from When October Goes). For example, the swing-era standard “Sing, Sing, Sing” is introduced by the famously identifiable piano riff from Chicago’s “Saturday in the Park” before switching into a massively reworked version of “Sing, Sing, Sing” merged with her own “Give Me a Break.” (I wonder if this choice of titles and tunes is a tongue-in-cheek response to the various requests that working pianists receive at piano bars and live shows? Just a guess\u0026hellip;)\nAnother creative element on this album is an increase in the use of keyboard, organ, and piano effects in the recording, a trend that has continued over the last several albums. Acoustic piano is still featured on most tracks, as the main piano instrument or doubled with another keyboard, yet the addition of electric keyboard, organ, and piano with effects is also a big part of the music on Abyss.\nTracks one through four consist of Keith Jarrett’s “Lucky Southern” (in vibrant good moods), Yamanaka’s “The Root of the Light” (with liquid organ and hairpin curves), Louie Prima’s “Sing, Sing, Sing” together with Yamanaka’s “Give Me a Break” (vivid and exciting, switching between piano and keyboard), and the nearly hundred-year old romantic song “Take Me in Your Arms”, also played uptempo in straight swing for true jazz piano trio bona fides.\nNext is the album’s one slow ballad, track #5 “For Heaven’s Sake”, quiet and sweet with patient bass and piano solos over a bed of drum brushes. With track #6, the energy quickly returns with Yamanaka’s take on John Coltrane’s famous “Giant Steps”, rearranged here to switch between a swirling 3/4 and straight-ahead 4/4 meters with the pianist switching between acoustic and electric pianos.\nSimilar to the album’s four-song start with an unrelenting uptempo jazz style, the final four songs introduce funkier and flexible structures: #7 Duke Ellington’s “I’m Gonna Go Fishin’” is a combination of tense bass-line sneaking, bluesy chords, and rapid-pulse swing with one of the longest and fieriest piano solos on the record. #8 “Forest Star” is a fascinating outing based on a repeated pedal-tone vamp and a piano treated with subtle effects for shimmering drone sounds, all combining for an effect like an electric didgeridoo and a tribal beat projecting a phasered piano solo above a fire. The last two songs, shorter in length, resemble a double finale to close the album with splashy imaginative vibes: #9 “Being Called” sets up a scene of rising chaos and tense piano improv, and #10 “Downtown Loop” closes with a short funk/jazz fusion organ jam.\nWhat of the album title\u0026hellip; why Abyss? What is the deep chasm, the dark pit of chaos that this album refers to? The introspective cover photo displays contemplation, but together with the album title and the Gothic lettering, there is a slight sense of foreboding. Yet, in counterpoint, this album avoids any risk of falling into the bottomless pit, as we are carried away by the winds of uptempo swing, twisty-turny piano solos that fly through the air, and the upliftingly novel arrangements that Yamanaka is so good at delivering.\nLiner Notes (Translated from the original Japanese liner notes.)\n#01. LUCKY SOUTHERN / Keith Jarrett\nA Keith Jarrett piece from the 1970s. A crisp piano solo adds color to the cheerful theme.\n#02. THE ROOT OF THE LIGHT / Chihiro Yamanaka\nA Yamanaka original composition. Along with the uptempo setting, an improvised solo from the electric piano adds a real sense of speed. Kendrick’s drumming over the looped riff at the end is another highlight.\n#03. SING, SING, SING / Louis Prima - GIVE ME A BREAK / Chihro Yamanaka\nA Yamanaka original tune is interwoven with this famous swing-era standard, as her piano solo and organ solo dance atop an arrangement that resembles a constantly changing landscape.\n#04. TAKE ME IN YOUR ARMS / Alfred Markush, Fritz Rotter, Mitchell Parish\nThe trio swings briskly and straight-ahead, using the base of a standard song with a charming melody.\n#05. FOR HEAVEN\u0026rsquo;S SAKE / Sherman Edwards, Elise Bretton, Donald Meyer\nVicente’s contemplative bass is featured on a leisurely ballad that brims with imagination.\n#06. GIANT STEPS / John Coltrane\nAn arrangement of Coltrane’s classic song that alternates between 3/4 and 4/4 time signatures. Each part is contrasted by alternating electric and acoustic piano, swinging exquisitely.\n#07. I\u0026rsquo;M GONNA GO FISHIN\u0026rsquo; / Duke Ellington\nYamanaka takes up Ellington’s beautiful song with a distinctive early big band jungle style sound, making for compelling listening with her unique twist and inventive arrangement.\n#08. FOREST STAR / Bruno Råberg\nA song by bassist Bruno Råberg, with whom Yamanaka was once in a trio. An effects-treated piano solo adds to the excitement of the folky melody even more.\n#09. BEING CALLED / Chihiro Yamanaka, Kendrick Scott, Vicente Archer\nAs the thrilling piano solo moves freely around an improvised beat pattern, a contemporary sound unfolds as the trio comes together.\n#10. DOWNTOWN LOOP / Chihiro Yamanaka\nThe striking sound of the organ runs in all directions over a Motown groove loop.\nAbyss by Chihiro Yamanaka Chihiro Yamanaka - piano Vicente Archer - bass Kendrick Scott - drums Released in 2007 on Verve as UCCJ-2060.\nJapanese names: 山中千尋 Yamanaka Chihiro\nAudio and Video Audio for “Lucky Southern” (track #1): Audio for “The Root of the Light” (track #2): Audio for “Sing, Sing, Sing” (track #3): Audio for “Sing, Sing, Sing” (track #3) alternate link: Audio for “Take Me In Your Arms” (track #4): Audio for “For Heaven’s Sake” (track #5): Audio for “Forest Star” (track #8): “Forest Star” live version 1: “Forest Star” live version 2: Excerpt from track #4: “Take Me in Your Arms” ","permalink":"https://mirror2.jazzofjapan.com/chihiro-yamanaka-abyss/","summary":"\u003cp\u003e\u003cem\u003eAbyss\u003c/em\u003e is a 2007 studio album from pianist Chihiro Yamanaka, recorded with bandmates Vicente Archer on bass and Kendrick Scott on drums. Like her previous albums, this is a jazz piano trio album featuring Yamanaka’s creative arrangements and impressive piano solos. With Archer and Scott as bandmates, the lineup on this album is a new one, as previous releases featured bassists Larry Grenadier and Robert Hurst, and drummers Jeff Ballard and Jeff “Tain” Watts, among others.\u003c/p\u003e","title":"Chihiro Yamanaka: Abyss"},{"content":"As We Breathe is the 2008 release from the Ryosuke Hashizume Group, a sax-led ensemble of sax, guitar, drums, bass, and piano. This jazz-quintet combination of instruments and players forms the perfect medium for bringing Hashizume’s penned compositions to life. I’ve introduced this group’s other releases at earlier points, although in an out-of-order sequence, so this article completes the set of the group’s six releases to date.\nAs We Breathe, with nine tracks and about 70 minutes, is the second album out of the six released by the group. Despite the earliness of this and their previous album (their debut Wordless), their concept was already well-defined based on Hashizume’s compositions and musical direction, and the musicians show a cohesive personality with intuitively-linked playing and precise timing.\nOver warm tones of electric guitar and fretless bass, the breathy, long notes of the tenor sax push through the air with an ethereal presence. The deep, round anchor of bass is necessary and comforting as active pinpoints of drums and cymbals light up and spark with energy. The sound of electrified strings inhabits the music, submerging and cresting unpredictably with a mesmerizing effect.\nMost songs run at about seven to ten minutes, allowing the music to build slowly, confidently, and the musicians to move at their own pace. This is a consistent quality of Hashizume\u0026rsquo;s wisely crafted music: Things are done subtly but powerfully, melodic qualities change under your feet like shifting sand, and rhythms are often engineered to be atypical but stable. As deep tentacles entwine and pull down, keep in mind, remember as we breathe.\nTrack #1 “Last Song” is an abstract painting of sound where the saxophone and guitar duet a melody while the bass, drums, and piano paint a dreamy landscape background. Fluid, floating, swirling like liquid and vapor, smoothly merging into abstract shapes. A strong melody statement by the tenor sax pulls the mist and rhythm around in its wake. It lingers in the mind like a recollection of a mysterious dream as smoky drums loosely hypnotize.\n#2 “Sakura-Ame” (桜雨, cherry blossom rain) (8:40) is a dark waltz, mysterious and extending the previously established misty feeling. There is some sort of magical tint, a casting of a spiraling spell.\n#3 “Sign” is stylish and energetic as jazz drama and rock sensibilities meet. Crisp drums punctuate a simple but memorable theme over progressively intense harmonies and movements.\n#4 “Fraise” (French for いちご, strawberry) is tender with the pulse of a rock ballad. The catchy melody plays out with a curiously familiar yet unfamiliar mood, heightened by the slightly offset melodic placements and syncopated offbeats.\nThe mid-to-uptempo 4/4 jazz/rock #5 “Encore” (9:31) has Orihara’s bass stating the opening and closing theme over piano arpeggios, setting up the dramatic stage for some great improv from the bass and piano (with incredible left-hand/right-hand scene-stealing conversation) before sax and guitar interplay. The drums and bass rhythms really propel things forward with deadly accuracy, as with many of the highlights here.\nTrack #6 “Keep in Mind” is an exploratory suite-like story, where the slow and poetic opening grows into a lilting song in 3/4 and unwinds midway to a piano solo, free group styling, and ambient sound effects. Here too, again, the feel of scenes set in a Bladerunner world arises with that sci-fi future vibe of neon and grit under the surface.\n#7 “Structure” gets the band locked into a 7/4 meter for a suspenseful mood over bass note floors. The electric Fender Rhodes recalls vintage Chick Corea futurism, while the segmented melody (in spacey Jan Garbarek-ish sax with the guitar playing in unison), vibrant chords with subtly morphing tonal qualities, and the moody lower bass riff and drums. The music glides on a cool plane, like surface-skimming spaceships or the Light Cycles of Tron.\n#8 “Friends” introduces the album’s prettiest, innocent moments through a tune recited freely, slowly with a subtle meter, playful but quietly yearning.\nFinally, #9 “Epilogue” retells the music of #1 “Last Song”, more exploratory, slower, with its unforgettable melody and rich chords moving like clouds in flux through the sky’s invisible currents.\nAs seen in the track listing, there is an interesting use of self-reference in the song titles. The album starts with track #1 titled “Last Song”, and the last song is track #9 “Epilogue”, which is actually a redone version of “Last Song” (an epilogue, the last song). Also, in the middle of the disc is track #5 “Encore” — a strange place for an encore. Yet if you consider the album as one in-out of a single breath, then the midpoint could be the pause between, marking where the structure folds and loops back to the start (the end), and where it completes the circle to restart the next cycle of breath. (Perhaps a propos, “Cycles” is the title of a track included on both their Wordless and Visible/Invisible releases.)\nAs We Breathe by Ryosuke Hashizume Group Ryosuke Hashizume - tenor saxophone, loops Motohiko Ichino - guitar, effects Manabu Hashimoto - drums Ryoji Orihara - fretless bass Masako Hamamura - piano (#2, 8, 9) Taihei Asakawa - piano (#1, 5, 6), Fender Rhodes (#3, 4, 7) Released in 2008 on BounDEE Jazz Library as DDCJ-13004/DDCJ-7004.\nJapanese names: 橋爪亮督 Hashizume Ryosuke 市野元彦 Ichino Motohiko 橋本学 Hashimoto Manabu 織原良次 Orihara Ryoji 浜村昌子 Hamamura Masako 浅川太平 Asakawa Taihei\nAudio and Video Ryosuke Hashizume Group playing #4 “Fraise” live\nRyosuke Hashizume Group playing #5 “Encore” live in 2008 (1/2):\nRyosuke Hashizume Group playing #5 “Encore” live in 2008 (2/2): Ryosuke Hashizume Group playing #7 “Structure” live in 2008 (1/3): Ryosuke Hashizume Group playing #7 “Structure” live in 2008 (2/3): Ryosuke Hashizume Group playing #7 “Structure” live in 2008 (3/3): Excerpt from track #3: “Sign” Other Links Ryosuke Hashizume store ","permalink":"https://mirror2.jazzofjapan.com/ryosuke-hashizume-group-as-we-breathe/","summary":"\u003cp\u003e\u003cem\u003eAs We Breathe\u003c/em\u003e is the 2008 release from the Ryosuke Hashizume Group, a sax-led ensemble of sax, guitar, drums,  bass, and piano. This jazz-quintet combination of instruments and players forms the perfect medium for bringing Hashizume’s penned compositions to life. I’ve introduced this group’s other releases at earlier points, although in an out-of-order sequence, so this article completes the set of the group’s six releases to date.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200721x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200721x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003e\u003cem\u003eAs We Breathe\u003c/em\u003e, with nine tracks and about 70 minutes, is the second album out of the six released by the group. Despite the earliness of this and their previous album (their debut \u003ca href=\"https://www.jazzofjapan.com/archive/ryosuke-hashizume-group-wordless\"\u003e\u003cem\u003eWordless\u003c/em\u003e\u003c/a\u003e), their concept was already well-defined based on Hashizume’s compositions and musical direction, and the musicians show a cohesive personality with intuitively-linked playing and precise timing.\u003c/p\u003e","title":"Ryosuke Hashizume Group: As We Breathe"},{"content":"Free is the third album from the Michiyo Matsushita Trio. With the members active in their individual recording and playing schedules in Japan and internationally, they have continued to play together regularly as the Michiyo Matsushita Trio. Still, it had been 13 years since their previous 2011 release Prayer for Peace (and half that since Matsushita’s 2018 solo album Sally Gardens), so fans of the trio were pleasantly surprised to hear of this new offering coming out last year. As with the previous trio albums, old friends and long-running members Show Kudo on bass and Ryo Saito on drums join pianist Michiyo “Michiyon” Matsushita.\nFree is an 11-track, 57-minute album full of Matsushita’s original music. The rhythms of jazz swing, Latin (including Spanish and Brazilian), smooth R\u0026amp;B, funk, and club jazz are the framework upon which Matsushita’s imaginative music is built and which the trio brings to life through their intuitively locked-in playing.\nAbout the title Free: While brief and open to interpretation, the short and sweet album title may present some puzzles. First and easiest to clear up, no, this album is not free of charge. Though it was funny to see, at the trio’s live shows, a stack of these CDs for sale with the label Free prominently displayed on top, and wonder how to take the word printed right there on the cover — (wait, are these actually free for the taking? No, Matsushita explained after a laugh, they cost 3000 yen each!\nAlso, as another point of possible confusion, the type of music on this album is not free as in designating the genre of free jazz. These compositions are all well-structured original ideas from Matsushita, embodying her imaginative personality and dedication to writing catchy music. The songs are wonderfully arranged with a solid jazz backbone enhanced by cool fusion stylings, laid-back beats, Wayne Shorter-esque innovation, and Horace Silver-like Latin/swing conjunctions and switch-ups.\nListening to the album conveys the meaning of Free as used in the sense of free-minded, free-spirited, free-flowing, free-style. With dynamic accents, tempo shifts, and emotional contrasts, Matsushita’s compositional expressions are brought forth through the excellent playing of the trio and their personal solo statements.\nFrom the naming and structure of the first track, La Tierra, one can’t help but draw the intended parallels between this and Chick Corea’s famous song La Fiesta, with both songs featuring tension-building minor-key rhythmic vamps leading to surging highs with colorful major-key fireworks. As this song and the rest of the album show, Matsushita’s compositions do draw from legendary influences (this is a large part of jazz, after all). Yet, these are foundations, not imitations, and this album is full of Michiyo Matsushita’s own conceptions in a variety of styles.\nContinuing from La Tierra, track #2 “Kaze Soyogu” (風そよぐ, the wind rustles) shifts gears and lays back with a chill club jazz groove. #3 “Monk no Kyujitsu” (Monkの休日, Monk’s holiday) is a slow swing with a plucky off-kilter personality paying homage to the great Thelonious Monk. #4 “Hikari no Teikoku” (光の帝国, the empire of light) is regal, classy, and smooth. #5 “Slumber” is a long-time live favorite with an addictive sprinkling-notes theme, funky sections, and exciting changes.\n#6 “Exoplanet” is a darker hue of swing/Latin bop jazz construction built for Matsushita’s solo piano improv. #7 “Harujion” (ハルジオン, spring fleabane, a white and yellow flower) is a quiet ballad, sweet and subtle. #8 “Unity of Mind”, like “Exoplanet”, has swing/Latin sections like Horace Silver, with intense hard bop rhythms and modern touches. #9 “Kiyoshi no Hiru” (きよしこの昼, silent day) is a medium-tempo 4/4 swing, light and nimble, with a straight-played chamber-like classical or march feel, with jazz standard constructions a la the Modern Jazz Quartet. The dynamic #10 “SR Brothers” (S and R for Show and Ryo) is an uptempo outing with adventurous time-meter shifts between pulse-racing swing and laid-back funk grooves (and, a very short free jazz section, there it is!). Lastly, track #11 “Ame no Koe” (雨の声, voice of the rain) is a meditative ballad where the ambient sounds of water linger in the beginning and end of the piece to bookend a folky Ghibli-hued warmth, leaving us free to imagine what comes after this happy farewell.\nFree by Michiyo Matsushita Trio Michiyo Matsushita - piano Show Kudo - bass Ryo Saito - drums Released in 2024 on MUGI Record as MUGI-2408.\nJapanese names: 松下美千代 Matsushita Michiyo 工藤精 Kudo Show 斉藤良 Saito Ryo\nAudio and Video Promotional video for this album: Michiyo Matsushita Trio playing track #5 “Slumber” live (2024): Michiyo Matsushita Trio playing track #6 “Exoplanet” live (2022): Michiyo Matsushita Trio playing track #10 “SR Brothers” live (2022): Michiyo Matsushita Trio playing track #8 “Unity of Mind” live (2023): Michiyo Matsushita Trio concert excerpts (2025): Michiyo Matsushita Trio playing track #5 “Slumber” live (2021): Michiyo Matsushita Trio playing track #5 “Slumber” live excerpt (2023): Album release brief concert announcement: Michiyo Matsushita Trio album release concert (2024): Excerpt from track #1: “La Tierra” Other Links Disk Union shop\nAmazon shop\nGoogle order form\n","permalink":"https://mirror2.jazzofjapan.com/michiyo-matsushita-trio-free/","summary":"\u003cp\u003e\u003cem\u003eFree\u003c/em\u003e is the third album from the Michiyo Matsushita Trio. With the members active in their individual recording and playing schedules in Japan and internationally, they have continued to play together regularly as the Michiyo Matsushita Trio. Still, it had been 13 years since their previous 2011 release \u003cem\u003ePrayer for Peace\u003c/em\u003e (and half that since Matsushita’s 2018 solo album \u003ca href=\"https://www.jazzofjapan.com/archive/michiyo-matsushita-sally-gardens/\"\u003e\u003cem\u003eSally Gardens\u003c/em\u003e\u003c/a\u003e), so fans of the trio were pleasantly surprised to hear of this new offering coming out last year. As with the previous trio albums, old friends and long-running members Show Kudo on bass and Ryo Saito on drums join pianist Michiyo “Michiyon” Matsushita.\u003c/p\u003e","title":"Michiyo Matsushita Trio: Free"},{"content":"Two for the Road is a 2024 album from bassist Yuji Ito and guitarist Koichi Hirata, working as a duo here on their first collaboration. Both musicians are young, still in their 20s and 30s, yet their style, vocabulary, and tone speak of a maturity born of attentive listening, devotion, and playing experience.\nThey fill the nine-track album with 58 minutes of beloved tunes from the standard jazz playbook and the ballad/swing/bop canon, mostly from the core 1950s and 60s jazz eras:\n“When Sunny Gets Blue” (Fisher/Segal, 1956) “Something Special” (Jim Hall, 1993) “Softly, as in a Morning Sunrise” (Romberg/Hammerstein II, 1928) “Full House” (Wes Montgomery, 1962) \\* trio w/ drums “Wilton’s Mood” (Wilton Gaynair, 1959) \\* quartet w/ sax, drums “Two for the Road” (Mancini/Bricusse, 1967) “Emily” (Mandel/Mercer, 1964) “Reflections” (Thelonious Monk, 1952) “My One and Only Love” (Wood/Mellin, 1952) \\* trio w/ sax On three of the tracks (marked with * above), the duo expands to a trio or a quartet with saxophonist Kosuke Mine and drummer Yusuke Yaginuma joining in. On these trio/quartet tracks, the effect is a natural increase in energy and excitement with the inherent rhythmic energy brought in by the drums and the full body of an edgy but mellow saxophone tone.\nThe duo stays close to the original compositions in their play-through, honoring the essence of each song without altering too much. A lot of enjoyment is generated through the beautiful tones of each instrument and the genuine jazz feel each member brings to the tunes’ melodies and each player’s improvisations.\nIn general, there’s a happy, relaxed feel that runs through the tracks. Three songs are played as sentimental ballads (#1, 6, 9) or comfortably subdued moments and mid-tempo swinging sessions on the majority of the songs. The two tracks with sax, #5 “Wilton’s Mood” and the album closer #9 “My One and Only Love”, are played with energetic verve and romantic tenderness, respectively.\nTwo for the Road by Yuji Ito \u0026amp; Koichi Hirata Duo Yuji Ito - bass Koichi Hirata - guitar Kosuke Mine - tenor sax (tracks #5, 9) Yusuke Yaginuma - drums (tracks #4, 5) Released in 2024 on NONET as NONET-3.\nJapanese names: 伊藤勇司 Ito Yuji 平田晃一 Hirata Koichi 峰厚介 Mine Kosuke 柳沼佑育 Yaginuma Yusuke\nAudio and Video Yuji Ito playing “Isfahan”: Koichi Hirata Quartet playing “My One and Only Love”: Yuji Ito, Ryo Ogihara, and Ren Yamamoto playing “Take the Coltrane”: Koichi Hirata Quartet playing “Polka Dots and Moonbeams”: Koichi Hirata, Kota Kaihori, and Daisuke Ijichi playing “Joy Spring”: Koichi Hirata and Fumika Asari Quartet playing “Anthropology”: Excerpt from track #4: “Full House” ","permalink":"https://mirror2.jazzofjapan.com/yuji-ito-koichi-hirata-duo-two-for-the-road/","summary":"\u003cp\u003e\u003cem\u003eTwo for the Road\u003c/em\u003e is a 2024 album from bassist Yuji Ito and guitarist Koichi Hirata, working as a duo here on their first collaboration. Both musicians are young, still in their 20s and 30s, yet their style, vocabulary, and tone speak of a maturity born of attentive listening, devotion, and playing experience.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1310537x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1310537x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThey fill the nine-track album with 58 minutes of beloved tunes from the standard jazz playbook and the ballad/swing/bop canon, mostly from the core 1950s and 60s jazz eras:\u003c/p\u003e","title":"Yuji Ito \u0026 Koichi Hirata Duo: Two for the Road"},{"content":"NHORHM is New Heritage of Real Heavy Metal. It’s not only a homage to the original NWOBHM abbreviation, but also an incredible initialism of the three musicians: N ishiyama H itomi (piano), O rihaya R yoji (bass), and H ashimoto M anabu (drums), with names in the last-name-first Japanese convention. (I include a brief diversion on “What is NWOBHM?” later, below\u0026hellip;)\nThis debut album from NHORHM was released in 2015 and rereleased/remastered in 2024 when the first run was sold out, and both new listeners and fans who originally missed out were clamoring for copies. The album contains ten tracks, nine cover songs and one original by pianist Nishiyama. All arrangements are by Nishiyama, and this is not something to take lightly; the whole project hinges on the idea of a jazz piano trio covering heavy metal tunes, and the success of the endeavor relies a lot on bridging the gap between those distinct sounds, styles, and instrumentation, and on making the music appealing, listenable, and great, despite the obvious novelty aspect that may precede the experience. Yet, never fear, Nishiyama took the challenge seriously and put a lot of work into this project.\nAlthough both jazz fans and metal fans may look on this type of crossover hybrid with understandable suspicion (both audiences appreciate musical purity and authenticity, or genuineness, in their respective forms), it’s a homerun from the trio, as the reinterpreted songs exist in a new dimension or sub-genre.\nBased on just the sound of the music, and the piano-bass-drums trio sound that is common in modern jazz, NHORHM certainly has more of a jazz sound than a metal one. There are no distorted guitars, no double-bass kick drums, no ear-splitting cymbal crashes or hyperspeed electric solos.\nBut the material on New Heritage of Real Heavy Metal is all drawn from the heavy metal canon. The trio plays Nishiyama’s modified versions (reharmonized, restructured, re-instrumented) of original songs by the bands U.K., Pantera, Rainbow, Megadeth, Iron Maiden, Angra, Babymetal, Deep Purple, and Mr. Big.\nBeing jazz, the solos are also improvised in the jazz style, not run-throughs of the original works. These songs are not covers in the sense that they aim to replicate or reproduce the original songs, structures, and guitar solos present in the original recordings.\nNishiyama also includes one of her own compositions, “The Halfway to Babylon”, setting up a story that will be continued on the follow-up II and III albums.\nWhile all ten of the songs feature the trio, three of the ten also feature guest musicians. Vocalist Tomomi Oda sings on #4 “Skin O’ My Teeth (Megadeth)”, guitarist Takayoshi Baba plays on #5 “Fear of the Dark (Iron Maiden)”, and trumpeter Hikari Ichihara plays on #8 “Demon’s Eye (Deep Purple)”.\nThe translated liner notes (further below) go into the song selections, so here is just a brief overview of the flow of the album.\nTrack #1, “In the Dead of Night” (from the band U.K.\u0026rsquo;s 1978 debut album) is progressive uptempo, getting slightly aggressive with power(-ish) chords, dynamic drums, and silky fretless electric bass dexterously covering the heavy metal guitar duties.\nTrack #2 “Walk” (Pantera, Vulgar Display of Power, 1992) is medium-heavy and dark, with powerful riffs, deadly serious drumming, and an attitude and sound close to the original song.\nTrack #3 “Man on the Silver Mountain” (Rainbow, Richie Blackmore\u0026rsquo;s Rainbow, 1975, with Ronnie James Dio on vocals) is a highlight of odd-meter, fantasy escapist metal, a more significant reinterpretation of the original hard rock beat.\nTrack #4 “Skin O’ My Teeth” (Megadeth, Countdown to Extinction, 1992) is another highlight for its close-to-the-bone edge and faithfulness to the original song, even with vocalist Tomomi Oda covering Megadeth’s Dave Mustaine role. It’s fun, uptempo 4/4 with some extra twists and reharmonizations, and, like the original, a relatively short song. The source Megadeth version also features a guitar solo from Marty Friedman, who contributed a blurb for this album along with some other famous metalers. This track may be the cleanest onramp for diehard metalheads, with the song’s catchy rhythms and riffs present in NHORHM’s version, not to mention the female vocals that are a perfect fit.\nTrack #5 “Fear of the Dark” (Iron Maiden, Fear of the Dark, 1992) is reformed as a slow-to-medium 4/4 ballad, starting softly with piano and acoustic guitar, then getting into a rock beat and changing meters for emotional impact. There’s an anthemic (Iron Maiden music perfect for this) yet meditative feel, and this song fills the important role of the sole ballad on an otherwise in-your-face heavy metal jazz album.\nTrack #6 “Upper Levels” (Angra, Secret Garden, 2014) is exciting, full of irregular signatures and complex moving lines and quick changes. It’s virtuosic, fulfilling the role that this song was chosen for. Their prog metal sounds are melodic with intricate licks, patterns, and different sections linked together. It summons the sounds of bands like Fates Warning, Dream Theater, and Queensrÿche, groups that blend classical, power, and progressive influences. This must be attractive for Nishiyama, who is often said to incorporate these styles and European music into her compositions and playing style.\nTrack #7 “Akumu no Rinbukyoku” [悪夢の輪舞曲, Rhondo of Nightmare] (Babymetal’s debut album, 2014) is quieter, lighter, and delicate, while still being a whirlpool of jazzy depth. The interesting band Babymetal invented the Japanese subgenre of “kawaii metal” (cute metal) by combining the sounds, power, and technique of heavy metal with the image of J-Pop vocals, theatrics, and culture. This medium 3/4 tune stands out as a highlight of the more straightforwardly modern jazz piano trio sounds on this album, and fits very well with Nishiyama\u0026rsquo;s personal style.\nTrack #8 “Demon\u0026rsquo;s Eye” (Deep Purple’s Fireball, 1971) is a bluesy and swingy hard-rock shuffle, and another song leaning towards the traditional jazz sound complete with walking bass and ad-libbed solos. It’s distinct on the album for a jazz stage centerpiece, especially with Hikari Ichihara’s essential trumpet tone and gut-pulling improvisation sharing the spotlight.\nTrack #9 “The Halfway to Babylon” is Nishiyama’s original composition, with a “Caravan”-like exoticism, darkness, and suspense combined with a “Parallax”-type sound (another of Nishiyama’s bands).\nTrack #10 “Green-Tinted Sixties Mind” (Mr. Big, Lean Into It, 1991) is all fun and groove, with extra tones delivered by guest saxophonist Hashizume. There’s the feel of a power pop/prog song, but also with glances of hair metal (as Mr. Big was included in, fairly or not) from the ‘90s. The mood is happy and infectious, and this tune serves as a great wrap-up, balancing the power and grit of the album as a whole by locking into the good times and disappearing in a volume fade-out.\nMuch more is described in the liner notes, translated below. From Nishiyama’s NHORHM song selection process and preparations (and going to see some of these bands live as a fan for the full experience), to her careful reformatting, rewriting, and rearranging, a lot of effort and energy was devoted to this. It resulted in a finely imagined and perfected product through NHORHM’s fantastic performances and the final recording. There are even extended notes on Nishiyama’s blog that go into further detail. It all goes to show how seriously Nishiyama, Orihara, and Hashimoto took this project. It may have seemed like just a quirky whim at first, not only to Nishiyama and the project director, but even to listeners who glance skeptically as such a monstrous hybrid, or rather, a musical experiment. Nishiyama puts a lot of thought and work into her projects, into her playing, composing, releasing new albums, and communicating her thoughts, and the fans rejoice, whether jazz or metal or both or other.\nWhat is NWOBHM? Although I was a mildly rebellious kid in America who was heavily into ‘80s metal and “The Big Four” Metallica, Megadeth, Slayer, and Anthrax, the abbreviation NWOBHM (New Wave of British Heavy Metal) was not one I remember being familiar with. As far as those bands from overseas, I knew the obvious gods Iron Maiden (whom I also adored), and the British and European legends that would show up in videos on Headbangers Ball or through offers from Columbia Record Club: Motorhead, Judas Priest, Def Leppard, Diamond Head (who was specifically raised to my consciousness by Metallica’s cover of their song “Am I Evil” on The $5.98 E.P.—Garage Days Re-Revisited)\u0026hellip; And this is even glossing over the likely more influential ‘70s with groundbreaking bands like Led Zeppelin, Black Sabbath and Ozzy (and “Iron Man” is later covered by NHORHM on New Heritage of Real Heavy Metal II\u0026hellip;), Deep Purple, UFO, Budgie, Queen, Thin Lizzy, Scorpions, and on and on). In general, I didn’t distinguish too much between many American and overseas bands at the time, and this may have been why categories like NWOBHM passed me by. Apparently however, the youthful, raw, and energetic DIY influence of this New Wave (of British Heavy Metal) was definitely strongly felt in Europe, the Americas, and Japan—whether the abbreviation was prevalent as a category term or not—where the above-mentioned bands would sell out large arenas and influence Japanese metal bands like X Japan, Loudness, Bow Wow, and Ningen Isu.\nThere is some controversy and debate over whether the NWOBHM label is a legitimate label or merely a marketing term coined by a journalist in order to categorize bands and boost magazine sales. Still, the grassroots energy and group affinity this movement started is undeniable, musically and culturally, and what may have started as marketing eventually became useful as a shorthand and a cultural identity for the music fans and the bands themselves, not to mention a historical touchstone.\nEnough of the history, and back to this NHORHM album.\nLiner Notes (Translated from the booklet quotes and Hitomi Nishiyama’s original Japanese liner notes.)\nI made my debut in 2006 with “Cubium”, a recording made in Sweden and released on the Spice of Life label under the umbrella of the company Amuse, and have since released 13 more albums.\nFrom time to time in various jazz magazine interviews and liner notes, I’ve touched upon the fact that, in high school, I was a fan of Yngwie Malmsteen.\nI had been diligently studying piano up until the second year of high school, and then one day, something suddenly snapped, and I stopped playing piano completely for one year. During that time, the thing I was totally fixated on was metal.\nI had a lot of friends who were in bands, so I developed an interest in the music that they were listening to and trying so hard to copy. When I heard it, it was tremendously interesting. I joined in on the listening and became absorbed in the music. In particular, by the album The Seventh Sign by Yngwie Malmsteen. I listened to it like crazy.\nWhen I decided to record my debut album in Sweden, the first thing that I thought of was that it was Yngwie’s country.\nProbably as a reaction to classical piano, I discovered the joy of the guitar. During the time that I was focused on Yngwie, I also listened a lot to others: Steve Vai, Dream Theater, Stratovarius, Mr. Big, and others. Going down this path, I also listened to a lot of Deep Purple and Rainbow. After that, when I entered the jazz department of a music college, I became so immersed in jazz that I ended up not listening to metal.\nThe idea for this project started from a conversation I had with Jun Abe, this album\u0026rsquo;s director, about making an album of covers of current animation songs.\nAs Abe and I were chatting, I mentioned that as far as animation song covers went, I liked the cool Animetal USA the best [Animetal USA is an American heavy metal group that plays animation covers in a heavy metal style, and is a tribute band to the original Japanese band Animetal]. About thirty minutes later, Abe said, “Going back to what we were talking about, I wonder if, in the opposite direction, you can cover metal songs with jazz?” I immediately thought, “I want to do that!” And so this project began.\nIn fact, for years I had been thinking that I’d like to cover the song “In the Dead of the Night” by U.K. with my band Parallax. This song, more progressive rock than metal, is one that I first heard on Yngwie’s album “Inspiration.” When I actually went and heard it live at a Yngwie concert, this cool song made the biggest impression on me. Plus, it was the first song we worked on with my first cover band, and for that reason, in addition to my memories of metal, it’s an extremely important song in my musical life.\nInitially, Abe and I talked about how many jazz musicians have previously done songs by bands like Led Zeppelin and Frank Zappa, and how there is an affinity between jazz and the progressive side of things. Could we do something that had not been played much in jazz up until now?\nAs it worked out, I hadn\u0026rsquo;t really been into Led Zeppelin or Frank Zappa during my high school days. I was just listening to metal, and mainly Yngwie. Moreover, as an acoustic pianist and considering the instrument itself, there was absolutely no relation to the metal genre. With the thought that I might be able to create something interesting, I started to work on this project.\nFor the song selection, only the previously mentioned “In the Dead of the Night” was decided upon. For the rest, I re-listened to all of the metal CDs I had at home starting in January of this year, and I added some new ones. I selected the songs from listening to a grand total of about 100 albums.\nI truly wanted to capture the spirit of that era of the early 1990s, and of those who started bands then and aspired to play metal. Most of the people in bands at that time must have played songs by Mr. Big, Megadeth, and Pantera, which I thought were essential to include.\nIn addition, I had to pin down some metal classics representing the kind of historical standards of that era, from groups like Rainbow and Deep Purple.\nThen, as I was looking into various things after the project started, I bought an album by Babymetal that piqued my interest. It was so intense that I got completely hooked on it and promptly came up with a cover version. On a related note, producers will often tell artists to be sure to include one recent popular song in order to increase sales, which the artist ends up covering dispassionately. In this case, though, I chose to include Babymetal of my own volition. To be honest, at first I thought of them as a novelty idol group, but they are a truly wonderful project that is reshaping the course of the history of metal, and I’m a big fan. Director Abe had requested that I include one song tackling head-on the technical style of metal, so to that end, I decided to do a new song from Angra, a band I had re-listened to for this project and thought was interesting. I wanted to hear them live, too, so I went to listen to them on their Japanese tour. This was my first standing metal concert since seeing Ningen Isu [人間椅子] back in my college days, and I was worried whether I’d be able to handle it well physically, but it was very fun and I came away in high spirits. It was exactly what is meant by “They became what they were fighting against.”\nI spent a lot of time on the song selection process. Something that was different from before was that I was listening not only from the perspective of a listener, but also as a player and a producer. When it comes to acoustic piano covers, instrument-wise, it’s impossible to imitate the essential metal qualities of “heavy, fast, strong.” Plus, the use of repetition to make the music stronger is somewhat at odds with the improvisational nature of jazz. So, I chose songs considering the song essentials—even if they didn’t have power chords, or guitar palm-mute chugging, or double-bass drums, or repetition—songs with strong melodies whose personalities definitely wouldn’t deteriorate, and songs that I could nevertheless arrange into my own music. And while it might sound smooth when it’s written out like that, in the end, these are just songs that I personally like. As a result, this selection includes a collection of songs from a wide range of generations, from Deep Purple to Babymetal, and I aimed to cover them from the standpoint of someone in their 30s as much as possible.\nThe trio’s members are all excellent players of the same generation and active at the forefront of the Japanese jazz scene. We all came through metal, of course, and at rehearsals we’d talk about those times, the songs we had listened to in common, and stories about those bands. It felt like we were high school students again.\nWith jazz, knowing how much and what to improvise according to the situation, and managing what happens on any particular day, you must maintain an extremely high degree of constant idling while in the midst of performing at live events almost every day. It can feel like living in a state of tension on a daily basis. Somehow, I had felt that the excitement and freshness of music was standing apart from myself. But when I began listening to metal again, I felt as if I were prostrating myself before its overwhelming power and perspective. A feeling of a “Wow, this is so cool, what is this!”-type of excitement returned. I had the sense that this stimulation, so critically important when starting out, had somehow become lacking in my daily musical life. But thanks to this project, my usual musical performance activities have become more distinctive as well, and I am deeply appreciative of this.\nWhen putting together this album, there were songs we recorded but could not include, and other songs we wanted to record but already had too many. I’ve now already started fantasizing about the song selection for a second, follow-up album.\n西山瞳 Hitomi Nishiyama\n(These liner notes are from the time of the 2015 album release.)\nReally Great approach to Angra’s song. The original metal version is very influenced by Latin Fusion, and it’s very cool to listen to it in this Latin jazz format. Excellent arrangement.\nKIKO LOUREIRO (ANGRA/MEGADETH)\nThis is completely different from any metal cover album I’ve ever listened to\u0026hellip;not to mention, jazz!\nIt exquisitely captures the parts familiar to fans of the originals and hard rock/heavy metal and transforms them beautifully into jazz.\nThis is a wonderful cover album that, in addition to making you realize the charms of jazz, also makes you want to listen to the original versions again.\nMarty Friedman (guitarist)\nAll of the covers keep the original flavor while adding new melodies to the song themes, and it’s really fun, killer to listen to! Mr. Big’s “60’S MIND” is especially great!!! As a true metalhead, after listening to this “NHORHM”, I have the feeling that I’ll start getting addicted to jazz too!\n大村孝佳 Takayoshi Ohmura (guitarist from C4, LIV MOON, BABYMETAL, etc.)\nWhen I listen to NHORHM, I am surprised to hear that heavy metal can be so stylish! All of the arrangements are very nice. As a metalhead, I always thought that jazz musicians didn’t recognize metal as music, but in this case, I could feel their enthusiasm and respect for metal. And the melodicism of the accompaniment is even more interesting than the original songs!! Unbelievable! (laughs)\n鈴木ヤスナリオ Yasunario Suzuki (Koenji Metal Meshi)\nExtended Liner Notes As an extension of the liner notes, Hitomi Nishiyama’s post on NHOHRM goes into more detail about this release. This page also contains links for Nishiyama’s track-by-track notes (links are in the 曲解説 section), with a few extra video links and behind-the-scenes photos of the recording. Some quick excerpts:\n#1 “In the Dead of the Night” - From the very first song, you might say, that’s not metal!\u0026hellip; #2 “Walk” - Swing, groove, and timing in jazz and metal. #3 “Man on the Silver Mountain” - Yngwie, Rainbow, Dio, and impressions of this song. #4 “Skin O’ My Teeth” - Keeping true to the original, bridging the gap between jagged metal and the smooth sound of piano by using vocals. #5 “Fear of the Dark” - How Iron Maiden was one of Nishiyama’s first inspirations for songs for the album. Also explains the NHORHM initialism a bit, and how acoustic guitar over electric was chosen for this jazz/metal hybrid. #6 “Upper Levels” - About tackling the technical side head-on, and how producer/director Abe is not by nature a metal fan and left those decisions (song choices, etc) completely up to Nishiyama. Also, about Nishiyama’s love and respect for Angra’s album Temple of Shadows (2004). #7 “悪夢の輪舞曲” - Nishiyama’s exposure to new music and metal through MTV, and how heavy metal became uncool as new trends (grunge, alternative) took over. And how Babymetal links back to Amuse, a company under which she released her debut album. #8 “Demon’s Eye” - Including the hard rock roots of heavy metal to do heavy metal properly, and how the trumpet lends an immediate jazz tone to the music. #9 “The Halfway to Babylon” - Answering the question “Why did you include one song you composed yourself?” and a deep exploration of genres and open-mindedness. #10 “Green-Tinted Sixties Mind” - On the famous guitar-tapping intro, the fusion feel, the addition of sax, and the laugh-out-loud elements Member Q\u0026amp;A - Brief bios, influences, and recommendations from each member of NHORHM. Obi Notes Groundbreaking! A jazz pianist releases a cover album of famous heavy metal songs!!! Hitomi Nishiyama’s new project “NHORHM” begins! \u0026lt;Cover model: Lukino Fujisaki\u0026gt;\nNew Heritage of Real Heavy Metal by NHORHM Hitomi Nishiyama - piano, arrangements, composition Ryoji Orihara - fretless bass Manabu Hashimoto - percussion Tomomi Oda - vocals (track #4) Takayoshi Baba - acoustic guitar (track #5) Hikari Ichihara - trumpet (track #8) Ryosuke Hashizume - sax (track #10) Released in 2015 on Apollo Sounds as APLS1905/APLS1510R.\nJapanese names: 西山瞳 Nishiyama Hitomi 織原良次 Orihara Ryoji 橋本学 Hashimoto Manabu 小田朋美 Oda Tomomi 馬場孝喜 Baba Takayoshi 市原ひかり Ichihara Hikari 橋爪亮督 Hashizume Ryosuke\nAudio and Video Promotional video with #1 “In the Dead of the Night (U.K.)”, #6 “Upper Levels (Angra)”, #7 “Akumu no Rinbukyoku (Babymetal)”, and #4 “Skin O’ My Teeth (Megadeth)”: “Walk (Pantera)” (track #2) — live version: “Man on the Silver Mountain (Rainbow)” (track #3) — live version: “Fear of the Dark (Iron Maiden)” (track #5) — live version: “The Halfway to Babylon” (track #9) — live version: “Highway Star (Deep Purple)” (album outtake) — studio version: Excerpt from track #6: “Upper Levels” Other Links NHORHM Information\nHitomi Nishiyama’s post on NHOHRM (December 10, 2015)\n","permalink":"https://mirror2.jazzofjapan.com/nhorhm-new-heritage-of-real-heavy-metal/","summary":"\u003cp\u003eNHORHM is \u003cem\u003eNew Heritage of Real Heavy Metal\u003c/em\u003e. It’s not only a homage to the original NWOBHM abbreviation, but also an incredible initialism of the three musicians: \u003cstrong\u003eN\u003c/strong\u003e ishiyama \u003cstrong\u003eH\u003c/strong\u003e itomi (piano), \u003cstrong\u003eO\u003c/strong\u003e rihaya \u003cstrong\u003eR\u003c/strong\u003e yoji (bass), and \u003cstrong\u003eH\u003c/strong\u003e ashimoto \u003cstrong\u003eM\u003c/strong\u003e anabu (drums), with names in the last-name-first Japanese convention. (\u003cem\u003eI include a brief diversion on “What is NWOBHM?” later, below\u0026hellip;\u003c/em\u003e)\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1310932x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1310932x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis debut album from NHORHM was released in 2015 and rereleased/remastered in 2024 when the first run was sold out, and both new listeners and fans who originally missed out were clamoring for copies. The album contains ten tracks, nine cover songs and one original by pianist Nishiyama. All arrangements are by Nishiyama, and this is not something to take lightly; the whole project hinges on the idea of a jazz piano trio covering heavy metal tunes, and the success of the endeavor relies a lot on bridging the gap between those distinct sounds, styles, and instrumentation, and on making the music appealing, listenable, and great, despite the obvious novelty aspect that may precede the experience. Yet, never fear, Nishiyama took the challenge seriously and put a lot of work into this project.\u003c/p\u003e","title":"NHORHM: New Heritage of Real Heavy Metal"},{"content":"Music Salon Natural is a concert venue in Mitaka, a small town to the west of Tokyo. The town itself is probably most well-known by tourists to Japan for its Ghibli Museum, a widely-mentioned essential top for fans of anime and the popular Studio Ghibli movies.\nFigure 1: Seiji Endo at Natural in January 2025\nAs for this jazz spot Natural, the venue’s name is inspired by the goal of delivering music naturally (described as a natural sound/acoustics environment in ナチュラルの音環境) through an interesting variety of events, musicians, and styles.\nOn their blog, the owner of Natural introduces himself as a jazz lover for 55 years who opened Natural as a result of that legacy. All customers are welcome regardless of age and gender.\nFigure 2: Maki Fujimura (vocals) and Hideaki Hori (piano) at Natural in February 2025\nNatural has been in business for only a few years (est. 2023) but has established itself as a solid choice for live music due to its vibe and a well-chosen, consistent scheduling of popular local acts.\nFigure 3: Maki Fujimura (vocals) and Hideaki Hori (piano) at Natural in February 2025\nThose acts include piano solos and duos (twin piano performances with two pianos for occasional “four-hands” concert series), vocal groups, and small instrumental groups. In addition to jazz, there is a focus on classical and Latin music. Like with other venues, most performances are nighttime events, but Natural also has frequent daytime shows scheduled for weekends and holidays.\nThe wide-open and spartan interior of Natural creates a nice, clear sound with an immediate presence. The natural reverb of the room’s open space and higher-than-your-average-basement ceiling may be another motivation for the choice of name.\nFigure 4: Seiji Endo at Natural in March 2024\nDistractions are minimal, and fresh flowers and subtle decorations add the essential extra dash of life. Like a classical concert setting, the ambience is natural and bright, not dark or dingy. In this relaxed setting, the musical acts perform close to the audience in an ample stage area (floor level), wide and comfortable enough so that neither section feels cramped.\nFigure 5: Seiji Endo after a performance at Natural in March 2024\nThe seats and tables are plain but functional, with two rows of tables and chairs with under-seat bins (featuring friendly Disney characters) for bags and personal items.\nNatural’s menu is full of delicious foods and drinks, including small snacks, cheese, fruits, and a selection of meal plates cooked with care. Some of the options I’ve sampled are shown below. Prices are very reasonable.\nFigure 6: Entrance hallway at Natural\nNatural’s rule on photos is like many other venues and displayed (in Japanese) on menus and/or posted signs: No photos allowed during performances, but the rules may change depending on specific performers or schedules, and the manner of the photo-taking itself (using flash and audible camera sounds is always to be avoided, and being distracting to the performers or other audience members is an obvious violation). As usual, observing the behavior of other customers and staff members before taking a chance is a good strategy. It’s also a custom that guests are invited to take photos of or with the musicians after the performance, if the performers are willing and there is enough time before the shop closes.\nFigure 7: Stage set for solo piano performance at Natural in March 2024\nFigure 8: Stage set for vocal and piano duo at Natural in February 2025\nFigure 9: Bins featuring Disney characters for under-seat storage at Natural\nFigure 10: Cheese and cured ham plate at Natural\nFigure 11: Cheese and figs plate at Natural\nFigure 12: Hamburg plate at Natural\nFigure 13: Welcome to Natural\n","permalink":"https://mirror2.jazzofjapan.com/natural/","summary":"\u003cp\u003eMusic Salon Natural is a concert venue in Mitaka, a small town to the west of Tokyo. The town itself is probably most well-known by tourists to Japan for its Ghibli Museum, a widely-mentioned essential top for fans of anime and the popular Studio Ghibli movies.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1270456-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1270456-1200.jpeg\"\n         alt=\"Figure 1: Seiji Endo at Natural in January 2025\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eSeiji Endo at Natural in January 2025\u003c/p\u003e\n        \u003c/figcaption\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAs for this jazz spot Natural, the venue’s name is inspired by the goal of delivering music naturally (described as a \u003cem\u003enatural sound/acoustics environment\u003c/em\u003e in ナチュラルの音環境) through an interesting variety of events, musicians, and styles.\u003c/p\u003e","title":"Natural"},{"content":"“Koto ha, To” is a three-member musical project made up of vocalist Ayako Tsuchiya, pianist Kozue Tsukayama, and bassist Yuki Ito. Their album is titled Shiro o Matoeba and was released in 2017.\nTo begin, a quick overview of the Japanese words in the band name and album title gives a nice first impression of the phrases, poetically vague as they may be. A translation of their band name (ことは、と in Japanese) would be something like “The Thing Is, \u0026hellip;” or “About That, \u0026hellip;”, and the album title (白をまとえば) something like When/If I Wear White.\nShiro o Matoeba includes eight beautifully delicate songs, all originals with music written by the three musicians individually. All lyrics were written by vocalist Tsuchiya and are sung in Japanese, except for the two tracks #5 “Vocalise” and #6 “Flower” which Tsuchiya sings in wordless vocalization using her voice as an instrument along with the piano and bass.\nThe album sequencing is also artful, as the opening and closing tracks (#1 “Shiro o Matoeba” and #8 “Dialog”) act as the album’s prologue and epilogue with storytelling timing and decorative musical structures folded like origami. Along the same lines, track #4 “Maware” (まわれ, turn) features a spoken-word recitation over musical loops and appears in the middle of the album as an intermission of poetry and music.\nBracketed by these three pieces, the rest of the songs find the three musicians playing in a more straightforward and jazzy style. #2 “Selene’s Dance” is a highlight with its romantic and mysterious atmosphere depicting the drama of Selene. This Greek goddess of the moon had her lover Endymion placed in eternal sleep, and eternal youth, out of love, and visited him each night. Compellingly, the tune initially seems to share certain characteristics with other great songs—Radiohead’s “Exit Music (For a Film)” and Chopin’s “Prelude, Op. 28, No. 4”—but “Selene’s Dance” moves along at a brisk pace with the spice of 5/4 time and additional well-placed beats of punctuation.\nOther songs are just as evocative and moving. Track #3 “Higenashi” (ひなげし, poppy) is a pretty waltz with a fragile lightness obscuring a weighty past love as Tsuchiya’s high-reaching vocals express a vulnerable sweetness brilliantly. #5 “Vocalize” is a crafted jazz sculpture with an almost operatic melody and space for bass and piano jazz improvisations. #6 “Flower” opens into a slowly sad, Latin mood with pop lovesong fringes. #7 “Muchu Sampo” (夢中散歩, wandering in a dream) is another odd-meter addiction where striking chords angle over plumb bass notes with coordinated accents over shifting sands.\nSpeaking of odd-meter, the use of non-4/4 time signatures on Shiro o Matoeba adds to the overall allure of the Koto ha, To’s music. Additional measures, mixed meters, and asymmetrical phrases are carefully inserted in the written scores in several places. Along with the charm of the three dramatic rubato and stop-start pieces, over half of the songs feature non-4/4/ meters (3/4, 5/4, and 7/4) with extra measures or beats used subtly to adorn specific points in the delivery.\nLyrics (Lyrics transcribed from the liner notes, with English translations by me)\n1. 白をまとえば when i wear white\nLyrics: Ayako Tsuchiya Music: Kozue Tsukayama\n白をまとえば when i wear white\n苛立つ風は優しく gentle, restless wind\n冷たい水は甘温く sweetly mild, cool water\n流した涙は flowing tears\nさらさらと smoothly\nさらさらと smoothly\nわたしに自然に融けてゆく melt naturally into me\nさびしく人をもとむ日も on days i’m lonely, desiring another\n白をまとえば when i wear white\n白をまとえば when i wear white\n震えた樹々に隠れて hide in the trembling trees\n血汐は緩く湧き上る blood slowly rises\n抱えた痛みは carried pain\nひたひたと slowly\nひたひたと slowly\nわたしに自然に融けてゆく melts naturally into me\nはげしく日とを想う日も on days i think intensely of the past\n白をまとえば when i wear white\n2. Selene’s dance\nLyrics: Ayako Tsuchiya Music: Yuki Ito\nなぞる指でそっと閉じる瞼 fingers trace and gently close eyes\n濡れた口に甘い媚薬を sweet aphrodisiac on moistened mouth\nしどけない貴方にかけた魔法で by a spell cast on innocent you\n綺麗なまま永遠に remain beautiful forever\n解けることなく never lifted\n夢をみせ続けてあげる i’ll keep you dreaming\n眩しい光に身を委ねて yield to the dazzling light\n溶けてゆくよに愛を誓って、と melting away, pledging love -\n虚ろな瞳に願ってみても try to beg of vacant eyes\n無駄ね it’s hopeless\n朝が来る頃に when morning comes\n銀の船は呼ぶ the silver vessel calls\nまた夜を待つだけ just wait for night again\n冷たい胸に燃えた火花 burnt spark in my cold heart\n望みは一つ今日も誓って？ one wish, promise me again today?\n穏やかに空は限りの時を告げるの calm sky marks the time’s end\n香り染み付けて soaked-in scent\n髪引かれながら as hair is pulled\nまた夜を待つだけ just waiting for night again\n3. ひげなし\nLyrics: Ayako Tsuchiya Music: Yuki Ito\n頬を撫でた　五月の風 a may wind caressed my cheeks\n青い匂いが　抑えにきた scent of youth came to restrain me\n可愛い夢　並べれたね we arranged cute dreams, didn’t we\n叶いもしないこと things that could never come true\n隠してたのは what i was hiding\n知ってたから because i knew\n胸に咲いた　花は見せなかった unrevealed flowers bloomed in my heart\n目と目が合う　君が笑う our eyes meet, you smile\n丘を駆け上がれば　街は遠くへ run up the hill and the town fades away\n陽の光に　紛れ込んで mixed in the sunlight\nもろい幻　拾った i grasped a delicate vision\n指先から　流れてゆく slipping from my fingertips\n君の優しいとこ your gentle side\n懐かしいね、と ‘i miss you’\n寂しかった、と ‘i felt lonely’\nポケットの中でぎゅっと伝えた i let you know, tight in my pocket\n目と目が合う　君が笑う our eyes meet, you smile\n丘を駆け上がれば　街は遠くへ run up the hill and the town fades away\n4. まわれ\nLyrics: Ayako Tsuchiya Music: Yuki Ito\n握りしめていたははずの熱は heat i should have tightly held\nトウニ、ワタシカラハナレ ‘long ago, left me’\n貴女の方へ、漂っていた towards you, it drifted\n鈍い瞬き a dull blink\n乾いて刻む、針の音 a dry scratch, sound of a needle\nゆっくり母音を　置くように as if slowly placing vowels\n大事に胸を　打つように like beating the chest with care\nまわれまわれ　世界よまわれ spin, spin, o world, spin!\nワタシと貴方を you and i\n置いてゆけ leave it behind\n5. Vocalise\nMusic: Kozue Tsukayama\n6. Flower\nMusic: Yuki Ito\n7. 夢中散歩 (Muchu Sampo, wandering in a dream)\nLyrics, Music: Ayako Tsuchiya\n星　導かれるように降って falling stars as if being guided\nそって　ここにいるよと伝えた gently i told you i’m here\n子供の頃の春のままの僕に as i was in the spring of youth\n冷たい君の手が触れた touched by your cold hand\nRhythm　鼓動を倍に感じて rhythm, feel the heartbeat double\n長い　髪なびかせて　宙を舞い long hair flutters dance in air\nガラスのような君と　二人で together with you, like glass\n夢は　続く　続く the dream continues continues\n涙で潤む　瞳の奥の deep within tear-filled eyes\nその台詞が好きさ i love those words\n「可哀想ね」 ‘poor thing’\n（飽きることなく） (never gets old)\n笑った　記憶もやがて消え去る even memories of laughs will fade\n何も出来ない僕を許して？ will you forgive me who could do nothing?\n哀しい顔して　切なく魅せれば with a sad look you painfully display\n夢は　続く　続く the dream continues continues\n「可哀想ね」 ‘poor thing’\n8. Dialog\nLyrics: Ayako Tsuchiya Music: Kozue Tsukayama\n穏やかにみえる　静かな空に in the calm quiet sky\nふと　寄る　影 unexpected, a shadow approaches\nうしろで　みつけた found behind me\n輝く　太陽を the shining sun\n痛みに似ている　憧れにいつも like pain, a yearning, always\n追いかけられ pursuing me\n疲れた　わたしは i’m tired\n光が　恋しくて i miss the light\nまっすぐ　うしろに　進んだ i moved straight back\nそーっと softly\nまた　曇り空が出て again, the cloudly sky appears\n気まぐれに　わたしに on a whim, to me\n木洩れ陽を　みせるの showing sunlight through the trees\n影を追いかけ chasing shadows\nなぞる　白！ tracing white!\n無理に描いた　穏やかな空に the calm sky, impossible to draw\n消えた　太陽 the vanished sun\nShiro o Matoeba by Koto ha, To Ayako Tsuchiya - vocal Kozue Tsukayama - piano Yuki Ito - bass Released in 2017 on KOTOHATO as KTHT-0001.\nJapanese names: 土屋絢子 Tsuchiya Ayako 津嘉山梢 Tsukayama Kozue 伊東佑季 Ito Yuki\nAudio and Video Audio for track #2 “Selene’s Dance”: Audio for track #7 “Muchu Sampo”: Promotional video with excerpts of songs from this album: Live version of track #6 “Flower”: Excerpt from track #5: “Vocalise” ","permalink":"https://mirror2.jazzofjapan.com/koto-ha-to-shiro-o-matoeba/","summary":"\u003cp\u003e“Koto ha, To” is a three-member musical project made up of vocalist Ayako Tsuchiya, pianist Kozue Tsukayama, and bassist Yuki Ito. Their album is titled \u003cem\u003eShiro o Matoeba\u003c/em\u003e and was released in 2017.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1280816x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1280816x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eTo begin, a quick overview of the Japanese words in the band name and album title gives a nice first impression of the phrases, poetically vague as they may be. A translation of their band name (ことは、と in Japanese) would be something like “The Thing Is, \u0026hellip;” or “About That, \u0026hellip;”,  and the album title (白をまとえば) something like \u003cem\u003eWhen/If I Wear White\u003c/em\u003e.\u003c/p\u003e","title":"Koto ha, To: Shiro o Matoeba"},{"content":"Taeko Kurita’s Ko-tsu-ko-tsu is a solo piano album from 2012 featuring eight of her original songs. In addition to being a member of other groups such as jazz trios, many of her earlier releases as a leader are showcases for her solo piano compositions and improvisation. In fact, one of her most recent albums is simply called SOLO 5, mentioned in the previous article on her piano-drums album DUO. Like that album, Ko-tsu-ko-tsu is another great pick from her past catalog.\nThe album contains eight original songs and runs for a satisfying thirty-eight minutes. I’ll avoid over-describing the songs track-by-track here, and just say that this music is a lot like Duo, with Kurita keeping time while constructing melodies that are catchy and wonderous with a calming moderation. The entire album can be heard online through the playlist link below. In general, it’s beautiful solo piano music that is mellow and sleek. Some of it is powerfully escapist in creating scenes based on other worlds and ideas (in a receptive environment and like good music in general, surely). Highlights include the light rock of track #1 “Jun” (a version of this song is also on Duo), the haunting #2 “Pas de deux”, the adventurous #4 “Mr. M”, and the sweet and emotional #8 “Plie ‘A Sublingual Castle’”. While Duo also had three river-themed songs, Ko-tsu-ko-tsu contains three songs with titles related to ballet and dance (“Pas de deux”, “Tendu ‘10 + 10)’”, and “Plie ‘A Sublingual Castle’”. Like with rivers, writing for ballet seems to be another magnet for Kurita.\nThe album title also provides an interesting diversion for language-inclined listeners. The title ko-tsu-ko-tsu is printed on the cover, and the characters 忽骨 are also present, vertically drawn out and connected on the right side of the striking illustration. Ko-tsu-ko-tsu written in Japanese kanataka is コツコツ. This is a common Japanese onomatopoeia word meaning steadily progressing little by little towards a goal, and can also represent the sound of rhythmic tapping, knocking, and footsteps. As for the kanji, each of the characters 忽 and 骨 can be individually pronounced as ko-tsu, doubled up as 忽骨 to make the full album title and the katakana word ko-tsu-ko-tsu. This two-character, two-homophone compound made up of these two kanji characters isn\u0026rsquo;t a common word, but Kurita combines them in this wordplayish way like a pun or double-meaning to create a novel connotation. In this case, the two characters represent sudden and bone (or backbone/spirit/knack), an interesting visceral context to add to the title of her album and to set a distinctive mood, a mood reinforced by the fantastic cover art and the tap-tap rhythm and clicking friction of the sound of ko-tsu-ko-tsu itself.\nSimilarly fun and curious, there are slight differences between the Japanese and English song titles. While most of the song titles are translated literally, a few are distinct. #3 “Tendu ‘10 + 10’” is written on the back cover as 重ね重ね, meaning repeatedly, over and over. In wordplay mode, the ‘10 + 10’ of the English title is the combination (+) of the English 10 or ‘ten’ with the Japanese 10 or jyuu/du, for “ten + du” or “tendu”, the first part of the song title.\nThe song #4 “Mr. M” is 北に生まれ (born in the north). I’m not sure of the connection here, but these may be clues about a specific person that Kurita wrote this song for. #7 “Winter 36” is 冬の散録 (winter jottings, assorted notes), where, like with “Tendu”, a type of wordplay called goroawase is used. The number 3 is san in Japanese, and 6 is roku, combined as 36 to become the sanroku which is the unusual word 散録 in the song title.\nLike the music in the last song on the album, #8 “Plie ‘A Sublingual Castle’” or 舌下城 (castle-under-tongue), both the Engish and Japanese titles are very evocative\u0026hellip; While I haven’t been able to figure it out, it feels like there may be more to this title than just its creative image. Perhaps a secret stronghold kept guarded, unvoiced (a castle beneath the tongue?)\u0026hellip; or an impenetrable fortress created by a slip of the tongue, as a careless remark, or 舌禍 (zekka) can have the same sound as 舌下 (zekka), possibly?\nKo-tsu-ko-tsu by Taeko Kurita Taeko Kurita - piano Released in 2012 on Kurita Taeko as MP-007.\nJapanese names: 栗田妙子 Kurita Taeko\nAudio and Video Audio for “Jun”, track #1 on this album: Audio for “Pas de deux”, track #2 on this album: Full album playlist\nExcerpt from track #4: “北に生まれ (Born In The North)”\n","permalink":"https://mirror2.jazzofjapan.com/taeko-kurita-ko-tsu-ko-tsu/","summary":"\u003cp\u003eTaeko Kurita’s \u003cem\u003eKo-tsu-ko-tsu\u003c/em\u003e is a solo piano album from 2012 featuring eight of her original songs. In addition to being a member of other groups such as jazz trios, many of her earlier releases as a leader are showcases for her solo piano compositions and improvisation. In fact, one of her most recent albums is simply called \u003cem\u003eSOLO 5\u003c/em\u003e, mentioned in the previous article on her piano-drums album \u003ca href=\"https://www.jazzofjapan.com/archive/taeko-kurita-akira-sotoyama-duo\"\u003e\u003cem\u003eDUO\u003c/em\u003e\u003c/a\u003e. Like that album, \u003cem\u003eKo-tsu-ko-tsu\u003c/em\u003e is another great pick from her past catalog.\u003c/p\u003e","title":"Taeko Kurita: Ko-tsu-ko-tsu"},{"content":"Pianist Taeko Kurita and drummer Akira Sotoyama present us with Duo, a 2024 live album recorded in 2023 at \u0026ldquo;Shicho Shitsu\u0026rdquo; (Listening Room), an experimental music venue in Tokyo\u0026rsquo;s Jimbocho district. In true improvisational form, the duo met with minimal prearrangements in order to let the mood, music, room, and audience guide their performance. The concert becomes a selection of ten of pianist Kurita\u0026rsquo;s compositions, framed by the piano and decorated by the drums.\nMost of the song titles are in Japanese, and language-attuned readers may notice that several of the songs end in the character 川 (kawa), meaning river. Kurita has a habit of naming songs after rivers in Japan, and her recent album SOLO 5 (2023) even features a complete tracklist of ten songs named after rivers. Her profile explains, \u0026ldquo;I like crossing rivers. I like composing and I\u0026rsquo;m not good at coming up with song titles, so I often use the names of rivers as titles.\u0026rdquo; One of the songs from SOLO 5, \u0026ldquo;Karaborigawa\u0026rdquo;, is also included on this album. Like rivers, her music can flow and weave, smoothly drifting or rushing along depending on the environment. Here the environment is an unpredictable live setting with the banks, shapes, wind, and silt of Sotoyama\u0026rsquo;s rhythms.\nOn Duo, Kurita and Sotoyama perform together in a fun and flexible way. Here, the roles are generally such that the pianist sets up the musical and rhythmic framework using a foundation of bass lines, chords, and melodies tied to her original compositions. Activated by her lead, Sotoyama\u0026rsquo;s drums impishly strike and clatter, following or pushing the pulse elastically, stopping on a dime, and restarting on a whim. If this sounds like a familiar style, last week\u0026rsquo;s Melodies: Melodies also featured Sotoyama\u0026rsquo;s creative drumming style.\nNow, on to the music itself. The album begins with track #1 \u0026ldquo;Hand of Time\u0026rdquo;, a fanciful rumbling experiment that quickly settles into melodic tumbles at a steady rhythm. Next, #2 \u0026ldquo;Heso\u0026rdquo; (navel) is a jovial winding and blur. #3 “Kumagawa” (the first river song on Duo) is splashing piano and risk-taking drums skirting the edges. #4 “Karaborigawa” (the second river song) is a delicate piano construction with spurring drum punctuations. #5 “Gyoraisen Game” (Torpedo Boat Game, a retro board game along the lines of Battleship and bowling) is mid-to-uptempo bouncing improvisation.\nTrack #6 “Mukashibanashi” (old folk tale) is a swinging clave-like piano groove with drums playing all around it. #7 “Tenryuugawa” (the third river song) is movement all over, wild striking and settling into a blissful groove. #8 “Jun” assembles from wavering rumbles into one of the catchiest songs on the album (there is also a great solo piano version of this song on Kurita’s Ko-tsu-ko-tsu from 2012). #9 “Changement F” is a bouncy march where the up-and-down piano notes are offset by Sotoyama\u0026rsquo;s particularly playful drum splatters, coloring outside of the lines with wide dynamics and time. Lastly, #10 “Kyou no Sabi, Ashita no Tabi” (Today’s Solitude/Loneliness, Tomorrow’s Journey) is hummably lighthearted, slightly bluesy with a simple beauty.\nDuo by Taeko Kurita \u0026amp; Akira Sotoyama Taeko Kurita - piano Akira Sotoyama - drums Released in 2024 on Taeko Kurita as T59T-07.\nJapanese names: 栗田妙子 Kurita Taeko 外山明 Sotoyama Akira\nAudio and Video Live video for “Gyoraisen Game”, track #5 on this album (live in 2021 at Sweet Rain): Live excerpts from #8 “Jun” and other songs from a live streaming concert at Velvet Sun in 2020: Live video from a 2016 performance at Jazz Cafe Chigusa: Excerpt from track #1: “Hand Of Time” ","permalink":"https://mirror2.jazzofjapan.com/taeko-kurita-akira-sotoyama-duo/","summary":"\u003cp\u003ePianist Taeko Kurita and drummer Akira Sotoyama present us with \u003cem\u003eDuo\u003c/em\u003e, a 2024 live album recorded in 2023 at \u0026ldquo;Shicho Shitsu\u0026rdquo; (Listening Room), an experimental music venue in Tokyo\u0026rsquo;s Jimbocho district. In true improvisational form, the duo met with minimal prearrangements in order to let the mood, music, room, and audience guide their performance. The concert becomes a selection of ten of pianist Kurita\u0026rsquo;s compositions, framed by the piano and decorated by the drums.\u003c/p\u003e","title":"Taeko Kurita \u0026 Akira Sotoyama: Duo"},{"content":"The band Melodies released their self-titled debut album in January 2025, under the leadership of guitarist and composer Motohiko Ichino. Ichino’s music is rooted in his otherworldly compositions and full-bodied guitar tone, a structure that Melodies expands upon with two entwining saxophones and adventurously roaming drums.\nThis four-member group consists of Ichino on guitar and baritone guitar, Kenta Tsugami on alto saxophone, Minyen Hsieh on tenor saxophone, and Akira Sotoyama on drums. As this quartet has no bass player, they form a subtly floating, bass-less group sound. Yet Ichino’s guitar work fills up the space nicely, especially when he subs in baritone guitar. All of the songs on Melodies were written by Ichino, and the album was recorded at a live performance at Velvet Sun in Tokyo on June 24, 2024.\nThe eight songs on Melodies share a front-to-back sonorous quality built on Ichino’s signature electric guitar sound. It’s warm, mellow, and suffused with undistracting effects with a warble that is more felt than heard. It’s a very effective tone that, combined with Ichino’s melodious presence, works so well with the type of songwriting he produces.\nWith guitar and drums proving the framework for the music, out front, the two saxes split and coil, fork and unite, like tendrils rising from harmonies and rhythms. Much of the time, Ichino’s chordal movements and arpeggiated riffs set the scene, and his rhythm section partner Akira Sotoyama provides an incredibly interesting mix of solid rhythmic reinforcement and off-the-grid ornamentation on drums. Sotoyama leaves the strongest time pulses and placement to the guitarist, knowing when to reinforce Ichino’s pulse by joining in with accents, and when to let go and contrast with the guitar framework with a bass drum thud, a splash of cymbal, or a stagger on a tom drum and anything else within striking distance. The calm seas of guitar and frisson of drums combine, swelling and swaying like waves in a meditative rhythmic dance. Then, the two saxes dip and jump in acrobatic orientation, one moment together and another apart, twining and alive on the written melodies and individual improvisations.\nA brief overview of the album flow: Opening track #1 “Conversation and Confession” is dreamy, ambient and catchy. #2 “First Dance” is a solid pretty waltz. #3 “Peace” is rumbling free group improv with rising tension leading to a great Ornette-style group statement at the end. #4 “Elephant Ride” is serious, exploratory and moody, an album highlight.\nTrack #5 “Spring” has the muted hopefulness of a timid flower blossoming slowly, wide-open and bright. #6 “Solid/Liquid” is another highlight with repeated chordal statements and cycles that transform into reversed echoes, sci-fi signals, and an ascending melodic liftoff. #7 “Tiny Little Waltz” is all flexible, hummable, dreamlike blurs and innocent smiles. Finally, the cute melodies repeated in #8 “Nice People” are a cheerful farewell, moderated, patient, and kind.\nMelodies by Melodies Motohiko Ichino - guitar, baritone guitar Kenta Tsugami - alto saxophone Minyen Hsieh - tenor saxophone (#1, 2, 3, 4, 6, 8) Akira Sotoyama - drums Released in 2025 on Ammonite Musique as AM-006.\nJapanese names: 市野元彦 Ichino Motohiko 津上研太 Tsugami Kenta 謝明諺 Hsieh Minyen 外山明 Sotoyama Akira\nAudio and Video Promotional video with an excerpt from “Solid/Liquid”, track #6 on this album: Excerpt from track #1: “Conversation and Confession” Other Links Album information\nMotohiko Ichino store link for this album\nStreaming services for this album\n","permalink":"https://mirror2.jazzofjapan.com/melodies-melodies/","summary":"\u003cp\u003eThe band Melodies released their self-titled debut album in January 2025, under the leadership of guitarist and composer Motohiko Ichino. Ichino’s music is rooted in his otherworldly compositions and full-bodied guitar tone, a structure that Melodies expands upon with two entwining saxophones and adventurously roaming drums.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1280736x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1280736x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis four-member group consists of Ichino on guitar and baritone guitar, Kenta Tsugami on alto saxophone, Minyen Hsieh on tenor saxophone, and Akira Sotoyama on drums. As this quartet has no bass player, they form a subtly floating, bass-less group sound. Yet Ichino’s guitar work fills up the space nicely, especially when he subs in baritone guitar. All of the songs on \u003cem\u003eMelodies\u003c/em\u003e were written by Ichino, and the album was recorded at a live performance at \u003ca href=\"https://www.jazzofjapan.com/archive/velvet-sun\"\u003eVelvet Sun in Tokyo\u003c/a\u003e on June 24, 2024.\u003c/p\u003e","title":"Melodies: Melodies"},{"content":"Niigata sake, oden, and modern jazz: Congratulations to In F (*) for celebrating 30 years open this year (est. July 17, 1995)! The name In F refers to the key of F of music. Playing a blues in F, or certain other standard tunes in F, is common in jazz.\nFigure 1: Toritoritori trio with Kana Fuefuki (flute, piano), Hitomi Aikawa (melodica, percussion), and Megumi Hattori (vibraphone, piano) at In F in March 2025. The name “toritoritori trio” could be interpreted as “bird bird bird trio”, nice wordplay where the rhyming punctuation of the English word ‘trio’ follows the three-times repeated Japanese word ‘tori’. It’s a great name for a band whose members frequently trade places on stage during a show and create soaring music flying between various instruments including flutes, lots of percussion, small keyboards, vibraphone, and piano.\nAlmost like a tiny classroom with a teacher’s desk table along the side, or a serious jazz study room, bookshelves line the walls at the jazz club In F in the Oizumi-gakuen district in Tokyo. In the center, up-front floor seats can be had at one long community table made up of three smaller square tables pushed together with seats for about 6 to 8 people.\nThere are also great views from the L-shaped bar in the back with space for several more customers. These bar seats are close enough to the stage with an elevated view, and even closer to In F’s tasty food and drinks, which are centered around a variety of Niigata specialties. Niigata (新潟) is a major Japanese port city known for its delicious rice production and, as a result, its high-quality Niigata nihonshu. Naturally, varieties of famous Niigata sake are also a big draw at In F jazz bar, and the rice wine is poured from large bottles with beautiful labels that customers can appreciate up close with their pour.\nFigure 2: Voxographia trio with George Nakajima (piano), Hiroe Kobayashi (vocal), and Koji Tetsui (bass) at In F in March 2025\nThe classic seasonal dish of savory oden (Japanese soul food) is also a can’t-miss draw here, offered in a mini size with boiled eggs, daikon radish, and other ingredients. In addition to oden, simple plates like grilled potatoes, pickled vegetables, fries, and tofu are rotated in and out of the menu. And there’s always beer, of course, even Guinness.\nFigure 3: Hitomi Nishiyama (piano) and Ryo Noritake (drums) at In F in November 2018\nIn F occupies a small square windowless room on the thirdfloor, where customers are surrounded by books, magazines, CDs, and even cassette tapes that vie for space in the crammed bookshelves.\nThere is no excessive decoration or artwork to distract from the main event, which is that evening’s musical performance. This minimalistic space, enclosed within plain off-white walls, elevates the music and inspires the musicians to fill up the room and bond the listeners together with jazz creativity and rhythm. Focusing on the music is the entire point, after all, possibly enhanced by as much or as little of the attractive menu as fits each customer.\nFigure 4: Yusuke “Lawson” Yamada (drums) Trio with Sayaka Kishi (piano) and Satsuki Kusui (bass) at In F in February 2025\nWhile In F may be a small, no-frills establishment, it succeeds as a comfortable and easy atmosphere with excellent curated background music (modern jazz, free jazz, and ECM label records have often been heard here) with an underground yet enviable jazz schedule of creative and interesting musicians.\nFigure 5: Sayaka Kishi (piano), Yusuke “Lawson” Yamada (drums), and Satsuki Kusui (bass) at In F in February 2025\nFigure 6: Local nihonshu\nFigure 7: Oden and beer\nFigure 8: Pickles and beer\nFigure 9: Back corner and bar\nFigure 10: In “F”, 3F, live, jazz, non-genre, choice Niigata sake\nFigure 11: 3F Jazz \u0026amp; 地酒 (local sake), In “F”\nFigure 12: Jazz \u0026amp; oden, In “F”, the flavor and sake of Niigata\nFigure 13: Welcome to In “F” (find the other “F”)\n","permalink":"https://mirror2.jazzofjapan.com/in-f/","summary":"\u003cp\u003eNiigata sake, oden, and modern jazz: Congratulations to In F (*) for celebrating 30 years open this year (est. July 17, 1995)! The name In F refers to the key of F of music. Playing a blues in F, or certain other standard tunes in F, is common in jazz.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1280270-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1280270-1200.jpeg\"\n         alt=\"Figure 1: Toritoritori trio with Kana Fuefuki (flute, piano), Hitomi Aikawa (melodica, percussion), and Megumi Hattori (vibraphone, piano) at In F in March 2025. The name “toritoritori trio” could be interpreted as “bird bird bird trio”, nice wordplay where the rhyming punctuation of the English word ‘trio’ follows the three-times repeated Japanese word ‘tori’. It’s a great name for a band whose members frequently trade places on stage during a show and create soaring music flying between various instruments including flutes, lots of percussion, small keyboards, vibraphone, and piano.\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eToritoritori trio with Kana Fuefuki (flute, piano), Hitomi Aikawa (melodica, percussion), and Megumi Hattori (vibraphone, piano) at In F in March 2025. The name “toritoritori trio” could be interpreted as “bird bird bird trio”, nice wordplay where the rhyming punctuation of the English word  ‘trio’ follows the three-times repeated Japanese word ‘tori’. It’s a great name for a band whose members frequently trade places on stage during a show and create soaring music flying between various instruments including flutes, lots of percussion, small keyboards, vibraphone, and piano.\u003c/p\u003e","title":"In F"},{"content":"I’m always excited to get my hands and ears on a new release from pianist Mayuko Katakura. Her latest trio disc, recorded with bassist Takumi Awaya and drummer Noritaka Tanaka, is titled The Duality of My Soul and was released earlier this year. It hits the spot as a sharply modern jazz piano trio album.\nThe album’s eight tracks consist of seven Katakura originals and one cover song to close the set, an instrumental version of singer Abbey Lincoln’s “Being Me.” Karakura’s music is pure trio propulsion, muscular, raw, and risk-taking. Other emotions and impressions generated while listening to this music include the words heavy yet facile, determined and pointed. Whatever the subjective descriptions imply, it’s completely enjoyable, straight-ahead J Jazz coolness.\nTrack #1, “A Dancer’s Melancholy” (also featured on Katakura’s releases Faith and The Echoes of Three) is fantastically rich. #2 “The Duality of My Soul” is adventurously complex. #3 “Merciful Eyes” is a beautiful soft ballad. #4 “Dusk” is a thrilling backward-facing rollercoaster ride in deep groove gear.\n#5 “Pursuit” evokes the forward momentum of an edge-of-your-seat chase scene where the influence of McCoy Tyner rises close to the surface. #6 “The Circle of Color Emotions”, like #4, is another riveting musical-mind-expanding highlight. Similarly, #7 “Canvas”, picks up the reins of track #5 and continues laying out exhilarating speed riffs in the improvisations and rhythms.\nFinally, the last track #8 “Being Me” is a sweet and slow ballad, played with a fully romantic sentiment. In this vulnerable setting, Lincoln’s original lyrics seem to come through Katakura’s wordless piano notes, singing a personal meditation on self-discovery and acceptance, and possibly referencing (somehow) the duality of this great pianist’s own musical soul.\nThe Duality of My Soul by Mayuko Katakura Mayuko Katakura - piano Takumi Awaya - bass Noritaka Tanaka - drums Released in 2025 on Mayuko Katakura Music as MKM-001.\nJapanese names: 片倉真由子 Katakura Mayuko 粟谷巧 Awaya Takumi 田中徳崇 Tanaka Noritaka\nAudio and Video Excerpt from track #2: “The Duality Of My Soul” ","permalink":"https://mirror2.jazzofjapan.com/mayuko-katakura-the-duality-of-my-soul/","summary":"\u003cp\u003eI’m always excited to get my hands and ears on a new release from pianist Mayuko Katakura. Her latest trio disc, recorded with bassist Takumi Awaya and drummer Noritaka Tanaka, is titled \u003cem\u003eThe Duality of My Soul\u003c/em\u003e and was released earlier this year. It hits the spot as a sharply modern jazz piano trio album.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1310872x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1310872x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe album’s eight tracks consist of seven Katakura originals and one cover song to close the set, an instrumental version of singer Abbey Lincoln’s “Being Me.” Karakura’s music is pure trio propulsion, muscular, raw, and risk-taking. Other emotions and impressions generated while listening to this music include the words heavy yet facile, determined and pointed. Whatever the subjective descriptions imply, it’s completely enjoyable, straight-ahead J Jazz coolness.\u003c/p\u003e","title":"Mayuko Katakura: The Duality of My Soul"},{"content":"Circles is a 2021 album from the Kunpei Nakabayashi Orchestra, a ten-member big band led by the group’s namesake leader and bassist. The CD has eight songs and runs for about forty-seven minutes, while the streaming version of the album includes six of the songs. This is Nakabayashi’s third release and the first with his orchestra.\nIt’s an exciting big band sound where the instrumental arrangements are a natural forefront highlight of Nakabayashi’s music written for alto sax, tenor sax, clarinet, flute (x2), baritone saxophone, trumpet (x2), trombone (x2), piano, bass, and drums. All of the players are well-known, hard-working musicians working in and outside Japan in various forms. Special mention is made for trumpeter Takuya Kuroda, the most famous name in this group who is known for major label releases, international jazz festival activity, and collaborations with international musicians in jazz, fusion, and other genres.\nThe rhythms on Circles are energetic, many with modern jazz straight-eights and Latin-beat propulsion. The exciting individual horn soloists interlock grandly with written-out front-line horn section statements. This results in a live jazz sound that grabs listeners’ attention and illuminates different parts of the orchestra as the music unfolds.\nAs a long-experienced bassist, Nakabayashi knows how to expertly deliver the essential rhythmic and melodic roots when playing jazz to communicate intimately with listeners. As the leader on this album, he makes sure to keep driving an exciting groove throughout most of the songs, making several moments on the album equal candidates for highlights.\n#1 “Circulo” introduces the exciting modern jazz sound overflowing with energy. #2 “Passing” shifts to a solid 3/4 time walk that is somehow both weighty and light. #3 “Choro for Charlie” (for Charlie Haden? Mingus? Parker?) is sleek with cool George Russellian quirks to it that keep the interest high. #4 “Partagas” is a brave adventure with a surprise piano montuno and drum solo embedded in its fusion/Latin groove.\n#5 “My Ship” (tracks #5 and 6 are switched on the CD jacket), the sole jazz standard, is a laidback cool-down interval. #6 “Evenfall” is a magnificently suspenseful journey guided by an extended flute solo. #7 “Nocturne” has an emotional, graceful Ellingtonian sound, and together with track #5 offers a restful period on a disc otherwise filled with engaging whirlwinds. Finally, #8 “R.B.” is a fun, loud jazz blues that builds with popping swing-dance energy. Here the humble leader, not one to hog the mic, at last takes his only bass solo on the album (likely invoking “R.B.”, or Ray Brown, the famous long-time bassist in the Oscar Peterson trio). Nakabayashi plays a great four choruses on four strings before the ensemble locks into a lively orchestrated fanfare, a perfect way to close this Circle.\nCircles by Kunpei Nakabayashi Orchestra Tokuhiro Doi - alto sax, flute, clarinet Akihiro Nishiguchi - tenor sax, flute Yu Kuga - baritone sax Miki Hirose - trumpet 1 Takuya Kuroda - trumpet 2 Hirotsugu Sakemoto - trombone 1 Shigetaka Ikemoto - trombone 2 Jun Miyakawa - piano Kunpei Nakabayashi - bass Tomo Kanno - drums Released in 2021 on KP-LAB as KP-0001.\nJapanese names: 土井徳浩 Doi Tokuhiro 西口明宏 Nishiguchi Akihiro 陸悠 Kuga Yu 広瀬未来 Hirose Miki 黒田卓也 Kuroda Takuya 酒本廣継 Sakemoto Hirotsugu 池本茂貴 Ikemoto Shigetaka 宮川純 Miyakawa Jun 中林薫平 Nakabayashi Kunpei 菅野知明 Kanno Tomo\nAudio and Video Promotional video for this album with brief excerpts: Promotional video for “Circulo”, track #1 on this album: Live performance of “Choro for Charlie”, track #3 on this album: Promotional video for “Pargatas”, track #4 on this album: Streaming/digital version of “Circles” (Bandcamp)\nExcerpt from track #6: “Evenfall”\n","permalink":"https://mirror2.jazzofjapan.com/kunpei-nakabayashi-orchestra-circles/","summary":"\u003cp\u003e\u003cem\u003eCircles\u003c/em\u003e is a 2021 album from the Kunpei Nakabayashi Orchestra, a ten-member big band led by the group’s namesake leader and bassist. The CD has eight songs and runs for about forty-seven minutes, while the \u003ca href=\"https://kp27music.bandcamp.com/album/circles\"\u003estreaming version\u003c/a\u003e of the album includes six of the songs. This is Nakabayashi’s third release and the first with his orchestra.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1270979x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1270979x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eIt’s an exciting big band sound where the instrumental arrangements are a natural forefront highlight of Nakabayashi’s music written for alto sax, tenor sax, clarinet, flute (x2), baritone saxophone, trumpet (x2), trombone (x2), piano, bass, and drums. All of the players are well-known, hard-working musicians working in and outside Japan in various forms. Special mention is made for trumpeter Takuya Kuroda, the most famous name in this group who is known for major label releases, international jazz festival activity, and collaborations with international musicians in jazz, fusion, and other genres.\u003c/p\u003e","title":"Kunpei Nakabayashi Orchestra: Circles"},{"content":"Longing is the title of a 2023 jazz duo album from saxophonist Yosuke Sato and pianist George Nakajima. This is an eight-song, forty-five-minute album of familiar jazz standards and two Japanese pop songs. Of the eight songs, the first six are played by the elegant hand-in-glove duo of saxophone and piano. To wrap up the album, the duo becomes a trio as vocalist Ema joins in for the last two songs, singing beautifully in English and Japanese. The album’s title Longing may lean into some unnamed persistent desire portrayed in their playing, the long ago brought to life through their selection of timeless songs.\nAmong the selections, the Sato and Nakajima duo plays two songs from the Great American Songbook, the sweetly loveable #1 “Young at Heart” and the pretty ballad #6 “I’ve Grown Accustomed to Her Face”. These two songs, along with the tender tribute ballad #3 “I Remember Clifford”, are played at a slow pace, and the two musicians play with a feeling of comfortable relaxation that sinks in easily. Three other popular jazz standards played as a duo are #2 “The Dolphin”, #4 “Stablemates”, and #5 “Invitation”, where Sato and Nakajima moderately turn up the gas and tempos with more advanced changes and adventurous playing.\nThe final two songs are Japanese pop ballads from different long-ago eras. Track #7 “Itoshi no Ellie (Ellie, My Love)”, is a classic love ballad released in 1979 by the popular Japanese supergroup Southern All Stars (video). Here on Longing, Ema and Nakajima introduce the song in a nice-and-bluesy rubato style as the singer melodically storytells in English and adds some Japanese in the second half, where Sato brings in a rousing sax solo.\nTrack #8 “Soshu Yakyoku” (“Suzhou Nocturne”, 素週夜曲, video 1, video 2) was written by the innovative composer Ryoichi Hattori in 1940 for a movie set in the ancient Chinese city of Suzhou. It has the feel of a sentimental ballad from a different generation, fitting the Shangai Jazz Age mood in this “Paris of the East”, and the song’s softly moving harmonies, pentatonic scale notes, and structure romantically evoke a bygone Asian era. On Longing, Ema sings the song entirely in Japanese, and the musicians play with a melancholic feel that is suitably dusky (yakyoku as nocturne, night song) and lovingly nostalgic.\nLiner Notes (Translated from the original Japanese liner notes.)\nPROLOGUE\nAbout founding the Pochizou label\nThe “Pochizou” name was born when I began uploading videos as an art teacher/Youtuber for my students while my school was closed during the Covid pandemic.\nI first met Sato and Nakajima in 2019 at the jazz bar Coquelicot in Funabashi, just before the coronavirus turmoil heated up. I was the only customer, but I can still vividly remember the impact of hearing their live jazz performance for the first time. I said at the time, not jokingly, “I wish everyone in the world could hear this!” The dark period of Covid continued for the next three years, during which these musicians would still regularly come out to Funabashi to play. Ema joined them later, increasing their impact which resulted in an even more wonderful performance. At the end of 2022, as my teaching career was winding down, I boldly confided my thoughts about making an album to the three musicians, and they readily agreed. That is how this album was born.\nI would like to thank everyone who was involved in the making of this album. I hope that this label can make progress in supporting those involved in Japanese music.\nSexagenarian Youtuber “Pouchizou Sensei”\nMUSICIAN PROFILE\nYOSUKE SATO\nYosuke Sato moved to the US in 2008 and started playing in New York. He won Grammy Awards in 2013 and 2016 as a member of singer Gregory Porter’s band. He has received high acclaim as a jazz saxophonist and has participated in hundreds of jazz festivals up through the current day. Sato departed the band in 2015 and moved his base to Japan to pursue his music, actively participating in musical events domestically and abroad.\nGEORGE NAKAJIMA\nGeorge Nakajima was born in 1981 in Hachinohe, Aomori Prefecture. He studied jazz piano under Masayasu Tzuboguchi at Shobi University. He has released two albums as the duo Shinpei Ruike \u0026amp; George Nakajima, N.40° and Duo. His first leader album, First Touch, was released in April 2021. Nakajima has participated in overseas performances in the Republic of Slovenia, China, and elsewhere, and is active in many groups and his combos both inside and outside Japan.\nEMA\nFrom an early age, Ema has appeared in musicals and dramas, learning the joy and importance of expression while encountering various musical genres. She started with a single-song demo tape and continued under the guidance of producer Tomoaki Ogura to release her debut record with Sony Music Ariola Japan and perform at the Blue Note Jazz Festival. In recent years Ema has starred in musicals and expanded her range into genreless activities.\nLonging by Yosuke Sato \u0026amp; George Nakajima Yosuke Sato - sax George Nakajima - piano Ema - vocals (#7, 8) Released in 2023 on Pochizou as POCH-2308.\nJapanese names: 佐藤洋祐 Sato Yosuke 中嶋錠二 Nakajima George エマ Ema\nAudio and Video Live duo performance of “The Dolphin”, track #2 on this album: Live trio performance of “Peel Me a Grape”: Live trio performance of “Our Love Is Here to Stay”: Live duo performance of “There Will Never Be Another You”: Live duo performance of “Body and Soul”: Excerpt from track #4: “Stablemates” ","permalink":"https://mirror2.jazzofjapan.com/yosuke-sato-george-nakajima-longing/","summary":"\u003cp\u003e\u003cem\u003eLonging\u003c/em\u003e is the title of a 2023 jazz duo album from saxophonist Yosuke Sato and pianist George Nakajima. This is an eight-song, forty-five-minute album of familiar jazz standards and two Japanese pop songs. Of the eight songs, the first six are played by the elegant hand-in-glove duo of saxophone and piano. To wrap up the album, the duo becomes a trio as vocalist Ema joins in for the last two songs, singing beautifully in English and Japanese. The album’s title \u003cem\u003eLonging\u003c/em\u003e may lean into some unnamed persistent desire portrayed in their playing, the long ago brought to life through their selection of timeless songs.\u003c/p\u003e","title":"Yosuke Sato \u0026 George Nakajima: Longing"},{"content":"“The World’s Smallest Jazz Club” was a commonly mentioned nickname for the jazz club Hot House in Takadanobaba, Tokyo. But now that that classic spot has closed, this honorable title could be given to the spot named Thelonious, another classic Tokyo haven that is a revered yet extremely down-to-earth jazz bar in Higashi-Nakano. (Still, there are many other possible contenders for this “World’s Smallest” title, such as P’s Bar, Polka Dots, and others\u0026hellip;)\nFigure 1: Ayu Yoneda (sax), Mamoru Ishida (piano), Kenji Yoshitake (bass), and Minori Yagino (drums) at Thelonious in March 2025\nWith its plain setting and simple furnishings, Thelonious is a soulful and humble listening room. It’s tiny, but not cramped, a perfectly minimalistic place for focused audiences who are there for hot jazz in a friendly and uncomplicated setting.\nThe bar has changed locations twice in the same Higashi-Nakano neighborhood and close to Higashi-Nakano station. The photos above (and some further below) were taken at Thelonious’s current location, and notes and photos from the two previous locations are also included below.\nFigure 2: Otohito Fuse (piano), Ko Omura (drums), and Kosuke Ochiai (bass) at Thelonious in March 2025\nFigure 3: Stage area at Thelonious showing owner Toshiko-san’s Japanese calligraphy of 鳳鳴朝陽 (“the phoenix sings at the morning sun” describing great fortune and auspicious beginnings)\nThelonious’s Current Location Today, Thelonious’s third and current location occupies a street-level shop whose main room is essentially a small square area for the musicians’ stage and audience seats. Half of the room is taken up by the slightly raised stage where the night’s musicians gather closely in front of the grand piano and the drum set. Facing this are two rows of seats for listeners, with modest stools, benches, and small, light tables scattered around. Navigating the tight quarters may require some care to avoid bumping drinks or knocking over the low tables. Next to this is the tiny bar area, with a bathroom and kitchen in the back.\nFigure 4: Stage area at Thelonious\nThe menu contains home-cooked dishes, a few based on Senegal cooking with sauces similar to Japanese curry but with a more exotic taste. Lamb saute, green curry, a few pasta dishes, quick snacks, and a variety of alcohol are also on the menu. In summer, the menu includes kakigori (shaved ice with syrup), popular with many customers (including discerning lunchtime regulars), and anyone who loves a cold treat in Tokyo’s hot and humid season.\nFigure 5: Shinpei Ruike (trumpet) and George Nakajima (piano) at Thelonious in April 2024\nThelonious’s owner Toshiko-san is a warm person to laugh and talk with, comfortable with and friendly to foreigners. In addition to her separate day job and running the bar at night, she is also a part-time jazz singer and occasionally takes the stage at Thelonious and other local jazz clubs. But, ever the supportive patron of Japan’s jazz arts, Toshiko-san runs this jazz spot herself and puts her all into it. She’s also sometimes joined by her daughter at Thelonious, forming a team with an incredibly warm, best-friends dynamic.\nBig congratulations are also due Toshiko-san and Thelonious, this year celebrating Thelonious’s 20-year anniversary in May 2025. It’s rumored that customers may be treated to one free drink each day of this anniversary month. The photos at the top of this article (and more at the bottom) were all taken at Thelonious’s current location in early 2025.\nFigure 6: Interior and stage area at Thelonious’s original location in November 2008\nFigure 7: Toshiko-san at the bar in Thelonious’s original location in November 2008\nThelonious’s First Location The first location was very cozy, with just enough room near the end of the bar for a few musicians to perform at a time. Thelonious opened in 2005 and operated in this location for three years. Two puppies were also often found to be playing inside the bar, happily exploring and greeting customers while the jazz music and drinks flowed.\nFigure 8: Thelonious pup\nFigure 9: Maki Fujimura (vocals) and Yuichiro Aratake (piano) at Thelonious in September 2013\nThelonious’s Second Location After the first three years, Thelonious moved to a second location nearby, operating there for roughly eleven years. This second location occupied a basement-level space right across the street from the Higashi-Nakano train station. The space was separated into two rooms, basically a front bar/lounge area and a back room for live jazz performances and jam sessions. This back room held soft couch-style seats and small tables next to the stage area, with more chairs and seats extending back into a hallway that bridged the front and back rooms. Approximately four to six listeners in the backroom jazz area would have the best (and loudest) spots, right up front with the musicians, and the remaining guests would fill out the seats further out into the hallway. It was here where hundreds of jazz performances and jam sessions were held, helping to bring Thelonious into its own as a highly appreciated jazz spot regularly supported by musicians and fans.\nFigure 10: Akane Matsumoto (piano), Koji Yasuda (bass), and Sohnosuke Imaizumi (drums) at Thelonious in December 2012. There are two Japanese jazz pianists named Akane Matsumoto: 松本あかね (Akane in hiragana, shown here) and 松本茜 (Akane in kanji).\nFigure 11: Akane Matsumoto (piano), Koji Yasuda (bass), and Sohnosuke Imaizumi (drums) at Thelonious in March 2013\nFigure 12: Akane Matsumoto (piano), Koji Yasuda (bass), and Sohnosuke Imaizumi (drums) at Thelonious in March 2013\nFigure 13: Takako Yamada (piano) and Takashi Sugawa (bass) at Thelonious in January 2014\nFigure 14: Takashi Sugawa (bass) and Yoshifumi Nihonmatsu (drums) at Thelonious in January 2014\nFigure 15: Miyuki Moriya (sax) and Hiroshi Ikejiri (bass) at Thelonious in May 2015\nFigure 16: Ami Fukui (piano), Yoshihito “P” Koizumi (bass), and Yasushi Fukumori (drums) as Amizm at Thelonious in August 2012\nFigure 17: Masayo Koketsu (alto sax), Ami Fukui (piano), and Ritsuko Mishina (drums) as Disney Jazz at Thelonious in November 2012\nFigure 18: Ami Fukui (piano), Satsuki Kusui (bass), and Sota Kira (drums) at Thelonious in January 2017\nFigure 19: Ami Fukui (piano), Daisuke Ijichi (bass), and Sota Kira (drums) at Thelonious in September 2017\nFigure 20: Hakuei Kim (piano), Hiroshi Ikejiri (bass), and Ko Omura (drums) of Nomadic Beings at Thelonious in January 2015\nFigure 21: George Nakajima (piano) and Yutaka Yoshida (bass) at Thelonious in February 2013\nFigure 22: George Nakajima (piano), Yutaka Yoshida (bass), and Masanori Ando (drums) at Thelonious in May 2014\nFigure 23: Daytime jam session at Thelonious in December 2013\nFigure 24: All-night jam session at Thelonious in November 2009\nFigure 25: All-night jam session at Thelonious in November 2009\nFigure 26: All-night jam session at Thelonious in November 2009\nFigure 27: Sign at Thelonious’s second location in August 2012\nFigure 28: Toshiko-san before an evening show\nFigure 29: Toshiko-san in the center of the action\nFigure 30: Menu at Thelonious\nFigure 31: Chile con Carne at Thelonious\nFigure 32: Adama’s Soup (Soup of the Day) at Thelonious\nFigure 33: Welcome to Thelonious (daytime)\nFigure 34: Welcome to Thelonious (nighttime)\n","permalink":"https://mirror2.jazzofjapan.com/thelonious/","summary":"\u003cp\u003e“The World’s Smallest Jazz Club” was a commonly mentioned nickname for the jazz club \u003ca href=\"https://www.jazzofjapan.com/archive/hot-house\"\u003eHot House\u003c/a\u003e in Takadanobaba, Tokyo. But now that that classic spot has closed, this honorable title could be given to the spot named Thelonious, another classic Tokyo haven that is a revered yet extremely down-to-earth jazz bar in Higashi-Nakano. (Still, there are many other possible contenders for this “World’s Smallest” title, such as \u003ca href=\"https://www.jazzofjapan.com/archive/ps-bar\"\u003eP’s Bar\u003c/a\u003e, \u003ca href=\"https://www.jazzofjapan.com/archive/polka-dots/\"\u003ePolka Dots\u003c/a\u003e, and others\u0026hellip;)\u003c/p\u003e","title":"Thelonious"},{"content":"Pianist Yusei Takahashi, bassist Keigo Iwami, and drummer Sota Kira are the three co-leaders of Setagaya Trio, a contemporary jazz group whose band name was inspired by meeting in the hip Shimokitazawa neighborhood of Tokyo’s Setagaya ward. This trio’s second album Progress was released in 2024 and follows their 2017 album Introducing Setagaya Trio, a debut released two years after their formation in 2015.\nSetagaya Trio’s concept is based on having all three players extend freely, rather than having one leader decide the group’s direction and style. This results in music that is freewheeling and fun with a risk-taking energy that is powered by their youthful, fresh attitude. The trio’s arrangements feel loose in a way, as if anything could happen, and they look forward to those unexpected surprises as challenges to meet head-on. At the same time, the tightness of their playing and arrangements is apparent, solid and effective. It’s an impressive bond arising from the extreme attention paid by each member to one another, no doubt paid off by their efforts and dedication to studied listening and practicing their art.\nThis album contains ten tracks made up of seven original songs and three covers. While this is mainly a studio-recorded album, the last song is from a live recording, and adds the nice touch of topping the album off with a raw, encore-like performance.\nThe band’s original songs include the slow-building #1 “Omrai”, the most straight-ahead jazz #2 “Metsa”, the club-style J Jazz groove #3 “Hako”, the short, Ornette-ishly free #5 “Skip Song” (with its amusingly self-deprecating title), the funky Latin-tinged soul jazz of #6 “K.O.G.S.”, the short Medeski Martin \u0026amp; Wood-sensed jam jazz of #7 “Setado Funk”, and the calm, sweet waltz of #8 “Jarvi”. Most songs are roughly in the standard five-to-seven minute duration, except for the two short songs (#3 and #7) which are around 2 minutes each, giving the impression of quick experiments thrown in as spice for the mix, just for fun, because they feel like it, and hey, why not? It keeps things interesting.\nThe three originals include the slow and romantic Spanish love song #4 “Amapola”, drummer Paul Motian’s spaciously and poetic “Bird Song” played with impressionistic verve, and a rhythmic and intense live version of pianist Thelonious Monk’s quirky “Thelonious”, a great way to highlight the respectful yet playful dynamic personality of Setagaya Trio.\nLiner Notes (Translated from the original Japanese liner notes.)\nThe band formed after hitting it off at a jam session in 2015. They met at a jam session in Shimokitazawa, Setagaya, which inspired the name “Setagaya Trio” for the band. The motif for the jacket design is the maneki-neko [/beckoning cat figurine/] of Gotokuji temple in Shimokitazawa.\nThere is no musical leader, and their style is characterized by the free expression of all three members. From regular standard numbers from free jazz, quiet noise, and Brazilian music, to modern R\u0026amp;B-styled tunes, their performances have attracted attention all over the country for their appetite to absorb anything and play in their own restrained way.\nThey released their first album Introducing Setagaya Trio in 2017, which was featured on NHK-FM’s “Jazz Tonight” program. Currently, in addition to performing at jazz clubs centered around the Tokyo metropolitan area, they are expanding the scope of their activities, including musical support for hip-hop producer STUTS.\nProgress by Setagaya Trio Yusei Takahashi - piano Keigo Iwami - bass Sota Kira - drums Released in 2024 on Setagaya Trio as Progress.\nJapanese names: 高橋佑成 Takahashi Yusei 岩見継吾 Iwami Keigo 吉良創太 Kira Sota\nAudio and Video Live performance of “K.O.G.S.”, track #6 on this album: Live performance of “Blues”: Live performance of “I Love You”: Live performance of a madcap medley of songs including “Ladies in Mercedes”, “Giant Steps”, and others: Excerpt from track #2: “Metsa” ","permalink":"https://mirror2.jazzofjapan.com/setagaya-trio-progress/","summary":"\u003cp\u003ePianist Yusei Takahashi, bassist Keigo Iwami, and drummer Sota Kira are the three co-leaders of Setagaya Trio, a contemporary jazz group whose band name was inspired by meeting in the hip Shimokitazawa neighborhood of Tokyo’s Setagaya ward. This trio’s second album \u003cem\u003eProgress\u003c/em\u003e was released in 2024 and follows their 2017 album \u003cem\u003eIntroducing Setagaya Trio\u003c/em\u003e, a debut released two years after their formation in 2015.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1280767x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1280767x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eSetagaya Trio’s concept is based on having all three players extend freely, rather than having one leader decide the group’s direction and style. This results in music that is freewheeling and fun with a risk-taking energy that is powered by their youthful, fresh attitude. The trio’s arrangements feel loose in a way, as if anything could happen, and they look forward to those unexpected surprises as challenges to meet head-on. At the same time, the tightness of their playing and arrangements is apparent, solid and effective. It’s an impressive bond arising from the extreme attention paid by each member to one another, no doubt paid off by their efforts and dedication to studied listening and practicing their art.\u003c/p\u003e","title":"Setagaya Trio: Progress"},{"content":"Long Way to Go is the title of pianist Kanoko Kitajima’s debut album, recorded and released in 2019. The sound of her piano trio recalls the swinging, bluesy trios of pianists like Wynton Kelly, Red Garland, and others from the 1950s and 60s Blue Note era. Added to that rich background is a dedicated Japanese interpretation of classic American jazz with an exciting New York City vibe as shown in the album cover.\nThe charm of the NYC backdrop is not used simply for glamorous postcard photos, however: Pianist Kitajima and bassist Motoi Kanamori, both based in Japan, joined up with longtime New York resident Fukushi Tainaka on drums for the recording of this album in his adopted hometown. It seems that the energy and legacy of the big city inspired the players as they recorded the music for this album, raising them up as if standing on the shoulders of the past jazz giants that they love.\nKitajima shows off her style influences through tributes to the legendary jazz piano players who are some of her favorites. Through her attention and dedication, she focused here on Bobby Timmons (track #1 “Soul Snappy”), Sonny Clark’s (#4 “Sippin’ at Bells”), Bud Powell (#6 “Tempus Fugit”), and Error Garner (#8 “Erroll’s Dream”). These admirable goals are realized by the trio’s locked-in skills, effort, and dynamic energy as they run through the moods of soulful bop, jazz blues, smooth bossa nova jazz (#3 “Estate”), Afro-Cuban jazz (#9 “Manteca”) and swing, swing, swing.\nAlong with the six jazz standards and covers, Kitajima also introduces four of her original compositions on her debut. Along with her refined, reverential playing style, her creative songwriting also honors the essence of true jazz in the tradition of good-feeling, hard-swinging jazz piano trios.\nLiner Notes (Translated from Kanoko Kitajima’s original Japanese liner notes.)\nThis album was completed with the cooperation of many people. I want to dedicate this album to all my family and friends who always look after me, the listeners and club owners who support me, and my late grandfather who taught me about the joy of music.\nOn this, my first album, I am fortunate to be joined by the superb drummer Fukushi Tainaka, who has been continuously playing at the forefront of jazz in New York City for forty years. I’m so pleased to have made this album, which was recorded in a historic New York studio with such excellent musicians and audio engineers. I hope that you will enjoy this record, created with a whole-body swing feel, for a long time to come.\nSoul Snappy / Kanoko Kitajima This is an original song that I wrote with inspiration drawn from a pianist I admire a lot, Bobby Timmons. I put my sense of his powerful and beautiful playing into this song.\nLong Way to Go / Kanoko Kitajima Jazz is deep, and I often feel a whole life can be devoted to pursuing it. Listening to so many songs and getting the chance to perform with my respected mentors has been an amazing experience for me. I wrote this song with the determination to examine and devote myself daily to continue to work hard over the long run.\nEstate / Bruno Martino This song, whose title means “summer” in Italian, is magnificent and melancholic. I focused on trying to make the melody sing beautifully without losing the song’s atmosphere. Tainaka’s deep mallet playing and Kanamori’s sexy bass lines stand out, making this song great for hot summer days.\nSippin’ at Bells / Miles Davis This is another one of my favorite songs, also included in the album Cool Struttin’ [Sonny Clark, 1958]. The title refers to drinking slowly at a bar called Bells. Check out Tainaka’s drum solo, full of emotion.\nSometimes I Feel / Kanoko Kitajima Often, when the day’s over and I’m thinking about whatever happened that day, I get lost in thought. This song came to me during one of those times. We recorded it as a piano trio for this album, but I was thinking about using horn instrumentation when I wrote it, and I’d like to record it as a quartet someday.\nTempus Fugit / Bud Powell Bud Powell left us with many spectacular songs and performances. Among those is this song, one filled with his new approach to melody and speed, and one that was a challenge for me. It’s a difficult song to play through the melody with many coordination spots for the three of us as we run towards the ending. Tainaka’s wonderful brushwork is really enjoyable.\nIf You Could See Me Now / Tadd Dameron The prolific songwriter Tadd Dameron wrote this song for Sarah Vaughan, a vocalist he performed with a lot at the time. When I first heard this song I was deeply moved by its beauty, and I have treasured playing it ever since.\nErroll’s Dream / Kanoko Kitajima Erroll Garner, famous as the composer of “Misty”, is one whose piano playing makes me happier the more I hear it. His music fills my heart when I close my eyes and listen to his tremendous lyricism and colorful touch. I tried to include that dreamlike sentiment into this song.\nManteca / Dizzy Gillespie This song is very memorable for me. In 2013, I attended Junko Onishi’s jazz workshop at the Saito Kinen Matsumoto Festival, and the assigned piece was this song. I still remember her saying “Use the whole piano like an orchestra, from top to bottom, and play with your entire body.” It became a dynamic performance together with Kanamori’s firm beat and Tainaka’s incredibly cool groove.\nSerenade in Blue / Harry Warren Harry Warren gave us more than 800 impressive compositions, including “The More I See You” and “There Will Never Be Another You”. I learned about this composition when I was living in Fukuoka and was a member of Junya Hidaka’s AMG (Advanced Music Gallery) big band, and we played this beautiful song. I remember it being very romantic at the time, as we played it in an outdoor setting where the neon lights of Nakasu joined the night sky. I brought the album to a close with this favorite and memorable piece, “Serenade in Blue”.\n北島佳乃子 Kitajima Kanoko\nObi Notes A brilliant debut record from a pianist with a naturally sophisticated talent! You’re moved to smile with every note from all the songs… this is real jazz!\nLong Way to Go by Kanoko Kitajima Kanoko Kitajima - piano Motoi Kanamori - bass Fukushi Tainaka - drums Released in 2019 on T\u0026amp;A Music as Long Way to Go.\nJapanese names: 北島佳乃子 Kitajima Kanoko 金森もとい Kanamori Motoi 田井中福司 Tainaka Fukushi\nAudio and Video Audio for “Soul Snappy”, track #1 on this album: Live performance of “Estate”, track #3 on this album: Live performance of “Daahoud” with the Fumika Asari Quartet: Live performance of “Caravan” with the Natsuko Matsuyama Quartet: Excerpt from track #2: “Long way to go” ","permalink":"https://mirror2.jazzofjapan.com/kanoko-kitajima-long-way-to-go/","summary":"\u003cp\u003e\u003cem\u003eLong Way to Go\u003c/em\u003e is the title of pianist Kanoko Kitajima’s debut album, recorded and released in 2019. The sound of her piano trio recalls the swinging, bluesy trios of pianists like Wynton Kelly, Red Garland, and others from the 1950s and 60s Blue Note era. Added to that rich background is a dedicated Japanese interpretation of classic American jazz with an exciting New York City vibe as shown in the album cover.\u003c/p\u003e","title":"Kanoko Kitajima: Long Way to Go"},{"content":"Singer Layla Tomomi Sakai’s Stolen Moments is a 27-minute album from 2019, a follow-up to her two previous releases from 2016 and 2018 with a consistently pleasing and familiar core sound. That sound of Sakai, introduced on her debut album Whisper Not, is based on her intimate vocal/guitar/trumpet trio with Yuichiro Hiraoka on guitar and Ryuichi Takase on trumpet. Her second album The Island expanded the trio with more accompanying players, a pattern which continues here on Stolen Moments as her guest musicians create forms from duos to sextets on the different songs.\nIt’s a simple and sweet affair, a short set of four-to-five-minute songs based around Sakai’s classy, low-key, and easy-to-love delivery. A five-piece band starts strong with track #1 “Stolen Moments”, a combo sound that reappears on the attention-getting track #4 “I’ve Got Just About Everything”. Starting with a rubato vocal/guitar intro, this take then races along and includes a dynamic three-player solo section in the middle, bracketed by Sakai singing in her attractively laid-back, confident yet understated style.\nThe full band sound is balanced with small duo and trio moments such as on the brisk and good-feeling #2 “You’re My Everything”, where guitarist Hiraoka’s walking bass and chords fingerstyle shines. Elegantly powerful in their quiet simplicity are the romantic ballads #3 “I’ve Got a Crush On You” and the closer #6 “That’s All”, reminding us that sometimes all you need is uncomplicated jazz for a good feeling and a nice atmosphere delivered by great musicians and soothing vocals… that’s all.\n(On a tangent, I noticed that Stolen Moments includes some song titles with mild wordplay-adjacent connections for a relatively short album: The two middle song titles start with the same words I’ve Got with #3 “I’ve Got a Crush on You” and #4 “I’ve Got Just About Everything”. Additionally, a different pair of song titles contains the word Everything with #2 “You’re My Everything” and #4 “I’ve Got Just About Everything”. Pure chance, most likely, but I wondered if adding other songs with similar titles could create an interesting concept. Add the standards “I’ve Got the World on a String”, “I’ve Got You Under My Skin”, “I’ve Got My Love to Keep Me Warm”, “I’ve Got It Bad (And That Ain’t Good)”, and “I Got Rhythm”. Then for Everything, consider “Everything Happens to Me”, “Everything I Have Is Yours”, “Everything I’ve Got (Belongs to You)”, “Everything I Love”, and Chick Corea’s “You’ve Everything” with its song title already incredibly similar to #2 “You’re My Everything”. Maybe a title for the resulting concept album such as Everything I’ve Got, or I’ve Got Everything, would be the perfect wrapping. But I digress…)\nStolen Moments by Layla Tomomi Sakai Layla Tomomi Sakai - vocal Yuichiro Hiraoka - guitar Ryuichi Takase - trumpet Hideaki Nakaji - trombone Heitetsu Rin - piano Keisuke Furuki - bass Ryo Saito - drums Released in 2019 on Laydrunker Records as Layla-003.\nJapanese names: 坂井レイラ知美 Sakai Layla Tomomi 平岡遊一郎 Hiraoka Yuichiro 高瀬龍一 Takase Ryuichi 中路英明 Nakaji Hideaki リンヘイテツ Rin Heitetsu 古木佳祐 Furuki Keisuke 斉藤良 Saito Ryo\nAudio and Video Live performance of “You’re My Everything”, track #2 on this album: Live performance of “I’ve Got a Crush on You”, track #3 on this album: Live performance of “That’s All”, track #6 on this album: Excerpt from track #1: “Stolen Moments” ","permalink":"https://mirror2.jazzofjapan.com/layla-tomomi-sakai-stolen-moments/","summary":"\u003cp\u003eSinger Layla Tomomi Sakai’s \u003cem\u003eStolen Moments\u003c/em\u003e is a 27-minute album from 2019, a follow-up to her two previous releases from 2016 and 2018 with a consistently pleasing and familiar core sound. That sound of Sakai, introduced on her debut album \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/layla-tomomi-sakai-whisper-not\"\u003eWhisper Not\u003c/a\u003e\u003c/em\u003e, is based on her intimate vocal/guitar/trumpet trio with Yuichiro Hiraoka on guitar and Ryuichi Takase on trumpet. Her second album \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/layla-tomomi-sakai-island\"\u003eThe Island\u003c/a\u003e\u003c/em\u003e expanded the trio with more accompanying players, a pattern which continues here on \u003cem\u003eStolen Moments\u003c/em\u003e as her guest musicians create forms from duos to sextets on the different songs.\u003c/p\u003e","title":"Layla Tomomi Sakai: Stolen Moments"},{"content":"A markedly different destination in the collection of interesting jazz spots in Tokyo, Oto-ya Hiroo is an open performance space in the Hiroo Plaza shopping mall. The light-filled atrium on the second floor holds daytime jazz events, where a wide stage and folding chairs are set up right next to the mall’s central escalators.\nFigure 1: Naoko Akimoto (vocals), Daisei Mii (violin), and Yuichiro Hiraoka (guitar) at Oto-ya Hiroo in January 2025\nOto-ya Hiroo’s setup is simple but comfortable, providing a friendly atmosphere to listen to popular local jazz acts. This is a delight for mixed audiences made up of casual shoppers who watch from the wings or are taking a break from shopping, curious tourists who pop in and out, and dedicated jazz fans who come here to catch their favorite musicians.\nFor a completely different setting than the atmosphere of dark and smoky jazz bars, this venue is a great option for a pleasant afternoon of jazz, shopping, and browsing. Another plus: the daytime shows are free. Afternoon shows typically start at around 1:00 pm for two sets of music and don’t require reservations — just walk up and take a seat. There are occasional evening events as well, which may require securing a reservation and purchasing tickets.\nFigure 2: Akiko Suda (vocals), Yuichi Narita (piano), and Miya (flute) at Oto-ya Hiroo in April 2023\nFigure 3: Akiko Suda (vocals), Yuichi Narita (piano), and Miya (flute) at Oto-ya Hiroo in April 2023\nFigure 4: Hiroco Nagano (vocals), Seiji Endo (piano), and Mark Tourian (bass) at Oto-ya Hiroo in December 2018\nFigure 5: Hiroco Nagano (vocals), Seiji Endo (piano), and Mark Tourian (bass) at Oto-ya Hiroo in December 2018\nFigure 6: Before the show at Oto-ya Hiroo\nFigure 7: Naoko Akimoto (vocals), Daisei Mii (violin), and Yuichiro Hiraoka (guitar) at Oto-ya Hiroo in January 2025\nFigure 8: Naoko Akimoto (vocals) and Daisei Mii (violin) at Oto-ya Hiroo in January 2025\nFigure 9: Singer Naoko Akimoto at Oto-ya Hiroo in January 2025\nFigure 10: Naoko Akimoto (vocals), Daisei Mii (violin), and Yuichiro Hiraoka (guitar) at Oto-ya Hiroo in January 2025\nFigure 11: Entering Hiroo Plaza Galleria\nFigure 12: Oto-ya Hiroo schedule board for January 2025\nFigure 13: Welcome to Oto-ya Hiroo\n","permalink":"https://mirror2.jazzofjapan.com/oto-ya-hiroo/","summary":"\u003cp\u003eA markedly different destination in the collection of interesting jazz spots in Tokyo, Oto-ya Hiroo is an open performance space in the Hiroo Plaza shopping mall. The light-filled atrium on the second floor holds daytime jazz events, where a wide stage and folding chairs are set up right next to the mall’s central escalators.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20250119_134557331-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20250119_134557331-1200.jpeg\"\n         alt=\"Figure 1: Naoko Akimoto (vocals), Daisei Mii (violin), and Yuichiro Hiraoka (guitar) at Oto-ya Hiroo in January 2025\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eNaoko Akimoto (vocals), Daisei Mii (violin), and Yuichiro Hiraoka (guitar) at Oto-ya Hiroo in January 2025\u003c/p\u003e","title":"Oto-ya Hiroo"},{"content":"For 2 Akis is a 2018 release from the trio of Japanese drummer Shinya Fukumori, French saxophonist Matthieu Bordenave, and German pianist Walter Lang. This album from the Munich-based trio is the realization of Fukumori’s long-held desire to record for the German ECM label. The recording itself was made at a studio in the South of France, a location that evokes scenes of peaceful warmth and slow serenity. In addition to the music, it is perhaps this picturesque presence that was also captured in Fukumori’s concept and the trio’s playing on For 2 Akis.\nModern jazz records on the ECM label are sometimes described as having a tangible ambience: slow, experimental music living in wide-open crystal-clear recordings, where the reverberation seems to be used as an instrument. Even the CD booklets with their museum-oriented images and minimal text speak quietly of quality, careful curation of artists, and attention to detail. Drummer/bandleader Fukumori’s release For 2 Akis is right in line with this reputation. Added to those characteristics is the gratitude and humility carried in the album title’s meaning as a dedication to two early supporters of Fukumori.\nThe music on this album, like the natural world, can be serene but serious. While listening, one choice is to let it wash around you and allow the music to establish a soundscape as it happens. Pay as much or as little attention as you like, yet the mood sinks in still. Another choice is to let the music in freely and completely, becoming absorbed as it flows through you and washes the world away. Fukumori used similar words when describing the influence that the Showa era of Japanese pop songs had on him: “Music was a way to escape from the reality, but at the same time to be aware of it.” With this, he draws a parallel to the American blues form. (More of Fukumori’s words can be found on the ECM Records page for this album.)\nAnother fascinating thing about the music on this album is the time span covered by the songs. The modern compositions from Fukumori, Bordonave, and Lang are balanced by their interpretations of older Japanese songs. There is the early J-Pop era in Japan with the poignant “Mangetsu no Yube” (evening of the full moon), a hopeful anthem reflecting on loss and suffering after the Great Hanshin (Kobe) Earthquake of 1995. The graceful “Ai San San” (love radiantly) from 1986 has emotional enka and kayokyoku roots, and seems simple but is deep and moving. The older songs “Hoshi Meguri no Uta” (song of the circling stars) and “Koji no Tsuki” (moon over castle ruins), are from 1918 and 1901 respectively, and are filled with the sense of traditional Japanese sensibilities and poetic folk moods.\nIncidentally, “Koji no Tsuki”, used as the first part of Fukumori’s “Light Suite”, is a song that has been interpreted by Thelonious Monk (as “Japanese Folk Song”), guitarist Yngwie Malmsteen, and the rock band Scorpions.\nThe wide range of years found in the song selection here brings something extra to the music, eliciting an awareness of how emotion can be timelessly stored and transmitted through the exquisite performances of the songs’ evocative melodies, and the unified rising from that, improvisationally and spontaneously.\nFor 2 Akis by Shinya Fukumori Trio Matthieu Bordenave - saxophone Walter Lang - piano Shinya Fukumori - drums Released in 2018 on ECM as ECM-2574.\nJapanese names: 福盛進也 Fukumori Shinya\nAudio and Video Promotional video for “Hoshi Meguri No Uta”, track #1 on this album: Promotional video for “For 2 Akis”, track #4 on this album: Audio for #7 “Spectacular” (ECM Records)\nPlaylist for this album (YouTube)\nExcerpt from track #3: “Ai San San”\nOther Links ECM Records\nECM Reviews\n","permalink":"https://mirror2.jazzofjapan.com/shinya-fukumori-trio-for-2-akis/","summary":"\u003cp\u003e\u003cem\u003eFor 2 Akis\u003c/em\u003e is a 2018 release from the trio of Japanese drummer Shinya Fukumori, French saxophonist Matthieu Bordenave, and German pianist Walter Lang. This album from the Munich-based trio is the realization of Fukumori’s long-held desire to record for the German ECM label. The recording itself was made at a studio in the South of France, a location that evokes scenes of peaceful warmth and slow serenity. In addition to the music, it is perhaps this picturesque presence that was also captured in Fukumori’s concept and the trio’s playing on \u003cem\u003eFor 2 Akis\u003c/em\u003e.\u003c/p\u003e","title":"Shinya Fukumori Trio: For 2 Akis"},{"content":"Invisible Diary, released in March 2025, is the latest release from drummer Kaito Nakamura. On this sixty-three minute, nine-track album, Nakamura plays with his regular quartet of Riko Sasaki on saxophone, Otohito Fuse on piano, and Riku Takahashi on bass, and adds guitarist Ippei Kato on six songs. The trio of pianist Fuse, bassist Takahashi, and drummer Nakamura also played on Fuse’s album debut Isolated from last year.\nThis album is a follow-up to Nakamura’s first album Blaque Dawn from 2022. In contrast to his debut record, Invisible Diary is entirely self-produced by Nakamura and released on his own label, a move that allowed him the freedom to imagine and direct the project entirely as he saw fit. Although Nakamura does not give away too many details, the songs on this release are meant to tell one conceptual story, and the listener is invited to form their own interpretations. The songs are all original compositions by drummer Nakamura.\nThe song titles, or the chapters of the diary, also don’t give away much, such that meanings might be found in the composer’s designs and the musicians’ playing.\nThe first set of four songs includes some seasonal and descriptive themes: #1 “Endless Spring Vacation”, #2 “Withdraw”, #3 “Barbaro” (バルバロ, likely /untamed wildness /here), and #4 “Little Warm Winter”. These four songs together combine highly intense, dreamily ambient, and straight-ahead platforms.\nThe second half of the album contains a five-part suite with titles invoking home, sentimental memories, and mysterious fate. The enigmatically-titled last song, “Part 5. \u0026lt;(%9 2(\u0026lt;8%¥%××〒6” may be a section of the diary that is intended to remain obscure, or a playful puzzle for listeners to ponder. However, this orchestrated final track lucidly switches between scenes of placid calm and slightly sinister suspense for a reassuring and satisfying landing.\nThroughout the album, this new music can be both edgily exciting and serene, creating contrasts and arcs in the story. From the first track, a stage is set for modern straight swing jazz with complicated structures, challenging at first, and seemingly bursting with the busy impatience of wild, youthful ambition. But the chaos is controlled masterfully by Nakamura’s confident drumming and neatly planned compositions. The slower songs are atmospheric with simple, memorable melodies that resurface between and within the soloists’ improvisations. This highlights how Nakamura’s themes are important parts of his compositions, threaded throughout and not simply brackets for extended jazz solos. In Nakamura’s music (such as the last track which leaves out individual improvisational sections), playing the composition, following the score, and employing the theme is as important as jazz conventions and adlibbing. It’s good, thought-out music, fun and engaging, alternately stimulating and reflective.\nWith no liner notes to explain the music, the songs speak for themselves. It’s an Invisible Diary after all. The playing is powerful and the skill and ambition of the youthful group members are clear. Yet, their control over the sometimes frenzied, sometimes patient, musical passages can be seen in their group cohesion. Most of all, the diary reveals the results of Nakamura’s mindset and his group’s appreciation of the beauty of music and the strength of their collaborations, all to a modern jazz fan’s delight.\nInvisible Diary by Kaito Nakamura Kaito Nakamura - drums Riko Sasaki - alto saxophone Otohito Fuse - piano Riku Takahashi - bass Ippei Kato - guitar (#1, 2, 3, 7, 8, 9) Released in 2025 on MidVillage as MV-001.\nJapanese names: 中村海斗 Nakamura Kaito 佐々木梨子 Sasaki Riko 布施音人 Fuse Otohito 高橋陸 Takahashi Riku 加藤一平 Kato Ippei\nAudio and Video Audio for “Endless Spring Vacation”, track #1 on this album: Live performance of “Part 1. Hometown”, track #8 on this album: Live performance of “Part 3. Dada’s Hands”, track #7 on this album: Live performance of “Part 4. Memorial Days”, track #8 on this album: Full album playlist (Spotify)\nFull album playlist (YouTube)\nExcerpt from track #3: “バルバロ (Barbaro)”\n","permalink":"https://mirror2.jazzofjapan.com/kaito-nakamura-invisible-diary/","summary":"\u003cp\u003e\u003cem\u003eInvisible Diary\u003c/em\u003e, released in March 2025, is the latest release from drummer Kaito Nakamura. On this sixty-three minute, nine-track album, Nakamura plays with his regular quartet of Riko Sasaki on saxophone, Otohito Fuse on piano, and Riku Takahashi on bass, and adds guitarist Ippei Kato on six songs. The trio of pianist Fuse, bassist Takahashi, and drummer Nakamura also played on Fuse’s album debut \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/otohito-fuse-trio-isolated\"\u003eIsolated\u003c/a\u003e\u003c/em\u003e from last year.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1280853x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1280853x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis album is a follow-up to Nakamura’s first album \u003cem\u003eBlaque Dawn\u003c/em\u003e from 2022. In contrast to his debut record, \u003cem\u003eInvisible Diary\u003c/em\u003e is entirely self-produced by Nakamura and released on his own label, a move that allowed him the freedom to imagine and direct the project entirely as he saw fit. Although Nakamura does not give away too many details, the songs on this release are meant to tell one conceptual story, and the listener is invited to form their own interpretations. The songs are all original compositions by drummer Nakamura.\u003c/p\u003e","title":"Kaito Nakamura: Invisible Diary"},{"content":"Nardis is an excellent jazz spot in Kashiwa in the northwestern part of Chiba Prefecture. Kashiwa is a bit far flung from the core Tokyo neighborhoods and stations but is still considered part of the greater Tokyo area. While this live spot is a bit far compared to other centrally-located options, it is definitely worth the approximately hour-long train trip from Tokyo’s main hubs, and many jazz fans from the Tokyo area gladly make the journey to catch their favorite acts live here.\nFigure 1: The Harumi Nomoto Trio at Nardis in 2008\nAlso a favorite local spot in Kashiwa for jazz and drinks, Nardis has the inherited feeling of a neighborhood bar where regulars occasionally hang out. The bar was originally a jazz kissa café at a location very close to where it is today. In that respect, besides the sharing of conversations and alcohol in a jazz setting, having coffee here is not an unusual order.\nWith a live performance almost every night, the core schedule at Nardis features a variety of favorite local Japanese jazz musicians. Special events featuring foreign musicians and groups are also a regular feature at Nardis, including recently a fair number of musicians from Europe. ECM-style players from Scandinavian countries are particularly popular here, with ultramodern nongenre music, free jazz, and unusual combos sometimes included. Popular Japanese musicians and house favorites have recurring shows here at regular one- or multiple-month intervals, some continuing for periods of years with gracious support from the bar owner and enthusiastic customer base.\nFigure 2: The Hideaki Hori Trio live recording with Gaku Hasegawa on drums and Yuhei Honkawa on bass at Nardis in 2014\nThe bar master Komine-san’s impeccable taste and years of experience mean that customers are virtually guaranteed to be treated to excellent live music, great service, and choice background music during the breaks. His friendliness, English fluency, and long history of events with local foreign musicians and jazz club operations in Tokyo (including a decade of experience at Naru years ago!) also mean that he is full of interesting stories.\nFigure 3: Trio Bungalow with Koichi Sato on piano, Hiroshi Ikejiri on bass, and Ko Omura on drums and tabla at Nardis in 2015\nIn terms of the club’s layout, Nardis’s box-like arrangement has the piano and small stage area located snug up against the entry area, hugging an interior corner of an inside wall. Next to the performance area are some tables and chairs extended to the back of the room. Around the bend of the inside corner, a few seats and tables have limited views, but this area is commonly used for the musicians during breaks. The bar counter and bar sets have the most unique views, with the layout being such that certain seats at the bar look right over the back of the drummer and face the pianist for an elevated and unique line of sight to the performers.\nDespite the distance to Nardis, the convenient train system makes it easy (or possible, at least) to get back home before the last train, depending on where you are headed. In case the end of the set turns into extended after-show drinks and conversation, taxis are always available, and, for the adventurous, there is always the free-spirited option of killing time somewhere in Kashiwa until the first train runs in the morning.\nFigure 4: The Yasumasa Kumagai Trio with Keisuke Furuki on bass and Akira Yamada on drums at Nardis in 2015\nCongratulations are also due to Nardis and Komine-san, as Nardis, having originally opened in 1994, is celebrating its 31st anniversary this year. Here’s to many more!\nFigure 5: The Harumi Nomoto Trio with Ryoji Orihara on bass and Sohnozuke Imaizumi on drums at a jazz live \u0026amp; wine party at Nardis in 2016\nFigure 6: Special jazz live \u0026amp; wine party event at Nardis in 2016\nFigure 7: Special jazz live \u0026amp; wine party event at Nardis in 2016\nFigure 8: JJ Soul with Mikiko Nagatake on piano, Ryuichi Ishikawa on bass, and Sota Kira on drums at Nardis in March 2025\nFigure 9: The Mikiko Nagatake Trio with Ryoji Orihara on bass and Sota Kira on drums at Nardis in 2024\nFigure 10: Duo eFreyDut with Mikiko Nagatake on piano and Ko Omura on drums at Nardis in 2023\nFigure 11: The Nami Kano Quartet with Mamoru Ishida on piano, Tomokazu Sugimoto on bass, and Ko Omura on drums at Nardis in 2015\nFigure 12: Nami Kano on sax and Kazuhiro Tamura on piano at Nardis in 2013\nFigure 13: Trio Bungalow with Koichi Sato on piano, Hiroshi Ikejiri on bass, and Ko Omura on drums and tabla at Nardis in 2015\nFigure 14: The Yuji Ito Trio with Naoko Tanaka on piano and Yuto Hirase on drums at Nardis in 2016\nFigure 15: Counter at Nardis\nFigure 16: Welcome to Nardis\n","permalink":"https://mirror2.jazzofjapan.com/nardis/","summary":"\u003cp\u003eNardis is an excellent jazz spot in Kashiwa in the northwestern part of Chiba Prefecture. Kashiwa is a bit far flung from the core Tokyo neighborhoods and stations but is still considered part of the greater Tokyo area. While this live spot is a bit far compared to other centrally-located options, it is definitely worth the approximately hour-long train trip from Tokyo’s main hubs, and many jazz fans from the Tokyo area gladly make the journey to catch their favorite acts live here.\u003c/p\u003e","title":"Nardis"},{"content":"Trust is a 2024 release from the duo of pianist Akane Matsumoto and saxophonist Ayumi Koketsu. These two musicians are leaders of their own combos, members of other groups, and also friends and working bandmates for many years running. The pair have gathered a lot of performance experience from live shows and tours taken together and have developed a deep connection between their musical instincts. Surprisingly, Trust is the first album they’ve recorded together. This serendipitously timed release also commemorates twelve years of their working together, a number that is meaningful in Japan for its significance in cyclic durations and milestones, symbolizing the closing of loops and the start of new stages. Perhaps it can be said that trust grows over time, and it’s wise not to rush it.\nMatsumoto and Koketsu’s/ Trust/ includes seven tracks of sax and piano duo arrangements and runs at about 41 minutes. The selection is drawn from material they admire and are very familiar with. This includes some of their favorite songs and composers such as Tom Harrell, Richard Rodgers, Enrico Pieranunzi, and Lee Konitz. Speaking of Konitz, sax player Koketsu has an affinity for and a likeness to alto sax players like Art Pepper and Lee Konitz. One of her albums is simply titled Art, and the Matsumoto/Koketsu duo has been known to play certain tunes from the Lee Konitz/Lennie Tristano cool jazz repertoire including “Subconscious-Lee”, “Wow”, and Konitz’s “Stephanie”, which opens this album.\nFull videos for three of the album’s tracks are available online (#1 “Stephanie”, #2 “Border Line”, and #4 “Chet”) and show the actual performance recording made for this album, and the three other videos feature the duo in an equally captivating live setting (links to the videos are included below).\nAs a duo, the mood of the music departs just a bit from Matsumoto’s trademark happy bebop virtuosity — her heroes being Oscar Peterson and Phineas Newborn Jr. — and Koketsu’s wide-ranging, modern edge. They are clearly comfortable and confident together, alternately leading, following, or playing simultaneously, and trading positions intuitively without needing to rely on standard waypoints or signals. With the familiarity and skill that the duo has built together over the years, their sense of time, tone, jazz phrasing, and playing fills the air with subdued hues and room-filling colors, languidly refreshed like a cat stretching out of a nap.\nThat’s not to say it’s all romantic ballads and sleepy atmospheres. As a single album, the moods are all of a piece, conveying integrity, solidarity, and belief. It’s music that is refined, soft, and fresh, but can be dreamily veiled (#4 “Chet”) and hauntingly moody (#7 “Spartacus Love Theme”) at times as well. The selection of music performed with indisputable skill and wisdom makes their playing intimate, comfortable, and familiar. It’s a perfect fit for the theme of Trust that this album embodies.\nLiner Notes (Translated from Akane Matsumoto and Ayumi Koketsu’s original Japanese liner notes.)\nThank you for purchasing this album.\nTwelve years have passed since the start of this duo. We’ve played together so many times that it’s impossible to count. We’ve raised each other through trial and error, playing each of our compositions and interpretations of many jazz originals, and always striving for an even better sound day by day. Through tours of the country and conversations about many things, we’ve discussed everything from our music to thinking more deeply about our individual characters. Along with the respect we have for one another, I believe that we’ve built a relationship based on absolute mutual trust. At this point in time, with the accumulation of these many years since we started, it felt right and somehow inevitable to create a duo album together, and it’s very moving for me. We made Trust wholeheartedly while thinking about the path we’ve walked together over these twelve years. Here’s to the hope that this album can touch people’s hearts, whether one person or as many people as possible. (Ayumi Koketsu)\nStephanie This is a beautiful ballad written by Lee Konitz. The somewhat nostalgic, heartwarming melody of this song seems to bring the performers together. Although there was a set tempo for the performance, the most important thing was to have our natural rhythms come together. Even as we were taking breaths at the same time, we moved to connect the sounds as if singing together. I believe that we were only able to perform this way because of the mutual trust and closeness that we’ve built up over the years. (Ayumi Koketsu)\nBorder Line This recording was made over two days. With a feeling close to that of when we perform together, we could relax from start to finish by hearing one another’s live sound right next to each other. I could sense a natural flow to the music as a result of the sound and outlook that we’ve cultivated over a long time together, and it moved me many times during the performance. In particular, I feel that track #1 “Stephanie” and this take set the direction for the entire album. I’m proud that we have been able to continue to develop our band-like sound in the flexible form of a duo, and I’m extremely pleased that it’s now taken shape as this album. (Akane Matsumoto)\nSpring Is Here This is a song written by Richard Rogers in 1938 for a musical. The opening has a slightly floating atmosphere, and the second half brings a transition to a calm and reassuring melody. It’s a song I really like as I can play it in a very relaxed manner. For this recording, an introductory arrangement was added. It’s a good song for relaxing, taking your time, and listening to leisurely. (Ayumi Koketsu)\nChet If I was asked, “Which three duo albums would you take with you to a desert island?”… People Time by Stan Getz and Kenny Barron is a must, and I can’t let go of my favorite album Kids by Joe Lovano and Hank Jones. I would definitely take Oscar Peterson and Clark Terry, which is always guaranteed to make me feel happy. I would love to continue absorbing 1+1 by Herbie Hancock and Wayne Shorter. Of course, I can’t forget Solitudes by Lee Konitz and Enrico Pieranunzi, which includes this song, “Chet”. Speaking for myself, it would be really tough to try to narrow it down to just three albums (haha). The genuine charm of the small form of a duo is the intimate conversation arising from the notes. And the more the heart opens, the more free it becomes. This one-to-one real-life communication, with all its humanity and stimulation, goes deeper than the surface and allows us to recognize and accept one another’s aesthetics and ideas. (Akane Matsumoto)\nIt’s Easy to Remember This is a song written by Richard Rogers in 1935 for a movie. This may be the song we play most often as a duo. It’s permeated us so much so that we can begin it just through eye contact, without any prior arrangement or discussion. For this recording, we played it without deciding anything beforehand, with the sense that it was like a regular live performance. It’s a long take that unfolds over a comfortable stretch of time. I hope you can enjoy this as if you were listening closely to a ballad in a live setting. (Ayumi Koketsu)\nCoral Sea There’s a place I always visit whenever I go back to my hometown. Near my house, there’s a seemingly never-ending path through a rice field. As I’m enjoying the scent of the earth and the song of the skylarks while keeping an eye open for frogs playing in the path, I’m filled with the relief of being in the midst of nature. The sky of San’in can be seen in a sweeping 180 degrees. Mount Daisen, the Fuji of Hoki, towers over a small mountain range far in the distance. Now that I’ve been living in Tokyo for quite some time, I’m able to keenly reflect on the joy of being raised in a land rich with nature. Someday I’d like to capture this beautiful scenery and atmosphere and put it into music. Tom Harrell often writes pieces that have themes of nature, and it feels as if he transforms his emotions about the seasons and landscapes directly into his songs. If you close your eyes and listen to this song, you can just picture the beautiful coral reefs spreading out in the calm, emerald-green sea. (Akane Matsumoto)\nSpartacus Love Theme This is a ballad made famous by Bill Evans’ beautiful performance. The soft, gentle sound of alto sax elevates the striking melody. I’ve shared the stage with Ayumi countless times, and we’ve lived through the same period in music together. For me, the term “sworn friends” is a perfect fit. We’ve continued our work while supporting, accepting, and complimenting one another. The deep understanding of what is important to each of us and the many heartfelt discussions we’ve had may just be the source of strength for our music. For twelve years we’ve been pursuing the goal of striving to make our music better and better, together. This album is both a culmination of that, as well as a new starting point for the next stage. (Akane Matsumoto)\nObi Notes A twelve-year path walked together, carefully listening to and harmonizing with each other’s sound. As musicians on a long and challenging journey, uncovering the secret to expressing the wonders of music. It’s nothing other than “Trust.”\nTrust by Akane Matsumoto \u0026amp; Ayumi Koketsu Akane Matsumoto - piano Ayumi Koketsu - saxophone Released in 2024 on Concept Record as CR-18.\nJapanese names: 松本茜 Matsumoto Akane 纐纈歩美 Koketsu Ayumi\nAudio and Video Video for “Stephanie”, track #1 on this album: Video for “Border Line”, track #2 on this album: Video for “Chet”, track #4 on this album: Live performance of “Spartacus Love Theme”, track #7 on this album: Live performance of “Evanessence”: Live performance of “Trip”: Excerpt from track #3: “Spring Is Here” ","permalink":"https://mirror2.jazzofjapan.com/akane-matsumoto-ayumi-koketsu-trust/","summary":"\u003cp\u003e\u003cem\u003eTrust\u003c/em\u003e is a 2024 release from the duo of pianist Akane Matsumoto and saxophonist Ayumi Koketsu. These two musicians are leaders of their own combos, members of other groups, and also friends and working bandmates for many years running. The pair have gathered a lot of performance experience from live shows and tours taken together and have developed a deep connection between their musical instincts. Surprisingly, \u003cem\u003eTrust\u003c/em\u003e is the first album they’ve recorded together. This serendipitously timed release also commemorates twelve years of their working together, a number that is meaningful in Japan for its significance in cyclic durations and milestones, symbolizing the closing of loops and the start of new stages. Perhaps it can be said that trust grows over time, and it’s wise not to rush it.\u003c/p\u003e","title":"Akane Matsumoto \u0026 Ayumi Koketsu: Trust"},{"content":"The 2021 album Live at Virtuoso by the quartet Fe was released by the jazz club Virtuoso in the nightlife district of Akasaka in Tokyo, Japan. Virtuoso is a great name for a music venue. Aside from the word being a term for master musicians, fans of jazz guitar will immediately recognize the reference to jazz guitarist Joe Pass’s landmark series of Virtuoso albums. Naturally, Virtuoso features jazz guitar and guitar bands on many nights. The jazz club also occasionally releases albums such as this one on its in-house recording label.\nThis album was recorded at Virtuoso on the night of October 1, 2020. Fe is made up of guitarist Yuta Ikedo on guitar, Ko Omura on drums, Keisuke Furuki on bass, and Shinobu Ishizaki on saxophone. Guitarist Ikedo and drummer Omura are co-leaders of this group and also two-thirds of a different trio called “Atman”. These two musicians have a long history of playing together with a friendly and close relationship that can be summed up by the quartet’s name, “Fe”, which originated from a humorous accident. As Ikedo was typing up some information about the group, the intended “ds” (for drums) became “fe” due to quick fingers and an incorrect alignment on the keyboard. The typo amused the group and stuck as the trio’s name. Omura’s liner notes also playful improvise on “f” and “e”:\nFundamental elements are forever evolving, foreseeing equal fractals extracted from each feasible experience.\nFurthermore, eloquence is finite, enveloping filtered eons fabricated eternally or forever.\nFinding existence fatigues energy, feeling exhalation for ectstastic flow.\nFor each face, ephemeral factors exists, forever engaging fond experiences.\nThe songs on Live at Asakusa are original compositions by co-leaders Ikedo and Omura, with Ikedo contributing five songs and Omura two. Along with their individual solos, Fe’s music also features guitar and sax pairing up on some melody lines. It’s a doubled jazz sound that works so well in a live setting with the attention-grabbing duality of the sharp blade of Ishizaki’s sax and the warm glow of Ikedo’s guitar. Some of the improvisational highlights also feature Ikedo and saxophonist Ishizaki trading ideas and solos back and forth in ad-libbed, engaging conversations.\n#1 “Invisible Essence” (Ikedo) is energetic and bright (the audio for this track is available in the live recorded video included below). #2 “Flow of the Circumference” (Ikedo) leans towards a lush fusion sound through an adventurous circuit. #3 “Sheepwash” (Omura) is comfortably warm, memorable, and unique. #4 “Flux” (Ikedo) has irresistible angles with openness and a drum solo by Omura over a final vamp. #5 “Ebb and Flow” (Omura) sways sweetly like a hammock nap on a ship at sea before threatening waves appear with Ishizaki’s roiling sax. The subtle asymmetry of #6 “GMM” (Ikedo) constructs a fascinating portrait dedicated to Ikedo’s grandmother Misao-san and serves as the perfect magnum opus of the album, along with the initially placid but increasingly intense scenes of #7 “Irreversible” (Ikedo), a song inspired by the harrowing Gaspar Noé movie.\nLive at Virtuoso by Fe Yuta Ikedo - guitar Ko Omura - drums Keisuke Furuki - bass Shinobu Ishizaki - saxophone Released in 2021 on Virtuoso as VTS-006.\nJapanese names: 池戸祐太 Ikedo Yuta 大村亘 Omura Ko 古木佳祐 Furuki Keisuke 石崎忍 Ishizaki Shinobu\nAudio and Video Video of the live recording of “Invisible Essence”, track #1 on this album: Excerpt from track #3: “Sheepwash” ","permalink":"https://mirror2.jazzofjapan.com/fe-live-at-virtuoso/","summary":"\u003cp\u003eThe 2021 album \u003cem\u003eLive at Virtuoso\u003c/em\u003e by the quartet Fe was released by the jazz club Virtuoso in the nightlife district of Akasaka in Tokyo, Japan. Virtuoso is a great name for a music venue. Aside from the word being a term for master musicians, fans of jazz guitar will immediately recognize the reference to jazz guitarist Joe Pass’s landmark series of \u003cem\u003eVirtuoso\u003c/em\u003e albums. Naturally, Virtuoso features jazz guitar and guitar bands on many nights. The jazz club also occasionally releases albums such as this one on its in-house recording label.\u003c/p\u003e","title":"Fe: Live at Virtuoso"},{"content":"Rewinding from the previous article on Hitomi Nishiyama’s Echo from 2024, and connecting the dots (re: Dot, 2023), relistening to Hitomi Nishiyama Trio’s I’m Missing You from 2004 provides a fascinating reflection.\nI’m Missing You is the prolific composer’s first album, which quickly sold out as she was gaining recognition for her distinctive jazz piano compositional style, a novel approach that melded her Japanese classical musical training, studies in jazz piano, and her affection for European modern jazz. The original 2004 album contained eight songs, all composed by Nishiyama, and was re-released in 2007 with three bonus tracks from around the same period. It came to be regarded as her breakthrough first trio recording, released 20 years before her latest CD Echo, and with more than two dozen albums released in between.\nOn I’m Missing You, her strong sense of composition for a piano trio jazz setting is already apparent. Her characteristic harmonies, melodies, section changes, and moderately, tastefully used brief polyrhythms and syncopated shifts evoke emotions and hook listeners, carrying them along through adventurous paths filled with medium tempos based on warm grounding bass, brushed drums, and intricate piano solos.\nThe different songs on this album share a lot of similarities in feel overall, acting like an album-length extended suite filled with Nishiyama’s lovely melodies, delicate touch, and the classical-sounding elements of lightly nimble scales, arpeggios, ornamentation in her improvisation. Along with the jazz improvisation, focus is also often drawn to the modulating key signatures illustrated by the reassuring drums and bass frameworks in straight-eighth 3/4 or 4/4 time. There is a minor-key feel to much of the music; even the major-key sections seem to possess a minor quality. But this is not painful sadness as in agony, but a tender soreness that’s almost a comfort, or the feeling of I’m missing you that invokes the person sweetly along with the ache. At the same time, the essential spice of upliftingly powerful major-key shifts at the right times serve as the bright rays of light, however temporary, in a mostly moody world.\nFor interested pianists and jazz musicians, Nishiyama also graciously provides simplified piano charts for some of her original songs in the Extra area of her website. This includes charts for “Blue Nowhere”, “Epigraph”, and “Passato”, three absolute highlights from I’m Missing You.\nLiner Notes (Translated from Hitomi Nishiyama’s and Hiroki Sugita’s original Japanese liner notes.)\nI’m Missing You | Hitomi Nishiyama Trio\nIn 2004, a short while after this album was released, a person said to me “We played this song at our relative’s funeral.” I was moved to tears with feelings I didn’t quite understand.\nAfter some time had passed, I thought composedly about the fact that someone, at a very important time with their loved ones, had wanted to say their final farewells as they were sending someone off with this song. As a musician, it was a blessing to hear. Although I knew that what I had created may have been artless, self-indulgent, and insignificant, a feeling was present that there are some people that may need me in some way. It must be a natural human emotion.\nFrom the simple decision to start recording in my early twenties, the result of this emotional experience as a musician may have been the greatest asset produced by this early recording. Although the recording is full of shortcomings, I am extremely happy that this work, one that is so important to me personally and is a snapshot of myself at the time, is being re-released.\nThree additional songs not related to the original release are also included. We’re a young trio that started from the Yokohama Jazz Promenade competition, through to this recording, and on to many experiences after that. I hope you enjoy these previously unreleased recordings from that time.\n—Hitomi Nishiyama\nThis is a long-awaited re-release. Hitomi Nishiyama’s first trio album as a leader, self-produced, recorded, and released in 2004, was discontinued in 2007 when the album sold out. In 2006, Cubium, her first album for Spice of Life, was released. It was recorded with some highly-respected Swedish musicians in Stockholm and helped her to gather attention in this unprecedented setting for a young Japanese pianist. This event spurred sales of the original self-released recording, which led to selling out of all copies of that album. Yet, as often happens in the world, the desire for something not in circulation led to the phenomenon of used copies commanding higher prices in secondhand markets. The prices continued to rise as Hitomi Nishiyama’s popularity continued to grow. While original pressings of CDs, as with LPs, have their own intrinsic value, it goes without saying that it’s a good thing if the “music software”, even rare recordings, could always be available to be purchased at reasonable prices. The fact that this original recording is being released again after seven years is undoubtedly good news to many fans.\nHitomi Nishiyama was born in Osaka, Japan, in 1979 and started studying classical piano at the age of six. She first encountered jazz in her third year of high school. Her curiosity was triggered by listening to albums by Bill Evans and Chick Corea, and she continued on to take jazz piano classes at Osaka Junior College of Music. While studying, she started to engage in performances and hone her basic skills. The turning point for her career came after graduation when she discovered Enrico Pieranunzi. She became fascinated by the Italian master, studying his compositions thoroughly and incorporating his music into her own repertoire. This led to a style that was rare in Japan, becoming a boon to Nishiyama and Enrico Pieranunzi both. Nishiyama had been conducting live performing centered around her original songs since 2003 and was someone who wasn’t yet well-known among the general public at the time. Still, the following year, she felt the desire to record an album of all original songs as an account of who she was at the time. I heard from Nishiyama that she still had a special attachment for this album and would like to reissue it in some form, so I am pleased that this marriage with DIW Records has resulted in a commemorative release of this cherished album. The original album seemed to invite good fortune, and the following year the group was awarded the Grand Prix at the 2005 Yokohama Jazz Promenade Competition. This was a boost to her career and led to the album Cubium mentioned earlier. Her first independent release album was in August 2004, and her first recording in Stockholm was in May 2006. In just under two years, she had progressed to the next level with expanded horizons opening up. In 2007, her second Stockholm recording, Many Seasons, was released. I was able to accompany her then as a journalist gathering material. The release of In Stockholm, a live recording made at the same time, and Parallax, a recording with her regular Japanese trio with an additional member, resulted in four albums being produced by Spice of Life within two years. During that time, she moved her base of operations to Tokyo, and her experience was broadened and deepened through interactions with many other musicians. Her accumulated efforts in composing music resulted in the honor of winning third place in the International Songwriting Competition 2009 (USA) in the jazz category for her song “Unfolding Universe”, demonstrating her world-class ability in composition.\nThis album opens with “This I Promise You” and its theme of key changes and repeated modulation, followed by the gracefully melodic “Passato”, a story emerging from the motif of “Blue Nowhere”, and continues on to convey Nishiyama’s sincere admiration for Enrico Pieranunzi in “Epigraph”. The beautiful melodies continue in “Sand Castle” where time flows freely, leaving a particularly strong impression of her excellent sense of composition. This reissue also includes three bonus tracks, previously unreleased trio performances from the Jazz Promenade event. This marks the point where Hitomi Nishiyama’s distinctive talent started to bloom.\n—Hiroki Sugita, June 2011\nObi Notes Pianist/composer Hitomi Nishiyama achieved the great honor of placing third in the International Songwriting Competition 2009 (ISC), one of the world’s largest composition contests. Her first album I’m Missing You, considered to be the origin of her career and international recognition, is finally here!\nI’m Missing You by Hitomi Nishiyama Trio Hitomi Nishiyama - piano Mitsuaki Hara - bass Tsutomu Kawauchi - drums Satoshi Otani - bass (#9, 10, 11) Takehiro Shimizu - drums (#9, 10, 11) Released in 2004 on Steps Records as VNTM-04001.\nJapanese names: 西山瞳 Nishiyama Hitomi 原満章 Hara Mitsuaki 川内努 Kawauchi Tsutomu 大谷訓史 Otani Satoshi 清水勇博 Shimizu Takehiro\nAudio and Video Promotional video for this album: A later recording of #3 “Blue Nowhere” from Hitomi Nishiyama’s “Parallax” album (2008): A later recording of #4 “Everytime It Rains” from Hitomi Nishiyama’s “The Tree of Life” album (2019): A later recording of #7 “Epigraph” from Hitomi Nishiyama’s “Down by the Salley Gardens” album (2014): A later recording of #11 “Aprilis” from Hitomi Nishiyama’s “Parallax” album (2008): Excerpt from track #8: “I\u0026rsquo;m missing you” ","permalink":"https://mirror2.jazzofjapan.com/hitomi-nishiyama-trio-im-missing-you/","summary":"\u003cp\u003eRewinding from the previous article on Hitomi Nishiyama’s \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-nishiyama-echo\"\u003eEcho\u003c/a\u003e\u003c/em\u003e from 2024, and connecting the dots (re: \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-nishiyama-dot\"\u003eDot\u003c/a\u003e\u003c/em\u003e, 2023), relistening to Hitomi Nishiyama Trio’s \u003cem\u003eI’m Missing You\u003c/em\u003e from 2004 provides a fascinating reflection.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1270278x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1270278x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003e\u003cem\u003eI’m Missing You\u003c/em\u003e is the prolific composer’s first album, which quickly sold out as she was gaining recognition for her distinctive jazz piano compositional style, a novel approach that melded her Japanese classical musical training, studies in jazz piano, and her affection for European modern jazz. The original 2004 album contained eight songs, all composed by Nishiyama, and was re-released in 2007 with three bonus tracks from around the same period. It came to be regarded as her breakthrough first trio recording, released 20 years before her latest CD \u003cem\u003eEcho\u003c/em\u003e, and with more than two dozen albums released in between.\u003c/p\u003e","title":"Hitomi Nishiyama Trio: I’m Missing You"},{"content":"Echo, from 2024, is pianist/composer Hitomi Nishiyama’s latest album and a response to her previous release Dot from 2023. The music on this album was made with the same group and during the same recording sessions and as such, there are many similarities in sound and direction. In aura and conceptually, however, the differences are effectively portrayed by the separate covers and designs: Where Dot shows a monochrome sketch-like grid of hand-drawn dots, Echo places the pianists’ subtly Mona Lisa smile into a vividly abstract gauze of lilac and cobalt swirls and hues.\nThere are seven songs on Echo which run from about six to ten minutes each. Nishiyama’s piano trio with bassist Toru Nishijima and drummer Ryo Noritake constitutes the core of the sound, with colorful layers added by the extra trio of Takanori Suzuki on clarinet, Ryosuke Hashizume on tenor sax and flute, and Maiko on violin. Much of the music has the piano trio buffeted by the texturally slow-moving audio pads of clarinet, sax, and violin, creating a plush ambience and quiet invitation to sink into /Echo/’s layers.\nOne unmistakable strength of these two recent albums is how Nishiyama’s composing style has shifted slightly from her previous modern jazz trio writing, which was often compared to classically tinged European-style jazz and sometimes called richly emotionally or even “sad music” at times. Of course, there are still overtones of introspection on Echo that run throughout. Several of the song’s melodies feature chromatically interesting accidentals or scales with intervals that are subtly surprising and pleasing. Jazz swing beats are rare here, with straight-eights or soft rock drums to enhance the easy movements and slow-to-medium tempos. The violin, clarinet, sax, and flute accompaniments are paintbrushes for the borders and backdrops of Nishiyama’s canvases, where the frontward trio of piano, bass, and drums collaborate on creating and transforming the objects of direct focus. Although the so-called background instruments also come to the front at times, this is moderately done, and the use of their layers and textures as sonic ground and textures is beautiful and effective.\nThe compositions also feature slow-moving ambient sections that are superbly enhanced by Nishijima’s bowed contrabass, and rock-beat riffs that recall her style on her separate heavy metal-inspired jazz project NHORHM. There are sections of songs where the pianist’s left hand plays solid guitar-like chords, catchy quarter-note pop rhythms, or delicately spun ostinatos to great effect. The overall energy level is calm, somewhat muted, and taken at patient tempos. It’s more like a deeply absorbing novel or modern art piece with layers to uncover, rather than the fast cuts of an action movie or high-paced show. Yet interestingly, parts of these songs feel as if they would fit perfectly as scores to accompany moments of drama or discovery in movie scenes.\nLike the design and concept, the songs themselves naturally summon evocative images through Nishiyama’s writing style, orchestration, and arrangements (and her particular choice of song titles, as well). Tracks #1 “Echo” and #2 “West World” (no relation to the recent drama series) are the opening chapters, where she is directed towards aspects of pop music catchiness, hooks, and musical movement that make such affecting hit songs. #3 “Ants” is slow, sparse, and semi-experimental with suite-like section breaks. These characteristics are shared and expanded upon by the grand displays in #4 “Arrakis”, dynamically crystalizing the oppressive tension of the Frank Herbert world-building fantasy with power and exotic mystery.\nTrack #5 “Raindrops”, the sole piano/bass/drums trio track on the album, explores an absorbing nine minutes of free but coordinated scenes in flexible time, gracefully Debussey-ish arpeggios, bowed contrabass, and hints of ambient music. #6 “Cobalt Blue” features slow chord cushions and subtle piano power chord riffs to allow the background instruments to come to the front for some in-turn and simultaneous improvisation. Finally, the last track #7 “River” moodily balances the major/minor shifts of the album’s overall feel with a soundtrack-like song for a sweet goodbye to a moving and memorable album. The reverberations of both Dot and Echo linger, though, and ensure anticipated return journeys to Nishiyama’s distinctive and penetrating musical worlds in the future.\nEcho by Hitomi Nishiyama Hitomi Nishiyama - piano, compositions Toru Nishijima - bass Ryo Noritake - drums Takanori Suzuki - clarinet (all tracks except #5) Ryosuke Hashizume - tenor saxophone and flute (all tracks except #5) maiko - violin (all tracks except #5) Released in 2024 on Meantone Records as MT-13.\nJapanese names: 西山瞳 Nishiyama Hitomi 西嶋徹 Nishijima Toru 則武諒 Noritake Ryo 鈴木孝紀 Suzuki Takanori 橋爪亮督 Hashizume Ryosuke マイコ maiko\nAudio and Video Promotional video for this album: Live performance of “Echo”, track #1 on this album: Excerpts from a live performance of the Hitomi Nishiyama Trio +3 from 2024: Streaming services for this album\nExcerpt from track #4: “Arrakis”\n","permalink":"https://mirror2.jazzofjapan.com/hitomi-nishiyama-echo/","summary":"\u003cp\u003e\u003cem\u003eEcho\u003c/em\u003e, from 2024, is pianist/composer Hitomi Nishiyama’s latest album and a response to her previous release \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-nishiyama-dot\"\u003eDot\u003c/a\u003e\u003c/em\u003e from 2023. The music on this album was made with the same group and during the same recording sessions and as such, there are many similarities in sound and direction. In aura and conceptually, however, the differences are effectively portrayed by the separate covers and designs: Where \u003cem\u003eDot\u003c/em\u003e shows a monochrome sketch-like grid of hand-drawn dots, \u003cem\u003eEcho\u003c/em\u003e places the pianists’ subtly Mona Lisa smile into a vividly abstract gauze of lilac and cobalt swirls and hues.\u003c/p\u003e","title":"Hitomi Nishiyama: Echo"},{"content":"Sunny Side is a neighborhood jazz joint in Takadanobaba, Tokyo, and is a place that feels comfortably familiar whether it’s your first time, tenth time, or returning to visit after a years-long absence. At Sunny Side, jazz performances are delivered in a friendly atmosphere with home-cooked food that includes pasta dishes, fried foods, salads, and Japanese taco rice.\nFigure 1: Arcou duo with Mayumi Sano (cello) and Sayaka Kishi (piano) at Sunny Side in 2017\nThe live schedule here features a roster of reliable local musicians that span the gamut from up-and-coming acts to professional career musicians. In addition to their focus on creating a welcoming space for listeners and musicians to share in their love of jazz, another goal of Sunny Side is to support amateur musicians with plenty of open jazz jam sessions, workshops, and lessons that are regularly held here. Sunny Side’s website makes it easy to view the upcoming acts on the calendar organized by whether they are live performances, vocal jazz sessions, instrumental jazz jam sessions, or lessons.\nSatisfied guests of Sunny Side who are likely to become repeat customers can also look forward to picking up a stamp card for member-style discounts or similar benefits, with possible extra stamps on their birthday.\nFigure 2: Kicking off a jam session with Yuki Nakano (bass) and Yoichi Suzuki (guitar at Sunny Side in 2023\nFigure 3: Before the show starts\nFigure 4: Singer-songwriter Ken Takai (vocals, guitar) at Sunny Side in 2017\nFigure 5: Karaage fried chicken plate at Sunny Side\nFigure 6: Sunny Side in 2010\nFigure 7: Tommy Morota (drums) Trio at Sunny Side in 2010\nFigure 8: Sunny Side in 2010\nFigure 9: Vocal jam session at Sunny Side in 2008\nFigure 10: Vocal jam session at Sunny Side in 2008\nFigure 11: Vocal jam session at Sunny Side in 2008\nFigure 12: Wall art at Sunny Side\nFigure 13: Photos at the entrance to Sunny Side\nFigure 14: Jazz \u0026amp; Drinks SunnySide 2F\nFigure 15: Heading to Sunny Side\n","permalink":"https://mirror2.jazzofjapan.com/sunny-side/","summary":"\u003cp\u003eSunny Side is a neighborhood jazz joint in Takadanobaba, Tokyo, and is a place that feels comfortably familiar whether it’s your first time, tenth time, or returning to visit after a years-long absence. At Sunny Side, jazz performances are delivered in a friendly atmosphere with home-cooked food that includes pasta dishes, fried foods, salads, and Japanese taco rice.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1170428-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1170428-1200.jpeg\"\n         alt=\"Figure 1: Arcou duo with Mayumi Sano (cello) and Sayaka Kishi (piano) at Sunny Side in 2017\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eArcou duo with Mayumi Sano (cello) and Sayaka Kishi (piano) at Sunny Side in 2017\u003c/p\u003e","title":"Sunny Side"},{"content":"Unity is the sixth album from trumpeter Hikari Ichihara and the second album from the Hikari Ichihara Group band name, following their excellent debut release Move On from 2010. Unity, released in 2011, features nine original songs and a playtime of fifty-six minutes.\nThe music on this album is straight-ahead jazz built on the familiar format of trumpet-sax-piano-bass-drums hard-bop quintets. The playing style has a modern jazz feel with a mix of swing beats and straight-eights that is rooted in an energetic, soulful style, the kind that fans of Jazz Messengers and similar classic Blue Note era albums will find immediately appealing.\nAdding to the attraction is the group’s new material composed by the members of this band. This is solid contemporary jazz, modern with a base of expressive hard bop, exciting ad-libbing, and fun arrangements. Many songs are straightforward soloing showcases that swing with fun and energy, but there are also slower pieces and ballads where Ichihara’s mellow trumpet and flugelhorn lines especially shine. Despite having her name in the group, Ichihara is an equal partner, and above all, she is gracious about sharing the spotlight. Much of the time, she does not take the first solo slot, and even skips her turn on some tunes to let her partners take the lead, or uses her turn for trading interactions with saxophone or drums.\nIchihara’s six excellent compositions cover a great range from swinging good-feeling fun (#1 “Coati”, #2 “Dorje’s Life”, #6 “Brain Weather”, #9 “The Laughing Stock”) to delicately moody (#7 “SCHEMA”) and sinister (#4 “Doom”). Adding to the palette is a composition each from pianist Hideaki Hori (the beautifully atmospheric #3 “Oslo”), saxophonist Ryosuke Asai (the soaring #8 “Toki”), and bassist Kunpei Nakabaya, whose two-part suite #5 “Sink - Flow” is an evocative highlight on the album. The selection of these songs shows Ichihara’s range and her taste in shaping the mood and attitude of the project, all strengthened by the group’s well-put-together ensemble sound that was very attuned and responsive after touring together and honing their musical craft.\nLiner Notes (Translated from Hikari Ichihara’s original Japanese liner notes.)\n1 Coati\nCoati is another name for the animal called a “civet”. One night, there was a loud rumbling noise coming from the attic of the house where I live. I wondered if this was the “raccoon dog” civet that I’ve heard a lot about on talk shows recently, so I immediately called an extermination company to get a quote, which was a whopping 100,000 yen. Oh great, someone’s living in my house without permission and won’t leave unless I pay 100,000 yen… I was pretty dejected. I complained about this on the popular Twitter platform, and someone suggested the brilliant idea of writing a song called “Civet” in order to earn 10,000 yen in royalties. That’s why I wrote this song. Of course, “Civet” was too straightforward, so I chose a different title. In the end, the problem was revealed to be rats, and the bill was 40,000 yen… so that’s three more songs for me to write. For now, please check out “Coati”.\n2 Dorje’s Life\nI’m someone who pretty much reads one book every two days. I particularly like Kotaru Isaka and have read all of his published work. I tried to create a song to express how I view the world of Kotaru Isaka. Dorje is the name of a fantastic character that appears in the book Ahiru to Kamo no Koinrokka (The Foreign Duck, the Native Duck, and God in the Coin Locker).\n3 Oslo\nThis is a number by a composer that I love, Hideaki Hori. It was written on February 2, 2010, the day before a duo gig that we had scheduled, and he seems to have had the sound of my flugelhorn in mind. I poured my heart and soul into this beautiful melody for the recording. I hope it can summon the scenery of Norway.\n4 Doom\nIn these times, it feels as if our country Japan is facing difficulties in many areas. I strive to keep an awareness that our country is a responsibility of our generation, as we must try to make it better. I wrote this song from these feelings. Although this song was written before the great earthquake disaster, I would like to take this opportunity to honor the souls who perished in the calamity and to pray for a speedy recovery.\n5 Sink - Flow\nThis is a number by bassist Kunpei Nakabayashi. It follows a suite form as two songs in one piece. Nakabayashi is a man of few words and does not explain much about his songs. It’s an honor for me to be able to include this very detailed and emotional piece of music on my album.\n6 Brain Weather\nBrain → 脳 (nou) / Weather → 天気 (tenki)/\nIt’s easy-going and carefree (能天気 noutenki). I attempted to write a song about my personality. Ahh, I hit upon a great title.\n7 SCHEMA\nSchema (organization of long-term memory): A module of information stored in long-term memory. It’s a term in clinical psychology that can be understood to represent fixed beliefs or assumptions. When I’m composing music, I often find myself wondering if I should write the hook or chorus in a certain way to increase the excitement. This is a 10-bar ballad that I wrote after clearing away those preconceptions.\n8 Toki\nThis is a number by saxophonist Ryosuke Asai. This group performed this song once in Niigata, when Asai, a lover of large wild birds, was very excited because the Japanese crested ibis (朱鷺 toki) was released on that day. He said to the people then, “I promise to write a song called Toki by the time I return to Niigata”, and he has wonderfully fulfilled that promise. None of the band members has ever seen a crested ibis in flight, but we imagine it in our own way as we perform this song. It’s a masterpiece with a rich sense of scenery.\n9 The Laughing Stock\nAlthough the meaning is “an object of ridicule”, I played this song with all my heart and hope that you enjoy this album all the way to the end.\nThanks to your support, we were able to release our second album under the name “Hikari Ichihara Group”, recorded after many tours together. I want to thank the amazing members who stuck by me, the clumsy Hikari Ichihara, and I am deeply appreciative of the many live houses and owners who graciously invited us to perform, and to all the audiences who warmly gave applause. I want to thank all the staff at Pony Canyon who allow us to share our music, engineer Saka-san who records our music so realistically, designer Kitagawa-san who makes the album even better, and photographer Yoneya-san. And above all, I would love to express my sincere gratitude to everyone who listens to this album. I wish the best for you, today, and tomorrow, and with Unity by your side, nothing would make me happier.\nIchihara Hikari\nUnity by Hikari Ichihara Group Hikari Ichihara - trumpet, flugelhorn Ryosuke Asai - alto saxophone Hideaki Hori - piano Kunpei Nakabayashi - bass Masanori Ando - drums Released in 2011 on After Beat / Pony Canyon as PCCY-30187.\nJapanese names: 市原ひかり Ichihara Hikari 浅井良将 Asai Ryosuke 堀秀彰 Hori Hideaki 中林薫平 Nakabayashi Kunpei 安藤正則 Ando Masanori\nAudio and Video Audio for “Coati”, track #1 on this album: Audio playlist for all tracks on this album\nExcerpt from track #9: “The Laughing Stock”\n","permalink":"https://mirror2.jazzofjapan.com/hikari-ichihara-group-unity/","summary":"\u003cp\u003e\u003cem\u003eUnity\u003c/em\u003e is the sixth album from trumpeter Hikari Ichihara and the second album from the Hikari Ichihara Group band name, following their excellent debut release \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hikari-ichihara-group-move-on\"\u003eMove On\u003c/a\u003e\u003c/em\u003e from 2010. \u003cem\u003eUnity\u003c/em\u003e, released in 2011, features nine original songs and a playtime of fifty-six minutes.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230308x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230308x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe music on this album is straight-ahead jazz built on the familiar format of trumpet-sax-piano-bass-drums hard-bop quintets. The playing style has a modern jazz feel with a mix of swing beats and straight-eights that is rooted in an energetic, soulful style, the kind that fans of Jazz Messengers and similar classic Blue Note era albums will find immediately appealing.\u003c/p\u003e","title":"Hikari Ichihara Group: Unity"},{"content":"The Goat on a Peak is a 2023 album from Ghost Peak, a band formed in 2022 by guitarist Shinji Miyazaki with Natsuki Tamura on trumpet, Taeko Kurita on piano, and Hiroaki Mizutani on bass. Guitarist and leader Miyazaki combines his background of modern jazz, improvisation, and a four-year stay in New York, with his jazz, rock, and avant-garde influences on his second Ghost Peak album.\nGhost Peak’s The Goat on a Peak contains five of Miyazaki’s original compositions and was released on the heels of their first release Ghost Peak 1. The audio for these two albums was recorded at a live concert in Kobe in 2023. While the first release was an online-only streaming/digital download, this second album was released as a compact disc with a different set of songs.\n“Ghost Peak” is not only the band name but also the name of a terrific composition of Miyazaki’s that he plays on solo guitar on his 2022 vinyl/digital release Light Colored. In addition, “Ghost Peak” is also the name of a four-part suite split between their first album Ghost Peak 1, and this album The Goat on a Peak. Adding to the ghost/goat/peak intrigue, and separate from the four-part suite, Ghost Peak 1 features a song titled “Ghost Views a Peak”, and this second album features a song titled “A Goat Climbs a Peak”. That’s plenty of ghosts, goats, and peaks, but it all works well to ground their style of free jazz and experimental music with a thematic throughline.\nTangentially, the phrase ghost peak refers to those peaks found in graphs in scientific analysis that aren’t related to actual measured substances but are mysterious measurements caused by contamination, faulty instruments, or other errors. A goat on a peak may refer to the striking scene of a goat standing on the summit of a mountain (or, possibly a “G.O.A.T.” champion ascending to a pinnacle), looking over the land and taking it all in with a somewhat triumphant stature. This image also evokes an exciting combination of danger, risk, and adventure that could also symbolize the task undertaken by musicians playing jazz and experimental music.\nThe five free-jazz or experimental tracks on /Goat on a Peak /are composed by Miyazaki, and a lot of the free feel comes from both the surprising notes the quartet plays (as they strive to avoid conventional licks, scales, and song patterns) but also from the absence of drums and rhythmic cadences. At times, there is no fixed meter or repeated beat, creating a feeling of flexibility. While some parts of each song seem completely open for each player’s spontaneous impulses, it is not “anything goes” to the extent that only discordant noise results (some listeners will feel that they are headed towards that direction, though).\nYet, there are musical ideas or basic structures to each track that are usually most clearly heard in the written-out musical themes and statements played together at the opening and/or ending of certain songs. There are general pre-planned frameworks that direct how the scales, chords, or roots (for example) will assemble and collaborate to a finish. It’s harder to describe than it is to hear, and as experimental music goes, some of the enjoyment is in the hearing, decoding, and understanding of this music, all of which play a part in the multi-layered musical appreciation.\nHere are some too-brief glances at the overall album flow: The thirty-seven minutes travel through the gentle prettiness and swelling up of #1 “Summer Days”, the step-stair theme and intensity of #2 “A Goat Climbs a Peak”, the zany madness and flights of fancy on #3 “Unwritten Law”, the beautiful mess of soundscapes of #4 “Gone”, and the quiet serenity of #5 “The Nebulous Crowd (Ghost Peak Suite Part 4)”.\nThe Goat on a Peak by Ghost Peak Shinji Miyazaki - guitar Natsuki Tamura - trumpet Taeko Kurita - piano Hiroaki Mizutani - bass Released in 2023 on Stereo Equipment Music Works as SEMW-04.\nJapanese names: 宮崎真司 Miyazaki Shinji 田村夏樹 Tamura Natsuki 栗田妙子 Kurita Taeko 水谷浩章 Mizutani Hiroaki\nAudio and Video Shinji Miyazaki playing “Ghost Peak” in 2022: Excerpts from a Ghost Peak live performance in 2022: Ghost Peak live performance in 2025: Ghost Peak 1 (Ghost Peak’s first album\nExcerpt from track #2: “A Goat Climbs A Peak”\nOther Links Album info ","permalink":"https://mirror2.jazzofjapan.com/ghost-peak-the-goat-on-a-peak/","summary":"\u003cp\u003e\u003cem\u003eThe Goat on a Peak\u003c/em\u003e is a 2023 album from Ghost Peak, a band formed in 2022 by guitarist Shinji Miyazaki with Natsuki Tamura on trumpet, Taeko Kurita on piano, and Hiroaki Mizutani on bass. Guitarist and leader Miyazaki combines his background of modern jazz, improvisation, and a four-year stay in New York, with his jazz, rock, and avant-garde influences on his second Ghost Peak album.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1270658x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1270658x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eGhost Peak’s \u003cem\u003eThe Goat on a Peak\u003c/em\u003e contains five of Miyazaki’s original compositions and was released on the heels of their first release \u003cem\u003eGhost Peak 1\u003c/em\u003e. The audio for these two albums was recorded at a live concert in Kobe in 2023. While the first release was an online-only streaming/digital download, this second album was released as a compact disc with a different set of songs.\u003c/p\u003e","title":"Ghost Peak: The Goat on a Peak"},{"content":"Enyana is the first collaboration album from vocalist Emiko Voice and pianist Yuka Yanagihara. Their new group and album name, Enyana, merges the EMI of Emiko and YANA of Yanagihara. There is also a bit of wordplay on the Japanese phrase en ga aru /(縁がある) which can mean there’s a connection or linking of fates between people or things in a certain situation. One variation of the phrase is “/enyana!/” (縁やな! /or えにゃな!), a playful Kansai-dialect version with a meaning like “It must be fate!”\nJust recently released in January 2025, Enyana has ten tracks and runs at forty-two minutes of music. Nine of the songs are from Latin America, from Brazil, Argentina, Mexico, and Cuba, all filtered through the gentle but meticulous lens of these two Japanese musicians. The love and seriousness for the music that the two accomplished musicians bring into focus here is clear through their genuine passion for the songs and the talent to pull it off. The solid rhythms and deep emotions created through just voice and piano increase the intimacy and the impressiveness of their feats as a duo, delivering strong feelings of drama through authenticity.\nAdding Japan to the list of countries covered by the music, there is one original song by Emiko and Yanagihara. Throughout, the music grooves with the authentic rhythms and lyrics of the different countries’ rhythms and atmospheres. Lyrics are sung in mainly Portuguese with some Spanish, English, and a bit of Japanese.\nAlong with her lyrics-based vocals, Emiko’s voice talents include scat singing and percussion. On Enyana she and Yanagihara include two instrumental songs through voice and piano, and a bit of triangle (Emiko’s excellent sense of time and independence also coming through here) at one point for a subtle but effective extra layer of sound and rhythm. Yanagihara loves percussion as well, saying that if she weren’t a pianist she would have been a drummer, and their common bond on this point, together with their impeccable sense of time, is another connection for Enyana in their musical performance and outlook.\nThe overall feelings generated by the songs sway from cheery, light, fun, and danceable to bittersweet scenes and melancholic storytelling. That is to say, passion. Between the poles of this heartbreak and soul-reviving uptempo pep, Enyana also offers a sweet love song with their first original “Hidamari” and a fantastic “Poinciana”, that catchy classic jazz tune that is rearranged and brightened with colors of Enyana.\nLiner Notes (Translated from Emiko Voice and Yuka Yanagihara’s original Japanese liner notes.)\nWe’ve finally completed Enyana’s first album! This work is filled with the life of the South American rhythms and melodies that EMiKO VOiCE and Yuka Yanagihara love so dearly.\nThe two of us share a connection we have as graduates of the Berklee College of Music, and we first performed together in Kobe in November 2011.\nSince then, focusing on the music of South America, we’ve been continuing to assemble the type of thrilling yet intimate performances that a duo can deliver.\nThis recording of this album included a rich variation of South American music, from the passion and pathos of the Argentine classics “The Swallow in the Mirror” and “Alfonsina and the Sea” to the vibrant rhythms of Brazil in the songs “Forró Brasil” and “Sai Dessa”.\nWe’re also happy to present our first original song as a duo for the first time on this album.\nThe stripped-down format of just voice and piano is given depth and breadth through these encounters with famous songs, resulting in an album that almost seems to invite the listener to the lands and the forest of South America.\nWe hope that this can be a release that can be enjoyed for a long time by lovers of South American music, as well as those who are just beginning to discover its charms for the first time.\n1. Corrida de Jangada\nMusic and Lyrics: Jose Carlos Capinan, Edu Lobo\n“Sailboat Race” is a song that depicts the traditional Brazilian boat races. Voice and piano portray the racer’s movements as the phrase “Vamos embora” piles up and expresses the spirit of a boat racing across the sea. I hope this dynamic energy comes through. (EMiKO)\n2. Alfonsina y el Mar\nMusic: Ariel Ramírez Lyrics: Félix Luna\nThis is a song that was dedicated to Argentine poet Alfonsina Storni. It’s a piece that touches my heart deeply. Its heartbreaking but beautiful melody thoroughly expresses the sadness that Alfonsina carried, and her determination as she set out to the sea. (EMiKO)\n3. Sai Dessa\nMusic and Lyrics: Nathan Marques, Ana Terra\nAt first, the song has a cheerful samba rhythm, but there is a hidden message criticizing Brazil’s military regime. It’s a considerable challenge to create a samba groove with only voice and piano, but I think we delivered a solid groove in our own way. I hope you enjoy the rhythm. (EMiKO)\n4. Los Pájaros Perdidos\nMusic: Astor Piazzolla Lyrics: Mario Trejo\nThis song, Piazzolla’s “The Swallow and the Mirror”, is one that I’m truly happy to have come across. In particular, when I hear the piano play the jumba rhythm in the middle, I love it so much that, while singing, I am secretly thinking “Listen to the piano!” (laughs). The contrast between the dynamic development and the quieter ballad section gives this song a dramatic mood, one filled with bittersweet thoughts of lost love and time. (EMiKO)\n5. Forró Brasil\nMusic: Hermeto Pascoal\nThis is a forró masterpiece by the genius musician Hermeto Pascoal of Brazil. The intertwining of my scat singing, triangle playing, and Yuka’s steady rhythm, creates a fun atmosphere. (EMiKO)\n6. Hidamari / A Sunny Spot\nMusic: Yuka Yanagihara Lyrics: EMIKO VOICE\nThis is our first song written together. For just that reason alone, it’s precious.\nWe’ve talked about writing together for some time, but it never really took shape. Now that the plans for this album were moving ahead in a detailed way, Yanagihara took the lead in writing a song. We tried to write a song in the image of the Enyana group. Building on Enyana’s colorful worldview and catchy parts, we wrote a song that seems to have a gentle melody and chord progression that you may have heard before, and that seems to sing in your heart. I also really like EMiKO’s Japanese lyrics which are simple, straight to the heart, and soothing. The South American theme of our group also fits the ebb and flow of waves that you can almost hear in the setting (but now I’m self-praising). (Yanagihara)\n7. En la Orilla del Mundo\nMusic: Martín Rojas Lyrics: Pablo Milanés\nThis is a piece written by Martín Rojas, the talented blind guitarist who was based in Mexico. This song became widely known among jazz fans after being included on Gonzalo Rubalcaba \u0026amp; Charlie Haden’s album Nocturne. It’s often performed as an instrumental song, but after discovering that there are lyrics, EMiKO found them to sing here, and it has now completely become a standard Enyana song. (Yanagihara)\n8. Poinciana\nMusic: Nat Simon Lyrics: Buddy Bernier\nEMiKO requested to try out this song for Enyana, and I made an arrangement for this album. Originally based on a traditional Cuban folk song whose title refers to the vivid Poinciana flowers that blow in the warm Cuban winds, basing this arrangement around a 7-beat rhythm makes for a really thrilling musical development (stressful!). It has the taste of Enyana and I really like it. The original song has been a jazz standard played by many musicians. I hope that you like this version with the flavor of Enyana. (Yanagihara)\n9. Quiet Little Lady\nMusic: Debora Gurgel\nThis is a piece by Brazilian pianist, composer, and arranger Debora Gurgel. It’s an instrumental song that was inspired by the words of Chick Corea. I think it’s fair to say that one of Enyana’s distinctive characteristics is to take up songs without lyrics. You can also say that taking up an already fast-paced samba feel with dizzying melodies and movements is also reckless for just two people (laughs). However, once you try this kind of thrilling performance, you may find that it’s also quite addictive (laughs). I hope that you can enjoy with along with me. (Yanagihara)\n10. Beatriz\nMusic: Edu Lobo Lyrics: Chico Buarque\nWhen I first heard this, I thought it was such a beautiful song. As EMiKO explained the meaning of the lyrics to me, I could also appreciate the very Brazilian choice of words and expressions. This is a masterpiece by the maestros Edu Lobo \u0026amp; Chico Buarque. I’m so grateful to have encountered this song, as it’s such a delicate and wonderful piece of music, and one that would crumble and fall away from my hands that were so carefully nurturing it, if I were to let my guard down. (Yanagihara)\nEnyana by Emiko Voice \u0026amp; Yuka Yanagihara Emiko Voice - vocal, voice, percussion Yuka Yanagihara - piano Released in 2025 on ENYANA Music as EYM-0001.\nJapanese names: エミコヴォイス Emiko Voice 柳原由佳 Yanagihara Yuka\nAudio and Video Promotional video for this album with excerpts from all tracks: Live version of “Corrida de Jangada” (tr. 1) from 2022: Live version of “Alfonsina y el Mar” (tr. 2) from 2021: Live version of “Sai Dessa” (tr. 3) from 2020: Enyana performing Chick Corea’s “Spain” from 2021: Archive video of a live-streamed Enyana performance from 2020, with “Rabo de Nube”, “Águas de Março”, “Alfonsina y el Mar” (tr. 2), “Sai Dessa” (tr. 3), “Los Pajaros Perdidos” (tr. 4), and “Forró Brasil” (tr. 5)\nExcerpt from track #8: “Poinciana”\n","permalink":"https://mirror2.jazzofjapan.com/emiko-voice-yuka-yanagihara-enyana/","summary":"\u003cp\u003e\u003cem\u003eEnyana\u003c/em\u003e is the first collaboration album from vocalist Emiko Voice and pianist Yuka Yanagihara. Their new group and album name, \u003cem\u003eEnyana\u003c/em\u003e, merges the \u003cem\u003eEMI\u003c/em\u003e of Emiko and \u003cem\u003eYANA\u003c/em\u003e of Yanagihara. There is also a bit of wordplay on the Japanese phrase \u003cem\u003een ga aru /(縁がある) which can mean there’s a connection or linking of fates between people or things in a certain situation. One variation of the phrase is “/enyana!/” (縁やな! /or\u003c/em\u003e えにゃな!), a playful Kansai-dialect version with a meaning like “It must be fate!”\u003c/p\u003e","title":"Emiko Voice \u0026 Yuka Yanagihara: Enyana"},{"content":"Strings is a friendly jazz bar in Kichijoji, a popular neighborhood just east of Tokyo’s main center known for its beautiful park, shopping, dining, and rich cultural lifestyle. Kichijoji, besides being an attractive neighborhood in its own right, also hosts the popular and well-known jazz club Sometime, a frequent destination for new and old jazz fans alike. Yet Strings, located a bit off the beaten path, offers its own style and charm for jazz lovers.\nFigure 1: Yuichi Narita on solo piano at Strings in April 2023\nAs noted on their homepage, Strings is a Live Bar \u0026amp; Italian Restaurant and serves up quality jazz and Italian food with simple, easygoing grace. This bar is modestly tiny with several seats directly up against the grand piano and a few tables and bar seats around the rest of the room.\nAlthough the room seems small, the talented artists who play here are top-notch. Sometimes, this bar can be completely full with preset reservations (or even nearly empty at other unfortunate times). But, when the jazz is cooking, the pizza comes out piping hot, and the decanter of wine arrives, it is a perfect way to spend an evening listening to real handcrafted jazz music in Tokyo.\nFigure 2: Tenerezza Trio with Maiko (violin), Makiyo Sakai (flute), and Sayaka Kishi (piano) at Strings in March 2023\nIn addition to jazz, Brazilian music, and stringed instruments including violin are also often featured.\nFigure 3: Yoshihiko Naya (piano) Quartet with Nami Kano (alto sax), Masayuki Tawarayama (bass), and Takehiro Shimizu (drums) at Strings in May 2013\nFigure 4: Botan Duo with Akiko Suda (vocals) and Yuichi Narita (piano) at Strings in February 2017\nFigure 5: Emiko Voice and Yuji Yajima (bass) at Strings in January 2017\nFigure 6: Miyuki Moriya (sax) with Rin Heitetsu (piano) and Yutaka Yoshida (bass) at Strings in February 2013\nFigure 7: Josei (piano) Trio with Noriaki Akita (bass) and Sohnosuke Imaizumi (drums) at Strings in December 2012\nFigure 8: Takako Yamada (piano) Trio with Koji Yasuda (bass) and Gaku Hasegawa (drums) at Strings in May 2014\nFigure 9: Rie Taguchi (vocals) and Shin Kamimura (bass) at Strings in September 2013\nFigure 10: Emiko Voice, Koichi Sato (piano), and Tomoka Abe (guest vocalist) at Strings in August 2015\nFigure 11: Emiko Voice and Yoshihiko Naya (piano) at Strings in June 2015\nFigure 12: Harumi Nomoto (piano) Trio with Ryoji Orihara (bass) and Sohnosuke Imaizumi (drums) at Strings in October 2013\nFigure 13: Mina Yamano (vocals) and Kazuhiko Obata (guitar) at Strings in July 2013\nFigure 14: Tomoka Miwa (vocals) and Yuta Kaneko (organ) at Strings in March 2013\nFigure 15: Yuji Kawamoto (bass) Trio with Taihei Asakawa (piano) and Manabu Hashimoto (drums) at Strings in December 2012\nFigure 16: Trispace Trio with Yuichi Hayashi (piano), Morihiro Omura (bass), and Yoshitaka Yamashita (drums) at Strings in October 2012\nFigure 17: Mai Petty at Strings in July 2012\nFigure 18: Sayaka Kishi (piano) session with Seiji Harakawa (sax) and Koji Yamashita (bass) at Strings in June 2012\nFigure 19: Yuichiro Hiraoka (guitar) and Heitetsu Rin (piano) at Strings in November 2011\nFigure 20: Megumi Kotomi (vocals), Yuichiro Hiraoka (guitar), and Heitetsu Rin (piano) at Strings in November 2011\nFigure 21: Emiko Voice at Strings in October 2011\nFigure 22: Mizuki Maruoka (piano) Trio at Strings in October 2010\nFigure 23: Mizuki Maruoka (piano) Trio at Strings in October 2010\nFigure 24: Sawaka Hyodo (piano) Trio at Strings in October 2010\nFigure 25: Sawaka Hyodo (piano) Trio at Strings in October 2010\nFigure 26: Bar area at Strings\nFigure 27: Broccoli tuna at Strings\nFigure 28: Pizza at Strings\nFigure 29: Mushrooms saute at Strings\nFigure 30: Strings logo on the inside wall\nFigure 31: An old sign for Strings\nFigure 32: The outside sign for Strings\nFigure 33: Welcome to Strings\n","permalink":"https://mirror2.jazzofjapan.com/strings/","summary":"\u003cp\u003eStrings is a friendly jazz bar in Kichijoji, a popular neighborhood just east of Tokyo’s main center known for its beautiful park, shopping, dining, and rich cultural lifestyle. Kichijoji, besides being an attractive neighborhood in its own right, also hosts the popular and well-known jazz club \u003ca href=\"https://www.jazzofjapan.com/archive/sometime\"\u003eSometime\u003c/a\u003e, a frequent destination for new and old jazz fans alike. Yet Strings, located a bit off the beaten path, offers its own style and charm for jazz lovers.\u003c/p\u003e","title":"Strings"},{"content":"Encounter is the first album from co-leaders pianist Hideaki Hori and saxophonist Wataru Hamasaki, released in 2008. Since then, in addition to their other bands and activities, the two jazz musicians have continued to perform together and release many albums under the group name Encounter.\nThis first Encounter album is bursting with energy, and it feels like the inspiration that each player gets from the others irresistibly drives them to reach for the stars. The four members of Encounter—Wataru Hamasaki on sax and flute, Hideaki Hori on piano, Hiroshi Takase on bass, and Junji Hirose on drums—are always busy touring and playing in this regular group lineup for their live shows. In addition, as a special guest on their first album, Satoshi Takino plays electric guitar on three tracks.\nThese players present modern jazz built on the foundations of the classic contemporary jazz quartet sound. The sound and inspiration of the music owes a lot to the co-leadership of Hori and Hamasaki. These are the two primary songwriters for the band and seem to be cut from the same cloth, offering novel compositions with challenging terrain that the skilled improvisers navigate in breathtaking ways. Yet, they intentionally do not stray too far from the solid bedrock of reliably swinging jazz they cherish.\nOn Encounter, the songwriting pair recorded a set of 11 originals, with authorship split nearly evenly between the two composers. It’s clear that they enjoy writing (and that the band enjoys playing and delivering) excitingly aggressive uptempo burners, such as with #1 “ASK”, #4 “Signal”, #7 “OOPARTS”, #10 “Jack-O’-Lantern”.\nThe roots of their in-the-pocket swing also reach deep, perfected by the sense and time of bassist Takase and drummer Hirose. Much of the music provides a classic midtempo walking pulse, with the cheerful #2 “Breath of Life”, the crafty #3 “Puzzle Ring” (in 7/4 time), the confident #5 “Quarter man” (calling Dexter Gordon?), and the wonderful #9 “Wayne”.\nBalancing out the near non-stop excitement and never-ending energy, there are a few slower ballads in the ephemeral #6 “Hanauta”, the romantic #8 “My Heart” (still calling LTD?), and the beautiful album closer #11 “Sound of Ocean”.\nWhile this article focuses on Hori and Hamasaki’s 2008 Encounter, it would be serendipitous to mention some recent news here. At seventeen years and running, Encounter just released two new albums entitled Best Vol. 1 and /Best Vol. 2 /recently. These two compilations (of a sort) don’t indicate the twilight of Encounter. Instead, they are intended to meet a consistent demand for old albums, like this one, that are out of print or hard to find. At the same time, the two songwriters took this opportunity to revive, rearrange, and re-record popular songs from their live shows and early albums.\nIt’s also noteworthy that Encounter’s new album Best Vol. 1 also contains new versions of three songs from this album: “Sound of Ocean”, “My Heart”, and “Hanauta”.\nLiner Notes (Translated from Hideaki Hori’s and Wataru Hamasaki’s original Japanese liner notes.)\nSong introductions by their composers:\nASK (Hideaki Hori) This is a song that is often played to open our live performances. The energetic rhythm with a buoyant melody and chord progressions seem to stir up the front line of the band, urge them on, and put things in gear. This hints at the original hidden meaning of the title “ASK”… [/The three-letter title in uppercase is an abbreviation for something mildly naughty enough to be avoided being printed on a jazz CD release at the time…/]\nBreath of life (Hideaki Hori) This is a song dedicated to all living creatures. To the strength, joy, and vivaciousness of life. The beat that Hiroshi Takase and Junji Hirose spin expresses that vitality so wonderfully that, upon hearing, it, the heart naturally seems to start to dance.\nPuzzle Ring (Wataru Hamasaki) In Japanese translation, it’s 知恵の輪 (chie no wa). Depending on how you solve them, puzzle rings can be easy or difficult. This song has the feeling of playing with a puzzle ring. Also, Hideaki Hori’s base, the jazz club Nardis in Kashiwa, has a bunch of puzzle rings lined up on the counter, and he’s always playing with them. So this title was also chosen as a tribute to Nardis. I think we got a really well-coordinated take.\nSignal (Wataru Hamasaki) This song is actually a remake of a song that I wrote a long time ago. It turned into an up-tempo, aggressive performance. Inspired by guest guitarist Satoshi Takino, everyone is bursting with energy.\nQuarter man (Hideaki Hori) I wrote a song about my admiration of the coolness and the melancholy that can be ascribed to a man who has grown up to be an adult. Wataru Hamasaki’s calm tone has a great feel and fits this song perfectly.\n花唄 -Hanauta- (Hideaki Hori) This is a Japanese-style song where the flute almost sounds like a shakuhachi(!?). In fact, Hamasaki seems to have played this with a shakuhachi-like sound in mind. This melody came to me while I was out walking on a nice day in early spring. [/The Japanese kanji for this song, 花唄 is read as “hanauta” here to mean “flower song”, and is a play on the similar-sounding word 鼻歌 “hanauta”, which means “humming”./]\nOOPARTS (Wataru Hamasaki) This title is an abbreviation of Out of Place Artifacts. This refers to those historical objects that were created by technology that’s hard to imagine existing when they were made—the moai statues of Easter Island, for example. I happened to be reading a book about OOPARTS at the time I wrote this song, which is where I got the title. Junji Hirose’s drumming during the theme section is quite invigorating.\nMy Heart (Wataru Hamasaki) It’s been a long time since I wrote a ballad. I think I was able to include a lot of emotions in this song. This performance also captures a beautiful piano solo, wonderfully executed by Hideaki Hori.\nWayne (Hideaki Hori) This is a song written for the beloved musician Wayne Shorter. You could also call it a hymn to hard bop with its truly jazzy feel, and listening to the theme transports musicians and listeners back to the 60s.\nJack-O’-Lantern (Hideaki Hori) The theme is just one motif repeating over and over, with the energy increasing steadily, rising up, and heading towards the peak… I think this is that kind of song. Instead of traditional in-order soloing, it was Wataru Hamasaki’s idea to incorporate a dialogue between sax and piano. Satoshi Takino’s great guitar solo is also remarkable.\nSound of Ocean (Wataru Hamasaki) This is a gospel-style song dedicated to the inspiration for the title of this song, kaikyou, which means Mother Ocean. Perhaps it’s because I was raised in a town where you could see the ocean, but every time I come to the sea I can forget all my worries and relax. We always play this song last at live performances, and Hideaki Hori and I agreed that we should also end the album with this song. I’m barely holding it together at the end (laughs), and since we were originally planning a fade out here, I was having some fun with it. Hideaki Hori really liked it, though, so we left it in as it was recorded. I’d love it if hearing this cheers you up a little bit.\nEncounter by Hideaki Hori \u0026amp; Wataru Hamasaki Hideaki Hori - piano Wataru Hamasaki - tenor \u0026amp; soprano sax, flute Hiroshi Takase - bass Junji Hirose - drums Satoshi Takino - guitar (tracks #1, 4, 10) Released in 2008 on BQ Records as BQR-2043.\nJapanese names: 堀秀彰 Hori Hideaki 浜崎航 Hamasaki Wataru 高瀬裕 Takase Hiroshi 広瀬潤次 Hirose Junji 滝野聡 Takino Satoshi\nAudio and Video Live performance of #1 “ASK” from 2023: New recording of #5 “Quarter man” from 2020: Live performance of #10 “Jack-O’-Lantern” from 2022: New recording of #11 “Sound of Ocean” from 2024: Excerpt from track #6: “Hanauta” ","permalink":"https://mirror2.jazzofjapan.com/hideaki-hori-wataru-hamasaki-encounter/","summary":"\u003cp\u003e\u003cem\u003eEncounter\u003c/em\u003e is the first album from co-leaders pianist Hideaki Hori and saxophonist Wataru Hamasaki, released in 2008. Since then, in addition to their other bands and activities, the two jazz musicians have continued to perform together and release many albums under the group name Encounter.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230283x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230283x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis first \u003cem\u003eEncounter\u003c/em\u003e album is bursting with energy, and it feels like the inspiration that each player gets from the others irresistibly drives them to reach for the stars. The four members of Encounter—Wataru Hamasaki on sax and flute, Hideaki Hori on piano, Hiroshi Takase on bass, and Junji Hirose on drums—are always busy touring and playing in this regular group lineup for their live shows. In addition, as a special guest on their first album, Satoshi Takino plays electric guitar on three tracks.\u003c/p\u003e","title":"Hideaki Hori \u0026 Wataru Hamasaki: Encounter"},{"content":"It was a surprise when Ami Fukui released even more new songs and arrangements with her trio on her release MCY (2023) so soon after her previous trio album Nova Manhã (2022). It does fit well, though, when considering the two albums as a set, as if they were a double album released in two parts. In fact, the songs for both albums were recorded during the same two-day recording session in November 2011. It was an opportune time, as the trio had plenty of live experience together, along with a nice batch of Fukui’s original songs to work with.\nAlmost like a concept album, or parts I and II of a story, the songs for the two albums were divided between them based on the overall effect that each part is intended to have. There is also a common theme of the morning and the relaxed, refreshed feelings that can arise with the sun. In short, the first album’s songs are intended to provide a soothing balm, and the second’s an energy boost, either or both to be used like tonics or medicine to fit the listener’s mood.\nYet the differences between the two collections are not drastic, and the pair could easily be imagined as a double-album release. The songs and arrangements are from Fukui’s hand, delivered through the trio, and during the same two days, so naturally there is a lot in common. Also in common with her previous releases, her music is characteristically groovy and laid-back with stimulating riffs, smooth playing, and subtly novel arrangements. It’s all delivered through the tightly bound rhythms that the three create so nicely together.\nInitially, for some songs, there can be the feeling of a gentle playing style filled with cool swing and decorations. Sometimes that softness is misleading, and several songs build to dramatic peaks. As one example, Jobim’s classic “The Girl From Ipanema” starts with the traditional jazz trio sound that regular jazz fans have heard countless times, but Fukui’s clever arranging results in a unique version of this song that carves out its own unique space in the universe of ordinary versions.\nIt’s a good demonstration of some of the talents of this trio: gossamer piano licks surfing across the thumping bass lines and drum dynamics, climax-building section changes, outro vamps, and drum solos that add the finishing fire to several of the songs.\nIn addition to her compositions and arrangements, Fukui’s piano solos occupy most of the improvisation space, and there are a few bass and drum solos and interchanges as well. Nonetheless, the music gravitates towards emphasizing the trio’s locked-in, propulsive rhythms, and Fukui’s thought-out arrangements.\nFlow-wise, with mid-tempo merges of swing, straight, and Latin beats, the album starts with the energetic swirl of #1 “Voltex”, the soulful groove #2 “morning sun”, and the deep spices of #3 “The Girl from Ipanema”. Track #4 “hammock” is a mid-album rest stop where heartwarming piano lines and a slow sway calm the spirits.\nThe engines rev up again with #5 “tipsy time”, which bubbles with a fun, light bounce resembling carefree tottering. Track #6 “MCY” excitingly invokes the percussive and chiseled piano playing of McCoy Tyner. The meaning of the album title becomes clear when hearing the sound of this track, but prior to that, other interpretations are interesting, and one case is mentioned in the liner notes. (Another wild guess was that MCY may stand for Music, Cats, and Yoga, as some of her favorite things are known to be.)\nThe last full song on the album, #7 “Mohito”, is a great update of a popular song from her first album, Urban Clutter, where the electrically charged sound of the Fender Rhodes replaces the acoustic piano. It makes for another version of the thrilling sound of Ami Fukui-style jazz fusion.\nThe afterword, #8 “Baikin Concert” (a spontaneous and curious ode to Baikinman, a mischievous germ-based antagonist in the comic Anpanman), is a short, friendly postscript featuring her young nephew and his cute original song, only seconds long, but ending the album appropriately with a cute /owari/—“that’s it, all done!”\nLiner Notes (Translated from Ami Fukui’s original Japanese liner notes.)\nTo everyone who purchased this album…\nTo some extent, you may ask “Was this album inspired by, or even made for your nephew?” It’s true, I relied on his help a lot for this album, including on the CD jacket design and with his voice. I have to think about how to store the funds from the profits for him (laughs).\nIn contrast with my previous album Nova Manhã, this album features more danceable rhythms and emotional content. At the start, the idea was to capture as much as we could, so we recorded a lot of songs over two days in November 2021.\nBefore starting to record, I was vaguely thinking that it would be nice to release a double album, and in fact, we ended up getting enough good takes for two albums.\nThe first part became the previous release Nova Manhã. These two works became a two-part series expressing stillness and movement. They’re opposing albums, but one thing they have in common is the keyword morning.\nHopeful strength with invigorating tenderness is expressed through “Nova manhã” [/track #1 on Nova Manhã/]. The awareness of the power of the morning sun overflowing with vitality inspired “morning glow” [/track #2 on this album/].\nThese two songs are at the core, based on the same morning sun but with different perspectives.\nOn a different topic, I noticed something in common between music and aroma. As aroma drifts through, the atmosphere of a place can be completely changed in an instant. I think that sound has the same effect. The moment that sound flows, it feels like the location’s scenery and your perspective of it changes instantly.\nI would love it if you could use this music to lift your spirits, clear your head, relax, or get lost in your thoughts when thinking about something. It is like a tool that can be used depending on your condition and mood at the time.\n01 Voltex\nIt represents a whirlpool. I envisioned the middle of a spiraling whirlpool, being steadily dragged in, and the state of abandoning yourself to the flow. I was listening to Egberto Gismonti a lot around the time that I wrote this song, and I think that also influenced this song a little.\n02 morning glow\nWhen I went on a trip to the remote island of Taketomi-jima near Ishigaki, I woke up early to go to the beach and watch the sunrise. The morning glow of the rising sun was so beautiful that I wanted to write a song about it. I wrote this after returning home. Through the successive live performances of this song, the composition as originally created changed with feelings of increased vitality and overflowing strength.\n03 The girl from Ipanema\nI’m not sure if it’s a good or a bad thing, but I boldly rearranged this famous song by Antônio Carlos Jobim. I got that idea for this song while I was playing a solo piano gig, and afterward, I created this arrangement based on that idea.\n04 hammock\nI jotted down a song about the memory of a certain important day. It was originally written as a bossa nova and we played it live numerous times as that, but to be honest it never really felt right to me. It has the image of the saudade of the evening. I was thinking about how to give life to this melody, with its touch of floating sadness, and came up with a reggae-tinged groove. I asked Kira to play that and we immediately adopted it! We pulled it off at the peak of the second day of recording in one emotional take.\n05 tipsy time\nIt means being slightly intoxicated. This song was born from the desire to listen to a light, cheerful tune while drinking. It came about while I was casually sitting at the piano, and while I was playing around, the melody came to me. I just kept humming while playing, and turned it into this song.\n07 MCY\nThis is a song I wrote during a time when I was continuously listening to pianist McCoy Tyner. Some have said this is too bright for McCoy and might be closer to Cedar Walton’s style. Either way, please forgive me for transferring it through my own filter (laughs).\nOne person guessed that the title “MCY” was taken from the initial letters of magenta, cyan, and yellow, the colors used in certain printers. I thought, oh, that would fit the colors for the CD jacket perfectly, and I borrowed a drawing from my nephew that I had originally wanted to use.\nP.S.\nTo those who knew about the Mame Mugi T-shirts: Thank you to everyone who purchased one. When they are all sold out, I’ll be storing the profits for my nephew who drew the original illustration (laughs).\n08 Mohito\nNamed for the cocktail, this is the song “Mohito” which was included on my first album Urban Clutter. Many people like this song, and I often play it with the current trio. I’ve always wanted to record this song on a Rhodes piano, and we finally made this wish come true. This was also a song that we recorded in one take with a lot of energy as we were almost reaching the end of our session time.\n08 Baikin Concert\nThis is an audio file that I recorded as a test during the beginning of the coronavirus pandemic when I was thinking about recording music at home. My nephew, who was four years old at the time, held the mic for me while I recorded lots of sounds. I later added my own keyboard notes to make this. It’s a song that my nephew wrote by himself and would sing all the time back then. To NHK, can you use this on Minna no Uta (laughs)?\nThis album was created with a concept of kineticism, like an energy boost that spreads outwards and lifts the tension slightly. To use Nova Manhã when you want to feel relaxed… To use MCY when you want to lift your spirits… It would be a great honor for me as a creator to have you use them according to your mood at the time.\nP.S.\nI am always grateful for my two bandmates, who are always listening intently to my sound, and who are warmly supportive yet can also push me strongly at times. This trio’s sound wouldn’t be the same without any one of these musicians. We get wonderful comments about how our sound is the unique result of the three of us playing together. I feel the same, if I can say so myself.\nI’m proud and satisfied that we were able to deliver these two albums, Nova Manhã and MCY. At the same time, we remember that these products are only pieces of work. I believe that music is a living thing, and it truly keeps changing in interesting ways with each performance. This is something that I’ve often said since our first album, but it would please me greatly if you could come to a live show and listen to our trio’s changes to hear our current, “as of today” sound.\nI also would love to thank all the people who were involved and who lent us their assistance. I hope that this album and Nova Manhã together can continue to be a part of the brightness of your days.\n福井亜実 Ami Fukui\nMCY by Ami Fukui Trio Ami Fukui - piano Keigo Iwami - bass Sota Kira - drums Kouki - vocal (track #8) Released in 2023 on MAM Records as MR-002.\nJapanese names: 福井亜実 Fukui Ami 岩見継吾 Iwami Keigo 吉良創太 Kira Sota\nAudio and Video Live performance of #7 “Mohito” from 2021: Live performance of #5 “Tipsy Time” from 2023: Audio for “Mohito” from Ami Fukui’s first album “Urban Clutter”: Excerpt from track #1: “Voltex” ","permalink":"https://mirror2.jazzofjapan.com/ami-fukui-trio-mcy/","summary":"\u003cp\u003eIt was a surprise when Ami Fukui released even more new songs and arrangements with her trio on her release \u003cem\u003eMCY\u003c/em\u003e (2023) so soon after her previous trio album \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ami-fukui-trio-nova-manha\"\u003eNova Manhã\u003c/a\u003e\u003c/em\u003e (2022). It does fit well, though, when considering the two albums as a set, as if they were a double album released in two parts. In fact, the songs for both albums were recorded during the same two-day recording session in November 2011. It was an opportune time, as the trio had plenty of live experience together, along with a nice batch of Fukui’s original songs to work with.\u003c/p\u003e","title":"Ami Fukui Trio: MCY"},{"content":"Beyond the Sea is saxophonist Miyuki Moriya’s fourth album as a leader, which she released in 2024 with her regular quartet of Mamoru Ishida (piano), Junichi Sato (bass), and Sohnosuke Imaizumi (drums). This album contains nine tracks over sixty-eight minutes and features mostly originals from the saxophonist, with two specially selected cover songs from Japanese jazz musicians that influenced her most in her jazz life.\nOne of those personal heroes is saxophonist Kosuke Mine, who joins the group as a special guest and adds his engagingly vibrant tenor sax sound on five of the nine tracks. Those include two of the album’s peaks for excitement (the edge-of-your-seat #2 “Flip a Coin” and the funkily thrillseeking #5 “Maverick”) as well as Mine’s introspective ballad #7 “After the Checkout” where the two saxes converse over melancholy piano chords to set a dramatic scene.\nLiner Notes (Translated from Miyuki Moriya’s original Japanese liner notes.)\nAs always, thank you for picking up and listening to this album.\nAlthough Beyond the Sea is my fourth album as a leader, it feels like a continuation of my first album Cat’s Cradle which I released in 2010. For this new recording, there are songs that I’ve been working on for years, new songs written for this album, and two songs by musicians whom I respect greatly. Since this is fully packed with nine songs (at over an hour!) I hope that you stick with me through to the end.\nAbout the musicians, two have been with me for close to twenty years and played on my first album: pianist Mamoru Ishida and drummer Sohnosuke Imaizumi. Bassist Junichi Sato has been with this band since April 2021. Incidentally, being able to meet him was a trigger to making this album.\nThis time we were also joined by a special guest, the beloved saxophone player Kosuke Mine, who I have endless respect for both musically and as a human being.\nWhen I was still a youngster in my early twenties (yes, there was such a time… haha) and a total beginner in jazz, I was looked after by the owner of a local jazz spot called Swing House in my hometown of Takamatsu. One day, a regular customer told me “Kosuke Mine is coming here, and you definitely should hear him!” So, when he came to perform as a touring member with guitarist Yoshiaki Masuo, that’s when I first met and heard Mine-san. (Mine-san probably doesn’t remember that time, but ever since then, he has been incredibly kind and wonderful to me!) I bought his /Major to Minor /album at the time, and it’s continuously been one of my favorites. To be honest, I only knew about bebop then, so it was a bit of a challenge at first. But every now and then, I would pull out the record, listen to it, and think “Wow, this is really, really cool!” And, the more I continued to play jazz, the more captivated I became by his sound and his playing. A few years later in Tokyo, I was able to meet Mine-san again, and I even stood on the same stage as him. The fact that the day finally came when I could play with him on my own leader album is truly like a dream come true. I feel very blessed.\nI’ll briefly introduce the songs.\nCicada’s Blues (Miyuki Moriya) This is a blues inspired by the life of a cicada. They say that some cicadas remain in the earth for seven years, but apparently, the type that lives in Japan only stays underground for four to five years at most. The fact that they only live for one week after emerging is based on observations under breeding conditions, and it seems that their actual lives and behavior are not well understood. It may be that their happiest times are sleeping deep in the earth while dreaming of the whole wide world.\nFlip a Coin (Miyuki Moriya) It means a coin toss. This song was written for this album, and the key is the slightly tricky bass line in the intro. I imagined the anticipation, the nervousness, and the thrill that can come at times when one is readying for victory or defeat, or taking a step into a new world while trying to suppress feelings of excitement.\n父母ヶ浜 (Miyuki Moriya) There is a beach in my hometown in the Kagawa Prefecture where the sunsets are very beautiful. My grandmother’s house is nearby, so when I was young, I would go to swim in the sea there in the summer. It’s a wide, shallow beach, so at low tide, a large pool of water is formed and beautifully reflects the sky like a mirror. Recently, it’s become a very popular tourist spot, dubbed Japan’s Salar de Uyuni (Uyuni Salt Flats).\nMelancholy Marie (Miyuki Moriya) This is a song I wrote to celebrate the birthday of Mariko-san, the cute wife of Miyazaki-san who runs the jazz bar Cochi in Koiwa. It’s a fun and relaxing place that I visit almost every month. The ever-kind Mariko-san always worries about her husband, as he loves alcohol a lot and sometimes drinks too much. They are an incredibly wonderful couple.\nMaverick (Miyuki Moriya) It means a lone wolf, a rebel. The barmaster of the jazz bar Salt Peanuts in Ekoda has been taking care of our band for many years. This tough character has seen the Tom Cruise movie Top Gun: Maverick at the movie theater more than 50 times! We choose the title of this song in appreciation for him.\nBeyond the Sea (Miyuki Moriya) I love the blue seas of Japan’s southern islands. I wrote this song during the self-isolation period in the midst of the coronavirus pandemic. At the time, I was hoping to break free as soon as possible and escape to a southern island. In fact, I wrote this with inspiration taken from the song “The Color of Peace” by the wonderful pianist Hajime Yoshizawa.\nAfter the Checkout (Kosuke Mine) This is a beautiful ballad written by Kosuke Mine. It so goes that he wrote this song in the studio right after checking out of an establishment for mountain seclusion, where he would sometimes go alone in order to practice and compose. No matter how many times I play this song, I’m deeply moved. It’s one of my personal favorites.\nPAPA Julian (Miyuki Moriya) This is a swing number inspired by “Cannonball”, aka saxophone player Julian Edwin Adderley. I wrote this about twenty years ago and since then many people have performed it. It’s a piece that I’m personally pleased with, and it has become a familiar song at this band’s live performances.\nAfter Dark (Hidefumi Toki) This is a ballad by my esteemed instructor Hidefumi Toki. The person I have become today, who is able to continue playing jazz from then to now, is the result of my meeting Toki-san. I still treasure the things he taught me and the courage he gave me. It was an honor to be one of his students. With gratitude.\nThis album has a completely different atmosphere compared to my earlier two albums. My album from two releases ago, Mukashi Mukashi, paid respect to the free jazz of 1970s Japan. My previous release Uta Oto was inspired by nature, the Earth, and distant foreign lands. I hope that listeners who have been with me since earlier albums will enjoy this change. At the same time, I hope that new audiences who may be hearing me for the first time through this album will also be inspired to explore the different sides of Miyuki Moriya that I’ve created so far.\nAt the beginning of these liner notes, I mentioned that this album feels like a continuation of my first album. While our situations and environments have changed over the years, I’m extremely happy to be able to put out this work together. These great, hardworking musicians who I’ve played with up to now and into the future still remind me of the fresh and energetic feelings that I had when I first started playing.\n守谷美由貴 Miyuki Moriya\nObi Notes The sky, the breeze, the blue. Sax player Miyuki Moriya welcomes veteran tenor player Kosuke Mine as a special guest on her summer album that is making a splash.\nBeyond the Sea by Miyuki Moriya Miyuki Moriya - alto sax, soprano sax Kosuke Mine - tenor sax (#2, 3, 5, 6, 7) Mamoru Ishida - piano Junichi Sato - bass Sohnosuke Imaizumi - drums Released in 2024 on Coume Music as CUM-2401.\nJapanese names: 守谷美由貴 Moriya Miyuki 峰厚介 Mine Kosuke 石田衛 Ishida Mamoru 佐藤潤一 Sato Junichi 今泉総之輔 Imaizumi Sohnosuke\nAudio and Video Audio for “Beyond the Sea”, track #6 on this album: Short excerpt of the Miyuki Moriya Quartet playing “Cat’s Cradle” from her first album, live in 2011: Miyuki Moriya and Kosuke Mine playing “You Don’t Know What Love Is” live at Tokyo’s Hot House in 2013: Audio for “Chichibugahama”, track #3 on this album\nAudio for “Maverick”, track #5 on this album\nExcerpt from track #2: “Flip a Coin”\n","permalink":"https://mirror2.jazzofjapan.com/miyuki-moriya-beyond-the-sea/","summary":"\u003cp\u003e\u003cem\u003eBeyond the Sea\u003c/em\u003e is saxophonist Miyuki Moriya’s fourth album as a leader, which she released in 2024 with her regular quartet of Mamoru Ishida (piano), Junichi Sato (bass), and Sohnosuke Imaizumi (drums). This album contains nine tracks over sixty-eight minutes and features mostly originals from the saxophonist, with two specially selected cover songs from Japanese jazz musicians that influenced her most in her jazz life.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1260162x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1260162x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eOne of those personal heroes is saxophonist Kosuke Mine, who joins the group as a special guest and adds his engagingly vibrant tenor sax sound on five of the nine tracks. Those include two of the album’s peaks for excitement (the edge-of-your-seat #2 “Flip a Coin” and the funkily thrillseeking #5 “Maverick”) as well as Mine’s introspective ballad #7 “After the Checkout” where the two saxes converse over melancholy piano chords to set a dramatic scene.\u003c/p\u003e","title":"Miyuki Moriya: Beyond the Sea"},{"content":"Magnolia is a trio made up of vibraphone, piano, and percussion, and their debut album, El viento y las flores was released in 2022. This fifty-six-minute album contains ten tracks of all original compositions, four from vibraphonist Reiko Yamamoto and three each from pianist Yuka Yanagihara and percussionist Hitomi Aikawa. Despite having three independent composers, their tight interplay and musical personalities seem tightly bound together, as if their collective music just blooms out intuitively unified.\nThe compositions start from a base of jazz and improvisation but are filled with many other various elements. There is a sense of a deep connection to ethnic rhythms and sounds, such as some Spanish elements as with the titles of the first track and the album itself. Some of the writing and the piano parts recall Chick Corea’s “Spanish heart” as a component, and there could be some Return to Forever-type jazz/rock/Latin fusion characteristics that subtly power the music as well.\nNot to say that this is Latin music or Latin jazz, but that anything could be an influence. This includes Japanese musical training, American jazz education (both Yamamoto and Yanagihara studied at Berklee College of Music), and classical and jazz study, with Japanese soul also brought in via the backgrounds of the three musicians.\nSimilarly, there are rhythms and music that are not only based on jazz, pop, or Latin fusion, but seem to be infused with some cultural and historical influences. For example, medieval, roots, or tribal sounds that conjure up visions of early Celtic or even Viking music. The fascinating compositions deliver a full sound from the three players, a large part due to their great arrangements and detailed touches that are irresistibly moving and likable, and pull you in like gravity. The players’ technical skills are flawless, of course, and bring the musical structures, themes, improvisations, and interplay right into focus.\nThe sounds of the piano and vibraphone work so well together in playing the radiant and emotional lines that Magnolia delivers. As Yamamoto and Yanagihara develop their evocative melodies over shimmering harmonic structures, percussionist Aikawa forms the frames of the music through a myriad of patterns and textures through her wide-ranging percussion.\nTechnically (pedantically), the piano and vibraphone are also considered to be percussion instruments, and this may be another reason why the three musicians are perfectly aligned with a cohesive single-mindedness. This shared ability reinforces the exciting rhythm, meter, and tempo changes sprinkled throughout their songs.\nThere are plenty of fresh approaches written into the music scores themselves that are interesting and fun, and the percussion beats delivered through Aikawa’s cajón, cymbals, shakers, bells, drums, sticks, shells, and other instruments, make it all the more stimulating as the rhythm sounds alternate and transform.\nThis spirit of freshness is clearly linked to their choice of band name. The refined and graceful magnolia flower is one of the first flowers to bloom in spring and has a fleeting blossoming period. The symbol of these strikingly beautiful flowers can be compared to sakura, or cherry blossoms, as both can symbolize Japanese mono no aware: the awareness and appreciation of impermanence, and that bittersweet transience that evokes beauty and sadness.\nA quick tour through the album tracks starts with an instantly engaging track #1 “La vos del viento”, colorfully Spanish and exciting. #2 “Haru, Aozora” is a cheery and bright piece with breathtaking views. #3 “Short Stories No. 6” is a distinctive march-like story with ancient medieval folk aspects (as with Yamamoto’s other compositions, Reiko’s love of role-playing video games greatly influences how she tells stories through her music, and this is one chapter from her “Short Stories” series of songs).\nTrack #4 “Foggy Forest” is atmospherically prismatic and filled with curiosity. #5 “Fune” is another catchily ancient-sounding piece that paints a pre-modern tableau. #6 “Blue Mallet” is rousing and groovy, drenched with cinematic drama. #7 “Pause is peaceful and slightly blue, similarly powerful as soundtrack material. #8 “Hanakage” is another otherworldly, absorbing journey with a deep aura, undefinably Old English or Gaelic, perhaps. #9 “Furosato” is an affecting ballad, carrying the same heartwarming, nostalgic power as songs like “Danny Boy”. Finally, #10 “Swaying Willows” with its soft pop shuffle is all farewell hugs, fresh and positive with the promise of a warm welcome in the future.\nEl viento y las flores by Magnolia Reiko Yamamoto - vibraphone Yuka Yanagihara - piano Hitomi Aikawa - percussion Released in 2022 on Magnolia as MGNL-0001.\nJapanese names: 山本玲子 Yamamoto Reiko 柳原由佳 Yanagihara Yuka 相川瞳 Aikawa Hitomi\nAudio and Video Live version of track #1 “La vos del viento” from Magnolia’s 2022 album release tour: Live version of #6 “Blue Mallet”: Live version of #8 “Hanakage”: Live version of #2 “Haru, Aozora”: Live version of #7 “Pause”: Magnolia chatting about their 2023 tour (Japanese): Short compilation of excerpts from a 2022 live performance in Kyoto: Excerpt from track #3: “Short Stories No.6” Other Links JazzTokyo review, interview, and photos (Japanese) ","permalink":"https://mirror2.jazzofjapan.com/magnolia-el-viento-y-las-flores/","summary":"\u003cp\u003eMagnolia is a trio made up of vibraphone, piano, and percussion, and their debut album, \u003cem\u003eEl viento y las flores\u003c/em\u003e was released in 2022. This fifty-six-minute album contains ten tracks of all original compositions, four from vibraphonist Reiko Yamamoto and three each from pianist Yuka Yanagihara and percussionist Hitomi Aikawa. Despite having three independent composers, their tight interplay and musical personalities seem tightly bound together, as if their collective music just blooms out intuitively unified.\u003c/p\u003e","title":"Magnolia: El viento y las flores"},{"content":"Velvet Sun is a music spot in the Ogikubo neighborhood off the Chuo train line in Tokyo. This is a train route that has been called the “Jazz Line” for a number of live spots and jazz stops along its stations, such as Kichijoji’s Sometime, Asagaya’s Manhattan, Koenji’s After Hours, Nakano’s Sweet Rain, and Shinjuku’s many great spots like Pit Inn and Polka Dots.\nFigure 1: Motohiko Ichino (guitar) and Takashi Sugawa (bass) at Velvet Sun in May 2024\nAfter a peaceful ten-minute stroll from the station to the venue, which works wonders to create a sense of distance and travel, taking in Velvet Sun’s distinctive outer appearance sets a special tone. There is a mostly blank white wall with a narrow, oblong window slotted in the center, lined with shadowy bottles and shapes illuminated by subdued light coming from the interior. The name velvet sun is printed inconspicuously on the window, and a VS marks the door. The overall façade conveys the feeling of arriving at a cozy hideout on an alien planet, something from Star Wars, or a place where a giant star was created out of soft black fabric.\nVelvet Sun may be a jazz spot that is less known or even less frequented by typical jazz fans who are looking for standards, straight-ahead, or more conventional jazz acts. There is a somewhat non-genre mix on the schedule here, with musicians and groups spanning the gamut from standards and new jazz to ambient, experimental, free jazz, and unclassifiable music. On occasion, there are shows featuring acoustic units, vocalists, folk or traditional instruments, unusual instruments, music with tap dance, and other interesting groups.\nFigure 2: Approaching Velvet Sun\nThe website for Velvet Sun includes great posters for their schedule of upcoming shows. Aside from what be gleaned from the designs of the flyers and the composition of the groups, little to no information is provided about the genre expectations or descriptions of the acts. This can create a sense of adventure if you don’t have any other knowledge about a night’s particular show or the musicians playing.\nFigure 3: Ryosuke Hashizume (sax) with Ryo Sugimoto (piano) at Velvet Sun in April 2024\nLike some other venues that diverge from the mainstream jazz bar image and system, Velvet Sun has a pay-on-entry system, where you can pay and optionally order a drink before taking a seat.\nSpeaking of seats, the several chairs, couch seats, and mini-tables arranged in the middle of the room are simple and functional. There isn’t a lot of space left over for large bags or luggage, but it doesn’t feel cramped.\nFigure 4: 2G1B1D1H group with Shinji Miyazaki (guitar), Junja Kameyama (guitar), Masatake Abe (bass), Kazumi Ikenaga (drums), and Masaki Hanawa (sax) at Velvet Sun in 2025\nThe layout is casually comfortable, if a bit spartan, like a cross between a music lover’s cozy den and a retrofitted garage with vintage lamps, wallpaper, and odds-and-ends. The dimly lit and calm atmosphere is appropriately eclectic, like the schedule and music created at Velvet Sun.\nFigure 5: Light, bricks, and mirror at Velvet Sun\nOne regular act at Velvet Sun is fretless electric bassist Ryoji Orihara’s BGA (Back Ground Ambient) experience, where he conjures “transparent furniture”. It’s intentionally not a music performance, much less BGM (Back Ground Music), but rather sounds and effects layered upon the environment while listeners are encouraged to read, drink, study, or do as they like during the session.\nThere is usually a nice discount offered if an online reservation was made at least a day before, and there is also an under-25 student discount.\nFigure 6: Lights and wall at Velvet Sun\nFigure 7: The force at Velvet Sun\nFigure 8: Back bar at Velvet Sun\nFigure 9: Ryosuke Hashizume (sax) with Ryo Sugimoto (piano) at Velvet Sun in April 2024\nFigure 10: 2G1B1D1H group with Shinji Miyazaki (guitar), Junja Kameyama (guitar), Masatake Abe (bass), Kazumi Ikenaga (drums), and Masaki Hanawa (sax) at Velvet Sun in 2025\nFigure 11: One night’s pedalboard effects at Velvet Sun\nFigure 12: Trees’ life at Velvet Sun\nFigure 13: Welcome to Velvet Sun\n","permalink":"https://mirror2.jazzofjapan.com/velvet-sun/","summary":"\u003cp\u003eVelvet Sun is a music spot in the Ogikubo neighborhood off the Chuo train line in Tokyo. This is a train route that has been called the “Jazz Line” for a number of live spots and jazz stops along its stations, such as Kichijoji’s \u003ca href=\"https://www.jazzofjapan.com/archive/sometime\"\u003eSometime\u003c/a\u003e, Asagaya’s Manhattan, Koenji’s After Hours, Nakano’s \u003ca href=\"https://www.jazzofjapan.com/archive/sweet-rain\"\u003eSweet Rain\u003c/a\u003e, and Shinjuku’s many great spots like \u003ca href=\"https://www.jazzofjapan.com/archive/pit-inn\"\u003ePit Inn\u003c/a\u003e and \u003ca href=\"https://www.jazzofjapan.com/archive/polka-dots\"\u003ePolka Dots\u003c/a\u003e.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20240510_205939608-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20240510_205939608-1200.jpeg\"\n         alt=\"Figure 1: Motohiko Ichino (guitar) and Takashi Sugawa (bass) at Velvet Sun in May 2024\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eMotohiko Ichino (guitar) and Takashi Sugawa (bass) at Velvet Sun in May 2024\u003c/p\u003e","title":"Velvet Sun"},{"content":"Bassist Motoi Kanamori released his third album The Live in 2023. This is a double CD album with a title that aptly reflects the energy of his group captured in a live concert recording. The two discs are divided between one set from his trio (with pianist Hiroyuki Takubo and drummer Akira Yamada) playing rearranged versions of classic jazz standards, and a second set from his trio with strings, featuring a four-piece string section of two violins, one viola, and one cello.\nThe first “trio” side features four jazz staples and one original from leader Kanamori. The four standards (“Autumn Leaves”, “Surrey with the Fringe on Top”, “I’ve Got a Crush On You”, and “Recordame”) are enhanced with slight rearrangements and additions but mainly stay true to the core of straight-ahead jazz piano trio versions. The original composition on this half, Kanamori’s “Mingus Stroll”, sounds just like it should, with a bluesy strolling feel that recalls the spirit of Charles Mingus.\nNotable in several tracks are the slow to fast and double-time meter and time changes that work to keep the audience (and the band) on their toes while the players’ extended improvisations play on. Drummer Yamada also takes the spotlight on a few songs as he lets loose over vamps on the very rapid tempo “Surrey” and the exciting set-closer “Recordame”.\nThe second “trio with strings” set features three standards (“Smooth as the Wind”, “Lush Life”, and the encore “What a Wonderful World”), with three more originals from Kanamori. Here, when not doubling or embellishing the song melodies, the strings add a rich harmonic backdrop to the trio’s sound, especially and appropriately lush in the beautiful Billy Strayhorn tune.\nBeyond the standard jazz repertoire, the seven-member group spreads its wings further on Kanamori’s originals on side two. The trio with strings paints with more abstract colors for his songs “Invisible World” and “Star’s Duty” in particular, for an atmospheric and storytelling effect. His third original on this side, “Sea \u0026amp; Ocean”, is all Latin rhythms, mid- and uptempo, used dynamically to add new dimensions of energy and flair to the entire concert.\nLiner Notes (Translated from Motoi Kanamori’s original Japanese liner notes.)\nThis is my third album as a leader. It was recorded on December 29, 2022, at a concert held at Tokyo FM Hall. I’m so happy that I was able to have this musical experience and be blessed with such wonderful musicians. I hope that you can listen to this for a long time.\nDisc 1\nAutumn Leaves Originally a chanson, this is a world-famous standard that has been recorded countless times. Not only Frank Sinatra, but Cannonball Adderley, Miles Davis, Bill Evans, and many other jazz musicians have recorded great versions of this song, and it is widely recognized as a jazz standard. Although we must follow in the footsteps of such famous takes, playing our new interpretation of Kareha (枯葉, Autumn Leaves) in the modern day may have resulted in something that has not been heard before. Enjoy the thrilling exchanges between the trio with the dizzying changes of scene.\nMingus Stroll This is my original song dedicated to the great jazz bassist Charles Mingus. Charles Mingus’s music contains nostalgic, romantic melodies that sometimes surge up with the passion of raging waves. At the time, it gave music new inspiration with free ideas and construction, and it still has that new quality today. The year 2022 marked the 100th anniversary of the birth of Charles Mingus, and we performed this song to commemorate the birth of a man who influenced many artists regardless of genre.\nSurrey with the Fringe on Top This jazz standard was originally written for a musical, and we started playing it as a homage to our beloved Ahmad Jamal. Typical of this trio, the tempo is extremely fast, like wheels spitting fire. We use an arrangement with a tempo change in the middle, just as the wheels are shaking wildly and coming off, making for an exciting song. Unfazed by this tempo, Takubo’s piano and Yamada’s brushwork are the very essence of breathtaking.\nI’ve Got a Crush on You This romantic number (meaning “I’m crazy about you”) is a masterpiece from the genius composer George Gershwin, who worked not only in jazz but also in classical music. It’s an exquisite ballad with a beautiful verse, the introductory part that precedes the main part of a jazz vocal song. Check out Takubo’s beautiful touch and melodic soul, and most of all, the romantic and melancholic harmony of the trio performance.\nRecordame This song by Joe Henderson is widely known as a jazz standard and is so cool when played just as written. In fact, this song was requested by a jazz student who is currently enrolled in my former school. This student was coming to my concert, so I asked them if there was a song they wanted to hear. It was a good opportunity for me to arrange a version of this song suited for this trio. I hope you get a real kick out of Yamada’s hidden reserves in the final drum solo, where he navigates complex riffs through to the end with ease.\nDisc 2\nSmooth as the Wind This song is a hidden gem said to have been written for the trumpeter Blue Mitchell by the great jazz pianist, composer, and arranger Tadd Dameron. At the time, Dameron was imprisoned for drug addiction and was far removed from the jazz stage (drug use is a theme related to why the jazz genre unfortunately rarely appears in elementary school textbooks). However, Blue Mitchell relied on Tadd Dameron as an arranger who brought out the best in him, so Dameron wrote this song was written for him while incarcerated. His record was completed with this song as the title tune, and it became a beloved work of accomplishment throughout his life. The result is a breezy, melodic song that flows like the wind with the addition of the string quartet.\nLush Life They say that this song was written by Duke Ellington’s renowned right-hand man Billy Strayhorn when he was about 19 years old. Although the title given in Japanese may be “The Life of a Drunkard”, it’s really an excellent song. This song has long been played by this trio as a feature for Takubo (who doesn’t drink alcohol, incidentally). It was also included in our second album. I hope that the sweet sound of strings gives a fresh view of another side of this famous song.\nInvisible World This was the title tune for our second album, Invisible World, released in 2020. Just as the album was released, the world came to a halt due to the coronavirus pandemic. We couldn’t go or perform anywhere, and the way forward looked pitch black. We were plunging forth into what seemed to be an “invisible world”. This song originated from the story of how music can find a small light in the darkness and allow an escape from the gloom. At the end of 2022, it’s with deeply felt emotion that we were able to play this song once again, and to say goodbye to the pandemic.\nStar’s Duty This is a song I wrote with the theme of “Working people all looking radiant.” The story is of a star who wakes up and reluctantly heads to work, but once they start working, they shine brilliantly. The combination of strings and the piano solo expresses the feelings of the star who does not want to go to work. The end of the song illustrates the star beginning to work and shining brightly. It’s a song to listen to when you are tired of the daily routine.\nSea \u0026amp; Ocean The words “sea” and “ocean” both have the same meaning in Japanese as the word umi (海). This is an original song I wrote with a related theme: “The same thing can appear different as the way of looking at it changes.” Watching the words and behavior of lots of people during the coronavirus pandemic made me feel and think about many things. Depending on the viewpoint, good things can look bad, and bad things can look good. In this song, the same melody appears several times in different forms. Jazz music often has the characteristic of using the same chord progressions and developing on those. For this song, I composed using a new concept of developing the music by continuously changing the scene. I hope that you like it.\nWhat a Wonderful World It goes without saying that this is a famous song loved not only by jazz fans but by many people throughout the world. We performed this song as an encore for the live concert. I could only think of this song in light of the current situation, not only regarding the coronavirus, but with war, discrimination, and world instability in our modern times. As one who can only express themselves through music, I played this song with hope for a peaceful and beautiful world from now on. I think that the sound and minds of the group came together as one to deliver the best performance. Please enjoy it.\nObi Notes A combination of daringly dashing piano trio and magnificently sweet strings.\nA stunning 2-disc album that captures the stirring concert recorded live in high quality at Tokyo FM Hall!!\nThe Live by Motoi Kanamori Motoi Kanamori - bass Hiroyuki Takubo - piano Akira Yamada - drums Taishi Sakurai - violin Chie Hasegawa - violin Megumi Ozawa - viola Atsushi Hashimoto - cello Released in 2023 on Laplace Records as LPDCD113-114.\nJapanese names: 金森もとい Kanamori Motoi 田窪寛之 Takubo Hiroyuki 山田玲 Yamada Akira 桜井大士 Sakurai Taishi 長谷川智恵 Hasegawa Chie 小澤恵 Ozawa Megumi 橋本專史 Hashimoto Atsushi\nAudio and Video The Motoi Kanamori Trio playing “Lady Luck” live in 2021: The Motoi Kanamori Trio playing “No Fool No Fun” live in 2018: The Motoi Kanamori Trio playing “Aru Ame no Hi ni…” live in 2018: Excerpt from track #1: “Autumn Leaves” ","permalink":"https://mirror2.jazzofjapan.com/motoi-kanamori-the-live/","summary":"\u003cp\u003eBassist Motoi Kanamori released his third album \u003cem\u003eThe Live\u003c/em\u003e in 2023. This is a double CD album with a title that aptly reflects the energy of his group captured in a live concert recording. The two discs are divided between one set from his trio (with pianist Hiroyuki Takubo and drummer Akira Yamada) playing rearranged versions of classic jazz standards, and a second set from his trio with strings, featuring a four-piece string section of two violins, one viola, and one cello.\u003c/p\u003e","title":"Motoi Kanamori: The Live"},{"content":"Renowned jazz bassist Daiki Yasukagawa is actively engaged in a variety of fascinating projects within the Japanese jazz scene. One of those, the Daiki Yasukagawa New Trio, released their first recording with this 2022 album, The Three Roses.\nThe trio’s music and production are in good hands, being led by the veteran bassist and lecturer who consistently appears in live performances and recordings. Yasukagawa has also been running his own music label, D-musica, for many years, uniquely spotlighting select musicians from the Japanese jazz music scene, including some of his albums as well.\nBalancing the years scale, the New Trio is filled out by two young up-and-coming musicians. At the time of the recording, pianist Sora Ichikawa and drummer Yota Tsukada were only 23 and 22 years old, respectively. Despite their relative youth and freshness, their skills and sound portray a deep appreciation and study of jazz music.\nThe album contains eleven tracks, ten original compositions and one rearranged cover. Six of the originals are by Yasukagawa, and two each come from Ichikawa and Tsukada. The one cover song (also arranged by Yasukagawa) is the poignant anti-oppression anthem “Dona Dona” by Sholom Secunda, the composer of “Bei Mir Bist Du Schön”.\nThe music gets straight to the point in delivering new jazz from a new trio. That is, the songs don’t stray too far from the conventional modern jazz piano trio sound and format. They swing as they are interesting and fun, groovy, or delicate as the individual tracks require.\nYet, the music is spiced with enough new changes and the appropriate moods (whether solid walking, gentle lightness, straight-ahead jazz with twists, somber reflections, or modern mellow grooves) to highlight the imagination and ambition of the young players fused with the experience and leadership of Yasukagawa.\nThe bassist’s six contributions comfortably span these and other territories, and the younger two players also confidently contribute their own songs infused with their original personalities. The risk-taking spirit of youth is never extravagantly out of place here, though, and fits finely into the solid bedrock of jazz that Yasukagawa provides as the musical leader and mentor, no doubt, for his new trio.\nObi Notes Bassist Daiki Yasukagawa formed his new piano trio Daiki Yasukagawa New Trio in 2022 with 23-year-old pianist Sora Ichikawa and 22-year-old drummer Yota Tsukada. A combination of originality and the backbone of orthodox jazz, the story is told through 11 songs interwoven with creative compositions from the young and energetic musicians and the increasingly passionate and sensitive playing of Yasukagawa—a memorable debut album.\nThe Three Roses by Daiki Yasukagawa New Trio Daiki Yasukagawa - bass Sora Ichikawa - piano Yota Tsukada - drums Released in 2022 on Daiki Musika D-neo as DNCD-28.\nJapanese names: 安ヵ川大樹 Yasukagawa Daiki 市川空 Ichikawa Sora 塚田陽太 Tsukada Yota\nAudio and Video Excerpt from a live performance of #9 “The Three Roses”: Live performance of the Daiki Yasukagawa New Trio performing “Risin”: D-musica page with album information and audio samples\nExcerpt from track #1: “Wunderbarland”\n","permalink":"https://mirror2.jazzofjapan.com/daiki-yasukagawa-new-trio-the-three-roses/","summary":"\u003cp\u003eRenowned jazz bassist Daiki Yasukagawa is actively engaged in a variety of fascinating projects within the Japanese jazz scene. One of those, the Daiki Yasukagawa New Trio, released their first recording with this 2022 album, \u003cem\u003eThe Three Roses\u003c/em\u003e.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1240988x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1240988x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe trio’s music and production are in good hands, being led by the veteran bassist and lecturer who consistently appears in live performances and recordings. Yasukagawa has also been running his own music label, D-musica, for many years, uniquely spotlighting select musicians from the Japanese jazz music scene, including some of his albums as well.\u003c/p\u003e","title":"Daiki Yasukagawa New Trio: The Three Roses"},{"content":"Owari to Hajimari (The End and the Beginning) is a new album from the duo of vocalist Nobie and guitarist Takayoshi Baba. Released in 2023, this disc features forty minutes of music written and adopted from the duo’s repertoire and experience playing jazz, pop, and Brazilian music together.\nThe two have released their own leader albums and recordings with other groups, but this is the first album to be released under their co-named band partnership and builds on their vast experience playing together in various settings.\nFour of the eleven songs are covers taken from jazz and Latin music. The one tune lifted from the jazz songbook is Thelonious Monk’s “Evidence”. This is an inspired jazz choice for a duo and the result is great—a nicely arranged and precisely played guitar-vocal version of the addictive and off-kilter tune.\nThe three other cover songs are pulled from Brazilian music, with track 5 “Feliz” and 4 “É” by the singer-songwriter Gonzaguinha, and track 10 “Pedra Bonita” by the composer Mario Adnet. The latter two songs are particularly energized by a full quintet sound with members of the group “Nobie Especial Band” joining on piano, bass, and percussion to lay out entrancing rhythms for the guitar and voice acrobatics.\nWhen not scat-singing on these songs, Nobie sings lyrics that have been translated into Japanese, adding another unique twist to the mix of Brazil and Japan that Nobie embodies so well.\nThe seven original songs are led by the album opener “Introduction”, a short and wordless vocal welcome that sets the stage with Nobie’s vocal overdubs and percussion. The riff turns through a hypnotic cycle over a slippery beat, similar to some of the music she creates with another of her groups, the trio Les Komatis.\nTracks 6 through 9 are four of guitarist Takayoshi Baba’s songs played by Baba and Nobie as a duo. The songs are a blend of soulful pop, quick and technical phrases played in unison, dreamy spaces, dazzling scatting, and a short etude as an impressive vocal-guitar workout. While #6 “Kaze no Mama ni” includes Japanese lyrics, Nobie scat-sings and vocalizes as an instrument on tracks 7, 8, and 9, playing in unison with Baba’s guitar or voicing the melody at different times. Baba’s classical guitar with fingerstyle virtuosity elevates the Latin, jazz, and contemporary fusion like a version of The Guitar Trio of Paco de Lucía, John McLaughlin, and Al Di Meola, particularly when Baba overdubs his guitar solos over his rhythm-playing and fingerpicking.\nNobie’s golden sweet voice is ever charming, deceptively soft but ultra dynamic, and powered by a nimble and quick lightness that leaps effortlessly above a foundation of a locked-in sense of time and rhythms. In certain songs, Nobie will also often add claps, slaps, hand percussion, or vocal pops, clicks, and percussive sounds for added rhythmic layers, sometimes even simultaneously while singing.\nLike the album’s opener, the final song, track 11 “Komaku” (eardrum), departs slightly from the rest of the music. This parting song creates a wide open, ambient space for the album’s outro with lush guitar delays and effects drawing a spellbinding mood similar to her tune “Loop” on her debut album Primary.\nLiner Notes (Translated from Shinichi Tokunaga’s original Japanese liner notes.)\nIn 2018, Nobie created her album Bénin-Rio-Tokyo featuring three powerful guitarists with different nationalities and backgrounds. Shortly before this, I had heard of her plans to record with Lionel Loueke, and I had no doubt that something great would result from that. But an interesting thing about music is that no matter how great the players are, it doesn’t necessarily always work out when they play together. Despite interacting and hitting it off through the internet, will they be able to generate the same energy as seen at Nobie’s past performances at Aoyama’s Praça Onze, say, where the audience would become one with the band with the incandescence of white heat?\nBased on the results when that album was released, these fears were completely unfounded, and a masterpiece exceeding expectations was born. Lionel hails from the Republic of Benin and is at the forefront of modern-day jazz. Toninho Horta continues to provide a great influence on jazz from the Brazilian music side. The two together play off each other’s strengths without holding back, fully engaged and solidly facing off with mutual respect (if you listen to the tracks where they cover their own songs, their level of commitment is clear). Nobie’s extraordinary ability also stands out, and Takayoshi Baba’s guitar playing on the album closer, Akiko Yano’s famous song “Gohan ga Dekita yo”, enhances the merits of this album even more. There’s an overpowering feeling of being moved by this third independent vector that expands the dimensions beautifully. Anyone who listens to this sound would probably want to hear more. Releasing this new album under the duo name of Nobie and Baba is an extremely natural progression.\nThose listeners who have picked up this album must already be quite familiar with Baba. But if not, one reason for any unfamiliarity may be due to his only having released one album under his name (note 1) and a relatively low level of activity with his name in the lead position. However, the opportunities for avid jazz fans to have come into contact with Baba are not few due to his many and various live performances and recordings. It’s not uncommon that a reliable musician will keep a packed schedule, being a trusted musician who is often asked to perform with other musicians. As a result, they can end up being so busy that they have an unexpectedly low number of their own leader albums. Baba fits that example.\nAccording to an interview in one article (note 2), when Junko Onishi (undoubtedly one of Japan’s most famous jazz pianists) wanted a guitarist to join her on a recording for the first time in her long career, everyone around her recommended Baba. He is truly a first-call guitarist in the jazz scene in Japan. The nice feeling of the touch of his picking on a nylon string acoustic guitar is worth special mention. There’s no hiding the tone of poorly played nylon strings even through processing, and it can end up sounding cheap. This guitarist’s sense and delicacy, and his ability to perfectly perceive and control the physical vibration of the strings through his ears and fingertips, are easily apparent. This is a virtue that is shared by Lionel, Toninho, and Baba, a point that I would love to emphasize as a writer with a fairly long (self-proclaimed) career as an acoustic guitar music critic writing for classical guitar publications.\nThe album begins with Nobie’s overdubbed a cappella vocals on “Introduction”. This very short track may have been arranged from a suddenly improvised phrase, and it reminds me of her innovative a cappella version of “Blue Rondo a la Turk” on Bénin-Rio-Tokyo. The next song is “Owari to Hajimari”, an original composition by Nobie. The performance features the duo of Nobie and Baba with the addition of the rhythm master Yoichi Okabe (percussion), a veteran member of the “Nobie Especial Band”. The song has a light and lively groove, but there is also a sense of painful longing. It’s a masterpiece and a superb performance worthy of the album title. This is Nobie’s authentic self as someone who has mastered the essence of Brazilian music.\nThe cover songs were selected from well-known jazz and Brazilian classics. Thelonious Monk’s “Evidence” is often taken up by jazz musicians, but a vocal scat and guitar version may be unprecedented. The special weightless feeling of Monk’s music is full of many vivid ideas, and the colorful sound of voice and guitar pushing the limits of expression is overwhelming.\nTwo songs were written by Gonzaguinha, a singer-songwriter who exhibited an excellent yet distinct individuality from his father Luiz Gonzaga, composer of the song “Asa Branca” which is known as Brazil’s second national anthem. The Japanese lyrics were translated by an emerging scholar of Brazilian literature, Nobuhiro Fukushima (福嶋伸洋), who in 2022 was awarded the Grand Prize in Japan’s Best Translation Award for his translation of Clarice Lispector’s The Hour of the Star. While remaining faithful to the original lyrics, the Japanese words match the Brazilian rhythms flawlessly and make these songs even more attractive as covers. Shigeki Miyata (宮田茂樹), who produced Bénin-Rio-Tokyo, gave his stamp of approval by saying “These songs definitely need to be included” and contacting the family of Gonzaguinha to obtain permission for use of the Japanese versions of the lyrics. The full Nobie Especial Band groove is bursting on “É” with the addition of a top jazz pianist from Nobie’s generation Mayuko Katakura, and bassist Kiichiro Komobuchi, who has rich experience at the forefront of the jazz and Brazilian music scenes. “Feliz” leads to an about-face as the beauty of Nobumasa Tanaka’s piano creates a sense of glittering light within the tranquility. The contrast between the two tracks is wonderful.\nThe album includes one more Brazilian song in Mario Adnet’s “Pedra Bonita”. Adnet is an important figure in the contemporary Brazilian music scene and has worked on projects such as João Gilberto Eterno, the João Gilberto tribute album from 2021 which he co-produced with Shigeki Miyata. While Nobie was staying in Rio de Janeiro to participate in the recording of Toninho Horta’s album Minas-Tokyo (also produced by Miyata, incidentally), she met Adnet there and seems to have learned about this song then. Later, Nobie obtained the sheet music from Adnet through Miyata and began to perform this song regularly at live shows. This led to the song being included in this album. Upon seeing videos of those live performances, Adnet seems to have been greatly pleased, as he has stamped his seal of approval as the song’s original composer.\nThe second half of the album also contains four of Baba’s original songs. Baba has performed with many other singers in addition to Nobie, but “Kaze no Mama ni” is the first original song of his that he’s released with lyrics. Nobie’s lyrics fit perfectly, and if you weren’t told otherwise, you wouldn’t have thought that this song was written by a jazz musician. Three of these songs are lyric-less, and Nobie sings in a scat style. There is a taste of modern Brazilian music reminiscent of Gismonti and Ginga with elements of jazz and rock contained within, and each is an unreserved demonstration of Baba’s superb compositional talent.\nWith the grand beauty and impact of the final song, Nobie’s “Eardrum”, this album can be declared perfect. It’s an album that follows in the footsteps of Bénin-Rio-Tokyo and should be released into the world. I would like to once again express my sincere appreciation to Nobie and Baba for delivering such a magnificent album so naturally. I only wish that I could have shared my feelings with Shigeki Miyata, who departed from this world in July 2022, and who was probably eagerly awaiting this album’s completion more than anybody else!\nShinichi Tokunaga (徳永 伸一): Music Writer, Associate Professor at Tokyo Medical and Dental University\nNote 1: Gray-Zone (2013, Song\u0026amp;Co label)\nNote 2: Ototoy “Junko Onishi releases her long-awaited first collection of ballads with her regular trio after 8 years” (interview and text: Mitsutaka Nagira [柳樂光隆]) https://ototoy.jp/feature/20171110\nOwari to Hajimari by Nobie \u0026amp; Takayoshi Baba Nobie - vocal/percussion/chorus Takayoshi Baba - guitar/chorus Nobumasa Tanaka - piano (#5) Mayuko Katakura - piano (#4, 10) Kiichiro Komobuchi - bass/chorus (#2, 4, 10) Yoichi Okabe - percussion (#2, 4, 10) Released in 2023 on F.S.L. as FSCJ-0024.\nJapanese names: ノビー Nobie 馬場孝喜 Baba Takayoshi 田中信正 Tanaka Nobumasa 片倉真由子 Katakura Mayuko コモブチキイチロウ Komobuchi Kiichiro 岡部洋一 Okabe Yoichi\nAudio and Video Promotional video for this album: Promotional video for “Owari to Hajimari”, track #2 on this album: Nobie and Baba on a 2023 album tour with live versions of #2 “Owari to Hajimari”: \u0026hellip; #4 “É”: \u0026hellip; #6 “Kaze no Mama ni”: \u0026hellip; #9 “Estudio #1”: \u0026hellip; #10 “Pedra Bonita”: Album streams (TuneCore Japan)\nExcerpt from track #2: “おわりとはじまり (The end and the beginning)”\nOther Links Owari to Hajimari website ","permalink":"https://mirror2.jazzofjapan.com/nobie-takayoshi-baba-owari-to-hajimari/","summary":"\u003cp\u003e\u003cem\u003eOwari to Hajimari\u003c/em\u003e (\u003cem\u003eThe End and the Beginning\u003c/em\u003e) is a new album from the duo of vocalist Nobie and guitarist Takayoshi Baba. Released in 2023, this disc features forty minutes of music written and adopted from the duo’s repertoire and experience playing jazz, pop, and Brazilian music together.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1250427x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1250427x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe two have released their own leader albums and recordings with other groups, but this is the first album to be released under their co-named band partnership and builds on their vast experience playing together in various settings.\u003c/p\u003e","title":"Nobie \u0026 Takayoshi Baba: Owari to Hajimari"},{"content":"Boundary is the 2018 release from the trio of pianist Megumi Yonezawa, bassist Masa Kamaguchi, and drummer Ken Kobayashi. This album is the result of a suddenly booked recording session in Brooklyn while bassist Kamaguchi was temporarily in town and playing with the New York-resident pianist and drummer. Their live performance inspired a producer to arrange a trio recording while the opportunity was available.\nOpen and experimental, the music on the album is 66 minutes of improvisation. The songs are a loosely-structured dialogue between the three members as they play freely using prompts and suggestions to one another, responding in the moment to what they are hearing from others and imagining within themselves.\nMost of the ten tracks are original songs which, in the spirit of free jazz, may have been unrehearsed sketches explored (or completely improvised) for the first time in the studio. The intuition of the musicians through their ears and experience guides them to create music that is abstract but not formless. There are sounds and structures that color outside of the lines, but that are controlled musically and not overly chaotic.\nThe music flows like untethered explorations in space as the three members seek to coordinate and unite their musical impulses, feelings, and thoughts into unified musical ideas from track to track, or within each track as the moments strike and ideas take shape. It’s liberating and fascinating to listen to, and ceding control to the music and allowing it to lead is a good idea. As the music avoids mainstream patterns, some jazz fans may find this music challenging and it may not be for everyone. Although, what is?\nSimilarly, it also must also be challenging for experienced jazz musicians such as these to determinedly avoid the common movements and phrases that rise, like habits, unbidden to their minds and fingers and which must be suppressed in service of the freedom that their music is pointed towards.\nA trek through the tracks describes the album’s moods, as abstract and spontaneous as those might be. The music starts with the opener #1 “Boundary”, which seems to play with the idea of reaching a point of allowed travel, a limit, and seeing what happens when that edge is crossed or examined up close. Notes travel like a mosaic of crazed glass with small fragments of chaos to provide an indication of things to come, and the boundary is crossed from a safe location towards an energized and possibly dangerous adventure.\nNext, #2 “Alchemy” bubbles with increased entropy and the stress of a chemical reaction. The more easily identifiable licks and rhythms of #3 “Tremor” provide the hooks of a sudden jazz-like jam with a sense of forward movement.\n#4 “Meryon” is as moody as the monochromatic etchings of the French artist Charles Méryon’s views of old Paris, perhaps tracking his descent into madness through the eerie metamorphosis of the song as it builds and disassembles.\nIn the track listing, the one standard tune included is #5 “I’ll Be Seeing You”. Here, heartfelt piano floats wistfully along as rolling waves of brushed snare and cymbals maintain a sense of underlying tension, and more bittersweet pain is extracted from the popular song than is usually heard.\nThe second half of the album continues developing the trio’s improvised ideas and themes. #6 “Reef” introduces beeps, boops, and rumbles that assemble into structures. #7 “Veil” features a sparse piano and bass duo with more-felt-than-heard drumming that reveals pretty views through slow snatches of melody and subtle clues.\n#8 “Onement” is based on a single clipped note repeating like an alarm as an automated factory wakes up and initiates its slapstick assembly processes like a strange Looney Tunes scene. #9 “Wavelength” is a bass and drums improvisation that boils ambiently over a fire that threatens to get out of control.\nFinally, #10 “Nostalgio” brings the volume and temperature down as notes drop, disperse, and uncover a peaceful ballad in the ripples. That is, the unlisted standard “I Loves You, Porgy” fills the second half of this final track. This tender standard emerges to complete the album with an unfiltered return to standard form for a beautiful dénouement, transporting us back across the boundary, slowly and safely home.\nLiner Notes (Reproduced from the album liner notes written by Matthew Shipp)\nIs space the next frontier? Well, it’s so beautiful and refreshing to hear a piano trio that is secure enough in itself to utilize space in a relaxed manner and paint their portrait in sound in an assured, inspired way with a balance and equilibrium that allows the listener the psychic space to take it all in, let it find its level in one’s own inner world. Individual musical devices and events are isolated—a dialogue always exists between the right and left hands of the pianist—on top of the dialogue that exists between the members of this wonderful trio. This trio sounds like they were destined to play together since time began, and the exploration is always allowed to unfold in a manner that is natural for whatever compositional event was isolated in the improvisation and is unfolding.\nThis trio always sounds natural—it is an overall concept here that informs the whole trio and generates the resultant music—and the overall concept generates the interaction between trio members and the overall beauty of the sound contained here. This fits in very well with the ESP-Disk’ piano tradition, though this CD is its own world within itself. It sits really nice next to Paul Bley and Lowell Davidson, though the pianist has her own distinct sense of phrasing with its own type of internal swing and projection of piano sound. This CD fits in well in the ESP tradition of CDs that Gary Peacock played bass on, though again there is nothing here that sounds exactly like Peacock—it is a spirit I am talking about that informs the music. Any other bassist in this particular trio could have forced the music in a more traditional sound—this bassist seems to be the perfect complement among the pianist and the drummer to let the music breathe and find its own space. The drummer not only holds everything together and keeps things moving but has a way about him that encourages everyone to think in dialogue. The couple standards here help elucidate the way this trio goes about its business—and will give you a glimpse into how they conceptualize the idea of already given form and freedom. Exploring standards with freedom has become a thing in a lot of new music, and it both illustrates the continuity between the language while giving certain listeners something to hold on to, the challenge of course being whether you can take the traditional material, use it as camouflage, and make it sound natural within your own language. Yes, it can become a language game to some extent.\nThis is not a traditional free jazz CD—and it is obviously not a straight-ahead jazz CD. It is also not an attempt to meld the two together. It is not anyone showing off their chops. Also, no one sounds like they are trying to prove anything. What is so beautiful about this CD is that it is really, really honest. Really. This trio knows music but is open to throwing their preconceptions out and seeing where things go. This is an honest statement. Sit back and enjoy the ride. — Matthew Shipp\nBoundary by Megumi Yonezawa / Masa Kamaguchi / Ken Kobayashi Megumi Yonezawa - piano Masa Kamaguchi - bass Ken Kobayashi - drums Released in 2018 on ESP-Disk’ as ESP-5023.\nJapanese names: 米澤めぐみ Yonezawa Megumi マサ・カマグチ Kamaguchi Masa 小林健 Kobayashi Ken\nAudio and Video Album stream (Bandcamp)\nA short clip of the trio playing live in 2019:\nExcerpt from track #10: “Nostalgio” Other Links Album introduction by NY label ESP-Disk’\nReview by “Between Sound and Space: ECM Records and Beyond”\nReview by DownBeat\n","permalink":"https://mirror2.jazzofjapan.com/megumi-yonezawa-/-masa-kamaguchi-/-ken-kobayashi-boundary/","summary":"\u003cp\u003e\u003cem\u003eBoundary\u003c/em\u003e is the 2018 release from the trio of pianist Megumi Yonezawa, bassist Masa Kamaguchi, and drummer Ken Kobayashi. This album is the result of a suddenly booked recording session in Brooklyn while bassist Kamaguchi was temporarily in town and playing with the New York-resident pianist and drummer. Their live performance inspired a producer to arrange a trio recording while the opportunity was available.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1250013x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1250013x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eOpen and experimental, the music on the album is 66 minutes of improvisation. The songs are a loosely-structured dialogue between the three members as they play freely using prompts and suggestions to one another, responding in the moment to what they are hearing from others and imagining within themselves.\u003c/p\u003e","title":"Megumi Yonezawa / Masa Kamaguchi / Ken Kobayashi: Boundary"},{"content":"Calling all jazz nuts! Jazz Nutty is a small coffee shop near Waseda University in Tokyo where the jazz records are cranked and the coffee flows hot. The shop name is undoubtedly a tribute to the Thelonious Monk tune “Nutty”, similar to other jazz spots which honor famous musicians, albums, or tunes from jazz history, like the bar Salt Peanuts for example. Also in the legume/nut theme is of course the general jazz vibe of “Peanuts jazz” with Charlie Brown and Snoopy that is ever popular and present this time of year.\nFigure 1: Welcome to Jazz Nutty\nThe hand-painted sign next to the front door reads:\nFigure 2: Coziness at Jazz Nutty\nHear the soul of musicians!\nNot a restaurant\nFigure 3: Changing the music\nA jazz cafe where you can listen to records and CDs\nFigure 4: Listening to Duets by Carla Bley and Steve Swallow\nCoffee, tea, cola, alcohol 500 yen and up\nFigure 5: Seats, tables, pictures, and speaker\nEntry fee 200 yen (Discounts for students)\nFigure 6: Back bar and kitchen area\nMon-Fri: 11:00 - 19:00\nFigure 7: Jazz and coffee\nSat/Sun/Hol: 11:00 - 18:00\nClosed Tuesdays\nFigure 8: Listening to Chick Corea’s classic jazz trio album Now He Sings, Now He Sobs at Jazz Nutty\nJAZZ NUTTY\nJazz Nutty is a cozy spot to settle in and listen to great music played through the striking speakers placed near the entrance. Seats are arranged right in front facing the speakers and along the walls with wooden benches on each side.\nDepending on the music and the mood, the sound may get quite large and loud, but it’s still clear as it is penetrating. Some guests may find that the seats closest to the large speakers are bombarded with the sound waves; many will love the immersion. In any case, the shop is quite small and the sound travels all around, so any seat is a good one for listening.\nFurnishings are minimal but this means there are few distractions to enjoying the music and a beverage or two. After ordering and listening for a while, you may even be asked if there’s anything in particular you want to hear.\nRequests are limited to the shop’s personal collection and whatever’s currently on hand or brought in by regular customers, but both the shop’s stock and the shopkeeper’s knowledge runs deep. Past requests for albums such as Carla Bley \u0026amp; Steve Swallow’s Duets and Chick Corea’s Now He Sings, Now He Sobs were happily satisfied. This is the icing on the cake at a welcoming respite, a comfortable escape from the busy city for jazz nuts everywhere.\nThe website for Jazz Nutty is a blog with monthly updates. Along with information about holidays or irregular hours, monthly themes and featured albums are posted regularly. To get a sense of the shop’s personality, the 2024 themes are illuminating:\nJanuary: Featuring Benny Golson, who turned 95 years old. The post invites customers to bring their requests or CDs with their favorite versions of “I Remember Clifford” and “Whisper Not”. February: Featuring Matt Dennis (110th birthday anniversary), famous for standards including “Angel Eyes” and “Everything Happens To Me”. March: Celebrating bassists Doug Watkins and Jimmy Garrison (who would have both turned 90) and Steve LaSpina (70). April: Honoring Duke Ellington (125th birthday anniversary) May: Atlantic Records and Enja Records. The follow-up post for May included featured albums like Atlantic’s Lennie Tristano: Tristano, Philly Joe Jones \u0026amp; Elvin Jones: Together!, and Freddie Hubbard: Backlash, and Enja’s Prince Lasha: Inside Story and Abbey Lincoln: Talking to the Sun. June: A month honoring Eric Dolphy and the alto saxophone in jazz. July: Related to the Paris Summer Olympics, French records were featured. Bassist Charlie Haden was also featured. August: Featuring Kenny Dorham (100th birthday anniversary) and the trumpet in jazz. September: Featuring Bud Powell (100th birthday anniversary) and the piano in jazz. October: Honoring the music of Cole Porter. November: Featuring the recordings of Rudy Van Gelder (100th birthday anniversary) December: A theme of “My Personal Top 5 Albums of the Year”. Also, some picks related to recent jazz passings included Lou Donaldson: Light-Foot, Roy Haynes: Out of the Afternoon, and Carmen McRae: Live at Dug (Dug’s Hozumi Nakadaira) After each month’s theme is announced, a second post follows and lists some of the albums being featured and played that month.\nFigure 9: Tracklisting and back cover art on the LP version of Chick Corea\u0026rsquo;s Now He Sings, Now He Sobs\n","permalink":"https://mirror2.jazzofjapan.com/jazz-nutty/","summary":"\u003cp\u003eCalling all jazz nuts! Jazz Nutty is a small coffee shop near Waseda University in Tokyo where the jazz records are cranked and the coffee flows hot. The shop name is undoubtedly a tribute to the Thelonious Monk tune “Nutty”, similar to other jazz spots which honor famous musicians, albums, or tunes from jazz history, like the bar \u003ca href=\"https://www.jazzofjapan.com/archive/salt-peanuts\"\u003eSalt Peanuts\u003c/a\u003e for example. Also in the legume/nut theme is of course the general jazz vibe of “Peanuts jazz” with Charlie Brown and Snoopy that is ever popular and present this time of year.\u003c/p\u003e","title":"Jazz Nutty"},{"content":"Oh, Lady Be Good is a piano trio album from Tokyo-based jazz pianist Akane Matsumoto. She’s been releasing trio recordings since 2008, along with albums playing with quartets and quintets, although her recent albums have featured her in small ensembles rather than her regular combos. In fact, since this record (recorded and released in 2019), her latest releases have focused on solo and duo formations, such as her piano album Little Girl Blue (2022), her duo with trombone on For My Lady (2023, with Nanami Haruta), and her latest piano and saxophone duo release Trust (2024, with Ayumi Koketsu). All of which is to say that this album, Oh, Lady Be Good, is her most recent jazz piano trio release.\nHer early debut album Falling In Love With Phineas drops a name in its title that hints at how Matsumoto’s music and quick fingers are filled with hard swinging and elegant playing. On her trio records and at live performances, she naturally transforms her enthusiasm for highly dextrous, fluid pianists like Phineas Newborn Jr. and Oscar Peterson into her own personal style with dazzling energy.\nThis inspiration is also present on this release in the form of rapid tempos, elegant passages, and sparkling improvisation. At the same time, Matsumoto’s virtuosic fire and passion are balanced by the pianist’s original compositions and sensitive ballad picks. The eight-song, 45-minute album features the uptempo burners that audiences always look forward to as well as the exquisitely smooth and slower rhythms of ballads and bossas. It all works to set heads bopping, bring forth smiles, and set graceful moods as the tracks play out.\nThe album begins with a deeply comfortable laid-back groove for the title track “Oh, Lady Be Good”. Tracks #2 “I Love You and #7 “Bye Bye Blackbird” fit the bill for intense barn burners with head-turning improvisation and nicely detailed arrangements. Similarly, track #5 “Tadd’s Delight” is Matsumoto’s arrangement of a tune drawn from the standard jazz repertoire, an uptempo treat that always excites listeners. These standards are handled with expertise and respect while incorporating Matsumoto’s artful designs with interludes, coordinated accent hits and bass lines, and several prearranged intros, outros, breaks, and vamps.\nAlong with jazz standards are three of Matsumoto’s originals, tracks #3 “Contact”, #4 “Pleiades”, and #6 “A Queen of the Night”. These slower, introspective moments, featured particularly on “Pleiades” and “A Nightingale Sang in Berkeley Square”, create space for delicate playing and patient absorption nestled among the higher-energy songs. The two ballads are also the two longest songs on the album, and Matsumoto starts and stops time for brief moments as she gently sets free the emotion of the notes in the melodies and improvisation. For an extra pleasing musical touch right at the end, Matsumoto includes the beautiful introductory verse for “Nightingale” played at the intro, and recalls it once again on the way out.\nAs for the meaning of #4 “Pleiades”, the word refers to the Messier 45 star cluster also known as “The Seven Sisters” located near the Taurus constellation. Reading Matsumoto’s notes for this song uncovers what it means to her, conveyed through her sensitive playing that brims with love and gratitude. With the same celestial theme, it must not be a coincidence that she is adorned with glittering stars on the album cover, undoubtedly guided by her heavenly intentions.\nLiner Notes (Translated from Akane Matsumoto’s original Japanese liner notes.)\nOh, Lady Be Good George Gershwin was one of America’s finest composers. Originally written for the 1924 Broadway musical “Lady, Be Good!”, this is the first song written together with his brother and lyricist Ira Gershwin for a Broadway musical, 1924’s “Lady, Be Good!” Achieving success at a young age, Gershwin continued writing songs while fighting a deep loneliness: “Music is the only proof that I’m alive”. His brother, who understood him best, was always at his side. Although he passed away at the young age of 38, it’s said that he composed over 600 songs in the twelve years of his musical life. Expressing his feeling that “I don’t have time to fail,” the great composer never stopped growing and continued to produce new ideas one after another in his songs. (Akane Matsumoto)\nI Love You This song was written for a 1944 musical called “Mexican Hayride” by musician Cole Porter, who gained a sudden leap in popularity with his 1932 masterpiece “Night and Day”. In my favorite biopic about Cole, a movie called De-Lovely, there is a scene where he made a five-dollar bet with a friend on whether or not a song could be written from a cliched phrase like “I love you”. The result was this song. There was a memorable line that the songs he wrote in jest were a hundred times more profitable than his serious songs. However, on the other hand, some say that Cole wrote all of his songs for his lifelong companion and wife Linda, and that he stopped composing after she died. They must have been more closely connected than anyone else. They continue to exist together in Cole’s music. (Akane Matsumoto)\nContact My grand piano finally arrived. For me, as someone who spent over twenty years with an upright piano, this was the very thing that I was longing for. While I was in university, I used to visit friends who had grand pianos and let me play as much as I liked. The grand piano that I welcomed home sounded just like I had imagined it would. The ringing pianissimo notes spread out as if slowly permeating the room. Whatever I play feels good, and I can’t help but smile. I felt like I had finally found it. “A good instrument helps the player to grow.” These are the words of Aoki-san, the piano tuner who I have wholeheartedly relied on for many years and who helped me choose this piano. I wonder how my wonderful union with this beloved instrument will change me in the future. This song is the first piece that I wrote after sitting down at my long-awaited piano for the first time. (Akane Matsumoto)\nPleiades How meaningless are hatred and conflict? Some say that the Pleiadians came from a distant star 440 light-years away to fill the Earth with love. Whenever I meet a kind person, I begin to imagine wildly “I wonder if this person was a Pleiadian in a past life?” These are the kind of gentle people who always empathize with others and give love unconditionally. How many countless times have I been saved by their presence… how deeply I admire their humanity. With feelings of gratitude that cannot be fully expressed… (Akane Matsumoto)\nTadd’s Delight This is a song by pianist Tadd Dameron, one of the first to incorporate bop idioms into his arrangements. The king of jazz Miles Davis revered him as an arranger. He earned a great amount of confidence from jazz musicians, including having a big impact on Benny Golson who also composed many famous songs. Tadd Dameron also contributed written pieces for Count Basie, Coleman Hawkins, Sarah Vaughan, and others. Even while he was buffeted by major changes in jazz history from the 1940s to the mid-1960s, through bop, hard bop, cool jazz, and contemporary jazz, he pursued his creed to the end: “I want my music to be beautiful, and it must swing.” “If people whistle the music I wrote on their way home, that’s all I need”. He carried on with his style of sharing music that fit with audiences. (Akane Matsumoto)\nA Queen of the Night This is a memory from long ago. One summer night I was told to come outside, so I went to the front door in my pajamas and opened the door. It was Queen of the Night, flower buds that my father had carefully cultivated. They were beginning to open, and I could see that the buds were slowly turning upwards, little by little, and heading towards blooming. Illuminated by the moonlight, the large white flowers stood out even more in the darkness, and a strong fragrance floated all around. By morning, the color and scent of the wilted flowers would be gone. Still, I was captivated by how they had bloomed so majestically over a short time. It was an experience where I was able to witness the beauty of existence. (Akane Matsumoto)\nBye Bye Blackbird Bid adieu to a world of hardship and sorrow, and return home to a place where loved ones are waiting. Ever since Miles Davis played it, this song became a very famous standard number that has been taken up by many musicians. It has become my regular habit to close my performances with this, to thank those who have come to listen to me play and to wish them a next day full of hope. And as for me, playing this song makes me truly happy and full of positivity. My wish to make lots of people smile though jazz has not wavered at all over the last twenty years. Even if I play it every day, I don’t get tired of this song, and it always gives me courage. (Akane Matsumoto)\nA Nightingale Sang in Berkeley Square The scene is a park in London as night is being welcomed in. This is a love song that reminisces romantically about the meeting and parting of a couple. The story is illuminated through the beautiful voice of the nightingale’s song, as if the bird is watching over them. This is a masterpiece by the American composer Manning Sherwin and is beloved by many vocalists including Frank Sinatra, Anita O’Day, Nat King Cole, and Carmen McRae. It was included in the 1940 musical New Faces, a type of musical revue that centered on the enjoyment of song and dance rather than focusing on a clear storyline. The beautiful introductory section of this song is another of its charms. (Akane Matsumoto)\nObi Notes Akane Matsumoto at the pinnacle of her evolution as a pianist and as a widely in-demand accompanist and backing musician.\nThis album is the crystallization of her wish to “make lots of people smile through jazz.”\nFilled with the fun, the beauty, and the charm of the piano trio!!\nOh, Lady Be Good by Akane Matsumoto Akane Matsumoto - piano Ryu Kawamura - bass Junji Hirose - drums Released in 2019 on Concept Records as CR-12.\nJapanese names: 松本茜 Matsumoto Akane 川村竜 Kawamura Ryu 広瀬潤次 Hirose Junji\nAudio and Video Promotional video with excerpts from the first four tracks and a video of the recording of “Bye Bye Blackbird”: Audio for “Tadd’s Delight”, track #5 on this album: Audio for “A Queen of the Night”, track #6 on this album: Audio for “A Nightingale Sang in Berkeley Square”, track #8 on this album: Excerpt from track #1: “Oh,Lady Be Good” ","permalink":"https://mirror2.jazzofjapan.com/akane-matsumoto-oh-lady-be-good/","summary":"\u003cp\u003e\u003cem\u003eOh, Lady Be Good\u003c/em\u003e is a piano trio album from Tokyo-based jazz pianist Akane Matsumoto. She’s been releasing trio recordings since 2008, along with albums playing with quartets and quintets, although her recent albums have featured her in small ensembles rather than her regular combos. In fact, since this record (recorded and released in 2019), her latest releases have focused on solo and duo formations, such as her piano album \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/akane-matsumoto-little-girl-blue\"\u003eLittle Girl Blue\u003c/a\u003e\u003c/em\u003e (2022), her duo with trombone on \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/akane-matsumoto-nanami-haruta-for\"\u003eFor My Lady\u003c/a\u003e\u003c/em\u003e (2023, with Nanami Haruta), and her latest piano and saxophone duo release \u003cem\u003eTrust\u003c/em\u003e (2024, with Ayumi Koketsu). All of which is to say that this album, \u003cem\u003eOh, Lady Be Good\u003c/em\u003e, is her most recent jazz piano trio release.\u003c/p\u003e","title":"Akane Matsumoto: Oh, Lady Be Good"},{"content":"Drummer Hiro Kimura’s debut album from 2022 is Trees, a 61-minute modern jazz album recorded with two of his regular rhythm sections. The album was recorded over two days in the studio, the first with Naoko Tanaka on piano and Yuji Ito on bass, and the second with Mamoru Ishida on piano and Keisuke Furuki on bass.\nJoining Kimura’s rhythm sections are the front-line members consisting of three horn players who alternate and unite on different tracks. Alto and soprano saxes are played by Akiha Nishiyama and Kohei Ando, and trumpet by Mao Sone, who also switches to piano and Fender Rhodes for two songs.\nMost of the songs feature a quartet form with sax, piano, bass, and drums, with Nishiyama and Ando switching off between the two rhythm sections. The two sax players even join up on one song with a burning back-and-forth sax dialogue on the addictively chunky #4 “Updraft”, where the reverse-step riffs and rhythms with the steadily rising notes of melody and improv appear as upward-flowing tendrils of smoke or air.\nAlong with his crystal clear and clean-cut drumming, this debut from Kimura also showcases to a large degree his writing style with jazz, mainly, but also pop and Brazilian musical influences. There is straight modern jazz composing with personality (#1 “Winter Pillow”, #2, “Groundwater”, #3 “Enrai”, #4 “Updraft”), melancholy infused with folk or ethnic influences (#5 “K’s A Major”, #6 “Gijibato Blues”), and cool-down, laid-back grooves (#8 “Time After Time”, #9 “When It Was New”).\nWhile this is a drummer-led album, Kimura shares the stage generously with all of the members in these trios, quartets, and quintets; his humility extends even to the album credits where his own name is placed last in order. Aside from his locked-in drumming skills, fans of great drummers will also notice several moments on the record when he takes the spotlight. Kimura’s drum solos are featured on track #1 “Winter Pillow” and #4 “Updraft” after the horns and piano finish their solos. In addition, his propulsive percussion intros to #4 “Updraft” and #7 “Overrun” set the mood perfectly and crank up the engines for two of the dynamic highlights on the album as well.\nLiner Notes (Translated from Hiro Kimura’s original Japanese liner notes.)\nFirst of all, thank you for checking out this album.\nA warm welcome to those who may already know my name or the musicians on this album, and also to those who are hearing us for the first time. Also, to any young people who may have discovered this CD on their parent’s bookshelf someday decades in the future.\nBecause this is instrumental music, you can use your imagination freely however you like with this music. But when it comes to me, I enjoy looking at the descriptions on the package while I’m eating, so here I’ll write down just a bit about the songs.\nWinter Pillow\nFrom the bed of a room in the cold of winter, a world of music spreads out. This is what I imagined for this song. I wrote this song for my composition class’s final assignment while studying abroad in Boston, and I’ve been playing it ever since I returned to Japan. Come to think of it, Mao Sone also played on it when we played it for the first time in class.\nGroundwater\nThis has the feeling of melted snow which turns into groundwater and gushes out. The members’ love for jazz also oozes out from their performance.\n遠雷 (*/*Enrai, distant thunder*/)*\nI wrote this song about one summer’s sudden heavy downpour. Dark clouds appeared in the distance and steadily approached, turning into a violent rain. When they eventually departed, they left a slightly chilly air behind.\nUpdraft\nSince two of Japan’s leading sax players are on this album, we recorded this song for the two horns to show their stuff. The two players intertwine and rise to the top much like the title “Updraft” suggests.\nK’s A Major\nK stands for bassist Keisuke Furuki. It’s a ballad based on a memorable phrase he often plays.\nKijibato Blues\nWhen I was stuck at home in 2020 during the coronavirus pandemic, I kept hearing the sound of Kijibato (Eastern Turtledoves) singing in the neighborhood. Their listless cries created an unsettled feeling and led to this melancholic melody.\nOverrun\nOne day, there was an internet news article that read “○○ Subway Train Overruns Station Platform”. It stopped only a few meters off, and no one was injured, so I was surprised that this made the news. On the other hand, there are big accidents that occur every day during jazz performances (haha). That’s also one of the best parts. Each member overruns.\nTime After Time\nThis is the only standard tune on this album. Some lyrics include “The twilight at one day’s end.” This arrangement somehow conveys that image of a sunset, as the end of the album also approaches.\nWhen It Was New\nThis song takes the role of the album’s end credits. I hope that the soft reverberations linger for a little while.\nJune 20, 2021\nHiro Kimura\nTrees by Hiro Kimura Akiha Nakashima - alto sax, soprano sax (#2, 4, 5, 8) Kohei Ando - alto sax, soprano sax (#1, 3, 4, 7, 9) Mao Sone - trumpet (#1), piano (#6), Fender Rhodes \u0026amp; keys (#9) Mamoru Ishida - piano (#2, 4, 5, 8) Naoko Tanaka - piano (#1, 3, 7, 9) Keisuke Furuki - bass (#2, 4, 5, 8) Yuji Ito - bass (#1, 3, 6, 7, 9) Hiro Kimura - drums, percussion (#3) Released in 2021 on KINO Records as KIN-001.\nJapanese names: 中島朱葉 Nakashima Akiha 安藤康平 Ando Kohei 曽根麻央 Sone Mao 石田衛 Ishida Mamoru 田中菜緒子 Tanaka Naoko 古木佳祐 Furuki Keisuke 伊藤勇司 Ito Yuji 木村紘 Kimura Hiro\nAudio and Video Video for “Winter Pillow”, track #1 on this album: Video for “Enrai”, track #3 on this album: Video for “Catch The Flow”: Album playlist (YouTube)\nAlbum stream (TuneCore Japan)\nAlbum stream (Songlink/Odesli)\nExcerpt from track #4: “Updraft”\n","permalink":"https://mirror2.jazzofjapan.com/hiro-kimura-trees/","summary":"\u003cp\u003eDrummer Hiro Kimura’s debut album from 2022 is \u003cem\u003eTrees\u003c/em\u003e, a 61-minute modern jazz album recorded with two of his regular rhythm sections. The album was recorded over two days in the studio, the first with Naoko Tanaka on piano and Yuji Ito on bass, and the second with Mamoru Ishida on piano and Keisuke Furuki on bass.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1250815x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1250815x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eJoining Kimura’s rhythm sections are the front-line members consisting of three horn players who alternate and unite on different tracks. Alto and soprano saxes are played by Akiha Nishiyama and Kohei Ando, and trumpet by Mao Sone, who also switches to piano and Fender Rhodes for two songs.\u003c/p\u003e","title":"Hiro Kimura: Trees"},{"content":"Piano Pieces Collection II is pianist Seiji Endo’s follow-up to his 2021 release Piano Pieces Collection. Continuing in the same mood and mode, Endo plays solo piano music of his own hand, compositions that are infused with his motivation to move and support listeners through his music. Although the two recordings are separated by a few years, it wouldn’t be too far off to consider this sequel the second half of a double-album record.\nWhere the previous collection was packaged in a tranquil shade of blue with several songs referencing the color, this album moves from aquamarine to a deeper pink in deep magenta or fushia. This choice contrasts nicely but still conveys feelings of calmness with added luxury, romance, and introspection. The color may be most directly related to track #5 which refers to a pink or peach-colored light, and possibly #13 “Aldeberan”, a reddish giant star, as well. The cover art also strikes a similar pose as the previous album, with the subject dressed with elegant confidence and chic style but in a different imagined setting… traveling, perhaps? But as before, the woman is completely absorbed in the music to the extent that all else seems to disappear.\nAs the title indicates, these are relatively short pieces played on solo piano. Endo masterfully sketches his direct ideas through comforting tunes for two to four minutes apiece. The longest song, #9 “Erica”, is six minutes long and feels like two pieces nested in one another, the middle section being an enchanting Endo-esque waltz nestled between two ornate bookends of prismatic arpeggios.\nCompared to the previous album, the songs are slightly longer here. The titles still reference themes that are quite poetic and personal, exploring feelings of gentleness, wonderment, and sentimentality. As before, the music is mostly slow-to-medium tempo with subtle rubato or swing touches and a few lightly groovy songs for catchy variety. Like a stained glass window of harmonious connection and pure feeling, as the first Piano Pieces Collection /ends with hope and appreciation, this /II also closes in a positive mindset with #15 “True Happiness”.\n“When Standing in Heaven” “Spiritual Provisions” “Carry Forward” “Sunset Shadow” “Peach-Colored Light” “Hand in Hand” “Together with Sakata” “Tears of Shura” “Erica” “Moonlight” “Equal in Rain” “Momentary Flicker” “Aldebaran” “Sentiments of the Keyaki Tree” “True Happiness” Piano Pieces Collection II by Seiji Endo Seiji Endo - piano Released in 2023 on Fair Play Records as FPCD-1013.\nJapanese names: 遠藤征志 Endo Seiji\nAudio and Video Promotional video for this album: Spotify link for this album\nApple Music link for this album\nExcerpt from track #9: “Erica”\n","permalink":"https://mirror2.jazzofjapan.com/seiji-endo-piano-pieces-collection-ii/","summary":"\u003cp\u003e\u003cem\u003ePiano Pieces Collection II\u003c/em\u003e is pianist Seiji Endo’s follow-up to his 2021 release \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/seiji-endo-piano-pieces-collection\"\u003ePiano Pieces Collection\u003c/a\u003e\u003c/em\u003e. Continuing in the same mood and mode, Endo plays solo piano music of his own hand, compositions that are infused with his motivation to move and support listeners through his music. Although the two recordings are separated by a few years, it wouldn’t be too far off to consider this sequel the second half of a double-album record.\u003c/p\u003e","title":"Seiji Endo: Piano Pieces Collection II"},{"content":"“I’m going to be in Tokyo for a few days and want to catch some live jazz… where should I go? Let me know the best places for live jazz…”\nFigure 1: A cocktail at Yoyogi Naru jazz bar in Tokyo\n“Sure! Here are the Top 10 best jazz clubs, bars, and venues for live music around Tokyo, with links to homepages, maps, and articles.” If only it were that simple…\nTen “Top 10” Lists, One “Top 100” List What would be the best selection of lists to suggest for foreigners to visit in Tokyo?\nHere are 100 venues in the form of ten “Top 10, Best Of, Must Visit, Essential Stops List” lists for experiencing live jazz in Tokyo (hyperbolic tongue in cheek).\nThese ten lists go like so:\nLists 1-2: some of the most famous and quintessential spots Lists 3-4: great options that are well-known and popular Lists 5-6: jazz in cafe, restaurant, bar, and nightclub settings Lists 7-8: even more solid options that are a bit more under the radar Lists 9-10: jazz near Tokyo in Yokohama, Chiba, Kamakura, Kashiwa, and Saitama. List #1 lists the most well-known and commonly recommended venues. Some of these clubs have the most recognizably famous brand names. Some also happen to be the most expensive in Tokyo. Some are the most well-known among jazz fans by word of mouth, with long histories and grand reputations among serious jazz fans as well as general audiences.\nAbout four of these venues in List #1, arguably the most well-known clubs for a certain type of vibe with polished interiors and great reputations: Blue Note is the world-famous and iconic jazz club brand, Billboard Live and Cotton Club offer similar experiences in Japan, and the elegant New York Bar was made even more famous by the movie Lost in Translation. (Note that New York Bar is closed for renovations until 2025 Oct.)\nWhile these four are on the expensive side, they are also able to host famous musicians and overseas touring acts that other venues are not able to accommodate. Also, these larger businesses may feature popular non-jazz musicians on occasion. These are not bad things nor reasons to avoid these four places, but they are big differences from the standard, everyday sort of club that jazz lovers look forward to going to as often as they can.\nLists #2-8 are filled with more great options that deserve a spot in Top 10 lists. Some imaginative themes were given as titles for each list, not taken too strictly, but broadly applied for categorization and to make the overall organization easier to understand and more easily readable.\nFinally, Lists #9-10 are filled with places outside of the main districts of Tokyo but well worth trekking out for even more interesting spots with quality jazz in new settings.\nFollowing the lists are my thoughts on lists like these and the methodology or guidelines I used to create these lists. (Confession: These aren’t “Top 10” lists in the sense of rankings in a first to last order. These are just ten lists, arranged in groups of ten, and alphabetized within each list. Some of the clubs in these lists have links to individual articles on this site. All of the clubs are relisted at the end, complete with links to websites, maps, and city and station names for each club.)\nTop 10 lists can be both good and bad, and so with this in mind, I’ve recklessly forged ahead and created ten lists of ten items each below.\nOn to the lists! 1, 2, a 1, 2, 3, 4…(5,6,7,8,9,10!)\nList #1: A Natural Place to Begin “Some obvious starting points and the most well-known venues. Classic, legendary, and historic, and in some cases, expensive.”\nBillboard Live Tokyo - Roppongi Sta Blue Note Tokyo - Omotesando Sta Body \u0026amp; Soul - Shibuya Sta Cotton Club - Tokyo Sta Intro - Takadanobaba Sta JZ Brat - Shibuya Sta Naru - Ochanomizu Sta New York Bar - Shinjuku Sta Pit Inn - Shinjuku-sanchome Sta Sometime - Kichijoji Sta List #1 bonus entry: Related to Intro, Cafe Cotton Club (web map) restaurant and jazz club lies roughly across the street from Intro. (Note that Cafe Cotton Club has a name similar to Cotton Club, #4 on this list, but they are completely different venues.)\nList #2: Quintessential Options “Often recommended, well-known, and must-visit spots. Great for jazz lovers and first timers.”\nAlfie - Roppongi Sta All of Me - Roppongi Sta Apollo - Shimo-kitazawa Sta B-flat - Akasaka Sta Independence - Ikebukuro Sta Polka Dots - Shinjuku-sanchome Sta Salt Peanuts - Ekoda Sta Someday - Asakusa/Tawaramachi Sta Sweet Rain - Nakano Sta Yoyogi Naru - Yoyogi Sta List #3: Everyday Favorites “Practical and straightforward, solid and dependable choices. Everyday/anyday go-to spots for jazz lovers. Humble, simple, and satisfying.”\nApple Jump - Ikebukuro Sta Bon Courage - Yotsuya Sta Cochi - Koiwa Sta Donfan - Otsuka Sta Gate One - Takadanobaba Sta Manhattan - Asagaya Sta Porto - Nippori Sta Strings - Kichijoji Sta The Deep - Ginza Sta Velera - Akasaka-mitsuke Sta List #4: More to Explore “Reliable jazz clubs, whether old-fashioned classic or stylish, and some with avant-garde, experimental, or trend-setting aspects.”\nAketa no Mise - Nishi-ogikubo Sta Birdland - Kitasenju Sta Klavier - Asagaya Sta Knuttel House - Asakusa Sta Koen-Dori Classics - Shibuya Sta Kohaku - Shibuya Sta No Room for Squares - Shimo-kitazawa Sta Soultrane - Asakusa Sta Velvet Sun - Ogikubo Sta Zimagine - Omotesando Sta List #5: Jazz and Coffee and Tiny Spots “Cafes, coffee, cute, and cozy. A handful of coffee-centered, or just plain small, spots. Nostalgic, simple, caffeinated. Only including live spots for now (jazz kissas and coffeeshops without live music are for a separate article).”\nAfter Hours - Koenji Sta Cafe Beulmans - Seijogakuen-mae Sta Cafe Clair - Nishi-arai Sta Galleria Caffe U_U - Myogadani Sta Cielnage - Tokyo Sta Coffee Bigaku - Gakugei-daigaku Sta On A Slow Boat To… - Jimbocho Sta Paco - Kojimachi Sta P\u0026rsquo;s Bar - Ikebukuro Sta Thelonious - Higashi-nakano Sta List #6: Nightclub, Restaurant, and Bar Atmospheres “Pulling their weight with live jazz in a varied combination of settings with a certain type of vibe. Some feature great food options, from izayaka grills to gourmet menus, and others feature drinks in an after-dark nightclub mood.”\nBarbra - Ginza Sta Blue Note Place - Ebisu Sta Club T - Roppongi Sta Izumi - Roppongi Sta Jazz Bird - Omotesando Sta Jesse James - Tachikawa Sta Keystone Club - Roppongi Sta Kin No Tsubo - Yoga Sta Rakuya - Naka-meguro Sta Ginza Swing - Ginza Sta List #7: Even More Solid Choices “Further off the beaten track but are worth checking out for great jazz settings.”\nCrazy Love - Kyodo Sta Darling - Asakusa Sta Expression - Jimbocho Sta In F - Oizumi-gakuen Sta Into the Blue - Machida Sta M.J. Smile - Kichijoji Sta No Trunks - Kunitachi Sta Staccato - Asagaya Sta Sunny Side - Takadanobaba Sta Tokyo Club Meguro - Meguro Sta List #7 bonus entry: Related to Tokyo Club Meguro is Tokyo Club Suidobashi (web map), part of the Tokyo Club chain. Originally, there were four locations in Meguro, Suidobashi, Hongo-sanchome, and Sendagaya. Note that “Tokyo Club” is spelled out on signs in Kanji characters as 東京倶楽部.\nList #8: Grab Bag “Miscellaneous odds, ends, and to-do’s”\nBack in Time - Koiwa Sta Jammin\u0026rsquo; - Toritsu-daigaku Sta Kiri - Ginza Sta Ko-ko - Shibuya Sta Lezard - Shibuya Sta Mars - Tawaramachi Sta Meg - Kichijoji Sta Natural - Mitaka Sta Nica’s - Machida Sta The Moment - Seijogakuen-mae Sta List #9: Yokohama “A jazz hub with plenty of options and a rich history of jazz in Japan.”\nAiregin - Kannai Sta Apple - Kannai Sta Bar Bar Bar - Kannai Sta Bluesette - Hakuraku Sta Dolphy - Sakuragicho Sta Farout - Kannai Sta First - Kannai Sta Kanmachi 63 - Kannai Sta Venus - Kannai Sta Wonder Wall - Hiyoshi Sta The port city of Yokohama, roughly south of Tokyo, is a jazz hub with a rich history of jazz and nightlife. Jazz fans in Yokohama should also be on the lookout for the annual Yokohama Jazz Promenade festival in the fall. Also of interest is Japan’s oldest jazz cafe Chigusa which is planning to reopen as a jazz museum.\nList #10: Further Out “To Chiba, Kamakura, Kashiwa, and Saitama. Just outside of Tokyo and well worth trekking out to for interesting spots with quality jazz.”\nCandy - Inage Sta Cooljojo - Moto-yawata Sta Coquelicot - Funabashi Sta Daphne - Kamakura Sta Ichijo - Kamifukuoka Sta Nardis - Kashiwa Sta Plus Eleven - Ageo Sta Re.Delight - Warabi Sta Sugar Hill - Soka Sta Swan - Shin-tokorozawa Sta List #10 bonus entry: Coquelicot is actually two jazz bars located right next to one another: Coquelicot and Coquelicot Forte. In addition to their bar menu, freshly-made crepes are available from a food truck right outside, and orders can be made from inside the club.\nList #10 bonus fact: Re.Delight is a new club that recently opened, taking over the space formerly occupied by Our Delight (Note: Re.Delight suddenly closed in April 2026, but the venue will resume operations under the original name Our Delight).\nThe Saitama area covers a wide territory and is generally to the north of Tokyo, Chiba is to the east (in the direction of Tokyo Disneyland and Narita International Airport), and Kamakura is in the direction of Yokohama and further south.\nMost of the places in Lists #9 and 10 can be conveniently reached by trains from major Tokyo stations, taking about an hour or more each way. Day trips from Tokyo are also possible for most of these spots, but careful checking of club and train schedules is recommended, especially for nighttime shows. When considering late returns to Tokyo from farther distances such as Kamakura, it may be better to visit jazz clubs at night while staying nearby.\nA Typical “Top 10” List Ask the internet for a “top 10 live jazz clubs in Tokyo”, and you will get a list of venues such as the following:\nAn example list based on results from web searches and AI:\nBlue Note Tokyo - A world-class venue… Pit Inn - An iconic spot… Sometime - A cozy venue with… Naru - A legendary venue featuring… Alfie - A long-standing jazz bar… Intro - An intimate setting perfect for… JZ Brat - A chic, upscale… Dug - A historic bar with a casual vibe… Body \u0026amp; Soul - A classic jazz spot with… Cotton Club - Stylish ambiance with… Similar results can be found through searches like “Tokyo jazz bars with live music” and “popular Tokyo jazz clubs”. The results usually contain some variation of this example list. Some lists are human-authored for travel sites or blogs, and others may be AI-generated with brief descriptions and helpful links for more information. Unfortunately, sometimes those details are inaccurate or not up-to-date and may include places that have permanently closed.\nStill, lists like these can be easy to find, easy to use, and helpful for getting your bearings. They are easily found on the internet and are a reasonable starting point. With the example list shown above, people familiar with these venues would not be surprised at all to see them included, and I’ve also written most of them on this site.\nThis gave me the idea of creating my own human-compiled versions of these kinds of Top 10 lists.\nThe Good, the Bad, and the Messy of “Top 10” Lists Through the years, I’ve spent a lot of time searching for and visiting jazz spots in Japan. I have also thought a bit about how to recommend places to people who want to experience live jazz in Japan, and how to help travelers who may only be in Tokyo for a few nights. These fans may not have much familiarity with the city, the language, or how jazz clubs in Japan operate.\nIt’s challenging to offer recommendations or jot down a quick list of the best options or essential stops. Well, jotting down list with standard venues like the example list above is easy, but it doesn’t feel like it’s enough. You could call it “/The Unbearable Lightness of Top 10 Lists/.”\nWhen it comes to music venues, there are so many different places each with different pros and cons. Various qualities appeal to different types of people. Some people may be deep into jazz with specific knowledge and musical preferences, while others may be dipping in for the first time, looking to have fun with an open mind.\nA one-size-fits-all Top 10 list presents obstacles to describing the different qualities of venues. This is especially hard to convey using the format of quick-to-read lists limited to just a handful of recommendations.\nTo overcome that difficulty, it’s tempting for list authors to go into more detail for each location. A brief Top 10/Best Of/Best Bets/Essential Stops list can easily grow into a long article with more descriptions and photos for each place. The short article which started out as a simple list may evolve into a series of separate articles about each venue individually… which is basically the Clubs section here and on similar sites.\nThe Messy: Searching Online, Example Lists, and Rabbit Holes Naturally, it is easy to find online lists and articles on the internet with topics like “Best Tokyo jazz bars”.\nIt’s not that lists and great articles like these are messy, but that the search process itself can become overwhelming with information overload, incorrect details, broken links, or hard to understand systems. Too much information can a mess.\nHere are five sample lists from some online travel sites. Venues in bold appear more than once across these lists.\n“6 best jazz bars in Tokyo”, Time Out Tokyo, 2024:\n(1) Salt Peanuts, (2) Sometime, (3) Cotton Club, (4) Pit Inn, (5) Manhattan, (6) Naru “Best Tokyo area jazz joints”, Time Out Tokyo, 2016:\n(1) Intro, (2) Eigakan, (3) Pit Inn, (4) Meg, (5) DownBeat “10 Best Jazz Bars in Tokyo”, Japan Wonder Travel Blog, 2023:\n(1) Dug, (2) Naru, (3) Blue Note Tokyo, (4) Sometime, (5) Satin Doll, (6), Maduro, (7) Vagabond, (8) Pit Inn, (9) Samurai, (10) Club T “A Musician’s Guide to the 7 Best Jazz Clubs and Bars in Tokyo”, Culture Trip, 2018:\n(1) Apollo, (2) Pit Inn, (3) Samurai, (4) Sometime, (5) Salt Peanuts, (6) Cotton Club, (7) Intro “Jazz Clubs \u0026amp; Bars in Tokyo”, Tripadvisor, 2024:\n(1) Intro, (2) Barny, (3) Alfie, (4) Soul Stream, (5) J \u0026amp; J, (6) Salt Peanuts, (7) Every Swing, (8) Apollo, (9) The Deep, (10 Knuttel House, (11) Apple Jump, (12) Ko-Ko, (13) Miura, (14) Bar Lion, (15) Satin Doll, (16) Panja, (17) Renon, (18) Expression, (19) Maduro, (20) Strecke In addition to “Top…” and “Best…” articles, there are also great directories of jazz spots and online forums where people ask for and offer suggestions. (Some are listed in the Resources section below.)\nIt can easily become rabbit-hole territory. I’ve been there, too. Searches lead to more searches for details about venue hours, costs, distances and routes for each location, and whether the place is still operating or open on certain days… and, maybe most importantly for some discerning listeners, checking the individual event calendars to find out which performers are scheduled on specific days, in what sub-genres, which instruments are featured, the group formation (solo, duo, trio, etc), looking up the individual bands or musicians for videos, albums, or sound samples… And, for people without natural Japanese language skills, the language barrier with web-based information written in Japanese adds another level of challenge and effort.\nThe Bad: Some Problems with Online Lists To me, some significant problems with Top 10 lists are:\nAn implicit ordering of “best to worst” with a #1 position. Well, there’s probably no such thing as a “#1 best jazz bar” that works for everyone, and different audiences will appreciate different qualities. Even at the same venue, the same listeners may have a completely different experience depending on the scheduled event on any particular day.\nAlso, if ranked, a good “Best of…” or “Top 10” list should describe the system the rankings are based on. Most of the time this is glossed over, so readers assume that whatever is listed as #1 is the best in terms of quality (defined how?), or the winner of a poll or popularity content. Or, it may just be the author’s personal opinion. (By the way, the Methodology section below explains the guidelines I used to create these lists.)\nThe assumption may be that jazz fans should go to the top picks in ranked lists to have the best experiences. But, the experience ends up being really dependent on each particular listener—their musical preferences, the practicalities (time, distance, budget), and what they are expecting or hoping to hear.\nDeciding how long to make the list, and what makes it on the list. A list of 10 makes for a nice, round number, but it’s too short. It’s disappointing to leave great options off the list, especially for a vast metropolitan area like Tokyo with so many easy-to-recommend places.\nOn the other hand, compiling a really long list of all discovered venues is not very useful either. Long lists with many possible options, few details, and questionable entries can become more trouble than they are worth.\nIt can be daunting to wade through long lists of options and feel overloaded with details. Also, with so many great choices, it can be frustrating to struggle to choose among several great shows and venues on a specific night. For jazz lovers, though, it’s a luxury to have so many attractive choices in a city like Tokyo.\nBetween a too-short list and a too-long list, a good balance would be a curated list of hand-picked entries that are recommended for jazz fans by a jazz fan for specific reasons. This was another motivation for writing this article.\nOnline lists can become outdated (broken links, stale content, and incorrect details) if not maintained. There’s also the problem that once a list is published online, it can easily become stale with incorrect or outdated information. Time marches on, and many places end up changing names, locations, or even closing permanently (an increasingly sad sight in the last several years). When searching for up-to-date information, broken links may also be a problem as websites change and domains expire. This also happens to individual venue’s calendar listings as they are sometimes forced to move between blogs, webpages, and social media platforms.\nMoving from the online to the physical world, it can also be frustrating to search for a recommended location in an unfamiliar city, only to get lost and arrive late, or to not find it at all, or even to find that the venue has closed. “This location has been out of business for two years now… why is it still included on a Top 10 list?” Because, it’s the internet. The great world spins, but online posts often sit still.\nThe Good: Lists Can Be Really Useful Whether it’s a simple online list of places with few details, discussions and advice from internet forums, a collection of articles describing each club, or even official travel guidebooks and professional websites, the best thing is the payoff: Finding those special places where jazz is appreciated in unique and exciting venues, where musicians gather to explore new territory, to honor the tradition, and to hone their craft, where listeners gather to enjoy this spontaneous communal experience, and where musicians, audiences, bar owners and staff all together share that elevated state of music magic while they support the art and the love of jazz.\nMethodology “How did you come up with these lists? Why is X listed as #1, but Y is on List #2 and Z is on List #3?”\nThese lists started as informal notes I wrote about the jazz clubs I visited in Japan. I kept adding to these notes for many years and eventually began to keep track of the places in a single list. Along the way, I added entries for places that I heard about or was recommended, places that I hadn’t visited yet but wanted to go to—my “go to todo” list.\nMy list of places visited and places yet to visit has grown easily into the hundreds, with many favorites and uniquely charming places included that I’ve personally visited. It was a challenge to limit this list to 100 venues. As I was completing this list, quite a few entries were shuffled around, included or excluded at different points, and as usual, there were many more places I wish I could have included. But for now, I had to stop somewhere.\nTo select, organize, and group these venues into ten lists, I considered a balance of:\nReputation and fame - more obvious, well-known spots in higher lists Location and access - easy or central Tokyo access Live schedule, typical acts and genres - standard jazz genres (straight ahead, modern, bebop, vocal, etc) Personal experiences - overall quality and personal favorites A lot of this ends up being subjective. If I reconsidered these lists a month or a year later, the groups, ordering, and included venues would probably be a little different, so take it all with a grain of salt. None of this is meant to be absolute or the final word on anything… but it is based on a lot of personal experience and research.\nThe Guidelines The guidelines that I used to create these lists are:\nThese are not rankings, just groups of ten to make the lists readable and for organization. You could also consider each list like a round or level of a live jazz journey. Each list is internally alphabetically ordered, and not in a “1 to 10, best-to-worst” order. “Top 10” is used a lot here but is just being used as a useful term. Each list’s #1 is not meant as the winner, favorite, or best in a category, just first alphabetically. Each list has a themed title to generally group together each list’s entries, and to help the overall organization and readability. The ten lists are themselves ordered to show the more well-known, famous, or popular places in higher lists (List #1, List #2, etc). These are lists of live music venues. That is, places with live music performances that feature jazz musicians playing in front of an audience. Jazz kissas, jazz bars, and jazz cafes that play recorded music are really great, too, but mixing these different types of locations in the same lists would be confusing. A separate list of 100 non-live jazz spots could be a great idea for the future… Resources Sites with club directories and information about jazz in Japan:\nJazz of Japan (this site) Jazz in Japan/(40+ venues)/ Jazz up Japan (200+ venues) Tokyo Jazz Site (140+ venues) Tokyo Jazz Notes (20+ venues) Tokyo Gig Guide (900+ venues, various genres) Jazz Tokyo (news, articles, columns [in Japanese]) Kyou Jazz (daily event listings [in Japanese]) Jazz Clubs Worldwide Global Database (20+ venues) Alphabetical List After Hours - Koenji Sta, Tokyo (web map) Airegin - Kannai Sta, Yokohama (web map) Aketa no Mise - Nishi-ogikubo Sta, Tokyo (web map) Alfie - Roppongi Sta, Tokyo (web map) All of Me - Roppongi Sta, Tokyo (web map) Apollo - Shimo-kitazawa Sta, Tokyo (web map) Apple - Kannai Sta, Yokohama (web map) Apple Jump - Ikebukuro Sta, Tokyo (web map) B-flat - Akasaka Sta, Tokyo (web map) Back in Time - Koiwa Sta, Tokyo (web map) Bar Bar Bar - Kannai Sta, Yokohama (web map) Barbra - Ginza Sta, Tokyo (web map) Billboard Live Tokyo - Roppongi Sta, Tokyo (web map) Birdland - Kitasenju Sta, Tokyo (web map) Blue Note Place - Ebisu Sta, Tokyo (web map) Blue Note Tokyo - Omotesando Sta, Tokyo (web map) Bluesette - Hakuraku Sta, Yokohama (web map) Body \u0026amp; Soul - Shibuya Sta, Tokyo (web map) Bon Courage - Yotsuya Sta, Tokyo (web map) Cafe Beulmans - Seijogakuen-mae Sta, Tokyo (web map) Cafe Clair - Nishi-arai Sta, Tokyo (web map) Candy - Inage Sta, Chiba (web map) Cielnage - Tokyo Sta, Tokyo (web map) Club T - Roppongi Sta, Tokyo (web map) Cochi - Koiwa Sta, Tokyo (web map) Coffee Bigaku - Gakugei-daigaku Sta, Tokyo (web map) Cooljojo - Moto-yawata Sta, Chiba (web map) Coquelicot - Funabashi Sta, Chiba (web map) Cotton Club - Tokyo Sta, Tokyo (web map) Crazy Love - Kyodo Sta, Tokyo (web map) Daphne - Kamakura Sta, Kamakura (web map) Darling - Asakusa Sta, Tokyo (web map) Dolphy - Sakuragicho Sta, Yokohama (web map) Donfan - Otsuka Sta, Tokyo (web map) Expression - Jimbocho Sta, Tokyo (web map) Farout - Kannai Sta, Yokohama (web map) First - Kannai Sta, Yokohama (web map) Galleria Caffe U_U - Myogadani Sta, Tokyo (web map) Gate One - Takadanobaba Sta, Tokyo (web map) Ichijo - Kamifukuoka Sta, Saitama (web map) In F - Oizumi-gakuen Sta, Tokyo (web map) Independence - Ikebukuro Sta, Tokyo (web map) Into the Blue - Machida Sta, Tokyo (web map) Intro - Takadanobaba Sta, Tokyo (web map) Izumi - Roppongi Sta, Tokyo (web map) JZ Brat - Shibuya Sta, Tokyo (web map) Jammin\u0026rsquo; - Toritsu-daigaku Sta, Tokyo (web map) Jazz Bird - Omotesando Sta, Tokyo (web map) Jesse James - Tachikawa Sta, Tokyo (web map) Kanmachi 63 - Kannai Sta, Yokohama (web map) Keystone Club - Roppongi Sta, Tokyo (web map) Kin No Tsubo - Yoga Sta, Tokyo (web map) Kiri - Ginza Sta, Tokyo (web map) Klavier - Asagaya Sta, Tokyo (web map) Knuttel House - Asakusa Sta, Tokyo (web map) Ko-ko - Shibuya Sta, Tokyo (web map) Koen-Dori Classics - Shibuya Sta, Tokyo (web map) Kohaku - Shibuya Sta, Tokyo (web map) Lezard - Shibuya Sta, Tokyo (web map) M.J. Smile - Kichijoji Sta, Tokyo (web map) Manhattan - Asagaya Sta, Tokyo (web map) Mars - Tawaramachi Sta, Tokyo (web map) Meg - Kichijoji Sta, Tokyo (web map) Nardis - Kashiwa Sta, Kashiwa (web map) Naru - Ochanomizu Sta, Tokyo (web map) Natural - Mitaka Sta, Tokyo (web map) New York Bar - Shinjuku Sta, Tokyo (web map) Nica’s - Machida Sta, Tokyo (web map) No Room for Squares - Shimo-kitazawa Sta, Tokyo (web map) No Trunks - Kunitachi Sta, Tokyo (web map) On A Slow Boat To… - Jimbocho Sta, Tokyo (web map) P\u0026rsquo;s Bar - Ikebukuro Sta, Tokyo (web map) Paco - Kojimachi Sta, Tokyo (web map) Pit Inn - Shinjuku-sanchome Sta, Tokyo (web map) Plus Eleven - Ageo Sta, Saitama (web map) Polka Dots - Shinjuku-sanchome Sta, Tokyo (web map) Porto - Nippori Sta, Tokyo (web map) Rakuya - Naka-meguro Sta, Tokyo (web map) Re.Delight - Warabi Sta, Saitama (web map) Salt Peanuts - Ekoda Sta, Tokyo (web map) Someday - Asakusa/Tawaramachi Sta, Tokyo (web map) Sometime - Kichijoji Sta, Tokyo (web map) Soultrane - Asakusa Sta, Tokyo (web map) Staccato - Asagaya Sta, Tokyo (web map) Strings - Kichijoji Sta, Tokyo (web map) Sugar Hill - Soka Sta, Saitama (web map) Sunny Side - Takadanobaba Sta, Tokyo (web map) Swan - Shin-tokorozawa Sta, Saitama (web map) Sweet Rain - Nakano Sta, Tokyo (web map) Ginza Swing - Ginza Sta, Tokyo (web map) The Deep - Ginza Sta, Tokyo (web map) The Moment - Seijogakuen-mae Sta, Tokyo (web map) Thelonious - Higashi-nakano Sta, Tokyo (web map) Tokyo Club Meguro - Meguro Sta, Tokyo (web map) Velera - Akasaka-mitsuke Sta, Tokyo (web map) Velvet Sun - Ogikubo Sta, Tokyo (web map) Venus - Kannai Sta, Yokohama (web map) Wonder Wall - Hiyoshi Sta, Yokohama (web map) Yoyogi Naru - Yoyogi Sta, Tokyo (web map) Zimagine - Omotesando Sta, Tokyo (web map) Figure 2: Lots of listeners squeeze into a jam-packed live performance at P’s Bar in Tokyo\n","permalink":"https://mirror2.jazzofjapan.com/ten-top-10s-for-live-jazz-in-tokyo/","summary":"\u003cp\u003e\u003cem\u003e“I’m going to be in Tokyo for a few days and want to catch some live jazz… where should I go? Let me know the best places for live jazz…”\u003c/em\u003e\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1080141-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1080141-1200.jpeg\"\n         alt=\"Figure 1: A cocktail at Yoyogi Naru jazz bar in Tokyo\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eA cocktail at Yoyogi Naru jazz bar in Tokyo\u003c/p\u003e\n        \u003c/figcaption\u003e\n\u003c/figure\u003e\n\n\u003cp\u003e\u003cem\u003e“Sure! Here are the Top 10 best jazz clubs, bars, and venues for live music around Tokyo, with links to homepages, maps, and articles.” If only it were that simple…\u003c/em\u003e\u003c/p\u003e","title":"Ten Top 10s for Live Jazz in Tokyo"},{"content":"Piano Pieces Collection is a 2021 album from pianist and composer Seiji Endo. For this album, Endo plays 19 solo piano pieces, a similar concept to some previous albums such as his Genji Monogatari Volume 1 (2018), which evoked the drama of that classic early Japanese literature through depth and shading. On Piano Pieces Collection, Endo’s message is simpler and direct, uplifting and motivational.\nAt first glance, another comparison could be made to the great Chick Corea’s Children’s Songs album. Each album has 19 to 20 tracks, all short solo piano pieces. Also, both albums showcase the respective pianist’s sketches of minimal, memorable, melodic music. Beauty through simplicity. Corea’s compositions might edge towards more complex and rhythmically stimulating music, and similarly, Endo’s pieces also carry his own personality. His compositions are delicate, graceful, and subtle. More miniature than minimal, Endo aims to create moods of gentle understanding and welcoming calmness.\nConsidering the cover of Piano Pieces Collection, perhaps the intended mood is one of alone time, dressed up with nowhere to go. Or, dressed up and somewhere, but that somewhere fades away as the music in the headphones takes the woman worlds away, elegant and relaxed and gazing into the distance. The calming blue-green of the package design also surfaces in three song titles: #1 “Blue Lighting”, #13 “Azure Dragon”, and #14 “Sky Blue of the Mind”.\nLike a sketchbook of vignettes that continue from page to page, the impressions conjured by the songs flow into one another. A first listen may absorb a bed of background music that is soft and relaxing. Repeated listening reveals the magic of the songs and uncovers highlights as the strong melodies tickle the ears and stay in the mind. It can be beautifully touching.\nEndo’s rubato touch and timing heighten the mood with dramatic pauses and volume changes, though slight in moderation. The sense of wanting to touch and comfort the listeners through music rises above all else. It’s piano music where the romantic style is not exaggerated but played gracefully as the piano becomes the medium (and Endo the vessel) for the composer’s message that can be mellow, introspective, or encouraging, but always engaging.\nThis hour-long collection of miniatures consists of songs that mostly fall between two to four minutes in length, with the longest track #17 “Hope” reaching four and a half minutes. Most songs are in standard 4/4 or 3/4 time, with one in 5/4. Most songs float along as pretty piano pieces with a softly implied beat. A few pulse with an implied light rock backbeat, including #4 “Think of You”, #7 “Itosugi”, #13 “Mirai kara no Kaze wo Ukete”, and #17 “Hope”.\nMost of the tracks on this album are given Japanese titles. Roughly translating the set to English also gives insights into the poetic images Endo paints through the black and white keys. Themes of natural imagery, emotions, and personal reflections give rise to positive feelings of hope and thanks given.\n“Blue Lighting” “The Light is Held, the Past is Lost” “Heavenly Sea” “Think of You” “Words of Truth” “Wet with Rain” “Cypress” “When Breathing into the Sky” “When the Dazzling Grass Unfolds” “Always Quietly Smiling” “Orion” “Eyes of Brown” “Catching the Wind of the Future” “Azure Dragon” “Sky Blue of the Mind” “Snow Flurries” “Hope” “A Row of Spring” “ThanQ” Piano Pieces Collection by Seiji Endo Seiji Endo - piano Released in 2021 on Fair Play Records as FPCD-1011.\nJapanese names: 遠藤征志 Endo Seiji\nAudio and Video Spotify link for this album\nApple Music link for this album\nExcerpt from track #5: “まことのことば (True Word)”\n","permalink":"https://mirror2.jazzofjapan.com/seiji-endo-piano-pieces-collection/","summary":"\u003cp\u003e\u003cem\u003ePiano Pieces Collection\u003c/em\u003e is a 2021 album from pianist and composer Seiji Endo. For this album, Endo plays 19 solo piano pieces, a similar concept to some previous albums such as his \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/seiji-endo-genji-monogatari-volume-1\"\u003eGenji Monogatari Volume 1\u003c/a\u003e\u003c/em\u003e (2018), which evoked the drama of that classic early Japanese literature through depth and shading. On \u003cem\u003ePiano Pieces Collection\u003c/em\u003e, Endo’s message is simpler and direct, uplifting and motivational.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1240083x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1240083x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAt first glance, another comparison could be made to the great Chick Corea’s \u003cem\u003eChildren’s Songs\u003c/em\u003e album. Each album has 19 to 20 tracks, all short solo piano pieces. Also, both albums showcase the respective pianist’s sketches of minimal, memorable, melodic music. Beauty through simplicity. Corea’s compositions might edge towards more complex and rhythmically stimulating music, and similarly, Endo’s pieces also carry his own personality. His compositions are delicate, graceful, and subtle. More miniature than minimal, Endo aims to create moods of gentle understanding and welcoming calmness.\u003c/p\u003e","title":"Seiji Endo: Piano Pieces Collection"},{"content":"Like pianist Yuka Yanagihara’s previous album Inner Views from 2019, her songs on this year’s release Beloved Ones are also focused on both external vistas and inner reflections. It is as if the inner-outer boundary is balanced, permeable, and transferring the trio’s music and inspiration from in to out and back again, fluidly.\nFrom the previous album to this one, the imagery shifts from close (raindrops on a window) to far, with natural scenery in theme for both. A second link to her previous album is found in a track on the Beloved Ones, “Rainy Song #3 In Winter”. This song continues the story started in the opening two tracks on Inner Views, “Rainy Song 1: At Midnight” and “Rainy Song 2: In the Forest”. Comparing the two album covers and the pieces’ progression, the rain has stopped and the eye’s focus has extended further into the world, onto meadows, trees, and mountains.\nWithin the calm music like some tracks on Beloved Ones, understated music can say so much. It speaks quietly and does not rouse in overly obvious ways, but seeps in like unstoppable truths, extending like liquid flowing and pooling on a smooth flat surface.\nBetween one standard swing tune and one free ambient exploration (relatively moderate on both counts), the rest of the tracks occupy the space in between. Mostly there is a subtle, straight-eight feel throughout. Yanagihara’s music is richly colored by drummer Ryo Noritake, and he provides not just background time pulse but a lot of expertly applied shading and dynamics.\nThe album starts liltingly with a softly falling “Snowflake” before moving into more Jarrett-y country folk with “Landscape”. Next is the swinging jazz standard “All the Things You Are” (video below) which includes a mesmerizing drum solo from Noritake that spreads out in masterful sonic construction.\n“Rainy Song #3 In Winter” continues the story started on Inner Views, and is a demonstration of the wilder, busier side of the trio. Things seem to happen simultaneously with a controlled chaos effect which becomes an exciting highlight on the album.\n“Move On” (also in a video below) is impressionistic and poetic, warm like a welcoming embrace. “Loved One” emerges from the title as a bluesy, hymn-like space for a slowed-down break. “Ripple” is a floating, freeish song with simultaneous improvisation where the theme unveils itself slowly and majestically in the trio’s painting. “Surreal Sunset” returns with another Jarrett-like light rockish rollick, almost “Prism”-esque with interesting angles (as does a sunset through a prism becomes surreal, perhaps). The album closes with the dramatic storytelling of “Spring, Blue Sky” with more creative changes and structures.\nWith Beloved Ones, serenity is balanced with the stimulations of jazz playing and concepts. There is a feeling of loving-kindness radiating from the title and through the music. Enhancing the calm are the images of nature and natural settings. Peace is brought to life by Yuka Yanagihara’s trio, her music, and song titles, surpassing the limits of language but lifting off from these words: “Snowflake”, “Landscape”, “All the Things You Are”, “Rainy Song”, “Move On”, “Loved One”, “Ripple”, “Surreal Sunset”, “Spring, Blue Sky”. Beloved Ones.\nBeloved Ones by Yuka Yanagihara Trio Yuka Yanagihara - piano Yoshiki Yamada - bass Ryo Noritake - drums Released in 2024 on Tomtom Cherry Music as TCM-2004.\nJapanese names: 柳原由佳 Yanagihara Yuka 山田吉輝 Yamada Yoshiki 則武諒 Noritake Ryo\nAudio and Video Promotional video for “All the Things You Are”, track #3 on this album: Promotional video for “Move on”, track #5 on this album: Excerpt from track #1: “Snowflake” ","permalink":"https://mirror2.jazzofjapan.com/yuka-yanagihara-trio-beloved-ones/","summary":"\u003cp\u003eLike pianist Yuka Yanagihara’s previous album \u003cem\u003eInner Views\u003c/em\u003e from 2019, her songs on this year’s release \u003cem\u003eBeloved Ones\u003c/em\u003e are also focused on both external vistas and inner reflections. It is as if the inner-outer boundary is balanced, permeable, and transferring the trio’s music and inspiration from in to out and back again, fluidly.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1250523x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1250523x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eFrom the previous album to this one, the imagery shifts from close (raindrops on a window) to far, with natural scenery in theme for both. A second link to her previous album is found in a track on the \u003cem\u003eBeloved Ones\u003c/em\u003e, “Rainy Song #3 In Winter”. This song continues the story started in the opening two tracks on \u003cem\u003eInner Views\u003c/em\u003e, “Rainy Song 1: At Midnight” and “Rainy Song 2: In the Forest”. Comparing the two album covers and the pieces’ progression, the rain has stopped and the eye’s focus has extended further into the world, onto meadows, trees, and mountains.\u003c/p\u003e","title":"Yuka Yanagihara Trio: Beloved Ones"},{"content":"Naru is a classic Tokyo jazz bar that opened in 1969 and has been operating for more than 50 years in the Ochanomizu district. Also going by Ochanomizu Naru or Ocha Naru, this is the sister location to the original Yoyogi Naru location established in 1966. With its renowned history, reputation, and level of excellence, Naru is a mainstay, a magnet for jazz in Japan’s capital city.\nFigure 1: Ro Hasegawa (sax) Quartet with Mayuko Katakura (piano), Go Shimada (bass), and Sumito Oi (drums) at Naru in November 2010\nBeing such a fine jazz bar, Naru is worthy of more than just a single visit. For many, Naru is their go-to spot for quality jazz and drinks or dinner. The club’s popularity is no doubt a combination of its legacy in the Tokyo jazz scene, as well as the high bar set by the business to meet the audience’s and musicians’ expectations for high-quality jazz (receiving and creating, respectively). With those expectations, the audiences know they are in for a treat at Naru, where the focus is on keeping the music and the atmosphere consistently satisfying.\nAs such, Naru is professionally run with high standards, and though the well-mannered staff does not impose an overly strict environment, enough attention is paid to ensure that things are running smoothly.\nFigure 2: An intermission at Naru in 2024\nThis Ochanomizu Naru location features instrumental jazz musicians on most nights, such as a group formed by a saxophonist or horn player leading a piano, bass, and drums rhythm section. There are variations of course, but jazz quartets and trios are not uncommon to encounter on any given night at Naru. These include regularly-scheduled groups such as Mabumi Yamaguchi’s quartet and the long-running band Encounter who fill Naru with their thrilling, high-powered sound.\nFigure 3: Shinnosuke Takahashi at Naru in May 2007\nBoosting their reputation as a place for serious jazz, live performances at Naru in the past included such famous musicians as McCoy Tyner, Mal Waldron, Wynton Marsalis, Jimmy Cobb, Yosuke Yamashita, Yuji Ohno, and Mabumi Yamaguchi. Special events like jazz jam sessions, record releases, themed celebrations, and up-and-coming musician spotlights are also held on occasion.\nThe room’s layout is a simple square filled with comfortable booths and tables, a slightly raised row of seats behind a narrow bar in the back—watch out for the slight step down between the entrance and the main seating area. A curved row of seats, a sort of front-row section, is set against a small bar connected to the edge of the grand piano. These piano bar seats are in front of most of the audience and may make some customers feel self-conscious, but they do provide an immersive, close-up position right next to the performing musicians.\nFigure 4: Ayumi Koketsu (sax) Quartet with George Nakajima (piano, Ryu Kawamura (bass), and Yoshifumi Nihonmatsu (drums) at Naru in April 2014\nThe live sound is great and the food is also above average (note that the menu has changed in recent years and may be significantly different from past menus). Compared to a budget jazz bar, the menu prices at Naru may seem slightly higher than average, but definitely not outrageously so. Compared to other jazz bars in their class, Naru delivers a lot for a quite reasonable price and is a great deal for catching live jazz. Their cover charge is still a real bargain, comparatively.\nFigure 5: Hikari Ichihara (trumpet) Quartet with Hideaki Hori (piano), Yoshimasa Otsuka (bass), and Masahiko Osaka (drums) at Naru in November 2012\nLike some other jazz clubs, taking photographs during performances is a faux pas at Naru. Although some customers can get away with a few snaps, the staff may ask customers to refrain—especially if it is a distraction to the musicians or other customers. The emphasis at Naru is on listening and taking in the performance without having the mood broken. Similarly, as an example, when a group of after-work business folks gets too lively or loud during the music, that group may be politely asked to moderate their volume to avoid annoying other customers. Don’t worry though, the breaks between sets allow for plenty of time for customers to talk with friends, have spirited discussions, and order more drinks.\nWhile at Naru, you may also notice the manager Hiro-san, a tall, besuited man who is a fan of American football. He can usually be found by the back bar taking care of business here and keeping everything running smoothly (admirably taking after his mother Misako-san, who takes care of things at Naru’s other location in Yoyogi).\nFigure 6: A jazz jam session at Naru in July 2005\nFigure 7: A jazz jam session at Naru in July 2005\nFigure 8: A jazz jam session at Naru in July 2005\nFigure 9: A jazz jam session at Naru in July 2005\nFigure 10: A jazz jam session at Naru in July 2005\nFigure 11: Heading to Naru\nFigure 12: Reaching Naru\nFigure 13: Welcome to Naru\n","permalink":"https://mirror2.jazzofjapan.com/naru/","summary":"\u003cp\u003eNaru is a classic Tokyo jazz bar that opened in 1969 and has been operating for more than 50 years in the Ochanomizu district. Also going by Ochanomizu Naru or Ocha Naru, this is the sister location to the original \u003ca href=\"https://www.jazzofjapan.com/archive/yoyogi-naru\"\u003eYoyogi Naru\u003c/a\u003e location established in 1966. With its renowned history, reputation, and level of excellence, Naru is a mainstay, a magnet for jazz in Japan’s capital city.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"P1050022-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"P1050022-1200.jpeg\"\n         alt=\"Figure 1: Ro Hasegawa (sax) Quartet with Mayuko Katakura (piano), Go Shimada (bass), and Sumito Oi (drums) at Naru in November 2010\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eRo Hasegawa (sax) Quartet with Mayuko Katakura (piano), Go Shimada (bass), and Sumito Oi (drums) at Naru in November 2010\u003c/p\u003e","title":"Naru"},{"content":"Rougequeue is a 2015 mini-album from pianist Fumie Chiba that features five of her original songs, three with jazz combos (septet, sextet, and trio), and two solo piano tracks. The uncommon word used for the album title is a French word for redstart, a small, colorful bird with a reddish-orange tail. Once the title is parsed and read as roozh-kew, it becomes easier to see and hear, but it maintains its aura of mystery and beauty. Even the word’s letters themselves seem to align, dip, and extend with a certain intentional pattern. The bird image and concepts are also easily applied to the five compositions contained under that title, music that is wonderfully vivid and that can take flight.\nThe five songs maintain that mystery and beauty with light, neatly arrayed piano trio frameworks filled out with painted backgrounds via orchestration of the trumpet, saxes, and guitar on the two septet/sextet tracks.\nThe title track “Rougequeue” opens with a crystal edge and rich use of the seven instruments for color and texture. The piano trio takes over on track #2 “Ringlight”, a dramatically swinging waltz that was a semifinalist in Japan’s 2014 International Songwriting Competition.\nChiba plays solo piano on track #3 “Orange Sky”, playing the piano with melodic tension and timing as if pulling the strings of a marionette to create life and feelings from wood and strings. Here as with other of Chiba’s compositions, the balanced mixture of pop, jazz, classical, and Japanese folk charm invokes captivating images.\nTrack #4 “Backstroke” is a six-member piece with characteristically modern, progressive jazz elements like a Herbie Hancock/Wayne Shorter outfit. A foreboding pedal note and vamp motif underpin slow-moving arrows of melody, leading to exciting sax and piano solos and a funky interlude with a guitar solo.\nChiba returns to solo piano for #5 “Water Flower” (ending with a solo piano piece is a pleasing tradition with this pianist’s albums). This song, in medium tempo in 5/4 time, approaches the jazz/classical piano boundary with minor tones, low notes, and emotional heft. With its slowly expressive melody over busier left-hand terrain, the album closes in a melancholic mood and evokes empathetic resonance on the wings of Chiba’s inspiration.\nRougequeue by Fumie Chiba Fumie Chiba - piano Koji Tetsui - bass on #1, 2, 4 Kaoru Suzuki - drums on #1, 2, 4 Mitsuru Tanaka - trumpet, horn on #1, 4 Shunosuke Ishikawa - tenor sax on #1, 4 Nao Teraya - guitar on #1, 4 Hirokazu Ishida - soprano sax on #1 Released in 2015 on Usagi Record as UR-001.\nJapanese names: 千葉史絵 Chiba Fumie 鉄井孝司 Tetsui Koji 鈴木郁 Suzuki Kaoru 田中充 Tanaka Mitsuru 石川周之介 Ishikawa Shunosuke 寺屋ナオ Teraya Nao 石田寛和 Ishida Hirokazu\nAudio and Video Audio for “Rougequeue”, track #1 on this album: Live quartet version of “Backstroke” from 2014, track #4 on this album: Full playlist for this album\nAudio samples of #1 “Rougequeue” and #4 “Backstroke”\nExcerpt from track #2: “ringlight”\n","permalink":"https://mirror2.jazzofjapan.com/fumie-chiba-rougequeue/","summary":"\u003cp\u003e\u003cem\u003eRougequeue\u003c/em\u003e is a 2015 mini-album from pianist Fumie Chiba that features five of her original songs, three with jazz combos (septet, sextet, and trio), and two solo piano tracks. The uncommon word used for the album title is a French word for \u003cem\u003eredstart\u003c/em\u003e, a small, colorful bird with a reddish-orange tail. Once the title is parsed and read as \u003cem\u003eroozh-kew\u003c/em\u003e, it becomes easier to see and hear, but it maintains its aura of mystery and beauty. Even the word’s letters themselves seem to align, dip, and extend with a certain intentional pattern. The bird image and concepts are also easily applied to the five compositions contained under that title, music that is wonderfully vivid and that can take flight.\u003c/p\u003e","title":"Fumie Chiba: Rougequeue"},{"content":"The jazz bar Someday in the Shinjuku Sanchome (now in Asakusa) nightlife area offers a big stage, a wide-open seating area, and an audiophile’s setup with special custom speakers hanging from the ceiling. You get the sense that the planning for Someday has all been thought out and carefully arranged to provide a satisfying and authentic live jazz experience in an American-style spacious jazz bar setting among the typically cozier Tokyo options. In the same spirit, the kitchen at Someday provides a variety of reasonably-priced snacks and dishes featured in the English-friendly menus, including some specialty rice and meat plates that are pleasant discoveries at this type of jazz bar.\nFigure 1: Harumi Nomoto (piano) at Someday in December 2008\nTo make a night of it, if you don’t mind hurrying around, you can even double-up your jazz in one night by jazz bar-hopping (はしご, hashigo). Combine a visit to Someday by catching one set of two there and then heading to nearby Polka Dots or Pit Inn jazz clubs to catch another performance, or vice-versa. Also note that Pit Inn has daytime shows in addition to the evening, which could add a third entry to your day’s jazz plan. Just be sure to check the start times for each venue so you do not miss out on too much. (Jazzspot J was another great option for jazz bar-hopping around the same neighborhood, but Jazzspot J has permanently closed.)\nOne thing to remember: The name of this club, Someday, is short and simple but could easily be mixed up with Sometime (in Kichijoji) and Somethin’ (in Ikebukuro). Make sure you’re headed to the right place based on location, schedule, and preference.\nFigure 2: Mitsuaki Furuno (bass) Quartet with Ayumi Koketsu (sax), Akane Matsumoto (piano), and Masayuki “Gakio” Kume (drums) at Someday in June 2016\nAlso, assuming that the name Someday is a reference to the popular jazz standard “Someday my Prince Will Come”, be on the lookout for discovering other possible similarly-named clubs. For example, it’s easy to imagine jazz bars named Somewhere (“Somewhere Over the Rainbow”), Someone (“Someone to Watch Over Me”), or Somebody (“Somebody Loves Me”). Or maybe even just Some (“Some Other Time”, “Some Other Spring”, “Some Other Blues”). Some Jazz Bar has a nice ring to it, although that name itself could also be mistaken for Sone Jazz Club (ソネ, so-ne), a famous and long-running spot in Kobe.\nFigure 3: Ryuichiro Tonozuka (flugelhorn) Quartet with Harumi Nomoto (piano), Osamu Kawakami (bass), and Manabu Fujii Manabu (drums) at Someday in December 2008\nNote: Someday moved from its previous Shinjuku-Sanchome location in Jan 2025. Someday is now located near Asakusa.\nFigure 4: Welcome to Someday\n","permalink":"https://mirror2.jazzofjapan.com/someday/","summary":"\u003cp\u003eThe jazz bar Someday in the Shinjuku Sanchome (now in Asakusa) nightlife area offers a big stage, a wide-open seating area, and an audiophile’s setup with special custom speakers hanging from the ceiling. You get the sense that the planning for Someday has all been thought out and carefully arranged to provide a satisfying and authentic live jazz experience in an American-style spacious jazz bar setting among the typically cozier Tokyo options. In the same spirit, the kitchen at Someday provides a variety of reasonably-priced snacks and dishes featured in the English-friendly menus, including some specialty rice and meat plates that are pleasant discoveries at this type of jazz bar.\u003c/p\u003e","title":"Someday"},{"content":"Saxophonist and composer Ryosuke Hashizume has released six albums with the Ryosuke Hashizume Group over nearly two decades. These albums feature Hashizume’s uniquely original compositions played by his long-running group. This group has mainly been a quintet (of sax, guitar, piano, bass, and drums) with many of the same members present throughout the years.\nIn particular, guitarist Motohiko Ichino and fretless electric bassist Ryoji Orihara have been a constant and large part of the sound of the group. They are brilliant electric partners to Hashizume’s breathy and sawtoothed acoustic sax sound (Hashizume also dips into electricity a bit when playing his sax as cycles and drones looped through a device, occasionally).\nWith his other main live and recording partners pianist Koichi Sato and drummer Manabu Hashimoto (and some other members along the way), the group has developed the alternately freely abstract and grooving sound that has explored, finessed, and breathed life into his music over many years.\nThat flexible and imaginative sound is made up of subtly serrated edges of saxophone, digitized guitar tones like signals from outer space, tender piano touches and finessed melodic fragments, fluffy mists and lightning of drumset accents, and thick currents of low bass notes. The sound is both shapeshifting and solid.\nThis is applied to Hashizume’s compositional ideas of ethereal lushness, with all of its colorful layers of sound, transforming tonalities, nuanced time and meter misdirection, and dramatic development and suspense. These compositional ideas, together with the group’s sound and individual mastery, are the novel recipes that are interpreted through the musicians’ steady cooking for inspired, enjoyable results.\nThis 2014 album, Side Two, is his second-most recent album and was released a few years before his latest album Incomplete Voices from 2017. Yet, as a marker on Hashizume’s album release timeline, Side Two has an even stronger connection to the two prior albums released just before Side Two, those being his albums Visible/Invisible (2013) and Acoustic Fluid (2012). In a way, Side Two could be considered a combination of live extras and alternate versions of songs from those two prior albums and recording sessions.\nWith a 44-minute runtime, Side Two contains just four tracks (Hashizume’s original compositions, as with all his albums). The songs were all recorded live during the same performances, and with the same members, as the songs on Visible/Invisible. This fact can give meaning to the title Side Two when interpreting this album as a continuation of the previously released live album.\nBut, additionally, three of the songs on Side Two were also featured on Hashizume’s 2012 studio album Acoustic Fluid, although here with longer run times:\nConversations with Moore (Side Two: 13:48 / Acoustic Fluid: 8:04)\nThe Color of Silence (Side Two: 10:49 / Acoustic Fluid: 4:20)\nSlumber (Side Two: 13:44 / Acoustic Fluid: 7:50)\nDuet (Side Two: 5:12 / not on Acoustic Fluid)\nThe album opens on solid ground with light rhythms and a short repeated piano motif. Otherworldly melodies float around faded guitars, scratchy brushes, and shimmering cymbals with a feeling of curiosity and eeriness. The next song is more abstract with a loose time feel. Long notes flow freely with tones of cautious storytelling. Suspenseful drama builds, rising and falling through the controlled touch of all five musicians acting as one. Track three builds slowly towards energetic excitement through longer melodies played in unison over echoey guitar arpeggios, repeated vamps, interesting time signature changes, breaks, and shifting structures. Finally, encore-like, the album wraps up with five minutes of the mellow and uplifting sounds of a swaying waltz with old-world charm and plenty of captivating sax, piano, and group improvisation and interplay.\nAll this together makes 2014’s Side Two a delight especially for diehard fans, as it becomes both an extension of the 2013 live album and of the 2012 studio album with three of the songs in alternate extended versions. These extended versions get more time to breathe with more life and patient development. For the listeners, more time to absorb and dwell in these aural environments. And for the musicians who recorded this live and in the moment, no doubt more time to enjoy the freedom to give and receive inspiration from each other, from the performance setting, and from the live audience who was silently tuned in and becoming part of the experience.\nLiner Notes (Translated from an excerpt of Nozomi Hirano’s and Mitsutaka Nagira’s original Japanese liner notes.)\n…\nThis album, Side Two, was recorded during the same sessions as Visible/Invisible, but the colors of the songs are clearly distinct. Considering that Visible/Invisible could be considered relatively “visible” with many songs having visible (easy to catch) rhythms, this album Side Two could be called “invisible” with a close-up on unseen elements. Many of the songs here do not have simple time senses, but that’s not to say that they are completely devoid of rhythm like ambient or drone, for instance. The rhythm is always there as it surfaces to places where it can be seen, to submerge again, and to repeat.\n…\nIf I recall correctly, I was able to chat with [Ryosuke] Hashizume a little bit at the bar when I went to his performance at No Trunks in Kunitachi. Putting aside the fact that I had already been drinking, we had a pretty serious discussion about music in this short interval. It left quite an impression on me so I thought I’d indulgently write that about here. My recollection is vague but the substance of the conversation was along these lines.\n“It’s hard to generalize but I think that New York musicians play notes that match their jazz bars, that environment, and the atmosphere of New York. It’s the same for Nordic musicians. The sound of New York musicians may be loud, or Nordic musicians may use space in a relaxed manner when performing… it’s a question of how they adapt to the place and atmosphere. Similarly, I want to put out sounds that match Japan’s places and atmospheres, and I want to perform with a volume, tone, and phrasing that matches the location and the scale of the venue on that day.”\nI don’t remember how we ended up talking about this, but I have the feeling that these words are an apt description for the music of Ryosuke Hashizume. That is to say, they describe the Ryosuke Hashizume Group.\nI’ve also met [Motohiko] Ichino a few times, and I interviewed him once, when he said the following.\n“Wherever I go, I don’t find it that interesting to go to the place with a feeling like ‘/this is my sound/.’ It’s more interesting to arrive with nothing in store, get some kind of inspiration, and then use my skills to add something to it to make it music. As instrument characteristics go, the guitar is an accompaniment instrument, isn’t it? That may play a big part. My way of making music is the same as having a conversation. If something is brought up, say, for instance, manga, I’ll try to talk about manga to the extent that I can. I’m always unarmed, you know.”\nAlthough my conversations with these two musicians were different, I felt that they had something in common. Apart from having a similar tension somehow, there was a commonality in gravitating to harmonize with each distinct environment rather than putting themselves out in front. Listening to the Ryosuke Hashizume Group with these conversations in mind, I could understand a lot more.\nIchino continued, “Basically in jazz, it’s common to find players taking turns, telling life stories with a bang and then giving way, then the next player tells a story, bang, and gives way… I’m not very interested in that.” This conversation that I had with Ichino was probably about the same ideas.\nBy the way, for me, listening to this album is excellent for chilling out. So are Acoustic Fluid and Visible/Invisible.\nNone of the songs make use of the “modern jazz cliché” of cycling through solos. A beautiful melody starts and flows smoothly into a performance where the melody and improvisation surge in and become hard to distinguish, continually swaying before subtly reaching the ending. Each performance overlaps and intersects, blurs together, and continues in a relaxed way that makes you lose track of time. You can tell that the music is played with a high degree of concentration. But there’s no excessive tension in the notes or the spaces between the notes. Although there are moments of gradual acceleration, crescendos, or natural deceleration, there is never a time where dynamics are used inappropriately or to catch listeners off guard. If anything, you can only hear a performance where the notes overlap seamlessly and transition smoothly, without being aware of note groupings and pauses.\nAlso, the sound of each instrument rings with a tone and texture that seems to have been chosen for the sound to be heard here. This is also a reason why I began to like listening to this for chilling out. The tones are chosen for the overall sound more than for their own individual sounds. Manabu Hashimoto’s dry percussion sounds harmonize with Ryoji Orihara’s thick fretless bass. The reason for having a fretless bass rather than an upright bass is quietly but eloquently heard. I don’t know of any other jazz like this. And, along with Hashizume’s sax, Ichino’s guitar, and Koichi Sato’s piano, everyone plays just the right number of notes and volume for the tone and texture here, without addition or subtraction. The perfectly balanced and smooth sound is built through the improvisation. This gentle thrill is the joy I feel when listening to jazz with the stimulating tranquility of everything in harmony. Considering New York jazz descended from West Coast and cool jazz, or the soundscapes of ECM and Hubro, or the Americana lineage related to Bill Frisell and Brian Blade, this is a different soundscape from all of those.\nSide Two by Ryosuke Hashizume Group Ryosuke Hashizume - tenor sax, loops Motohiko Ichino - guitar Koichi Sato - piano Ryoji Orihara - fretless bass Manabu Hashimoto - drums, percussion Released in 2014 on Apollo Sounds as APLS-1410.\nJapanese names: 橋爪亮督 Hashizume Ryosuke 市野元彦 Ichino Motohiko 佐藤浩一 Sato Koichi 織原良次 Orihara Ryoji 橋本学 Hashimoto Manabu\nAudio and Video Promotional video for this album: Audio for Ryosuke Hashizume Group’s “The Last Day of Summer”\nExcerpt from track #3: “Slumber”\n","permalink":"https://mirror2.jazzofjapan.com/ryosuke-hashizume-group-side-two/","summary":"\u003cp\u003eSaxophonist and composer Ryosuke Hashizume has released six albums with the Ryosuke Hashizume Group over nearly two decades. These albums feature Hashizume’s uniquely original compositions played by his long-running group. This group has mainly been a quintet (of sax, guitar, piano, bass, and drums) with many of the same members present throughout the years.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200716x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200716x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eIn particular, guitarist Motohiko Ichino and fretless electric bassist Ryoji Orihara have been a constant and large part of the sound of the group. They are brilliant electric partners to Hashizume’s breathy and sawtoothed acoustic sax sound (Hashizume also dips into electricity a bit when playing his sax as cycles and drones looped through a device, occasionally).\u003c/p\u003e","title":"Ryosuke Hashizume Group: Side Two"},{"content":"For many people, classical music can be very relaxing, a soothing balm at certain times, or in uncertain times. Some jazz music is regarded in the same way, and there is even smooth jazz, after all.\nWhat about both classical and jazz, together? Classical jazz, or jazz classical? Jazz-classical crossovers, fusion, or merges? (Pianist Ethan Iverson recently shared an engaging article on the “Jazz Brain/Classical Brain” divide, which aligned serendipitously with what I had been thinking about this week.)\nJazz-classical crossover albums, songs, motifs, and themes inevitably surface in a survey of famous recordings, performances, and musicians in jazz history. These can be helpful for newcomers to the genre who find footholds in familiar compositional elements, styles, or even jazzy covers of well-known classical songs. Naturally, there is Gershwin’s “Rhapsody in Blue” (Iverson’s “The Worst Masterpiece: ‘Rhapsody in Blue’ at 100” and his follow-ups TT 359 and TT 360 are also worth mentioning), but also bands and musicians like Modern Jazz Quartet (“jazz with classical music elements”), Dave Brubeck, Keith Jarrett (even with some specific classical music recordings), Duke Ellington, Kenny Barron (Classical Jazz Quartet Plays Bach/Tchaikovsky/Rachmaninov /albums), the fullness of albums whose titles ending /with Strings or /Orchestra/… and this is just scratching the surface.\nAdd to this colorful mix Japanese flutist Makiyo Sakai’s first two albums, Silver Painting from 2016 and Pictures at an Exhibition from 2018. Flutist, composer, and performer Sakai keeps a busy schedule with multiple different combos and solo performances, recording, and music composition in genres spanning jazz, Brazilian, pop, and more. However, her first two leader albums were focused specifically on introducing her through the medium of classical songs played by her jazz quartet.\nSilver Painting is a fifty-five-minute album featuring Sakai on flute with piano, bass, and drums, with guitar joining on two tracks. The group plays ten songs from the popular classical music repertoire and the great composers. Bach, Beethoven, Borodin, Debussy, Fauré, Paganini, Ravel, Satie, and Tchaikovsky are featured, with one piece from each and two from Fauré.\nIt’s an attractive concept with a fun sound and attention to detail. The classical dimensions of the music are clear and in the forefront, starting off right from the gentle sway and beauty of track #1 “Sicilienne” (keen TV viewers may remember this piece as the music played briefly but movingly by Michael McKean’s character Chuck McGill on Better Call Saul).\nThroughout the album, the group honors the composed classical framing with noticeable, but non-gimmicky, jazz alterations. There are mild jazz reharmonizations, sections for improvisation, and trading phrases between instruments just like any other regular jazz session.\nWhile some moods are modest and retrained as might be expected of some classical settings, the most visible jazz influence slowly begins to appear through the pulsing beats: Swing- and Latin-time feels are set by the rhythm section’s adept jazz piano comping, bass line walking, and snappy drumset rhythms. Plentiful and exciting jazz improvisation is another highlighted jazz feature overlaying these classical harmonies and themes, and Sakai’s impressive technique, sound, and ideas are masterfully showcased on this introductory debut.\nThe mixture of song moods could be split into three sections of a pie, roughly. There are five classical-jazz set pieces (#1, 3, 6, 9, 10), three bossa or Latin-ish rides (#2, 4, 7), and laidback groovy-heavy moments with Fender Rhodes and funky grooves happening (#5, 8).\nWhen laid out in album sequence, the flow moves through (from #1) calm, light and delicate with a hint of blues, to bright and peppery, relaxing, spunky, groovy, elegant melancholy, sweet, smooth, uptempo swing, and (to #10) jazzy scenes, ending the final song “Clair de lune” with a sprinkling of “Stardust” as a tender jazz quote.\nAs the album title suggests, these are ten scenes painted in silver by Sakai’s sterling sound, flying over the brushed backdrops from her jazz combo, and framed by a great selection of gorgeous classical compositions.\nLiner Notes (Translated from an excerpt of Masahisa Segawa’s original Japanese liner notes for this album. Segawa (1924-2021) was a highly influential and prominent Japanese jazz critic, historian, writer, and producer who wrote about and supported the jazz scene in Japan passionately for decades.)\n…\nAbout the musical program:\n01 Sicilienne (Fauré)\nFrench composer Fauré composed this piece for cello and piano in 1893. It was later incorporated into the fifth part of his Pelléas et Mélisande Suite. It is beautiful and distinctive when the flute plays the harp arpeggios, and has been arranged for the duo format of piano and a solo instrument. Makiyo Sakai’s flute starts with the pretty melody, the rhythm section joins quietly, and flute improvises delicately before returning to the melody.\n02 Valse des fleurs (Waltz of the Flowers) (Tchaikovsky)\nThis piece is an extremely popular song, the eighth piece of the third movement of Tchaikovsky’s The Nutcracker. On this album, guitar enters with a bossa nova rhythm and flute plays the melody, coloring the mood skillfully before moving to light and relaxed adlibbing.\n03 Gymnopedie (Satie)\nSatie composed this three-song piece in 1888 at the age of 23 while he was working as a pianist at a cabaret in Montmartre. It became one of Satie’s signature pieces and used the name of an ancient Spartan festival as its title. The exotically tinged melody is decorated with a sweetly deep tone and elegant adlibs, and features a unison ending with the piano to close it out beautifully.\n04 Caprice No. 24 (Paganini)\nThe legendary violinist Paganini made full use of his superior technique when composing the 24 Pieces for Solo Violin, of which #24 became the most popular. These have been used for solo performances on various instruments, as with Benny Goodman’s clarinet solo. On this album, an uptempo drum solo starts things off, flute adlibs with rapid phrases, and a long drum solo brings things to a boil.\n05 Polovtsian Dances (Borodin)\nThis is a composition from Borodin’s opera Prince Igor, a song from the middle of the second act. It became very famous, and the melody was later used in the widely sung popular song Stranger in Paradise. The drums are arranged with a bossa-style back-beat rhythm, and the flute adlibs while decorating the melody slightly. The Fender Rhodes electric piano takes a long solo and ends with interchanges with the flute.\n06 Pavane Op. 50 (Fauré)\nThis was composed as an orchestral piece in 1886 and later used as the final song in the opera Masques et Bergamasques. The pleasantly elegant and refined melody is often played by flute and similar instruments. Here too, the flute plays the tune with respect, and the bass takes a stately solo in the middle.\n07 Pathetique Sonata - 2nd movement (Beethoven)\nThis was composed in 1798 and is one of Beethoven’s three great piano sonatas alongside Moonlight and Appassionata. The melancholy-laden melody is played movingly by the flute and rhythm section with added guitar. Improvisations in the second half expertly heighten the sense of pathos.\n08 Pavane pour une infante défunte (Pavane for a Dead Princess) (Ravel)\nThis is a piano solo masterpiece written in 1902 and represents Ravel’s early period during which he was studying at the Paris Conservatory. It is said that this composition was inspired by viewing a portrait of Queen Margarita, painted by the 17th-century court painter Diego Velázquez, at the Louvre Museum. Ravel himself arranged it for orchestral performance, and many others have produced arrangements for piano and solo instrument duos, string ensembles, and the like. It’s a short piece that is graceful and possesses a delicate beauty. It gained fame in America in 1939 when adapted into the popular song “The Lamp is Low”. The flute slowly sets up a romantic mood over a background of electric piano, and artful improvisation follows.\n09 Siciliano (Bach)\nSiciliano is a music and dance style that stretches back to the end of the Renaissance musical era and early Baroque music. The music in Mascagni’s Cavalleria Rusticana is one well-known example. Bach’s Sicilianos include two pieces. The one played here is the middle movement from BWV 1031, Sonata in E-flat Major for Flute (another is the ritardando section from BWV 1017, Sonata in C Minor for Violin).\nFollowing a bass intro, the flute plays the melody slowly. The piano enters at a fast tempo for a change in mood. The flute continues adlibbing with quick runs, heating things up when trading fours with the piano and drums. It’s fun to see Sakai’s jazz sensibilities on full display.\n10 Clair de lune (Debussy)\nThis is the third movement from Suite Bergamaque, a four-part piano solo piece written in 1890. Its easy-to-love theme has become extremely popular. The Bergamasque /of the title, meaning /Bergamo dance, was taken from a poem by Paul Verlaine. Piano and flute play the first half of the original music slowly, then take the second half at a faster tempo with free-spirited, intertwining improvisation.\nSilver Painting by Makiyo Sakai Makiyo Sakai - flute Yoshihiko Naya - piano/Rhodes Masayuki Tawarayama - bass Akira Yamada - drums Jun Kimura - acoustic guitar (#2, 7) Released in 2016 on Pony Canyon as PCCY-30231.\nJapanese names: 酒井麻生代 Sakai Makiyo 納谷嘉彦 Naya Yoshihiko 俵山昌之 Tawarayama Masayuki 山田玲 Yamada Akira 木村純 Kimura Jun\nAudio and Video Audio for track #6 “Pavane Op. 50”: Audio for track #1 “Sicilienne”: Excerpt from track #2 “Waltz of the Flowers” (at 1:00): Makiyo Sakai Quintet playing John Coltrane’s “Moment’s Notice”: Excerpt from track #9: “シチリアーノ (Siciliano)” ","permalink":"https://mirror2.jazzofjapan.com/makiyo-sakai-silver-painting/","summary":"\u003cp\u003eFor many people, classical music can be very relaxing, a soothing balm at certain times, or in uncertain times. Some jazz music is regarded in the same way, and there is even \u003cem\u003esmooth jazz\u003c/em\u003e, after all.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1260433x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1260433x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWhat about both classical and jazz, together? \u003cem\u003eClassical jazz\u003c/em\u003e, or \u003cem\u003ejazz classical\u003c/em\u003e? Jazz-classical crossovers, fusion, or merges? (\u003cem\u003ePianist Ethan Iverson recently shared an engaging article on the “\u003ca href=\"https://thevault.musicarts.com/jazz-brain-classical-brain-a-survey/\"\u003eJazz Brain/Classical Brain\u003c/a\u003e” divide, which aligned serendipitously with what I had been thinking about this week.\u003c/em\u003e)\u003c/p\u003e","title":"Makiyo Sakai: Silver Painting"},{"content":"Virtual Silence (2022) is a 38-minute experience in five chapters, a project born of a moodily lit and ambient concept from bassist Ryoji Orihara and vocalist Chie Nishimura. On their first album, the pair are joined by guests May Inoue on guitar and Tamaya Honda on drums, an addition that marvelously decorates the simple but evocative themes with ethereal dimensions and deep textures. Throughout, Nishimura’s voice is used as a melodic instrument alongside guitar and bass, singing minimalistically on all five tracks with no lyrics or words.\nOne of bassist Ryoji Orihara’s many projects is his solo work BGA (Back Ground Ambient), where he conjures transparent or intangible furniture to create ambience, as opposed to playing a standard live set with starts, ends, and discrete songs. This seems to be the seed from which Virtual Silence grew. The BGA sound transforms the space of a room through his fretless electric bass and effects like guitar pedals, loopers, Jaco Pastorius-style playing, and a stringed bow for atmospheric drone notes. In addition to writing four of the five songs on Virtual Silence, he also contributed the original artwork, design, logos, sales, and video editing.\nVocalist Chie Nishimura’s background and previous albums exhibit a love for classic jazz that started at a young age (with an influential Ella Fitzgerald phase), training in classical and opera, and experience with R\u0026amp;B and jazz performance. Although jazz standards have been a mainstay, her recent albums include more impressionistic and grand views of music. This vision permeates Virtual Silence, which began as Orihara’s duo project with Nishimura. Playing in a duo format with bass is not new for the vocalist, and her previous album Funky Duo also follows this format. She has a deep appreciation for singing with a bassist, an experience that stretches back to her early years as a jazz singer.\nThere are no lyrics sung on the five tracks of Virtual Silence and the stories are not told through words, yet the song titles describe the mood of the music. Orihara’s four compositions have both Japanese and English titles printed in the track listing, with some interesting differences between the two:\n溶けた日常 (Metamorphosed) / _toketa nichijo, “dissolved daily life”_ 矛盾の街 (Vain Pursuit) / _mujun no machi, “city of contradictions”_ Beyond The Flames 人間が住んでる (The Past Decade) / _ningen ga sunderu, “humans are living”_ 汚れた群青 (Grief Runs Deep) / _kegareta gunjo, “dirty ultramarine blue”_ An excellent Mikiki article with an interview from 2021 explains the songs and background ideas. In summary, Nishiyumura and Orihara alight on the importance of sound, dynamics, and restraint: From starting very quiet and grabbing attention, to having tightly controlled and compressed sounds and voices with patience and layered sounds; from the influence of certain ECM records and bassist’s solos to the use of ambience, ostinatos, and loops, and how every member and no member is the solo instrument; how being simple but passionate is a constant goal, arrived at most powerfully on the last track.\nAs the songs progress, the flow mutates from quiet and calm at the outset to larger and more chaotic towards the final stretch, helping the album as a whole to feel like a concept or an encapsulated experience. There is the feeling of being part of a rapt audience during a live performance. Immersed in the music from track #1, a haunting combination of fretless electric bass and voice sing together and imagine an abandoned factory with sheet metal echoes. Loose drumset accents and guitar effects float and linger like dust in the air. As with much of the music, a simple theme is established in union by bass or guitar with voice and repeated slowly. Simple linear steps of melody rise slowly toward high ceilings, tempting meditative moods.\nThe next four tracks slowly turn up the heat like one extended crescendo, with musical roiling, rumbling, and riffing, layers abutting and adjoining, superimposing and repeating. Free and floating space alternates with thick, steady rhythms. A David Lynchian feel comes into focus at times with odd, lovely, and nostalgic oldness and a slightly sinister feeling. Guitar improvisation and overdrive level increase the drama on the last two tracks, where the stepwise up-and-down themes invoke spiral staircases slowly turning. Although Nishiyama’s voice dynamics are often intentionally moderated for a controlled effect, Nishimura begins to roar and peak on the last two tracks, the plaintive oohs and aahs spinning deep with universal gravity.\nThe guitar tones and drum patterns veer between heavy density and light ambience, adding quite a lot to the quartet’s distinct, atmospheric qualities. Each instrument (voice included along with guitar, bass, and drums) contributes to the overall sound of shimmering, bright, melodic, and melancholic. Effects like delay, reverb, and chorus flicker like New Wave music (early Radiohead or The Cure, minus alt-rock hooks, plus Norma Winstone and Azimuth colors), where the spacious textures create a mosaic of background effects, smoothed loops, and jangly accents.\nParticularly impactful, the last track #5 “Grief Runs Deep” starts with a heavy drum beat resembling the iconic booming of John Bonham’s drum intro to “When the Levee Breaks” (and perhaps it’s no coincidence that drummer Tamaya Honda is a member of ZEK3, an all-Led-Zepplin-songs jazz trio). This head-turning beat maintains its rock rhythm framing as guitar riffing and band jamming layer in near-psychedelic grunge riffs and painted streaks of Nishimura’s slow, soul-piercing vocals. Led Zeppelin meets Pink Floyd with Jimi Hendrix and Faith No More swirling in the stars, a dramatic high point to end the experience, and to return safely to earth.\nVirtual Silence by Chie Nishimura Chie Nishimura - vocal Ryoji Orihara - fretless bass May Inoue - guitar Tamaya Honda - drums Released in 2021 on en records as Virtual Silence / Chie Nishimura.\nJapanese names: 西村知恵 Nishimura Chie 織原良次 Orihara Ryoji 井上銘 Inoue May 本田珠也 Honda Tamaya\nAudio and Video Promotional video for #5 “Grief Runs Deep”: Excerpts from the album release concert: Impressions and an excerpt from #4 “The Past Decade” (at 17:45): Live rehearsal for #5 “Grief Runs Deep”: Excerpt from track #2: “矛盾の街 (Vain Pursuit) (City of Contradiction (Vain Pursuit))” Other Links Album introduction and song descriptions from bassist Ryoji Orihara\nMikiki article and interview with Chie Nishimura and Ryoji Orihara\nLabel information\n","permalink":"https://mirror2.jazzofjapan.com/chie-nishimura-virtual-silence/","summary":"\u003cp\u003e\u003cem\u003eVirtual Silence\u003c/em\u003e (2022) is a 38-minute experience in five chapters, a project born of a moodily lit and ambient concept from bassist Ryoji Orihara and vocalist Chie Nishimura. On their first album, the pair are joined by guests May Inoue on guitar and Tamaya Honda on drums, an addition that marvelously decorates the simple but evocative themes with ethereal dimensions and deep textures. Throughout, Nishimura’s voice is used as a melodic instrument alongside guitar and bass, singing minimalistically on all five tracks with no lyrics or words.\u003c/p\u003e","title":"Chie Nishimura: Virtual Silence"},{"content":"Like Mamoru Ishida’s Afterglow introduced previously, Mabumi Yamaguchi’s Viento is a 2023 jazz release from the Japanese jazz label Days of Delight which is doing a wonderful job of delivering the sound of authentic modern-day Japanese jazz in impeccably produced and attractive packages.\nViento is saxophonist Mabumi Yamaguchi’s second release on Days of Delight following his chord-less trio recording Trinity (2022), but he’s been playing and releasing albums for over five decades. In that time, he’s worked with stellar domestic and international musicians including drummers Motohiko Hino (“best jazz drummer in Japan” award winner throughout the 1970s) and George Otsuka for a landmark 1978 tour with Kenny Kirkland (piano), John Scofield (guitar), and Miroslav Vitous (bass). His recording Mabumi (1981) also featured Kirkland and Vitous with Tony Williams (drums) joining the lineup.\nYamaguchi’s live jazz activities started in the 60s and 70s at the venerable Tokyo jazz clubs Naru and Pit Inn. It’s remarkable that after nearly fifty years, Mabumi still consistently appears for fan-favorite and fulfilling jazz sessions at Naru (stay tuned for an upcoming spotlight on that beloved jazz haven, coming soon).\nHis new album Viento is a collection of eight of Yamaguchi’s originals, all written with the concept of using soprano saxophone in the forefront. This characteristic makes a strong impression as Yamaguchi’s bright tones extend like tendrils of vines embedded in cracks and grooves, skillfully navigating dramatic paths and always pushing forward through songs covering straight-ahead and modern jazz terrain.\nThis musical landscape shifts back and forth from dark, mellow, and mysterious (#1 “Sequel to a Dream”, #2 “Evening”), to fantastical and churning (#4 “Thalia”, #6 “Viento”), and to exciting and positive (#3 “Let Your Mind Alone”, #5 “True Face”, #7 “Empty Mirror”) when the uplifting mood is heightened as the good-feeling swing or cool funk sets in. The last track, the sweetly elegant song #8 “Toi Yakusoku” (Distant Promise), closes the album perfectly with Yamaguchi and pianist Katakura playing as a duo in a sentimental rubato with a Strayhorn/Ellington-ish emotional impact.\nLiner Notes (Translated from excerpts of Akiomi Hirano’s original Japanese liner notes.)\nTomorrow a small percent different from today\nIf possible I don’t want to repeat what I did yesterday, I don’t want to play what I already know. So says Mabumi Yamaguchi.\n“The ideal is to create from scratch each time. Of course, that’s impossible, so if I can do it just a few percent, that’s good. Even if it’s just a few percent, if I do that every time I play live and keep it going over a long time, a little bit of my personality will emerge, don’t you think?”\nThese humble words represent his character well. Spoken shyly and haltingly, it is hard to believe they come from a maestro who has maintained a presence at the core of Japanese jazz for half a century through many famous performances and recordings.\nThere is a certain quality common to truly compelling artists and creators, not just with jazz musicians. You may not see the signs of the hardships they endured through the accumulated years of severe training. Their demeanor is gentle and not arrogant.\nEven when you hear their actual story, it’s rare to sense the strange hardships experienced by performers in the upper levels of their field. Perhaps there’s an aesthetic that makes it embarrassing to express difficulties through words, or maybe they don’t really think that they have suffered through hardships.\nI’ve seen this in many artists and creators, and in my experience, Mabumi is of that type.\nSo, how on earth did Mabumi acquire the skill of making “Tomorrow a small percent different from today”?\n“While playing I search for the sound. From where you are now, where do you go next? The vital point is when putting out a sound, don’t go back, move forward. You can’t turn around and go back. Concentrate on moving straight ahead down one path. That’s the ideal. While playing I’m trying things out, so of course there are plenty of mistakes, haha.”\nFor now, look forward. Don’t look back.\n…\nThe first thing that strikes me from the outset is that soprano saxophone is played through the entire album.\nActually, for a long time now I’ve found it strange that there are so few albums with an “all-soprano” format. This may be due to some players and listeners who regard the soprano sax as a substitute instrument brought in for a change. But to someone like me who is an avid soprano sax fan, it’s an extremely appealing format.\nFurthermore, Mabumi’s tone is undeniably beautiful. His soprano has an expressive power that ranks among the best in the world of Japanese jazz. It is perfectly matched to his original compositions, as well. Mabumi’s originals all possess his distinctive personality, but when played with soprano, they take on an intelligent and floating quality that is especially fascinating. For this album, we decided to collect original songs which were written to be performed on soprano sax.\nRegardless, why I am so attracted to Mabumi Yamaguchi’s original compositions? What does he think about when he is writing a song? What makes a song have good or bad qualities in the first place…?\nWhat are the conditions for a good song? When I asked about this, this is what Mabumi said to me.\n“For example, Wayne Shorter’s ‘Footprints’ is very simple, but just like Charlie Parker’s ‘Now’s the Time’, it is a masterpiece ingrained in jazz history. The amazing thing is that even though the motif is simple, it is fashioned into a large piece of music. With just a few phrases you can feel the size of it. It’s because there is strength in the theme. It’s the same with Charlie Chaplin’s ‘Smile’, right?”\nNow that I think about it, the theme of “Footprints” certainly does have a mysterious power. It’s hummable, and it stays in your head. It’s the same as the one from Close Encounters of the Third Kind. Even though it’s been decades since I’ve seen the movie, those five notes are unforgettable. Maybe a masterpiece is something that affects a person’s brainstem like this.\n“I want to create themes or motifs that are simple and strong. Of course, it’s not easy. There are many fragments of tunes that I’ve scribbled down at home, but if the seeds don’t have that strength, I have to toss them out.”\nThe magnetism of Mabumi Yamaguchi’s songwriting is that he grasps the “vital point of songwriting”, and he is steadfast in following through without compromise.\n…\nMaking “tomorrow a small percent different from today” requires a tough spirit to resist the temptation to pass the ball back, a strong will and concentration to maintain the drive to create, excellent leadership to draw out talent, and above all, the integrity of a jazz musician who wants to constantly evolve.\nWhen I see Mabumi Yamaguchi, I feel this keenly. And the next generation of top players are watching this figure. They are taking him in as a role model. There’s no doubt that this structure is a valuable resource for the world of Japanese jazz.\nAkiomi Hirano (Days of Delight)\nFounder/Producer\nViento by Mabumi Yamaguchi Mabumi Yamaguchi - soprano saxophone Mayuko Katakura - piano Ryohei Komaki - bass Tamaya Honda - drums Released in 2023 on Days of Delight as DOD-040.\nJapanese names: 山口真文 Yamaguchi Mabumi 片倉真由子 Katakura Mayuko 小牧良平 Komaki Ryohei 本田珠也 Honda Tamaya\nAudio and Video Promotional video for this album: Live solo performance of “Thalia”, track #4 on this album: Excerpt from track #5: “True Face” Other Links Days of Delight record label\nDays of Delight album releases (e-onkyo music)\nDays of Delight videos\n","permalink":"https://mirror2.jazzofjapan.com/mabumi-yamaguchi-viento/","summary":"\u003cp\u003eLike Mamoru Ishida’s \u003ca href=\"https://www.jazzofjapan.com/archive/mamoru-ishida-afterglow\"\u003eAfterglow\u003c/a\u003e introduced previously, Mabumi Yamaguchi’s \u003cem\u003eViento\u003c/em\u003e is a 2023 jazz release from the Japanese jazz label Days of Delight which is doing a wonderful job of delivering the sound of authentic modern-day Japanese jazz in impeccably produced and attractive packages.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1250973x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1250973x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003e\u003cem\u003eViento\u003c/em\u003e is saxophonist Mabumi Yamaguchi’s second release on Days of Delight following his chord-less trio recording \u003cem\u003eTrinity\u003c/em\u003e (2022), but he’s been playing and releasing albums for over five decades. In that time, he’s worked with stellar domestic and international musicians including drummers Motohiko Hino (“best jazz drummer in Japan” award winner throughout the 1970s) and George Otsuka for a landmark 1978 tour with Kenny Kirkland (piano), John Scofield (guitar), and Miroslav Vitous (bass). His recording \u003cem\u003eMabumi\u003c/em\u003e (1981) also featured Kirkland and Vitous with Tony Williams (drums) joining the lineup.\u003c/p\u003e","title":"Mabumi Yamaguchi: Viento"},{"content":"Sweet Rain offers a great room for great jazz, a small but comfortable space with enough room for jazz trios and small combos. The space is neat, cozy, and clean. The atmosphere offers the relaxing feeling of a familiar hideaway where the stimulation of exciting jazz brushes off the daily grind like sweet rain washing out the dirty grime.\nFigure 1: Kaito Nakamura (drums) Quartet with Koichi Hirata (guitar), Otohiko Fuse (piano), and Riku Takahashi (bass) at Sweet Rain in April 2024\nThe dim lighting and muted colors enhance the otherwordly atmosphere, further elevated by the charming back walls of Sweet Rain that are adorned with comic renditions of local musicians and featured performances. Some of this art also finds its way into a cute desk calendar produced by Sweet Rain and available to bar customers, when available.\nBilled as a “Nakano jazz dining bar” (Nakano is a station and district in Tokyo), the menu features a variety of tasty home-cooked meals that lure jazz fans and neighborhood locals to this spot for jazz and grub.\nFigure 2: Kaito Nakamura (drums) Quartet with Koichi Hirata (guitar), Otohiko Fuse (piano), and Riku Takahashi (bass) at Sweet Rain in April 2024\nFigure 3: Yudo Matsuo (guitar) Bosco Trio with Kosuke Ochiai (bass) and Ko Omura (drums) at Sweet Rain in April 2024\nFigure 4: Art on walls at Sweet Rain\nFigure 5: Sweet Rain business card\nFigure 6: Art on walls at Sweet Rain\nFigure 7: Stage area and front row at Sweet Rain\nFigure 8: Stage area at Sweet Rain\nFigure 9: Sweet Rain before a performance\nFigure 10: Sweet Rain 2024 calendar\nFigure 11: Sweet Rain 2024 calendar pages\nFigure 12: Sweet Rain Spanish-style omelette\nFigure 13: Welcome to Sweet Rain\n","permalink":"https://mirror2.jazzofjapan.com/sweet-rain/","summary":"\u003cp\u003eSweet Rain offers a great room for great jazz, a small but comfortable space with enough room for jazz trios and small combos. The space is neat, cozy, and clean. The atmosphere offers the relaxing feeling of a familiar hideaway where the stimulation of exciting jazz brushes off the daily grind like sweet rain washing out the dirty grime.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1240653-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1240653-1200.jpeg\"\n         alt=\"Figure 1: Kaito Nakamura (drums) Quartet with Koichi Hirata (guitar), Otohiko Fuse (piano), and Riku Takahashi (bass) at Sweet Rain in April 2024\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eKaito Nakamura (drums) Quartet with Koichi Hirata (guitar), Otohiko Fuse (piano), and Riku Takahashi (bass) at Sweet Rain in April 2024\u003c/p\u003e","title":"Sweet Rain"},{"content":"Afterglow is the latest recording from pianist Mamoru Ishida, released in 2023 and recorded in 2022 with his trio featuring Ryohei Komaki on bass and Kaito Nakamura on drums. The sixty-four minute, ten-track album is filled with his original compositions and is his first leader album in twelve years, although he’s stayed active with live shows and other recording sessions throughout. Days of Delight, the new Japanese record label, set the direction of having a trio format with Ishida’s originals and describes the situation glowingly in the liner notes.\nIshida’s compositions and playing contain a great balance of tradition and novelty. His style clearly reflects both the influence of and reverence for the great legends of jazz piano, but much like his fondness for wordplay and puns, he adds fine touches and subtle changes to his music to avoid playing simple imitations of jazz in the past. As an example, in several of his tunes, the chord changes or melody turn in slightly unexpected directions, intelligently and not jarringly so, with a catchy exuberance or in graduated shadings.\nA quick description of the tracks and album flow includes the patient and thematic #1 “Minor”, the springy joyfulness of #2 “Chatchar”, the serious and touching nature of #3 “Donfattan” (a portmanteau of Tokyo jazz bars Donfan and Manhattan), the pretty and bobbing #4 “Crucian Carp Waltz”, the goofy good-naturedness of #5 “Mr. Airhead”, the start-and-stop dreaminess of #6 “Leo”, the laidback smoky bossa of #7 “Afterglow”, the jazz-standardish purity of #8 “SMNY-EKD”, the curiosity and back-and-forth steps of #9 “Pia-Tamu” (possibly referring to pianist-Tamura, plus “Ah Um” perhaps), and the good old blues groove of #10 “Blues for AH”.\nThe style is exquisite straight-ahead piano trio jazz with modern touches, at times bringing in influences from Hancock and Corea, Thelonious Monk, Vince Guaraldi, Charles Mingus, and Red Garland in the compositional choices and the trio’s playing. Along with the controlled moments of patient prettiness and lovely ballads are mid- and up-tempo brightness, jazz that is freewheeling and bouncing in pure pleasure. Ishida’s creative ad-libbing is original and comfortable, spontaneously flowing while in control.\nLikewise, the occasional moments when a quote of a familiar theme pops up, or when listeners are draped in blankets of notes or swept up into a high-note range, are all the more effective as ideas develop and an overall effect of dynamism and real-time improvisation is achieved.\nAs for Days of Delight, this new label was created to promote Japanese jazz in a new era. It’s a project dedicated to the sound of Japanese jazz delivered through the curation of authentic jazz currently being played in Japan. Built on this foundation, the label strives to renew the feeling of the great era of 1970s Japan, when Japanese jazz was carving out new territory through originality and landmark recordings.\nLabel founder and producer Akiomi Hirano’s liner notes for Afterglow are fittingly illuminating of this direction for jazz, as well as Ishida’s skills: his unique presence, neat way of speaking and playing, individuality, refinement, and poetic sentiment. And above all, how Ishida doesn’t play notes without thinking, but stays calm, concentrates, and maintains control over the big picture.\nLiner Notes (Translated from excerpts of Akiomi Hirano’s original Japanese liner notes.)\n…\nIn fact, he is the pianist who is most removed from the style of playing by rote, temporarily filling up the space with patterns or scales. There is never the sense of playing something without meaning, or getting carried away and just goofing around.\nHe doesn’t have “just for now” or “good enough” modes, like “For the time being, let’s do this…” or “This probably should sound like this here”… This is a not uncommon scene at some live performances, but not with him.\n“I don’t want to put out a single note on wasted sounds.” That’s the spirit I feel in his performance. To play without having fingers just moving on their own, without jazz being carried along by reflexes or momentum, but wanting to always remain composed and present and have a high-level view. To maintain the tension while in a constant state of awareness. That’s what he seems to be thinking to me.\nThese are the roots of Mamoru Ishida that I want to release with a high level of purity. I want to capture his unique characteristics in high resolution. This is what I was thinking when I made him this offer to record as a piano trio with all original songs. This recording is packed full of Mamoru Ishida’s aesthetic sense, presented as is in its purest form.\n…\n“I think I had the same ideas [back then as I do now], but I didn’t have the ability to play what I heard in my head,” says Mamoru Ishida.\nWhen I asked what he meant by ability, he immediately responded “Time.” He said, “I struggled with myself, wondering why things weren’t sounding good, and eventually realized that the problem was time—it was a matter of time.”\nYou can never master time to the extent that you are not playing alongside great musicians. However, when you’re actually in that situation, you can end up being filled with nervousness and overcome by the intensity of their rhythms. You can become confused and rattled, and suddenly realize that you are the one rushing.\nIn the midst of that challenge, he realized an important point.\n“When I was able to relax normally, there was a moment when I thought ‘Ah, it’s the first time that I was able to reach them!’ It was like being able to calmly follow a ball that was coming no matter the trajectory it was on…”\nMamoru Ishida was able to reach his current level by playing together with respected mentors and acquiring the vital points of time, rhythm, and groove. He tangibly grasped the lesson that “the most important thing in jazz is to swing”. This became possible once he was able to be free from tension.\nWhen you’re relaxed, you can visualize the ball’s trajectory. When you become able to relax, you can concentrate. That’s what Mamoru Ishida is saying.\nIt’s often thought that tension is necessary for concentration, but it’s completely the opposite. Elite athletes do not tense up during a match and do not exert unnecessary force. Relaxation is an essential condition for concentration.\nBecause of this concentration, he can avoid playing unnecessary notes. The moment the concentration breaks is when the “just for now” or “good enough” ideas surface. A strong ability to concentrate is probably what allows Mamoru Ishida to continue radiating his unique style while maintaining tension in his music.\nFurthermore, he calmly possesses a bird’s eye view of the situation while in control of his playing, even while immersed in a performance with a high level of concentration. I believe that the only way to guarantee graceful playing like his is nothing other than this kind of cool and collected manner, and this is what intelligence in jazz is.\n“As much as I can, I try not to play sounds that I don’t hear in my head.”\n“If I play a note that doesn’t come from inside, even if it sounds good on the surface, everyone can tell that it is inauthentic. That’s disrespectful to the listeners and to the music. Above all, it’s just kind of tasteless to perform music that you can’t hear yourself, isn’t it?”\nThis is jazz pianist Mamoru Ishida’s most important priority.\n…\nAfterglow by Mamoru Ishida Mamoru Ishida - piano Ryohei Komaki - bass Kaito Nakamura - drums Released in 2023 on Days of Delight as DOD-039.\nJapanese names: 石田衛 Ishida Mamoru 小牧良平 Komaki Ryohei 中村海斗 Nakamura Kaito\nAudio and Video Mamoru Ishida Trio playing “Minor” live, track #1 on this album: Mamoru Ishida Trio playing #9 “Pia-Tamu” (short excerpt): Excerpt from track #2: “チャッチャー(Chatchar)” Other Links Days of Delight record label\nDays of Delight album releases (e-onkyo music)\nDays of Delight videos\n","permalink":"https://mirror2.jazzofjapan.com/mamoru-ishida-afterglow/","summary":"\u003cp\u003e\u003cem\u003eAfterglow\u003c/em\u003e is the latest recording from pianist Mamoru Ishida, released in 2023 and recorded in 2022 with his trio featuring Ryohei Komaki on bass and Kaito Nakamura on drums. The sixty-four minute, ten-track album is filled with his original compositions and is his first leader album in twelve years, although he’s stayed active with live shows and other recording sessions throughout. Days of Delight, the new Japanese record label, set the direction of having a trio format with Ishida’s originals and describes the situation glowingly in the liner notes.\u003c/p\u003e","title":"Mamoru Ishida: Afterglow"},{"content":"Clean, simple, and comfortable, Kanmachi 63 (上町63) in Kannai, Yokohama is an authentic jazz lover’s hangout. It’s especially a great choice for those times when there’s a desire to concentrate on live and unbounded jazz music with minimal distractions.\nThe tiny bar supplies just what a listener needs: a small stage area, several simple seats and tables, and not much else. A curated collection of modern Japanese jazz music fills the air during breaks, and high-quality recordings and authorized bootlegs of live performances recorded here are also in rotation.\nSome local jazz CDs are stacked on the bar, available for sale, and also give a good overview of some of the local Japanese jazz musicians who perform at Kanmachi 63 and other clubs.\nRegardless of the style of jazz being played, the up-close and personal feel of the musicians creating otherworldly music right in front of listeners makes a strong impression. This state of being starts when descending into the space, setting the initial conditions for symbolic musical escape. Like many other jazz clubs in Japan, being located in the basement of a large building helps to create a separation from the ordinary exterior world and this underground haven.\nKanmachi 63 is one of those distinct special places where the outside world can be temporarily paused and forgotten while live music is created, improvised, shared, and enjoyed within. Also along those lines, little to no exterior sound leaks into the room from outside, which helps to make Kanmachi 63 a perfect escapist listening room with an amazing live small jazz club sound. It is subtle and understated in a way that elevates the music.\nBesides some small snacks or treats on occasion, there is no food served here. The inclination, somewhat of an unspoken rule, is to promote the live music performance as the main attraction. One aspect of this is the conscientious desire to avoid disturbing the audio environment with noises from behind the bar or the sounds of plates and silverware.\nFigure 4: Welcome to Kanmachi 63\nAnother thoughtful gesture is a benefit for non-alcohol drinkers and daytime teetotalers: a free or discounted refills system for soft drinks, coffee, and tea (may depend on current conditions and schedule).\n","permalink":"https://mirror2.jazzofjapan.com/kanmachi-63/","summary":"\u003cp\u003eClean, simple, and comfortable, Kanmachi 63 (上町63) in Kannai, Yokohama is an authentic jazz lover’s hangout. It’s especially a great choice for those times when there’s a desire to concentrate on live and unbounded jazz music with minimal distractions.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20240224_145535567-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20240224_145535567-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe tiny bar supplies just what a listener needs: a small stage area, several simple seats and tables, and not much else. A curated collection of modern Japanese jazz music fills the air during breaks, and high-quality recordings and authorized bootlegs of live performances recorded here are also in rotation.\u003c/p\u003e","title":"Kanmachi 63"},{"content":"Dot is the 2023 album by pianist/composer Hitomi Nishiyama. Until this week’s release of Echo, Dot was her latest album; Echo is Dot ’s twin, recorded with the same members and during the same sessions.\nNishiyama has released many great albums since 2004, and yet it is tempting to call this significant Dot her masterpiece. As a prolific composer with consistent album releases over two decades, many peaks have been reached. Dot forges into some bold new territory, and successfully so.\nWith an acoustic piano trio as a base, Nishiyama’s concepts are wider, open, more abstract. Four tracks feature a piano/bass/drums trio, and five tracks add clarinet, violin, and saxophone/flute for extra layers of artistic splashes. The sextet, with wind and strings, paints dappled backdrops and textured backgrounds on her canvas, and at a few particular moments, even converges as the ethereal resonance of metal fatigue and shearing.\nAlthough not purely ambient nor experimental, some of her music on Dot verges more in that direction with ECM-style touches than ever before. As an example, regular in-time rhythms played by drummer Noritake are balanced with long periods of free and abstract swashes of sound, fluid spaciousness reminiscent of Paul Motian.\nTake the beginning, with dreamy blossoming and dissolving on track #1 “Turtledove” and continuing into the hypnotic spell of track #2 “Dot”, a steady drum beat doesn’t appear until the last third of the absorbing, multi-part second track. “Dot” (available to listen to in a video included below) starts with a moderated stream of repeated piano notes, played like the careful picking of a single guitar string. It’s almost like a guitar riff, chugging and shifting through four frets to build the four-pitch melody with an embedded offset. Nishiyama’s attraction to heavy metal music likely influenced her here, as with her separate acoustic jazz piano trio project N.H.O.R.H.M. which focuses on heavy metal covers.\nThis riff-based approach is subtle and not overplayed, but also appears on another highlight, track #8 “Baroness”. With an edgily modern, semi-medieval feel, lightly crunching chords turn around four corners similarly to set up a riff, the harmonic frame for a melody to play out in graceful curves and more repeated-note dot patterns.\nOther songs on the album plunge on in swing and straight eights. #3 “The Rider” and #6 “Red and Yellow” are particularly catchy and comfortably grounded with Mehldauesque intricacy and depth, comfortable stops between the more unbounded reaches of the album.\nThose adventurous corners include the dramatic, up-close experience of #5 “Tidal”, where vamps of rolling chords and turbulent drums together with the sextet’s improvisations summon ominous waves of sound like oceanic forces.\nFor more variety, there is even slight melodic and rhythmic quirkiness included. Track #4 “To Return” is a playful swing with an unhurried, Monkish sense. Track #7 “Pigeons” reflects the bouncy personalities of those odd birds, a comical jazz waltz on cobblestones.\nThe journey leads to the last track, #8 “Lighthouse”. This restful end provides an adventure’s conclusion through a liltingly pretty melody passed from clarinet to bowed double bass, to piano, and back again as drums lightly color in accents and timbres across the set.\nWhat about Dot? Is this innocent word a hidden theme or message for the album? Music notes written as dots on a staff? Pointillistic art that approximates waveforms and curves, backgrounds and landscapes? A blemish, a beauty mark, a pixel, typographic symbol, piece of code? Atoms creating form as they group and assemble? The repeating, somber yet heartening beep of a machine monitoring a pulse? Or maybe, simply the end of a sentence.\nThere are also the dot-like sequences of melody in some of the songs. And, there is the single extended note that ends the album, the last note of “Lighthouse” played in unison by the sextet, a fading dot beamed out to show the way home.\nDot by Hitomi Nishiyama Hitomi Nishiyama - piano Toru Nishijima - bass Ryo Noritake - drums Takanori Suzuki - clarinet (#2, 3, 5, 6, 9) Ryosuke Hashizume - tenor saxophone (#3, 5, 6, 9), flute (#2) maiko - violin (#2, 3, 5, 6, 9) Released in 2023 on Meantone Records as MT-12.\nJapanese names: 西山瞳 Nishiyama Hitomi 西嶋徹 Nishijima Toru 則武諒 Noritake Ryo 鈴木孝紀 Suzuki Takanori 橋爪亮督 Hashizume Ryosuke マイコ maiko\nAudio and Video Promotional video for “Dot”, track #2 on this album: Promotional video with excerpts from #5 “Tidal”, #4 “To Return”, #7 “Pigeons”, and #2 “Dot”: Excerpt from track #3: “ザ・ライダー (The Rider)” ","permalink":"https://mirror2.jazzofjapan.com/hitomi-nishiyama-dot/","summary":"\u003cp\u003e\u003cem\u003eDot\u003c/em\u003e is the 2023 album by pianist/composer Hitomi Nishiyama. Until this week’s release of \u003cem\u003eEcho\u003c/em\u003e, \u003cem\u003eDot\u003c/em\u003e was her latest album; \u003cem\u003eEcho\u003c/em\u003e is \u003cem\u003eDot\u003c/em\u003e ’s twin, recorded with the same members and during the same sessions.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1250301x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1250301x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eNishiyama has released many great albums since 2004, and yet it is tempting to call this significant \u003cem\u003eDot\u003c/em\u003e her masterpiece. As a prolific composer with consistent album releases over two decades, many peaks have been reached. \u003cem\u003eDot\u003c/em\u003e forges into some bold new territory, and successfully so.\u003c/p\u003e","title":"Hitomi Nishiyama: Dot"},{"content":"Toys is pianist Sumire Kuribayashi’s debut leader album from 2014. Since then, the spirited musician has been on a tear, with several more leader albums released from her own projects as well as collaborations with a variety of Japanese and international musicians.\nWith Toys, Kuribayashi plays nine tracks on the forty-eight-minute album, with five of her own songs and four beloved covers arranged together in a lively display of her musical vision. Whatever Toys may mean as a concept title (hinted at in the Obi Notes), it’s a playful album that works as a perfect medium for her musical worldview.\nSome of the most melodically striking and immediately felt songs on the album are Kuribayashi’s own originals. Of these five songs, “Forest and an Elf” is fluid and magical, “Grand Line” is busy yet delicate, “Flying Toys” is sparkling and exciting, “W.M.P.” is bluesily modal and modern, and “Somethin’ Warm” is patient, pretty, and sincere. The medium tempo and straight-eights time feel color the songs with modern finesse and understated power. What’s clear in each is that Kuribayashi thinks through her compositions, not only the mechanics of structure and form, but how she wants them to imaginatively feel, how the players should think about them, and where she wants them to go.\nHer selection of the four cover songs also demonstrates her consideration for balance and respect. She brings together songs from distinct planes of influence, from the worldwide megapop stars U2, to the sweet lyricism of Bill Evans, to the current-day Japanese vibraphonist and musical peer Reiko Yamamoto, to a deep cut from the much-loved bop pianist Sonny Clark.\n“I Still Don’t Know What I’m Looking For” is down-home groovy, “Letter to Evan” is comfortably plush, “That Blue Bird” is tender and engrossing, and “Minor Meeting”, as the last cut on the album, hooks listeners and leaves them ready to hear more from Sumire Kuribayashi’s toy trove.\nLiner Notes (Translated from an excerpt of jazz writer Fumiaki Fujimoto’s section of the original Japanese liner notes.)\nThis debut CD is a perfect package for this lady’s charm. What surprised me during my first listen was how this whole album was overflowing with songs. The variety of the included songs is richly diverse, but each song is decorated with catchy and colorful melodies that are exclusively Sumire Kuribayashi’s own.\nParticularly wonderful are the five original compositions. The dusky lyricism delicately woven in “Forest and an Elf”. The splendid, thrilling trio sound racing through “Grand Line”. The instinctive lifting of spirits by the invigorating “Flying Toys”. The geometrical theme on “W.M.P.”, allowing glimpses of another side of the composer. The simple and nostalgic theme that evokes quiet emotion on “Somethin’ Warm”… These songs and performances can really be seen as a crystallization of her current inner voice. The other songs are similarly good. U2, Bill Evans, Reiko Yamamoto, Sonny Clark… Her performances of their songs as covers convey her boundless love and respect for these composers, and are filled with her determination to take up challenges.\nPerhaps crossed-arm critics will bemoan a lack of mind-blowing originality or astonishing technique on display. But I think that Sumire Kuribayashi’s vividly projected light certainly shines toward the future of jazz.\n(The following is translated from Sumire Kuribayashi’s section of the original Japanese liner notes.)\n01. Forest and an Elf (Sumire Kuribayashi)\nThis is a song created with a lot of inspiration drawn from pianist Aaron Parks. I was really moved when I went to his solo piano concert, where his music seemed to be resonating deep in a forest. Even when he walks down the street, he seems to be lightly floating like a woodland spirit.\nThis song has a lot of sections, and I made an effort to have the parts flow together seamlessly so as not to feel like a patchwork. I was having difficulty explaining this to the rest of the band, but finally, by singing what I meant, I was able to get it down.\n02. I Still Haven’t Found What I’m Looking For (U2)\nWe decided to record this by thinking “We should try to do a rock cover.” We considered Coldplay, Oasis, Radiohead, and others, but this song by U2 was the best fit for me. Just around that time, I was listening to a lot of Keith Jarrett from the Impulse years, and I tried to arrange it with a little bit of that folksy feel.\n03. Grand Line (Sumire Kuribayashi)\nSeveral years ago I went to see a live performance of Taylor Eigsti, Reuben Rogers, and Eric Harland. Eric’s drumming was so cool at that event, and I was so excited that after going home I wrote out this song in a day.\nActually, I love video games, and I’ve been hoping that someday I could write a majestic song that could appear in that medium. I wonder if this is the sort of song where I’ve created something like that. As I explained the imagery to the band members, they laughed and responded with “This part feels like an airplane speeding off into the wide open sky!” and “This here feels like wandering lost in a cave, then finding some light and escaping!”\n*04. Letter to Evan (Bill Evans)*/ (no notes added)/\n05. That Blue Bird (Reiko Yamamoto)\nThis song was written by Reiko Yamamoto and also recorded by our group “sumireiko”. The beautiful and heartfelt melody is just so great. Someone said to me “I’d love to hear this as a piano trio version!”, so I decided to include it this time.\nThe key is a difficult one, so it was quite a challenge. Also, I was trying to control my touch carefully so that the piano wouldn’t ring out too much. My arms got sore (haha). Perfecting the overall sound of the trio was a hard-won fight with a lot of trial and error, but I think that the struggle made for a nice result with a good feel.\n06. Flying Toys (Sumire Kuribayashi)\nI still needed one more song for the album and was fretting over it, so I went to my usual bar to change my mood. The owner encouraged me with such strong energy that I was able to write this song in one go. First of all, I wanted to use the name of the place as the song title (haha).\nI aimed for a song and performance with a catchy melody sprinting above simple harmonies, sort of like a Pat Metheny idea. The drum solo in the second half is something I begged Takehiro Shimizu for, asking him, please just beat it down! I think it’s really cool.\n*07. W.M.P. (Sumire Kuribayashi) */(no notes added)/\n08. Somethin’ Warm (Sumire Kuribayashi)\nThis is a ballad I wrote for all those who have supported me up to now and who have listened to this CD. It expresses my appreciation for you all. It’s a simple melody that I play directly and as written, without improvisation. Shinichi Kato takes over the melody on bass partway through, and it’s amazing how his warm and kind personality also really comes through.\n09. Minor Meeting (Sonny Clark)\nDuring college, I studied bebop and nothing else. At first, I didn’t quite get it, but now I’ve fallen in love with it. I picked this tune to pay tribute to those beboppers. The thumping, weighty intro is also in my style of sincere respect for what’s sometimes referred to by some as “Black Jazz”. I was feeling a little Oscar Peterson in the middle with the second riff played in unison.\nObi Notes Playing with the piano, toying with the notes, living in jazz.\nSumire Kuribayashi Trio’s Toys\nFrom the fresh, twenty-first century label “Somethin’ Cool” comes the popular pianist’s genuine debut album, already making waves online with the original song “Forest and an Elf”, and a cover of U2’s “I Still Haven’t Found What I’m Looking For”!\nPerformers: Sumire Kuribayashi (piano), Shinichi Kato (bass), Takehiro Shimizu (drums)\nToys by Sumire Kuribayashi Trio Sumire Kuribayashi - piano Shinichi Kato - bass Takehiro Shimizu - drums Released in 2014 on Somethin’ Cool as SCOL-1003.\nJapanese names: 栗林すみれ Kuribayashi Sumire 加藤真一 Kato Shinichi 清水勇博 Shimizu Takehiro\nAudio and Video Video excerpt from #1 “Forest and an Elf”: Live performance of #1 “Forest and an Elf”: Video excerpt from #6 “Flying Toys”: Live performance of #5 “That Blue Bird”: Video excerpt from #2 “I Still Haven’t Found What I’m Looking For”: Audio for #9 “Minor Meeting”: Label page with audio samples\nExcerpt from track #3: “グランド・ライン (Grand Line)”\n","permalink":"https://mirror2.jazzofjapan.com/sumire-kuribayashi-trio-toys/","summary":"\u003cp\u003e\u003cem\u003eToys\u003c/em\u003e is pianist Sumire Kuribayashi’s debut leader album from 2014. Since then, the spirited musician has been on a tear, with several more leader albums released from her own projects as well as collaborations with a variety of Japanese and international musicians.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230287x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230287x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWith \u003cem\u003eToys\u003c/em\u003e, Kuribayashi plays nine tracks on the forty-eight-minute album, with five of her own songs and four beloved covers arranged together in a lively display of her musical vision. Whatever \u003cem\u003eToys\u003c/em\u003e may mean as a concept title (hinted at in the Obi Notes), it’s a playful album that works as a perfect medium for her musical worldview.\u003c/p\u003e","title":"Sumire Kuribayashi Trio: Toys"},{"content":"Clepsydra’s album Un Jour from 2011 is an eclectic collection of eleven original songs that the quartet often played at live events throughout their musical journey (roughly 2006-2015). Their unusual name may be difficult to read and pronounce initially but is easy to remember when parsed as the three syllables clep-sih-dra. The meaning of the word is an ancient water clock, a device for telling time based on the movement of water through its construction. A charming storybook-style image of a clepsydra appears on the album cover.\nThe group is made up of four members drawn from other projects: Toshihiko Inoue on saxes, Yoshiaki Sato on accordion, Masaki Hayashi on piano, and Saori Sendo on percussion. Apart from their musical and performance credentials, Clepsydra’s appeal includes inventing their simply perfect melodies to capture moods and attentions.\nClepsydra also creates songs that feature melodies repeated, cycle-like, between the different instruments and through dynamic or harmonic changes. Textural sound changes are played out by the exchanges between lead instruments—alto and soprano saxes (Inoue’s sounds could be blisteringly modern or softly tender), accordion and clavietta, and piano—and finely enhanced by the variety of Sendo’s drum set and percussion with cajón, chimes, bells, glockenspiel, whistles, wood shakers, and other pinpoint-perfect sounds.\nThough the band has an understated and modest presentation, the moods on Un Jour are quite evocative. With jazz as an underpinning, the jazz spirit of improvisation and fun odd-time manipulations does come through in the playing, but the spotlight is filled by Clepsydra’s focus on mood-building through their music.\nThese moods and sounds are subtly evocative of different worlds, like fantasy universes, folk villages, medieval events, or unfamiliar places full of communal power. Often, a gentle sense of love and support comes through their music. This uplifting effect is further heightened in a few anthem-like parts when the musicians add their voices as an inviting chorus section to the jams, as parts of #5 “un jour” and #10 “un chien”.\nThese songs spur excitement and reflection through their various landscapes. Uptempo gallops, hummable melodies, and irresistible loops, chords, and rhythms are offered up. Elements of nature and surprise are reinforced through the immediately sensed wood instruments and assorted percussion, and a breath of life expands through the uniquely different wind-based organic sounds of the accordions and saxophones.\nThe pages of the Clepsydra storybook flit creatively through adventurous, wistful, and reassuringly comfortable scenes. Two of the longer tracks, #5 “un jour” (12:13) and #10 “un chien” (10:42) are themselves multi-chapter songs that build and transform between abstract delicacy, folk cycles, soft rock, and hard fusion jazz. Some tracks are shorter three-minute compositions, such as #3 “Little Tree”, #6 “Barrel Organ”, and #9 “célestine”, and are sketches exploring simple ideas beautifully for memorable and sweet musical treats.\nClepsydra’s Un Jour /includes eight songs by Toshihiko Inoue, two by Masaki Hayashi, and one by Yoshiaki Sato. Other than this album, their recorded legacy consists of a live concert DVD with five songs from /Un Jour which can viewed through a video link below.\nObi Notes The first album from Toshihiko Inoue’s “Clepsydra”.\nclepsydra\n~ ancient water clock ~\nlively, charming,\nhumorous, sad,\ncherished\nhuman tears moving a clock\n(\u0026hellip;Sadly, saxophonist Toshihiko Inoue passed away far too soon in 2015. I was lucky enough to be able to hear him live numerous times. In fact, Inoue played at some of the first live jazz concerts I ever attended in Japan and imprinted on me an indelible impression of his music and of jazz in Japan. I am deeply grateful to have been not only his fan but also his friend.)\nUn Jour by Clepsydra Toshihiko Inoue - tenor sax, soprano sax Yoshiaki Sato - accordion, clavietta, chorus Masaki Hayashi - piano, chorus Saori Sendo - percussion, glockenspiel, chorus Released in 2011 on Casnet Music as CSNT-8006.\nJapanese names: 井上淑彦 Inoue Toshihiko 佐藤芳明 Sato Yoshiaki 林正樹 Hayashi Masaki 仙道さおり Sendo Saori\nAudio and Video Live performance of #3 “Little Tree”: Live performance of #4 “冒険 (Bouken)”: Live performance of #8 “Spirit of the Forest”: Live performance of #11 “ずっと。。。 (Zutto…)”: Live performances of “Little Tree” (18:59), “un chien” (23:09), “丘 (Oka)” (58:12), “un jour” (1:07:02), and “ずっと。。。 (Zutto…)” (1:32:27) from Live Lab Clepsydra DVD: Excerpt from track #1: “息吹 (Breath)” ","permalink":"https://mirror2.jazzofjapan.com/clepsydra-un-jour/","summary":"\u003cp\u003eClepsydra’s album \u003cem\u003eUn Jour\u003c/em\u003e from 2011 is an eclectic collection of eleven original songs that the quartet often played at live events throughout their musical journey (roughly 2006-2015). Their unusual name may be difficult to read and pronounce initially but is easy to remember when parsed as the three syllables \u003cem\u003eclep-sih-dra\u003c/em\u003e. The meaning of the word is an ancient water clock, a device for telling time based on the movement of water through its construction. A charming storybook-style image of a clepsydra appears on the album cover.\u003c/p\u003e","title":"Clepsydra: Un Jour"},{"content":"With a pleasantly minimalist sensibility focused on creating a simple space for live jazz, Tokyo jazz room Apple Jump is easy to love. This small club is another favorite place to catch live performances from small combos featuring vocalists, violins, horn players, flutists, vibraphonists, straight-ahead piano trios, and more. Genres can also vary based on the night’s schedule.\nFigure 1: Maiko (violin) with Shikou Ito (piano) and Hiroki Miyano (guitar) at Apple Jump in March 2014\nLocated in Ikebukuro, Tokyo, Apple Jump was a newer entry (about fifteen years ago) to the Tokyo jazz bar scene. It’s a small star in the wide galaxy of jazz bars in Tokyo, a humble joint that has continued to make an excellent impression through a calendar of steady and satisfying events.\nDepending on the day, audiences may be treated to a vocal group, a bossa nova band, violin mu bebop, straight-ahead, Latin, or modern jazz. A brief description of the event is usually mentioned on the shop’s online schedule, alongside musicians’ names, start time, and admission price—and, importantly, whether or not the event has already sold out. Apple Jump is a small room and a full booking of advanced reservations is not uncommon, so arriving without a reservation on certain nights can be risky.\nFigure 2: Taihei Asakawa (piano) and Daiki Yasukagawa (bass) at Apple Jump in September 2013\nLike many jazz spots in Japan, this jazz club’s interesting name is a reference to a song or item from jazz history. The name “Apple Jump” is initially evocative of a cute drawing from a primary school textbook, perhaps… and what does that have to do with serious jazz? It turns out that this club’s moniker is named after either the Count Basie tune from the 1930s or the Dexter Gordon song from his 1974 album Biting the Apple. Admittedly, “Apple Jump” is a lesser-known pick compared to famous jazz hits like “All of Me”, “Body \u0026amp; Soul”, “Hot House”, “Salt Peanuts”, and “Satin Doll”, which each have jazz clubs in Tokyo named for them. The in-the-know audience may find the choice of “Apple Jump” to be an appealing selection, a sort of deep jazz cut, and another appealing move to honor the greats while avoiding more obvious titles.\nFigure 3: Maki Fujimura at Apple Jump in June 2013\nInside Apple Jump, what you see is what you get. Apple Jump offers at-home style concerts in a clean and simple jazz room, one that appears as if it could have been a hobbyist’s garage workshop in another life. As such, decorations and amenities (such as there are at a casual neighborhood spot) are minimal, but one gets the sense that everything was hand-selected and chosen by the owner—not too fussy or overly considered, but everything selected for a reason.\nRun by a quiet but friendly bar master, the atmosphere is calm and simple. Like the simple but effective Apple Jump logo painted on the wall behind the stage, this is an open canvas for the musicians to fill with their finely polished jazz performances.\nFigure 4: Akane Matsumoto (piano) Special Quartet with Tatsuya Sato (sax), Yuhei Honkawa (bass), and Tomoyuki Okabe (drums) at Apple Jump\u0026rsquo;s fourth anniversary in March 2013\nAs a one-person operation, everything at Apple Jump is handled by the owner/manager. From the layout, the menu, and the schedule of performers, an awareness of clarity and ease are primary. The overall impression is that the goal of satisfaction, simple and clear, for both the audience and performers rises to the top. An avid photographer, the owner’s photos are sometimes pinned to the walls in an impromptu gallery style and capture performances at Apple Jump and some overseas travel snapshots.\nFigure 5: Akihiro Nishiguchi (sax) quartet w/ Takayoshi Baba (guitar), Kunpei Nakabayashi (bass), and Takehiro Shimizu (drums) at Apple Jump in May 2013\nSpeaking of photography, taking photos in overt or distracting ways during performances is usually frowned upon and sometimes against the establishment’s rules. This is true at Apple Jump as well as many jazz bars these days. There may even be a sign stating “Photography not allowed” at the entrance or on a wall. However, these rules may be flexible depending on the details of a particular event or the performers, and some customers will discretely snap a photo or several, without flash or shutter noises, at the end of the event or during any encores. It’s usually a good rule of thumb to be subtle and polite while following the behavior of other customers.\nThe Apple Jump menu includes a standard range of drinks, some small snacks, and a few cooked or assembled dishes. For drinks, beer, wine, liquor, and soft drinks are available. For dishes, the appetizer platter and the handmade Margherita pizza (seasonally offered) are great options. For snacks, pickles, olives, crackers, and cheese are typical (and at times, a bowl of freshly popped popcorn). Everything is very reasonably priced.\nFigure 6: Shigeo Fukuda (piano) and Toshiki Nunokawa (guitar) at Apple Jump in July 2012\nFrom Ikebukuro station, Apple Jump is about 10 minutes by foot from the west exit. A west-side underground passage from the station leads to the nearest neighborhood from the last station staircase exit, from which Apple Jump is only a minute away on foot.\nFigure 7: Shigeru Morishita (piano) and Fumiko Yamazaki (vibraphone) at Apple Jump in November 2012\nFigure 8: Masayasu Tzboguchi (piano, effects) with Ryoji Orihara (bass) and Kazumi Ikenaga (drums) at Apple Jump in August 2012\nFigure 9: Eriko Shimizu (piano), Ikuo Sakurai (bass), and Manabu Fujii (drums) at Apple Jump in May 2012\nFigure 10: Harumi Nomoto at Apple Jump in February 2011\nFigure 11: Sanae Ishikawa (vocal), Ryoji Orihara (bass), and Yasushi Fukumori (drums) at Apple Jump in June 2013\nFigure 12: Miki Hirose (trumpet) Quintet with Akihiro Yoshimoto (sax), Yasumasa Kumagai (piano), and Kunpei Nakabayashi (bass) at Apple Jump in December 2014\nFigure 13: Hiroko Mase (soprano sax) Quartet with Eiji Otogawa (tenor sax), Nobumasa Tanaka (piano), Kosuke Ochiai (bass), and Sota Kira (drums) at Apple Jump in May 2019\nFigure 14: Yukako Yamano (piano) and Koichi Osamu (bass) at Apple Jump in November 2012\nFigure 15: Yuka Ueda (vocal) and Shinji Hashimoto (guitar) at Apple Jump in June 2010\nFigure 16: Hitomi Nishiyama (piano) and Toshihiko Inoue (sax) at Apple Jump in February 2013\nFigure 17: Sayaka Kishi (piano) and Naoto Suzuki (guitar) at Apple Jump in March 2024\nFigure 18: Hori Hideaki (piano) Quartet with Yuhei Honkawa (bass), Gaku Hasegawa (drums), and Mabumi Yamaguchi (sax) at Apple Jump in March 2024\nFigure 19: Handmade pizza at Apple Jump\nFigure 20: Welcome to Apple Jump\n","permalink":"https://mirror2.jazzofjapan.com/apple-jump/","summary":"\u003cp\u003eWith a pleasantly minimalist sensibility focused on creating a simple space for live jazz, Tokyo jazz room Apple Jump is easy to love. This small club is another favorite place to catch live performances from small combos featuring vocalists, violins, horn players, flutists, vibraphonists, straight-ahead piano trios, and more. Genres can also vary based on the night’s schedule.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1090161-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1090161-1200.jpeg\"\n         alt=\"Figure 1: Maiko (violin) with Shikou Ito (piano) and Hiroki Miyano (guitar) at Apple Jump in March 2014\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eMaiko (violin) with Shikou Ito (piano) and Hiroki Miyano (guitar) at Apple Jump in March 2014\u003c/p\u003e","title":"Apple Jump"},{"content":"On Banquet, pianist and composer Sayaka Kishi’s latest album from 2024, her piano trio brightens things up with a banquet of delights. Kishi has long been a musician who loves to explore and mix genres with a sense of fun and dedication, and she is often found playing in Latin, Afro-Cuban, flamenco, fusion, and other groups. While the genres are many, Kishi consistently pulls from her knowledge of jazz standards, pop, classical, and other roots, bound together with swing and Latin beats and ad-libbed improvisation.\nThis particular album of hers was released under the Sayaka Kishi Trio name and is a follow-up to the same trio’s previous recording Life Is Too Great (2019). Also as such, the trio music on this album tends towards primarily jazz influences. Meanwhile, her other recent releases with various groups (piano/cello, piano/vocals, congos/vibraphone/piano, sax/organ/drums, etc) span colorful moods with different instrumentalists playing across genres.\nInvoking the simple pleasures of chewing bubble gum with a playful, mild rebelliousness, the ten tracks start excitedly with the peppy opener “I Miss the Blue Sky”, pop-funk of “Bubble Gum”, and the calm and memorable “Noite Azul” moving in five-four time. The nine Kishi compositions (and one cover song) subtly reflect Kishi’s humorous personality while being mindfully crafted with nuanced changes, rhythmic surprises, and unexpected elements tucked away in corners throughout the album.\nThe opening track’s first section, for example, launches from a bouncing and carefree theme and immediately moves to a two-minute swinging conversation between bass and drums as the harmonic underpinning moves through several musical keys. Variety, twists, and sharp ideas continue to play out inconspicuously throughout Kishi’s music, like her unique spice or secret ingredient.\nThe next four songs “Wondering Bird”, “It’s My Jameson”, “Sora wo Kakeru”, and “Three Sails” continue to explore fun terrain with jazz moods infused with folky country, groovy shuffle, Bacharachesque emotive pop, and jazz/Latin bop in a Horace Silver hue. The music feels bright and brisk and is especially enhanced by the captivating dynamics, strength, and skills of Yasukagawa’s bass and Yamada’s drums.\nGuest vocalist Hiroe Kobayashi (her partner in the group Sul Madrugada and their 2022 release Luar) adds evocative vocals and lyrics to the next song, #8 “Asas Brancas” for a cheery foreign trip, continuing into Chucho Valdez’s “Mambo Influenciado” for some rousing peaks. Finally, the album closes with Kishi’s “Hope of 2022” for a smooth and laidback finale, sweet as dessert.\nBanquet by Sayaka Kishi Trio Sayaka Kishi - piano Akira Yamada - drums Daiki Yasukagawa - bass Hiroe Kobayashi - vocals (#8) Released in 2024 on Daiki Musica as DNCD-32.\nJapanese names: 岸淑香 Kishi Sayaka 山田玲 Yamada Akira 安ヵ川大樹 Yasukagawa Daiki 小林宏衣 Kobayashi Hiroe\nAudio and Video Sayaka Kishi Trio playing her composition “Kin no Bitou” in 2019: D-musica page for this album with audio samples\nExcerpt from track #1: “I Miss the Blue Sky”\n","permalink":"https://mirror2.jazzofjapan.com/sayaka-kishi-trio-banquet/","summary":"\u003cp\u003eOn \u003cem\u003eBanquet\u003c/em\u003e, pianist and composer Sayaka Kishi’s latest album from 2024, her piano trio brightens things up with a banquet of delights. Kishi has long been a musician who loves to explore and mix genres with a sense of fun and dedication, and she is often found playing in Latin, Afro-Cuban, flamenco, fusion, and other groups. While the genres are many, Kishi consistently pulls from her knowledge of jazz standards, pop, classical, and other roots, bound together with swing and Latin beats and ad-libbed improvisation.\u003c/p\u003e","title":"Sayaka Kishi Trio: Banquet"},{"content":"Nobie is a multi-talented artist whose musical and professional paths started at a young age. These included learning the violin and piano which led to voice, percussion, and pharmacy studies, and through many genres like jazz, soul, pop, and Brazilian music.\nHer storied journey includes forays in the bands of renowned Brazilian bass player Luizão Maia (partnered with Jobim, Milton Nascimento, Elis Regina, and others—coincidentally, Nobie’s even been described as “the Japanese Elis Regina”), Soil \u0026amp; Pimp Sessions pianist Josei’s Alma+ band, famous Brazilian guitarist Toninho Horta, influential Beninese guitarist Lionel Loueke, and the popular Japanese jazz/samba/fusion of Shinichi Kato’s B-Hot Creations.\nFor years, she has been primarily known for her beautiful singing voice among her wealth of talents, appearing on stage as a vocalist with various bands and collaborations. She has been more prominent as a leader in her own right since making her name with her 2011 debut album Primary. Since this release, she has continued to be active with live shows and recorded music, and her latest album Owari to Hajimari, a primarily guitar/vocal duo album, was just released last year.\nPrimary knits together Nobie’s rich musical background, influences, and musical loves through eleven selections made up of six of her originals and five cover songs. Being described as “stylish jazz and bossa nova” would be easy but definitely too simple, as Nobie’s palette, controlled articulation, and intentions are much more colorful and vivid. In fact, only three of the songs on this album delve into obvious Latin territory at the very start, middle, and end of the album.\nWhen not jamming it up and getting down with Brazilian guitars and rhythms, the sound of the music varies as the musicians combine in different forms. With acoustic and electric blends, the propulsive group sound is based on acoustic piano and guitars, electric keyboards and guitars, drums and percussion, and subtle effects. Through it all, her clear voice, deceptively light and airy, infuses the music with gentle elegance and soaring grace with pinpoint accuracy, leading the band and the music effortlessly through its moods.\nHere is a brief map of the album’s tracks with forgivably brief descriptions: Brazilian guitars and voices with infectious riffs and rhythms (#1 “Shinkansen”, #5 “Arigatou”, #11 “Wind From Minas”), layered ethereal trips floating on fusion jazz (#4, “Loop”, #7 “Black Narcissus”, #10 “Minami e”), smooth jazz (#6 “Letter”, #9 “Oceano”), unforgettable pop (#2 “Blackbird”, #3 “Human Nature”), and a heart-heavy love song (#8 “Tarde”).\nThe cover songs include Lennon/McCartney’s ever-popular “Blackbird”, Michael Jackson’s hit “Human Nature”, and Joe Henderson’s mesmerizing “Black Narcissus”. Perhaps most importantly, her influences for /Primary /also include Toninho Horta (specifically mentioned on the obi sleeve), the Brazilian guitarist/singer who, along with friend and musical partner Milton Nascimento, is a giant in the Música Popular Brasileira (MPB) genre. Horta joins Nobie on the first and last tracks (Horta’s “Shinkansen” and Nobie’s “Wind From Minas”), lending his expert Brazilian guitar and voice to two of the album highlights.\nNo stranger to juggling genres, Nobie’s live shows are dynamic and unpredictable with the mixing of familiar favorites with unexpected gifts, from Brazilian and pop to the deep jazz catalog, from Sting and Jimi Hendrix to McCoy Tyner, Thelonious Monk, Charles Mingus, and Airto Moreira.\nIn live settings when playing rearranged covers or her originals, her skills include playing with complex rhythms and time signatures with an innately accurate musical sense. On Primary, beats and time signatures are relatively straightforward, pinned down with easily absorbed grooves. Still, even when reigned in, the sense of strong time control from Nobie and her band is penetrating.\nAlso, in addition to her singing of song lyrics, her voice often transcends words into free-form scatting, nimble improvisations, and rhythmic vocalizations with pops, clicks, trills, chirps, hoots, growls, and whispers.\nThese ear-catching sounds are further extended through her impressive skills with simultaneous percussion playing of caxixi (shaker), hand drums, and similar physical instruments, and even remarkably simulating percussion sounds and rhythms with her voice between phrases and lyrics. When bringing the mood down, however, her gentle voice exudes exquisite calmness, guiding listeners into a meditative peace and stillness similar to “Loop” on this album.\nAt live shows, Nobie switches between singing in Portuguese, Japanese, English, or voice-as-an-instrument wordless vocalizations, as suits the material or her spontaneous mood.\nSimilarly, on Primary, Nobie sings in Japanese for five tracks, English for three (fitting the finely-rearranged Beatles and Michael Jackson songs and Nobie’s storytelling love song “Letter”), Portuguese on one, and with instrumental voice on “Black Narcissus” (appropriately sax-like), “Shinkansen” (with train station names appearing near the end, naturally), and “Wind From Minas”, closing the album just like it begins, with irresistible rhythms and addictively lovable singing.\nPrimary by Nobie Nobie - vocals, handclaps, microKORG, shaker Toninho Horta - vocals \u0026amp; acoustic guitars (#1, 11) Junichiro Ohkuchi - piano (#8) Shikou Ito - piano, keyboards, \u0026amp; handclaps (#2, 3, 7, 10) Kohzo Komori - drums \u0026amp; handclaps (#2, 3, 4, 6, 7, 9, 10) Satoshi Yoshida - electric and acoustic guitars (#4, 5, 6, 9, 10) Yoshihito “P” Koizumi - electric bass (#4, 6, 7, 9) Yuri Dazai - piano \u0026amp; keyboard (#6, 9) Satoshi Ishikawa - percussions (#5) Satoshi Sano - flute (#9) Released in 2011 on Anturtle Tune as ANTX-0721.\nJapanese names: ノビー Nobie 大口純一郎 Ohkuchi Junichiro 伊藤志宏 Ito Shikou 小森耕造 Komori Kohzo 吉田サトシ Yoshida Satoshi 小泉P克人 Koizumi Yoshihito “P” 太宰百合 Dazai Yuri 石川智 Ishikawa Satoshi 佐野聡 Sano Satoshi\nAudio and Video Nobie performing #1 “Shinkansen” live with Toninho Horta: Nobie performing #1 “Shinkansen” live with Shikou Ito and Kohzo Komori: Nobie performing #5 “Arigatou” live with Shikou Ito and Kohzo Komori: Excerpt from track #4: “Loop” ","permalink":"https://mirror2.jazzofjapan.com/nobie-primary/","summary":"\u003cp\u003eNobie is a multi-talented artist whose musical and professional paths started at a young age. These included learning the violin and piano which led to voice, percussion, and pharmacy studies, and through many genres like jazz, soul, pop, and Brazilian music.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200289x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200289x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eHer storied journey includes forays in the bands of renowned Brazilian bass player Luizão Maia (partnered with Jobim, Milton Nascimento, Elis Regina, and others—coincidentally, Nobie’s even been described as “the Japanese Elis Regina”), Soil \u0026amp; Pimp Sessions pianist Josei’s Alma+ band, famous Brazilian guitarist Toninho Horta, influential Beninese guitarist Lionel Loueke, and the popular Japanese jazz/samba/fusion of Shinichi Kato’s B-Hot Creations.\u003c/p\u003e","title":"Nobie: Primary"},{"content":"With low-slung couch seats and candle-lit tables, the dimly-lit Jazzspot J (aka JazzSpot J, Jazz Spot J, or just J) felt like the grandfather of jazz bars in Shinjuku, Tokyo. It’s an image that conveys an older-but-comfortable insider’s hangout, and fits this well-known bar’s over-40-year history and authentic ambience.\nFigure 1: The Yuji Ohno Trio at Jazzspot J in May 2007\nDark, old-fashioned, and somewhat reminiscent of vintage performance showrooms, the club (now closed) was a favorite for both jazz musicians and regular customers, as well as curious jazz-loving visitors to Japan. The stage area with a grand piano at the far end of the room was perfect for small jazz combos, vocal-led groups, or even mini big bands who would squeeze onstage from time to time.\nThe room’s nostalgic atmosphere, with its well-loved furniture and timeworn decor, may have seemed outdated or even stuffy at first. However, the professional and well-dressed staff made customers feel warmly welcomed as they sunk into the comfy couches and took in the charm of the room.\nFigure 2: Rotating artwork at Jazzspot J in December 2006\nThe retro feeling of this jazz club even extended to Jazzspot J’s online calendar of events, which typically featured a photo of a hand-drawn, colored sheet of information, like the flyers and small posters used as winsome schedules affixed to some shops’ doors or walls.\nFigure 3: Jazzspot J, May 2007\nOf course, live jazz was the main attraction at Jazzspot J, and the excellently curated calendar of events kept regular customers delighted with a combination of favorite local stars, up-and-coming musicians, and even overseas acts on occasion. One of the recurring acts at Jazzspot J was the Yuji Ohno trio, the jazz piano trio behind the funky theme music for the renowned Japanese spy animation Lupin the Third.\nLike gift wrapping around the musical space at Jazzspot J, the venue’s walls served as showcases for visual art. Reflecting the exciting spontaneity of jazz, a rotating gallery of art and showcases enhanced the space with moodily understated, captivatingly abstract, or simply beautiful pieces that would pique the audience’s interest like unpredictable improvisation. The striking artwork deepened the jazz atmosphere with paintings, drawings, and creations by various artists who were often local Japanese artists who featured their solo exhibitions.\nFigure 4: Ryan Kisor Quintet at Jazzspot J in August 2005\nThe conventional jazz bar menu included cocktails, drinks, pizzas, pasta, and snacks.\nFigure 5: Jazzspot J, November 2006\nAlthough Jazzspot J closed in 2020 after 41 years of business, memories of special music and nights spent at this jazz haven live on in the hearts of many jazz musicians and fans. Like Pit Inn, another long-lived and much-loved jazz mecca in the Shinjuku area, there was even a book written about Jazzspot J and its history.\nFinally, one last remaining tribute to Jazzspot J lives on in the form of another physical artifact kept at the younger jazz spot Kohaku, where Jazzspot J’s symbolically inscribed bass drum now abides.\nFigure 6: Jazzspot J, May 2011\nFigure 7: Akemi Ohta (flute) and Reikan Kobayashi (shakuhachi) at Jazzspot J in November 2011\nFigure 8: Masako Kunisada at Jazzspot J in November 2011\nFigure 9: Tommy Morota Sextet at Jazzspot J in September 2015\nFigure 10: Yuka Ueda at Jazzspot J in September 2015\nFigure 11: Jazzspot J, November 2013\nFigure 12: Menu at Jazzspot J\nFigure 13: Coaster at Jazzspot J\nFigure 14: Welcome to Jazzspot J\n","permalink":"https://mirror2.jazzofjapan.com/jazzspot-j/","summary":"\u003cp\u003eWith low-slung couch seats and candle-lit tables, the dimly-lit Jazzspot J (\u003cem\u003eaka JazzSpot J, Jazz Spot J, or just J\u003c/em\u003e) felt like the grandfather of jazz bars in Shinjuku, Tokyo. It’s an image that conveys an older-but-comfortable insider’s hangout, and fits this well-known bar’s over-40-year history and authentic ambience.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"DSC_7331-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"DSC_7331-1200.jpeg\"\n         alt=\"Figure 1: The Yuji Ohno Trio at Jazzspot J in May 2007\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eThe Yuji Ohno Trio at Jazzspot J in May 2007\u003c/p\u003e","title":"Jazzspot J"},{"content":"In the style of classic apostrophe-bearing jazz album titles, pianist Yasumasa Kumagai and bassist Ryu Kawamura offer up Ol’ School Jazz, a collection of beloved jazz standards played with authenticity and a love for the era with their pared-down duo format.\n(Aside: Following this apostrophe trail, this album’s bluesy first track may be no accidental serendipity but an intentional pick. Starting with the album title Ol’ School Jazz, the first track “Driftin’”, and that song’s origin on Herbie Hancock’s Takin’ Off, that’s three apostrophes already. Did the friendly informality of this “jazz apostrophe” as used in the day carry a similar effect — particularly for the “jazz atmosphere” of certain albums, laid back but highly skilled, casual but serious — as emojis and internet abbreviations do today? A prototype for the simple, effective, and immediate impact of quick slang like LOL, OMG, WTF? BRB…)\nOl’ School Jazz is a 14-track album loaded with unforgettable tunes from several eras of jazz history. Kumagai and Kawamura’s duo project honors that history with integrity and love by selecting familiar but excellent songs from the swing, bebop, and hard bop eras of the 1930s-60s, mainly. For fans of jazz classics and honest playing, it doesn’t get much better than Thelonious Monk’s “Evidence”, Benny Golson’s “Stablemates”, and Dizzy Gillespie and Kenny Clarke’s “Salt Peanuts”.\nJazz jam session favorites are also represented: “Caravan”, “All the Things You Are”, “If I Were A Bell”, “Alone Together”, and even “Cherokee”, no doubt a speed challenge when played by a drumless duo. One mood outlier among the straight-ahead swing and bop is Wayne Shorter’s “Sleeping Dancer Sleep On”, the tender highlight of the album and a beautiful melody played lovingly by the duo.\nFilling out the package is one original song, the comfortable home base of a groovy jazz blues simply titled “Blues”. Each player also gets their own spot alone: Kawamura plays a brilliant bass solo on “Up Jumped Spring” in a relaxed midtempo swing, and Kumagai wraps up the album with a gospel blues piano solo for the last track, the spiritual and expressive “Amazing Grace”.\nOl’ School Jazz by Yasumasa Kumagai \u0026amp; Ryu Kawamura Yasumasa Kumagai - piano Ryu Kawamura - bass Released in 2009 on Anturtle Tune as ANTX-4005.\nJapanese names: 熊谷ヤスマサ Kumagai Yasumasa 川村竜 Kawamura Ryu\nAudio and Video Audio for “All the Things You Are”, track #5 from this album: Excerpt from track #11: “Blues” ","permalink":"https://mirror2.jazzofjapan.com/yasumasa-kumagai-ryu-kawamura-ol-school-jazz/","summary":"\u003cp\u003eIn the style of classic apostrophe-bearing jazz album titles, pianist Yasumasa Kumagai and bassist Ryu Kawamura offer up \u003cem\u003eOl’ School Jazz\u003c/em\u003e, a collection of beloved jazz standards played with authenticity and a love for the era with their pared-down duo format.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230296x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230296x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003e(Aside: Following this apostrophe trail, this album’s bluesy first track may be no accidental serendipity but an intentional pick. Starting with the album title \u003cem\u003eOl’ School Jazz\u003c/em\u003e, the first track “Driftin’”, and that song’s origin on Herbie Hancock’s \u003cem\u003eTakin’ Off\u003c/em\u003e, that’s three apostrophes already. Did the friendly informality of this “jazz apostrophe” as used in the day carry a similar effect — particularly for the “jazz atmosphere” of certain albums, laid back but highly skilled, casual but serious — as emojis and internet abbreviations do today? A prototype for the simple, effective, and immediate impact of quick slang like LOL, OMG, WTF? BRB…)\u003c/p\u003e","title":"Yasumasa Kumagai \u0026 Ryu Kawamura: Ol’ School Jazz"},{"content":"Tokyo’s Gate One is a classic neighborhood jazz bar, a local favorite for jazz fans and musicians around the Takadanobaba area. This basement live spot was started by husband-and-wife pair Shinji Hashimoto and Mariko Kajiwara with assistant manager Mai twenty-five years ago. Most fortunately, Gate One is still filled with their spirit of genuine jazz appreciation and communal love of live music.\nFigure 1: Tomoka Miwa (vocal) with George Nakajima (piano), Satoshi Kosugi (bass), and Yudo Matsuo (guitar) at Gate One in 2010\nEver warm and friendly, the guitarist and singer brightened up the tiny room as proprietors, performers, and simply lovely people to sit next to while enjoying the music. When not working or hanging out here, owner Mariko Kajiwara can also be found singing at spots in Tokyo like Polka Dots, Sometime, and others.\nThe musical acts at Gate One are typically vocalist-led shows, such as piano or guitar-based duos and trios featuring regular vocalists leading the band on most days. Instrumental combos are sprinkled in from time to time. On nights when a piano trio is the featured act, bar owner Mariko may even join the band for a few tunes, singing jazz standards like those featured on her CD Pitter Patter.\nFigure 2: Maki Kikuchi at Gate One on New Year’s Eve 2010\nThe Gate One performance schedule includes several monthly recurring vocal acts with duos, trios, or combos typically made up of piano, guitar, bass, and drums. There have also been occasional jazz jam sessions for amateur and student musicians on certain Sundays or holidays (although these may be rare events these days).\nFigure 3: Mie Joké (vocal) with Tsuyoshi Yamamoto (piano) and Hiroshi Kagawa (bass) at Gate One in 2011\nThe friendly vibe mixed with the live energy of Gate One makes this a comfortable place for listening to music and relaxed conviviality during the set breaks. It’s a winning combination that keeps regulars coming back and checking in from time to time for the shared family feeling of an authentic love for jazz in an at-home atmosphere.\nFor customers who may feel nervous about entering a neighborhood locals bar, the coziness of Gate One may initially come off as a “friends and family” space with an exclusive atmosphere. However, anyone should feel welcome to enjoy the music here with an honest smile and attitude.\nFigure 4: Sanae Ishikawa (vocal) with Takayoshi Baba (guitar) at Gate One in 2012\nLike other spots in crowded parts of Tokyo, Gate One is a narrow, underground bar right off a street packed with shops and pedestrians. Seating is limited to bar chairs and several tables near the performance area, where a drum set, upright piano, double bass, and various instruments and amps are also tucked away in any available space.\nFigure 5: Yuka Ueda (vocals) with Junichiro Ohkuchi (piano) and Shinji Hashimoto (guitar) at Gate One in 2012\nWhile food options may slightly vary based on the day, the tiny kitchen offers simple but delicious homestyle dishes like yakisoba noodles, fried rice, and pork shabu shabu salad. Lighter snacks like mixed nuts or crackers with cheese are also available.\nSadly, guitarist Shinji Hashimoto left this world in 2021. Mariko Kajiwara continues to operate the business, singing and keeping Gate One open for business. Live shows are scheduled for about half of the week, usually from Tuesday through Friday, but checking the online schedule is always a good idea.\nFigure 6: Bassist Satoshi Kosugi with Mayuko Katakura (piano), Kenichiro Murata (drums), and Kazuhiko Kondo (sax) at Gate One in 2019\nFigure 7: Mariko Kajiwara (vocal) with Mikiko Nagatake (piano), Show Kudo (bass), and Umi Ogimi (drums) at Gate One in 2024\nFigure 8: Shabu shabu salad at Gate One\nFigure 9: Welcome to Gate One\nFigure 10: Shinji Hashimoto (guitar) with Shigeo Fukuda (piano), Satoshi Kosugi (bass), and Hiroshi Murakami (drums) at Gate One in 2010\n","permalink":"https://mirror2.jazzofjapan.com/gate-one/","summary":"\u003cp\u003eTokyo’s Gate One is a classic neighborhood jazz bar, a local favorite for jazz fans and musicians around the Takadanobaba area. This basement live spot was started by husband-and-wife pair Shinji Hashimoto and Mariko Kajiwara with assistant manager Mai twenty-five years ago. Most fortunately, Gate One is still filled with their spirit of genuine jazz appreciation and communal love of live music.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"P1040775x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"P1040775x-1200.jpeg\"\n         alt=\"Figure 1: Tomoka Miwa (vocal) with George Nakajima (piano), Satoshi Kosugi (bass), and Yudo Matsuo (guitar) at Gate One in 2010\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eTomoka Miwa (vocal) with George Nakajima (piano), Satoshi Kosugi (bass), and Yudo Matsuo (guitar) at Gate One in 2010\u003c/p\u003e","title":"Gate One"},{"content":"Koichi Sato’s two-disc album Embryo is another remarkable showcase for the talented composer/arranger/pianist. Unfolding the gift-like box presents two CDs enclosed in an all-paper-and-cardboard-constructed package, a pleasing way to open the concept album. The placid cover art also carries a surprise, one that is illuminated when the lights are turned down for a listening session.\nThe concept is made clearer in the titles of the two discs, Disc 1 “Water” and Disc 2 “Breath”. The two titles perhaps symbolize the transition from womb to world, and describe the sounds of each side. The first disc has Sato playing fourteen of his songs on solo piano, and the second finds Sato playing with small ensembles on twelve tracks, with some of his songs rearranged and repeated between the two discs.\nApart from his jazz and piano work, Sato has recently been involved in movie music, and this seems to influence the personality of this album’s music: evocative and descriptive, beautifully moving and played with finesse.\nThe first “Water” side features Sato alone on a richly-sounding piano, a Bösendorfer tuned in Vallotti temperament for a subtly changing sound character which is said to produce expressive feelings that can produce different effects for different chords and keys on the piano. Ever thoughtful, no doubt Sato considered and experimented with the harmonics and resonances unique to this particular tuning to enhance his music.\nHis solo piano is delicate and dramatic on disc 1, and most songs on this side fall in the 2-4 minute range. Some pieces sound like sketches of emotional moods, and others are expertly and cinematically developed, with melodies and constructions with that ideal quality of being perfect musical ideas that were just waiting in nature to be discovered and performed, to be made apparent by an artist.\nLike statues from blocks of marble, the shapes emerge as if they were latent forms, waiting for a natural genius to expose them. Sato pulls his shapes out as formed tunes that are sublime, and unlike stone, soft, warm, and gentle, or dramatic, melancholic, and suspenseful. They are tunes that may seem preexisting or obvious later, when looking back, but only after the composer discovered them, wrote them down, performed them.\nThe ensembles on the “Breath” side also feature Sato’s compositions and piano, adding in variations of subsets of a jazz quartet (piano, guitar, bass, and drums) and subsets of a string quartet (two violins, viola, and cello). Disc 2 songs are generally longer and in the 4-6 minute range.\nAfter Sato, long-time collaborator and guitarist Motohiko Ichino has the most playing time, joining Sato for a majority of the twelve songs. The other instruments (bass, drums, cello, two violins, and viola) weave in and out on different tracks in combinations of duos, trios, quartets, quintets, and octets. One suspenseful song, #4 “Draw” also includes an ambient soundscape musician, who colors the music with water and rain sounds for added tense imagery.\nThe comfortably pleasing audio quality for Embryo features a slightly muted sound evoking a dark, spacious chamber. The recording is mono, which can be easily assumed to be part of the conceptual environment that the album constructs.\nYet, this non-stereo choice is a decided characteristic of this album’s record label Nagalu. This label was founded by drummer Shinya Fukumori, who also plays on this album and has had monaural hearing since birth. The sound is pristine and connects with the transcendent music for a direct effect.\nWhile some tracks (8) are rearranged and repeated on the two discs, group formations and performances differ (as do the physical pianos and their tuning systems), but so does the track sequencing order.\nFor example, two of the album highlights, the folksy nostalgic “Hua” and hopefully uplifting “May Song”, are played on both discs, but in reverse order: On disc 1, Sato plays #10 “May Song” followed by #11 “Hua”.\nOn disc 2, a guitar/piano/bass/drums quartet plays #11 “Hua” followed by #12 “May Song” with a piano/cello duo, the final track that tenderly ascends to high peaks for both this side and the double album itself. This choice is a great one, emphasizing the care and thought put into the music and overall direction.\nEmbryo by Koichi Sato Koichi Sato - piano, compositions, arrangements Motohiko Ichino - guitar (Disc 2: #1, 2, 5, 6, 7, 8, 10, 11) Masaki Kai - bass (Disc 2: #1, 7, 8, 9, 11) Shinya Fukumori - drums (Disc 2: #1, 2, 7, 8, 9, 11) Aya Ito - violin (Disc 2: #4, 6, 7, 8) Yuko Kajitani - violin (Disc 2: #6, 7, 8) Atsuki Yoshida - viola (Disc 2: #6, 7, 8) Robin Dupuy - cello (Disc 2: #2, 3, 4, 5, 6, 7, 8, 12) Zeze Wakamatsu - soundscape (Disc 2: #4) Released in 2021 on Nagalu as NAGALU-003/004.\nJapanese names: 佐藤浩一 Sato Koichi 市野元彦 Ichino Motohiko 甲斐正樹 Kai Masaki 福盛進也 Fukumori Shinya 伊藤彩 Ito Aya 梶谷裕子 Kajitani Yuko 吉田篤貴 Yoshida Atsuki\nAudio and Video Promotional video for this album featuring “Aqua”, track #2 (disk 2): Live ensemble version of “Draw”, track #4 (disc 2), at Nagalu Festival 2021: Excerpt from track #10: “May Song” Other Links More info and audio samples ","permalink":"https://mirror2.jazzofjapan.com/koichi-sato-embryo/","summary":"\u003cp\u003eKoichi Sato’s two-disc album \u003cem\u003eEmbryo\u003c/em\u003e is another remarkable showcase for the talented composer/arranger/pianist. Unfolding the gift-like box presents two CDs enclosed in an \u003ca href=\"https://www.nagalu.jp/embryo\"\u003eall-paper-and-cardboard-constructed package\u003c/a\u003e, a pleasing way to open the concept album. The placid cover art also carries a surprise, one that is illuminated when the lights are turned down for a listening session.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230481x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230481x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe concept is made clearer in the titles of the two discs, Disc 1 “Water” and Disc 2 “Breath”. The two titles perhaps symbolize the transition from womb to world, and describe the sounds of each side. The first disc has Sato playing fourteen of his songs on solo piano, and the second finds Sato playing with small ensembles on twelve tracks, with some of his songs rearranged and repeated between the two discs.\u003c/p\u003e","title":"Koichi Sato: Embryo"},{"content":"Banda Feliz is a group of Tokyo musicians playing festive Brazilian music, originals and covers, centered around Makiyo Sakai’s robust and jazzy flute playing. Her lighter-than-air flute sound is buoyed by her full six-piece palette with trombone, guitar, piano, bass, and drums, and the group’s voices happily join the melodies at times for extra oomph.\nHappiness is integral to the band’s sound, even evident in the artist name and album title, roughly translated as cheerful, joyful, happy band and bon voyage.\nWith upbeat rhythms, effervescent melodies, and playful interplay, many of the songs stir the soul with positivity through poppy Latin rhythms and kinetic energy: #1 “Sunda Land”, #2 “Água e Peixes”, and #3 “Neste Pais” (with a jazzier feel heading toward Chick Corea or Joe Henderson-type territory) start the album with a great introduction of the band’s flavorful dynamics.\nSlower bossas and poetic reflections also enter the mix through the slow romance of #4 “Outono de Ipanema” and the lonely longing of #8 “Sinto Saudade de Você”. Laid-back relaxation shines on a vaguely retro Herb Alpert-esque confection #5 “Bolo de Chocolate” and the cinematically heavy #6 “Ao no Kanata”.\nYet the indefatigable spirit returns in bold for several of the last songs, with the actively cute #7 “Samba de ReRe”, the brisk vamps of #9 “Cesar”, and the lighthearted and lovely last track #10 “Mackey”, to leave listeners uplifted with full spirits and good vibes.\nMakiyo Sakai, Flutist/composer\nMakiyo Sakai was born in Otsu City and started playing the flute at age 11, studying under Yumiko Furuya, Naohiro Yamakoshi, and Haruyuki Nakatsukasa and with a foundation of classical music education at school. She began to win awards at competitions, and she performed in front of audiences in solo concerts and as an orchestra member. Her flute education continued at Osaka Kyoiku National University, and later in Boston and Tokyo.\nHer early releases include Silver Painting (Pony Canyon, 2016), the Jazz Lady Project’s Cinema Lovers (King Records, Jazz Lady Project, 2017) and Pictures at the Exhibition (Pony Canyon, 2018).\nFurther album releases continued and led to this release, Boa Viagem (Feliz Records, 2020) with her Brazilian band Banda Feliz. Ever active, she stays busy with an abundance of live performances, composing, and releasing new albums both with her groups and other musicians.\nLiner Notes (Translated from the original Japanese liner notes.)\n1. Sunda Land\nAs the sea levels dropped during the ancient ice ages, a vast landmass called Sunda Land emerged throughout Southeast Asia. One theory claims that many of our Japanese ancestors migrated from there. This is a song that reminisces about those ancient times. (Obata)\n2. Água e Peixes\nThere is a jungle on a tributary of the Amazon River. If you watch the water’s surface, you can see lots of fish jumping and diving. I tried to capture that image in this song. By the way, the water sounds flowing in the beginning and ending were recorded by the uncompromising Makiyo Sakai, who recorded the sounds while splashing around in the Tama River. Incredible! (Ikeda)\n3. Neste Pais\nI happened to be reading some books on world peace and suddenly wondered, as someone living in this country, how should we live and think about this? Although it is hard to express in words, I wrote my feelings at the time down on sheet music while reflecting on peace. (Sakai)\n4. Outono de Ipanema\nI first visited Rio in 2012 for an album recording. Immediately I headed to the beach to look for the Girl from Ipanema (?), but when I arrived, an autumn rain fell and few people were there. Is this saudade!?\nUnexpectedly, this song turned out to remind me of an old flame. Someday, I’d like to write lyrics for it. (Ikeda)\n5. Bolo de Chocolate\nOrdinarily, I don’t cook very often, but I baked a chocolate cake. As the sweet aroma filled the room, I couldn’t wait to taste it. All of a sudden, with that feeling of excitement, I wrote this choro. It turned out to be a cute piece (haha), which is rare for me. (Sakai)\n6. 蒼の彼方 (Ao no Kanata, */*Beyond the Blue*/)*\nThe cloudless sky, the silent ocean,\nEndlessly descending…\nAs the light disappears, blue stretches as far as the eye can see.\nI wrote this song while thinking about that scene. (Kato)\n7. Samba de ReRe\nI was thinking that it would be great if our band had a song that the audience could sing along with, so I came up with this chorus. Please learn this and come to our shows, and we’ll sing together! By the way, the title “ReRe” refers to the “Re” in “Do Re Mi”. It’s because we keep playing “Re Re Do Re” for the verse (haha). (Ikeda)\n8. Sinto Saudade de Você\nI habitually go back to my family home for the Obon festival, but due to the worldwide situation, I refrained from going home this year. I was lonely then, and I spent the time writing this song while thinking about my hometown. An alternate title is Shiga de Saudade (haha). (Sakai)\n9. Cesar\nThis is an homage to the maestro César Camargo Mariano, the famous Brazilian pianist who needs no introduction. Pianist Minoru Kato loves César just as much and produces an amazing groove. (Obata)\n10. Mackey\nMakiyo Sakai is this band’s founder. In addition to acting as manager for the band, she plays the flute spectacularly. I wrote this song for her, and it just seems to call out for lyrics and singing along. (Obata)\nObi Notes The long-awaited first album from “Banda Feliz”, a unit formed of top musicians playing music from the world of Brazilian music! A collection of original gems played with lively rhythms and beautiful harmonies.\nBoa Viagem by Banda Feliz Makiyo Sakai - flute Masaaki Ikeda - trombone Kazuhiko Obata - guitar Minoru Kato - piano Kiichiro Komobuchi - bass Satoshi Ishikawa - drums Released in 2020 on Feliz Record as FLZ-0001.\nJapanese names: 酒井麻生代 Sakai Makiyo 池田雅明 Ikeda Masaaki 小畑和彦 Obata Kazuhiko 加藤実 Kato Minoru コモブチキイチロウ Komobuchi Kiichiro 石川智 Ishikawa Satoshi\nAudio and Video Promotional video for this album: Excerpt from track #3: “Neste Pais” ","permalink":"https://mirror2.jazzofjapan.com/banda-feliz-boa-viagem/","summary":"\u003cp\u003eBanda Feliz is a group of Tokyo musicians playing festive Brazilian music, originals and covers, centered around Makiyo Sakai’s robust and jazzy flute playing. Her lighter-than-air flute sound is buoyed by her full six-piece palette with trombone, guitar, piano, bass, and drums, and the group’s voices happily join the melodies at times for extra oomph.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230504x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230504x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eHappiness is integral to the band’s sound, even evident in the artist name and album title, roughly translated as \u003cem\u003echeerful, joyful, happy band\u003c/em\u003e and \u003cem\u003ebon voyage\u003c/em\u003e.\u003c/p\u003e","title":"Banda Feliz: Boa Viagem"},{"content":"Pianist and composer Eri Chichibu released her debut album Crossing Reality in 2022. On it, she includes eight of her fine-tuned compositions for combos ranging from duos and trios to five-, seven-, eight-, and nine-member ensembles.\nThe sound of Chichibu’s music fascinates with creative arrangements of harmonized horn lines, suspenseful rhythms, and multi-part musical sections. As the liner notes indicate, her songs shine with personality inspired by concepts and ideas that move her.\nThree of the most striking songs feature Chichi’s large ensemble, a nine-member group with horn players plus guitar, piano, bass, and drums. This complex music develops through breakneck joyrides experienced as tales brimming with flourishes.\nThese nonets play on the thrilling and propulsive #1 “Crossing Reality”, the complex and dramatic #2 “The Sea - Seven Years Voyage -” (tinged with Chick Corea-ish fusion), and the deep and exploratory #5 “The Preconscious”.\nThe smaller combos show more of the poppy and splashy pianist side of Chichibu. Her trio of piano, bass, and drums plays on #3 “Kaeru”, some of the most playful music on the album, with fun vamps covered with catchy melodies with sprinkles of surprising notes and polymeters. On #7 “green and winds”, she pares the group down even further for similarly breezy sounds with an upbeat gallop.\nIn addition to nonet, duo, and trio formations, there are also songs for quintet and octet. #4 “Blackberry Winter” with a quintet is a soundtrack-like reflective piece with a beautiful flugelhorn sound, and #6 “dreams of the wind” features an octet for adventurous mystery infused with mild ambient textures.\nThe final track on the album, #8 “THE VENDING MACHINE - with DRINK music” is driven by a jamming septet delivering the poppiest hooks and beats on the album, perfectly matching its use as the theme music and video used by a vending machine company in her home region of Tohoku.\nLiner Notes (Translated from Eri Chichibu’s original Japanese liner notes.)\nHello. Thank you for getting my debut album Eri Chichibu’s Crossing Reality. Together with guests from New York (Remy Le Boeuf, Milena Casado), and the energetic Japanese musicians, engineer, and team, we poured our energies into making this album. I included a variety of arrangements of songs from the heart, for trios and large ensembles. I needed to put all of this on this one album.\nThe inspiration for several of the included songs comes from nature, psychology, and experiences. Upon a base of the acoustic sound, I tried to paint a little with an approach to sound design that is uniquely possible on recordings. I hope you enjoy traveling between universes of reality and fantasy while letting your imagination run wild.\nWith gratitude.\n1.Crossing Reality\nWas I awake or was I sleeping… It’s a song I wrote between the evening and the morning. Reality and fantasy, facts and dreams, memories and experience, chaos and release… It’s a scene where things that seem like opposites swirl around in the mind and become reality within each individual… you know?\n2.The Sea - Seven Years Voyage -\nIn 2011, I experienced the Great East Japan Earthquake. It was horribly shocking. After that, I reached a turning point and my life changed 180 degrees to start a career in music. From this experience, I began to feel strongly that one never knows what will happen in life, and in 2018 I decided to write a song about life’s voyage. Since writing this song I’ve continued to have many encounters and experiences. I wonder what else the future holds…\n3.Kaeru 2022\nIn the middle of a forest, there is a small pond with frogs, squirrels, and little creatures hopping around it playfully. Birds are flying, flowers are blooming, and leaves are swaying… I picture that sort of peaceful waterside setting.\n4.Blackberry Winter (feat. Milena Casado)\nDays of warm weather, then suddenly it’s cold, then it becomes warm again… This is a song I wrote while breathing in the air of nature and the city, as the season changed from winter to spring in Boston.\n5.The Preconscious\nBased on Freud’s psychoanalysis, the constructions of human consciousness can be described as an iceberg floating in the ocean. Within the large iceberg, the conscious mind resembles land above the water, while the vast subconscious is hidden beneath it. Between them just around the surface level seems to be the range of the preconscious, which normally doesn’t rise to consciousness but can be brought to memory and become conscious with or without some effort. Hmm… Suddenly remembering something lightly floating on the ocean’s surface, strong emotions may somehow well up from the subconscious… Perhaps?\n6.dreams of the wind (feat. Remy Le Boeuf)\nThere was a day in Boston when the sky was tinted with orange, pink, and purple, and a light wind was blowing. Does the wind also admire the beauty of the sky? Does the wind dream? Was the wind going to meet someone? What if I were the wind? What if you were?\n7.green and winds\nI was going down the roads of my hometown in Tohoku. As always, it was a serene setting that spread out before me with green and winds. I just felt like going out and having fun.\n8.THE VENDING MACHINE - with DRINK music\nJapanese vending machines… cold drinks, hot drinks, put a coin in and it immediately comes out… it’s so great! (And it’s fun to press a button and have a can come falling down.) Today as well, I want to take a breath, take a break, and spend a great day.\n(Music for Sun Vending Tohoku commercial)\nCrossing Reality by Eri Chichibu Eri Chichibu - piano, keyboard, extra instruments, composition Kunihiro Kikuta - trumpet, flugelhorn (tr. #1, 2, 5, 6, 8) David Negrete - alto sax, flute (tr. #1, 2, 5) Akihiro Nishiguchi - tenor sax, alto sax, soprano sax (tr. #1, 2, 4, 5 Itsumi Komano - trombone (tr. #1, 2, 5) Haruka Sasaki - baritone sax, bass clarinet, clarinet (tr. #1, 2, 3, 5) Takahiro Nawashiro - guitar (tr. #1, 2, 5, 6) Marty Holoubek - electric bass, acoustic bass (tr. #1, 2, 3, 4, 5, 6) Shun Ishiwaka - drums (tr. #1, 2, 3, 4, 5, 6) Milena Casado - flugelhorn (tr. #4) Madoka Koike - violin (tr. #6) Tamako Yashima - cello (tr. #6) Remy Le Boeuf - alto sax (tr. #6) Kan - percussion (tr. #7, 8) Hiroki Hayashi - alto sax, tenor sax (tr. #8) Jiro Suzuki - guitar (tr. #8) Masaaki Saito - electric bass (tr. #8) Yuta Fukuhara - drums (tr. #8) Released in 2022 on ReBorn Wood as RBW-0024.\nJapanese names: 秩父英里 Chichibu Eri 菊田邦裕 Kikuta Kunihiro デイビッド・ネグレテ Negrete David 西口明宏 Nishiguchi Akihiro 駒野逸美 Komano Itsumi 佐々木はるか Sasaki Haruka 苗代尚寬 Nawashiro Takahiro マーティ・ホロベック Holoubek Marty 石若駿 Ishiwaka Shun ミレナ・カサード Casado Milena 小池まどか Koike Madoka 八島珠子 Yashima Tamako レミー・ル・ブーフ Le Boeuf Remy 日高歓 Kan 林宏樹 Hayashi Hiroki 鈴木次郎 Suzuki Jiro 齋藤大陽 Saito Masaaki 福原雄太 Fukuhara Yuta\nAudio and Video Promotional video for this album: Audio of #1 “Crossing Reality”: Video of #1 “Crossing Reality” (non-album version): Live video of #2 “The Sea - Seven Years Voyage -” (non-album version): Live video of #3 “Kaeru” (non-album version): Live video of #6 “dreams of the wind” (non-album version): Sun Vending Tohoku music video for #8 “with DRINK music”: Excerpt from track #2: “The Sea -Seven Years Voyage-” ","permalink":"https://mirror2.jazzofjapan.com/eri-chichibu-crossing-reality/","summary":"\u003cp\u003ePianist and composer Eri Chichibu released her debut album \u003cem\u003eCrossing Reality\u003c/em\u003e in 2022. On it, she includes eight of her fine-tuned compositions for combos ranging from duos and trios to five-, seven-, eight-, and nine-member ensembles.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1250539x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1250539x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe sound of Chichibu’s music fascinates with creative arrangements of harmonized horn lines, suspenseful rhythms, and multi-part musical sections. As the liner notes indicate, her songs shine with personality inspired by concepts and ideas that move her.\u003c/p\u003e","title":"Eri Chichibu: Crossing Reality"},{"content":"As far as friendly jam sessions and classes welcoming true beginners, there’s one place that stands out. With its friendly, low-stress atmosphere, Somethin’ is a blessing for those who want to learn more and are ready to try playing jazz with others.\nFigure 1: A session at Somethin\u0026rsquo; in 2015\nSomethin’ Jazz Cafe in Ikebukuro, Tokyo, welcomes all amateur musicians who are interested in playing jazz, perhaps especially players with little to no jazz or group experience who may feel nervous about overcoming the initial hurdle of jumping right into regular jazz jams.\nWhile many other live session spots get right down to business with the standard jazz jam format, Somethin’ specializes in providing a series of structured classes to teach new or inexperienced students how to get started and continue playing in group jazz performance. As students progress, advanced class levels are also avaialble for higher-level sessions and players.\nFigure 2: A session at Somethin\u0026rsquo; in 2015\nOn every night of the week, Somethin’ offers these classes and jam sessions where players get a chance to pick songs and play with others. A big benefit to new players is having both instructors and more experienced players participating in the sessions. Having seasoned musicians playing right alongside in these sessions is a big benefit as they can help new players with guidance and tips. Playing together with more skilled musicians is an excellent way to learn and grow, and it’s also just a great, friendly place to practice and make new friends as well.\nFigure 3: A session at Somethin\u0026rsquo; in 2014\nThe beginner class lessons introduce the basics of jazz jams including customs and rules at sessions. These first classes are usually based on playing some simple standard jazz session songs again and again. The instructors play along, guide students, and offer tips and advice during the hands-on classes. By participating together, this format helps to make new players feel comfortable playing in jazz jam sessions.\nFor those with basic facility on their instrument but little to no experience with jazz, the first-timer class teacher newcomers the basics of jazz playing, usually structured around the 12-bar jazz blues form. This is a good introduction to how to play a song tougher with others in the jazz style. From here, the classes progress gently to become increasingly like jam sessions but using preselected songs like “Now’s the Time”, “Autumn Leaves”, “Bye Bye Blackbird”, and similar standards.\nFigure 4: A session at Somethin\u0026rsquo; in 2013\nClass schedules are mapped out conveniently on their monthly online calendars and include first-timer classes (初めてジャズ, hajimete jazz), super-beginner classes (超超初心者, chouchou shoshinsha), and intermediate to advanced level classes.\nFigure 5: A session at Somethin\u0026rsquo; in 2014\nThe classes are all in Japanese, but for those with limited Japanese language ability, the teacher will try to find a way to convey what to do and how to do it. Even for those who don’t quite understand the lecture portion of the class, there is a lot of actual playing and participation. Although some initial nervousness is natural, Somethin’ has a friendly atmosphere with everyone in it together and helping each other out. The low intimidation factor makes the classes ideal for getting started with sessions, and for continuing practice to get used to typical jazz jam sessions.\nClasses are held every day of the week and are structured in levels so that it is easy to find the right day and time for the various proficiency levels. Somethin’ website does a great job of explaining the system and class contents. Also, Somethin’ takes up two separate floors of the building, one floor for standard jazz, and another more geared for funk/soul/R\u0026amp;B.\nWhile the majority of classes on the schedule are in a class-based format, there are also more regular jazz jam sessions on certain days and times. The sessions are a chance for each player in turn to choose the songs they want to play as a group. These are the usual jam session standards from The Real Book or versions of those books. One Japanese version, the Kurohon (黒本, black book), is not a copy of The Real Book but many of the same songs appear in both.\nOn specified nights, the jam sessions are even a casual combination of session and party. Participants can bring food and snacks from home or convenience stores to share with everyone, and the players can relax and chat while waiting for their next turn to join a song.\nWhile horn players, guitarists, and musicians with be bringing their own instruments, Somethin’ is equipped with some instruments for general use: a grand piano, upright and electric basses, a drum set, a vocal mic, and one or two extra guitars and amps. There is also a small library of jazz songbooks and fake books for in-house reference.\nAs with most free-form jam sessions, the amount of hands-on playing per person depends a lot on the number of people who are present and which instruments they play. Each student may be called to play many times or just a few times, and it all depends on the number of people who show up at that same time. In addition to instrumentalists, singers are also welcome. In general, though, instrumentalists seem to outnumber vocalists on most days.\nIncidentally, this same Somethin’ jazz club also had a branch in New York once upon a time, but that spot closed many years ago. Also, Somethin’ was formerly called Miles’ Cafe in the past, and sometimes it is still referenced by that name by players who still remember those days.\nFigure 6: Welcome to Somethin\u0026rsquo; Jazz Club\n","permalink":"https://mirror2.jazzofjapan.com/somethin/","summary":"\u003cp\u003eAs far as friendly jam sessions and classes welcoming true beginners, there’s one place that stands out. With its friendly, low-stress atmosphere, Somethin’ is a blessing for those who want to learn more and are ready to try playing jazz with others.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1120729-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1120729-1200.jpeg\"\n         alt=\"Figure 1: A session at Somethin\u0026rsquo; in 2015\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eA session at Somethin\u0026rsquo; in 2015\u003c/p\u003e\n        \u003c/figcaption\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eSomethin’ Jazz Cafe in Ikebukuro, Tokyo, welcomes all amateur musicians who are interested in playing jazz, perhaps especially players with little to no jazz or group experience who may feel nervous about overcoming the initial hurdle of jumping right into regular jazz jams.\u003c/p\u003e","title":"Somethin’"},{"content":"Singer Yoshiko Saita’s latest release is Back in Time to Boston, an album whose recording was both a homecoming and a musical trip down memory lane. It’s a trip not troubled by turbulence or misadventure, as the entire album occupies a relaxed, late-night mood that’s perfect for this combination of Saita’s rich voice and mellow delivery.\nJoining the singer is her old musical partner Kenny Werner on piano on all tracks, with Grégoire Maret adding harmonica to about half of the songs, with tracks alternating between duo and trio formats. In a room lush with reverb, Werner’s piano is elegantly pretty and Maret’s harmonica is wistfully bluesy, and both musicians know how to expertly support Saita’s voice in the spotlight.\nSaita’s extensive experience with live shows and recordings pays off for this thirteen-track album. She sings confidently while leading her small group through each track, infusing the lyrics with naturally attractive emotion and narrative conveyed through her deep and sultry vocals.\nBoth jazz standards and pop songs are revisited during Saita’s return to her old stomping grounds. Jazz standards include the familiar songs “Come Rain or Come Shine”, “I Loves You Porgy”, “Someone to Watch Over Me”, and “Crazy He Calls Me”.\nOther songs on the album include pop selections made famous by Joni Mitchell and Bonnie Raitt, or through movies and musicals, such as “Both Sides Now”, “Blue Velvet”, “I Can’t Make You Love Me”, and “Stranger in Paradise”.\nAdditionally, Saita also includes one original song of her own, her charming “Walk Around Liberty Hill”.\nLiner Notes (Translated from an excerpt of the original Japanese liner notes. Part 1 is “About Yoshiko Saita” by Toshio Miki, and Part 3 is “The Sky and Wind of Boston” by Hiroshi Minami. The following is Part 2 by Yoshiko Saita.)\nI’m back in Boston!\nI’ve come back to Boston after more than thirty-five years had passed since studying abroad for two years of high school and four years of college. Since graduating from Berklee College of Music, I’ve been back twice, I believe…\nIn 2012 I was able to record with the amazing musicians Kenny Werner, Toots Thielemans, and Oscar Castro-Neves. The last song I recorded on that day was a song called “Dream”, which I played as a duo with Kenny. Since then I’m been dreaming of making a duo album, and I proposed the idea to Kenny in the spring of 2022.\nI never thought that the pandemic would last so long. I told him I definitely wanted to record someday again when things opened up, and he said “OK, I’ll be waiting in New York, and let’s stay healthy until then.” It seems that during that time that the pandemic was raging, Kenny had suddenly become a professor at the same Berklee where I had graduated, which is when our contact resumed after such a long absence. Boston…\nImages from my time as a homestay student in high school flashed through my mind. Since then, I had learned of the passing of the mother of my homestay family. I felt that this trip would be like a journey of tracing back through my roots.\nFinally, after such a long time, I met Kenny again for a rehearsal at his home. I headed to his house using my freshly installed Uber app. As soon as I got there he opened the door and greeted me as if he were watching out the window waiting for my arrival. We started to catch up while starting the rehearsal.\nSince almost all the songs are played as a duo, I asked for advice about continuing through with slow tempos and about how we should play.\nHe suggested, “Yoshiko, you’ve made an album introducing yourself before, right? It’s fine to keep it slow all throughout this album. More importantly, how about making this album one big vibe from start to end?”\nI see… I was embarrassed about my tendency to worry too much about this and that. I decided to take Kenny’s advice and give it my all.\nThe rehearsal lasted for three hours, and the recording started two days later. Kenny introduced me to Futura Studios, which provided a wonderful castle-like environment as shown in the photos. I got goosebumps when I heard the beautiful piano tone and the large studio’s natural reverb through headphones. I remember feeling like I was under a spell and was filled with a pleasant nervousness.\nThe first song we recorded was “Easy Living” (a bonus track), followed by “I Will Wait for You”. We also recorded a few songs that reminded us of our student days, including Track 3 “I Loves You Porgy” (a song I sang with a big band in a school cafeteria for a classmate’s project!) and Track 7 “You Don’t Know What Love Is”.\nTrack 9 “I Can’t Make You Love Me” is a song by singer Bonnie Raitt, who handed me my diploma. Every year at Berklee, a Grammy winner musician for that year would hold a concert and lecture at the school, and they would hand over diplomas as presenters at the graduation ceremony. Indeed, that very year this song won a Grammy Award.\nHere’s another memorable episode. It was the second day of recording when we would record Track 1 “Come Rain or Come Shine” — harmonica player Grégoire was coming from New York to record with us, and on that day a storm was forecast! We were caught up in events where, despite Grégoire changing trains at the last minute, the trains were stopped due to tornado warnings, and he ended up having to come by Uber.\nHowever, even beset by a belated arrival, when he played his harmonica a new wind blew into the studio. The atmosphere changed in an instant. The musicians that Kenny introduced to me were certainly amazing!\nWe also shot video at the time with multiple cameras. With my hairstyle set, it was difficult for me to wear headphones properly. Seeing this, Kenny suggested we play without headphones and just record while listening to each other’s sound.\nIt was scary to consider attempting to record with no headphone monitor, and all because of me. But it turned out to be surprisingly easy! (You can see the scene in the “making of” video through the QR code.) I think it shows how we communicated through our sound as we heard it in the studio.\nBy the way, this video was taken by trumpet player Brian Thompson (a member of Manard Ferguson’s band), who was my classmate when I was a homestay student and at Berklee.\nIn addition to songs that I have fond memories of, this album also includes “Walk Around Liberty Hill” based on Jiyugaoka, the neighborhood I have long lived in. It’s a song that I actually wrote on the airplane, heading with excitement for an overseas recording session that was the first after a long absence. I was thinking, if I write this now, perhaps I can record it with Kenny in Boston…\nI was really inspired by being able to see Kenny who I had last met eleven years ago, and by the chemistry we had playing together with the addition of Grégoire. I felt like I was able to relax more than I expected and to sing in ways I hadn’t been able to before. In addition to the songs we recorded this time, the recording process footage, and the studio documentary video, it was truly an exciting time.\nI truly hope you enjoy this album, relaxing with time flowing slowly.\nBack in Time to Boston by Yoshiko Saita Yoshiko Saita - vocal Kenny Werner - piano Grégoire Maret - harmonica Released in 2024 on Viva Sounds of DADA as VSDD-004.\nJapanese names: 斉田佳子 Saita Yoshiko\nAudio and Video Video for “Come Rain or Come Shine”, track #1 on this album: Video for “Walk Around Liberty Hill”, track #5 on this album: Video for “I Can’t Make You Love Me”, track #9 on this album: Video for “Someone to Watch Over Me”, track #11 on this album: Video for “Crazy He Calls Me”, track #13 on this album: Excerpt from track #2: “I Will Wait For You” ","permalink":"https://mirror2.jazzofjapan.com/yoshiko-saita-back-in-time-to-boston/","summary":"\u003cp\u003eSinger Yoshiko Saita’s latest release is \u003cem\u003eBack in Time to Boston\u003c/em\u003e, an album whose recording was both a homecoming and a musical trip down memory lane. It’s a trip not troubled by turbulence or misadventure, as the entire album occupies a relaxed, late-night mood that’s perfect for this combination of Saita’s rich voice and mellow delivery.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1240575x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1240575x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eJoining the singer is her old musical partner Kenny Werner on piano on all tracks, with Grégoire Maret adding harmonica to about half of the songs, with tracks alternating between duo and trio formats. In a room lush with reverb, Werner’s piano is elegantly pretty and Maret’s harmonica is wistfully bluesy, and both musicians know how to expertly support Saita’s voice in the spotlight.\u003c/p\u003e","title":"Yoshiko Saita: Back in Time to Boston"},{"content":"Sketches by Motohiko Ichino is a 2007 jazz album featuring Ichino’s guitar trio and quartet playing his original music. At one hour and 5 minutes, the ten songs lay out an atmospheric and subtle sound, one where Ichino’s tonally rich guitar swings and sways with a warm, vintage electric sound through his songs.\nIchino’s guitar is in the spotlight, naturally, as this is a guitarist’s album featuring his original compositions. As a guitar trio with acoustic bass and drums, Ichino takes up most of the melodic and harmonic duties as he spins the chord structures, theme statements, and most of the solo improvisation over the precise drum and bass structures.\nIchino’s jazz guitar tone is another big part of the sound of this album. His softly electric sound is treated with subdued effects to surround the tones with comfortable waves of warble and warp and ever so slight overdrive grit. It balances his fluid playing well as he rings out plush chords and improvises, painting notes like light suspended in the vaults of churches, tinted and echoey.\nTogether, the trio creates music that is on different tracks patiently gentle, relentlessly driving, hypnotically oscillating, wandering and dreamy, and joyfully syncopated. With creative time signatures like three, four, five, and seven, and pulses of straight-eights, soft brushed jazz, and light rock, a great time feel continues throughout the album with ample variety.\nAmong the ten trio tracks are three songs and one short jam where saxophonist Taiichi Kamimura joins the trio with a bright and edgy horn sound that, like Jan Garbarek’s, balances so well with the richly resonant trio for some of the album’s most stimulating highlights.\nObi Notes Memories of scenes from the mind’s eye. Ten sketches of sound.\nMotohiko Ichino was born in Kobe. He studied at Berklee College of Music under Mick Goodrick (guitar) and others. He is a winner of the Gibson Jazz Guitar Contest in 2003. He currently plays in trios, quartets, solo improvisation, ELECTRON-4 project, and others at shows with a base at Shinjuku Pit Inn. He is also a member of groups including the Ryosuke Hashizume (tenor sax) Group and the Taiichi Kamimura (tenor sax) Quartet.\nSketches by Motohiko Ichino Motohiko Ichino - guitar Hikaru Toho - acoustic bass Shinichiro Kamoto - drums Taiichi Kamimura - tenor sax (#2, 5, 6, 10) Released in 2007 on Ammonite Musique as AM-1001.\nJapanese names: 市野元彦 Ichino Motohiko 東保光 Toho Hikaru 嘉本信一郎 Kamoto Shinichiro かみむら泰一 Kamimura Taiichi\nAudio and Video Audio for “Tony”, track #2 on this album: Audio for “Sketch”, track #10 on this album: A live version of “Childhood”, track #5 on this album: Excerpt from track #1: “Wrapped Up” ","permalink":"https://mirror2.jazzofjapan.com/motohiko-ichino-sketches/","summary":"\u003cp\u003e\u003cem\u003eSketches\u003c/em\u003e by Motohiko Ichino is a 2007 jazz album featuring Ichino’s guitar trio and quartet playing his original music. At one hour and 5 minutes, the ten songs lay out an atmospheric and subtle sound, one where Ichino’s tonally rich guitar swings and sways with a warm, vintage electric sound through his songs.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1250112x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1250112x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eIchino’s guitar is in the spotlight, naturally, as this is a guitarist’s album featuring his original compositions. As a guitar trio with acoustic bass and drums, Ichino takes up most of the melodic and harmonic duties as he spins the chord structures, theme statements, and most of the solo improvisation over the precise drum and bass structures.\u003c/p\u003e","title":"Motohiko Ichino: Sketches"},{"content":"Oxymoron is a live recording from saxophone player Akihiro Yoshimoto and bassist Takashi Sugawa. The duo recorded a live performance in 2016 at the jazz club Apollo in Tokyo, Japan, and released that recording as this album in 2017.\nThrough the album’s eleven tracks and thirty-six minutes, Yoshimoto and Sugawa play free jazz and experimental music that pushes beyond the boundaries of standard jazz. The pair avoids the more easily identifiable trademarks of conventional music and songwriting to chase the free-flowing exchange of spontaneous ideas and sounds with few limits imposed.\nThe ingredients are Yoshimoto on soprano sax and clarinet, Sugawa on cello and contrabass, and beautiful inspiration. The result is filled with eccentric and atonal aspects: wild flights of notes punctuated with wavering drones, careful twining of improvised melodies, and knife-edge slices of notes forming and dissipating in unsettling conditions.\nThat said, it’s not an album full of noise or ambient effects (though the Bandcamp page for the album does include the tags ambient and dark ambient, along with jazz, contemporary jazz, and freejazz). Horn notes fly around in unpredictable paths, pouring phrases into the air while low notes percolate, bass notes pop and ring, and bowed strings expose eerie terrains.\nTo some, free jazz may sound like turbulent chaos, dissonant and abstract. Adventurous listeners (especially those searching for new sounds or a break from the ordinary) may appreciate these trips through unexplored territory. On Oxymoron, it is as if two pioneers are making discoveries through risky experiments that cause tuneful chirps, singing tones, and the evocative plucking, strumming, and bowing of bass string notes.\nThe songs played on Oxymoron seem to be sketched out with anything from simple outlines and thematic concepts to written-out intros and endings. Listening closely and wondering how much is pre-composed and how much is pure ad-libbing can be part of the experience.\nThe duo’s risk-taking and randomness increase the thrill of the musical search and the potential for invention. (As an aside, this so-called or apparent randomness is something that must be some part of the challenge of playing free jazz that doesn’t just sound like randomness: the musicians must consciously hurdle over or push back against instincts honed by endless hours of accurate drilling and correct practice that have set certain rules and patterns in concrete, both in the mind and muscle memory… to constantly and attentively resist the pull of falling back to using common scale patterns and licks, home keys, chord progressions, and forms that become unconscious gravitational forces for the experienced jazz musicians who have played through and memorized hundreds of standard tunes.)\nMany of the songs on Oxymoron are just a few minutes long in the two- to three-minute range. These are briefly visited ideas that the duo stops, examines, and moves on from like waypoints on the journey as they continue to move forward and explore new ideas.\nFor ideas that are explored a bit more, the longest tracks on the album include two four-minute songs and one ten-minute song.\nTrack #3 “Password” slowly raises the temperature with sugary bursts of carbonation like curved melodic strands whipping with barbed ends. Sugawa sits out for a minute before rumbling in with fast nonstop bass lines underneath.\nThe three-part “Mokume” series (tracks #4, #8, and #10) has a particular impact. Clarinet and bowed cello notes play an almost modern classical piece before intermittently droning against one another. Consonance and dissonance slide around like oil and water shifting in a laboratory dish, flowing and touching but unmerging. Musical tones shift, intersect, tangle, and separate like frictional sounds of gossamer silk, like cricket legs or cobweb threads rubbing together, like bubbles of Brownian motion rising from a cauldron’s brew.\nThe final ten-minute track #11 “Enpitsu Hiko” finds the duo expanding to a trio as the sax and bass are joined by piccolo trumpet (played by Niran Dasika). Playful mayhem is entertained as the trio balances on a tightrope of unity and disarray. Roaming improvisation leads to unintelligible scrambles of speech and juggling of squeaks, pitches, and volume before ending with a satisfyingly clear, slightly bluesy conclusion.\nOxymoron by Akihiro Yoshimoto \u0026amp; Takashi Sugawa Akihiro Yoshimoto - soprano sax, clarinet Takashi Sugawa - cello, contrabass Niran Dasika - piccolo trumpet (track #10) Released in 2017 on MOR Records as MOR-1002.\nJapanese names: 吉本章紘 Yoshimoto Akihiro 須川崇志 Sugawa Takashi ニラン・ダシカ Dasika Niran\nAudio and Video Excerpts from a live performance of Oxymoron Duo in 2021 at Velvet Sun in Tokyo, Japan: Album audio on Bandcamp\nExcerpt from track #4: “Mokume #1”\n","permalink":"https://mirror2.jazzofjapan.com/akihiro-yoshimoto-takashi-sugawa-oxymoron/","summary":"\u003cp\u003e\u003cem\u003eOxymoron\u003c/em\u003e is a live recording from saxophone player Akihiro Yoshimoto and bassist Takashi Sugawa. The duo recorded a live performance in 2016 at the jazz club \u003ca href=\"https://www.jazzofjapan.com/archive/apollo\"\u003eApollo\u003c/a\u003e in Tokyo, Japan, and released that recording as this album in 2017.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1260974x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1260974x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThrough the album’s eleven tracks and thirty-six minutes, Yoshimoto and Sugawa play free jazz and experimental music that pushes beyond the boundaries of standard jazz. The pair avoids the more easily identifiable trademarks of conventional music and songwriting to chase the free-flowing exchange of spontaneous ideas and sounds with few limits imposed.\u003c/p\u003e","title":"Akihiro Yoshimoto \u0026 Takashi Sugawa: Oxymoron"},{"content":"Sara Smile is the second album from trumpeter Hikari Ichihara, released in 2006. This nine-track album is an alluring mix of jazz standards, pop covers, and a few of Ichihara’s original compositions.\nIchihara’s group on this album is formed by drummer Lewis Nash, bassist Peter Washington, and pianist Adam Birnbaum. While the music is mostly played by the trumpeter’s quartet, the group expands with trumpeter Dominick Farinacci or sax player Grant Stewart stepping in to play with Ichihara on certain songs. Ichihara also switches between trumpet and flugelhorn for further variety in her playing and sound.\nBeloved orthodox swing and bop tunes make up about half of the album, with songs like #1 “Cleopatra’s Dream” and #4 “It Could Happen to You”. These jazz pieces are perfect showcases for Ichihara’s naturally stylish and standout jazz improvisation, whether fronting her quartet or going up against her virtuoso horn teammates in quintets.\nAdding to the locked-in swing beats and walking bass lines on standard tunes (a deep jazz pulse that is especially felt on #3 “Blue Prelude” and #7 “Golden Earrings”), are Ichihara’s own compositions #5 “I’ve Got It”, a funky rock groove, and #8 “Intro” a cheerful samba written to start her live shows with an impact.\nPop and soft rock also get special attention from Ichihara’s band, complementing the album’s melodic depth with the band’s expert expressive touches. The musicians play tenderly on #2 Sting’s “Fragile”, #9 Bacharach’s “Close To You”, and the unforgettable title track #7 “Sara Smile” by Hall \u0026amp; Oates. These three songs, with skillful arrangements worthy of the original composers’ songcraft, fit incredibly naturally with Ichihara’s mellow, authentic sound. Just as with the jazz tracks, these are captivating moments filled with soulful playing.\nLiner Notes (Translated from Shinya Takagi’s original Japanese liner notes.)\nIntroducing 23-year-old up-and-coming trumpeter Hikari Ichihara’s second album Sara Smile.\nHer debut album Ichiban no Shiawase (August 2005) is a collection of original songs that showcased 22-year-old Hikari’s sensibilities through the sounds of Shigeru Suzuki (guitar) of Happy End and Hiroshi Sato (piano) of Hucklebuck, who led the Japanese pop scene.\nThis second album is Hikari’s first recording made in New York and is a minor masterpiece where she competes head-on with the local cream of the crop. Even so, it’s hard to believe this is her first “real jazz” album. Her storytelling-like performance is confident and amazing. By any measure, she is not just a superficial talent.\nHikari Ichihara was born in Tokyo on December 12, 1982. Her father is drummer Yasushi Ichihara and her mother is a wedding planner. She advanced straight through Seikei Elementary School, Seikei Junior High School, and Seikei High School.\nShe began classical trumpet upon entering junior high school, enjoying the playing of Wynton Marsalis (only hearing Marsalis’s classical playing at the time) and Sergei Nakariakov. Both are geniuses with superb technique, high musicianship, and simple beautiful performers.\nThen, in her third year of junior high school, she was greatly influenced by hearing the trumpet playing of Eric Miyashiro, and she resolved to play jazz. She enrolled in the jazz course at Senzoku Gakuen College of Music and studied jazz trumpet under Hara Tomonao for four years.\nIn August 2004, she participated in the Waseda University High Society Orchestra and entered the 35th Yamano Big Band Jazz Concert, where she was awarded the Outstanding Soloist Award and made a great impact. She graduated from university in March 2005 and went straight into a professional music career.\nHer favorite trumpeters are Till Brönner, Rick Braun, Chris Botti, and Dominic Farinacci, who participated on this album. She doesn’t seem to have an end-all, be-all idol, however.\nThis album was recorded in New York on June 24-25, 2006, and has gathered the best members. First of all, the rhythm section is made up of a group of battle-hardened veterans.\nBassist Peter Washington was born on August 28, 1964, and is 41 years old. In 1986, he was selected at the young age of 21 to play with Art Blakey and the Jazz Messengers. Drummer Lewis Nash was born on December 30, 1958, and is 47 years old. In 1985 he moved from Arizona to New York, where he worked under the renowned vocalist Betty Carter and raised his profile. Together, these two have played on over 3000 recordings.\nThe other three members are young and talented musicians who are attracting attention. Pianist Adam Birnbaum was born in 1979 and is 26 years old. He released his debut album Ballade Pour Adeline in February of this year. Trumpeter Dominick Farinacci was born in 1983 and is 23 years old. In 1999, he caught the eye of Wynton Marsalis at a clinic in his hometown of Ohio, which led to him performing with the Wynton Marsalis Lincoln Center Jazz Orchestra the following year. At the age of 19 in 2003, he released his debut album Manhattan Dreams, quickly turning heads for a style based on traditional playing techniques.\nBoth Adam and Dominick, with the support of Wynton Marsalis, became graduates of the New York Juilliard School Jazz Studies Program that had just started in 2001.\nTenor saxophone player Grant Stewart was born in Canada on June 4, 1971, and is 35 years old. He moved to New York at the age of 19 to pursue jazz. As well as gaining popularity through his melodic playing style that could be called “singing tenor”, he’s also fired up by “Knockout! Eric Alexander”.\nSo then, on to listening to Hikari Ichihara playing New York jazz.\nTrack #1 [“Cleopatra’s Dream”] is Bud Powell’s most famous song. Up first is Grant’s tenor, dynamic playing reminiscent of Sonny Rollins. Next is Hikari’s wonderful trumpet bearing delicate nuances with subtle shadows, followed by a solo from Adam.\n#2 [“Fragile”] is Sting’s iconic ballad. It’s a profound song expressing Sting’s anti-war and human rights wishes. Hikari thought that the flugelhorn would definitely match this song which she arranged with care and plays with emotion. Hikari’s solo begins, placed between short solos from Adam. She plays sensitively and makes full use of the mid-range of her instrument.\n#3 [“Blue Prelude”] was a big hit song in 1933, sung by Bing Crosby. It sets a perfect late-night mood, just like Miles Davis’ version of “Round Midnight”. Hikari’s ‘pet and Dominick’s muted ‘pet face off. It’s a battle of beautiful bluesy melodies and a song that shows Hikari’s development.\n#4 [“It Could Happen to You”] is a love song known from the music for the 1944 movie And the Angels Sing. It was included in Miles Davis’ Relaxin’, although Hikari did not know about that. Hikari’s flugelhorn solo is filled with exquisitely poetic playing and worth listening to.\n#5 [“I’ve Got It”] is a stylish original by Hikari. She also has a talent for composing, and eight of the ten tracks on her debut record Ichiban no Swiawase were originals. (She composes songs on piano.) A bass solo from Peter Washington is also featured.\n#6, “Sara Smile”, is a famous hit song from 1976 by Hall \u0026amp; Oates. Along with being the album title, it is also the album highlight. A fiery Hikari on flugelhorn mindfully goes head to head with Dominick on trumpet. The wonderful arrangement was written by Dominick. Let’s listen closely. The intro is by Hikari’s flugelhorn. The first statement of the theme starting at 23 seconds is Dominick’s ‘pet. The second statement (from 1:20) is Hikari, after which she starts her adlib solo. At 3:02, the two cross paths, and Dominick begins his solo at 3:10. Dominick continues on and plays the last theme statement (3:48). Hikari joins with an obbligato. The two continue to play simultaneously and chase one another as they head towards the ending. It’s a spectacular performance. Even with close listening, it can be difficult to tell who is Dominick and who is Hikari. This alone is surely more proof of Hikari’s tremendous growth.\n#7 [“Golden Earrings”] is the theme song composed by the legendary Victor Young for the movie of the same name. This is the jazziest song on the album. Hikari takes care to play out the melody line with peak lyrical qualities. It’s a definitive tour-de-force together with and following the previous song. The beautiful single-tone line by Adam which follows is also excellent. The great solos from Hikari and Adam… this is jazz. Louis’s brushes and Peter’s bass also feel so good.\n#8 [“Intro”] is an original samba by Hikari. She wrote this as the first song for a live performance about three years ago, and so it was named “Intro”. It’s a fun creation. Her father, Yasushi Ichihara, also recorded it as track #5 on his Love is Here to Stay / TRIO’ release from last July.\n#9 [“Close to You”] is a Burt Bacharach song that Hikari knew of through The Carpenters. She sings out loudly and bright.\nGoing to New York seems to have been an opportune time for Hikari’s growth. This record is also a document of the big step forward taken by Hikari, bringing along a sense of vigor with it.\nOn the day before the recording (June 23rd), Hikari went to Roth’s to listen to Satoshi Inoue’s show. She also joined in and played about five songs, and the New York audience was delighted. Lewis Nash, with whom she played alongside that night, praised her and said “How old is she? She’s [already] great and amazingly talented.”\nOn the night of the first day of recording (June 24th), she went to listen to Wynton Marsalis. Backstage, forty minutes before showtime, Wynton asked her, “Play a little something”. She played boldly. Uttering just a few words, Wynton said “Your sound is good!” and smiled. It was in a small room for just a short time, but an extraordinary lesson began. Hikari also smiled. And she began to feel an intense desire to live in New York. She began to feel a strong desire to study in New York.\nHikari’s jazz journey has just begun. We look forward to what will come.\n(2006/7/16 高木信哉 [Shinya Takagi])\nSara Smile by Hikari Ichihara Hikari Ichihara - trumpet \u0026amp; flugelhorn Adam Birnbaum - piano Peter Washington - bass Lewis Nash - drums Dominick Farinacci - trumpet Grant Stewart - tenor saxophone Released in 2006 on Leafage Jazz as PCCY-60003.\nJapanese names: 市原ひかり Ichihara Hikari\nAudio and Video Audio for “Cleopatra’s Dream”, track #1 on this album: Audio for “Golden Earrings”, track #7 on this album: Audio for “Close to You”, track #9 on this album: Excerpt from track #6: “Sara Smile” ","permalink":"https://mirror2.jazzofjapan.com/hikari-ichihara-sara-smile/","summary":"\u003cp\u003e\u003cem\u003eSara Smile\u003c/em\u003e is the second album from trumpeter Hikari Ichihara, released in 2006. This nine-track album is an alluring mix of jazz standards, pop covers, and a few of Ichihara’s original compositions.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200449x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200449x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eIchihara’s group on this album is formed by drummer Lewis Nash, bassist Peter Washington, and pianist Adam Birnbaum. While the music is mostly played by the trumpeter’s quartet, the group expands with trumpeter Dominick Farinacci or sax player Grant Stewart stepping in to play with Ichihara on certain songs. Ichihara also switches between trumpet and flugelhorn for further variety in her playing and sound.\u003c/p\u003e","title":"Hikari Ichihara: Sara Smile"},{"content":"NordNode is a 2020 album from drummer Kazumi Ikenaga and pianist Taihei Asakawa, with ten tracks and fifty-five minutes of music performed with care, maturity, and a strong bond between the two musicians.\nThis album captures a directly connected musical conversation between drummer Kazumi Ikenaga and pianist Taihei Asakawa. A duo made up of drums and piano is not a very common format in jazz, but it is a format that really shows how, like with the circular yin-yang symbol, the two musicians fit perfectly together and fill out the space as if thinking, moving, and playing as one.\n(As an aside, this duo format also provides a nice complementary subject to follow the previously introduced Yuki Ito bass solo album, as the three instruments complete the customary jazz trio format of piano, bass, and drums!)\nIndeed, this drums and piano two-person format does allow for a great degree of listening and reacting by the pair as each player listens intently to the other. This makes the music seem like an extremely tuned-in conversation that naturally expands and flows, centered around each composition like both favorite and improvised topics to speak about.\nOn NordNote, these topics include seven evocative originals (six by Asakawa, one by Ikenaga) and three simply beautiful covers. Through it all, the overarching theme of nord (north) colors the canvas and directs the flow.\nIkenaga, like drummers Paul Motian and Jon Christensen, has an approach that expands the drumset much beyond straightforward time-keeping and common jazz patterns, turning the use of sticks, brushes, percussion instruments, and the whole set with artful silence and pauses like the negative space between words or in art. This all works excellently for creating substantial textures and upfront ambience through his melodic playing.\nWith pianist Asakawa, Ikenaga has a complementary and equal partner, one who fills out the songs’ natural melodic and harmonic parts like great lyrical players Bill Evans and Keith Jarrett. (To that point, Asakawa’s recent live solo recording Waltz For Debby summons the spirit of those famous Village Vanguard Bill Evans Trio live albums, and this album’s #9 “In Love In Vain” has the addictive swing feel of the Keith Jarrett Trio version of that song, quite a high bar to match.)\nMuch like melodic improvisation, the two musicians simultaneously decide how to keep time, play rubato, open up, add shading, pause, or build — a meeting of minds in concentration and creation. The typical roles even seem to be switched at times, when Asakawa’s piano keeps time steady and the Ikenaga’s drums, cymbals, and percussion sounds color in the spaces with softness and delicacy.\nThis amazing music does speak for itself, and words just scratch the surface of the art here. Suffice it to say it’s captivating music, patient and radiant, ethereal and tender, and a joy to listen to these two musicians create together. The following translated liner notes provide additional context and thoughts from the two musicians.\nLiner Notes (Translated from Taihei Asakawa’s and Kazumi Ikenaga’s original Japanese liner notes.)\nI play the piano. I am always trying to create distance from myself. In the space between myself and my alter ego, I gaze upon melancholy and death.\nOver there, the much-loved and respected Kazumi Ikenaga is playing the drums. His sound is full of miraculous colors and light.\nAt first glance, we may seem to contrast with one another. Still, we share a transparent lyricism based on a bedrock that is not just a direction or location, but a spiritual dimension that is north.\nReverence for that which is invisible and sacred. Looking without bias towards all that is creation. The harmonious primal nature of the forests and universe.\nNorth quietens people. A silence that speaks to us from beyond. And we realize. Ultimately we want to become that sound itself.\nTaihei Asakawa\nThere is a photo here.\nIt’s a picture I took with my iPhone from right beside the drum set after a performance on October 5, 2013. At the time, I was often performing in a bass-less trio (formed of alto, piano, and drums) with a leading Japanese also sax player, Ken Ota. I can still recall some of the scenes from those trio performances vividly through my eyes and ears. Three people created a world of sound that was fresh and absolutely beautiful. It was almost as if we received sacred reverberations from the universe.\nThe pianist at the time was Taihei Asakawa. And this was our first meeting.\nThere is something in his piano playing that is not found in others, something so strong that it can instantly be recognized as his own. Raised as the eldest son at the music club “Gin-Paris Sapporo”, he was familiar with chanson from his early years, which undoubtedly had something to do with his upbringing. I instinctively felt that there was something there opposite to me. I didn’t know why but I just had a hunch. If I may say so without fear of being misunderstood, on a surface level it was, basically, “not a good match”.\nIt could be said that two completely different beings exist somewhere in order to create something. That contrast emerges with a unique three-dimensionality. Since then, that feeling has grown stronger with every shared performance.\nIn 2014 I formed the quartet The Poetry of Impressionism (tenor sax Ryosuke Hashizume, bass Yasutaka Yorozu, piano Asakawa) and we performed together through 2017. Our duo formation started in parallel from 2016, so this album release has already been four years in the making since conception. Several live recordings were also made, but for various reasons these have not resulted in album releases.\nIn this case, through the cooperation of engineer Akihiko Goto, we completed this album release on his label Time Machine Record in April 2020. The recording method of using a minimal miking technique (basically only two microphones), along with other releases from his label, has begun to attract attention as a unique presence in recent years. I would like to take this opportunity to express my gratitude to Akihito Goto for his invaluable contributions.\nNordNode is an expression of the shared understanding between Ikenaga and Asakawa, with their connections to the north, to Hokkaido and Northern Europe, and the music that envelops the pastoral spirit and ways of thinking of those regions.\nPaired with the rapid increase in productivity and convenience arising from the spread of the internet, it seems that acts of close observation, the time to appreciate art, and even dignity towards people are being neglected. It’s a world where speedy, even instant stimulation is all that is demanded. As an antithesis to a world that tends to overlook spirituality, we the performers want to present a musical outlook that places importance on spiritual-oriented truth.\nThank you for picking up this album. For this occasion, the recording was made using the latest Kaneda DC recording system developed by Akihito Kaneda, engineer Goto’s mentor. I hope you enjoy the recorded sound (different from multi-track recording methods) that maximizes live sound reproduction with perfect sound quality.\nKazumi Ikenaga\n*[1. Into the sound] *Composer: Taihei Asakawa\nWithin oneself, weaving sounds towards the outside of creation. Allow time to flow as it is. The journey begins from here. (Asakawa)\n[2. Lady of silences] Composer: Taihei Asakawa\nA song inspired by “The silent sister veiled in white and blue”, a passage from T.S. Eliot’s poem Ash Wednesday, which can be said to depict the landscape of purgatory. A white and blue that colors the silence.\nAs the words of prayer are further purified, they transcend sound and language to become silence. (Asakawa)\n[3. Non] Composer: Taihei Asakawa\nI composed a melody from memories of my dearly departed cat Non. Non and I were always together. We often listened to Jóhann Jóhannsson’s Copenhagen Dreams together.\nThe other day, I tentatively opened up Hyakken Uchida’s /Nora Ya /for the first time in a long time, and after reading just two lines, I sunk into depression. It seems that the loss of a pet is a wound that never heals. I’m at a loss for what to do. (Asakawa)\n[4. Line] Composer: Taihei Asakawa\nTwo lines play in space as the tonic and the embellishment constantly switch places. Each independently converses with the other. There is only this moment in time. While recording, the pair’s expressions resembled children in a sandbox. (Asakawa)\n[5. Sænk kun dit hoved du blomst] Composer: Carl Nielsen\nA song by Danish composer Carl Nielsen with lyrics by Johannes Jørgensen. This work was created in 1902. The title means “Oh flower, lay down your head”. It’s a song of the evening, and looking forward to the coming of a peaceful night.\nNielson grew up in a poor agricultural area rich with nature. In a forest, he noticed that pieces of firewood of different lengths would make different notes when struck, and from there he taught himself to make music. The simple beauty and strength contained in Nielson’s music are rooted in those elemental qualities that are unique to the north. (Asakawa)\n[6. Cirkus] Composer: Taihei Asakawa\nA song composed imagining the progression in the far north of a circus troupe made up of Nordic animals of the future. A Scandinavian electronica style 19-beat dance in acoustic form. I admire Ikenaga’s energetic solo development, free and lively without straying from the song’s essence. (Asakawa)\n[7. May wind] Composer: Kazumi Ikenaga\nI often get sick when May comes around, so although it’s exciting when spring passes to summer, perhaps my body can’t keep up with the changes, and the balance of mind and body crumbles.\nAs I hurried off to work reluctantly, saying “See you later” to my mother who had forgotten herself, a gentle breeze blew by and caressed my cheek. I felt as if my mother from back then was calling to me. (Ikenaga)\n[8. Fragility] Composer: Taihei Asakawa\nRather than actual facts, memories are filled with the longings and aspirations of each moment. Humans are fragile beings. Because we cannot arrive there, we must entrust them with expression. (Asakawa)\n[9. In love in vain] Composer: Jerome Kern\nIn between recording sessions, we performed a beautiful posthumous standard by Jerome Kern. Despite the sigh-like lyrics, we decided to set the tempo at a slightly thrilling pace. (Asakawa)\n[10. Beautiful dreamer] Composer: Foster\nA posthumous piece by the American composer Foster. He completed it a few days before his death, and the manuscript was later discovered at his home.\nDuring the Civil War years, Foster lost his income, his wife passed away, and he became addicted to alcohol. Perhaps he was trying to sublimate his fading life into a beautiful melody, as if to escape reality. (Asakawa)\nRecording system used: Original system developed, designed, and manufactured by Akihiko Kaneda\nKaneda-style balanced DC current transmission microphone (SCHOEPS MK2) x 2 DPA 4006-TL x 2\nKaneda-style balanced DC current transmission recording unit Audio interface RME Fireface UC NordNote by Kazumi Ikenaga \u0026amp; Taihei Asakawa Kazumi Ikenaga - drums Taihei Asakawa - piano Released in 2020 on Time Machine Record as TMCD-1020.\nJapanese names: 池長和美 Ikenaga Kazumi 浅川太平 Asakawa Taihei\nAudio and Video Promotional video for this album: A live version of “Amazing Grace”: Excerpt from track #5: “Saenk kun dit hoved du blomst” Other Links NordNote ","permalink":"https://mirror2.jazzofjapan.com/kazumi-ikenaga-taihei-asakawa-nordnote/","summary":"\u003cp\u003e\u003cem\u003eNordNode\u003c/em\u003e is a 2020 album from drummer Kazumi Ikenaga and pianist Taihei Asakawa, with ten tracks and fifty-five minutes of music performed with care, maturity, and a strong bond between the two musicians.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1250217x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1250217x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis album captures a directly connected musical conversation between drummer Kazumi Ikenaga and pianist Taihei Asakawa. A duo made up of drums and piano is not a very common format in jazz, but it is a format that really shows how, like with the circular yin-yang symbol, the two musicians fit perfectly together and fill out the space as if thinking, moving, and playing as one.\u003c/p\u003e","title":"Kazumi Ikenaga \u0026 Taihei Asakawa: NordNote"},{"content":"Retattanni no Mori (Birch Tree Forest) is a 2019 solo album from bassist Yuki Ito.\nOver the album’s six tracks and 30 minutes, Yuki Ito is unaccompanied but unafraid with her formidable upright bass, playing three original compositions, two covers, and one free improvisation.\nIt could be considered a brave endeavor to release a solo album on bass (or upright bass, aka double bass, contrabass, acoustic bass, upright, standup, or wood bass). As the great bassist Christian McBride humorously would put it, “I’m just the bass player”, a lighthearted play on a stereotype of the role (similarly, the title of his new album with bassist Edgar Meyer is /But Who’s Gonna Play the Melody? — /a double double bass album!).\nThe deep bass notes may even sound intimidating to some, like a grave voice about to announce something serious, intone a warning, or deliver bad news. Think of Alan Rickman’s or Darth Vader’s commanding authority. Potential listeners could feel tentative about giving a solo bass album a try, and bassists may be concerned about that when considering this format.\nOn the other hand, the low bass range can be deeply comfortable and solid, warm and secure like a thick blanket providing protection. Think of Morgan Freeman’s soothing gravitas.\nPerhaps the overall impression depends on the delivery and style, the environment that the low notes are sent into, and the changed environment created by their presence.\nFor this album, the physical environment is nature, a forest in a mountain region, and the created space is slow, comforting, and kind. It’s definitely a welcoming invitation.\nSonically as well, an album filled only with bass notes creates an environment different from everyday jazz albums. That difference helps the music stand out by offering a distinctive thirty minutes of music and a special experience with deep resonance.\nBass in Jazz It goes without saying that the deep bass note register and walking bass lines have been an important feature of jazz music through the years. It’s easy to associate jazz bass with the characteristic locked-in groove that, together with drums, delivers that propulsive, gravitational force that hooks listeners and doesn’t let go. Even so, casual listeners may overlook the bass, or “feel it but not hear it”, as bass lines can be overshadowed by louder and higher register instruments.\nAlso, in tight stage spaces upright bassists often stand in the background with their large instruments behind the front-line players or between the piano and drums. It’s an audible low range that is strongly felt by listeners but typically doesn’t stand out glaringly, appearing to be a supporting role to spotlit horns and vocalists.\nThat is, until a bass solo arrives, the band’s volume lowers or even drops out entirely, and the low-frequency notes magnetically draw hushed, rapt attention from the audience for several moments.\nIt’s easy to imagine that casual listeners may regard jazz bass as that big, cool instrument in the back and the background, doing something at the bottom, not standing out, and providing that constant and addictive groove of notes that spread out, connect, and fill up the room with grounded energy.\nA solo bass album is a great opportunity to put this great instrument in the spotlight, expand those horizons, and bring it out from the background, to stand out with the standup bass.\nYuki Ito’s Solo Bass Instead of exploring normal expectations like walking bass lines or bowed arco playing, Ito uses the bass as her voice to lyrically focus and improvise on the songs’ themes. The melodies that Ito plays are tenor or alto-like in their songful qualities, like a solo vocalist humming and vocalizing in those ranges. It’s a very musical approach where the sole instrument just happens to be solo bass.\nWhile playing the melody on high strings, Ito hits bass notes or lets loose pedal tones on ringing lower strings, sometimes simultaneously to great effect. Hearing the occasional creak of the instrument’s wood and the deep timbre of the sound box gives a clear sonic image of the large instrument, one that brings the listener right up close to the upright. Ito even incorporates knocking on the bass’s body on one track, another element that brings the large wooden instrument tangibly closer to the ears.\nThe album is full of slower-to-midtempo pulses, emotionally delivered, so are flexible and rubato at many times, but not so loose as to be freeform ambient music.\nIto’s north star is the theme and feel of each song, so tricks for tricks’ sake are not part of the plan. Specific techniques for stringed instruments arise naturally, mostly with double stops and split string playing to allow bass notes and melodies to coexist and frame the music.\nThe album’s closing improvisation brings this to an excellent peak with a catalog of impromptu ideas like broken chord arpeggios, tremolo plucking, harmonics, pedal drones, and more, fitting the musical content without being overdone. There are even actual birds singing along with Ito’s notes, as if in accompaniment. This last track goes on for an elevated five minutes of misty adventure and certainly would have still been wonderful at twice that length or more.\nThe Recording The album was recorded in 2019 in Hokkaido at a recording studio located among birch trees in the mountains. Tracks #1-5 were recorded in the studio, and track #6 was recorded behind the studio, outside, making the most of the natural setting full of trees and birds (note the tune’s subtitle “Birdsong”).\nThis birch-filled scene is shown on the cover photo with Ito and her bass, surrounded by trees with the chirps of birds as she becomes part of the environment to transform the experience into spontaneous music.\nCompositions, Covers, and Improvisation With solo performances, tentative listeners may worry that a player’s complete control and freedom could result in unconstrained playing without limits leading to wildly free or abstract playing (of course, some listeners will love how that sounds!)\nYet most of the music on Retattanni no Mori consists of written-out pieces. That is, songs with distinct structures and melodies enclosing and influencing the improvisation within.\nIto’s original compositions on Retattanni no Mori have plainspoken and almost folk-song qualities. For example, track #1 “Hinageshi” lays out a theme like downward stairsteps forming a gentle melody, a leisurely stroll in a relaxed mood.\nWith a similarly quaint feel, the title track #4 “Retattanni no Mori” is poetically expressive, mesmerizing with ideas floating over the implied chord changes, a traditional story being told and felt without words.\nIn contrast, the third original is Ito’s track #3 “Brace”, which brings her self-accompaniment most clearly to the foreground on this album. The song is anchored by a sparse bass line created by low two-bass hits and percussive knock-on-wood bass body thumps. These effects set the groove, frame measures, and mark chord changes strikingly. The rhythmic posts are strung together with Ito’s higher string playing filled with slick licks and improvised lines. It’s quite a guitarlike approach, funky, groovy, and spirited, a physically present sound with Ito playing at her bluesiest.\nThis impressive self-accompaniment style also brings to mind bassist Brian Bromberg’s solo performance of “Come Together”, originally recorded on his 2006 album /Wood/… an album title that surfaces another nice parallel to the recording studio where Retattanni no Mori was recorded, Studio Wood, in Asahikawa, Hokkaido, a mountainous, tree-covered locale with a rich heritage of woodworking and craftsmanship.\nIn addition to Ito’s compositions, two jazz standards are included. Track #2 “Nature Boy” is haunting and tenderly sad (see the recent article by for more on this fascinating song and songwriter.\nMeanwhile, track #5 “On the Sunny Side of the Street” is a slight outlier on the tranquil and meditative album. Ito plays this tune at a cheery tempo and with a swing feel, where plucking and sliding of fingers on strings, together with inhales of breath between musical phrases, underlines the noteworthy and ably accomplished solo aspect of the record.\nThe last piece is track #6, “Free Improvisation Tori no Koe”, a collection of improvised musical ideas and string techniques inspired by the surrounding natural environment which Ito becomes a part of for those final five minutes of the album.\nOverall, it’s an easily-returnable album for its unique moods and musical moments: low frequencies and skillful playing, clear themes with soothing melodies and spontaneous invention, and interesting music to absorb and wrap up in.\nAbout the Title The Japanese title printed on the album is interesting. レタッタッニの森 contains three parts and is written using the three writing systems in Japanese:\nレタッタッニ (retattanni) in katakana, meaning/ white birch tree/ in Ainu の (no) in hiragana, a possessive particle meaning of 森 (mori) in kanji, meaning forest Also printed on the album are the words retat-tat-ni kor nitay, the title in the Ainu language of the Indigenous people of Japan.\nRetattanni no Mori by Yuki Ito Yuki Ito - bass Released in 2019 on Yuki Ito as YDM-001.\nJapanese names: 伊東佑季 Ito Yuki\nAudio and Video Audio for “Hinageshi”, track #1 on this album: Audio for “Brace”, track #3 on this album: Audio for “Retattanni no Mori”, track #4 on this album: Album tracks #1, 3, and 4 on streaming music services\nExcerpt from track #2: “Nature Boy”\n","permalink":"https://mirror2.jazzofjapan.com/yuki-ito-retattanni-no-mori/","summary":"\u003cp\u003e\u003cem\u003eRetattanni no Mori\u003c/em\u003e (Birch Tree Forest) is a 2019 solo album from bassist Yuki Ito.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1240974x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1240974x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eOver the album’s six tracks and 30 minutes, Yuki Ito is unaccompanied but unafraid with her formidable upright bass, playing three original compositions, two covers, and one free improvisation.\u003c/p\u003e\n\u003cp\u003eIt could be considered a brave endeavor to release a solo album on bass (or upright bass, aka double bass, contrabass, acoustic bass, upright, standup, or wood bass). As the great bassist Christian McBride humorously would put it\u003ca href=\"https://youtu.be/iJIJitbtUs0?si=qEafPoXikllJbRxK\u0026amp;t=911\"\u003e, “I’m just the bass player”\u003c/a\u003e, a lighthearted play on a stereotype of the role (similarly, the title of his new album with bassist Edgar Meyer is /\u003ca href=\"https://christianmcbride.bandcamp.com/album/but-whos-gonna-play-the-melody\"\u003eBut Who’s Gonna Play the Melody?\u003c/a\u003e — /a double double bass album!).\u003c/p\u003e","title":"Yuki Ito: Retattanni no Mori"},{"content":"Reiko Yamamoto’s The Square Pyramid is a jazz record built around her vivid and precise vibraphone sound. With excitement heightened by the targeted force and agility of four mallets striking and bouncing on the metal bars, the crystal clear and warmly sustained sounds of Yamamoto’s instrument pull the listener into the heart of the colorful structure through her compelling compositions.\nWritten in Japanese, Reiko Yamamoto’s name is 山本玲子. Reiko (玲子) contains the kanji character 玲 which represents the sound of jewels and is used in several aural words invoking tinkling and chiming sounds. Whether or not that character had a direct influence on the musician’s life, it’s an appropriately fitting context for her masterful playing of this brilliantly translucent instrument.\nAll of the songs are by the group leader Yamamoto, whose musical ideas are let loose on the nine tracks’ creative arrangements and solos. The music is typically modern sounding with mostly straight-eight rhythms adorned with interesting meters, melodic placements, and musical structures.\nJoining Yamamoto is her “Square Pyramid” quartet (distinguished from her previous two “Tempus Fugit” swing/bop quartet albums) featuring Sumire Kuribayashi on piano, Keisuke Furuki on bass, and Hiro Kimura on drums.\nThe flow of the album is like a three-act storytelling arc, with thrilling action in acts one and three and calm respites in the middle. The opening is all excitement delivered through the propulsion of heart-racing notes on #1 “Vibrant Line” and #2 “Midnight Blue”.\nNext, the mellow #3 “Staring at the Rain” and the melancholic #4 “Missing Piece” are both pretty creations placed to introduce different moods and moments of peaceful reflection.\nNestled in the middle of the album is a set of three conceptually linked tracks: #5 “Piano Songs No. 2”, #6 “Piano Songs No. 3”, and #7 “Short Stories No. 5”.\nThese three songs examine more sides of the tinkling gem (or faces of the pyramid) and showcase compositional traces of classical, progressive, folk, rock, and mystery, with a lyrical touch resembling a poetic, possibly Jethro Tull-ish, personality.\nIncidentally, more numbers from the Piano Songs and Short Stories series appear on Yamamoto’s other musical projects and albums including Sumireiko, Yamako, Jazz Resort, and Magnolia (coming up in future articles here).\nThe last two tracks, #8 “Black Forest” and #9 “That Blue Bird” seem to blend into each other and share some musical traits, (not to mention the background that these two tracks share, explained in the liner notes), confidently bringing the album to a close for a theatrical conclusion.\nLiner Notes (Translated from Reiko Yamamoto’s original Japanese liner notes.)\nVibrant Line This is a song originally written for a vibraphone ensemble. The word vibrant has the same etymological root as vibrate, which is also the origin of the name of the instrument vibraphone. In addition to the meanings of vibrating and trembling, it also includes the meanings of being active and energetic. I chose this title hoping to make you feel the music’s dynamics from the percussive approach and the reverberation of the vibraphone.\nMidnight Blue It’s characteristic for instrumentalists to frequently travel by car, especially on the roads at night. This song portrays going down the Metropolitan Expressway in the dead of night… Imagine driving with the feeling of sprinting. In actuality, the color of my current car is called midnight blue, which is where I got the name of this song.\nStaring At The Rain This song’s title “Staring at the Rain” depicts a house in Europe with a woman inside, sitting by the window, resting her chin on her hands, and looking out at the gloomy rain outside. I wrote this song while imagining that scene. It was a rainy day when I wrote this song, and I didn’t want to go outside, but if I didn’t go out I wouldn’t get things done… I was wavering. In that mood, I gazed at the rain and imagined what this European woman would be feeling while staring at the rain.\nMissing Piece For a jigsaw puzzle with even just one piece missing, it cannot be said to be completed. I gave this song this title to express the instability of those times when something is lost, as with this melody that seems to be headed to a resolution somewhere but ends up being unsettled.\nPiano Songs No. 2 Subtitled “/Kiseki” (trajectory, the path one has taken/). In 2017 I went to see Gary Burton’s last concert before his retirement, playing in a duo with pianist Makoto Ozone. Ozone’s piano at that time was extremely lovely, but also very heartbreaking… I wished at the time that it could never end. This is a song of a pianist who follows closely their mentor’s life trajectory.\nPiano Songs No. 3 I usually compose with the sound of the piano, so sometimes the resulting songs will be closer to the image of a piano playing style rather than melodies played on a vibraphone. The Piano Songs series is a collection of such songs. Around the time I wrote No. 3, I was listening to a lot of European pianists like Enrico Pieranunzi and Michel Petrucciani, so this song was influenced by that period.\nShort Stories No. 5 This is a song I wrote while playing Short Stories on vibraphone. Short Stories is a collection of short pieces for solo vibraphone. This “No. 5” is based on something I improvised somehow or other while playing at home one day. I hope you can closely hear the vibraphone’s characteristic approach of having such a resonant sound combined with its limited pitch range and number of chord voices that can be played simultaneously.\nBlack Forest After listening to the next song “That Blue Bird”, an artist imagined the moment that song was born and created a painting for me entitled “Black Forest”. The painting shows a pitch-black forest with a large reflecting lake, glowing beautifully with moonlight and glittering with the surfacing of fragments of musical phrases. From this, I set that title to music, which resulted in this song’s creation.\nThat Blue Bird The story “Blue Bird” describes how Tyltyl and Mytyl travel on a long journey searching for a blue bird and concludes with them finding that blue bird, which then flies away and ends the story. We may realize that happiness is always close to us but, just like the blue bird that flies away, can also disappear in a flash. Although I named this song after a story with quite a philosophical significance, this “Blue Bird”, at least for me, has brought a lot of happiness.\nObi Notes A new page in the history of jazz vibraphone sound.\nThe long-awaited all-originals release from the new band debut.\nReiko Yamamoto has released two albums with “Reiko Yamamoto Tempus Fugit” (Terasima Records), participated in genre-crossing collaborations, and has become known for the endless possibilities of her vibraphone sound. She now releases a full album of her original compositions fully unleashing her well-established compositional and arrangement techniques. Throughout jazz history from swing to hard bop, fusion, and contemporary genres, the vibraphone has produced many songs and has been incorporated into many bands as a novel instrument. Here again, a new part of this history will be recorded.\nThe Square Pyramid by Reiko Yamamoto Reiko Yamamoto - vibraphone Sumire Kuribayashi - piano Keisuke Furuki - bass Hiro Kimura - drums Released in 2019 on Somethin’ Cool as SCOL-1032.\nJapanese names: 山本玲子 Yamamoto Reiko 栗林すみれ Kuribayashi Sumire 古木佳祐 Furuki Keisuke 木村紘 Kimura Hiro\nAudio and Video Live performance of “That Blue Bird”, track #9 on this album: Live performance of “Piano Songs No. 2”, track #5 on this album: Excerpt from track #1: “Vibrant Line” ","permalink":"https://mirror2.jazzofjapan.com/reiko-yamamoto-the-square-pyramid/","summary":"\u003cp\u003eReiko Yamamoto’s \u003cem\u003eThe Square Pyramid\u003c/em\u003e is a jazz record built around her vivid and precise vibraphone sound. With excitement heightened by the targeted force and agility of four mallets striking and bouncing on the metal bars, the crystal clear and warmly sustained sounds of Yamamoto’s instrument pull the listener into the heart of the colorful structure through her compelling compositions.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1260027x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1260027x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWritten in Japanese, Reiko Yamamoto’s name is 山本玲子. \u003cem\u003eReiko\u003c/em\u003e (玲子) contains the kanji character 玲 which represents the sound of jewels and is used in several aural words invoking tinkling and chiming sounds. Whether or not that character had a direct influence on the musician’s life, it’s an appropriately fitting context for her masterful playing of this brilliantly translucent instrument.\u003c/p\u003e","title":"Reiko Yamamoto: The Square Pyramid"},{"content":"Jazz singer MIWO’s first album is entitled Tranquillo from 2020. This fifty-one-minute album delivers a sincere and straightforward set of twelve jazz standards perfectly suited to the leader’s modestly beautiful voice. Tranquillo was produced by mentor Hiroko Williams, a well-known jazz singer in her own right, and the result is an album with an authentic approach to vocal-focused jazz albums.\nWhile some decorative intros, endings, and arrangements are subtly attached, the performances follow the original music closely to respectfully elevate the original compositions and allow the immediately felt vocals to shine.\nThe four-piece group of vocals, piano, guitar, and upright bass delivers quiet renditions of classic tunes to uplift the mood, such as “The Song is You”, “Pennies From Heaven”, and “Get Happy” in fairly short, three-to-five minute takes with a direct and pure sound.\nThroughout, a sense of lightness and ease persists throughout the recording. While the liner notes describe a theme of visible light broadcast through the singer’s voice, there is also a sense of lightness as in buoyancy, a floating, lighter-than-air vocal quality from MIWO that successfully creates a pleasant musical atmosphere from the timeless melodies. Indeed, there seems to be an appreciation of the old-fashioned qualities of this rose-petal music, short, sweet, and soothingly presented.\nLiner Notes (Translation of Tomoyuki Hoshino’s original Japanese liner notes.)\nExperience the light.\nSometimes it is the flickering light of a candle set on a table at a bar where lovers meet. Sometimes it is the hazy heat of sunlight rising on a beach on a comfortably lazy afternoon. Sometimes it is the light of a movie projector telling a thrilling tale on a screen at a movie theater from long ago…\nMIWO’s singing voice brings to mind these various scenes of light. It’s a voice that evokes light, a rare singing voice that carries a unique radiance. As for the source of this light source, it seems to be her approach to words.\nThe twelve songs contained on this album make such a vivid impression firstly by the clarity of the lyrics she sends forth. Although the lyrics are sung quite casually almost as whispers, each word clearly vibrates the air and resonates in the hearts of the listeners. Moreover, each word flows smoothly and does not disrupt the flow of the original melody. Or rather, each quietly enhances the emotional swells. Considering light itself, it has the contradictory properties of being composed of photon particles and waves with wavelengths. Truly, MIWO’s singing voice is similar in the expression of clarity of speech and fluency of singing are expressed together in a single song with exquisite balance, no doubt a difficult achievement.\nThis must be an indication of the fact that the singer MIWO, above all else, is dedicated to delivering lyrics to the listener with care and sincerity. This is because there is no simple prescription for achieving that delicate balance. She reads the lyrics many times over, superimposing her own feelings, and singing them over and over again, aiming to convey those feelings with every note. Light can only be produced from this task without shortcuts or loopholes.\nAnd the light that emanates from this earnest trial and error illuminates different angles on these classic oft-sung songs, bringing out new expressions. Listening to MIWO’s debut album reveals the world of the album assembled from four elements like a mosaic: from uptempo jazz numbers to medium slow ballads, bossa novas, and film music, with all of the four hues fresh and lively. The album opens with “You Turned The Tables On Me”, impressively announced with a lightly ticking rhythm from MIWO’s vocals, about someone who, just like an Othello board where the players’ positions have suddenly been reversed, thought they had the initiative in the game of love but suddenly realize it’s themself who has fallen for the other person. It’s a jazzy song full of wit that has been sung by Billie Holiday, Ella Fitzgerald, and Louis Armstrong. Contrastingly, the song “Put Your Dreams Away” gently and quietly closes the album, a ballad number which could be said to be an early theme song for Frank Sinatra (used in fact as the theme music for his radio programs and television shows). MIWO’s whispering of “Throw away your dreams, I’ll fill the gaps” echoes beautifully and leaves a long-lasting impact.\nFrom the world of movie musicals, “The Sound of Music” and “Get Happy” were selected. “Get Happy” was sung by Judy Garland (who is receiving reevaluation and praise as a result of the 2019 biopic Judy) in the movie Summer Stock where she sang and danced alongside Gene Kelly. At the same time, the bossa nova masterpiece “How Insensitive” and the naturally included “Desifinado” were composed by Antônio Carlos Jobim and sung by Astrud Gilberto, widely known for capturing the world’s attention with “The Girl from Ipanema”. From these musical and bossa nova numbers, MIWO uncovers their musical essence and abundant richness, weaving them seamlessly into one world with jazz standards. As a result, this album has even rehued the memories of these brilliant singers who have left their marks forever in musical history by bringing to life MIWO’s voice in the here and now. What distinguishes MIWO from the singers who inspired her to pursue jazz, from Judy Garland and Astrud Gilberto to Billie Holiday, Ella Fitzgerald, Carmen McRae, and of course Sinatra and Satchmo, is the brightness of the light she emits through words to illuminate this unique theatrical world.\nActually, if you think about it, perhaps it is just those who can bring a new light into songs who possess the qualifications to sing standard numbers. It is in this way that songs are imbued with new life and continue to be sung further into the future.\nMIWO’s voice certainly possesses that beautiful qualification. This album’s title is Tranquillo, which is a musical term of Italian origin that means in a quiet and calm manner. If you close your eyes, lay down in a quiet and calm place, and let her voice reflect its light on the surface of the mirror of your mind, you too will surely be convinced of this. In the midst of this unique twinkling light, various scenes will shimmer and emerge.\nTomoyuki Hoshino (Aoi Hoshi Tsushinsha, former editor-in-chief of Tokyo Calendar)\nTranquillo by Miwo MIWO - vocal Mamoru Ishida - piano Daiki Yasukagawa - bass Akira Sekine - guitar Released in 2020 on Musica Fortunata as MF-001.\nJapanese names: 石田衛 Ishida Mamoru 安ヵ川大樹 Yasukagawa Daiki 関根彰良 Sekine Akira\nAudio and Video Promotional video for this album: Excerpt from track #4: “Desafinado” ","permalink":"https://mirror2.jazzofjapan.com/miwo-tranquillo/","summary":"\u003cp\u003eJazz singer MIWO’s first album is entitled \u003cem\u003eTranquillo\u003c/em\u003e from 2020. This fifty-one-minute album delivers a sincere and straightforward set of twelve jazz standards perfectly suited to the leader’s modestly beautiful voice. \u003cem\u003eTranquillo\u003c/em\u003e was produced by mentor Hiroko Williams, a well-known jazz singer in her own right, and the result is an album with an authentic approach to vocal-focused jazz albums.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1240810x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1240810x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWhile some decorative intros, endings, and arrangements are subtly attached, the performances follow the original music closely to respectfully elevate the original compositions and allow the immediately felt vocals to shine.\u003c/p\u003e","title":"Miwo: Tranquillo"},{"content":"Salt Peanuts is a Tokyo jazz fan’s paradise, loved by Tokyo insiders for years and formerly less well-known but now experiencing a boom with appreciation and visits from new customers.\nFigure 1: May Inoue (guitar), Shunya Wakai (bass), Masayo Koketsu (sax), and Yuto Maseki (drums) at Salt Peanuts in 2012\nThis newfound increase in business has likely been spurred through word of mouth and its long-lived golden reputation. Also surely playing a part is a recent increase in online blogs, travel sites, and listings in prominent guidebooks such as Time Out (see their 2024 Best Jazz Bars in Tokyo article).\nSurprisingly, there’s also been a fresh interest in jazz and jazz bars in the last few years that is often suggested to be the result of increasing jazz coverage in popular culture as with the 2023 movie Blue Giant.\nFigure 2: Miyuki Moriya Quartet with Mamoru Ishida (piano), Yoshimasa Otsuka (bass), and Yuto Maseki (drums) at Salt Peanuts in 2012\nIn any case, Salt Peanuts is an excellent live jazz destination and a bargain in many ways. Not only does this spot offer an atmospheric setting, a great schedule with both up-and-coming and veteran musicians, and plenty of bar snacks, but it’s also a great bargain in terms of cost. Salt Peanuts is one of the least expensive places to hear real live jazz in Tokyo, and is one of the few places to resist raising menu and admission prices for many years.\nFigure 3: EKD Jazz Collective with Yasumasa Kumagai (piano), Keisuke Nakamura (trumpet), Takuya Sakazaki (bass), and Takayoshi Baba (guitar) at Salt Peanuts in 2016\nFirst impressions at Salt Peanuts reveal the spot to be comfortable with at-home casualness (but not without rules). A cool industrial style is exhibited in the stylishly distressed metal tables, vintage bar, and aged gates. One wall is strikingly illuminated with a fantastic mural. The other walls sport favorite LPs and CDs (played before and after the live music), a TV used for certain sporting events, and even the master’s beloved bicycle hanging behind the stage area.\nThe concept of all-you-can-eat peanuts is another draw at this unique spot where Salt Peanuts definitely lives up to its name. Incidentally, the name is a reference not only to the plentiful bar snacks but is a reference to the famous bebop tune “Salt Peanuts” by Dizzy Gillespie and Kenny Clarke, as jazz musicians and fans know. The snacks at Salt Peanuts include peanuts (naturally), crescent-shaped rice crackers (mix with peanuts for the much-loved kaki no tane or kakipi), banana chips, giant corn or corn nuts, wasabi peas, and other crunchy, sweet, or spicy Japanese snacks.\nFigure 4: Nobie with Yoshihisa Suzuki (guitar poly-performance) and Ryoji Ihara (sax) at Salt Peanuts in 2014\nFirst-timers to Salt Peanuts will likely be treated to a short script about the bar rules. It basically goes like this:\nFigure 5: Yuta Kanedo (organ), Gaku Hasegawa (drums), and Yudo Matsuo (guitar) at Salt Peanuts in 2014\nThere’s a music charge of 1500 yen plus a table charge of 500 yen, with one drink per person required. Drinks start at 500 yen and up, so the minimum charge is 1500 + 500 + 500 = 2500 yen per person. The nuts and snacks are all-you-can-eat. Each table is set with two jars. Just open a jar, carefully tip it over your dish, and shake out your portion. There is a variety of snacks spread out through the bar in different jars on the tables and counter. Bring your small dish to the counter to get different snacks, but don’t take the jars back to your table or exchange the jars between different tables or the counter. Figure 6: Kouhei Kamuro (guitar), Akiyoshi Shimizu (bass), and Akihiro Yoshimoto (sax) at Salt Peanuts in 2017\nPlease no talking during the performance. Other informal, common sense customs are not stated upfront but are similar to other small jazz bars. Photos are generally allowed if taken considerately: Avoid flash photography and be mindful of loud shutter sounds and disturbing other customers near or behind you. Audio/video recording is not allowed.\nFigure 7: Busy night at Salt Peanuts with the Fumika Asari Quartet in 2019\nAlso, customers should try to stay in their assigned seats when possible and avoid milling about or standing in the back, as having even small crowds form makes it hard to serve drinks or for customers to go to the restroom, may obstruct views or bother other customers, and makes the number and location of available seats confusing.\nFigure 8: Yuki Ito (bass) and Reiko Yamamoto (vibraphone) at Salt Peanuts in 2024\nAlthough there are no dinner options on the menu, the peanuts and snacks may be filling for some if taken with enough beer. Many customers get dinner beforehand or try to fend off hunger with drinks and nuts. Still, snacks won’t substitute for a big dinner, so planning to eat before or after the show is usually a good idea.\nSalt Peanuts offers live jazz on almost every night with two sets per night plus an encore song, typically. There’s no audience changeover between sets. Depending on the night, the bar may remain open for a while after the show for customers to have drinks and listen to recorded music.\nFigure 9: Staircase wall at Salt Peanuts\nThe performing musician may also offer their CDs for sale, a great way to support local live music and get signed copies directly from the musicians.\nFigure 10: Welcome to Salt Peanuts\nReservations can be made through social media or phone. On many days, arriving without a reservation is fine. Unreserved seats will be filled on a first-come-first-served basis behind the reserved seats, and sharing tables with others is common at small bars including this one. Keep in mind that some shows may be completely sold out depending on the day and popularity of the musicians.\nOn busy or almost sold-out nights, one or two latecomers without a reservation may be able to get a seat in the very back if there is any space available. Arriving early before the music starts can help, but sometimes the announcement of a sold-out show (満席, manseki, fully booked) will be posted online on the shop’s social media accounts.\nFigure 11: Now playing at Salt Peanuts\nIncluded here are 100+ more photos from Salt Peanuts taken between 2011-2024.\nFigure 12: Salt Peanuts\nFigure 13: Salt Peanuts\nFigure 14: Ami Fukui Trio with Koji Yasuda (bass) and Sohnosuke Imaizumi (drums) at Salt Peanuts in 2011\nFigure 15: Koji Yasuda (bass) and Sohnosuke Imaizumi (drums) at Salt Peanuts in October 2011\nFigure 16: After hours with Reikan Kobayashi (piano, shakuhachi), Sanae Ishikawa (vocal), and Takayoshi Baba (guitar) at Salt Peanuts in November 2011\nFigure 17: Seiji Harakawa Quartet with George Nakajima (piano), Kunpei Nakabayashi (bass), and Masanori Ando (drums) at Salt Peanuts in 2012\nFigure 18: Kaori Nakajima (vibraphone) Quartet with Goto Tamashi (piano), Minoru Yoshiki (bass), and Masanori Ando (drums) at Salt Peanuts in August 2012\nFigure 19: Harumi Nomoto (piano) Trio with Ryoji Orihara (bass) and Sohnosuke Imaizumi (drums) at Salt Peanuts in November 2012\nFigure 20: Nobie (vocal) and Takayoshi Baba (guitar) at Salt Peanuts in December 2012\nFigure 21: Jam session with Miyuki Yoshino (sax), Misa Wakabayashi (bass), and Tetsutaro Kude (drums) at Salt Peanuts in May 2012\nFigure 22: Ami Fukui (piano) Trio with Koji Yasuda (bass) and Sohnosuke Imaizumi (drums) at Salt Peanuts in June 2012\nFigure 23: Yasumasa Kumagai Trio with Daiki Yasukagawa (bass) and Sohnosuke Imaizumi (drums) at Salt Peanuts in July 2012\nFigure 24: Wataru Hamasaki (sax) Quartet with Akane Matsumoto (piano), Koji Yasuda (bass), and Tomoyuki Okabe (drums) at Salt Peanuts in September 2012\nFigure 25: George Nakajima (piano), Koji Yasuda (bass), and Seiji Harakawa (sax) at Salt Peanuts in October 2012\nFigure 26: Totem Pole with Toshihiko Kohno (piano), Yutaka Yoshida (bass), Tomoyuki Konno (drums), and Hiroshi Sugano (sax) at Salt Peanuts in October 2012\nFigure 27: Harumi Nomoto at Salt Peanuts in November 2012\nFigure 28: Miyuki Moriya (sax) Quartet with Mamoru Ishida (piano), Hiroshi Ikejiri (bass), and Shun Ishiwaka (drums) at Salt Peanuts in December 2012\nFigure 29: Taikou Kikuchi (piano) and Ayumi Koketsu (sax) at Salt Peanuts in 2013\nFigure 30: Harumi Nomoto Trio with Ryoji Orihara (bass) and Sohnosuke Imaizumi (drums) at Salt Peanuts in 2013\nFigure 31: Hitomi Nishiyama (piano) and Hikari Ichihara (trumpet) at Salt Peanuts in 2013\nFigure 32: Sanae Ishikawa (vocals), Daisuke Toi (bass), Takayoshi Baba (guitar), and Yuto Maseki (drums) at Salt Peanuts in 2013\nFigure 33: Yasumasa Kumagai (piano) and Takuya Sakazaki (bass) at Salt Peanuts in January 2013\nFigure 34: Akiko Toyama (piano) and Muneyuki Sekiguchi (bass) at Salt Peanuts in February 2013\nFigure 35: Yasumasa Kumagai at Salt Peanuts in January 2013\nFigure 36: Harumi Nomoto (piano) Trio with Ryoji Orihara (bass) and Sohnosuke Imaizumi (drums) at Salt Peanuts in March 2013\nFigure 37: George Nakajima (piano), Sanae Ishikawa (vocal), Satoshi Kosugi (bass), Reikan Kobayashi (guitar), and Nobuyuki Komatsu (drums) at Salt Peanuts in September 2013\nFigure 38: George Nakajima (piano) and Akane Shiratori (vocal) at Salt Peanuts in September 2013\nFigure 39: George Nakajima (piano) and Ken Takai (vocal) at Salt Peanuts in September 2013\nFigure 40: Vocal session at Salt Peanuts in September 2013\nFigure 41: Akiko Toyama (piano) Trio with Muneyuki Sekiguchi (bass) and Masaki Akiba (drums) at Salt Peanuts in October 2013\nFigure 42: Sayaka Kishi (piano), Yuta Omino (bass), and Hiroshi Kojima (sax) at Salt Peanuts in December 2013\nFigure 43: George Nakajima (piano), Shinpei Ruike (trumpet), Hiroki Chiba (bass), and Sohnosuke Imaizumi (drums) at Salt Peanuts in 2014\nFigure 44: Conviano with Sayaka Kishi (piano), Maki Fujihashi (percussion) and Kaori Nakajima (vibraphone) at Salt Peanuts in March 2014\nFigure 45: Hiromi Miura (sax) Quartet with Koichi Sato (piano), Ryoichi Zakota (bass), and Yoshifumi Nihonmatsu (drums) at Salt Peanuts in March 2014\nFigure 46: Taikou Kikuchi (piano) and Ayumi Koketsu (sax) at Salt Peanuts in December 2014\nFigure 47: Akane Matsumoto (piano) and Joh Yamada (sax) at Salt Peanuts in March 2014\nFigure 48: Harumi Nomoto (piano) Trio +1 with Ryoji Orihara (bass), Sohnosuke Imaizumi (drums), and Motohiko Ichino (guitar) at Salt Peanuts in March 2014\nFigure 49: Yasushi Yoneki (bass), Sota Kira (drums), and Yudo Matsuo (guitar) at Salt Peanuts in May 2014\nFigure 50: Koichi Sato (piano) and Ryosuke Hashizume (sax) at Salt Peanuts in June 2014\nFigure 51: Terumopia with Takayoshi Baba (guitar), Sohnosuke Imaizumi (drums), and Takashi Sugawa (bass) at Salt Peanuts in August 2014\nFigure 52: Tomokazu Sugimoto (bass) and Nami Kano (sax) at Salt Peanuts in August 2014\nFigure 53: Cool Jazz Project with Koichi Sato (piano), Kunpei Nakabayashi (bass), and Sohnnosuke Imaizumi (drums) at Salt Peanuts in 2015\nFigure 54: Nami Kano (sax) Quartet with Mamoru Ishida (piano), Tomokazu Sugimoto (bass), and Ryo Noritake (drums) at Salt Peanuts in July 2015\nFigure 55: Ami Fukui (piano) Trio with Show Kudo (bass) and Sohnosuke Imaizumi (drums) at Salt Peanuts in September 2015\nFigure 56: Hiromi Miura (sax) Quartet with Koichi Sato (piano), Ryoichi Zakota (bass), and Ryo Noritake (drums) at Salt Peanuts in September 2015\nFigure 57: Akane Matsumoto (piano) and Seiji Tada (flute) at Salt Peanuts in September 2015\nFigure 58: Show Kudow (bass) and Sohnosuke Imaizumi (drums) at Salt Peanuts in September 2015\nFigure 59: Nobumasa Tanaka (piano) and Nobie (vocal) at Salt Peanuts in September 2015\nFigure 60: Yuichi Narita (piano), Nami Kano (alto sax), Yuji Ito (bass), Chihiro Murata (trumpet), and Yuto Maseki (drums) at Salt Peanuts in 2016\nFigure 61: Nobumasa Tanaka (piano) and Nobie (vocals) at Salt Peanuts in 2016\nFigure 62: Mayuko Katakura (piano), Keisuke Nakamura (trumpet), and Koki Matsui (sax) at Salt Peanuts on New Years Eve 2016\nFigure 63: Yuji Ito (bass), Akira Tanidono (trumpet), and Seiji Harakawa (sax) at Salt Peanuts in May 2016\nFigure 64: Hironobu Nozawa (drums) Group with Yuichi Narita (piano), Takuji Yamada (sax), Akiyoshi Shimizu (bass), and Kazutoshi Umeda (guitar) at Salt Peanuts in May 2016\nFigure 65: Hiromi Miura (sax) Quartet with Koichi Sato (piano), Ryoichi Zakota (bass), and Yoshifumi Nihonmatsu (drums) at Salt Peanuts in July 2016\nFigure 66: EKD Jazz Collective with Mayuko Katakura (piano), Keisuke Nakamura (trumpet), Yusuke Chigita (bass), and Ippei Kato (guitar) at Salt Peanuts in December 2016\nFigure 67: Keisuke Nakamura (trumpet), Takuya Sakazaki (bass), and Sanae Ichikawa (vocal) at Salt Peanuts in May 2016\nFigure 68: Shunichi Yanagi (piano) Trio with Motoi Kanamori (bass) and Masatsugu Hattori (drums) at Salt Peanuts in May 2016\nFigure 69: Naoko Tanaka (piano) Trio with Koji Yasuda (bass), Masanori Ando (drums), and guest Nami Kano (sax) at Salt Peanuts in May 2016\nFigure 70: Sumitty \u0026amp; the Funfair 5 with Koichi Sato (piano), Toyomi Kobayashi (flute), Show Kudo (bass), Hiroyuki Kubota (guitar), and Sumito Oi (drums) at Salt Peanuts in December 2016\nFigure 71: Hiromi Miura Quartet with Koichi Sato (piano), Ryoichi Zakota (bass), and Ryo Noritake (drums) at Salt Peanuts in 2017\nFigure 72: KVQ with Goto Tamashi (piano), Minoru Yoshiki (bass), Masanori Ando (drums), and Kaori Nakajima (vibraphone) at Salt Peanuts in 2017\nFigure 73: Trioplan with Koichi Sato (piano, synthesizer), Ryo Noritake (drums), and Ryosuke Hashizume (sax) at Salt Peanuts in February 2017\nFigure 74: Nami Kano (sax) and Chihiro Murata (trumpet) Quartet with Yuichi Narita (piano) and Takashi Sugawa (bass) at Salt Peanuts in February 2017\nFigure 75: BaViPi Trio with Sayaka Kishi (piano), Yuki Ito (bass), and Kaori Nakajima (vibraphone) at Salt Peanuts in September 2017\nFigure 76: Ekoda Trumpet Summit with Harumi Nomoto (piano), Keisuke Nakamura (trumpet), Motoi Kanamori (bass), Keiketsu Ko (trumpet), Nobuyuki Komatsu (drums), and Mitsuru Tanaka (trumpet) at Salt Peanuts in January 2017\nFigure 77: OMD with Mamoru Ishida (piano), Iwao Masuhara (bass), and Hikari Ichihara (trumpet) at Salt Peanuts in July 2017\nFigure 78: Talkin’ Side A with Mikiko Nagatake (piano), Hiroyuki Yamamoto (bass), Toyomi Kobayashi (flute), Tomohiro Higashikinjou (sax), and Sumito Oi (drums) at Salt Peanuts in August 2017\nFigure 79: Akane Matsumoto (piano) and Hiroko Mase (sax) at Salt Peanuts in September 2017\nFigure 80: Akane Matsumoto (piano) and Seiji Tada (saxophone) at Salt Peanuts in 2018\nFigure 81: Miyuki Moriya Quartet with Mamoru Ishida (piano), Hiroshi Ikejiri (bass), and Sohnosuke Imaizumi (drums) at Salt Peanuts in 2018\nFigure 82: Yasumasa Kumagai (piano) Trio with Keisuke Furuki (bass) and Akira Yamada (drums) at Salt Peanuts in September 2018\nFigure 83: Michiyo Matsushita (piano) Trio with Show Kudo (bass) and Ryo Saito (drums) at Salt Peanuts in October 2018\nFigure 84: Akane Matsumoto (piano) with Ryu Kawamura (bass) at Salt Peanuts in October 2018\nFigure 85: Yasumasa Kumagai (piano) and Atsushi Ikeda (sax) at Salt Peanuts in October 2018\nFigure 86: Hiro Kimura (drums) Quartet with Akiha Nakajima (sax), Mamoru Ishida (piano), and Keisuke Furuki (bass) at Salt Peanuts in November 2018\nFigure 87: Conviano with Sayaka Kishi (piano), Maki Fujihashi (percussion), and Kaori Nakajima (vibraphone) at Salt Peanuts in November 2018\nFigure 88: Yuki Ito (bass) Trio with Fumie Chiba (piano) and Yoshifumi Nihonmatsu (drums) at Salt Peanuts in December 2018\nFigure 89: Sayaka Kishi (piano) Trio with Ryoji Orihara (bass) and Akira Yamada (drums) at Salt Peanuts in December 2018\nFigure 90: Fumie Chiba Trio with Koji Tetsui (bass) and Kaoru Suzuki (drums) at Salt Peanuts in 2019\nFigure 91: Fumika Asari (guitar) Quartet with Kanoko Kitajima (piano), Satoshi Kosugi (bass), and Yusuke Yaginuma (drums) at Salt Peanuts in June 2019\nFigure 92: Kotaro Kobayashi (bass) Trio with Maki Tominaga (piano) and Tomoyuki Okabe (drums) at Salt Peanuts in June 2019\nFigure 93: BaViPi Trio with Sayaka Kishi (piano), Yuki Ito (bass), and Kaori Nakajima (vibraphone) at Salt Peanuts in May 2019\nFigure 94: Motoi Kanamori (bass) Trio with Hiroyuki Takubo (piano) and Akira Yamada (drums) at Salt Peanuts in June 2019\nFigure 95: Hot Milk Duo with Ami Fukui (piano) and Hiroko Mase (sax) at Salt Peanuts in June 2019\nFigure 96: YumYums Trio with Mikiko Nagatake (piano), Miyuki Moriya (sax), and Yuto Maseki (drums) at Salt Peanuts in June 2019\nFigure 97: Busy night and birthday celebration at Salt Peanuts in 2023\nFigure 98: Petrichor with Junichiro Ohkuchi (piano), Ryohei Komaki (bass), Akiha Nakashima (sax), and Kaito Nakamura (drums) at Salt Peanuts in March 2023\nFigure 99: Nanami Haruta (trombone) Quartet with Takumi Awaya (bass), Yasuki Sogabe (sax), and Yusuke Yaginuma (drums) at Salt Peanuts in May 2023\nFigure 100: Naoko Tanaka (piano) Trio with Koji Yasuda (bass) and Masanori Ando (drums) at Salt Peanuts in February 2023\nFigure 101: Michiyo Matsushita (piano) Trio with Show Kudo (bass), and Ryo Saito (drums) at Salt Peanuts in February 2023\nFigure 102: Mariko Maeda (trombone) Quintet with Kota Kaihori (piano), Shigetaka Ikemoto (trombone), Sho Takahashi (bass), and Shogo Hamada (drums) at Salt Peanuts in April 2023\nFigure 103: Sora Ichikawa (piano), Yuki Ito (bass), and Reiko Yamamoto (vibraphone) at Salt Peanuts in March 2024\nFigure 104: Sayaka Kishi Trio with Daiki Yasukagawa (bass) and Hiro Kimura (drums) at Salt Peanuts in April 2024\nFigure 105: Ekoda Quintet with Momo Nonami (piano), Sguru Miyaji (sax), Katsuto Suzuki (bass), Kaori Nakajima (vibraphone), and Tetsutaro Kude (drums) at Salt Peanuts in May 2024\nFigure 106: Koichi Hirata Quartet with Mamoru Ishida (piano), Yutaka Yoshida (bass), and Yusuke Yaginuma (drums) at Salt Peanuts in May 2024\nFigure 107: Yuichi Narita (piano), Yudo Matsuo (guitar), and Hikari Ichihara (trumpet) at Salt Peanuts in March 2024\nFigure 108: Quartruth with Fumie Chiba (piano), Yosuke Sato (sax), Yuki Ito (bass), and Yoshifumi Nihonmatsu (drums) at Salt Peanuts in April 2024\nFigure 109: YumYums Trio with Miyuki Moriya (sax), Mikiko Nagatake (piano), and Yuto Maseki (drums) at Salt Peanuts in April 2024\nFigure 110: BaViPi Trio with Sayaka Kishi (piano), Yuki Ito (bass), and Kaori Nakajima (vibraphone) at Salt Peanuts in February 2024\nFigure 111: TeTe Quartet with Sora Ichikawa (piano), Yuki Ito (bass), Reiko Yamamoto (vibraphone), and Ryo Noritake (drums) at Salt Peanuts in March 2024\nFigure 112: Akane Matsumoto (piano) and Hara Tomonao (trumpet) at Salt Peanuts in April 2024\nFigure 113: Michiyo Matsushita (piano) Trio with Show Kudo (bass), Ryo Saito (drums), and guest Takuma Ito (sax) at Salt Peanuts in May 2024\nFigure 114: Japanese jazz CDs and bottles behind the bar at Salt Peanuts\nFigure 115: Japanese jazz CDs on the wall outside Salt Peanuts\nFigure 116: Music-related movie posters on the wall outside Salt Peanuts\nFigure 117: Salt Peanuts\n","permalink":"https://mirror2.jazzofjapan.com/salt-peanuts/","summary":"\u003cp\u003eSalt Peanuts is a Tokyo jazz fan’s paradise, loved by Tokyo insiders for years and formerly less well-known but now experiencing a boom with appreciation and visits from new customers.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1000581x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1000581x-1200.jpeg\"\n         alt=\"Figure 1: May Inoue (guitar), Shunya Wakai (bass), Masayo Koketsu (sax), and Yuto Maseki (drums) at Salt Peanuts in 2012\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eMay Inoue (guitar), Shunya Wakai (bass), Masayo Koketsu (sax), and Yuto Maseki (drums) at Salt Peanuts in 2012\u003c/p\u003e","title":"Salt Peanuts"},{"content":"Isolated is a 2024 album from the Otohito Fuse Trio, a piano-bass-drums jazz group of popular and in-demand young Japanese jazz players. Led by pianist Otohito Fuse, the eight-track CD runs for sixty-five minutes from a brilliantly modern jazz piano trio.\nAs mentioned in the album notes, Fuse’s sound somewhat follows in the path of several heroes he thanks: Bill Evans, Lyle Mays, Keith Jarrett, and Yuya Wakai, respected influences popular with many fans and jazz musicians.\nSimilarities could also be made to the emotional touch and soft strength of modern pianists like Danilo Perez, Danny Grissett, and Marcin Wasilewski. However, the special sound of Fuse’s trio surpasses mere echoes and shows independence, skillful songwriting, and flexibly agile group cohesion.\nThe album design is elegantly off-white, a vintage-feeling frame for modern jazz. The image depicts an atmospherically misty road scene that foreshadows graceful and deceptively deep music. The absence of liner notes and minimal text allows the music and performances to speak for themselves. It’s not surprising that, along with the compositions, leader Fuse supplied the cover design and photography for Isolated as well.\nEven the recorded sound has that magically attractive sound that analog tape gives, warm and full with an organically damped, rolled-off top end. Additionally, there’s a realistic presence of piano, bass, and drums all in the foreground with a sound that meshes well from three equal players: three become one.\nFuse’s music is a mix of steady and free, straight-eights and swinging, mixing an Evans/Jarrett/Chick Corea style with a sense of flexible time control and modern art-like abstractions.\nFive tracks lock into rhythms and develop in traditional modern jazz modes. #1 “Isolated” blooms with dark beauty, #3 “Narrow and Wide” swings and bounces, #5 “Beyond the Solstice” hooks and brightens with upbeat stimulation in a folk-pop vein, #7 “Autumnal Mood” is a delicately crafted walk through swaying trees, and #8 “Lapsed Away” brings the album to an exciting finish with suspenseful accents and twists.\nThree of the tracks include more abstraction. These songs patiently develop, morph, and curve through still and stirring movements, staying on course while stepping into and out of paths along the way. #2 “Myo” and #4 “Cycles” are imaginative dreams with dips, crests, and ideas being explored as the three musicians cooperatively guide the flow. At brief moments their modern improvisation even seems to bring in touches of Duke Ellington or Debussy.\nThe time frame shared by the trio slightly slows, briefly stops, and resumes with dramatic elasticity. Even further out from #2 and #4, #6 “Improvisation in B” is entirely improvised as a playful and unbounded dialogue, colors splat upon a canvas with finesse, accuracy, and experimentation.\nIt’s impressive that such young players are already producing a mature, respectful, and creative sound. Pianist Fuse, bassist Riku Takahashi, and drummer Kaita Nakamura are all in their twenties, naturally enthusiastic, independent, and full of spirit. At the same time, they are able to exhibit the skills resulting from natural talent, dedication to practice, and sharp listening, confident in their abilities and taking care of their music.\nIsolated by Otohito Fuse Trio Otohito Fuse - piano Riku Takahashi - bass Kaito Nakamura - drums Released in 2024 on Otohito Fuse Music as OFM-001.\nJapanese names: 布施音人 Fuse Otohito 高橋陸 Takahashi Riku 中村海斗 Nakamura Kaito\nAudio and Video Promotional video for this album: The Otohito Fuse Trio playing #1 “Isolated”, #4 “Cycles”, and #5 “Beyond the Solstice” live in 2023: A live version of #1 “Isolated” from 2022: Excerpt from track #3: “NARROW AND WIDE” ","permalink":"https://mirror2.jazzofjapan.com/otohito-fuse-trio-isolated/","summary":"\u003cp\u003e\u003cem\u003eIsolated\u003c/em\u003e is a 2024 album from the Otohito Fuse Trio, a piano-bass-drums jazz group of popular and in-demand young Japanese jazz players. Led by pianist Otohito Fuse, the eight-track CD runs for sixty-five minutes from a brilliantly modern jazz piano trio.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1240953x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1240953x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAs mentioned in the album notes, Fuse’s sound somewhat follows in the path of several heroes he thanks: Bill Evans, Lyle Mays, Keith Jarrett, and Yuya Wakai, respected influences popular with many fans and jazz musicians.\u003c/p\u003e","title":"Otohito Fuse Trio: Isolated"},{"content":"With an ideal, near-peerless name that lines up with the legendary Blue Note Records jazz label, the Blue Note jazz club brand almost needs no introduction. Most jazz fans are familiar with this spot, and its New York location is regarded as one of the most famous and prestigious jazz clubs in the world.\nFigure 1: Entering Blue Note Tokyo\nFor those who gravitate towards more traditional and atmospheric images of small, dark, underground jazz clubs, visiting an extravagant jazz oasis like the Blue Note may present some hurdles to overcome. It’s natural that some people just love nice, small bars and cozy hideaways for drinking and listening to great jazz, feeling comfortable and relaxed in an at-home way.\nAdditionally, the Blue Note Tokyo location is particularly expensive and possibly even intimidating for first-timers. However, the selection of musicians and the quality of the experience offered at Blue Note Tokyo is hard to match.\nFigure 2: Blue Note Tokyo bar and staff\nFeelings of elegance and high-quality service fill the air, from opening the grand doors, descending an elegant staircase surrounded by stylish photographs, and entering the performance service. This trip from the street to the spacious listening room is like a magical passage to a different environment, resembling the change felt on vacation or when arriving at a resort. It’s an impressive transfer to an elegant place, dark and luxurious, with good lighting, and immaculate staff.\nFigure 3: Blue Note Tokyo back bar\nThe atmosphere is gorgeous, like a combination of an exclusive movie theater and a high-end restaurant. While the floor seats are arranged in organized rows of tables and seats, lines of sight to the nearby elevated stage are quite good, depending on specific seats and the audience present.\nBlue Note Tokyo is not only focused on the performers and their music, but various screens, lights, and stage effects enhance the show, emphasizing the jazz club’s attention to its unique personality and atmosphere. For many jazz lovers, the music is the point and the point is the music, but personality and atmosphere play a big part of the overall experience at Blue Note Tokyo.\nFigure 4: Blue Note Tokyo stage\nPerformers at Blue Note Tokyo often include famous overseas players (Pat Metheny, Mike Stern, Ron Carter, Kurt Rosenwinkel, Joe Lovano, Avishai Cohen, …), and sold-out shows are not uncommon, and popular Japanese musicians (Junko Onishi, Makoto Ozone, Toshiko Akiyoshi, Hiromi Uehara, …) are also big draws.\nFigure 5: Blue Note Tokyo intermission\nBlue Note Tokyo is an opulent environment unlike many other more casual jazz spots in Japan, and their professionally organized menus, schedules, and experiences achieve the desired impact. Despite the earlier-mentioned hurdles, it’s good to have such an experience at least once, especially when a favorite musician or schedule appears, for a distinctive, possibly once-in-a-lifetime, experience.\nFigure 6: Blue Note Tokyo papers\nFigure 7: Blue Note Tokyo back page\n","permalink":"https://mirror2.jazzofjapan.com/blue-note-tokyo/","summary":"\u003cp\u003eWith an ideal, near-peerless name that lines up with the \u003ca href=\"https://en.wikipedia.org/wiki/Blue_Note_Records\"\u003elegendary Blue Note Records jazz label\u003c/a\u003e, the \u003ca href=\"https://www.bluenotejazz.com/\"\u003eBlue Note jazz club brand\u003c/a\u003e almost needs no introduction. Most jazz fans are familiar with this spot, and its New York location is regarded as one of the most famous and prestigious jazz clubs in the world.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20240313_172903074-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20240313_172903074-1200.jpeg\"\n         alt=\"Figure 1: Entering Blue Note Tokyo\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eEntering Blue Note Tokyo\u003c/p\u003e\n        \u003c/figcaption\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eFor those who gravitate towards more traditional and atmospheric images of small, dark, underground jazz clubs, visiting an extravagant jazz oasis like the Blue Note may present some hurdles to overcome. It’s natural that some people just love nice, small bars and cozy hideaways for drinking and listening to great jazz, feeling comfortable and relaxed in an at-home way.\u003c/p\u003e","title":"Blue Note Tokyo"},{"content":"Erisa Ogawa (ERiSA) is a flutist, voice percussionist, and composer whose second album, /Where Have U Been? (/2019) is a jewel box of jazz and pop, mixed together into a smooth and stimulating album.\nColorful like sprinkles on donuts, the vibrancy extends from the cover design and illustrations (also by Ogawa) down through to her music. Her flute playing is jazzy, quick, and skillful, obviously the result of years of dedication and study of jazz and flute, but can also be petal-soft with a charming, tremulous vibrato that tugs the at heartstrings for an extra emotional charge.\nWhile Ogawa is currently based in and performs in Japan, her educational path and the influences on her musical life up to now are wide-ranging. She started playing jazz in high school in Salt Springs Canada and continued with higher education at the University of Kansas, Boston’s Berklee School of Music, and the live scene in New York City. Her early experience resulted not only in important motivation and knowledge but also several awards, and eventually led to her debut Sky is the Limit: A Letter to Salt Springs (2016) and this 2019 album.\nWhere Have U Been? groups the young flutist together with thirteen musicians arranged into about eight different structures on the various tracks. Her core group is a jazz flute quartet with piano, electric bass, and drums, starting strong with #1 “Blue Smoke”, a stylishly cool beat with a smooth yet heavy pulse.\nContinuing through the tracks, various members and instruments sub in and out for a dynamic feel as the album progresses. Some changes are subtle, others are more dramatic, like switching from electric bass to acoustic double bass and baby bass to adding violin, cello, percussion, guitar, trombone, and Fender Rhodes.\nThe two tracks with strings are cheerful and upbeat (violin and percussion on #3 “Maria Cervantes”) and heavenly lush with a beautiful arrangement (#4 “Completed Light”). Similar to #3, #6 “Sinceridage” is also a Latin rhythm taken at a comfortably cute pace and featuring guitar, and #8 “Is it going to be sunny?” is another fresh and sweet swing jazz break. #9 “Rain” revisits the Glasper-esque smooth and hummable groove with the classic Fender Rhodes keyboard sound enhancing the vibe.\nAlso quite noticeable and dramatic here is one of Ogawa’s specialties, spotlit on one track and perhaps leaving the listener wanting more. Her impressive solo “voice percussion flute” skills (ボイパフルート, boipa flute) are featured on the challenging and well-known jazz classic #5 “Isotope” by Joe Henderson. Here, the flutist beatboxes drum sounds with voice, lips, and breath as she simultaneously plays the tune’s melody through her flute.\nOgawa’s sunny personality rises from the music through to the design and musical titles, with motivational messages sprinkled through the layout (“Love yourself and do your best”, “Life is a party and you are invited!!”, “愛 (love)”, “so flute!”) and also felt in the song titles of Ogawa’s original compositions (“Blue Smoke”, “Road Trip”, “Completed Light”, “Sinceridage”, “Is it going to be sunny?”, “Rain”, “Winter Moon”) which have a tangibly natural and easy-going spirit.\nFollowing the plethora of musician switches, the final track #10 “Winter Moon” finds the flute quartet returning for a simply lovely track of slow magic, essences of mystical and wistful hope that leaves a mark in the perfect place, a graceful exit from a sparkling and fun jazz flute album.\nObi Notes The second album from ERiSA, a rising star in the jazz flute world and winner of the Grand Prize in the third Chigusa Awards!\nColorful pop-jazz that captures everything from her first debut up through now!\nWhere Have U Been? by Erisa Ogawa Erisa Ogawa - flute Sota Seta - piano Yusuke Morita - electric bass Ryo Shibata - drums Sayaka (Violin) - violin (#3, 4) Ayumi Hashimoto - cello (#4) Issei Yoshiba - percussion (#3) Tetsuo Koizumi - baby bass (#3) Jo Endo - wood bass (#2, 6, 8) Nao Teraya - guitar (#6) Masaru Okuyama - piano (#3) Keita Harigai - trombone (#8) Takeru Yamazaki - Rhodes \u0026amp; piano (#9) Released in 2019 on Uplift Jazz Record as UJRC-19014.\nJapanese names: 小川恵理紗 Ogawa Erisa 瀬田創太 Seta Sota 森田悠介 Morita Yusuke 柴田亮 Shibata Ryo 橋本歩 Hashimoto Ayumi 吉羽 一星 Yoshiba Issei 小泉哲夫 Koizumi Tetsuo 遠藤 定 Endo Jo 寺屋ナオ Teraya Nao 奥山勝 Okuyama Masaru 張替啓太 Harigai Keita ヤマザキタケル Yamazaki Takeru\nAudio and Video Promotional video with audio excerpts and scenes from the recording and photo shoot: Erisa Ogawa’s voice-percussion-flute style at Apollo Amateur Night Japan 2019: Erisa Ogawa’s video channel\nErisa Ogawa’s website videos (older)\nExcerpt from track #7: “Punk”\n","permalink":"https://mirror2.jazzofjapan.com/erisa-ogawa-where-have-u-been/","summary":"\u003cp\u003eErisa Ogawa (ERiSA) is a flutist, voice percussionist, and composer whose second album, /Where Have U Been? (/2019) is a jewel box of jazz and pop, mixed together into a smooth and stimulating album.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1240907x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1240907x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eColorful like sprinkles on donuts, the vibrancy extends from the cover design and illustrations (also by Ogawa) down through to her music. Her flute playing is jazzy, quick, and skillful, obviously the result of years of dedication and study of jazz and flute, but can also be petal-soft with a charming, tremulous vibrato that tugs the at heartstrings for an extra emotional charge.\u003c/p\u003e","title":"Erisa Ogawa: Where Have U Been?"},{"content":"Koen-Dori Classics has the air of being a subdued yet musically expansive performance art space with an adjustable layout. Distinct from many other Tokyo clubs, this nice spot features a wide variety of acts, and one can imagine coming here to enjoy anything from improvisational jazz to classical concerts and even plays or performance pieces.\nFigure 1: Ryosuke Hashizume\u0026rsquo;s Trioplan with Koichi Sato (piano) and Ryo Noritake (drums) in August 2017\nAs you head towards Koen-Dori Classics, there may be the somewhat lost feeling of going the wrong way as you walk down to the end of a downward-sloping driveway and parking lot. The entrance is subtly tucked away from the street, creating a slightly reclusive, secret atmosphere. You may wonder if those who know about this place may like to keep it to themselves, creating an exclusive feeling as if you have been let on to a secret hideaway where a special kind of magic can happen.\nThe simple menu features reasonably priced soft drinks, alcohol, and a few snacks, but nothing complicated and no meals. Although Koen-Dori Classics does offer convenience store-like items for modest prices, some customers seem to prefer to go to nearby convenience stores to buy and bring in their own drinks and snacks during the break.\nFigure 2: Yukako Yamano and Evgeny Lebedev piano duo in March 2024\nThe seating section is modestly furnished with simple wooden chairs and a few tables. The interior layout is adjustable, so the stage area and audience seating can be arranged based on the event. The space is open and allows for flexible rearrangement of performance space and seating depending on the performance. Another bonus at a place like this, Koen-Dori Classics is one of the few jazz spaces with two grand pianos available for duo piano performances, a valuable feature.\nFigure 3: Sign-spotting from the sidewalk\nBecause of the variety of acts performing here, it is a good idea to check the schedule ahead of time to find events that look interesting to you before you go. Reservations are recommended for certain nights or popular performers, and seating is first come first served, so it is not unusual to see a line form outside the door before opening.\nDuring performances, photo-taking is allowed as long as shutter sounds are muted, the musicians don’t object, and other customers are not disturbed. It’s always reasonable to ask for permission from the musicians before they start the show.\nFigure 4: Entering the garage\nFigure 5: Preparations before opening\nFigure 6: Welcome to Koen Dori Classics\n","permalink":"https://mirror2.jazzofjapan.com/koen-dori-classics/","summary":"\u003cp\u003eKoen-Dori Classics has the air of being a subdued yet musically expansive performance art space with an adjustable layout. Distinct from many other Tokyo clubs, this nice spot features a wide variety of acts, and one can imagine coming here to enjoy anything from improvisational jazz to classical concerts and even plays or performance pieces.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1160848x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1160848x-1200.jpeg\"\n         alt=\"Figure 1: Ryosuke Hashizume\u0026rsquo;s Trioplan with Koichi Sato (piano) and Ryo Noritake (drums) in August 2017\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eRyosuke Hashizume\u0026rsquo;s Trioplan with Koichi Sato (piano) and Ryo Noritake (drums) in August 2017\u003c/p\u003e","title":"Koen-Dori Classics"},{"content":"Project-N is the debut album from violinist Noriko Satomi, a classically trained violinist and “Nissan Presents Jazz Japan 2019” award winner. Satomi is active in the Japanese jazz live scene as a jazz violinist and graces many live spots with her beautiful string tone and charming presence.\nOn this 67-minute album, Satomi leads a jazz quartet featuring Masaaki Imaizumi on piano, Kunio Oinuma on bass, and Masahiko Osaka on drums. This ambitious violinist released Project-N /in 2017, following up this debut with future releases /A Love Supreme (2019) and Duke String Quartet (2023), two excellent releases that focus her debut’s wide jazz spectrum into clear concept albums.\nThe music on Project-N consists of twelve tracks, split evenly between jazz covers and originals. Six original compositions from Satomi and six covers span a range of moods. Satomi’s track #1 “Norinori” kicks off in a stimulating gear on this first track, bursting with barely-contained energy. Next, the band sets an elegant, sophisticated mood on #2 “Dinner For One Please, James” — a mood revisited on #8 “Isfahan” and #12 “Yakusoku”.\nOn “Isfahan”, Satomi and Oinuma perform as a violin-and-bass duo inspired by Joe Henderson/Christian McBride’s duo performance of the lyrical Ellington/Strayhorn classic, delivering an immediate and precious presence from the two related string instruments.\nIn the same manner, Satomi’s sweet-and-lovely violin sound reaches a peak on the album closer, #12 “Yakusoku”. Satomi’s “Yakusoku” (meaning promise) in particular is a highlight among her originals, featuring her pristine violin tone full of romantic vibrato and sentimental sweetness, perhaps hinting at the importance and vibrancy of the personal commitment she conveys through this composition.\nBetween the bookend moods, other album tracks include some pleasant swing on #3 “One Note Samba”, #4 “Mr. K.B.”, and #7 “Circulation”, and relaxing modern-vintage feel on #5 “Un Homme Et Una Femme” and #6 “Repetition”. Additionally, the suspenseful #10 “Hexenhaus” and the funky #11 “Red Light, Green Light” are ear-catching and memorable high points on the album.\nWith twelve tracks and a variety of moods, Project-N may show slight characteristics of a first-timer’s debut album, moving from song to song with none overstaying their welcome. As the album’s bandleader, Satomi and her violin are well-featured in every song through melody and improvisations, marvelously showcasing the versatile player’s musical personality and skill. No doubt, Satomi intended to exhibit plenty on her first album and gets a lot in by granting the listener a number of originals and textures. In addition to her sweet and refined tone, she can also produce a liquid mercury articulation or a bluesy rawness with her violin when it suits the moment.\nNaturally, the spotlight focuses on Satomi as the main lead performer, and while there are violin solos on every track, there are also plenty from pianist and arranger Imaizumi, who receives almost an equal number of opportunities to shine. In addition, his song arrangements enhance the music and include novel surprises like breaks for drum fills on #3 “One Note Samba” and a modern 7/4 arrangement of #9 “Night and Day”.\nLiner Notes (Translated from Noriko Satomi’s original Japanese liner notes.)\nTo my parents who allowed me to learn the violin\nTo have encountered jazz\nTo all the musicians who have taught me so many things\nTo the people who have come to my live performances\nTo jazz house owners and the staff\nTo the musicians who accompanied me through the harsh process of recording\nTo everyone who endeavored to help me release this CD\nAnd to you who were gracious to buy this CD of mine\nI am filled with gratitude.\nI hope you enjoy this album that is packed with everything that is the person that I am at this moment.\nNorinori This is a song that I wrote for my first live performance as a leader, about three years after I started to play jazz. I was dejectedly thinking about how there are so many songs written for sax, so I decided to write a cool song that’s easy to play on violin but hard to play on sax. Eventually, this song ended up being difficult for violin as well, so I chose this title filled with hopes of playing this song with a lively spirit.\nDinner For One Please, James This is a song from the album Eternal by one of my favorite tenor saxophone players Branford Marsalis, and when I first heard it, I felt like I definitely wanted to record it. Branford fell in love with this song after hearing Ben Webster play it. This must be how great songs are passed down…\nOne Note Samba Imaizumi-san arranged this song for me for my first special performance featuring the music of Antônio Carlos Jobim. It’s a difficult arrangement no matter how many times you play it, with the musicians jumping out in succession. It’s different from the original in that it is played with a light swing beat. The drum fills from Osaka-san really shine.\nMr. K.B. It’s a song that I wrote for Kenny Barron, with whom I was delighted to perform with in 2011. Doesn’t this song describe the personality of a gentleman with a great sense of humor?\nUn Homme Et Una Femme This is a song I’ve liked for a long time, but the time signature change in the middle makes it hard to improvise over. I asked Imaizumi-san if it was possible somehow to arrange it all in 3/4 time, and he came up with this wonderful arrangement. Personally speaking, I’m quite fond of the ending.\nRepetition I fell in love with this song after hearing it on trumpeter Roy Hardgrove’s album Parker’s Mood. It’s a song with a cool, matte-like beauty. The composer is Neal Hefti who wrong songs like “Cute”, “Li’l Darlin’”, and “Girl Talk”. Violin is great for the long tones in the melody.\nCirculation This is also a song that I wrote for my first live performance as a leader. I tried to write a short but crisp swing song in the style of Miles Davis.\nIsfahan When I heard this song on tenor saxophonist Joe Henderson’s album Lush Life, full of songs written by Duke Ellingson’s right-hand man Billy Strayhorn, I was struck by the greatness of the duo performance of Joe Henderson and Christian McBride. I selected this song because I definitely wanted to record it with Oinuma-san.\nNight and Day I wanted to include an odd-meter song so I asked Imaizumi-san to arrange it in 5/4 or 7/4 time, and he came up with this transformed arrangement. I was surprised, and I’m sure Cole Porter would be too (haha)!\nHexenhouse Hexenhouse is the German word for the witch’s house in Hansen and Gretel, meaning a house made of sweets. Doesn’t it appear to be a song where a witch appears? It’s a song I wrote a long time ago and rearranged for this album.\nRed Light, Green Light I love “second line” (the rhythm played in New Orleans funerals when returning from funerals and celebrating the ascent of the soul), and I kept thinking that I wanted to write a song that fits this rhythm… I finally completed this about one week before the recording day. The snappy-dressed stop-and-go rhythm is reminiscent of Darumasan ga Koronda, so I chose a title based on an American game similar to Darumasan ga Koronda.\nYakusoku This is the first ballad that I’ve ever written, and I rearranged it for this recording. Every time I play this, people ask me “Who is this a promise for?”, but I chose this title based on a promise that I made to myself.\n*PROFILE: *NORIKO SATOMI, Violin 里見紀子\nFrom Kanazawa, Yokohama.\nGraduate of Tokyo University of the Arts, Instrumental Music Department, Violin Major.\nActive in orchestras, studio work, and the orchestra pit of the Shiki Theater Company during and since university.\n“Will I end up having only played other people’s music before I die? That would be sad… There must be some music that is personal to me and that only I can create”. Around the time she was thinking this, she encountered jazz.\nShe set foot into the jazz world in 1998 as a member of groups including “Shigeharu Mukai (trombone) With Jazz Strings”, “Tatsuji Yokoyama (percussion) Band”, and Denbei Itachiyama’s (vocal, guitar) band “Itachiyama Strings Group”.\nIn addition, she’s attracted attention in the live scene as a leader of her own unit “Project-N” with musicians including Gene Jackson (drums), Masahiko Osaka (drums), Shuichi “Ponta” Murakami (drums), Toshihiro Nakanishi (violin), and Masahiro Sayama (piano).\nIn New York in 2011, she recorded an album with Hiromi Shimizu (vocals) and Kenny Barron (piano) which was released on June 25 of the same year.\nAs one of the few jazz violin teachers in Japan, she also focuses her energy on nurturing the next generation.\nAs a commercial composer, she’s received the ACC Award for works including “Nippon-Ham”, “Lotte Choco Pie”, “Yomeishu”, and others.\nAs an arranger for strings, she’s worked on songs by m-flo, TOKU, and others, receiving favorable reviews.\nProject-N by Noriko Satomi Noriko Satomi - violin Masaaki Imaizumi - piano Kunio Oinuma - bass Masahiko Osaka - drums Released in 2017 on Altered Records as ALTVN-1001.\nJapanese names: 里見紀子 Satomi Noriko 今泉正明 Imaizumi Masaaki 生沼邦夫 Oinuma Kunio 大坂昌彦 Osaka Masahiko\nAudio and Video Excerpt from “Norinori”, track #1 on this album: Excerpt from “One Note Samba”, track #3 on this album: Excerpt from “Night and Day”, track #9 on this album: Noriko Satomi with pianist Seiji Endo performing “Mr. K.B.” live, track #4 on this album: Promotional video for Noriko Satomi’s 2021 album “Duke String Quartet”: Excerpt from track #12: “Yakusoku-Yakusoku-” ","permalink":"https://mirror2.jazzofjapan.com/noriko-satomi-project-n/","summary":"\u003cp\u003e\u003cem\u003eProject-N\u003c/em\u003e is the debut album from violinist Noriko Satomi, a classically trained violinist and “Nissan Presents Jazz Japan 2019” award winner. Satomi is active in the Japanese jazz live scene as a jazz violinist and graces many live spots with her beautiful string tone and charming presence.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1240843x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1240843x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eOn this 67-minute album, Satomi leads a jazz quartet featuring Masaaki Imaizumi on piano, Kunio Oinuma on bass, and Masahiko Osaka on drums. This ambitious violinist released \u003cem\u003eProject-N /in 2017, following up this debut with future releases /A Love Supreme\u003c/em\u003e (2019) and \u003cem\u003eDuke String Quartet\u003c/em\u003e (2023), two excellent releases that focus her debut’s wide jazz spectrum into clear concept albums.\u003c/p\u003e","title":"Noriko Satomi: Project-N"},{"content":"Frozen Dust is a live recording that captures guitarists Takumi Seino and Motohiko Ichino playing improvised jazz during their first set of the night at Kanmachi 63 in Yokohama. The two-track album is full of abstract improvisation throughout its forty-six minutes. The music is experimental to a degree, but close listening reveals musical themes within the subtle compositional frameworks and free improvisation.\nThis first meeting of the pair demonstrates not only their guitar playing but also their liberal use of electric effects, adding modulated buzzes, textures, echoes, and filters to their mellow yet edgy musical tones. These guitar effects add a lot of personality to the music, setting up atmospheres that evolve from playful and curious to dark and intimidating.\n#1 “Frozen Dust”:\nThe first track is relatively long at about thirty-seven minutes, and while it seems to be spontaneously improvised, there are some phase changes as the two players create, move through, and respond to the music.\n“Frozen Dust” can be divided into three subtly distinct sections, not rigidly set but impressionistically discernable. There are even subparts within these three sections as flights of fancy, temporary ideas, and shifts of focus morph and adjust in the dialogue of the pair.\nThe first roughly ten-minute section is like an introduction phase. It is an initial conversation between two entities who offer musical ideas back and forth and begin to play with each other, intertwining and sounding each other out. It’s as if they are establishing contact and making judgments on whether the encounter will be friendly or hostile, and how to move forward from there. In this phase, the mood is playful and jumpy and begins to settle into a story.\nThe next ten minutes or so incorporate more guitar effects. Echoes and reverse echoes, volume swells, delays, loops, modulation, and other sonic effects begin to create a spookier part of the journey. The music at times dips into a science fiction ambience as the warm guitar tones interact with retro-futuristic sounds. The mood is chaotic and suspenseful as the organic sounds battle with the digital, with the digital forces extending toward the horizon.\nThe third phase starts at about twenty-two minutes. A single low note is struck and repeats like a bell, over which five dark chords slowly descend and establish a motif that is somber and ominous. The guitar effects here are less up-front but work excellently to produce textured guitar tones that warble with the feel of tarnished antiques and ghosts. The result is like listening to slightly warped vinyl that is vintage and almost worn out, but all the more precious for that.\nIt is in this third, fourteen-minute section that the two players seem to settle into more conventional roles of rhythm player and improvising soloist. The slowly repeating pedal tone anchors each player to a tonic foundation as they freely yet cooperatively explore the shadowy territory.\nStill, even here, their haunting improvisations are combined with music that is full of unrelentingly tense drone notes, anguished guitar wails and moans fading in and out, and resurfacing of the electronic beeps, swells, and modulation from the pair’s tempered use of effects.\n#2 “Water’s Edge”:\nCompared to the first track, #2 “Water’s Edge” is short and sweet at about nine minutes and continues in the mode of free-ish jazz rooted in cooperation with one guitar’s comping and one improvising. This song also seems to have a written-out final chord-and-melody statement, played freely, whose skeletal structure is filled out with the aural blooms and arcs that the composition allows for.\nFinally here, at the end of the album, the music ends and the audience begins clapping, the musicians are introduced, and the listener is reminded of the captivating live creation that this recording captures.\nFrom the promotional material:\nLike ice pieces flying in the air, the sounds that are not allowed to stay. An improvisational tapestry swaying between stillness and motion, spun by two guitarists with their own worldview. Unedited full direct recording of the first set of the first duo live at Yokohama Kanmachii 63.\nAs a final, perhaps trivial, note, there is a brief out-of-place moment near the end of “Frozen Dust” when somebody’s sneeze is audibly captured on the recording, forever embedded in the music for one second. This happy accident brings into focus the in-the-moment musical creation, as well as the intimate music venue where musicians and listeners gather closely to create and appreciate… not to mention adding a humorous momentary dimension to the title of the song itself.\nFrozen Dust by Takumi Seino \u0026amp; Motohiko Ichino Takumi Seino - guitar Motohiko Ichino - guitar Released in 2011 on Voice of Silence as VOS-635.\nJapanese names: 清野拓巳 Seino Takumi 市野元彦 Ichino Motohiko\nAudio and Video Takumi Seino and Motohiko Ichino playing live at Kanmachi 63 from 2012: Takumi Seino and Motohiko Ichino playing “雨の夢” (Ame No Yume, Rain Dream) live at Kanmachi 63 from 2011: Excerpt from track #1: “Frozen Dust” ","permalink":"https://mirror2.jazzofjapan.com/takumi-seino-motohiko-ichino-frozen-dust/","summary":"\u003cp\u003e\u003cem\u003eFrozen Dust\u003c/em\u003e is a live recording that captures guitarists Takumi Seino and Motohiko Ichino playing improvised jazz during their first set of the night at Kanmachi 63 in Yokohama. The two-track album is full of abstract improvisation throughout its forty-six minutes. The music is experimental to a degree, but close listening reveals musical themes within the subtle compositional frameworks and free improvisation.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1240768x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1240768x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis first meeting of the pair demonstrates not only their guitar playing but also their liberal use of electric effects, adding modulated buzzes, textures, echoes, and filters to their mellow yet edgy musical tones. These guitar effects add a lot of personality to the music, setting up atmospheres that evolve from playful and curious to dark and intimidating.\u003c/p\u003e","title":"Takumi Seino \u0026 Motohiko Ichino: Frozen Dust"},{"content":"Among the close to thirty album releases from pianist and composer Hitomi Nishiyama’s catalog, Calling (2021) is the third album recorded with one of her regular trios. This particular trio with bassist Yasuhiko “Hachi” Sato and drummer Kazumi Ikenaga is also featured on Nishiyama’s Sympathy (2013) and Music in You (2011).\nThese three musicians have maintained close musical contact with occasional performances together since then, so this album is not only a long-awaited recording reunion but also a heartfelt response to various bittersweet events described in Nishiyama’s liner notes.\nIn that manner, Nishiyama strives to get to the heart of the matter with each song on this album. The music is different from previous albums in that wants to distill the music to its simplest yet strongest essence, to create straightforward themes using regular, established musical patterns.\nThis is a slightly different direction intentionally taken by the pianist, who in previous projects and groups has naturally gravitated toward composing complex arrangements full of challenging meters, time signature shifts, and multiple musical sections that span pages.\nSimilarly, she’s used to taking up difficult musical challenges like composing tuneful melodic themes using all 12 chords in songs like her “T.C.T. (Twelve Chord Tune)” and others, experiments inspired by Bill Evans’ famous “T.T.T (Twelve Tone Tune)” and other tone-row puzzles.\nIn addition, she’s gained more cross-genre acclaim recently through her jazz/metal fusion project N.H.O.R.H.M. with jazz piano trio versions of classic heavy metal songs. The four albums and live shows from that group also contained finely crafted arrangements and well-rehearsed performances. It’s no surprise that her considered thoughts and intelligence shine not only in her musical writing but also in her many textual essays and liner notes.\nIn a slight departure, Calling finds Nishiyama resisting her tendency towards complexity and musical puzzles. Here, the composer challenged herself to focus on creating the best melodies over relatively simple or established musical forms in jazz. She describes them as the types of songs that can be played from the sheet music without overly preparing for special bridges, endings, sections, arrangements, or other unique characteristics on the written musical page.\nSo, how does the music on Calling sound? It’s easy to initially call this music sad (a word often associated with some of Nishiyama’s music), but the opening track #1 “Indication” sets this somber tone right from the start. It’s not just the minor sound, but also the tension of a protracted melody draped over melancholic, slow-moving chords.\nFrom there, the rest of the album cascades through terrain including tender and emotional (#2 “Calling”), spirited waltz swing (#3 “Reminiscence”), slow-moving translucence (#4 “Lingering in the Flow”), freely ambient and classical (#5 “Etude”), romantic and slightly metal 7/4 meter (#6 “Loudvik”), patient and restful (#7 “Drowsy Spring”), and the well-established Nishiyama style of exciting European-inspired modern jazz (#8 “Folds of Paints”).\nNaturally, it’s impossible to capture the beauty of music in so few words, but these incomplete descriptions may give a simple outline of the contours, shades, and atmospheres found in this album.\nWhile the graceful yet powerful sound of Nishiyama’s piano frames and improvisation fills most of the songs on the album, features for bass and drum spotlights also surface here and there. As three musicians who know each other very well, the music naturally includes the intuitive group dynamics that morph from traditional piano-bass-drum roles to balanced simultaneous improvisation, seamlessly, exquisitely, and back again.\nOne of Nishiyama’s goals for Calling was to create music that is easily absorbed, memorable, and evocative. This album accomplishes that immediately. Listeners can feel the stopping and starting of thoughts and memories evoked by the hesitant piano improvisation… Instant melodies rising from and dissolving into mist… Subtle but strong, distinct, clear change, rise, and descent from one chord to another.\nMoreover, Calling perhaps also subtly hints of directions to come, themes and ideas that are further explored on her third release since then, 2023’s Dot. Incidentally, Hitomi Nishiyama just this week held an exciting live concert with her Dot sextet recording members as an album-release event in Tokyo (more on this impactful Dot in a future article). She also announced that a companion album to Dot is upcoming and set for a fall 2024 release with the title Echo, another record to definitely look forward to.\nLiner Notes (While there are no printed liner notes in the CD release, the following text is a translation of Hitomi Nishiyama’s “The Making of ‘Calling’”at Hitomi Nishiyama 西山瞳『Calling』制作の経緯など from October 5, 2021.)\nThis is how the album Calling /came to be./ Please read this in lieu of liner notes.\nIn previous interviews, I’ve talked about how the timing of several things led up to this recording.\nThe first event was on July 19, 2020. This was a high-quality 4K live broadcast from Studio DeDe Recording Studio in Ikebukuro.\nFrom April 2020 until mid-June, there was a series of continuous non-working days [due to coronavirus pandemic measures]. I had been live streaming from home, and DeDe was planning a “Tokyo Basement Sessions” series with the concept of offering high-quality broadcasts directly from the recording studio. It came about that I would participate with the same trio that I had recorded Music in You (2011) at Studio DeDe.\nIt was a completely new experience to live stream from a recording studio was a completely new experience, and it felt awkward at first, but we gradually adjusted during the two-hour performance. Afterward, we were all saying things like “I want to keep playing a little bit more” and “Let’s do this again”. From then on, the thought “Once more at Studio Dede, with this trio…” remained in the back of my mind, and I was looking for the opportunity.\nThen, two months later in September, the live space Creole in Kobe that had been so important to me closed down.\nCreole’s closing wasn’t due to the pandemic, but at the same time, many places were closing down before there was even a chance to say goodbye. A sense of loneliness and of not having a place to go home to anymore grew increasingly stronger.\nWhat’s agonizing about this was not the fact of being robbed of a place to play or that work opportunities would decrease, but rather that something like an emotional base or core had gone away. I imagine it must be like the feeling of one’s family home disappearing.\nUnder these conditions, I thought “It’s now or never”, and from that point on I carried my musical staff paper notebook with me and wrote a lot of new songs.\nThen in November, the proprietor of Creole passed away.\nReflecting on the period from Creole’s opening in 2003 until now, and thinking about how the proprietor was a great admirer of Keith Jarrett’s songs, I realized that I hadn’t worked on Jarrett’s music enough. So I thought it would be nice to write a song like “Country” and “My Song”, and I began to write the album title song “Calling”.\nNaturally, since I hadn’t devoted myself properly to Keith up until then, I couldn’t write such a song. When I finished writing, it turned out to be a different song than I had first thought it would be. But in the end, I figured, you only can produce what you have in you. I was satisfied with the result itself and, determined to record it then, I scheduled a recording date. That’s how it happened.\nWe recorded twelve songs and included eight on the album.\nThe four extra songs, Calling Outtake, are available for download-only purchase exclusively via iTunes and OTOTOY.\nIn the fall of 2020, I wrote six songs in my walking-around staff notebook: “Indication”, “Calling”, “Folds Of Paints”, “Etude”, “Blue Badis”, and “T.T.T.T.T.”. None of the songs have complicated harmonic progressions or compositional tricks like those around the time of Shift and Music in You.\nI think that this is partly a result of my response to coming up with extremely complicated arrangements for NHORHM, as well as the worldwide conditions last year. I just didn’t feel like writing anything complicated. I had a great desire to write powerful songs in fixed formats with something strong running through them.\nFixed formats, or common song forms, refer to structural frameworks primarily used in traditional American music, such as the 32-bar form, AABA form, ABAC form, and three-part construction [verse, chorus, bridge].\nAnd in order to fit that traditional simple form, the melody has to be well-thought out or it will be a failure. There are already many famous songs that share the same form as others, so it’s a huge challenge to boldly attempt to create something in that way. I repeatedly refined them carefully.\nUsing the word “strong” may seem peculiar, but I think of it like this: When a non-musician thinks “That song… what kind of song was that?” and, upon remembering the song can easily sing a section of the song, that’s a strong song (at least, that’s what I think at the moment).\nAnother dimension to the strength of jazz is “to create courses or routes which allow the performers to demonstrate their abilities and open up ensemble possibilities”, which is yet another subject. I feel that this is a really interesting part of jazz composition, to what extent to give players a sense of freedom while creating a course that allows these talented racers to run.\nAs a personal belief, composing in the mode of “Apart from the main form, add a simple solo section consisting of two completely different chords, etc” is something I don’t want to do outside of a fixed band with regular members, and I don’t do it consciously.\nNotwithstanding the fact that this may be altering some “rules of jazz”, I want to exist as a jazz musician even if not perfect, so I also want to maintain the format of the jazz rule “Variations on a theme once played”. That is to say, having played the theme but then being asked to begin a solo as a separate story, it would be difficult to know what would be good to play.\nThe Calling trio has released two previous CDs, but rather than a band sound, we aim for a session with an air of tension, so we hardly ever rehearse before a live show. In fact, with the exceptions of “Standing There”, “Unfolding Universe”, and “Kinora”, we don’t do anything that isn’t in the jazz form of “Variations on a theme once played”.\nOn the other hand, with the band Parallax, I incessantly create developments one after another and apart from the main theme and it’s always music that requires rehearsals. Inevitably, the sheet music also grows longer.\nBoth trios are piano trios, and I think that listeners can also sense the apparent differences, the biggest distinction might actually just be this point. Is it music for rehearsal, or music without rehearsal?\nThis time with Calling, more so than with the same members’ previous releases Sympathy and Music in You, there are relatively simple songs that can all be played impromptu.\nAlthough it couldn’t be included in the main release, I think I was able to achieve that goal with the writing of “Blue Badis” in that respect. I think it’s the best result I’ve achieved among the songs that I have written recently.\n“Folds of Paints” is one that I carefully refined, and I was able to sketch the story as I imagined it. It’s something that I can only attribute, somewhat proudly, to the emotional backbone derived from my mania for Pieranunzi.\n“Calling” has a motif that I saw through and continued to call out to the very end, and I was able to create a song that’s close to my real voice.\nAlthough the CD was released in September, we haven’t been able to schedule a single album release live show after that. Given the current situation, I am hesitant to schedule a big live event. Originally a big part of me thought “Let’s leave this as a record of what I wrote during this unique period”, and as this is a current-day record of that, perhaps it doesn’t need a CD release live show like with usual CD releases.\nI’ve been asked “When is the CD release live show”, here and there and through messages, and I apologize that I haven’t been able to reply properly to everyone, but I would like to think about scheduling that when the conditions are safe and it feels right.\nCalling by Hitomi Nishiyama Trio Hitomi Nishiyama - piano Yasuhiko “Hachi” Sato - bass Kazumi Ikenaga - drums Released in 2021 on Meantone Records as MT-10.\nJapanese names: 西山瞳 Nishiyama Hitomi 佐藤“ハチ”恭彦 Sato Yasuhiko “Hachi” 池長和美 Ikenaga Kazumi\nAudio and Video Promotional video for “Folds of Paints”, track #8 on this album: Promotional video for this album with excerpts from #5 “Etude”, #3 “Reminiscence, and #2 “Calling”: Hitomi Nishiyama Trio - STUDIO Dede Presents “Tokyo Basement Sessions” Vol.5 Teaser: Excerpt from track #6: “Loudvik” ","permalink":"https://mirror2.jazzofjapan.com/hitomi-nishiyama-trio-calling/","summary":"\u003cp\u003eAmong the close to thirty album releases from pianist and composer Hitomi Nishiyama’s catalog, \u003cem\u003eCalling\u003c/em\u003e (2021) is the third album recorded with one of her regular trios. This particular trio with bassist Yasuhiko “Hachi” Sato and drummer Kazumi Ikenaga is also featured on Nishiyama’s \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-nishiyama-trio-sympathy\"\u003eSympathy\u003c/a\u003e\u003c/em\u003e (2013) and \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-nishiyama-trio-music-in-you\"\u003eMusic in You\u003c/a\u003e\u003c/em\u003e (2011).\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230227x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230227x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThese three musicians have maintained close musical contact with occasional performances together since then, so this album is not only a long-awaited recording reunion but also a heartfelt response to various bittersweet events described in Nishiyama’s liner notes.\u003c/p\u003e","title":"Hitomi Nishiyama Trio: Calling"},{"content":"Satin Doll is a legendary jazz bar in Tokyo with a long history of pairing delectable French cuisine with high-quality jazz events. The case is made right upon entering and viewing their foyer window, which reads “JAZZ ET CUISINE FRANÇAISE, SATIN DOLL, SINCE 1974”.\nFigure 1: The Sayaka Kishi Trio with live painting in 2019\nFollowing through on this promise gracefully, Satin Doll offers a spacious and comfortable dining-with-jazz atmosphere, albeit with a higher-than-average cost which comes along naturally with the elegant atmosphere and sophisticated shows and menu, not to mention the club’s prime location in a popular and expensive location.\nOriginally established in 1974 in Kobe, Japan (often mentioned as the birthplace of jazz in Japan), this elegant club does a great job of supplying high-quality jazz with a matching atmosphere to balance the busy nightlife district of Roppongi.\nFigure 2: Rie Taguchi\u0026rsquo;s Birthday Live in 2013\nThe musicians create a real tangible feeling of fun and excitement here. Well-established musicians from both inside Japan and out, sparkling vocalists, special events like birthday performances, album releases, and jazz-centered celebrations often featured, such as the special upcoming “International Jazz Day” event occurring during the last week of April 2024.\nFigure 3: Singer Maki Kikuchi at Satin Doll in 2011\nGreat restaurant food in the mode of fine French dining is offered from the in-house kitchen and includes a range of small appetizers as well as a limited menu of full plates.\nUnfortunately, this long-running jazz spot will join the ranks of recent jazz bar closures in Japan. Satin Doll plans to end its grand 50-year run in June 2024. A translation of their April 22, 2024 announcement is included below.\nFigure 4: Satin Doll’s cheese plate appetizer\nFigure 5: Vocalist Rie Taguchi at Satin Doll in 2013\nNotice Regarding the Closing of Satin Doll Due to the influence of various circumstances, the Jazz Club Restaurant “Roppongi Satin Doll” will be closing permanently on June 30, 2024.\nWe would like to sincerely apologize for any inconvenience this may cause.\nSince opening in 1974, Satin Doll has become a beloved destination for many fans as a restaurant where you can enjoy jazz live performances, as well as a place where top musicians from overseas have performed.\nThe Satin Doll corporation itself, established in 2021 in order to maintain a healthy reputation, endeavored to stay in operation during the coronavirus pandemic by continuing to offer high-quality performances, a comfortable atmosphere, and fine cuisine.\nWe would like to express our deep gratitude to our customers for their support, and we sincerely regret that we will not be able to sufficiently meet your expectations in the future.\nThe historic Satin Doll brand has continued for 50 years.\nAlthough the business has relocated several times and was able to continue operating through the support of many patrons up through now, the present form and function of our establishment has reached its conclusion.\nThe staff will all continue to do our best to create fulfilling times out of the remaining performances, as we are linked through dreams of praying for the sprouting of new life.\nFigure 6: Welcome to Satin Doll\n","permalink":"https://mirror2.jazzofjapan.com/satin-doll/","summary":"\u003cp\u003eSatin Doll is a legendary jazz bar in Tokyo with a long history of pairing delectable French cuisine with high-quality jazz events. The case is made right upon entering and viewing their foyer window, which reads \u003cem\u003e“JAZZ ET CUISINE FRANÇAISE, SATIN DOLL, SINCE 1974”\u003c/em\u003e.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20190617_202311385x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20190617_202311385x-1200.jpeg\"\n         alt=\"Figure 1: The Sayaka Kishi Trio with live painting in 2019\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eThe Sayaka Kishi Trio with live painting in 2019\u003c/p\u003e\n        \u003c/figcaption\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eFollowing through on this promise gracefully, Satin Doll offers a spacious and comfortable dining-with-jazz atmosphere, albeit with a higher-than-average cost which comes along naturally with the elegant atmosphere and sophisticated shows and menu, not to mention the club’s prime location in a popular and expensive location.\u003c/p\u003e","title":"Satin Doll"},{"content":"Bon Courage is a simple and easy-going jazz room newly opened in 2020 in the midst of the coronavirus pandemic. The impetus for opening Bon Courage (aka “Bon Kura”) was to encourage and support musicians and the arts during that difficult period, thus, bon courage (have courage, good luck) was meant as much for encouraging the musicians as well as the general public and audience. It’s a sentiment that can no doubt also be directed to the brave entrepreneurs who opened such shops in the middle of unpredictable health emergencies as well.\nFigure 1: Akane Matsumoto on piano and Makoto Ota on sax in 2023\nThe no-frills room is structured as a sort of mini-theater for live musicians and film events. The programming schedule contains live jazz events, cinema, and other drama-related acts. The live jazz shows often are made up of local musicians who are hand-selected and arranged into groups by the owner, who also operates the business and can be found with his pup Pascal on many days and nights at Bon Courage.\nBon Courage features a stage taking up about half of the room, and three rows of about eight fixed-in-placer classroom-style or simple movie theater seats facing the stage. These bare-bone seats even have built-in slide-away side tables complete with pencil trays and cup recesses.\nFigure 2: Nanami Haruta on trombone, Ryuichi Ishikawa on bass, and Michiyuki Koyama on guitar in 2023\nWhile the third-row seats have good views, they may be partially obstructed by anyone sitting directly in front, so extra cushions are piled up nearby to help improve the comfort, sound, and views of the stage for those seated in the back.\nFigure 3: Akane Matsumoto on piano and Kaori Nakajima on vibraphone in 2023\nThe chatty bar master is often seen with his beloved dog Pascal, who is friendly and well-behaved and does not disturb the musical performance. At some times if the mood is right, Pascal may even wander around the shop to greet any welcoming customers. This cute dog is well-mannered and doesn’t bark or cause any problems during the shows, and most of the time stays cuddled with or close to the bar master.\nAt this is a one-person operation, the system is casual but straightforward. First, there is admission payment due at the door upon entering. Next, customers take a seat from among the three rows of seats and wait for people to get in and get settled. After this is done, customers can buy optional drinks, alcohol or non-alcohol, starting at 400 yen or 200 yen respectively.\nFigure 4: The Harumi Nomoto Trio with Ryoji Orihara on bass and Sohnosuke Imaizumi on drums in 2024\nThese are mostly canned or bottled drinks similar to the selection available from convenience stores and vending machines. Customers are also allowed to bring in their own drink of one bottle or can and any small snacks like sandwiches or onigiri rice balls, but should remember to take their empty containers and trash with them when they leave.\nFigure 5: Daytime Bon Courage\nThe back of the stage also has a projection screen for movies which are shown on occasion. These, as well as storytelling events, plays, and such, are listed along with the jazz events (daytime and nighttime) on the online events schedule.\nAlong with the very reasonable prices and a casual, up-close live jazz experience, the bar master also specifies his “photo time” rule before many of the live shows start. In general and somewhat common at jazz bars (although sometimes as unwritten rules), customers are asked to refrain from audio and video recording and using smartphones and similar devices, since the seats are very close to one another and bright screens can distract other customers and the musicians.\nFigure 6: Nightime Bon Courage\nHowever, at Bon Courage, “photo time” begins for the encore or last song of the second set, when customers are welcome to take photos of the musicians while performing their last song. Although rules regarding photos vary from place to place, it is good to have it made clear here, as it relaxes the performers and customers who are prepared for when the mobile phones come out and the shutter sounds start to chirp.\nNote: Bon Courage moved to a new location near Yotsuya station in January 2026.\nFigure 7: Welcome to Bon Courage\n","permalink":"https://mirror2.jazzofjapan.com/bon-courage/","summary":"\u003cp\u003eBon Courage is a simple and easy-going jazz room newly opened in 2020 in the midst of the coronavirus pandemic. The impetus for opening Bon Courage (aka “Bon Kura”) was to encourage and support musicians and the arts during that difficult period, thus, \u003cem\u003ebon courage (have courage, good luck)\u003c/em\u003e was meant as much for encouraging the musicians as well as the general public and audience. It’s a sentiment that can no doubt also be directed to the brave entrepreneurs who opened such shops in the middle of unpredictable health emergencies as well.\u003c/p\u003e","title":"Bon Courage"},{"content":"Fairway is a new Japanese jazz album recorded last year in New York and released in Japan just last month. Drummer Ko Omura, pianist Mikiko Nagatake, and bassist Kanoa Mendenhall form a trio known as eFreydut for this album. The gorgeously recorded music contains ten tracks of innovative and in-control original jazz with a running time of fifty-three minutes.\nAs is natural for these creative jazz musicians, this album features mostly original music stamped with individuality. There are five contributions from drummer Omura, three from Nagatake, and one group improvisation from all three musicians. The one covered song is the beautiful ballad “Touch Her Soft Lips and Part” by Sir William Walton, played with exquisite clarity and sweetness, and reminiscent of the gentle interpretation on drummer Peter Erskine’s 1996 trio ECM album As it Is with John Taylor and Palle Danielsson.\nAs for the compositions, Nagatake herself describes Omura’s songs on this album as being like a philosophy book, while her songs take on more of a fairy-tale atmosphere. These songs may be coming from different directions but they are all unified by a romantic quality.\nFrom Omura’s titles and notes, it’s clear that the drummer puts a lot of thought into what he wants to convey with his music. His melodious and carefully crafted #1 “Savichara”, #2 “Accismus”, and #10 “Liquidity” expand on introspective thoughts with deep musical phrases that rise and fall like a boat on unpredictable waves.\nHis other two songs, #6 “Petrichor” and #8 “Melt Dough”, are down-to-earth appreciations of fine things in life: sensing the richness of transient environments, and gratitude for simply-transformed, delicious food.\nA superb thing about Omura’s compositions is that they have a tangible “Ko Omura style”, multi-faceted with boundary-pushing elements. It’s a style also apparent in his music on Polyglot Talk, Vol 1, /his several recordings with Bungalow, and his own leader album /Introspect.\nPianist Nagatake’s compositions share similar qualities to Omura’s in being dynamic, creative, and distinctive. These are energizing modern jazz songs with exciting time signatures and arrangements, and the music never strays from being appealing to listeners, as well as just being fun and stimulating for the musicians who play these songs together.\nOn this album, Nagatake’s three songs are each focused and special. #3 “Le Petit Prince” is a tenderhearted melody of childhood and growth colored with playful chromaticism. #4 “Glow” is a challenging piece with an elaborate meter and Mobius strip-like melodic traversals. #7 “Not Sure” is a free jazz collaboration bracketed with ornate bookends, like imposing and modern skyscrapers looming over the chaotic streets contained between them.\nThroughout, the music is ultra-clean and immediate. The artistically recorded sound is comforting with an immensely ambient presence like ECM contemporary jazz albums. Much of the rhythmic ride is set in straight-eights territory, with subtle swing beats surfacing and reliably strong basslines surging, pounding, or setting the bottom of the frame as suits the music.\nThis album is further enhanced by Omura’s tabla drumming on a few tracks, as with his other bands and recordings. While he plays jazz drumset on most of the songs with expert sonic control and delicate finesse, his earthy-yet-astral tabla drums are also always a pleasure to hear.\nOmura and Mendenhall improvise a spiritual dance of rhythms and bass tones in the second half of #5 “Whispering Clouds / Nimbus”, and tablas also awaken the senses on the positively-charged adventure of #6 “Petrichor”, both unique and very different highlights on this colorful album.\nLiner Notes (A translation of the original Japanese liner notes.)\nIt’s so cool! I was so moved the moment I heard Steven Sacco, one of New York’s top recording engineers, exclaim “It’s so cool!” while the trio performed at central Manhattan’s Sear Sound Studios. From deciding then to record them, the days that followed passed like a flash before my eyes.\nI was fascinated by Mikiko Nagatake’s lively performances and positivity. Wanting to support her overseas activities more, I resolved to record her in New York. We finalized the schedule in March 2020 with the participation of the internationally active Ko Omura. Immediately after that, the coronavirus pandemic broke out.\nAs I paused for three years, Nagatake was active with incredible energy, releasing many CDs, performing at top clubs, and achieving great success as is widely known. Omura, in addition to his drumming work, wove his way through gaps in the pandemic to travel to India and study tabla drumming zealously.\nThis three-year wait also gave me the opportunity to meet Kanoa Mendenhall, a talented young bassist who was attracting a lot of attention and performing with top musicians. While she is small in stature, her bass sound is both supple and strong and became an essential foundation for this trio.\nThe performance from these three extremely talented musicians unfolding right in front of me… “It’s so cool!”\nWe would like to express our deepest gratitude to everyone involved in the production of this CD.\nJanuary, 2024\nTommy’s Record (representative) and Tommy’s By The Park (owner)\nTomoyuki Wada 和田知行\nSavichara In Sanskrit, the meaning of thoughtfulness and prudence. It refers to the act in meditation when focusing on the object of meditation, looking in deeply, and observing.\nAccismus This refers to the act of feigning disinterest or indifference in something despite really wanting it.\nLe Petit Prince I was so moved by Saint-Exupéry’s The Little Prince that I came up with this song immediately after reading it.\nGlow During the coronavirus pandemic, the downcast days somehow just went on and on. But sometimes, when unexpectedly encountering great music, the perspective suddenly widens and everything sparkles. “Glow” is a soft light, a feeling of happiness.\nWhispering Clouds / Nimbus This was captured on the first day of recording. It is the only completely improvised take on this album.\nPetrichor This is a word that refers to the scent of soil and grass after the rain.\nNot Sure There is a melody at the start and end with improvisation in between. Three people’s wavelengths get tuned in to each other, and it became a really interesting take.\nMelt Dough When naan (Indian bread) is placed in a tandoor (Indian stone oven), the dough is baked deliciously as if it has melted.\nTouch Her Soft Lips And Part A short piece from a suite composed by English composer William Walton for the film Henry V (Shakespeare). This song is a request by Tomoyuki Wada, the producer of this album. The famous melody is clear, straightforward, and sinks in smoothly.\nLiquidity In the field of economics, it refers to the liquidity of value. This song was written with while reflecting on the concept that each person is an existence whose values expand like an infinite universe, so such a value system probably requires fluidity and flexibility.\n◆eFreydut: Our group name is based on an anagram of Duty Free.\n◆Fairway: The name of a long-established supermarket in Manhattan that was close to the hotel where I stayed and that I visited many times.\nFairway by eFreydut Mikiko Nagatake - piano Ko Omura - drumset, tabla Kanoa Mendenhall - bass Released in 2024 on Tommy’s Record as TW-002.\nJapanese names: 永武幹子 Nagatake Mikiko 大村亘 Omura Ko\nAudio and Video Promotional video with an excerpt from “Liquidity”, track #10 on this album: Excerpt from track #1: “Savichara” ","permalink":"https://mirror2.jazzofjapan.com/efreydut-fairway/","summary":"\u003cp\u003e\u003cem\u003eFairway\u003c/em\u003e is a new Japanese jazz album recorded last year in New York and released in Japan just last month. Drummer Ko Omura, pianist Mikiko Nagatake, and bassist Kanoa Mendenhall form a trio known as eFreydut for this album. The gorgeously recorded music contains ten tracks of innovative and in-control original jazz with a running time of fifty-three minutes.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1240413-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1240413-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAs is natural for these creative jazz musicians, this album features mostly original music stamped with individuality. There are five contributions from drummer Omura, three from Nagatake, and one group improvisation from all three musicians. The one covered song is the beautiful ballad “Touch Her Soft Lips and Part” by Sir William Walton, played with exquisite clarity and sweetness, and reminiscent of the gentle interpretation on drummer Peter Erskine’s 1996 trio ECM album \u003cem\u003eAs it Is\u003c/em\u003e with John Taylor and Palle Danielsson.\u003c/p\u003e","title":"eFreydut: Fairway"},{"content":"Jazz fans new to Japan are often surprised and pleased by the abundance of jazz in Japan. In contrast with some other regions, the jazz genre immediately seems more appreciated and can pop up in expected places. One example is the unique new business Expression in the Jimbocho district of Tokyo.\nFigure 1: Entering Expression\nThis underground space goes by “Creative Basement Expression” and “Coworking and Jazz Club Expression”. It is a typical tidy and organized multi-use room.\nThe business’s basic operation is two-fold, split between daytime office space and an evening jazz club. The office theme serves those looking for rental office space during the day with tables, booths, and small individual rooms for quiet work or online meetings. The jazz side of the business proposes a variety of uses through keywords in the promotional materials: jazz, cafe, art, meetings, presentations, and so on.\nFigure 2: The performance and session area\nIt’s easy to imagine this shop being a nice and casual setting for busy students, business people, or other professionals whose work is never-ending, but who also want to listen to music, play, or practice an instrument when work is wrapped up for the day.\nFigure 3: Practice session in full swing\nAfter the daytime meetings are over, the jazz functions take over. Starting in the evening, the main room is used for a variety of musical events including live performances, practice, and jazz jam sessions.\nAt certain times, there are no regular clerks or staff members visible, aside from the host or organizer of the jam session. This may initially give the space a somewhat deserted or abandoned atmosphere, but this is dispelled once the evening class, session, or jazz concert begins. Safety and anti-theft measures are assured by closed-circuit television monitoring the premises for a comfortable feeling (although perhaps a bit Big Brother-ish for some).\nFigure 4: Rental office space and monthly schedule\nThe well-lit room is cheered up with plastic plants and greenery placed throughout and hung from the ceiling. This creates a natural and peaceful atmosphere meant to convey the sense of an outdoor patio concert. This nice touch helps to prevent the typical office tedium which can be felt in generic, sterile workplaces.\nAt night, the jazz lessons are friendly and easy-going. Currently, attendance on some nights can be quite small, as the business just seems to be getting going and word of mouth has not spread widely. Yet this provides the benefits of more personalized attention and new musical connections to be easily made.\nAs far as food and drinks go, it is still early days but there’s not much on offer. Similar to a hotel honor bar, the mini-kitchen offers canned drinks and snacks like potato chips, with payment made through a smartphone app or coin box. Evening guests are also welcome to bring their own provisions from nearby groceries or convenience stores.\nFigure 5: Welcome to Expression\n","permalink":"https://mirror2.jazzofjapan.com/expression/","summary":"\u003cp\u003eJazz fans new to Japan are often surprised and pleased by the abundance of jazz in Japan. In contrast with some other regions, the jazz genre immediately seems more appreciated and can pop up in expected places. One example is the unique new business Expression in the Jimbocho district of Tokyo.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20240227_185313358-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20240227_185313358-1200.jpeg\"\n         alt=\"Figure 1: Entering Expression\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eEntering Expression\u003c/p\u003e\n        \u003c/figcaption\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis underground space goes by “Creative Basement Expression” and “Coworking and Jazz Club Expression”. It is a typical tidy and organized multi-use room.\u003c/p\u003e","title":"Expression"},{"content":"Saxophonist and composer Nami Kano has just released a long-awaited album mawsim with her group of the same name today in Japan. Nami Kano’s name may be familiar as part of Jabuticaba from last week’s article, another compelling side of her creative musical personality.\nThis five-song, 39-minute album has resulted from the accumulated experience as Nami Kano’s quartet, playing creative jazz and original music together for years around Japan. As a unit, they’ve performed their own great compositions and arrangements of music from innovative musicians like Keith Jarrett, Jaco Pastorius, and Carla Bley. Kano recently adopted the mawsim moniker for her group and album name, as their vision locked into a comfortable and multi-layered repertoire.\nAs the recording starts, regular jazz listeners who are used to the quartet’s live sound may be surprised. The first song kicks off with some unexpected layers such as electronic drum beats establishing the framework for the sometimes-acoustic, sometimes-electric band (at live shows, Fender Rhodes, electric keyboards, and electric bass are often used along with acoustic piano and wood double-bass). Also surprising, Kano’s own pure voice joins her saxophone sound on the irresistibly playful melodic motif repeated through the first track’s melody line.\nLater parts of the album extend the sound palette even more with simple, gorgeous orchestration of a violin and cello string section, and ambient sounds and programming add a sense of mystic soul to the groovy and soulful music.\nWithin just five songs (all composed by Nami Kano, roughly seven to nine minutes each), the music successfully includes a different dimension of the composer’s personality, through dance-club jazz fusion funk, natural and organic jazz, experimental trance, mellow soul, and straightforward classical beauty.\nA subjective trip through the entire album leads to many highlight moments…\n#1 “*Crepuscular Rays*” starts surprisingly right off the bat: Hearing drum and synth programming on a jazz album is a shocking start for sure, but when the jazz sound of a Fender Rhodes kicks in and Kano’s keen sax sounds through, Herbie Hancock-era jazz funk fusion takes hold, possibly with some modern-retro Jamiroquai influences mixed in.\nIt’s soul music and dance club disco steeped with the group’s deep jazz influences. The playful melody is joined not only by the leader’s addictive saxophone but also her own harmonious voice, as the four-note melodic cell shifts and settles through different accents and beats in a kind of addictive guessing game for listeners.\n#2 “*Le Bourgeon*” Although modern grooves and electricity inhabit the opener, the second track is full of acoustic bass, acoustic piano, brushed drums, and soul-penetrating soprano sax. The mesmerizing sax flutters and willows over the gentle waves in a slow, romantic jazz waltz. Woody percussion, ambient echoes, and lush organic violin and cello heighten the intimacy of the lovely music.\n#3 “*Doubt*” Wispy chords glide over a bass pedal point as the tenor sax invokes a Blade Runner future, or a Star Trek visit to an unknown planet. As the electric keyboard emerges, Kano’s flute questions over the amorphous and rhythmless landscape. Another surprise and highlight is Kano’s instantly loveable duduk (Armenian traditional instrument), which joins in and adds a magical, ancient feeling to the music. Experimental ambient, trance, and fusion inhabit this science-fiction setting.\nSuddenly, the modern world emerges with electric rhythms halfway in, something like a Bjork tapestry by Kano’s hand. Flutes harmonize then fall out to reveal electric bass, electric drums, and jazz sax solo played over thin air, fusing and merging and Kano’s improvisation paints the galaxy. Unfamiliar noises surface and disappear, and the background rhythms keep thickening as the saxophone solo eventually distorts as if traveling through a warp in space and the entire mix seems to rotate, filter, and deconstruct, until finally Kano’s wind instruments, chorus, deep bass tones, and ambient sounds create a memorable journey’s end.\n#4 “*Far Away Far in the Sky*” sets up a charming bluesy groove with church organ and piano at an easy-going soft-rock pace. The music creates scenes of late-night slow-dance romance, moonlight and midnight, as the last drinks are finished, conversations wind up, and bittersweet goodbye hugs and squeezes are invited and repeated. It’s a time of deep soul with shades of disco pop and fond nostalgia, laid out in two fascinating parts when the swaying rhythm of waltz-time changes to a 4/4 soul rock as the Rhodes lets loose and Kano’s saxophone lovingly leads us out.\n#5 “*Whisper of the Moon*” is a relaxing end to the adventure as the strings, sax, and piano perform soundtrack-style music in a dramatic reading. Graceful, slow, and honest with a hint of mystery and romance conveyed through Kano’s exquisite sax tone, expert playing, and impressive compositional talent.\nAs for the name mawsim (season), Kano explained that in certain places the group name and album title are stylized in lowercase for fun aesthetic reasons: In cursive, the writing of 𝓂𝒶𝓌𝓈𝒾𝓂 resembles and gives the feeling of waves, and in Japanese, “wave” is nami 波, which has the same sound as Kano’s first name Nami 奈実.\nMawsim by Nami Kano Nami Kano - alto/soprano saxophone, flute, duduk, chorus Tomokazu Sugimoto - basses, arrangement, programming, co-producer Mamoru Ishida - piano, Rhodes, keyboard Sota Kira - drums, percussion maiko - violin (tracks 2, 5) Orie Hirayama - cello (tracks 2, 5) Shoko Mochiyama - strings arrangement (tracks 2, 5) Released in 2024 on Wave Records as WR-001.\nJapanese names: 加納奈実 Kano Nami 杉本智和 Sugimoto Tomokazu 石田衛 Ishida Mamoru 吉良創太 Kira Sota マイコ maiko 平山織絵 Hirayama Orie 持山翔子 Mochiyama Shoko\nAudio and Video Promotional video with an excerpt from “Crepuscular Rays”, track #1 on this album: Nami Kano Quartet performing “Le Bourgeon” live in 2017, track #2 on this album: Nami Kano performing “Doubt” on duduk and other wind instruments, track #3 on this album: Nami Kano with strings performing “Whisper of the Moon”, track #5 on this album: Nami Kano and group performing “Three Views of a Secret” live in 2020: Excerpt from track #2: “Le Bourgeon” ","permalink":"https://mirror2.jazzofjapan.com/nami-kano-mawsim/","summary":"\u003cp\u003eSaxophonist and composer Nami Kano has just released a long-awaited album \u003cem\u003emawsim\u003c/em\u003e with her group of the same name today in Japan. Nami Kano’s name may be familiar as part of \u003ca href=\"https://www.jazzofjapan.com/archive/jabuticaba-jabuticaba\"\u003eJabuticaba\u003c/a\u003e from last week’s article, another compelling side of her creative musical personality.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1240341-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1240341-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis five-song, 39-minute album has resulted from the accumulated experience as Nami Kano’s quartet, playing creative jazz and original music together for years around Japan. As a unit, they’ve performed their own great compositions and arrangements of music from innovative musicians like Keith Jarrett, Jaco Pastorius, and Carla Bley. Kano recently adopted the \u003cem\u003emawsim\u003c/em\u003e moniker for her group and album name, as their vision locked into a comfortable and multi-layered repertoire.\u003c/p\u003e","title":"Nami Kano: Mawsim"},{"content":"Jabuticaba is the self-titled debut record from pianist Mikiko Nagatake and saxophonist Nami Kano, two players active in the modern-day Japanese jazz scene as leaders of their own groups and members of other projects. Here on this 2021 release, these kindred spirits play eight songs, four originals and four reinterpreted cover songs from legends Carla Bley, Lee Konitz, and others.\nBased in jazz but extending beyond the genre, the music contains a great mix of moods: creatively jaunty, dark and brooding, fanciful, quirky, gentle and sensitive. The personality of the duo surfaces in fun and sensitive ways as the duo moves intuitively through shades of color, mood, and style.\nA first-time listener’s ears will no doubt perk up on tracks #1, #3, #5, and #8, songs that are filled with moments of bright energy, whimsy, speedy cool jazz, and funky soul. Yet the music is heightened by the balance offered by the other tracks through slowly captivating ballads, fantastical edifices, and intimately beautiful playing from the two musicians which blooms with repeated and attentive listening.\nOf pianist Nagatake’s two evocative and memorable contributions, #2 “Sakuragochi” recalls her duo album with Tetsuji Yoshida with its poignant moods and heavy riffs, while her #8 “Along With You, Sunnyman” skillfully lays out the good-feeling catchy hooks and grooves based on the pianist’s appreciation for Stevie Wonder-like positivity.\nNagatake and Kano’s playing on the saxophonist’s compositions #6 “Foggy Mind” and #7 “Mysterious Dress” feature some of the most exquisitely performed music on the record. These two songs are played consecutively, continuously linked through Nagatake’s piano which infuses the music with wisps of Debussy and Duke Ellington while Kano’s emotionally intense melodies arise bravely and flow gracefully.\nLiner Notes (Transcribed from Nami Kano’s and Mikiko Nagatake’s original Japanese liner notes.)\nJabuticaba (ジャボチカバ) is a tree native to South America whose fruit grows directly on the trunk.\nDuring our second tour, we were discussing what we wanted to call our unit, and at first, we were looking for something cool, maybe something in Italian or French.\nOne late night, I received images from Mikiko of a jabuticaba tree with lots of fruit on it. I remember clearly how I lost sleep after seeing the astonishing images.\n“The character 幹 (tree trunk) from Mikiko (幹子), and the character 実 (fruit) from Nami (奈実)… what do you think about this? Also, it’s a great word, isn’t it?” Coming up with clever ideas is part of Mikiko’s charm, as seen in her performances as well.\nThat was how Jabuticaba started. Synchronization born from sharing many stages together. And scenery that can only be drawn by these two people with similar sensibilities.\nThis is an album filled with that which makes us us. I hope you enjoy it.\nNami Kano\nSamambaia\nWhen I moved to Tokyo from Nagoya, I was sorting through a lot of music scores when among them I found the music for “Samambaia”, which I had never played before.\nI felt like I definitely wanted to try it with this duo, and it fit us great.\nAs I kept playing this with Mikiko, I began to realize the song’s richness of expression, and it became one of my favorites.\n(Kano)\nSakuragochi (桜東風, Sakura East Wind)\nIn the spring of 2020, all of my performance work was canceled due to the influence of the coronavirus, and the amount of time I spent at home drastically increased. I was so disappointed by losing the opportunity to perform, but conversely, I realized this was my chance to compose songs slowly! I created a melody based on the rhythm of India’s unique tabla drums, and this song was born.\nI was hoping that in the spring of the next one or two years, together with my friends, family, and partners, I could remember the gentle feeling of the cherry blossoms of 2020. From this idea, I added the keyword “Sakura” to the title.\n(Nagatake)\nWrong Key Donkey\nThere’s a jazz cafe in Waseda that I really love, and I often went there after classes when I was in college. When I went there, the owner would play albums that I loved like Jackie Byard, Lee Konitz, and Masahiko Togashi. It was there one day that I heard Carla Bley’s album Songs With Legs. I thought it sounded like such a great album that I had to immediately place an overseas order online. This “Wrong Key Donkey” is one of the songs on that album.\nBoth Nami and I love Carla Bley, and we often play her songs at Jabuticaba performances.\n(Nagatake)\nWhat Kind of Fool Am I?\nWhen I was in the sixth grade of elementary school, it was my first time performing in a big band and I got to play on this song as a soloist.\nIt was the first time in my life that I played on a ballad, and for me at the time it was so difficult, but it’s full of so many memories that it’s still a favorite song of mine. For this recording, Mikiko has added a wonderful arrangement.\n(Kano)\nPlay Fiddle Play ~ Kary’s Trance\nOne time, we were playing Lee Konitz’s “Kary’s Trance” and Nami said, “It would be interesting to arrange this in a trance-like state”. With that in mind, I took up this arrangement.\n“Kary’s Trance” was based on a preexisting song called “Play Fiddle Play”, where Lee Konitz took the chord progression and added a new melody line. When I listened to “Play Fiddle Play” again, I thought it had a really nice melody. I wanted Nami to play both melodies, so that became part of this arrangement. The last part of Nami’s solo is amazing!\n(Nagatake)\nFoggy Mind\nAn easy feeling of being in an unfamiliar Tokyo, but with an ambitious feeling of not wanting to give up, and filled with hopes for the future of music that is not yet visible… this is a song which expresses my spirit after just having moved to Tokyo.\n(Kano)\nMysterious Dress\nWhen I finished this song, I asked my mother to listen as I played it with my clumsy piano skills. She said it reminded her of a girl wearing a pleated skirt. I had an image of being in a strange forest, so I combined this with my mother’s image and this title easily came to mind.\nContinuing from “Foggy Mind”, I think this song expresses the feeling of entering a forest together with Mikiko’s beautiful piano.\n(Kano)\nAlong With You, Sunnyman\nI usually have a tendency to write songs that are a little difficult. One day I was listening to Stevie Wonder’s songs on iTunes, and I thought “This person’s songs can make anyone feel good no matter where or when” (it’s a subjective opinion [/laughs/]). This song was motivated by wanting to write a song like that. As I was thinking this, there was a Jabuticaba performance in three days and I wanted to play it there, so wrote it up with Nami’s sound in mind. Sunnyman is a coined word for the thought I had that sometimes there are people just like the sun. Like Anpanman.\nThis song is a collaboration between Jabuticaba and the Mikiko Nagatake Trio! Since we’re on the same label and can be released together, I was so happy to be able to blend my two favorite sounds!\n(Nagatake)\nLastly…\nThere’s an expression “It’s easier to do something than to worry about it,” but when it comes to CD production it’s certainly not the case! We have nothing but admiration for musicians who overcame so many hurdles to release a CD. Looking back now, it seems so reckless trying to release independently without the know-how.\nJabuticaba was formed at the end of 2017 and our first live tour was in the spring of 2019. When we finished our second tour we talked about wanting to record just like that. Around the time we were setting up our third tour, we were thinking about which songs to include and which arrangements, and the ideas for a recording continued to grow steadily.\nHaving decided to self-produce and looking for a recording studio, we considered a studio in Eifukucho equipped with a Yamaha piano. Around that same period, it had been decided that Mikiko Nagatake’s trio recording would take place at the same studio and on the same label, so we consulted with Owl Wing Record’s managing director Yuichiro Aratake. He suggested, “Why don’t you release this on my label?” It was a dream-like idea.\nSo, after our autumn tour finished, we spent two days recording at Eifukucho Power House Studio. Right then, we really learned how hard it was to release a CD, and keenly felt gratitude to everyone at Team Owl Wing Records.\nThe fact that Jabuticaba is entering our fourth year and was able to release our first album is entirely due to our great fans, the live house barmasters, mamas, and staff, and everyone who has been supporting us. Thank you so much.\nThe fact that we were able to record in the turbulent year 2020 is also largely significant, we believe. We hope that this CD reaches many homes and that the sound deeply touches many people.\nJabuticaba Mikiko Nagatake Nami Kano\nJabuticaba by Jabuticaba Mikiko Nagatake - piano Nami Kano - saxophone Ryoji Orihara - fretless bass (track #8) Sota Kira - drums (track #8) Released in 2021 on Owl Wing Record as OWL-020.\nJapanese names: 永武幹子 Nagatake Mikiko 加納奈実 Kano Nami 織原良次 Orihara Ryoji 吉良創太 Kira Sota\nAudio and Video Promotional video with #3 “Wrong Key Donkey”, #4 “What Kind of Fool Am I?”, and a short interview: Audio for “Samambaia”, track #1 on this album: Audio for “Wrong Key Donkey”, track #3 on this album: Jabuticaba live at Nica’s in 2021: Excerpt from track #7: “Mysterious Dress (Nami Kano)” ","permalink":"https://mirror2.jazzofjapan.com/jabuticaba-jabuticaba/","summary":"\u003cp\u003e\u003cem\u003eJabuticaba\u003c/em\u003e is the self-titled debut record from pianist Mikiko Nagatake and saxophonist Nami Kano, two players active in the modern-day Japanese jazz scene as leaders of their own groups and members of other projects. Here on this 2021 release, these kindred spirits play eight songs, four originals and four reinterpreted cover songs from legends Carla Bley, Lee Konitz, and others.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230375x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230375x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eBased in jazz but extending beyond the genre, the music contains a great mix of moods: creatively jaunty, dark and brooding, fanciful, quirky, gentle and sensitive. The personality of the duo surfaces in fun and sensitive ways as the duo moves intuitively through shades of color, mood, and style.\u003c/p\u003e","title":"Jabuticaba: Jabuticaba"},{"content":"Appreciation is pianist and composer Naoko Tanaka’s 2022 jazz release, her latest in a series of exciting new albums from young Japanese musicians. Several of her previous leader albums (Home, I Fall In Love Too Easily, Memories) featured her piano trio as a trio, which Appreciation also does. But this release also brings in the expert sounds of horn players Yoshiro Okazaki (trumpet), Takayuki Sato (alto sax), and Mabumi Yamaguchi (tenor sax) for three songs. In the rhythm section with the sparkling star are her regular trio members Koji Yasuda on bass and Masanori Ando on drums.\nThe jazz performance and original compositions on this album are focused on a few themes. One, perhaps most important and reflected in the title, is the sense of gratitude that Tanaka feels for others: her companions, musical partners, and no doubt her listeners and supporters as well.\nAnother goal for the pianist was to release an album full of her original songs. This includes one of her popular live show attractions, her tune “M.T.”, a fascinating uptempo swing number dedicated to and invoking certain comic book reptile heroes.\nIn addition, there are other perfectly swung tunes, respectful of tradition while pushing forward with new songs and talent. Highlights include the rolling rhythms and skipping frolic of #1 “Hydrangea Flower”, the solid and inventive title track #4 “Appreciation”, and the cool mellowness of #5 “Aries”, aiming to be unbound by genre limits to appeal to all.\nTying it all up in a lovely bow is the final track (and the only cover song on the album), #9 “Konomichi”, played by Tanaka as a soulful piano solo that captures a sentimental fondness in lovely light colors like the so many purple, pink, and blue flowers surrounding her in the cover image.\nLiner Notes (Translated from Naoko Tanaka’s album liner notes originally in Japanese.)\nThank you for getting this album.\nI’ve always wanted to fill an album with my original songs, and I’m greatly thankful to the many people who helped this project become a reality. It’s a treasure for me to be able to record this love-filled album with my favorite musicians.\nThe recording truly reflects my account. When I listen back to the recording, it’s as if I can grasp the feeling of every moment of that time with each song. Such a record of myself is somewhat embarrassing, but I hope that you enjoy it.\nHydrangea Flower\nI created this song with the image of my favorite hydrangea flowers with vivid colors and sparkling, raindrop-touched flower petals. The hydrangea were especially beautiful on the day of the recording, and as such this song became even more memorable. It became a great take with dynamic brilliance from the two horns.\nMonk’s Birthday\nThis is a song dedicated to Thelonious Monk, one of my favorites. On October 10th, without knowing it was his birthday, I had a sudden desire to listen to Monk’s music. It’s a celebratory song that I happily wrote from this episode.\nM.T.\nIt’s a song I’ve been playing for many years, one which some may consider to be my masterpiece (haha). I depict the world of the American comic that I love, Teenage Mutant Ninja Turtles. It’s a song full of tricky ninja-like moves and a thrilling performance for the trio.\nAppreciation\nThis is a song I wrote for a live performance that marked the anniversary of my 2015 album Memories. As the meaning suggests, I performed this piece to express my gratitude to all of the people I’ve met along the way. Saxophone player Mabumi Yamaguchi, whom I greatly respect, often plays this song with me at live shows, so I summoned the courage to invite him to record this song with me.\nAries\nAs someone active in various musical genres, I wanted to record a song that was not bound by genre, and I chose an old song that I had written in the past. An image of the starry sky came to me, so I chose the title of Aries. There are a number of times when songs I wrote in the past take on a new, fresh feeling. It will be great if the younger generation also thinks “Wow, jazz is cool!”\nmine mine\nI was able to get a relaxing song that felt like floating near the seashore. Please enjoy the comfortable and poetic alto sax performance of Takayuki Sato.\nA New Day\nActually, this song uses almost the same chord progressions as the jazz standard “Day by Day”. It’s fun to make a new song using a different melody, and to sometimes quote the original song. In fact, this melody came to me on the day before the recording and I quickly wrote it down. I could relax and perform with my favorite trio members who love to play standards.\nStrength\nThis is one of the songs I wrote during a period of two months when I couldn’t perform any live shows in these times. I filled the music with the feeling of the music I want to make and the paths I want to take, and how strongly I felt that in times like these. With courage, I continue to work hard to make the music I love.\nKonomichi\nI performed Kosaku Yamada’s “Konomichi” as a solo piece. This song has had an idyllic image for a long time. I feel that there is something in common in the jazz spirit, of being proud of your hometown and where you came from. It’s a song that my grandfather loves and one that I always feel close to.\nAppreciation by Naoko Tanaka Naoko Tanaka - piano Yoshiro Okazaki - trumpet (#1, 4) Takayuki Sato - alto sax (#1, 6) Mabumi Yamaguchi - tenor sax (#4) Koji Yasuda - bass Masanori Ando - drums Released in 2022 on Naop Record as NT-0405.\nJapanese names: 田中菜緒子 Tanaka Naoko 岡崎好朗 Okazaki Yoshiro 佐藤敬幸 Sato Takayuki 山口真文 Yamaguchi Mabumi 安田幸司 Yasuda Koji 安藤正則 Ando Masanori\nAudio and Video Video for “Hydrangea Flower”, track #1 on this album: Video for “Aries”, track #5 on this album: A live version of “Appreciation”, track #4 on this album: Excerpt from track #3: “M.T” ","permalink":"https://mirror2.jazzofjapan.com/naoko-tanaka-appreciation/","summary":"\u003cp\u003e\u003cem\u003eAppreciation\u003c/em\u003e is pianist and composer Naoko Tanaka’s 2022 jazz release, her latest in a series of exciting new albums from young Japanese musicians. Several of her previous leader albums (\u003cem\u003eHome\u003c/em\u003e, \u003cem\u003eI Fall In Love Too Easily\u003c/em\u003e, \u003cem\u003eMemories\u003c/em\u003e) featured her piano trio as a trio, which \u003cem\u003eAppreciation\u003c/em\u003e also does. But this release also brings in the expert sounds of horn players Yoshiro Okazaki (trumpet), Takayuki Sato (alto sax), and Mabumi Yamaguchi (tenor sax) for three songs. In the rhythm section with the sparkling star are her regular trio members Koji Yasuda on bass and Masanori Ando on drums.\u003c/p\u003e","title":"Naoko Tanaka: Appreciation"},{"content":"Pianist Chihiro Yamanaka’s thrilling series of jazz albums continues with her fifth audio release Lach Doch Mal, released in 2006 on Verve with twelve tracks at just under an hour’s runtime. A special edition CD release also contains an extra DVD containing an extra version of one of the songs.\nLike Yamanaka’s previous albums, Lach Doch Mal contains a mix of originals and covers rearranged in her creative style. Fans of her previous four albums know that her amazing piano improvisation and technique are a feature of her albums, and this release is no exception.\nWhile her contemporary jazz and bop trio sound is the primary recorded sound, Yamanaka adds some additional layers with some light guitar, extra percussion, and groovy electric keyboards on a few tracks as well.\nYamanaka’s piano technique is exciting and powerful as always, racing through the shifting jazz terrain like a high-speed vehicle dangerously hugging the curves along cliffside roads. About half of the songs on the album feature Yamanaka as the main improviser, playing the song melodies and intensely improvising and quoting jazz phrases while Larry Grenadier on bass and Jeff Ballard on drums provide the solid musical framework and addictive rhythms.\nOf course, master players Grenadier and Ballard also make their solo statements as well, as they improvise, trade statements, or close certain songs dramatically with drum features over vamps. Guitarist John Carlini joins the trio on select tracks with a very subtle guitar or charming banjo strumming (#3, Rahsaah Roland Kirk’s “Serenade to a Cuckoo”), but doesn’t take a spotlight role on the three songs that he is credited on.\nYamanaka’s arrangements are also captivating, showing her unerring ear for interesting changes and tweaks to standard songs. Her musical reimagining is particularly apparent with the contagious vibrancy and catchy rhythm on #1 “Quand Biron Voulut Danser” (traditional) and the romantically beautiful #9 “Liebesleid” (classical).\nYamanaka also honors great jazz pianists Geri Allen and McCoy Tyner with thrill-seeking performances of two of their songs, the ultra-modern pieces #4 “RTG” (including an expertly deployed quote from Herbie Hancock’s “One Finger Snap”) and #10 “Mode to John”, a spirited mix of McCoy’s angular fourths style and the bop fluidity of Yamanaka. There is perhaps even a tip of the hat to Horace Silver, whose presence graces Yamanaka’s original #2 “Sabot” with its strong accents and bluesy and unleashed piano licks.\nThe final two tracks also remind us of Yamanaka’s fun and playful nature. In line with the German phrase /Lach Doch Mal /(just laugh, cheer up), the title track is a zany 45-second stride piano sketch, amazing and ear-catching. In this same endearing mood, the jazz standard #11 “What A Diff’rence A Day Made”, layers sounds (piano, keyboard), musical keys, and tempos several times for a chameleon-like arrangement with unexpected endings with pleasantly decaying chaos. Finally, #12 “That’s All” returns the band to a relaxed midtempo swing style, played sweetly and tenderly as suits the end of a set.\nLach Doch Mal by Chihiro Yamanaka Chihiro Yamanaka - piano Larry Grenadier - bass Jeff Ballard - drums John Carlini - guitar (#1, 5), banjo (#3) Released in 2006 on Verve as UCCJ-9077.\nJapanese names: 山中千尋 Yamanaka Chihiro\nAudio and Video Video for “One Step Up”: Audio for “Liebesleid”, track #9 on this album: Audio for “That’s All”, track #12 on this album: Excerpt from track #1: “カン・ビロン・ヴリュ・ダンセ (Can biron velue danse)” ","permalink":"https://mirror2.jazzofjapan.com/chihiro-yamanaka-lach-doch-mal/","summary":"\u003cp\u003ePianist Chihiro Yamanaka’s thrilling series of jazz albums continues with her fifth audio release \u003cem\u003eLach Doch Mal\u003c/em\u003e, released in 2006 on Verve with twelve tracks at just under an hour’s runtime. A special edition CD release also contains an extra DVD containing an extra version of one of the songs.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1210686x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1210686x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eLike Yamanaka’s previous albums, \u003cem\u003eLach Doch Mal\u003c/em\u003e contains a mix of originals and covers rearranged in her creative style. Fans of her previous four albums know that her amazing piano improvisation and technique are a feature of her albums, and this release is no exception.\u003c/p\u003e","title":"Chihiro Yamanaka: Lach Doch Mal"},{"content":"This is a brief overview of some of the general types of places that you may find in Japan, to help you learn more about and find the places you may want to visit.\nFigure 1: JJ Soul with Mikiko Nagatake, Ryuichi Ishikawa, and Kira Sota at Gate One in 2023\nVariations of Jazz Spots There are many types of jazz spots in Japan. By jazz spots, I mean jazz clubs, jazz joints, jazz rooms, jazz spaces, jazz places… basically anywhere that jazz is featured as a draw or essential feature of the establishment.\nFigure 2: Coffee Bigaku in 2023\nSome commonly found jazz environments include:\nFigure 3: Gauche Davinci with Hiyoruki Yokota, Hideaki Hori, Noboru Ando, and Kazuaki Yokoyama at Apple Jump in 2023\nDimly-lit bars Bright jazz cafes Casual hole-in-the-wall joints Figure 4: Jazz CDs at Dug in 2007\nSpacious clubs Fancy restaurants Mini-theater listening rooms Figure 5: At the Cafe Cotton Club session in 2009\nClassroom-style sessions These spots can range from big spacious rooms to tiny neighborhood bars. They can be bright or dark, elegant or dingy, and pretty much everything in between.\nThere are places that worship jazz with fanatical reverence that jazz addicts may regard as sanctuaries, and there are simple places where the quality and selection of music take priority over the furnishings and decor.\nThere are also fancy, upscale places that play jazz music for an elegant aural atmosphere, otherwise heavenly settings where jazz is just part of the decor.\nThis overview introduces the general types of jazz spots available by categorizing them and listing some differences so that you can choose the best types of places that you may want to visit or learn more about.\nAn Incredible Abundance of Jazz One of the most remarkable aspects of jazz in Japan is realizing how many unique and special places there are to discover. Discovering how appreciated jazz is in Japan and how many musicians and listeners support the art is sometimes a surprise. This can be especially eye-opening for those fans who live in places where jazz music is underappreciated or ignored completely.\nA love for this jazz culture in Japan and the new music that it brings is what motivates me to share this information here. It’s all owing to the great musicians I’ve met, the friends I’ve made, and all the CDs, clubs, notes, and photos I’ve collected during the last twenty years.\nAt the same time, one challenge here is to resist the urge to supply too much information. Discovering great places on your own, and experiencing the moment of entering a new spot for the first time without knowing exactly what to expect, are part of the fun of your jazz journey. No spoilers, as they say.\nSo, the goal here is to find a balance of the right level of information to share, to whet the appetite, and to provide useful information, but not in an exhaustively descriptive or overly detailed way.\nFinding Jazz Spots If you are visiting Japan and want to choose a place to go to listen to some live jazz, you may be initially overwhelmed by the number of places you may find. This is especially true in a big metropolis like Tokyo.\nAlso, non-Japanese speakers and solo adventurers have extra hurdles to overcome. Finding interesting jazz spots and live events requires decoding websites, parsing the posted live schedules, and understanding any rules or etiquette for any particular place.\nThere are also practical challenges like finding the best routes to clubs and understanding the cost structure and payment methods.\nWhat is the entry charge? Music charge? Table charge? Are there per-person minimums? Are foreign credit cards accepted? Some places only accept cash (in Japanese yen, naturally).\nThe most convenient way to gather information about jazz clubs in Japan these days is to search online and dig through lists of clubs, search results, and review sites to find the answers.\nLists of Jazz Spots in Japan When posting lists and descriptions of Japanese jazz clubs online, it is a difficult task to compile a directory of places, especially when trying to keep the details up-to-date and accurate. Online lists can be extremely useful, and some typical references are listed in the Related Resources section below.\nOne problem with online sites is that, once articles are published they can become filled with stale information as time passes and the listed clubs close down, open, relocate, change websites, or even change directions.\nIt can be frustrating to search for a specific location while traveling and be disappointed in the result, or not be able to find the spot at all. Knowing more about the different types of spots, being flexible with your plans with backup options, and being able to search for similar spots nearby can help with these challenges tremendously.\nThis Jazz of Japan newsletter, in addition to album posts, also introduces jazz spots in Japan.\nTypes and Factors for Jazz Spots To keep this overview simple, three types will be used to group jazz spots in Japan.\nFor example, do you prefer live music or recorded music? Also, some common factors will help describe the different places within each type.\nFor example, do you prefer stylish and expensive settings, or casual spots that may be rough around the edges? These types and factors should help listeners to find the places that they like. They can ease the time-consuming process of looking up places online and help to avoid wasting time and money by skipping places that you may not like.\nThis article, Part 1, covers the general types of jazz spots in Japan, and follow-up articles will further describe the factors with examples.\nTypes of Jazz Spots For simplicity, jazz spots can be grouped into three types or categories based on activities:\nLive music: Live spots with musicians performing live Recorded music: Listening spots with recorded music Jam sessions: Spots for musicians and customers to play together A fourth, fifth, or more types could be imagined, but starting with these three types provides a great starting point as an overview.\nType 1: Live Music Jazz club is a general term for a place that features musicians playing live music, often on most days of the week. These can also be called live spots or live houses. Other terms like performance venue, recital hall, concert hall, and others are also used, but not as widely for jazz spots.\nMost of the interesting places for general jazz listeners fall into this type of jazz spot. Live music is an important, even essential part of the jazz tradition, and the word live itself (rhymes with five) is even used as a standalone abbreviation word in Japanese.\nFor example, when speaking with native Japanese speakers, you may hear phrases such as “Are you going to a live tonight” or “Please come to my live next week.” In this way, the term live may stand for live show, live performance, or in some cases live schedule.\nSpontaneous Creation and Collaboration On-the-spot improvisation is a large part of jazz music, where listeners can be thrilled by the result of years of dedicated practice and the musical imagination of jazz musicians. The many decades’ worth of superb jazz records may likely always be an important part of a jazz fan’s life, but seeing jazz performed live in person is one of the most satisfying parts of this musical world.\nA live show allows listeners to experience in-the-moment musical creation built on skill, imagination, and partnerships. The music is made, created, and improvised by musicians through intuition and skill. As the moment moves on, the lasting experience is imprinted in the memories of the attentive listeners who were there\nThe Live Jazz Club Experience In the imagination of the general public, this type of jazz spot captures the experience of what it is like to visit a jazz club.\nThanks to popular movies and shows, anyone can imagine the experience of what it is like to attend a jazz club as a listener: To be seated in an audience area at a table or bar, to watch and listen to jazz musicians on a stage, to have our attention focused towards the artists spotlit with stage lights and mic’d through a high-quality sound system.\nDepending on the type of club, that stage may be a nice elevated platform at one end of the room with professional spotlights and video feeds, or it may just be a corner of the room barely separated from the listeners’ tables and chairs.\nType 2: Recorded Music Jazz kissa is a common term for places that play recorded jazz music. These spots can also be called jazz bars or jazz cafes, but these terms are fairly general and are sometimes also used for places that feature live music.\nJazz kissas are places that focus on playing recorded music. Kissas (or kissaten, 喫茶店, coffee shop) offer a curated selection of music from the owner’s jazz collection, often played through audiophile-quality sound systems. These are sanctuaries for jazz lovers to spend time listening to recorded music in a lower-keyed atmosphere as compared to live jazz clubs.\nOther places that may play jazz music are certain hotel bars, restaurants, small cafes, and similar places that use jazz as BGM (background music) for ambience. As mentioned above, the regular use of jazz music at cozy restaurants, tidy cafes, and a variety of shops is a welcome and surprising element for jazz fans and visitors who are used to hearing louder genres of music in otherwise quiet settings.\nThird Place The term third place is apt for this type of environment.\nThe third place is not your workplace, not your home, but your other place. It’s the place you go to unwind, relax, and get away from it all, a place that somehow feels like it belongs to you. It’s your regular hangout and a place that can foster and maintain social connections.\nThis term has been used more and more in an ever-busier world. As “work-from-home” environments increase and the line between office and home blurs even more, the third place hangout may even become more valuable.\nLevels of Active Stimulation While live jazz clubs offer live music and the personalities of the performers, these are usually events that supply a certain kind of stimulus including active listening verging on a sense of communal participation for the audience members.\nIt’s also not uncommon for strangers to start a conversation in the set breaks, especially true in some of the tinier jazz spots in Japan where tables may be shared and seats may be set fairly close together.\nAt times when this kind of active stimulus may not be desired, recorded music may provide a different kind of balm. Kissas and similar places may offer the sense of escape, of sinking into a more subdued world where jazz flows and envelops you. This can be great for immersion in your own private oasis of music.\nAlso, listening to the classic albums or personal favorite records from a professional jazz fan’s collection is exciting. It provides the opportunity to review famous highlights together, share common appreciation, and discover new albums.\nType 3: Jam Sessions Some jazz spots are focused on students, amateur, or hobby musicians who are looking for places to hone their craft or learn how to play jazz. Jazz jam sessions are an honored part of the jazz universe, and it’s not surprising that many jazz fans are also amateur musicians of some level.\nIn addition to the many places where you can listen to professional musicians, there are also a great number of places where anyone can join in. Amateur musicians and even professional touring musicians will often seek out these jam sessions to learn, practice, and play together.\nThese jazz jam spots are superb meeting places for jazz musicians of all stripes to congregate, practice, make connections, and make jazz. They can also be great fun for non-musicians as well, to just listen and soak up all the unpredictability of live, unplanned sessions.\nDepending on the specific session, amateurs of any level and even beginners may be welcome and encouraged to join. Certain other sessions may have a higher bar and be geared toward players with more experience and knowledge of jazz. As many session seekers know, the best way to find out is to first attend a session as a listener, to discover the level of musicians that are participating, and to learn about any particular rules. Even just by sitting and listening at a session, it’s a good bet that someone will strike up a conversation to ask you if you are a musician and if you are going to join the session.\nAlong with jazz clubs and kissas, many places offer jam sessions intermittently on their schedule alongside regular live shows. Some places, “jam session centers”, specialize in hosting sessions and educational workshops rather than live shows. One of the best-known spots in Tokyo for its famous nightly jazz jam sessions is Intro, along with its partner restaurant location Cafe Cotton Club (with sessions on Fridays) right across the street.\nTo Be Continued… Coming soon: notes on well-known places, “top 10” spots, lesser-known but beloved favorite neighborhood shops, and the fascinating (and sometimes tinier than ever imagined) jazz corners of Japan.\nRelated Resources Here are some helpful sites that contain club directories or related information about jazz in Japan:\nJazz in Japan Jazz up Japan Kyou Jazz Jazz Clubs Worldwide Global Database Tokyo Gig Guide Tokyo Jazz Site Jazz Tokyo Tokyo Jazz Notes Jazznavi.net Jam Sessions Tokyo Jazz of Japan (this site, of course ☺) Magazines (more useful in print editions; some out of print):\nJazz Life: back issues Jazz Hihyo (Jazz Critique) (1967-) Jaz.in (2023-) Jazz Japan (2020-2023): back issues Swing Journal (1947-2020): digital collection 1 and 2 If you know of other good resources, please let me know by replying to the newsletter email or in post comments.\nFigure 6: Cafe Cotton Club in Takadanobaba in 2023\n","permalink":"https://mirror2.jazzofjapan.com/jazz-spots-of-japan/","summary":"\u003cp\u003eThis is a brief overview of some of the general types of places that you may find in Japan, to help you learn more about and find the places you may want to visit.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20230309_190710881-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20230309_190710881-1024.jpeg\"\n         alt=\"Figure 1: JJ Soul with Mikiko Nagatake, Ryuichi Ishikawa, and Kira Sota at Gate One in 2023\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eJJ Soul with Mikiko Nagatake, Ryuichi Ishikawa, and Kira Sota at Gate One in 2023\u003c/p\u003e\n        \u003c/figcaption\u003e\n\u003c/figure\u003e\n\n\u003ch2 id=\"variations-of-jazz-spots\"\u003eVariations of Jazz Spots\u003c/h2\u003e\n\u003cp\u003eThere are many types of jazz spots in Japan. By \u003cem\u003ejazz spots\u003c/em\u003e, I mean jazz clubs, jazz joints, jazz rooms, jazz spaces, jazz places… basically anywhere that jazz is featured as a draw or essential feature of the establishment.\u003c/p\u003e","title":"Jazz Spots of Japan"},{"content":"Memory Stones is the 2014 album from guitarist Hiroshi Fukutomi, his second album after his debut Rings of Saturn (2010). On this 57-minute recording of Fukutomi’s original music, the guitarist leads a quartet featuring Koichi Sato on piano and Rhodes, Koji Yasuda on bass, and Ryo Noritake on drums.\nWith Fukutomi’s compositions and his guitar taking center stage, the quartet’s sound is definitely that of a jazz guitar leader’s band. The sound of the jazz guitar is varied, however, and his tone switches between mellow and fluid electric guitar sound to clear and articulate acoustic guitar, coloring the compositions with distinct personalities to suit the song style. Some guitar effects are also used tastefully to add textural layers while preserving the core sound of pure guitar expressiveness.\nAdding to the sonic mix is Koichi Sato’s use of both acoustic piano and Fender Rhodes keyboard. While the songs with acoustic piano have more of an acoustic jazz combo feel (naturally), several album highlights (#2, “Minor King”, #8, “Memory Stones”) feature the Rhodes together with electric guitar, bass, and drums to create the cool and controlled sound of jazz bordering on fusion with a light rock beat pulse.\nThis modern groove sound and the variation in instrumentation are well-suited to the structures and compositional extras that Fukutomi includes in certain songs. Several interludes, codas, and odd-meter time signatures increase the overall variety with the feeling of bonus surprises. Yet the charts do not get in the way of the soloists and the band is tightly coordinated, and each member gets their turn to make musical statements along with the leader.\nThe final two tracks close the album with friendly, down-to-earth elements to the already easily approachable music. On #9, “Mawaru Sekai”, Fukutomi adds his harmonica playing to the quartet, while the final song #10, “Trees \u0026amp; Branches”, features Fukutomi alone for a quiet guitar ballad played with emotion and soul, conjuring the bittersweet feeling of parting, for now.\nMemory Stones by Hiroshi Fukutomi Hiroshi Fukutomi - electric guitar, acoustic guitar, harmonica Koichi Sato - piano, Rhodes Koji Yasuda - bass Ryo Noritake - drums Released in 2014 on MOF Records as MOF-101.\nJapanese names: 福冨博 Fukutomi Hiroshi 佐藤浩一 Sato Koichi 安田幸司 Yasuda Koji 則武諒 Noritake Ryo\nAudio and Video Promotional video for this album: Live recording of “I Should Care” by the Hiroshi Fukutomi Trio: Audio for “Memory Stones”, track #8 on this album\nAudio for “Mawaru Sekai”, track #9 on this album\nExcerpt from track #2: “Minor King”\n","permalink":"https://mirror2.jazzofjapan.com/hiroshi-fukutomi-memory-stones/","summary":"\u003cp\u003e\u003cem\u003eMemory Stones\u003c/em\u003e is the 2014 album from guitarist Hiroshi Fukutomi, his second album after his debut \u003cem\u003eRings of Saturn\u003c/em\u003e (2010). On this 57-minute recording of Fukutomi’s original music, the guitarist leads a quartet featuring Koichi Sato on piano and Rhodes, Koji Yasuda on bass, and Ryo Noritake on drums.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230475x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230475x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWith Fukutomi’s compositions and his guitar taking center stage, the quartet’s sound is definitely that of a jazz guitar leader’s band. The sound of the jazz guitar is varied, however, and his tone switches between mellow and fluid electric guitar sound to clear and articulate acoustic guitar, coloring the compositions with distinct personalities to suit the song style. Some guitar effects are also used tastefully to add textural layers while preserving the core sound of pure guitar expressiveness.\u003c/p\u003e","title":"Hiroshi Fukutomi: Memory Stones"},{"content":"B-flat is a solid jazz bar located near a Tokyo business neighborhood. This respectable live spot opened in 2001 near Tokyo’s Akasaka TBS television station “Big Hat” and Akasaka Biz Tower. Given the neighborhood, this is a great choice for the many business people and foreigners who work in and visit the area. It’s easy to imagine office workers, after a long day of meetings, popping in for the comfortable atmosphere, live music, and a round of drinks.\nFigure 1: Sanae Ishikawa, Reikan Kobayashi, and Baba Takayoshi with Beef Jerkies + 2 in 2012\nOf course, jazz fans and addicts seeking out the prime jazz spots in Tokyo will most likely also end up at B-flat at some point, drawn like a magnet to the reputable location for its attractive space, great live schedule, and delicious food and drink menu.\nSpacious and dimly lit with a nice long bar counter in the side shadows, this jazz spot offers a cool atmosphere that feels like an underground jazz bar secretly tucked away somewhere in a big city.\nFigure 2: The Taihei Asakawa Trio in 2014\nIt’s the kind of story-inducing setting that imagines a gathering of city denizens who are looking to escape from the office around the corner, to be entertained and comforted by music, drinks, and food, and to hide from the ordinary world for a few hours.\nFigure 3: B-flat stage\nB-flat is larger than many other Tokyo jazz clubs. With enough seats for up to a hundred people or so, there is almost a swanky old-fashioned dining-room feel to the space. The tables and back bar face a nice big stage, which also provides enough room for a big band. If a big band or swing combo were to play at B-flat, the floor and layout would probably make for a nice dance area if all the tables were moved to the sides. However, I’ve yet to see swing dancing here or at any other jazz bar in Japan, but it just has that kind of underground speakeasy feel to it.\nAs the stage is nice and wide, it can easily accommodate small combos or big bands and provide great views from the multiple sections and formats of audience seating areas. The sound and lighting are professionally done, as are the host and servers, who are well-dressed and well-placed to serve delicious drinks and meals.\nFigure 4: B-flat coaster\nBehind the stage is another notable feature of this particular jazz bar: a brick wall with most of the bricks signed by some famous musicians and other acts who have come through B-Flat on tour. This wall can provide a fun way for jazz aficionados to pass the time, scanning the bricks for recognizable names of both famous and up-and-coming “new talent” jazz musicians.\nFigure 5: A nice and simple pasta dish\nCompared to other smaller jazz bars, the food menu here is more than just bar snacks and offers restaurant-style meals and appetizers, a cut above the usual bar menu. The menu is viewable on the shop’s website and has been nicely updated since the last time I ordered a delicious but simple pasta dish there.\nB-flat fills a comfortable spot between the tiny, family-style jazz bars and higher-class expensive headliner jazz bars, and every once in a while, more well-known foreign and Japanese professional jazz musicians also grace the B-Flat stage. This is the kind of place that pays off to check the schedule and visit often, especially when you are in the area for business or travel.\nFigure 6: Welcome to B-flat\n","permalink":"https://mirror2.jazzofjapan.com/b-flat/","summary":"\u003cp\u003eB-flat is a solid jazz bar located near a Tokyo business neighborhood. This respectable live spot opened in 2001 near Tokyo’s Akasaka TBS television station “Big Hat” and Akasaka Biz Tower. Given the neighborhood, this is a great choice for the many business people and foreigners who work in and visit the area. It’s easy to imagine office workers, after a long day of meetings, popping in for the comfortable atmosphere, live music, and a round of drinks.\u003c/p\u003e","title":"B-flat"},{"content":"Polyglot is drummer Ko Omura, pianist Steve Barry, and bassist Kosuke Ochiai, an Australian-Japanese jazz trio project whose first album Talk, Vol. 1 was released in 2020. Each member contributes original music for the 58-minute album’s eight tracks, with five from the pianist, two from the drummer, and one from the bassist.\nSimilar to great jazz trios like those of Bill Evans and others, equal partnership is apparent as each member participates actively in the group sound to fill the space with cooperative creativity. While Barry’s piano is the leading voice for many of the theme statements, Omura’s drums and Ochiai’s bass follow and influence the twists, turns, and accents of the multi-cornered melody lines, resulting in a full and fascinating sound.\nJoining the jazz trio for three songs is guest trumpeter Hiroyuki Ishikawa, adding some extra sonic texture and timbre to the music. The final song “Komorebi” also features Omura’s evocative tabla drums on the transcendental track, adding a wonderfully earthy sound that he’s explored on his own jazz recording and others.\nThe album’s liner notes with a concise song-by-song-rundown are reproduced on pianist Steve Barry’s website, and they offer a great description of the album in both English and Japanese.\nTo add to those, these are some very brief impressions, but by no means a substitute for listening to the amazing music. “Nagoya” is actively modern (such as for instance, Danilo Pérez and Danny Grissett trios). “825” paints with pretty palettes and soulful lacing. “ASP” is uptempo and adventurous. “Paul” explores slowly with emotion. “Nicholstrophy” collects Monkish quirks in a barrel. “Plato” is a curious journey. “SZ” excites with stimulating scene changes. And “Komorebi” is a mysterious, slow-moving net of notes, repeating atmospherically.\nObi Notes (The notes printed on the obi are an excerpt from the liner notes.)\nこの録音を通じての演奏には特質するべきものがある。若い世代の音楽家が、高い技術力と音楽的イディオムへの深い造詣を身に付けている事に喜びを感じる。美しさに溢れた音楽は、開かれた思考と心を持ったリスナーにあらゆる可能性を提示するであろう。\nThe playing throughout this recording is superb. It’s particularly wonderful to hear young musicians like these, playing with such high-level technical skills plus deep idiomatic and musical understanding. This stunning music reflects the cutting edge of jazz today and points to very bright creative possibilities for anyone with an open mind and heart.\nTalk, Vol. 1 by Polyglot Steve Barry - piano Kosuke Ochiai - bass Ko Omura - drums \u0026amp; tabla Hiroyuki Ishikawa - trumpet (3, 4, \u0026amp; 8) Released in 2020 on Studio Songs as YZSO-10104.\nJapanese names: 落合康介 Ochiai Kosuke 大村亘 Omura Ko 石川広行 Ishikawa Hiroyuki\nAudio and Video Promotional video for “Nagoya”, track #1 on this album: Live video for “Paul”, track #4 on this album: Live video for “SZ”, track #7 on this album: Excerpt from track #2: “825” Other Links Polyglot: Talk, Vol. 1 (Steve Barry website) ","permalink":"https://mirror2.jazzofjapan.com/polyglot-talk-vol.-1/","summary":"\u003cp\u003ePolyglot is drummer Ko Omura, pianist Steve Barry, and bassist Kosuke Ochiai, an Australian-Japanese jazz trio project whose first album \u003cem\u003eTalk, Vol. 1\u003c/em\u003e was released in 2020. Each member contributes original music for the 58-minute album’s eight tracks, with five from the pianist, two from the drummer, and one from the bassist.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230564x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230564x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eSimilar to great jazz trios like those of Bill Evans and others, equal partnership is apparent as each member participates actively in the group sound to fill the space with cooperative creativity. While Barry’s piano is the leading voice for many of the theme statements, Omura’s drums and Ochiai’s bass follow and influence the twists, turns, and accents of the multi-cornered melody lines, resulting in a full and fascinating sound.\u003c/p\u003e","title":"Polyglot: Talk, Vol. 1"},{"content":"Pianist Ami Fukui continues her original jazz journey with Nova Manhã, her fourth leader album from 2022 with eight tracks running at about 45 minutes.\nAs with her previous releases Urban Clutter (2010), Amizm (2013), and New Journey (2016), this creative musician focuses her original music on the specific sound of her trio and her concept this time out. Seven of the eight tracks on this album are her own compositions. Her music is often colorful, perhaps with more calming hues on this release, and her unique blend of cool beats and pop melodies with a soulful smile runs through the music.\nFukui’s music often uses a modern jazz style beat almost like light neo-jazz with a groovy Latin backbone, as compared to a traditional swing rhythm or blues shuffle. Right from the album title, the jazzy opening track “Nova Manhã” (“new morning” in Portuguese) is underpinned by a subtly compelling rhythm similar to Brazilian or Afro-Cuban rhythms found in some EDM/electronic dance and pop music, but through a jazz lens.\nThe Latin feel is most apparent on the Brazilian song “Pra Machuchar Meu Coração”, the sole cover song on the album, and a gem that Fukui humorously describes overlooking on the well-known and much-played album by Stan Getz and João Gilberto (see liner notes below).\nIn addition, Fukui’s original “Nos Vemos!!” conveys a similar Latin sound with a tropical island feel. While it may be going too far to call these trademarks, this cross-genre flexibility is similar to previous compositions where Fukui combines conventional jazz with elements from club jazz, Latin, and pop music.\nIn particular, the Latin influence is felt on this album more than on previous releases, perhaps to add an overall calm and relaxing vibe to the music. Fukui and the trio also use their voices in wordless harmonies in a few spots in a very warm and welcoming way.\nThis is not to say that the album as a whole is a trance-inducing or zone-out experience. Maybe it’s the sense that a guiding angel inhabited the environment, aiming the music towards peaceful harmonies and away from over-stimulating roughness.\nFukui’s musical concept on this album of serenity and calmness may even be influenced by her focus on yoga, Ayurveda, and mindfulness, involved as a practitioner and instructor who offers online yoga lessons. It is interesting to consider how her dedicated training of body and mind may also be shaping her musical ideas and performances as well.\nMost of all though, the pianist’s attention to her compositions and her jazz piano trio is comfortable and balanced, right in the Goldilocks zone of being not too simple, not too complex, but feeling just right.\nLiner Notes (Translated from Ami Fukui’s original Japanese liner notes.)\nTo everyone who purchased this, to those who know me as well as first-timers, thank you so much for picking up this album among all the CDs available.\nThis is my first album since my last release about five and a half years ago. Many things have dramatically changed in the past two years due to the coronavirus epidemic, and I think that my life and my heart have been greatly affected as well.\nRather than heart-pounding excitement, I aimed for gentle calmness. I created this album with this concept in mind. It’s also an album that feels like a collection of essays that have been compiled out of my daily life.\nMany people helped out, and it greatly pleases me that we could bring this special collection to fruition. I hope that this album becomes music to bring peace to the hearts of those who listen to it.\nAmi Fukui\n01.Nova manhã\nA song written during the coronavirus pandemic. One morning after waking up, this song was running through my head at high volume. Surprisingly it lasted all day. I wondered, is this strange incident somehow related to the coronavirus? Since this was a rare occurrence, I decided to write the song down just in case.\nThese two years were a blank. There were frustrating moments, but also some good things, if I changed my perspective just a bit.\nEven in this situation or at any time, one thing that doesn’t change is that all are equal in the fact that a new morning will come no matter what. The message is that even if things are tough, keep looking forward and don’t give up. I chose the title based on the Portuguese word for “new morning”.\n02.Pexy\nMy nephew started growing a touch-me-not plant. At some point, it was sitting alone near the kitchen window. He called the plant Pexy. Every morning, my nephew called out “Pexy, go for it!”. He even began to use a small megaphone, and the sound also reached as far as to me.\nAlthough Pexy completed its mission of bowing once, not long after that it took its last breath with its head bowed. For some reason, the name Pexy stuck with me, and so I wrote this song.\nBonus Episode\nAs my nephew was choosing a nameplate for his touch-me-not plant, from the three available options he chose the one with a rainbow sticker on it. “Oh, since I always have a rainbow in my heart, I’ll get this one!”\nI was moved to tears. It was a moment when I felt “Children are so amazing, aren’t they?”\n03.Mi_So_Do_Re\nWhen I was a student I was obsessed with Akiko Yano. This song was inspired by several famous songs I listened to, such as “Soko no Iron ni Tsugu” and “Hitotsu Dake”.\n“Miso dressing” starts with the letters “mi so do re” [in Japanese, ミ、ソ、ド、レ]. I’m secretly looking to collaborate, so does anyone have a contact in the salad dressing industry? Actually, I don’t know which came first, miso dressing or the dressing industry…\n04.Pra Machuchar Meu Coração\nThe origin of playing this song was when Kira (drums) told me that he had a song that seemed to suit me.\nThe famous album by Stan Getz and João Gilberto. Although I’ve listened to it so many times, I overlooked this song. I can’t believe I missed such a beautiful song. What exactly was I listening to? Like so, I play it every time.\n05.Golden field\nImagine a vast golden wheat field in an American countryside. The setting sun begins to dye the wheat field a pretty orange color. A horizon that never ends. Ears of rice plants dancing in the wind. The indescribably nostalgic scent of a wheat field drifts by. I wrote this song with an image of that landscape. Well, please listen. Golden field…\n06.Hommage\nMany jazz standard songs are simple but so good. It can also be said of the musicians who have so many cool melodic phrases on hand, expressing themselves through unique characteristics in the form of their performance. I wonder how it feels to write songs that have been passed down as standards through different generations and countries, beloved to the point of being performed as a natural part of sessions.\nAnd, the same with phrases used in solos. To hear a part and think “This is cool!!”, to copy it by ear, to practice, break it down, add our own ideas, and perform it as a language. We take it for granted but, thinking about it, it’s so amazing. I wrote this song as an expression of appreciation to those who created this history of jazz up to now, and with the faint hope that someday my own music can become part of it as well.\n07.Nos Vemos!!!\nHave you ever watched a movie in your dreams?\nIt happened to me just once. I can’t remember the story at all, but it was a movie that made me feel extremely happy. And after the final credits finished, I woke up. There was a song playing through the credits that didn’t go away even after I woke up. It stayed in my head all day, so I figured I had to write down this song.\nThe setting is the Mediterranean Sea. The last scene is at a restaurant by the sea where everyone is happily sharing a meal. I can remember that atmosphere. As I wanted to have that dream again, I chose the words “Let’s meet again.” If someday that dream continues, I want to remember it this time.\n08.Mame to Mugi to Watashi\nIt seems like a title I’ve heard somewhere before (haha). [The title uses the same form as a hit J-Pop song “Heya to Y-shirt to Watashi” (1992).]\nI have two black cats who are sisters. The one who came first was pitch black like black beans, so she’s Mame [bean]. I wanted to use the same type of grain for the younger sister who came after, so she’s Mugi [wheat]. This girl’s fur turned out to become a little brownish so it was just right.\nI wrote this song thinking about how fun it is to play with these kitties. The song is a duo with a great bassist.\nNova Manhã by Ami Fukui Trio Ami Fukui - piano Keigo Iwami - bass Sota Kira - drums Released in 2022 on MAM Records as MR-001.\nJapanese names: 福井亜実 Fukui Ami 岩見継吾 Iwami Keigo 吉良創太 Kira Sota\nAudio and Video Promotional video with excerpts from “Nova manhã”, “Pra Machuchar Meu Coração”, and “Pexy”: Promotional video for “Mame to Mugi to Watashi”, track #8 from this album: Excerpt from track #6: “Hommage” Other Links Online yoga lessons link provided by Ami Fukui ","permalink":"https://mirror2.jazzofjapan.com/ami-fukui-trio-nova-manh%C3%A3/","summary":"\u003cp\u003ePianist Ami Fukui continues her original jazz journey with \u003cem\u003eNova Manhã\u003c/em\u003e, her fourth leader album from 2022 with eight tracks running at about 45 minutes.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230252-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230252-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAs with her previous releases \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ami-fukui-trio-urban-clutter\"\u003eUrban Clutter\u003c/a\u003e\u003c/em\u003e (2010), \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ami-fukui-amizm\"\u003eAmizm\u003c/a\u003e\u003c/em\u003e (2013), and \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ami-fukui-trio-new-journey\"\u003eNew Journey\u003c/a\u003e\u003c/em\u003e (2016), this creative musician focuses her original music on the specific sound of her trio and her concept this time out. Seven of the eight tracks on this album are her own compositions. Her music is often colorful, perhaps with more calming hues on this release, and her unique blend of cool beats and pop melodies with a soulful smile runs through the music.\u003c/p\u003e","title":"Ami Fukui Trio: Nova Manhã"},{"content":"Humadope 2 from trumpeter Keisuke Nakamura features his quintet playing modern jazz originals with unsupressible energy. With a slightly different lineup as on his debut album Humadope (2014), the human/mad/dope sound is the same: fresh and boiling, jazzy and nonstop.\nNo doubt Nakamura’s vision extends through the material, from the steampunk-ish cover to the song titles that describe a fantastical, searching aesthetic. And, of course, this influence carries through to the music, artfully composed with originality and serving as a beautiful post-bop platform for each musician’s improvisation.\nAlthough this is a trumpet leader’s album, Nakamura has always been generous, and each musician gets plenty of space to shine. There are plenty of blistering sax solos, aggressively gripping piano, and nimble and heavy bass and drum rhythms (plus, both bassist Kanamori and drummer Takemura not only lock in the solid foundation but also take solos as well.)\nThe songwriting does have a Humadope flavor throughout. On modern jazz frames that would fit a Jazz Messengers model, there are twin harmony lines played out by trumpet and sax in daredevil curves and with just dissonance for a spicy edge. Time signatures and rhythmic hooks are catchy, with a cleverly unpredictable quality to throw off the stability of typical musical patterns. Bass hooks and staggered melodies launch and segment in creative places. Another Humadope trademark is the occasional short musical machine-gun style break riff used to ramp up excitement and grab attention through repeated short phrases or a series of single notes between sections of a song.\nThe whole album is filled with great moments, and picking favorites depends on the day. Current highlights include:\n“Space Boy”, hinting at the innovative combos of Herbie Hancock, Wayne Shorter, and Wynton Marsalis. The unignorable funky swing on “So Nice!!”, with its rhythmic space and gaps that imbue a catchy groove with playful surprise. “North Kingdom” and its interfacing stairstep structures and magical qualities masquerading as a ballad. “Genseirin”, the tumbling syncopated masterpiece with a free jazz section and coordinated outro section. This track in particular song contains the most creatively arranged music on the album, a magnificent compositional form and sound reminiscent of the great Wayne Shorter’s ideas. “Sense of Mission”, with its tense speed and rhythm hooks, staccato chops, and searing solos. Humadope 2 by Keisuke Nakamura Keisuke Nakamura - trumpet, flugelhorn Akihiro Yoshimoto - tenor sax, flute Ami Ogaeri - piano Motoi Kanamori - bass Ittetsu Takemura - drums Released in 2019 on ANTXDEDE as ANTXDEDE-3105.\nJapanese names: 中村恵介 Nakamura Keisuke 吉本章紘 Yoshimoto Akihiro 魚返明未 Ogaeri Ami 金森もとい Kanamori Motoi 竹村一哲 Takemura Ittetsu\nAudio and Video Promotional video of “So Nice!”, track #3 on this album: Live versions of “Space Boy”, “Sense of Mission”, and “So Nice!” from 2019: Excerpt from track #7: “Sense Of Mission” ","permalink":"https://mirror2.jazzofjapan.com/keisuke-nakamura-humadope-2/","summary":"\u003cp\u003e\u003cem\u003eHumadope 2\u003c/em\u003e from trumpeter Keisuke Nakamura features his quintet playing modern jazz originals with unsupressible energy. With a slightly different lineup as on his debut album \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/keisuke-nakamura-humadope\"\u003eHumadope\u003c/a\u003e\u003c/em\u003e (2014), the human/mad/dope sound is the same: fresh and boiling, jazzy and nonstop.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230462x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230462x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eNo doubt Nakamura’s vision extends through the material, from the steampunk-ish cover to the song titles that describe a fantastical, searching aesthetic. And, of course, this influence carries through to the music, artfully composed with originality and serving as a beautiful post-bop platform for each musician’s improvisation.\u003c/p\u003e","title":"Keisuke Nakamura: Humadope 2"},{"content":"The newish and attractive jazz bar Kohaku (opened in 2019) is hidden away on the sixth floor of a nondescript building near the center of bustling Shibuya, a district known for its youthful vibe and vibrant attractions.\nFigure 1: View from the room\nThe name Kokahu (琥珀, amber), aka Jazz Bar Amber, may bring to mind an atmospheric warmth with gold and glowing colors. Or it may summon the image of hardened resin suspending an ancient organism, unchanged and captured in time.\nNone of that applies to the bar Kohaku of course. Except perhaps the design of Kohaku, with its custom-lettered flowing logo design to the stylish furnishings in the room. It all works together to convey an artistic warmth that spreads through the room where you are surrounded by hanging paper umbrellas and golden art-graffiti walls.\nTenuously continuing the amber metaphor, the bar itself could be said to be suspended within the busy and youthful Shibuya district, a hidden jazz gem within the surrounding neighborhood. Like the nearby streets, and perhaps also influenced by the bar’s late hours, the place can be packed on certain nights. Reservations can be easily made through an email address found on the club’s website.\nBattling the party atmosphere that may carry in from the environment, a good reminder of its jazz roots can be found in the live performers at Kohaku. Another impressive but less obvious symbol is the special drumset and “J” mark that were saved from Jazzspot J, a legendary Tokyo jazz club that is now closed but not forgotten. The history, teaching, and artifacts of jazz are passed down through generations, and sometimes through locations as well.\nKohaku’s menu lists beers, whisky, custom sangria drinks, and original blend coffee that is a nod to the space’s former cafe business using Udagawa coffee beans. For those split between caffeine and alcohol, there is a tempting homemade coffee shochu on the menu. There are also some food offerings, including a special year-round oden set.\nFigure 2: Welcome to Kohaku\n","permalink":"https://mirror2.jazzofjapan.com/kohaku/","summary":"\u003cp\u003eThe newish and attractive jazz bar Kohaku (opened in 2019) is hidden away on the sixth floor of a nondescript building near the center of bustling Shibuya, a district known for its youthful vibe and vibrant attractions.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20230405_212524569x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20230405_212524569x-1024.jpeg\"\n         alt=\"Figure 1: View from the room\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eView from the room\u003c/p\u003e\n        \u003c/figcaption\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe name Kokahu (琥珀, amber), aka Jazz Bar Amber, may bring to mind an atmospheric warmth with gold and glowing colors. Or it may summon the image of hardened resin suspending an ancient organism, unchanged and captured in time.\u003c/p\u003e","title":"Kohaku"},{"content":"Pianist Yuka Yanagihara’s second piano trio album is Inner Views from 2019, where she plays eight of her original songs in a piano trio format with bassist Yoshiki Yamada and drummer Ryo Noritake. In harmony with the album’s title and cover image, the music is on the whole introspective, focused on the near rather than the far. As Yanagihara puts it herself, these are eight songs that focus on the landscape of one’s mind.\nOver nine tracks (one song is repeated on solo piano as a bonus track), the synergetic trio creates image-like moods through Yanagihara’s original compositions. The music here focused on setting up a comfortable place with each tune, emphasizing atmosphere over flash, with waves of enveloping grooves pinned to lightly rocking rhythms.\nThe musical ambience is set up from the two-track opener “Rainy Song 1: At Midnight” and “Rainy Song 2: In the Forest”, where understated melodies shift and transform over subtly mesmerizing harmonies and rhythms. Similar mood-setting styles continue through the album on tracks like “Melancholia” with its strong backbeat and the lovely and thoughtful “After Tours”.\nOn Inner Views, the trio’s musical influences seem to draw from ECM ambient jazz and the stylistic modern jazz of E.S.T. or Bob James, with tiny hints of contemporary pop songwriters like Sting and James Taylor also in the mix. The mood is mostly consistent throughout, with the dynamics mostly staying between the sole bouncy swing jazz track “Traffic Jam” and the tranquil ballad “Silence”.\nThe final song, a solo piano rendition of “Moon Dance” (also played with the trio on track five), gives the listener an intimate ten minutes with the pianist as she builds up, deconstructs, and rebuilds to a dramatic close.\nInner Views by Yuka Yanagihara Trio Yuka Yanagihara - piano Yoshiki Yamada - bass Ryo Noritake - drums Released in 2019 on Tomtom Cherry Music as TCM-2002.\nJapanese names: 柳原由佳 Yanagihara Yuka 山田吉輝 Yamada Yoshiki 則武諒 Noritake Ryo\nAudio and Video Promotional video for this album: Audio for “Moon Dance”, track #5 on this album: Excerpt from track #8: “After Tours” ","permalink":"https://mirror2.jazzofjapan.com/yuka-yanagihara-trio-inner-views/","summary":"\u003cp\u003ePianist Yuka Yanagihara’s second piano trio album is \u003cem\u003eInner Views\u003c/em\u003e from 2019, where she plays eight of her original songs in a piano trio format with bassist Yoshiki Yamada and drummer Ryo Noritake. In harmony with the album’s title and cover image, the music is on the whole introspective, focused on the near rather than the far. As Yanagihara puts it herself, these are eight songs that focus on the landscape of one’s mind.\u003c/p\u003e","title":"Yuka Yanagihara Trio: Inner Views"},{"content":"“Hard bop jazz aimed towards the universe” might be a good way to introduce soprano saxophonist Hiroko Mase’s debut album First Contact from 2020. Together with her double-sax quintet, the album features ten of her original songs in a vibrant arrangement of energetic hard-swinging and mid-tempo songs brimming with atmospheric layers.\nThe opening song “First Contact” together with #4 “Spinning Petals” (a live version is included in a video below) and #9 “Have Fun”!” prop up the album’s core jazz tentpoles with straight-ahead frameworks reminiscent of the sound of Art Blakey and the Jazz Messengers and Cannonball Adderley’s bands: energetic rhythm sections that frame unleashed improvisation from double horn front-lines.\nEven more sides of Mase’s thought-through compositional ideas are evident on tracks like “Resurrection”, “Dimensional Door”, and the two-part “A Blue Green Planet I \u0026amp; II”. These pieces are modern and forward-looking, setting moods of otherworldliness and transcendence with uniquely mysterious and exploratory elements. On these, there is a sense of a cinematic spirit as with soulful Japanese westerns, especially in the catchy anthem “Resurrection” which was written during a period of illness for the composer.\nMase’s compositional style and focused vision may invoke the legendary Wayne Shorter, who was fascinated by pop art and comic books, space, and the unknown. Also similar is the fact that Shorter, in addition to being an early member of the aforementioned Jazz Messengers, was a tenor sax player also known for distinctive soprano sax playing and his renowned compositional genius… whether or not Shorter is an explicit influence on Mase, it’s still interesting to find similarities.\nConcept albums in jazz are relatively rare, and while this album may not be considered a proper concept album with a storyline running through it (though her in-progress “Multiverse Suite” evolves the concept much more), there is definitely a strong theme and vision established here, from the colorful album design through to the fantastic music and elaborative song and liner notes. It’s clear that Hiroko Mase’s vision is also focused well beyond this first contact, expanding into her future through explorations with larger ensembles and various influences like Brazilian music, science fiction movies, and of course, the love for jazz that brings it all together.\nLiner Notes (Translated version of Hiroko Mase’s liner notes, originally in Japanese.)\nWhen I was in music college, I heard Lester Young’s records. That was the first time I heard the music called jazz, and I can still remember what a monumental impact it had on me. What a world! After graduating, I spent every day working insanely hard to become a tenor sax player. But sadly, my chronic scoliosis got so bad that I was forced to quit performing. I stepped away from my beloved music and focused on recuperation for about 4 to 5 years. To me, jazz was such great music that when I heard it, it was hard to suppress the urge to play, so I forced myself not to listen to any music at all during that period.\nAt that time, there was a senior colleague who always encouraged me: Shoko Yamagishi, the leader of the band I played in before my hiatus. She planned a live performance featuring my original songs. Another senior colleague whom I had met for the first time substituted for me, Eiji Otogawa.\nFrom my seat in the audience, I completely enjoyed the Shoko Yamagishi Quintet, and my appreciation for the musicians and the audience was unending.\nYear by year my health improved, and a year after my recovery I was married to Eiji Otogawa. All things considered, I am indebted to Shoko Yamagishi. Thank you so much, Shoko!\nFor my restart in music, I chose the curved soprano saxophone which is less of a physical burden.\nStarting from scratch, my first performance was busking in winter at Sukiyabayashi Crossing [in Ginza]. I chased down a thousand yen bill that had been blown by the wind into the middle of the intersection. I finally grabbed it, just barely, and upon looking back proudly I saw that the bassist’s nose had frozen.\nThen, about four years later, I started thinking about starting my band with my original music. The Mase Hiroko Quintet was formed in July 2018. As for the members: Tenor sax Eiji Otogawa, whom I respect and trust. Genius pianist Nobumasa Tanaka, whom I have unending respect for every time we play together. On bass, Kosuke Ochiai with his unique and solid sound. On drums, Sota Kira with a beautiful timbre and magnificently addictive drumming.\nIt was our first time playing together, but from the moment we played the first melody… amazing!! How cool is this!? I was really excited. After the first song finished, we all had a feeling of being together as one. At that moment I decided to make a recording with this band. After that, we held live performances in and around Tokyo, and a year and a half later in the Spring of 2020 we reached the point of recording our first album, my dearest wish.\nTo everyone who has supported me up to now, I send my heartfelt love and gratitude: To my family, friends, musicians, club managers, customers, Tohru Fujimori (label), and Taishi Taruoka (engineer). And, to my husband Eiji Otogawa who supported me and produced, mixed, designed the CD jacket, and conducted the entire album process, thank you so much. Above all I am filled with love, gratitude, and respect for the wonderful musicians who I performed and spent time with. Thank you!! Please enjoy listening to this album!!\nHiroko Mase\nFirst Contact A song written when this quintet was formed. This song started everything, as the meeting of the members inspired and stimulated me with this piece. Here, I started to blossom as a composer. The three soloists’ enthusiastic passion is an essential characteristic of this band. The rhythm section swings with a lively beat. The day of First Contact for the Earth and the universe may be coming soon.\nEywa of Pandora A piece inspired by the forest spirit “Eywa” from the movie Avatar. Spirits of light dance in a deeply beautiful and vivid forest world, and this song makes you feel the strength of life in that refreshing sensation.\nResurrection This song with an orchestra accompaniment suddenly came to me while I was battling illness. At first, I thought it may be a requiem, but I thought maybe it was a sign from heaven, a sign of resurrection. The introduction starts with Kosuke Ochiai’s bass solo. Every note is engraved with moments that are uniquely and organically him.\nSpinning Petals A nimble rhythm and melody filled with a feeling of speed. The motif is of a scene of petals and leaves, spinning as they fall down, and the three soloists develop the scene of a changing landscape dramatically.\nLong Road Is life short, or is life long? No, time doesn’t really exist. As each person looks back on their life, each has their own story. Good things or bad things, life is like a journey of adventures called experiences.\nA Blue Green Planet I The world as seen from space. Problems like war, poverty, and racial discrimination persist. But the earth itself is beautiful as always. I wrote this song after watching the movie La Belle Verte and having my consciousness disconnected. Pianist Nobumasa Tanaka’s harmony is very beautiful.\nA Blue Green World II Get Smashed Expressing through sound the condition of being in a drunken stupor. When viewed from the outside, being dead drunk cuts a humorous figure. To someone who declares “No more drinking!” and then quickly ends up defiantly drinking that night, I send this song to you wholeheartedly.\nHave Fun! The piano introductory phrases at the beginning are striking. The soprano sax solo starts with free expression to a full-throttle engine. The exhilaration of running feels so good. Eiji Otogawa’s soulful solo. He leads the band with his uniquely intense sound. Awakening the listener’s spirit, from a breathlessly suspenseful solo he passes the baton to the piano. A piano solo full of speed. The trio comes together as one, transforming freely, and powerful beats collide as the energy reaches its peak. And Sota Kira’s all-out drum solo. Combining power and beautiful tones, making use of all kinds of beats. The deep musicality, technique, and creative drumming thrills the band.\nDimensional Door Opening the Dimensional Door and returning to your true self, there is a paradise of peaceful love. Bassist Ochiai leads the band with a spiritual and wonderful sound.\nLooking to the Future\nI have several years’ worth of musical projects inside me. This album is the first. This wonderful experience has ignited my desire to compose and awakened a variety of ideas. New sounds fusing vocals and instruments, situations imagining the universe, born naturally and progressing simultaneously. I plan to announce these three projects over the next several years. Please look forward to it.\nThree Major Projects\n“Mase Hiroko Quintet”\nThe nucleus of this project is the two-horn quintet form with great technique and thrilling interplay, a fascinating quintet.\n“Mase Hiroko All Stars”\nThe quintet expands as additional musicians join with percussion, keyboard, electric bass, and the colorful acoustic/electric Brazilian sound of vocalist Nobie. The lyrics were co-written with Eiji Otogawa with a strong message and originality, exciting music for a unique band.\n“Multiverse Suite”\nA project overflowing with entertainment depicting a grand space adventure that transcends genres. The suite is made up of Episodes 1-7 which are currently in progress. A sense of cosmic sound can be felt through various visions from science fiction movies. The number of members is increased even further to become a large ensemble.\nLastly\nMy journey of exploring music has just begun. Building these projects together with these wonderful musicians is a beautiful, fun thing. I never thought that I could do something so difficult. But I’m gradually starting to understand that even the impossible becomes possible if you don’t give up. I want to continue to explore more interesting and exciting things. It makes me really happy if this can bring a smile to people’s faces. For everyone who picks up this CD and listens to it in some part of your everyday life, with our music close to you, I hope you have a wonderful time. With love.\nSeptember 2020\nFirst Contact by Mase Hiroko Quintet Hiroko Mase - soprano saxophone Eiji Otogawa - tenor saxophone Nobumasa Tanaka - piano Kosuke Ochiai - bass, percussion Sota Kira - drums, percussion Released in 2020 on F.S.L. as FSCJ-0019.\nJapanese names: ませひろこ Mase Hiroko 音川英二 Otogawa Eiji 田中信正 Tanaka Nobumasa 落合康介 Ochiai Kosuke 吉良創太 Kira Sota\nAudio and Video Excerpt from “Have Fun!”, track #9 on this album: Live performance of “Spinning Petals”, track #4 on this album: “Multiverse Suite 2021” Part 1: “Multiverse Suite 2021” Part 2: “Multiverse Suite 2021” Part 3: “Multiverse Suite 2021” Part 4: Excerpt from track #1: “First Contact” ","permalink":"https://mirror2.jazzofjapan.com/mase-hiroko-quintet-first-contact/","summary":"\u003cp\u003e“Hard bop jazz aimed towards the universe” might be a good way to introduce soprano saxophonist Hiroko Mase’s debut album \u003cem\u003eFirst Contact\u003c/em\u003e from 2020. Together with her double-sax quintet, the album features ten of her original songs in a vibrant arrangement of energetic hard-swinging and mid-tempo songs brimming with atmospheric layers.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230617x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230617x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe opening song “First Contact” together with #4 “Spinning Petals” (a live version is included in a video below) and #9 “Have Fun”!” prop up the album’s core jazz tentpoles with straight-ahead frameworks reminiscent of the sound of Art Blakey and the Jazz Messengers and Cannonball Adderley’s bands: energetic rhythm sections that frame unleashed improvisation from double horn front-lines.\u003c/p\u003e","title":"Mase Hiroko Quintet: First Contact"},{"content":"Jazz Club Pit Inn in Tokyo is one of the most well-known and respected jazz clubs in Tokyo, and for good reason. In business since 1965, this authentically genuine jazz spot is very popular with local music fans, and the popular spot also gets its share of tourists dropping in. Since its original opening, the club has relocated once and also opened other branches and related businesses such as rehearsal and recording spaces. Currently, Pit Inn’s main venue for hearing live music is the club which opened in 1992 in Shinjuku, Tokyo.\nFigure 1: Cool Jazz Project at Pit Inn in 2016\nOn the short list of the must-visit jazz spots in Tokyo, Pit Inn is up there, definitely in the top ten spots to catch live jazz in Japan. Pit Inn is authentic, reasonably priced, runs a well-oiled system, has great sound and lighting, and offers an excellent variety of jazz shows on a twice-daily basis.\nThe acts that play at Pit Inn include the best of local professional musicians, young up-and-coming musicians, and touring musicians from overseas as well. On occasion, there are also special events like competitions and amateur jam or practice sessions, but in general, the main focus is on live shows.\nFigure 2: Fumio Karashima Trio at Pit Inn in 2007\nBoth afternoon and evening concerts are scheduled for nearly every day (and now, morning too), each show usually featuring different groups or musicians. Although worldwide artists also play at this club, local Japanese artists are often featured at Pit Inn, providing an easy and comfortable way to get to know different facets of the Tokyo jazz scene. (2026 update: Pit Inn now also offers late morning events as well, opening at 10:30am with live shows starting at 11:00am on selected days. That’s three different live concerts at Pit Inn on most days!)\nFigure 3: Fumie Chiba Trio at Pit Inn in 2010\nFrom outside, Pit Inn can be reached from either of two street entrances, down a set of stairs, and through an interior lobby where early and eager customers may be waiting for the door to open. As for the club’s interior, Pit Inn sits in the sweet spot of not being too large and not too small, reliably supplying the comfort of a small concert hall-type room for live jazz with organized rows of seats and tables lined up to face the stage.\nSitting in the front row puts you right up against the stage (possibly too close for many) and provides a natural, live sound from the instruments and the best view. Yet, taller customers may worry about sitting up front and disturbing or blocking the view of people who are seated behind them, as all seats sit on the same level and the stage itself is not extremely elevated.\nFigure 4: Les Komatis at Pit Inn in 2014\nAlternatively, sitting near the middle or back of the room allows for more of the live sound to be delivered and mixed through the speaker system, creating a different balance and quality. This position also provides a nice visual overview of the entire stage at once, provided the view from your seat is relatively unobstructed. The wide seating area gives several choices of different angles and interesting variety from which to watch and listen to the show.\nFigure 5: Miyuki Moriya Quartet at Pit Inn in 2012\nDuring performances, in addition to the music and high-quality audio, the atmosphere is greatly enhanced by the mood lighting. Vivid colors of blue, green, purple, and red elegantly shine and light up the dark stage. Color tints change as does the music, creating a series of different atmospheres influenced by the music and providing further immersion for the audience.\nAs tempting as it is to take photos of the performers in this cool setting, photo-taking is usually not allowed here, as noted with a warning on a strictly worded sign at the entrance. Like some other spots in Japan, there is an audience-oriented consideration that customers (as well as the onstage performers) are not disturbed by shutter sounds, bright flashes, or the glow of screens held up in a dark room. However, the staff at Pit Inn may take and provide professional photos of certain events online, and sometimes at low-key, daytime events a quick photo taken without flash will be overlooked if it does not disturb anyone. It’s always best to ask beforehand, though, and when in doubt, restraint is probably best as it makes it easier to enjoy the music without worrying about anything.\nFigure 6: Pit Inn mixed nuts\nDepending on the specific show, this club can be packed or even sold out, so it’s a good idea to make a reservation by phone or email, especially for popular performers or when the event has gotten a lot of attention. Arriving extra early can sometimes help, but if the show is sold out or extremely full, no seats may be available.\nCustomers without reservations will line up outside along with those with reservations. After all the people with reservations have been let in (and after they pick their seats), then people without reservations are admitted.\nAlthough the cost of admission depends on the night and the specific performers, the price typically includes one free drink like coffee, beer, or mixed drinks. Large meals are not served but a few light snacks like mixed nuts are available.\nSome great souvenirs are also on sale: key chains, card cases, t-shirts, CDs, and even a book (in Japanese) celebrating the long history of this famous jazz club. Usually, that day’s musicians will also offer any CDs they have for sale at a table next to the entrance.\nIn a corner near the restroom area, Pit Inn also stores racks of pamphlets and information for local jazz musicians. There may also be some printed schedules and flyers for other jazz bars in Tokyo. While these may be challenging for non-Japanese speakers to decode, those who are seeking out local jazz clubs and musicians will find this a great way to collect more information to make the most of your Japanese jazz tour.\nFigure 7: Welcome to Pit Inn\nOther Links Pit Inn’s social media\nPit Inn’s older photo blog\n50 Years of Shinjuku Pit Inn (book)\n","permalink":"https://mirror2.jazzofjapan.com/pit-inn/","summary":"\u003cp\u003eJazz Club Pit Inn in Tokyo is one of the most well-known and respected jazz clubs in Tokyo, and for good reason. In business since 1965, this authentically genuine jazz spot is very popular with local music fans, and the popular spot also gets its share of tourists dropping in. Since its original opening, the club has relocated once and also opened other branches and related businesses such as rehearsal and recording spaces. Currently, Pit Inn’s main venue for hearing live music is the club which opened in 1992 in Shinjuku, Tokyo.\u003c/p\u003e","title":"Pit Inn"},{"content":"The album Faces from 2020 is the follow-up to vocalist Kaoru Azuma and pianist Hitomi Nishiyama’s first album Travels (2013). As with the earlier work, this album features mostly original compositions from the pianist that are delicately adorned with the light and airy voice of Azuma, who adds lyrics and instrument-like vocalizing to the music.\nAlong with Azuma and Nishiyama are the same members as before, guitarist Motohiko Ichino, saxophonist Ryosuke Hashizume, and bassist Toru Nishijima. On the tracks, the five musicians play in different combinations including a duo, trios, quartets, and the full quintet for subtle variations in sound, structure, and solo space.\nThe music itself, soft and brilliant, is naturally rooted in Nishiyama’s emotive piano and Azuma’s heavenly voice that at times drapes the music like an embroidered cloth, simple, plush, and cozy, and at other times meshes with the piano and guitar as a dimensional, instrumental voice. The addition of Ichino’s mellow guitar and Hashizume’s textured explorations expertly add the warm, astral strands to Nishiyama’s frames and Nishijima’s bass foundations.\nMuch of the album moves at a slow or mid-tempo pace, a comfortable environment easy to absorb and get lost in. Whisper-sweet, encompassing feelings of dreamy reflection are buffeted by several slightly more upbeat and rhythmic selections, with an overall album ebb and flow that is reassuringly relaxed.\nLiner Notes (Translated from excerpts of Kaoru Azuma’s and Hitomi Nishiyama’s original Japanese liner notes.)\nFACES of “East” (東, Azuma) “West” (西, Nishi)\nOur first album together was Travels, seven years ago. Compared to that, the songs recorded this time may not be as flashy, but require more precision and delicacy, and the sense of drama I felt was missing previously, but this time I wrote lyrics with the premise of singing as the feeling of the main character.\nFor my writing style this time, I wanted to capture the ups and downs of visualizing emotions, especially on “Pierre Without a Face” and “Pescadores”. “Pierre” is set in France. It’s my first attempt at substituting French in the lyrics and has a feeling of a dramatic play, and I hope people enjoy my short enactment and introduction at live shows.\n“Pescadores” has the feeling of life’s meaninglessness and despair, but after the solos, the musicians together resolve to fill the main character with the decision to live, take it easy but stand firm, so I sang this while moving through these feelings. That posture is just like an Enka singer (haha).\n* The composer [Nishiyama] had said earlier that it is like an Enka song.\n(Kaoru Azuma)\nFace of Yesterday Included on the duo album El Cant Dels Ocells (2012) with bassist Daiki Yasukagawa. This was originally written with a vocal impression, so I asked to have lyrics added to it.\nWhite Cloud Mountain Minnow Also from El Cant Dels Ocells. The title is the English name of the akahire. fish. There is a small aquarium next to the piano in my home piano room and this song was written when young akahire were hatched there.\nPierre Without A Face The first song recorded for this album. At home, there’s a wooden doll with the name of Pierre, but he doesn’t have a face. Be sure to listen to Azuma’s introduction of this song at a live performance.\nFly Me To The Moon Like with our previous album, I wanted to include one standard song. Upon hearing Azuma singing a standard, her grounding power is immediately understood, and I wanted to clearly show how this album and originals are an extension of that.\nManouche I wanted to write a song in the Manouche style, but this song ended up going in a completely different direction. I arranged it with two voices to blend the voice and guitar.\nAnalemma This is a song included on Shift (2014), but this time I definitely wanted to hear it with the saxophone featured, so I thought of an arrangement.\nT.C.T.S. Included on Live (2016). I wrote this by rotating through twelve chords in one cycle with a blues size. It feels great to play this with these members who can perform this space-filled piece without overfilling it.\nJ I had mainly performed this as an instrumental song in a duo with Motohiko Ichino, so I had vocals added to the duo.\nPescadores Included on the duo album with Daiki Yasukagawa Down By The Salley Gardens (2014). It’s a song written by thinking of a simple melody so thoroughly to the point where there was nothing else that could be done.\nNight This is based on “Before Night Falls” from Many Seasons (2007), but I changed the size and expanded the image into a different song.\n(Hitomi Nishiyama)\nFaces by Kaoru Azuma / Hitomi Nishiyama Kaoru Azuma - vocal Hitomi Nishiyama - piano, composition, arrangement Motohiko Ichino - guitar (#1, 2, 3, 5, 7, 8) Toru Nishijima - bass (#1, 2, 3, 5, 6, 7, 9) Ryosuke Hashizume - tenor \u0026amp; soprano saxophones (#2, 3, 6, 7, 10) Released in 2020 on Meantone Records as MT-09.\nJapanese names: 東かおる Azuma Kaoru 西山瞳 Nishiyama Hitomi 市野元彦 Ichino Motohiko 西嶋徹 Nishijima Toru 橋爪亮督 Hashizume Ryosuke\nAudio and Video Promotional video for this album: Excerpt from track #8: “J” ","permalink":"https://mirror2.jazzofjapan.com/kaoru-azuma-/-hitomi-nishiyama-faces/","summary":"\u003cp\u003eThe album \u003cem\u003eFaces\u003c/em\u003e from 2020 is the follow-up to vocalist Kaoru Azuma and pianist Hitomi Nishiyama’s first album \u003cem\u003eTravels\u003c/em\u003e (2013). As with the earlier work, this album features mostly original compositions from the pianist that are delicately adorned with the light and airy voice of Azuma, who adds lyrics and instrument-like vocalizing to the music.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230631x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230631x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAlong with Azuma and Nishiyama are the same members as before, guitarist Motohiko Ichino, saxophonist Ryosuke Hashizume, and bassist Toru Nishijima. On the tracks, the five musicians play in different combinations including a duo, trios, quartets, and the full quintet for subtle variations in sound, structure, and solo space.\u003c/p\u003e","title":"Kaoru Azuma / Hitomi Nishiyama: Faces"},{"content":"This special release from Baby Brothers, entitled Happy Christmas with Bb (side b, the final live at plug and more), warmly celebrates the holidays and commemorates the vocal quintet’s final performance in 2007, layering bittersweet emotions with abundantly joyful singing and expression.\nThe album starts with eight tracks performed and recorded in concert. This live portion features the a capella quintet using their voices in beautiful harmony with charming arrangements from their repertoire including the classic jazz standard “My Favorite Things”, some jazzy soul and pop selections, and three well-known Japanese songs.\nThe three songs “Nada Sousou”, “Ookina Furudokei”, and “Furusato” are well known in Japan and are especially heartwarming album highlights. Despite any language barrier, the textured voices and words convey a sense of nostalgia, sadness, and memories, immersing listeners in steeping emotions.\nFollowing the eight live tracks, four studio-recorded songs include two finely-tuned pop songs and two Christmas classics, ending the album sweetly with a lush “White Christmas” and a serene caroling of “Silent Night” sung in both Japanese and English.\nHappy Christmas with Bb by Baby Brothers Sanae Ishikawa - vocal Monet - vocal Kyoko Ogata - vocal Takahiko Goto - vocal Yohhei - vocal Released in 2007 on Baby Brothers as Side B.\nJapanese names: 石川早苗 Ishikawa Sanae モネ Monet 緒方京子 Ogata Kyoko ごとうたかひこ Goto Takahiko ようへい Yohhei\nAudio and Video “Take Five”: “A Night in Tunisia”: Almost Like Being in Love: Nada Sousou: Ookina Furudokei: Furusato: Excerpt from track #1: “My Favorite Things” ","permalink":"https://mirror2.jazzofjapan.com/baby-brothers-happy-christmas-with-bb/","summary":"\u003cp\u003eThis special release from Baby Brothers, entitled \u003cem\u003eHappy Christmas with Bb (side b, the final live at plug and more)\u003c/em\u003e, warmly celebrates the holidays and commemorates the vocal quintet’s final performance in 2007, layering bittersweet emotions with abundantly joyful singing and expression.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200613x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200613x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe album starts with eight tracks performed and recorded in concert. This live portion features the a capella quintet using their voices in beautiful harmony with charming arrangements from their repertoire including the classic jazz standard “My Favorite Things”, some jazzy soul and pop selections, and three well-known Japanese songs.\u003c/p\u003e","title":"Baby Brothers: Happy Christmas with Bb"},{"content":"Uta Oto from sax player Miyuki Moriya is a modern jazz album full of emotion and spirit… a bit spiritual, even. The music created by Moriya’s trio ranges from brooding and wistful, to simple cheer, folk, free, and comforting. As the music plays the mood passes from somber strife to resurgence like a theme hinted at in the liner notes, a story of rejuvenation through musical inspiration and partnership.\nIn addition to playing original jazz with her long-running quartet, Moriya has also led less common formations including drummer-less trios (with sax, piano, bass), bass-less trios (sax, piano, drums), and chord-less trios (sax, bass, drums), as well as groups focused on the music of famous Japanese jazz musicians and composers.\nOn Uta Oto, Moriya leads a drum-less trio with pianist Nobumasa Tanaka and bassist Hiroshi Yoshino, generating a different energy with a loose, round sound without a standard quartet’s rhythmic drum hits and cymbal crashes, but a group that still creates locked-in rhythms and explosive energy when the music calls for it.\nThe seven tracks feature four originals, two songs by German composer Kurt Weill, and a Mongolian folk song. Soaring with authentic feelings, Miyuki’s originals: “Uta Oto” (beautiful sadness), “Art Nouveau” (lighthearted strolling), “M’s Dilemma” (wild whimsy), and “Sora wo Miru” (relaxing soulfulness). These distinctly original songs are set off by the two relatively darker Weill compositions with their staid tango and slow jazz shadows, and the atmospheric folk music with some natural and expertly wielded improvisation.\nThe album’s path through Moriya’s originals, traversing through two adjacent Weill songs and folk music, hints at a storytelling arc, from the multi-fold prologue through to hummable innocence, darker corners, free dissonance, human roots, and a final embrace by a soulful waltz. This journey and destination is like being welcomed to rest, comforting with feelings of home and hope. The sense of a spiritual aspect is not overt, but more like an undercurrent of soulfulness and a connection to nature displayed in both structured performance and unrestrained playing, and reinforced by the personal story laid out in the liner notes.\nAs for the album title and the uncommon word 詠音 (うたおと, Uta Oto), this is similar to everyday words for singing or reading (歌う, 読む). However, this word holds a deep and beautiful meaning as the sound of poetic reading from the heart with its melodic sounds or even chanting voices. This can be related to traditional Japanese poetic forms like haiku and tanka that convey deep meaning in few words with themes of nature, change, emotion, and contemplation. It adds an interesting dimension to this album, as it also makes its meaningful musical statement in poetic and soulful ways.\nLiner Notes (Translated from Miyuki Moriya’s original Japanese liner notes.)\nThank you everyone for picking up and listening to this album.\nI’ve been thinking about all sorts of things every day since the unimaginable coronavirus pandemic began at the end of 2019. I myself caught the virus in November 2020 and was hospitalized for ten days after being infected.\nIn the middle of my hospital stay, I received a performance request from a place called No Room For Squares in Shimo-Kitazawa. While I was confined to bed and connected to an electrocardiogram, I reached out to pianist Nobumasa Tanaka and bassist Hiroshi Yoshino and asked them to play with me. That was how this group Uta Oto started.\nEven though I’ve been playing music for a long time, my feelings haven’t changed that much since I first started playing jazz. I had spent my time doing as I like and at my own relaxed pace. But after being infected with the coronavirus, I realized anew that tomorrows aren’t guaranteed. I decided to try to accomplish what I want to now, as much as I can, and I asked these two musicians to record with me.\nThe first time I played with pianist Nobumasa Tanaka was at drummer Takeo Moriyama’s session at Lovely in Nagoya. On that day I had used up almost all my physical strength (that tends to happen every time I play with Moriyama, haha), so we ended up not speaking much afterward, and I arbitrarily imagined that Nobumasa Tanaka must be quite a scary person. But after that, when we played together at Hiroshi Yoshino’s gig, I realized that he was kind and cool with a mischievous streak and a beautiful piano style… but inside, he’s a crazy eccentric (meant in a good way, haha).\nThe first time I played with bassist Hiroshi Yoshino was at the famous spot Aketa no Mise in Nishi-Okigubo. I had played with many of Yoshino’s students by then, and I had often heard about Yoshi’s brilliance, so I was nervous to play with him. But from the first time we played together, I felt that Yoshino was a person as vast as the earth, who knew intensity and moreover expressed its warmth and depth through his sound. He is a broad-minded and wonderful person. Often when we perform, a strange thing happens as Yoshino can play a single note and cause a landscape to suddenly appear in front of my eyes.\nThat is all to explain how I’m extremely happen to be able to record this album with these two wonderful musicians.\n詠音うたおと (Uta Oto) This is a song written for this group. Living creatures are reborn and become active with the sunrise. And as the earth’s blessed rain falls, and the following storm passes, calmness returns, and the sun sets… it’s that sort of a scene.\nArt Nouveau This is a word that refers to the new art movement that bloomed through central Europe. The song title was inspired by the song “Art Deco” by trumpeter Don Cherry. Personally speaking, I play this while fantasizing about old European streets.\nYoukali Tango This is a song composed for a play by the German composer Kurt Weill during his exile in Paris. It seems that Roger Fernay added French lyrics later. The lyrics describe a utopia called Youkali at the end of the world, but close at the end with the heartrending words “There is no such place anywhere”.\nLiebeslied Liebeslied means “love song”. This is a song composed by Kurt Weill and used in the musical play The Threepenny Opera. The flow from the intro’s bass melody into the piano theme is so beautiful and always makes me sigh no matter how many times I listen to it.\nM’s Dilemma The M of the title comes from the name of Mikiko Nagatake, a wonderful pianist whom I’ve had the opportunity to perform with a lot. I’ve played this song live with different people, and each time the different personalities surface with interesting developments. This time with Nobumasa and Yoshino, the rare genius of their performance took me to a new world.\n遥かな土地の蜃気楼 (A Mirage in a Distant Land) Hiroshi Yoshino is active is not only jazz but various musical fields. When he introduced this Mongolian folk song to me and we played it for the first time, it felt strangely right to me. Since then it’s become one of my favorite songs. As we were making a trio recording, this was a song that I absolutely wanted to include.\n空を見る (Watch the Sky) In the fall of 2020 during a period of unbearable anguish, I wrote this song as I thought about the places I missed and the people I wanted to see. On Uta Oto, it’s played as an instrumental, but there are lyrics for this song.\nI’ve been living in Tokyo for about twenty years, and with coronavirus and other things piling up, it was a deeply troubling time, and for the first time last year I began to think things were impossible.\nBut on that day, when the three of us met and played the first notes together, the indescribable things that had been spinning around inside me for several months suddenly disappeared, turning into the utter joy of making music. In that sense, Nobumasa and Yoshino are irreplaceable lifesavers to me.\nMusic may not be able to cure disease, but I deeply believe that music can be a source of salvation. And I’ll continue to travel on my musical journey, striving to produce sounds that can someday make others feel that same way.\nOctober 2021, Miyuki Moriya\n(The liner notes end with a poem in Japanese. This is a humble attempt at a poetic translation to English.)\n空を見る\n空に手をかさねて風を見つける\n花色に染まった大地を揺らす\n目を閉じ思い出す小さな夢と記憶\n涙で滲んだ夜にひろげた\n星に手をかさねて月に詠うよ\n遥か遠いあなたを思い出してる\nLook at the sky\nHands together to the sky, find the wind\nThe flower-colored earth sways\nClosed eyes recall small dreams and memories\nSpread through the night blurred by tears\nHands together to the stars, sing to the moon\nRemembering you, so far away\nUta Oto by Miyuki Moriya Miyuki Moriya - saxophone Nobumasa Tanaka - piano Hiroshi Yoshino - bass Released in 2021 on Coume Music as CUM-2101.\nJapanese names: 守谷美由貴 Moriya Miyuki 田中信正 Tanaka Nobumasa 吉野弘志 Yoshino Hiroshi\nAudio and Video Promotional video with excerpts from all tracks on this album: Excerpt from track #1: “詠音～うたおと～ (Utaoto)” ","permalink":"https://mirror2.jazzofjapan.com/miyuki-moriya-uta-oto/","summary":"\u003cp\u003e\u003cem\u003eUta Oto\u003c/em\u003e from sax player Miyuki Moriya is a modern jazz album full of emotion and spirit… a bit spiritual, even. The music created by Moriya’s trio ranges from brooding and wistful, to simple cheer, folk, free, and comforting. As the music plays the mood passes from somber strife to resurgence like a theme hinted at in the liner notes, a story of rejuvenation through musical inspiration and partnership.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230575x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230575x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eIn addition to playing original jazz with her long-running quartet, Moriya has also led less common formations including drummer-less trios (with sax, piano, bass), bass-less trios (sax, piano, drums), and chord-less trios (sax, bass, drums), as well as groups focused on the music of famous Japanese jazz musicians and composers.\u003c/p\u003e","title":"Miyuki Moriya: Uta Oto"},{"content":" Figure 1: Singer Rie Taguchi\u0026rsquo;s Birthday Live at Satin Doll in 2013\nWhat’s J Jazz? J Jazz, or Japanese Jazz, is a classification label found in sections of some record and CD shops in Japan. These are sections that record stores use to spotlight and organize albums from Japanese jazz musicians. By separating the Japanese artists’ albums from the general jazz section, both local and overseas customers who are visiting Japan can more easily find unfamiliar Japanese jazz albums.\nFigure 2: Emiko Voice album release at Disk Union Shinjuku in-store performance in 2017\nThis is especially helpful for travelers with limited time who want to find and obtain these albums quickly. A favorite spot to browse the current J Jazz offerings in Tokyo is Disk Union “Jazz Tokyo” near Ochanomizu station. There are many second-hand offerings there as well, providing a great way to stock up on lower-priced albums.\nFigure 3: Shakuhachi musician in 2010\nOf course, this is also great for local Japanese musicians, whose works are made more visible and supported in this spotlight, rather than being scattered among the shelves with the general jazz catalog.\nAs a side note, the term J Jazz was also used as the original title of this website. Launched in January 2018, this site was titled “J Jazz: Modern Jazz from Japan”, but I changed the name in January 2022 to “Jazz of Japan” for simplicity and clarity. Also note that sometimes the term J Jazz is used for fusion/groovy funk/dance beats with horns/electronics/loops, or club jazz, but that may be limited to a specific subgenre. For general use here, J Jazz stands for any type of jazz and related music from Japan or by Japanese musicians. There’s also an interesting project called J Jazz: Deep Modern Jazz from Japan, which highlights jazz recordings from earlier generations of jazz in Japan—it looks and sounds great.\nFigure 4: Jazznin magazine in Japan\nFigure 5: Singer Ayako Taira at Yoyogi Naru in 2007\nJ Jazz as a Sub-Genre Another lesser-known, and maybe nonstandard, use of the term J Jazz refers to a specific sub-genre of music with elements of rock, funk, disco, and jazz, usually framed by a club or dance beat and a horn section. This is similar to EDM, dance, or chill-oriented music and is also like the club jazz sub-genre, which itself is very popular with a big audience. But the jazz music that I talk about here is different from the specific club jazz sub-genre.\nIn these articles, I use the term J Jazz in a broader sense to represent jazz and related music from Japan, created by Japanese musicians, and released on albums produced in Japan (these are general guidelines, not strict rules). In most ways, musically, there isn’t a big difference between the music in the general jazz section and the J Jazz section of the record store. The usual styles of jazz such as bebop, swing, hard bop, fusion, contemporary, free jazz, and the like will be found in both categories.\nIn this way of thinking, I don’t consider J Jazz to be a distinct sub-genre of jazz, as there are no defining or limiting musical elements or styles that are distinct from other jazz genres. The difference is that the albums or the albums’ musicians are from Japan. In other words, jazz of Japan.\nJ Jazz and Traditional Japanese Elements Considering the guidelines above, it follows that the jazz of Japan extends beyond music with elements that were deliberately chosen to highlight Japanese influences.\nFor example, J Jazz does not have to feature traditional instruments like shakuhachi flutes, taiko drums, or shamisen. Neither are elements exclusively drawn from traditional dramatic forms like Enka, Noh, and Kabuki works of art. Similarly, J Jazz does not only feature lyrics sung in Japanese or music played primarily using Japanese musical scales.\nOf course, some J Jazz albums here and there may contain some of these (for example, Seiji Endo: Genji Monogatari Volume 1 and Reikan Kobayashi: Gakudan Hitori), but this is not a necessary requirement.\nAt the same time, characteristics often used to define a genre including instruments, musical patterns and phrases, rhythm styles, and the like are not used here. Traits found in general jazz music are also present on J Jazz albums, including improvisation, sense of swing, blues influences, dynamic drumming varied beyond four-on-the-floor backbeats, and so on.\nGiven that there are mostly similarities with general jazz music, is there anything in J Jazz that could be identified as unique? Is there something different about the jazz of Japan, or the sound of jazz created in Japan?\nDefining Jazz Itself is a Challenge For both newcomers and seasoned enthusiasts alike, jazz music can be hard to define. Attempts to do so may initially summon the temptation to list qualities, assign groups and sections, draw boundaries, and define rules and checklists. Inevitably, exceptions to the rules multiply, creating complications and confusing the original guidelines. There have been significant changes throughout jazz history, many different sub-genres of jazz, individual musical styles and innovations, and a great number of unique musicians. What about ragtime, Dixieland, big bands, and swing music? Bossa nova and Latin jazz? Jazz/rock fusion? Straight-ahead, bebop, hard-bop, post-bop, contemporary, modern, progressive, free jazz, avant-garde…\nOn top of this, jazz fans with different impressions and definitions of jazz also span the gamut. Just to pick a few easy generalities, casual listeners may enjoy or even insist on mood-setting instrumental music played as background music at bars or restaurants, while die-hard buffs may memorize and instantly recall obscure details about jazz albums, musician bios, and historical details of famous recordings.\nFor the average person in this day and age, when jazz itself is not the mainstream genre in many countries, exposure to this seemingly exclusive musical form may be limited. Whether drawn to jazz or not, these potential fans may not have many opportunities to hear or learn about jazz.\nSo what is jazz? Striving for as brief as possible, one nutshell description could be “/Jazz is music which is often characterized by a swing beat and musical improvisation/”. This definition is, of course, woefully incomplete (e.g. the swing feel itself is even missing from some modern jazz), but is very brief at least.\nExtending this simply: “/J Jazz is music from Japan and Japanese musicians which is often characterized by a swing beat and musical improvisation/”. But this doesn’t quite capture it all, given that there is so much more to jazz that is difficult to capture in such a brief sentence.\nSo, a better definition may be “/J Jazz is jazz from Japan and Japanese musicians./” It’s short and sweet. But, it could be seen as a facile response that effectively pushes the problem elsewhere, avoiding the challenge of having to define “what is jazz?”. Yet still, it is short and sweet.\nWhat’s Different About J Jazz? The jazz of Japan can be different from general jazz, or it can be the same. As discussed above, the label J Jazz doesn’t refer to a specific sub-genre of jazz, and there are no specific musical characteristics used to classify an album as J Jazz. The main guideline is whether the album’s leader or musicians are from Japan. In most cases, this also means that the record was created and released in Japan, but this is not a strict rule.\nWhat about the qualities of J Jazz?\nSome may initially assume that this is jazz with traditional Japanese elements. Maybe jazz music with culturally J-pop elements like colorful cuteness, or maybe using traditional instruments like wooden flutes and large booming drums (see J Jazz and Traditional Japanese Elements above).\nA useful analogy can be made to the term “European jazz”. Along with signifying “jazz made in Europe”, this term may also imply certain musical qualities including lyrical melodies, classical or chamber-music influences, liberal use of free time, and avant-garde playing.\nSimilarly, jazz records released on the German ECM label may convey “the ECM sound” of spaciousness, ambience, and high-quality audio and production. Of course, such classification limits are not all-encompassing and examples could certainly be found of European jazz with quite different qualities.\nWhat about “American jazz”, or jazz from the USA? Do examples of American jazz share any specific qualities? Soulfulness, swing, groove… authenticity? Can an argument dare to go so far as to call it “authentic jazz”, with credentials of jazz origins based on the different cultures and people contributing and forming genres along the way (and does this mean any jazz made outside of the US is not authentic?) It’s perhaps a risky definition, but perhaps an academic argument could dare to be made.\nWith that in mind and forgivable caveats begged, some generalized qualities of J Jazz could include:\nbased on a serious study of past jazz masters and classic recordings focused on a faithful attention to detail having a strong reverence for famous players and recordings, sometimes to the extent of reproducing specific sounds, styles, and improvisations having a larger general audience familiar with jazz music with more performance venues and opportunities to play jazz often portraying a cultured European jazz sound more than a looser American jazz sound Interestingly, some of these are also qualities that could be applied to many young musicians studying jazz deeply, who often start off along these same paths of compulsively absorbing and studying the famous recordings and methods of legendary jazz musicians. Perhaps the similarities arise from the reverence and exposure to jazz music in Japan, which seems to be more appreciated, accessible, and familiar to the general public.\nAs far as any qualitative musical or sound differences generally ascribable to Japanese musicians, there is nothing that is absolutely true across the board, of course. Perhaps the large number of Japanese people who receive classical piano training or receive music education at school results in a larger number of jazz musicians who build on foundations of high technical ability and musical knowledge. Maybe there are inherent cultural and language differences that naturally influence ways of playing music. Can the way of speaking through words influence how one musically speaks through an instrument?\nAbstract Tangents To extend this question further (and perhaps verging on nonsense), listeners may even relate Japanese jazz to common stereotypes of Japanese culture itself. First-time visitors to the country are sometimes impressed by the cleanliness, politeness, modesty, and high standards of levels of service and tradition. Do these qualities extend to their jazz music too? Is the jazz of Japan clean, polite, or modest? It’s an interesting limb to climb out on, and yet…\nWhat about drawing parallels between the Japanese language and jazz? Some say the language is extremely difficult to learn, with subtle contexts impossible to understand deeply without serious training or lived experience. Do these differences in language and linguistic thinking also influence how jazz in Japan is created? What about the differences in pronunciation? Do accents or innate characteristics of vocal production affect how instruments are played or how lyrics are sung and interpreted?\nThese may be interesting, even objectionable theories, but it’s too easy to get carried away and too far out on a limb.\nIn the end, what matters is the music. Do the listeners like what they are hearing, and do the musicians like what they are playing? If the answer is yes, then it’s good music.\nFinal Impressions Of course, this may all seem quite limited so don’t get the wrong idea. Not all Japanese jazz is the same. While there may be some general impressions that listeners get from a first exposure to Japanese jazz, hopefully, these impressions result in a good time with amazing music in all its varied qualities, leaving listeners wanting to know more and hear more jazz of Japan.\nMy own impressions of Japanese jazz have been gathered through attending countless live performances as a member of the audience. Often, at many of these events, I’m able to meet and speak with the musicians personally. In addition, I’ve attended many jazz jam sessions, where amateurs and professionals gather to play standard songs together for practice and for fun. Based on these experiences, to the above naturally incomplete list of qualities, I would add these personal impressions: the jazz of Japan is impressive, supportive, humble, challenging, amazing, friendly, and most of all, music that swings, swerves, lifts, surprises, and makes you feel good to hear it.\nFigure 6: Pianist Yuichiro Aratake at Independence in 2008\n","permalink":"https://mirror2.jazzofjapan.com/whats-j-jazz/","summary":"\u003cfigure\u003e\u003ca href=\"L1060938-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1060938-1024.jpeg\"\n         alt=\"Figure 1: Singer Rie Taguchi\u0026rsquo;s Birthday Live at Satin Doll in 2013\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eSinger Rie Taguchi\u0026rsquo;s Birthday Live at Satin Doll in 2013\u003c/p\u003e\n        \u003c/figcaption\u003e\n\u003c/figure\u003e\n\n\u003ch2 id=\"what-s-j-jazz\"\u003eWhat’s J Jazz?\u003c/h2\u003e\n\u003cp\u003e\u003cem\u003eJ Jazz\u003c/em\u003e, or Japanese Jazz, is a classification label found in sections of some record and CD shops in Japan. These are sections that record stores use to spotlight and organize albums from Japanese jazz musicians. By separating the Japanese artists’ albums from the general jazz section, both local and overseas customers who are visiting Japan can more easily find unfamiliar Japanese jazz albums.\u003c/p\u003e","title":"What's J Jazz?"},{"content":"As a companion piece to the previous article on Hideaki Hori’s /Horizon/, this follow-up post introduces the pianist’s recent solo album Melodies for Night \u0026amp; Day from 2022. Posting about the same musician in succession here is rare but somewhat appropriate, as this new album also pairs well with the pianist’s debut album from the previous article, marking a twenty-year milestone and a total of twenty albums released under his name in those years.\nReleasing twenty albums as a leader and many more as a sideman (with groups like Paris Match, M-Swift, and Dreams Come True, and musicians like saxophonist Wataru Hamasaki, trumpeter Hikari Ichihara, vocalist Maki Fujimura, and many others) is certainly prolific. In fact, since Melodies for Night \u0026amp; Day, Hori’s also released a new duo album with bassist Yosuke Inoue several months ago, and there are rumors of a new trio album in the works for next year.\nThis milestone album is also his first solo piano album. It is a two-disc release with a “day side” and a “night side” featuring twenty songs (that magic number again), ten each of original compositions and covers. Hori combines swing, bebop, ballads, and some pop tunes on these originals and covers, with virtuosic skill incorporating familiar, perfectly interpreted melodies, unendingly fluent improvisation with naturally-timed chord layers and bass line figures adding fullness and variety.\nFor this album, Hori selected always-pleasing jazz standards like “How High the Moon”, “Taking a Chance on Love”, “Moon River”, and “Just One Of Those Things”. These familiar tunes provide a comfortable, relaxing setting for Hori’s extremely tuneful and musically pleasing piano playing, always honoring the music while seeming to inhabit the ears of the listeners to know what to play and when for maximum enjoyment. Sting’s “Englishman in New York” even gets the Hori solo piano treatment, played here with a wistful, light pop touch that carries you along effortlessly.\nNestled among these covers are Hori’s original compositions including his uplifting “A Song for U_U”, a nostalgic “Seascape From the Nossapu”, a heartful “Prayer for Peace”, and a frisky “Rough Sketch”, all album highlights each with their own distinct personalities. He even incorporates the sound of his Encounter quartet on solo piano with his band’s energetic live favorite “Traveler”.\nThe pianist’s reflective liner notes, translated below, go into greater storytelling detail about his personal history, how this album came about, and what it means to him.\nLiner Notes (Translated from Hideaki Hori’s original Japanese liner notes.)\nTwenty years have passed since I released my first leader album in 2003. This album is my twentieth album released since then. Considering the important milestone of twenty years, I decided to face the music and the piano directly and alone for this solo piano album.\nIf I recall correctly, I first encountered jazz when I was fifteen years old. I was playing on the Yamaha Electone and synthesizers during my junior high school days, and I was fascinated by the cool interludes and instrumental solos in J-pop and other music. I started to gradually listen to instrumental music, immersing myself in T-Square, and from there the fusion music from the Western world as my interests expanded, captivated as I was by the beautiful complexity of the Yellowjackets. As I traced back the roots of that music, I arrived at the straight-ahead jazz of Bud Powell and others. I was amazed by the cool rhythms of swing, and thought “I shouldn’t be playing electronic instruments now… I have to play acoustic piano!”. I decided to change and become a pianist.\nHowever, the house where I lived at the time not only didn’t have a piano, there was not even space to put a piano, so I was practicing on electric piano and headphones every day. For someone like me without classical piano training, the keyboard looked the same as a piano, but the piano itself was still an unknown instrument. “What are these three pedals at my feet!?” To solve the mystery of the piano, I would go to the high school music room, sit next to classmates who were practicing classical piano, and I would study their playing methods.\nAs I practiced on that same piano, a member of the student group for popular music overheard my playing and invited me to join the band. Of course, there wasn’t even one band playing jazz, so naturally, I ended up playing in rock bands as well. But I wanted to play solos freely like in jazz, and when I played an organ solo with my own ad-libbed melody line in the middle of a Deep Purple song, the band members told me “That’s not right, just play the Jon Lord phrase exactly as is”, so…\nI realized that it would be difficult to play jazz in a popular music student group, so I searched the “musicians wanted” pages in a jazz magazine, made some contacts, and decided to begin a jazz band of high school students outside of school. (By the way, the people who gathered at the time were Mamoru Ishida/piano, Satoshi Izumi/guitar, Shinnosuke Takahashi/drums, and Yuji Kawamoto/bass. These musicians have all become indispensable in the current Japanese music scene.)\nEvery day, returning home from school, I would go to a music store in front of the station and have a session with the clerk and piano instructor Shintaro Ohashi. Then at home, I would do nothing but practice. This was probably the period in my life up to now that I practiced the most.\nIn this way I spent my early 20s practicing acoustic piano, becoming able to play jazz to a certain extent, and got a fair amount of performance work in front of audiences.\nOne day, a senior musician gave me some great advice. “Your piano, well, it sounds like the way you’d play a keyboard. What if you studied more of a pianistic way of playing the piano?”\nThose words completely opened my eyes.\nFrom that day on, I started to consciously focus on tonal control of the piano.\nI would transcribe (write down the score) of the piano solos of jazz legends, and when I could play them, I would make simple recordings myself. I would study the piano touch, dynamics, and use of space in my recordings and the legends’ recordings, trying to match their sound to the fine details. I would sit next to pianists who played beautifully and watch them, trying to imitate their hand formations. I struggled in a lot of unclear ways, trying to practice anything I could think of.\nAround my late 20s, I was performing at a concert hall and went offstage after the first half. That day’s piano tuner spoke to me with a calm voice, saying “There are several piano players I support because I like their piano tone and their manner of playing. Hori, today, you entered that group.”\nEver since then, that person has become an essential part of my recording and performances: the piano tuner Hideo Tsuji.\nIt was an honor to receive such a sentiment from Mr. Tsuji on that day, and it really gave me confidence. The days that followed were interesting. I wasn’t sure if I could play the piano tuned by Mr. Tsuji to the best of my ability. How can I play this piano to bring out its best tone? From there, I learned the answer from the instrument, the piano itself. As I became able to understand how to play the inherent range of tones in the piano, I realized further how wonderful Mr. Tsuji’s tuning was.\nIn this way, for me, a person who never received classical piano training, my real teacher became the piano. What made me realize this was my superb piano tuner.\nA few years ago, Mr. Tsuji said to me, “Hori, the time to record a solo piano album has arrived.” When I asked him what piano I should use, he answered “Steinway, right?”.\nFor this solo piano album, I used a special piano owned by tuner Takagi, a model called “Newburg”. It was given that name due to being a Hamburg Steinway with portions of a New York Steinway inside. This piano has a different feel from any other piano I’ve played, requiring quite a delicate touch with a corresponding range of tonal expression to a surprising degree. I completely fell in love with it.\nWe recorded 20 songs in about half a day. It seems like the number 20 is linked by fate everywhere this time (laughs). It’s a two-disc set including standards, newly-written original songs, and rearranged compositions, played at will as the moment took me. I hope that this music can gently accompany you for a long time in your precious moments.\n(Hideaki Hori)\nMelodies for Night \u0026amp; Day by Hideaki Hori Hideaki Hori - piano Released in 2022 on Orbit Records as ORG-1006.\nJapanese names: 堀秀彰 Hori Hideaki\nAudio and Video Promotional video for this album: Hideaki Hori with Encounter on “Traveler” in 2021: Hideaki Hori with Encounter on “Traveler” in 2011: Excerpt from track #5: “A song for U_U” ","permalink":"https://mirror2.jazzofjapan.com/hideaki-hori-melodies-for-night-day/","summary":"\u003cp\u003eAs a companion piece to the previous article on \u003ca href=\"https://www.jazzofjapan.com/archive/hideaki-hori-horizon\"\u003eHideaki Hori’s \u003c/a\u003e/\u003ca href=\"https://www.jazzofjapan.com/archive/hideaki-hori-horizon\"\u003eHorizon\u003c/a\u003e/, this follow-up post introduces the pianist’s recent solo album \u003cem\u003eMelodies for Night \u0026amp; Day\u003c/em\u003e from 2022. Posting about the same musician in succession here is rare but somewhat appropriate, as this new album also pairs well with the pianist’s debut album from the previous article, marking a twenty-year milestone and a total of twenty albums released under his name in those years.\u003c/p\u003e","title":"Hideaki Hori: Melodies for Night \u0026 Day"},{"content":"Jazz pianist Hideaki Hori kicked off his recording career 20 years ago, and it all started with this debut album Horizon from 2003. Since then, he’s released another 20 albums as leader in his nearly 30-year career under his own name or as the group “Encounter” with saxophonist Wataru Hamasaki. As a session musician and recording partner, Hori has also played on more than 160 albums for many notable Japanese and international acts including “Dreams Come True”, “Paris Match”, Eddie Henderson, Mabumi Yamaguchi, and many others. It’s an impressive resume for an accomplished pianist who’s still actively playing live music somewhere in front of an audience almost every day.\nThe nine tracks on Horizon are roughly split between a piano trio and a quartet formation which adds tenor saxophone player Hideki Kawamura. The core trio itself, with Hori and bassist Tetsuyuki Kishi, is also of two forms, with drummers Manabu Hashimoto and Noboyuki Komatsu sharing rhythm duties on different songs. Each drummer’s distinct touch adds even more dynamic variety to the album as the trios and quartets switch up members.\nFrom the starting gate of the first track “Spinning”, the quartet bursts out with a supreme John Coltrane energy, giving a first impression of unrelentingly hard-driving modern jazz music. From track two on, the energy is moderated somewhat, with Hori’s original compositions varying between mid-to-uptempo swing and ballads with contemporary jazz with a bright, positive, and most importantly fun feeling throughout. The “Giant Steps”-inspired final composition “Giant Stride” (Coltrane’s influence appearing again) bookends the high-energy first track with another exciting take, imprinting thrilling, attention-grabbing moments on the way out.\nDespite being his first album, Hori is definitely in the zone on Horizon, comfortably and confidently launching his recording career on solid footing… not to mention his nimble fingers, jazz fluency, and unflagging spirit. It’s authentic, jazz-loving music that feels right in place as a great example of Japanese jazz releases from the last twenty years.\nLiner Notes (Translated from the original Japanese liner notes written by Hideaki Hori.)\nSpinning This was written for the Teganuma Jazz Festival held in 2002. While playing with Shinnosuke Takahashi (drums), this is a work that I explored and interpreted in my own way. It’s a complex piece in 15/4 time.\nThree Pieces For Happiness I remember spending such an enjoyable time with the members of a great trio who came from New York. This is the first song I wrote out of the nine songs on this album.\nPretty Eyes A piece that shines with Nobuyuki Komatsu’s (drums) sensitive drumming. It’s a song that I wrote in about thirty minutes, and I think I was able to express the melody that came out of me honestly.\nFull Moon This title came about because the song was first played on the night of a full moon. Within the difficult 7/4 time signature, there is a sense of melancholy heard in the melody… it’s that kind of song. Hats off to Manabu Hashimoto (drums) and his large-scale time sensitivity.\nThe Words of Mr. Kenny K. A song dedicated to Kenny Kirkland (piano) whom I greatly admire and respect. The title comes from the words he left alongside his autograph at one of my shows when he came to Japan. This also was written while I was studying his composition methods and usage of notes, so it also has the meaning of “Mr. Kenny K’s manner of speaking” as well. This is my favorite among all my pieces, and no matter how many times I play it, it still feels fresh as if I am playing it for the first time.\nScene One When I wrote this song, it was often the first song I played at live shows, so that’s how this title came about. Hideki Kawamura’s (tenor sax) solid and mellow sound fits this song very well.\nSliding Doors I wrote this piece because I wanted to try to create a mysterious song with sort of a bebop or free jazz feeling. The solo part is a normal blues progression, but when you peel it back, the theme continues to flow as a motif.\nThe Horizon, You Can See This song was written for a friend who is currently battling against an illness. I wanted to express my friend’s pure heart in sound. This song, composed in rubato throughout, would not have been possible to express without the presence of Tetsuyuki Kishi (bass).\nGiant Stride I tried to interpret the famous tune “Giant Steps” (John Coltrane) in my own way. I used the original song’s melody as a bass line for this song and created a new chord progression, on top of which I played a modified version of the original melody as a motif. As expected, Hideki Kawamura (tenor sax) performed this challenging piece enthusiastically at first sight.\nA few years ago at a year-end performance after party, alto saxophonist Shinobu Ishizaki (石崎忍) said “The goal next year is for each of us to write one original song!” I have a feeling that this was entirely the impetus for making this album. Although I have been involved somehow or other in writing music since I was a child, this was the moment that I consciously started to work seriously on composing.\nTaking this opportunity, began to put my energy into composing music in parallel with performing. I gradually accumulated songs that I liked, songs popular with the group members, and songs for people who don’t know much about jazz. And now, with this music, I want to express my current sensibilities and preserve them in this recorded sound.\nThe group members who performed on this album are the youngest and the most active in Japan’s jazz scene. Above all, they understood my songs 120% and breathed life 200% into them. They are truly the best members. I want to thank these four from the bottom of my heart. Thank you!\nThe recording was made in one room with one take each. All nine songs were completed in a day.\nThis album was completed with the kindness and cooperation of many people. I’m grateful to those who have strengthened me, advised me, and inspired me. To these so many people, I can’t express my appreciation enough.\nPlease take your time and enjoy listening to the footprints of 23-year-old Hideaki Hori.\nJanuary 10, 2023, Hideaki Hori\nHorizon by Hideaki Hori Hideaki Hori - piano Tetsuyuki Kishi - bass Manabu Hashimoto - drums (#1, 4, 5, 8) Nobuyuki Komatsu - drums (#2, 3, 6, 7, 9) Hideki Kawamura - tenor sax (#1, 2, 6, 9) Released in 2003 on BQ Records as BQR-2022.\nJapanese names: 堀秀彰 Hori Hideaki 岸徹至 Kishi Tetsuyuki 橋本学 Hashimoto Manabu 小松伸之 Komatsu Nobuyuki 河村英樹 Kawamura Hideki\nAudio and Video Live trio performance of “Stop \u0026amp; Go” from 2011: Excerpt from track #7: “Sliding Doors” ","permalink":"https://mirror2.jazzofjapan.com/hideaki-hori-horizon/","summary":"\u003cp\u003eJazz pianist Hideaki Hori kicked off his recording career 20 years ago, and it all started with this debut album \u003cem\u003eHorizon\u003c/em\u003e from 2003. Since then, he’s released another 20 albums as leader in his nearly 30-year career under his own name or as the group “Encounter” with saxophonist Wataru Hamasaki. As a session musician and recording partner, Hori has also played on more than 160 albums for many notable Japanese and international acts including “Dreams Come True”, “Paris Match”, Eddie Henderson, Mabumi Yamaguchi, and many others. It’s an impressive resume for an accomplished pianist who’s still actively playing live music somewhere in front of an audience almost every day.\u003c/p\u003e","title":"Hideaki Hori: Horizon"},{"content":"Tokyo jazz club Lydian quickly entered the list of favorite places to listen to live jazz that had opened in the past decade. This jazz spot took a listener-friendly approach and created a completely enjoyable experience with great audio and lighting. Lydian was in business for about seven years, steadily gaining traction with local jazz musicians and fans until closing down earlier this year.\nFigure 1: Saxophonist Ayumi Koketsu and pianist Akane Matsumoto speaking between songs at Lydian in 2017\nLydian is simple and neat, professionally but not uncomfortably quiet, with prime recorded jazz music playing before the live music starts. The room is nice and organized, more like a low-key mini concert hall than a bustling bar or cacophonous club.\nThe wide stage with its glossy black piano takes up one end of the room and is dramatically bathed in neon blue lights and dark colors. From the stage, tidy rows of chairs and tables fill up the space like theater seating. The impression is that of high-quality, even polite, recital-hall listening, with a feeling that something special will be created by the night’s performance, something exciting and improvised, sophisticated and comfortable.\nFigure 2: View from the room\nAlso resembling a theater experience is the pay-as-you-enter system near the entrance (compared to restaurant-style billing at the end), where you can purchase a drink on your way in. There are no full meals, but small bites like quiche or cake may be available depending on the day.\nFigure 3: Emiko Voice and pianist Phillip Strange at Lydian in 2018\nThe interior of Lydian is straightforward and easy to settle into. There are few distractions, with no jumble of flyers, posters, or flashy decorations to take the focus away from the music. Non-drinkers may also appreciate that Lydian, not being a typical jazz bar, creates less pressure to order drink after drink (although, alcoholic drinks are certainly available). In addition, the shows start and end relatively early, so there’s not much risk of staying too late. After the performance is over, there are often opportunities for chatting with the musicians or other customers and taking photos.\nFinally, in addition to live performances, Lydian’s calendar also included jam sessions, workshops, and lectures on jazz topics organized by the owner Takao Nagakawa, who at the same time published over a hundred issues of a popular jazz-oriented newsletter.\nFigure 4: Vocalist Akiko Suda and pianist Yuichi Narita performing at Lydian in 2019\nAs for the mysterious-sounding name Lydian, jazz musicians will likely recognize this from a specific musical scale, a mode or version of the major scale with a raised fourth, like the sound of playing the white keys on a piano from F to F. This characteristic sound is said to be expansive, dreamy, and uplifting, just to pick a few examples. These are the types of harmonious qualities were also shared by the modern jazz club Lydian and the music that was performed there for a while.\nFigure 5: Pianist Yukako Yamano and bassist Yuuki Nakano kick off a Lydian jam session in 2018\nFigure 6: Welcome to Lydian\nOther Links Archived website snapshots\nSmall collection of live performance videos\n","permalink":"https://mirror2.jazzofjapan.com/lydian/","summary":"\u003cp\u003eTokyo jazz club Lydian quickly entered the list of favorite places to listen to live jazz that had opened in the past decade. This jazz spot took a listener-friendly approach and created a completely enjoyable experience with great audio and lighting. Lydian was in business for about seven years, steadily gaining traction with local jazz musicians and fans until closing down earlier this year.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1170006x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1170006x-1024.jpeg\"\n         alt=\"Figure 1: Saxophonist Ayumi Koketsu and pianist Akane Matsumoto speaking between songs at Lydian in 2017\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eSaxophonist Ayumi Koketsu and pianist Akane Matsumoto speaking between songs at Lydian in 2017\u003c/p\u003e","title":"Lydian"},{"content":"Trombonist Nanami Haruta’s debut release II from 2022 is another great example of new jazz albums from new players that keep flowing to the hands and ears of eager fans. Haruta, a young player who has been making an impact in the Japanese jazz scene, has been frequently featured as both leader and guest member at various live shows. In addition to this debut, she has also participated in other recent recordings such as 64 Charlesgate (2022) and For My Lady (2023).\nAs foreshadowed by the album’s opening with a stage-setting deep bass solo, this album is quietly tenacious, and the music initially settles in subtly but quickly sinks its hooks in. The compositional variation, the exciting instrumental solos and tradeoffs, and some brief moments of dual improvisation and free chaos, all contribute to the high repeatability of this package, tempting you back to play it again.\nThrough fifty minutes and seven tracks on II, the modern swing rhythms, melodic lines, and structural elements briefly give hints of 1950s and 60s Blue Note sounds, with its dynamically-charged drum palettes and bass grounding, cutting-edge piano framing, and captivating horn lines, recalling the hard bop albums from Lee Morgan, Kenny Dorham, and other jazz messengers.\nAs a trombone leader’s debut album, it’s probably no surprise that the influence of the great jazz trombonist J. J. Johnson is also evident, particularly on Johnson’s beautiful tune “Lament”, a pensive ballad played with genuine feeling by Haruta and the quintet. This ballad, along with Strayhorn’s “Day Dream”, provides lovely slower moments that are set against the other higher-energy tracks. These five tracks are invigorating and memorable, with a hard bop swinger, a cheerfully funky groover, a mysteriously see-sawing tune, a punchy uptempo ride, and a wild boiler. Through it all, each musician gets ample space to improvise and show their stuff.\nOf course, as the group leader, Haruta is featured, as is her solid composition “1965” which opens the album (saxophonist Akihiro Yoshimoto also contributes three excellent originals). But Haruta’s spotlight is not at the expense of sidelining the other amazing players in the quintet. Mayuko Kamakura on piano, Yoshimoto on sax, Takumi Awaya on bass, and Shun Ishikawa on drums are given plenty of time to shine as well. This all pays off with a front-to-back jazz album that fits together wonderfully with satisfying dynamics.\nAs for the potentially confusing title of II, this may be a bit of a head-scratcher for a debut album. If this stands for “2” in Roman numerals, it would be an unexpected title for a first release. Or, is this a reference to the second-decade milestone mentioned in the liner notes? Could II signify something else, maybe not a numeral meaning at all? An uppercased romaji translation of the Japanese word ii (いい) meaning good, all right, and such? Or, internet slang for “I’m Impressed”? Or maybe, when represented as extended index and middle fingers counting “two”, indicating the peace sign often seen in selfies and group photos? Or maybe it’s an inside joke, or someone’s favorite number. Maybe we’re not meant to know, and that’s all right. Either way, I’m definitely impressed.\nLiner Notes (Translated from the original Japanese liner notes written by Kouichi Nishimatsu, executive producer.)\nThoughts on II by Nanami Haruta.\nI first met Nanami Haruta on November 20, 2020, at Shinjuku Pit Inn when she was a guest member in the horn section for Yoshiaki Masuo (増尾好秋) MAGATAMA “Cheer for Art! Stage Setup” photography shoot.\nMy first impression was of someone cute who didn’t look like a real trombone player. But when I heard her playing, it was truly powerful, a delicate and wonderful performance. Because I was busy with work on that day, I wasn’t able to speak to her for very long, but ended up going to her concerts several times after that.\nAround that time, Yoshiaki Masuo’s individual project “ONE WORD” was selected for the same “Cheer for Art!”, and we spent days at my studio recording and mixing. Originally, the company’s studio was used exclusively for English healing teaching materials, radio commercial narration, and the like. However, this project led me to start recording music as well.\nWhich led me to ask Nanami, “Why don’t you make an album?” At first, she didn’t seem interested, but at some later performance Nanami said to me “Well, I think I’d like to make an album!” Nanami was only nineteen years old at the time, and I had always wanted to try producing an album from start to finish. So when she asked me “Can I leave everything up to you?”, I said “Yes”, and that was how the project started.\nAnd, Yoshiaki Masuo. It goes without saying that Masuo is a world-class jazz guitarist. He even owns a studio in New York and has been involved in producing jazz music for twenty years. Having listened to Masuo’s guitar countless times and assisting him with performance activities in Japan, I thought I would love to play a part in his music production as well. I asked him to help, but Masuo’s stay in Japan was short and he was busy with live events at the time, so he had to firmly decline…at first. But after repeated requests, he agreed to help. And this was the moment that this project took on even more depth and substance.\nFirst of all, the album concept. It was to be “The milestone of 20 years of age, with gratitude to the mentors who supported me in my hometown of Sapporo.” We started out focusing on slow ballad standards. After several meetings, we decided to focus on original songs. [For her ballad-centered album, see For My Lady from 2023.] Nanami Haruta’s “1965” became the first song on the album, and Akihiro Yoshimoto (tenor sax) graciously supplied three songs.\nNext, the members. Nanami assembled some of the best young players in the world of young jazz today: Akihiro Yoshimoto (tenor sax), Mayuko Katakura (piano), Takumi Awaya (bass), and Shun Ishiwaka (drums). And in search of the best sound quality, we visited several Tokyo recording studios equipped with pianos. In the end, through introductions from Masami (Sam) Toyoshima (豊島政美), who designed the Beatles’ famous Abbey Road Studios and Victor Studios, we ended up recording at Victor’s Aoyama Studio.\nOn the day of the recording, November 29, 2021, we completed seven songs in a single day under the supervision of New York-trained Yoshiaki Masuo. Mixing at the company studio would start the following week. We spent many full days carefully mixing each song over three months. Mastering was completed using an analog open tape recorder.\nThis album was brought about through Nanami Haruta’s gathering of the best musicians, the best music, and the best creators, resulting in an amazing product. It’s not just for listening in one place, and whether on mobile devices, audio systems, or in different environments, you are sure to discover something new each time you listen. She is now twenty-one years old, as it took over a year of careful work to complete this album. Please, thoroughly enjoy Nanami Haruta’s first album II.\nKoiuichi Nishimatsu (Music Stylist) September 23, 2022\nII by Nanami Haruta Nanami Haruta - trombone Akihiro Yoshimoto - saxophone Mayuko Katakura - piano Takumi Awaya - bass Shun Ishiwaka - drums Released in 2022 on Media Stylist as MSC-9020.\nJapanese names: 治田七海 Haruta Nanami 吉本章紘 Yoshimoto Akihiro 片倉真由子 Katakura Mayuko 粟谷巧 Awaya Takumi 石若駿 Ishiwaka Shun\nAudio and Video Promotional video for this album: Live trio version of “Lament”, track #5 on this album: Excerpt from track #1: “1965” ","permalink":"https://mirror2.jazzofjapan.com/nanami-haruta-ii/","summary":"\u003cp\u003eTrombonist Nanami Haruta’s debut release \u003cem\u003eII\u003c/em\u003e from 2022 is another great example of new jazz albums from new players that keep flowing to the hands and ears of eager fans. Haruta, a young player who has been making an impact in the Japanese jazz scene, has been frequently featured as both leader and guest member at various live shows. In addition to this debut, she has also participated in other recent recordings such as \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/akihiro-yoshimoto-quartet-64-charlesgate\"\u003e64 Charlesgate\u003c/a\u003e\u003c/em\u003e (2022) and \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/akane-matsumoto-nanami-haruta-for\"\u003eFor My Lady\u003c/a\u003e\u003c/em\u003e (2023).\u003c/p\u003e","title":"Nanami Haruta: II"},{"content":"Akane Matsumoto’s solo piano album Little Girl Blue from 2022 is full of good moods and good vibes, definitely different from any downcast implications that the album title may imply. A comfortable 42 minutes of traditional jazz standards from the 1930s-60s, this is feel-good music, happy jazz with a heartfelt beat, and even the most melancholy song, “Too Late Now”, is more likely to evoke a wistful smile than sorrowful tears.\nAs the music hops along through the tracks, many lighthearted, expressive, pretty, and sweet moments emerge, as Matsumoto mixes rubato passages, mid-tempo swing grooves, and joyful touches of stride piano and blues to keep toes tapping and spirits buoyed. For melodic and catchy choices, the music of the influential Richard Rodgers is prominently featured on three tunes: “Little Girl Blue”, “Spring is Here”, and “My Romance”.\nThe final tracks in particular (“My Romance”, “Sugar Ray”, and “Hymn to Freedom”) are upliftingly brimming, and also shine a light on two more of Matsumoto’s piano heroes, Phineas Newborn Jr. and Oscar Peterson. Peterson’s music is featured with two songs (the lovely “Laurentide Waltz” and “Hymn to Freedom” with its bursting fireworks of spirit) and is regularly heard at Matsumoto’s live shows as well. As for the stained-glass ornateness of Phineas Newborn Jr.’s “Sugar Ray”, Matsumoto brilliantly uses the music’s rhythmic shifts, bass thumps, and flowing licks to evoke the distinct parts of a piano trio alone on solo piano. Incidentally, true to form, Akane Mastumoto’s first album was called “Falling in Love With Phineas”, an album that was recorded while she was still in her teenage years.\nThe simple black-and-white of the album design featuring line art illustrations is also worth mentioning. Definitely a far cry from typical jazz album covers conveying smoky coolness and serious expressions, Little Girl Blue highlights another side of pianist Akane Matsumoto. Her visual artistry with simple, honest drawings stands apart from other more reserved or attitudinally imposing covers… including her own more glamorous album covers as seen on this album’s obi. In addition to the old-fashioned scene of happy bunnies with flowers and a gramophone on the cover, the inside booklet contains more illustrations from the pianist with bunnies surrounded by favorite books, balloons, or flowers, and cooking, playing, or traveling while wearing fancy clothes.\nMatsumoto’s musical art is perhaps of a kind with these detailed black-and-white drawings, as the intricate fluidity and good-natured warmth of her spirit are also given life through the black-and-white keys of her piano. In both mediums, the soft lines, gentle shading, and nimble accents of Matsumoto’s art overflow with optimism and expressiveness, wide-armed and embracing the world.\nLiner Notes (Translated from the original Japanese liner notes written by Akane Matsumoto.)\nLittle Girl Blue/Richard Rodgers I chose this song to be first on this solo album. I learned that this song had such a cute verse section at a performance of the great Mulgrew Miller, someone who passed away much too soon. I saw Mulgrew in 2011 at the Monterey Jazz Festival, and I remember the impact that his live performance had on me. He had such a power of expression, an exquisitely balanced fusion of traditional and modern elements — a poetic spirit filled with details of technical playing. He was truly a star player, always exciting the audience and bearing a grand atmosphere. Offstage, as he greeted the audience politely, he was a model of gentlemanly behavior. I still carry the photo that we took together in my notebook as if it were an amulet.\nSophisticated Lady/Duke Ellington When I was in high school, I was called to the principal’s office just because I was playing jazz (tears). But some adults understood me. For example, my homeroom teacher in my third year of high school. Once, during a one-to-one lesson, I was asked “Do you like Sonny Clark?”… I was surprised!\nMy teacher, who listened to jazz at home on big speakers, said that there was a jazz cafe in Tokyo that they wanted to go to someday. After I graduated, my teacher still continued to support me, even coming to my concerts with bottles of sake (laughs).\nAs for this song, I’ve heard that Ellington wrote it for a wonderful female teacher whom he admired in his student days. This is one of my favorite songs, and it reminds me of my homeroom teacher.\nLaurentide Waltz/Oscar Peterson Canadiana Suite, composed by Oscar Peterson for his homeland of Canada. This especially is a song that I love, love, love, and I’ll certainly still be playing it until I’m an old lady. Many of Peterson’s originals have a classical music atmosphere, yet within this element, the music can still be taken to bluesy places. Such is the worldview of Peterson. This is a secret masterpiece that combines elegance and fun. I’m happiest when I’m playing this song, and also when I go to bed at night (laughs).\nSpring Is Here/Richard Rodgers When I was a child living in Tottori and my father would come home from somewhere with butterbur in hand, every year I would think “Ah, spring is here.” This song evokes a mysterious scene as if the deathly silent winter’s return has ended, and little by little life slowly begins to move towards spring.\nWhen studying classical music, I especially feel the importance of imagination: “Right now, for the scene you are playing, what can you see?” Kind and lonely. Warm and frightening. Even small things, it doesn’t matter. The important thing is to ask yourself “what” do you want to express of yourself. Even when performing jazz or freely improvising, something I value highly is asking myself, it is musical?\nFor Heaven’s Sake/D.Meyer-S.Edwards-E.Bretton I really like rainy days. Not only do I like the sound of rain, but also I feel that I don’t need to try too hard on rainy days. On such days, I like to listen to the duo album from Kenny Barron and Charlie Haden [/Night and the City/, 1998]. And the beginning of this album includes this song, “For Heaven’s Sake”. It sounds so dazzling and fresh. I really admire the hidden brilliance drawn out to the ultimate degree in Kenny Barron and Charlie Haden’s marvelous performance. Even if just a little bit, even if slowly, aim for such heights as these two.\nToo Late Now/Burton Lane Life as a musician has completely changed due to the global pandemic. For months, I haven’t been able to perform in front of people or to perform together with anyone. Performing our favorite music with our favorite musicians every day, and sharing this joy together with jazz lovers, has all but disappeared from our daily lives. For us, this distress was more painful than the financial hardship. In the midst of that, I received as a gift a CD from a fan who worried about and encouraged me in various ways. The title song from that album is this song, “Too Late Now”. While I may be a very weak person in some ways, because of the kindness of you all I’m encouraged to never lose heart.\nMy Romance/Richard Rodgers As you all surely know, when one mentions Richard Rodgers, you must remember singing the “Do Re Mi” song in elementary school music class. In “My Romance”, a song loved by all, you can also hear the “Rodgers knack” for using scales skillfully.\nWhen I was in elementary school, I hated music class. The reason was that I didn’t want to be made to sing in front of others (laughs). Even at the music school I attended I stubbornly refused to sing, and I, and only I, was made to stay behind for detention lessons — a weekly routine. I still love my teacher to this day, but I remember at the time not being allowed to go home until I sang, so I would reluctantly do so while staring at my feet.\nI never dreamed that I would become a professional musician, playing the piano in front of people almost every night. (But actually, even now I’m still not very comfortable playing in front of people (pained smile)).\nSugar Ray/Phineas Newborn Jr. Phineas Newborn Jr. (one of my idols since I was a child), started playing on an old upright piano at his school. Although it was in poor condition, it seemed that he could make it sound like the brilliant resonance of a Steinway. It’s something he can do because of his deep knowledge of “a beautiful sound”, his precise technique, and his ability to instantly grasp the condition of the instrument and draw out the best parts. It’s exactly like the saying “A good workman never blames his tools.”\nI love this anecdote. As I played different pianos in different places every day for work, I started to enjoy seeing how quickly I could become friends with any particular piano, no matter what it was.\nThe title of this song refers to Sugar Ray Robinson, the greatest boxer of all time. In a piano trio format, this hit song is funky and catchy and highlights each instrument. Here, I have daringly attempted it on solo piano. With Love to Phineas.\nHymn To Freedom/Oscar Peterson My grandfather was interned in Siberia for four years after the war. He would often say “There’s no night that doesn’t end.” [“It’s always darkest before the dawn,” or “There’s a light at the end of the tunnel.”] The more I thought about my grandfather living under such unimaginably harsh conditions for four years, the more I felt the weight of his saying. This is something that always inspires me in these uncertain times.\nThis song was written during the civil rights movement, and it must have become a great support to all the people who were trying to regain the freedom that is often taken for granted. This is a powerful message from Peterson, a wish for a peaceful and free world.\nLittle Girl Blue by Akane Matsumoto Akane Matsumoto - piano Released in 2022 on Concept Records as CR-14.\nJapanese names: 松本茜 Matsumoto Akane\nAudio and Video Promotional video for “Little Girl Blue”, track #1 on this album: A live version of “Sugar Ray”, track #8 on this album: Excerpt from track #3: “Laurentide Waltz” ","permalink":"https://mirror2.jazzofjapan.com/akane-matsumoto-little-girl-blue/","summary":"\u003cp\u003eAkane Matsumoto’s solo piano album \u003cem\u003eLittle Girl Blue\u003c/em\u003e from 2022 is full of good moods and good vibes, definitely different from any downcast implications that the album title may imply. A comfortable 42 minutes of traditional jazz standards from the 1930s-60s, this is feel-good music, happy jazz with a heartfelt beat, and even the most melancholy song, “Too Late Now”, is more likely to evoke a wistful smile than sorrowful tears.\u003c/p\u003e","title":"Akane Matsumoto: Little Girl Blue"},{"content":"Duo is the latest album from trumpeter Shinpei Ruike and pianist George Nakajima, two Tokyo-based jazz musicians who hail from the same area in northern Japan, along with many of the people who helped to create this recording.\nLike their previous release N.40° (a reference to their mutual hometown of Hachinohe), the music on Duo is atmospheric, moody, and mostly dark. The sound of Ruike’s trumpet is extremely evocative and textured. Like colors from a paint pallet, he mixes tones from husky to muted to bell-clear as his inspiration unfolds. Layers of emotion surface and mingle in his trumpet sound, as captivating as an audible patina cultivated through age and exposure like the surface of a brass horn.\nPerhaps influenced by their bonded background, the flow and time sensitivity between Ruike and pianist Nakajima seems innately linked. The two musicians have a sense of how to slightly stretch and subtly bend time as they play, yet they lock into rhythms naturally, without falling off the tracks.\nDuo is overall a melancholy affair, with most songs taken at a slow and serious pace. This is an album that sets a scene of deep contemplation for a listener, whether they are fully absorbing the music or setting it as an unobtrusive aural backdrop. If this music were interpreted as love songs, it would be love laced with pain, as loneliness, longing, or memories keep a vulnerable flame of hope alight and protected.\nWith eleven tracks running for about an hour, the majority of songs are interpreted covers of music from artists including Paul Motion (“Blue Midnight”), Miles Davis (a free-range “Bye Bye Blackbird”), Duke Ellington (“In A Sentimental Mood”), and Antonio Carlos Jobim (“Luiza”). Personal highlights include the beautiful and slightly painful “Amarilla Flor” from Luis Alberto Spinetta and the pushed-through-the-horn, breathy sound on “Plus for que nous”, a song on Duo that most strongly evokes the expertly controlled tone and feel of Polish trumpeter Tomasz Stańko.\nAlso included are three wonderful originals from Ruike: the boiling cauldron of “Ambargris”, the pretty, fresh feelings in “Dear”, and the haunting and desolate “Vida”.\nLiner Notes (Translated from the original Japanese liner notes visible in the photo above.)\nIt seems like the relative size of humans to viruses is about the same as the earth compared to humans. And yet, while humans and viruses are insignificant and extremely small, nevertheless they can cause great damage to the environments in which they live. In this way, truly negligible differences can be made in the world by such tiny human beings, especially those who make a living through self-expression. However, living through the situation in the last few years where there were so few live performances and opportunities, there was plenty of time to strongly feel the importance and necessity of preserving recorded works. I don’t know if I can contribute anything, but I believe that this recording can serve as proof that somehow we were able to survive through these conditions. I’m so happy that we can leave this irreplaceable record that was made together with friends from my hometown, everyone from the recording engineer to the jacket designer. Thank you to everyone who was involved.\nShinpei Ruike\nDuo by Shinpei Ruike \u0026amp; George Nakajima Shinpei Ruike - trumpet George Nakajima - piano Released in 2022 on Core Port as RPOL-10012.\nJapanese names: 類家心平 Ruike Shinpei 中嶋錠二 Nakajima George\nAudio and Video Live recording of “Suiren”, track #10 on this album: Excerpt from track #4: “Plus fort que nous” ","permalink":"https://mirror2.jazzofjapan.com/shinpei-ruike-george-nakajima-duo/","summary":"\u003cp\u003e\u003cem\u003eDuo\u003c/em\u003e is the latest album from trumpeter Shinpei Ruike and pianist George Nakajima, two Tokyo-based jazz musicians who hail from the same area in northern Japan, along with many of the people who helped to create this recording.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230241x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230241x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eLike their previous release \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/shinpei-ruike-george-nakajima-n40\"\u003eN.40°\u003c/a\u003e\u003c/em\u003e (a reference to their mutual hometown of Hachinohe), the music on \u003cem\u003eDuo\u003c/em\u003e is atmospheric, moody, and mostly dark. The sound of Ruike’s trumpet is extremely evocative and textured. Like colors from a paint pallet, he mixes tones from husky to muted to bell-clear as his inspiration unfolds. Layers of emotion surface and mingle in his trumpet sound, as captivating as an audible patina cultivated through age and exposure like the surface of a brass horn.\u003c/p\u003e","title":"Shinpei Ruike \u0026 George Nakajima: Duo"},{"content":"Starry Nights is the latest album from the Kaori Vibes Quartet. This is leader Kaori Nakajima’s third album with her group, following her Flying Mind and /Cross Point /releases. On her debut album, Nakajima’s quartet previously went by Vangy!!, a charming name that combines the V from vibraphone with an initial from each musician, and decorated with two mallet-like exclamation points… though, four “!!!!” would also work, as Nakajima impressively plays the instrument with two mallets in each hand in the style of famous modern jazz vibists Bobby Hutcherson and Gary Burton.\nOn KVQ’s Starry Nights, Nakajima’s bell-like tones and warm vibrato take center stage on ten new original songs with straight-ahead jazz, uptempo bebop, and heartwarming ballads. Her music (she contributes most of the original songwriting on this album, as on her previous two releases) is charming and fun, imbued with positivity and cheer.\nWhether on the sunny opener “Through the Lights”, the mysterious “Echo of Stars”, or the rapid-fire “Dispel It!”, there’s a stellar lightness beaming through the music. This grace belies the strenuous effort Nakajima puts into her performance, pounding soul and muscle through the mallets to the instrument’s metal bars. It’s a seemingly bottomless reservoir of energy that is quite apparent at Nakajima’s dynamic live shows, where she transforms the heavy, challenging instrument into a limitless musical fountain that produces soaring streams of gravity-defying notes.\nLiner Notes (Excerpted and translated from the original Japanese liner notes written by Kaori Nakajima.)\nThrough the Lights Shuto Expressway at night. Passing along the highway at high speed, lights shine from both sides… it’s like being surrounded by a tunnel of lights. This song was written with that feeling in mind. My dear old Subaru Sambar can only go to third gear, but he’s cute, and I admire his speed (laughs).\nEcho of Stars Twinkling stars in the night sky of a freezing winter. It takes an unimaginable number of years for these lights to reach the earth. It’s a strange feeling to see something that may not even exist any longer. This song was written while thinking about the sounds of stars that can not be heard. (Composition: Tamashi Goto)\nHazy Days In the early spring of 2020, while the unprecedented coronavirus started to spread panic in the world, musicians were also faced with the decision of whether or not to perform live. Both choices were accompanied by regret and anxiety, and every day carried a feeling of confusion. I decided to write a song that would capture all this uncertainty.\nDispel It! And, to completely drive away this feeling of gloom, I wrote this song on the same day as “Hazy Days” (It refers to Hazy).\nDrop! Drop! Stars! Based on a motif from the cool intro riff on track two, Tamashi’s “Echo of Stars”, I tried to write my own song about stars as a sort of answer song. I wrote this with a feeling of looking up at a sky full of stars with a childlike perspective, reaching out my hands as if to say “Let the stars fall here!”\nO Mar A Noite In Portuguese, “/the night sea/”. Standing alone on the beach at night, the waves lap at my feet. Gradually my eyes adjust to the darkness, and while sensing the moonlight and the starlight, human emotions and various sensations fade, and even the sense of self starts to melt between the nighttime waves. This was written with that sort of feeling. I’ve never been to the sea in Portugal, so this is just a fantasy (laughs).\nIt Happens All the Time Usually, I write songs based on impressions evoked by scenery or emotions, but this time I decided on a specific theme: 1950s hard-bop jazz. The title refers to things that happen often. I hope that it matches the image you have in mind. (Composition: Tamashi Goto)\nMarshland A song written with the Kushiro Wetlands in mind. Drone photography captures wide greenery and gradually becomes a close-up showing something like wetlands. Coming even closer, there a group of animals is discovered in the corner of the marsh! Still closer, it becomes clear they are Japanese red-crowned cranes. After a while watching the vicinity of the red-crowned cranes, all at once they begin to flap their wings, and the image once again gradually shifts to the vista. With this feeling, I tried to capture in musical notes this image of a nature program. I’ve also never been to Kushiro Wetlands, so this too is a fantasy (laughs)!\nErica My second album included the recording of “Cross Point”, a song written as standing in intersections was to crossroads in life, but this song has more of a survival feeling. In a wilderness where there are no intersections, with 360 degrees to choose from a direction to go forward, it’s an ultimate degree of freedom but a very hard life in that sense! As I was thinking of that, I wrote this song. Erica is a wildflower from the heather family which blooms in the wilderness. Considering the strength of this flower to thrive in harsh environments, I thought it was a perfect title for this song!\nPlumeria At the end of 2020, on the day before my birthday, my beloved grandfather passed away. He lived a full life to 96 years old. Whenever he opened his mouth it was to make jokes, and the neighborhood children, facility staff, and others were always filled with smiles around him. He was always a sunny person. While thinking about my grandfather I sat at the piano and reflected back on the incredibly fun memories, and with naturally happy and honest feelings I tried to write this song. I chose a title that symbolizes sunshine in the language of flowers.\nStarry Nights by Kaori Vibes Quartet Kaori Nakajima - vibraphone Tamashi Goto - piano Minoru Yoshiki - bass Masanori Ando - drums Released in 2021 on Urban Jazz as 151A-0027.\nJapanese names: 中島香里 Nakajima Kaori 後藤魂 Goto Tamashi 吉木稔 Yoshiki Minoru 安藤正則 Ando Masanori\nAudio and Video Official music video for “Hazy Days”, track #2 on this album: Excerpt from track #1: “Through the lights” ","permalink":"https://mirror2.jazzofjapan.com/kaori-vibes-quartet-starry-nights/","summary":"\u003cp\u003e\u003cem\u003eStarry Nights\u003c/em\u003e is the latest album from the Kaori Vibes Quartet. This is leader Kaori Nakajima’s third album with her group, following her \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/kaori-vibes-quartet-flying-mind\"\u003eFlying Mind\u003c/a\u003e\u003c/em\u003e and /\u003ca href=\"https://www.jazzofjapan.com/archive/kaori-vibes-quartet-cross-point\"\u003eCross Point\u003c/a\u003e /releases. On her debut album, Nakajima’s quartet previously went by Vangy!!, a charming name that combines the V from vibraphone with an initial from each musician, and decorated with two mallet-like exclamation points… though, four “!!!!” would also work, as Nakajima impressively plays the instrument with two mallets in each hand in the style of famous modern jazz vibists Bobby Hutcherson and Gary Burton.\u003c/p\u003e","title":"Kaori Vibes Quartet: Starry Nights"},{"content":"Sometime, one of the must-visit jazz bars in Tokyo, perhaps derives its name from an old Glenn Miller jazz standard, or perhaps from the paraphrased Mae West quote “Come up and see me sometime,” a slogan which can be found on Sometime’s t-shirts and other merchandise for sale here.\nFigure 1: The Harumi Nomoto Trio in 2017\nThis jazz club is a well-run local live house that features excellent shows and a great kitchen in an all-around authentic Tokyo jazz atmosphere. Local musicians are mostly scheduled here, yet international acts also occasionally pass through, and support for up-and-coming artists is paid worthy attention here. Also, this is not an elitist diehard-buffs-only environment, but curious listeners without a deep knowledge of jazz are also welcome. Sometime will also sometimes offer specially-priced events as a welcoming invitation to all to experience friendly live jazz.\nDown through the stairs, the striking room itself sports a nice layout where the band sits in the middle and the audience seating wraps around them on various floor levels, from directly around the musicians, to a below basement-like alcove, and to an upper balcony as well. The best views are on the floor level where the seats may be quickly filled by customers with reservations, and the balcony and basement sections may feel a bit removed from the action.\nFigure 2: Tatsuya Sato on sax in 2017\nThe interior decor and overall atmosphere of Sometime portray a classic underground, industrial feeling. Antiques and old-fashioned machines are strewn about, including rotary phones, brass sewing machines, and claw-footed wooden furniture. All this, surrounded by rough brick, creates the feeling of hanging out in an anonymous underground turn-of-the-century subway station.\nExposed brick walls and ceilings with clocks and classic lamps adorn the walls and surround the musicians’ stage area in an in-the-round configuration, an ideal layout and design that gives Sometime a lot of its personality. Also adding to the allure are metal grid tracks running overhead, heavy-bolted steel beams and girders, and a staircase running structurally through the place, creating an almost dangerous, steel-works factory feeling. Iron pipe railings and handrails with U- and T-turn pipe fittings and connectors complete the picture, with heat-lamp style drop lighting fixtures, and in the middle of it, an illuminated sign boldly advertises “Miller Beer: the champagne of beers”.\nBesides having a great live sound and a great menu, Sometime is very reasonably priced considering the overall quality and atmosphere. There are usually two nighttime shows, and if you can’t get into the first set, you may be able to have a quick dinner elsewhere and then check in again later for the second set.\nSunday afternoon shows are easy to love, and on occasion, lucky, early-arriving customers may catch a warm-up rehearsal for a behind-the-scenes glimpse of how it all comes together.\nOne last note: While the name Sometime is short and sweet, there are other similarly-named clubs in Tokyo (like Someday, Somethin’, and others), so it’s always a good idea to double-check that you are headed to the right place.\nFigure 3: Welcome to Sometime\n","permalink":"https://mirror2.jazzofjapan.com/sometime/","summary":"\u003cp\u003eSometime, one of the must-visit jazz bars in Tokyo, perhaps derives its name from an old Glenn Miller jazz standard, or perhaps from the paraphrased Mae West quote “Come up and see me sometime,” a slogan which can be found on Sometime’s t-shirts and other merchandise for sale here.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1160747-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1160747-1024.jpeg\"\n         alt=\"Figure 1: The Harumi Nomoto Trio in 2017\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eThe Harumi Nomoto Trio in 2017\u003c/p\u003e\n        \u003c/figcaption\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis jazz club is a well-run local live house that features excellent shows and a great kitchen in an all-around authentic Tokyo jazz atmosphere. Local musicians are mostly scheduled here, yet international acts also occasionally pass through, and support for up-and-coming artists is paid worthy attention here. Also, this is not an elitist diehard-buffs-only environment, but curious listeners without a deep knowledge of jazz are also welcome. Sometime will also sometimes offer specially-priced events as a welcoming invitation to all to experience friendly live jazz.\u003c/p\u003e","title":"Sometime"},{"content":"Opening with a single-tone drone, electronic jazz music group Rabbitoo continues their retro-futuristic sound on their second album /The Torch /from 2016.\nDigital and analog sounds swirl and mix through Motohiko Ichino’s guitar, laden with textural effects and deploying modern music and rhythms alongside carefully tuned sound and static in an audiophile’s frame. This is vibe-setting music that wouldn’t be out of place in a fan playlist of lofi study beats or on the edges of a digital-future jazz collection.\nThe Torch/’s nine songs explore territory that blends digital and analog sound, with effects and filters added to the saxophone and guitar as they play looping patterns over the webs of modulated synths, drums, and bass. Alongside the spacey orbits, as on Rabbitoo’s first album /National Anthem of Unknown Country, there are also comforting echoes of old-fashioned primal humanness inhabiting the frequencies as well.\nListening to this album creates these sorts of impressions: A visual prism broadcasting waves…Monochrome soundtrack music, comfortably robotic/human labwork…Layers of melodic interlace cascading down Escher staircases…Sinister underground synth beat, chewy notes, and floating sound waves…A drifting mix of clouds and snowflakes…Bubbling and frothing uptempo odd-meter club beat…Sliding westward roots to country…Circular spiraling groove a la Medeski Martin \u0026amp; Wood…Slow slices of sound intersecting and reflecting…\nThe Torch by Rabbitoo Motohiko Ichino - guitar, keyboards Daisuke Fujiwara - tenor saxophone, flute, synthesizer, electronics Koichi Sato - rhodes, synthesizer, piano Hiroki Chiba - contrabass, electric bass, violin, electronics Noritaka Tanaka - drums Released in 2016 on Song X Jazz as SONGX-036.\nJapanese names: 市野元彦 Ichino Motohiko 藤原大輔 Fujiwara Daisuke 佐藤浩一 Sato Koichi 千葉広樹 Chiba Hiroki 田中徳崇 Tanaka Noritaka\nAudio and Video Promotional video with excerpts from the album: Excerpt from track #2: “火のこどもたち (Children Of Fire)” ","permalink":"https://mirror2.jazzofjapan.com/rabbitoo-the-torch/","summary":"\u003cp\u003eOpening with a single-tone drone, electronic jazz music group Rabbitoo continues their retro-futuristic sound on their second album /The Torch /from 2016.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230323x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230323x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eDigital and analog sounds swirl and mix through Motohiko Ichino’s guitar, laden with textural effects and deploying modern music and rhythms alongside carefully tuned sound and static in an audiophile’s frame. This is vibe-setting music that wouldn’t be out of place in a fan playlist of lofi study beats or on the edges of a digital-future jazz collection.\u003c/p\u003e","title":"Rabbitoo: The Torch"},{"content":"Emiko Voice is always an interesting, active, and boundary-exploring musician, often simultaneously involved in a number of projects. Emphasizing her voice talent in her name (compared to a vocal or vocalist role), her singing, scatting, vocalese, and other voice skills are used liberally in her music. This includes her popular Brazilian music duo Meu Coração, swing and bebop recordings with pianist Suga Dairo, various chorus groups, duos, trios, and other groups with sometimes unconventional jazz combo formations.\nOn this release from 2022, Emiko Voice releases music from her Standard Trio project, capturing songs recorded over two live concerts at the jazz club Lydian in Tokyo and self-described as an “out of standard” performance. On this album’s nine tracks, the petite, power-packed artist sings and plays percussion with her bandmates Keisuke Ohta on violin and voice, and Atsushi Abe on piano.\nWith Ohta’s Arabianesque violin and occasional voice punctuations, and the fluid and full presence of Abe’s piano, the music wanders evocatively between lush Latin music and scene-setting songs, and really brings home the feeling of a concert performance with its energy, live sound, and audience applause. Through it all, Emiko Voice’s vocal prowess takes center stage, and at turns is delicate, soft, and spirited, acrobatically agile and in control.\nOver half of the music draws from Latin influences, yet a distinct feeling is delivered from track to track. On the Latin-influenced music, “Cucurrucucú Paloma”, a Mexican love song, is tropically colorful, “Spain” is upbeat and exciting, “Caravan” is wild and exotic, and “Chovendo na Roseira” is smooth and hypnotic. On the storytelling dance of “Berimbau”, Emiko Voice uses both Japanese narration and Portuguese vocals, and violinist Ohta later solos with his violin while interjecting vocal chants, before the band comes together for a splendid and rousing conclusion.\nThe other album tracks include “Azure”, a dreamy, drifting tune from Duke Ellington and Irving Mills (who, with Juan Tizol, also gave us “Caravan”), “Improvisation”, a dramatic scene of wordless vocalizing and musical painting, a brief and bare “My Funny Valentine”, and the album closer, “Spring Is Here”, the bittersweet parting of a beautiful ballad that is almost played as a lullaby.\nStandard Trio by Emiko Voice Emiko Voice - voice, percussions, kalimba Keisuke Ohta - violin, voice Atsushi Abe - piano Released in 2022 on GardenNotes Music as GNM-1018.\nJapanese names: エミコヴォイス Emiko Voice 太田惠資 Ohta Keisuke 阿部篤志 Abe Atsushi\nAudio and Video Promotional video with excerpts from this album: Excerpt from track #6: “Chovendo na Roseira” ","permalink":"https://mirror2.jazzofjapan.com/emiko-voice-standard-trio/","summary":"\u003cp\u003eEmiko Voice is always an interesting, active, and boundary-exploring musician, often simultaneously involved in a number of projects. Emphasizing her voice talent in her name (compared to a vocal or vocalist role), her singing, scatting, vocalese, and other voice skills are used liberally in her music. This includes her popular Brazilian music duo \u003ca href=\"https://www.jazzofjapan.com/archive/meu-coracao-hall-tone\"\u003eMeu Coração\u003c/a\u003e, swing and bebop \u003ca href=\"https://www.jazzofjapan.com/archive/emiko-voice-x-suga-dairo-phase-2\"\u003erecordings with pianist Suga Dairo\u003c/a\u003e, various chorus groups, duos, trios, and other groups with sometimes unconventional jazz combo formations.\u003c/p\u003e","title":"Emiko Voice: Standard Trio"},{"content":"The latest album from J Jazz pianist Yasumasa Kumagai is titled Last Resort, released in 2020 on his own independent label with his jazz piano trio plus Miki Hirose on trumpet. Although the eye-catching cover design may be a world away from typical jazz albums, the aggressive, tongue-in-cheek image succeeds in standing out, a conscious attempt to challenge flagging CD sales in recent years by piquing interest and possibly head-scratching confusion.\nThis album follows his previous release J-Straight Ahead after five years. The pianist and composer Kumagai regularly records as a trio on his albums, but his main motivation this time was to change to a quartet setting for all songs. Similarly, the overall sound changes very slightly as well, towards Latin-inspired modern jazz — not straight Latin jazz, but modern-day straight-ahead jazz with a variety of spicy influences. Like the playing and concepts that listeners loved on his previous releases, it’s still Kumagai’s music, combining his lively playing with hummable melodies and gripping beats, infused with hues of hip-hop music and personality. Particularly, Kumagai’s command of groove, gospel, and Glasper-inspired music is strongly felt as he pulls from his deep well of authentic and modern jazz, and the album is satisfyingly full of smart music, cool improvisation, and groovy bass lines and drum textures.\nKumagai’s originals are always interesting, balancing simple, catchy melodies with more complex rhythms and structures, often in those odd-time meters like 7/4 or 12/8 that invigorate musicians and listeners alike. Last Resort includes six of his new original tunes, with two additional cover songs wrapping up the set, literally: The entire album was recorded over one day with the songs played in order of the track listing. Capturing the day’s progression gives the album the feel of a live performance, and as the tracks progress, the momentum builds and the energy changes, much like a live band playing a setlist on stage. Even the final tune, “Caravan”, has the feel of an impromptu, high-energy encore as the song emerges out of an adrenalin-surging drum solo that had started on the previous song, recording both tracks in one continuous take and capping the album (and the recording session) on an intense high note.\nRecording all together, in set list order, with a limited time window is challenging, but the quartet had performed together over the previous two nights at live shows, which worked like an extended warm-up and captured the feeling of a mid-tour performance in the recording.\nAlbum highlights include the modern jazz beat of “Pirarucu”, the soca-inspired, dramatic “Conflict Areas”, and the adventurous abandon on the uptempo “Caravan”, an excitingly rearranged version of this familiar jazz standard. The other cover song on the album, “Quizás Quizás Quizás”, is the most clearly Latin-inspired choice and may be well-known to Latin genre fans (incidentally, the song may also sound vaguely familiar to those who remember 90’s alternative rock band Cake’s version of “Perhaps, Perhaps, Perhaps”.)\nLiner Notes (Translated from the original Japanese liner notes written by Yasumasa Kumagai.)\nHey there, Yasumasa Kumagai here. Thanks for buying my CD. It’s actually been five years since my last album as a leader, the second album on my JAZZY BEAR label. The title of the album this time is Last Resort, 最終手段 (saishū shudan: last resort) in Japanese, and if you ask what I mean by that, it’s like this: There’s been a lot of talk recently about CDs not selling these days, so… okay then, I’d better create a crazy design for the cover, right? So I tried to make a jacket that looks like something from a rapper from the southern US. That’s all it means (laughs). For anyone who bought this based on the jacket, this may be like a time when you thought you were buying a cola but, upon tasting it, it turned out to be barley tea.\nYou can’t do something like this without having your own independent label, right?\nBy the way, the actual concept of this album is to include trumpet on all the songs. Since I’ve never made an album having a horn player on all the songs, this is a new attempt for me. So I compiled songs with the idea that Miki Hirose would be playing with me. I’ve known him since my New York days, and was often invited to play with his large ensemble over the past several years. His compositions and arrangements are so great that I thought I’d also like to write something similar someday. But suddenly composing for a large ensemble seemed impossible, so I resolved to start by writing with just one horn in mind, the trumpet. That was five or six years ago. Finally, I was able to make this one-horn album. So, on that schedule, I should be releasing a quintet album after another five years, and a large ensemble album in about fifty years.\nAlso, this time there are more Latin songs. I like contemporary Latin jazz, and Hirose often played in that style while in New York. I always looked forward to seeing him every time he returned to Japan with the authentic feel of that kind of music. And, after all this and that, I was finally able to release something with Hirose.\nAs for the two rhythm section members, I’ve been working with them for about eight years. Bassist Furuki may appear to be a cyber-terrorist on the album cover, but that’s not the case at all. He is a serious musician who deeply pursues music. When I first performed with him, he was about twenty-two years old and I thought “Wow, this is a great bassist.” I immediately asked him to join my trio. Plus, he’s also a great pianist to the point where he can play live shows as a piano trio, so if you think about it, it should make me pretty uncomfortable to play with him, right?\nDrummer Yamada may appear to some as a delinquent or anti-social, but in fact, he’s not that at all. When I first met him, he was about twenty-one years old and so baby-faced that I thought “Is today’s drummer a child?” Steadily gaining more experience through the years, he’s become an excellent mainstay drummer leading a very busy life.\nI like to include elements from a wide variety of genres in my compositions, and these two always are quick to grasp the music and make the songs evolve.\nRecording with such great friends like these was perfect and over before we knew it, much like the rehearsals. It was so fun… I wish I could do it every month.\nPirarucu This is a song with a Brazilian feel. Brazil brings to mind the Amazon River, and the Amazon River brings to mind the pirarucu (one of the world’s largest freshwater fish), which I chose as the title for this song. Although the chord progression is a little complicated, I hope that you can sense the Amazon somewhat.\nHappy New Year I finished this song at home right before a New Year’s Eve event, so gave it this title. Starting with a Cm7-5 intro, there’s a dark sound that contradicts the title. I wrote this with Hirose precisely in mind. Try listening to this in a set with Coltrane’s “Countdown” on New Year’s Eve, yeah?\nConflict Areas I wrote this with the image of Africa in mind and recalling a soca groove from Trinidad and Tobago. There are so many areas around the world called conflict zones where people are forced to live in conditions unimaginable in Japan. However it doesn’t necessarily mean that I am somehow involved in these activities myself, but by starting to know about these things, I ended up choosing the title based on the meaning of conflict zone.\nLa Camiseta Hermosa A song in 12/8 time with a Latin flavor. Hirose’s band often plays songs with a 6/8 or 12/8 feel, so I thought I would try to write one myself. Luckily, I’ve gotten quite a bit used to it. This song went untitled for a long time, but on the day of the recording, Furuki was wearing a t-shirt with the word “Hermosa” on it. Everyone thought that this word (meaning “beautiful” in Spanish) would be good, so that turned into the title. It means “beautiful shirt”.\nApologetic Blues Blues of apology. One time, I had completely forgotten about a student’s lesson and missed the appointment. I wrote this song in the middle of that forgetfulness. It’s a minor blues sort of like Wayne Shorter in the Blue Note era.\nDough In Japanese, it’s 現生 (gen nama: hard cash). It’s been said that Japan is lagging as the rest of the world moves towards cashless payments. There are still jazz clubs where cash is king and credit card and smartphone payments are not accepted. I tried to capture that 切なさ (setsunasa: bittersweet, wistful, sadness, pain) feeling in a ballad.\nQuizás Quizás Quizás I like Gonzalo Rubalcaba’s arrangement of this Latin standard number that I listened to in middle school, and I tried to arrange it for my style. The ending is the highlight, with such a changed atmosphere that makes you wonder what has been happening up until then.\nCaravan And, continuing from the drum solo of the previous song at the same tempo, it’s this familiar jazz standard number. I also tried to arrange this one with a vivid Latin color. The final two songs were recorded in succession, in one shot. The schedule is complete!\nThis was my first time to try something new, to record all the songs sequentially in order of the album listing. As for the reason why, I thought it would be interesting to capture the flow of the full day, from beginning to end, in the recording.\nThat’s all for now. We appreciate your support as we continue to release new albums in the future.\nLast Resort by Yasumasa Kumagai \u0026amp; J-Jazz Homies Yasumasa Kumagai - piano Miki Hirose - trumpet Keisuke Furuki - bass Akira Yamada - drums Released in 2020 on Jazzy Bear as JZBR-0002.\nJapanese names: 熊谷ヤスマサ Kumagai Yasumasa 広瀬未来 Hirose Miki 古木佳祐 Furuki Keisuke 山田玲 Yamada Akira\nAudio and Video Live version of “Pirarucu”, track #1 from this album: Live version of “Conflict Areas”, track #3 from this album: Excerpt from track #5: “Apologetic Blues” ","permalink":"https://mirror2.jazzofjapan.com/yasumasa-kumagai-j-jazz-homies-last-resort/","summary":"\u003cp\u003eThe latest album from J Jazz pianist Yasumasa Kumagai is titled \u003cem\u003eLast Resort\u003c/em\u003e, released in 2020 on his own independent label with his jazz piano trio plus Miki Hirose on trumpet. Although the eye-catching cover design may be a world away from typical jazz albums, the aggressive, tongue-in-cheek image succeeds in standing out, a conscious attempt to challenge flagging CD sales in recent years by piquing interest and possibly head-scratching confusion.\u003c/p\u003e","title":"Yasumasa Kumagai \u0026 J-Jazz Homies: Last Resort"},{"content":"In welcome succession for eager fans, pianist Mikiko Nagatake released a batch of albums for the young jazz label Owl Wing based in Tokyo in recent years. Her works include two records as leader of a piano trio (Into the Forest, 2021, and Breathe Beneath the Sun, 2022), a solo album, a duo album with saxophonist Nami Kano (Jabuticaba, 2021), and a live album with trumpet player Tetsuji Yoshida (Live at Knuttle House, 2022). In fact, a new duo album (Locura de Amor, /2023)/ with flute player Naohiko Amatatsu was also just announced in the past several days.\nOn this album from 2022, concisely titled Solo, the versatile pianist deploys a range of piano approaches that she honed during her years-long residency at the jazz bar Nardis located in the outer fringes of Tokyo.\nSolo contains thirteen tracks arranged for piano by Nagatake, some of which she tailored to make the most of the sound of piano jazz, and others improvised completely as spontaneous piano music. Most songs are five minutes or less, which Nagatake set as a self-imposed limit to allow for different facets of her playing to emerge on the album’s many tracks. This variety and balance combined with the excellent songs selected by the pianist keeps the album moving and listeners engaged.\nSome songs, like the ballads “These Foolish Things (Remind Me of You)” and “Prelude to a Kiss” are played slowly with a patient, romantic finesse, contrasting with other tracks like “Invitation”, “Green Chimneys”, and “Tea For Two”, which explode with creative abandon, swinging hard with a just-controlled wildness.\nOne interesting arrangement on this album is Nagatake’s choice to divide the album into two sections. The first set of nine songs is made up of selected jazz standards, including popular songs and lesser-known favorites of jazz buffs and musicians. As she explains in the liner notes, she avoids the temptation to replicate the sound of a trio or a full band on solo piano, choosing to make the most of her independence to interpret each song freely. Nagatake plays the music soulfully and with rapt attention, unfolding each song according to her feelings and judgment in the moment.\nBeginning with an interlude on track ten, “Impro Invitation to My Songs”, the final three tracks consist of the pianist’s original compositions. Following the tour of jazz standards and covers, this second part of the album displays sensitive and melodically rich aspects of Nagatake’s playing and conceptions, perhaps also the additional beauty of vulnerability felt when sharing original compositions, alone at the piano, for us.\nLiner Notes (Translated from the original Japanese liner notes written by Mikiko Nagatake.)\nIt’s an honor to be able to record this solo piano album, the sixth release in the Owl Wing Record Solo Piano Series.\nBeginning in my student days, I was given the opportunity to perform monthly in solo live settings at the live house Nardis in Kashiwa. Every month, I would learn a lot by studying the audience’s reactions and the atmosphere. Over seven or eight years, it added up to around one hundred of these performances in total. What a blessing! I am truly grateful to Mr. Komine, the proprietor of Nardis.\nWhen I first started to play solo concerts, I felt as if I should try to simulate a full band by myself, and I made an effort to rigorously keep the tempo, play bass lines, and so on. But over time as my experience deepened, I began to feel a strong desire to focus on things that could only be done in a solo context. I began to avoid clinging strictly to chord changes or tempos, and the boundary between the songs and my improvisation gradually disappeared. On any particular day, there may be a completely improvised set, or a set limited to certain composers, but in general, sets alternating between jazz standards and improvisation were numerous.\nIn this way, I have selected standard songs with a high degree of freedom for this album. For live performances, one song may last about ten minutes, but for CDs, personally, I prefer to have many shorter pieces (especially with solo piano albums), much like the meals of Kyoto-style obanzai or Sri Lankan cooking. Most of the songs on this album are about five minutes long or less.\n“Invitation”, “These Foolish Things”, and “Tea for Two” were consciously arranged with a pianistic approach, whereas “Limbo” and “Green Chimneys” emanated freely with on-the-spot arrangements. I also wanted to include “I’ll Walk Alone”, a song by a pair I love, the great July Styne and Sammy Cahn. As you can see, the first part of the album contains vocal songs, standards, and songs from jazz giants. The second part contains three of my original songs which I especially wanted to play in a solo piano context. The last song, “Engawa”, was written for contrabass player Tetsu Saitoh.\nThis album was recorded on solo piano in a one-room studio, and I’m extremely grateful for the care and attention from engineer Morishita and the label’s Aratake and Komori, who graciously arranged for me quiet recording conditions allowing for concentration. Thank you very much. Whether for one listener or to many, I hope this album reaches you.\nSolo by Mikiko Nagatake Mikiko Nagatake - piano Released in 2022 on Owl Wing Record as OWR-044.\nJapanese names: 永武幹子 Nagatake Mikiko\nAudio and Video Promotional video for “My Shining Hour”, the first track on this album: Excerpt from track #6: “Green Chimneys” ","permalink":"https://mirror2.jazzofjapan.com/mikiko-nagatake-solo/","summary":"\u003cp\u003eIn welcome succession for eager fans, pianist Mikiko Nagatake released a batch of albums for the young jazz label Owl Wing based in Tokyo in recent years. Her works include two records as leader of a piano trio (\u003cem\u003eInto the Forest\u003c/em\u003e, 2021, and \u003cem\u003eBreathe Beneath the Sun\u003c/em\u003e, 2022), a solo album, a duo album with saxophonist Nami Kano (\u003cem\u003eJabuticaba\u003c/em\u003e, 2021), and a live album with trumpet player Tetsuji Yoshida (\u003cem\u003eLive at Knuttle House\u003c/em\u003e, 2022). In fact, a new duo album (\u003cem\u003eLocura de Amor, /2023\u003c/em\u003e)/ with flute player Naohiko Amatatsu was also just announced in the past several days.\u003c/p\u003e","title":"Mikiko Nagatake: Solo"},{"content":"Compared to the older and more well-known jazz rooms in Tokyo, No Room for Squares still feels like a new and fresh-faced music and cocktail bar, which actually opened in the second half of 2019 right before the pandemic. Fortunately, this worthwhile bar survived and continues to offer exciting live music and top-quality record selections for both jazz fans and those looking for a trendy, atmospheric experience.\nFigure 1: Hank Mobley album cover\nJazz fans may quickly recognize that this jazz spot, like many others in Japan, is named after a classic record or song pulled straight from jazz history. In this case, No Room for Squares is the title of a 1964 Blue Note jazz album from saxophonist Hank Mobley featuring several other famous players like Lee Morgan, Herbie Hancock, and Philly Joe Jones. Apart from the bar’s name, an additional tribute to this album is featured on the back wall, where a mesmeric painting catches the eye right behind the musicians on live music nights.\nNo Room for Squares has a particular but easy “no menu” system, offering customers the chance to consult with the friendly owner. The barmaster fills the role of alcohol advisor and mixologist, recommending and mixing drinks based on each customer’s opinion or shared impressions. Of course, having a beer or choosing straight from the whisky selection is also a simple choice, and several varieties of the locally-produced Ichiro’s Japanese Whisky are also on hand and go down smooth. Balancing out the drink menu, alcohol-free “mocktails” are also available and can be tailored to the customers’ preferences.\nFigure 2: Mawsim live in 2023\nAnother sign of the creative effort put forth by No Room for Squares, the bar also features a unique, slightly hidden entrance. It’s a vintage-looking but very familiar portal, surprising, fun, and hard to keep a secret.\nFigure 3: Ichiro\u0026rsquo;s whisky\nFigure 4: Welcome\nFigure 5: Drink Coca-Cola in bottles\n","permalink":"https://mirror2.jazzofjapan.com/no-room-for-squares/","summary":"\u003cp\u003eCompared to the older and more well-known jazz rooms in Tokyo, No Room for Squares still feels like a new and fresh-faced music and cocktail bar, which actually opened in the second half of 2019 right before the pandemic. Fortunately, this worthwhile bar survived and continues to offer exciting live music and top-quality record selections for both jazz fans and those looking for a trendy, atmospheric experience.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20230325_191127263-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20230325_191127263-1024.jpeg\"\n         alt=\"Figure 1: Hank Mobley album cover\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eHank Mobley album cover\u003c/p\u003e","title":"No Room for Squares"},{"content":"Pianist Mamoru Ishida’s second album is titled /Ishida Mamoru 4 feat. Mike Rivett /and was released in 2011. With nine tracks over fifty-two minutes, the album presents a mix of covers, standards, and original compositions. The warm ballad “These Foolish Things” invites listeners in comfortably with a nostalgic calm, introducing a graceful jazz combo that respects traditional forms and songs loved by jazz fans.\nThe music as a whole expresses this vintage, sincere jazz feeling generated by the players’ sensitivity as well as through the recording methods and equipment used. While this can seem to be something of a jazz throwback album (meant in a good way, a sound that can be set comfortably alongside favored music of the past greats), there are also several aspects of modern, assertive jazz making appearances as well… not to mention the Japanese and international context also layered in, described well in the excellent and extensive liner notes.\nLiner Notes (Translated from the original Japanese liner notes written by Mitsuru Ogawa.)\nOriginally, I was asked to write these liner notes based on an article that I wrote for the second issue of Jazz Japan magazine (October 2010) entitled “Jazz Piano on Club Method”, which was noticed by the owner of Anturtle Analog Recordings, the label for which Mamoru Ishida records. That article spotlighted jazz pianists active in the world of club jazz including Hajime Yoshizawa, Josei (Soil \u0026amp; “Pimp” Sessions), Yusuke Hirado (Quasimode), Shikou Ito (Shima \u0026amp; Shikou Duo), Hideaki Hori, and Yasumasa Kumagai, all of whom I introduced along with Mamoru Ishida.\nAlthough labeled as club jazz, they are not limited to that as they are also active in or mainly play in the style of the orthodox jazz world. Ishida is one of those types of pianists. (Recently, the term “real jazz” has been used in contrast to club jazz, but as an author, I feel a sense of discomfort with that. What is jazz that is not real?)\nExcept for Yoshizawa, most of these pianists are in their early 30s, and the description of them being up-and-comers or young players fell away as they started to mature into mid-career players. As for Mamoru Ishida, it was his participation on the album from the club jazz unit Jill-Decoy Association that introduced me to his playing. This is a pop-oriented unit featuring a female singer and members playing skillful arrangements with elements of jazz, soul, and funk, all factors that are appealing for today’s younger generation. In this group, Ishida provides solid backing support but also has a strong presence, important for the music as a whole.\nAs a writer, I developed an interest in both this pianist and Hideaki Hori, who was a member of the club jazz band M-Swift Presents 24-Carat. Later, I learned that Ishida and Hori had joined jam sessions in their high school years and were of the same generation, so to speak. Incidentally, both Ishida and Yasumasa Kumagai have won the Grand Prix prize at the Yokohama Jazz Promenade Competition, which can be considered a gateway to success for young musicians.\nTracing backwards from Jill-Decoy, I listened to Mamoru Ishida’s first album, a piano trio record from 2007 titled Iemanro, (recorded in March 2006). The cover depicts a close-up of a hand holding a four-leaf clover, seeming like something that may end up in the “cafe music” section, but the performances contained therein were stylish and original. Together with players of the same generation Koji Yasuda (bass) and Shunsuke Umeno (drums), they performed conventional bop and ballads. The fun and groove of Oscar Peterson, who inspired him to progress on the piano, can be felt in his performance. Also, a sensitive lyrical touch a la Bill Evans, powerfully sharp playing, and gentle, emotion-rich playing all skillfully coexisted in this one album. Yet, it could have been said that there were not many fresh or innovative elements, and the album may portray a rather plain impression overall. I can’t deny that some aspects were unsatisfying or that there could have been more energy of youth displayed, but these days many younger people don’t play in an overly-glaring way. In any case, the days of strongly asserting yourself at any cost are probably over and this may be the norm. If you think about it that way, he’s paying naturally without showing off or putting on airs, and performing completely sincerely. To put it simply, it’s a likable album.\nHere I’d like to introduce a brief history of Mamoru Ishida. He was born on May 1, 1978, and he became familiar with jazz under the influence of his father. The first instrument he picked up was the trumpet, but he switched to piano in junior high school after hearing Oscar Peterson. During his high school days, he participated in many jam sessions with the aforementioned Hideaki Hori and others including Satoshi Izumi (guitar) and Shinnosuke Takahashi (drums), and they inspired each other greatly.\nAfter entering university, he also joined many jazz study groups and honed his skills. It was around this time that he started his full-fledged performance career, entering the 2001 Yokohama Jazz Promenade Competition mentioned earlier performing in the band of Yasuo Nishimoto (also sax), and winning the grand prize.\nLater, he joined Risk Factor, a group led by Akemi Ota (flute), and played in the groups of Tomonao Hara (trumpet), Seiji Tada (alto sax), Miyuki Moriya (alto sax), and others. His musical partners included Mabumi Yamaguchi (tenor sax), Takao Uematsu (tenor sax), Tomoki Takahashi (tenor sax), Akira Omori (alto sax), Joh Yamada (also sax), Shinobu Ishizaki (alto sax), Yochi Kobayashi (drums), Masahiko Osaka (drums), Dairiki Hara (drums), and Gene Jackson (drums).\nOn the club jazz front, Ishida played on Jill-Decoy’s albums II and IV, as well as Hit The Road by Taichiro Kawasaki, a trumpet player he met through their participation in the group Ego-Wrapping. The members of Jill-Decoy had actually been musical acquaintances for a while, meeting at jam sessions and such since around 2001 with many opportunities to play together.\nThis is Mamoru Ishida’s second album as a leader, about four years after his previous recording Iemanro. Ishida’s band had changed in those four years, from a piano trio to a one-horn quartet, with this recording featuring Ishida with Mike Rivett (tenor sax), Show Kudo (bass), and Ko Omura (drums). This band started in 2010 when Ishida was playing in Tomonao Hara’s band at Ochanomizu Naru, and the visiting Rivett and Omura sat in with the band. Rivett and Omura had played together many times over the last three years, and have also known Kudo since 1997 when they went to Otaru (Hokkaido, Japan) to attend the workshop of guitarist Koichi Hiroki.\nI’ll briefly touch on the profiles of these three members. Mike Rivett is originally from Australia, moved to New York, and is now back in Australia, based in Sydney. He graduated from the Manhattan School of Music where he studied under George Garzone (tenor sax). He is active worldwide in genres from straight-ahead jazz to experimental music, dance music, and beyond.\nShow Kudo started on electric bass at the age of fifteen and began to play double bass when he discovered jazz while attending university. In 1997, he moved from Hokkaido to Tokyo to join the Koichi Hiroki group and performed together with Terumasa Hino (trumpet), Kei Akagi (piano), Tetsuro Kawashima (tenor sax), and others.\nKo Omura was raised in the United States, studied classical piano from a young age, and started playing drums in high school. Later, he studied at the Sydney Conservatorium of Music in Australia under Mike Nock (piano) and Judy Bailey (piano). While in Australia, he actively participated in embassy events and Japanese and Australian cultural exchanges, and through these activities met Rivett and began performing together. It was through Omura that Ishida got to know Rivett.\nOriginal compositions on this album include “The Whack-A-Mole Song” and “Deflation Spiral Blues” by Ishida, “McMahons Point” by Omura, and “M.M.” and “Wait” by Rivett. “McMahons Point” refers to a scenic coastal location in Sydney, and “M.M.” are the initials of a certain bourbon brand. In general, Ishida avoids songs that are too complicated or difficult to hum along with, but chose to play “M.M.” because he liked its strange atmosphere.\n“The Thrill Is Gone” is a widely known standard, originally adapted into a 1930s musical production and sung by Carmen McRae and others. The song was composed by Ray Henderson and shares the same name as a famous B.B. King hit written by Roy Hawkins. “These Foolish Things” is a 1930s song from the British musical Spread it Abroad, sung by Ella Fitzgerald and others. “Wonder Why” is a piece by Russian composer Nicholas Brodszky, performed by Milt Jackson and others. “Nobody Knows the Trouble I’ve Seen” is an American folk song, especially well-known as a gospel song. In jazz, it’s probably most known for being sung by Louis Armstrong.\nAs far as Ishida’s compositions and as with his previous work, the unique naming of his songs catches the eye. According to him, he chooses the names quite randomly, and the appeal of instrumental songs without lyrics means no meaning is attributed to them by words. Many songs have titles without much meaning. It seems that having a title without a limited meaning allows the listener to freely imagine what the song means. By the way, the name “The Whack-A-Mole Song” comes from the melody, which seems to have a falling-down rhythm, reminiscent of the whack-a-mole game. While “Deflation Spiral Blues” seems to refer to Japan’s current economic situation, it turns out it’s actually a reference to a professional wrestler’s special move that appeared in a joke comic book called Cromartie High School. Incidentally, that special technique is such a rare move that it doesn’t appear in the comic even once.\nAlthough his debut featured a piano trio, Ishida has performed in many different group formations, and he says that playing together with horns is very fun and exciting. The sound of a horn influences him and brings out aspects of Ishida’s performance that are not present when playing as a piano trio. It seems that the sound that rings in his head is often that of the tenor saxophone, and this tenor saxophone sound may be the instrument closest to his own voice.\nAlso, Rivett and Omura have mainly worked overseas, and there is a different sensitivity as compared to Japanese players. When I shared my impression with Ishida, he seemed to agree and said in addition you may sense that in the melodic and rhythmic intonation. And, possibly the different environments and languages in which they were raised results in finding beauty in different ways.\nIshida arranged all of the music aside from Omura’s and Rivett’s compositions. Basically, Ishida decided on the overall flow of each song and the order of solos, leaving the individual improvisation and such to each player, with each player’s performance inspiring one another’s playing. On “The Thrill Is Gone”, the melody statement is not played even once, a concept seemingly hinted at by Lee Konitz on his album Motion. “Deflation Blues” was performed with Ishida deciding on just the solo order, that the melody would not be played at the start, but at the ending in a wicked mood.\nAlthough this is a work by Ishida as leader, the other members all have plenty of room in the spotlight. It’s a band where all four members have a high degree of equal participation and freedom. Of course, since all are professional musicians, none cancels out any partner’s performance, and when playing individually each pays attention to the overall balance. While this band had only performed live five times before this recording, there’s no feeling of immaturity as a band, with unity present and room to grow in the future.\nOwing to his experience in a variety of performance situations, Ishida himself has become more sensitive to chord subtlety. When playing in larger ensembles, he considers his individual role, what he should add, or what is better to be left out. This can be said to be a point in which Ishida has grown both as a musician and as a person in the previous four years since his last album.\nAs for a musical analysis of Ishida’s and the other musicians’ performances, expressions, and so forth, going further than this may become a nuisance to Mamoru Ishida fans and listeners, so I’d like to avoid that. As Ishida says, I think it’s better to let people listen freely without being bound by a limited impression.\nFinally, as an alternative, I’ll add some information about the recording method. Ishida is quite an analog record enthusiast with a strong commitment to audio quality and recording. For this recording, all members were located in the same room with microphones placed in front of each instrument, allowing the sound of the other instruments to become wrapped up in one’s sound. With this method, each mic picks up a little sound from the other instruments to create a sense of unity and distance, and so the volume balance of the performance itself becomes very important. It seems there were no problems with that for the recording.\nFurthermore, another important point was to record two tracks directly onto 1/2-inch tape. The 1/2-inch tape itself has characteristics of a warm and slightly warped sound, something that Ishida also finds appealing. Since it is recorded directly to two tracks, the modern system of punching in to make corrections afterward is not possible, which conversely adds the benefit of creating a sense of tension in the performance. (This used to be a standard recording style, and is a style still favored by many jazz musicians today.)\nThe microphone used to capture the piano sound is a 1930s Westrex ribbon mic. This is an old type that Ishida chose for its mellow recorded sound. Rather than having a wide stereo position with each instrument’s sound expanding to the right and left, the drums are set to the left, the bass and piano are in the center, and the sax is set to the right. Also, there is very little reverb, resulting in a fairly dry sound being produced.\nIshida Mamoru 4 feat. Mike Rivett by Mamoru Ishida Mamoru Ishida - piano Mike Rivett - saxophone Show Kudo - bass Ko Omura - drums Released in 2011 on Anturtle Analog Recordings as ANTX-1002.\nJapanese names: 石田衛 Ishida Mamoru 工藤精 Kudo Show 大村亘 Omura Ko\nAudio and Video Mamoru Ishida playing a duo version of “Wonder Why”, track #4 on this album: Mamoru Ishida performing “Memories of You” in 2022: Excerpt from track #2: “McMahons Point” ","permalink":"https://mirror2.jazzofjapan.com/mamoru-ishida-ishida-mamoru-4-feat.-mike-rivett/","summary":"\u003cp\u003ePianist Mamoru Ishida’s second album is titled /Ishida Mamoru 4 feat. Mike Rivett /and was released in 2011. With nine tracks over fifty-two minutes, the album presents a mix of covers, standards, and original compositions. The warm ballad “These Foolish Things” invites listeners in comfortably with a nostalgic calm, introducing a graceful jazz combo that respects traditional forms and songs loved by jazz fans.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230299x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230299x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe music as a whole expresses this vintage, sincere jazz feeling generated by the players’ sensitivity as well as through the recording methods and equipment used. While this can seem to be something of a jazz throwback album (meant in a good way, a sound that can be set comfortably alongside favored music of the past greats), there are also several aspects of modern, assertive jazz making appearances as well… not to mention the Japanese and international context also layered in, described well in the excellent and extensive liner notes.\u003c/p\u003e","title":"Mamoru Ishida: Ishida Mamoru 4 feat. Mike Rivett"},{"content":"FNK is a group featuring pianist Fumie Chiba, guitarist Nao Teraya, and drummer Kaoru Suzuki, who released their first album Canvas in 2022. A jazz trio made up of piano, guitar, and drums is somewhat unconventional, without a standalone bass instrument playing a steady undercurrent of tonal and rhythmic grounding. But prolific modern composer Fumie Chiba supplied this trio with new songs and arrangements written specifically for this format, emphasizing their expansive sound and balanced dynamics.\nCanvas features ten songs with a running length of 53 minutes, all original compositions from pianist Chiba. The music is modern and brilliant and seeks to avoid common structures and patterns. With a breathy lightness and touching nostalgia, the trio fills out the space with convergent and intersecting layers.\nThe first three tracks lead off by displaying curiosity and fun, rich, mellow music composed with maturity. “Prologue” contains various turns as an enticing invitation, leading to the mysterious thrill of “Breathless” and the exciting footrace of “Run, Run Melos”. From there, the struttingly catchy anthem of “Pechika Pachika” establishes one of the strongest lingering melodies on the album, and leads to more original music full of mystery and evolving structures.\nLiner Notes (Translated from the original Japanese liner notes written by Fumie Chiba.)\nIntroduction\nIn a world full of so many CDs, thank you for picking up this album.\nThis unusual trio of guitar, drums, and piano started with the aural image of three people on the same circumference and has been performing live for about three and a half years now.\nAs the number of songs written for this band kept increasing, I kept thinking that I wanted to record someday.\nIt would be our greatest pleasure if you could enjoy a journey of free imagination with us and the sonic world of FNK. (Fumie Chiba)\n1.Prologue\nI wanted to write a song to serve to introduce the band. When I came up with the motif for this song, putting aside whether or not this could serve as a band introduction, I felt as if this song with its fluid time and tonality could go anywhere. The actual recording started from this song, and we decided that the first take recorded at the original soundcheck was a good one. However, after recording all the songs, it was decided to take one song for promotional video use, and we performed this song again, recording this take. Since this was both the first and last song of our recording, there was a sense of it being both a prologue and an epilogue.\n2.Breathless\nThis song is often played at the opening of FNK’s live performances. Recalling the Japanese form for “breathless”, the three of us are forming synchronization within one of this band’s themes, the sense of three people circling in the same orbit. Quietly, warmly, a scene of penetrating light arises.\n3.Run, Run Melos\nThe frustration of never arriving at your destination no matter how much you run and run, but you keep taking another step. The guitar riff with an extended delay gives this impression. When I wrote this song, I adopted the title from a book I remember reading in elementary school. I get a feeling like I’m running with Melos every time we play this song.\n4.Pechika Pachika\nWhen this melody came to me, I didn’t know the time signature or chord progression, but for some reason, the title “Pechika Pachika” came to mind. There’s a floating kind of feeling every time we play the simple melody, a strange song that brings fresh surprises.\n5.Way Back Home\nThe guitar’s gentle bottleneck tone creates a nostalgic feeling of being enveloped in the orange light of the evening. We try to play it with the feeling of moving slowly, slowly, at the end of the day.\n6.Green Field\nThis song depicts a scene where a person stands alone atop a hill, surrounded by 360-degree wind. One of the characteristics of this band is songs that are not bound by usual jazz formats. For this take only, the drums were recorded a second time, overdubbing a new drum track over the original drums, creating a panoramic feeling of scattered notes being carried along by the wind.\n7.Kansokyoku (Interlude)\nThis is a song written for this recording. It’s a short song that seems to add several layers, with the melody theme moving from piano to guitar, swaying and slightly changing little by little.\n8.Aqua\nThe piano starts without a count-off, the drums come in, and then the guitar takes over the melody statement. Flowing notes gradually increase in energy with a guitar solo, then a piano solo, and ending in a dramatic drum finale.\n9.Canvas\nI was moved by the story of how John Lennon and Yoko Ono met. I wrote this song because I also wanted to become a canvas for the two musicians and listeners to draw on using notes from their imagination.\nThe first three minutes begin with piano improvisation followed by the main theme. Then guitar and drums sketch an improvised painting on the canvas of this melody.\n10.Reminiscence\nThe reminiscence of a short and simple motif appears several times. From the album’s opening “Prologue” and the general tonal center of Am, and after visiting various other keys, “Reminiscence” finally ends this journey in C, the relative key of Am.\nCanvas by FNK Fumie Chiba - piano Nao Teraya - guitar Kaoru Suzuki - drums Released in 2022 on Fumie Chiba as UR-003.\nJapanese names: 千葉史絵 Chiba Fumie 寺屋ナオ Teraya Nao 鈴木郁 Suzuki Kaoru\nAudio and Video Promotional video for “Prologue”, track #1 on this album: Live excerpt from “Breathless”, track #2 on this album: Live excerpts from “Breathless”, “Mi Fa Sol”, “Someday My Prince Will Come”, and “Restart” from 2020: Excerpt from track #3: “走れ、走れメロス (Run, run, Melos)” ","permalink":"https://mirror2.jazzofjapan.com/fnk-canvas/","summary":"\u003cp\u003eFNK is a group featuring pianist Fumie Chiba, guitarist Nao Teraya, and drummer Kaoru Suzuki, who released their first album \u003cem\u003eCanvas\u003c/em\u003e in 2022. A jazz trio made up of piano, guitar, and drums is somewhat unconventional, without a standalone bass instrument playing a steady undercurrent of tonal and rhythmic grounding. But prolific modern composer Fumie Chiba supplied this trio with new songs and arrangements written specifically for this format, emphasizing their expansive sound and balanced dynamics.\u003c/p\u003e","title":"FNK: Canvas"},{"content":"Note: Dug has announced that they will be closing permanently on June 27, 2026. A 65-year history is coming to an end, so swing by while you still can!\nWell-regarded and oft-mentioned, the dark and soulful jazz cafe Dug may be one of the first stops on a jazz seeker’s quest in Japan. For many years, Dug has been one of the few jazz bars listed in popular guidebooks and tourist information.\nUpon entering Dug, a short staircase leads visitors down into a classic, cool basement bar with appropriate music filling up the space. The atmosphere is simple and intimate, and depending on the hour can be subdued and quiet, suitable for listening, reading, and quiet conversation. Customers are offered coffee, alcohol, and light snacks while enjoying the comfortable setting with quality music choices playing through the shop. For visiting jazz fans, Dug is a must-stop, and often a first-stop, on the list of venerable Tokyo jazz spots, and this classic Japanese jazz cafe can also be a satisfying respite for curious walkers and general adventurers as well.\nYet, as with many things in a perpetually active city like Tokyo, changes accumulated over the years, and various details and rumors about Dug may easily confuse new customers looking for this shop. Is Dug still operating? Is live music performed here? Is there a cover charge? Is this place actually called Dig, Dug, or New Dug?\nSources may differ due to the various guidebooks publishing the information that is current at the time, which makes it hard to track down this jazz landmark. Fortunately, some answers are revealed on the official website through a historical outline that lists multiple storefronts and locations, explained below.\nShop names have even changed, from Dig to Dug to New Dug. Perhaps a slightly confusing progression, the current-day bar has dropped the “New” from its name and now goes by Dug. A brief overview based on information from the official website follows.\nDig opened in 1961 in Shinjuku, Tokyo, among several other jazz cafes in the neighborhood. In 1967, a shop was opened in Shibuya, Tokyo, but soon closed after a robbery. Renamed from Dig to Dug, the business relocated to a basement in Shinjuku. In 1977, the shop expanded as New Dug to become a multi-level establishment with different concepts and atmospheres for each floor. Above the brick-walled basement bar was a first-floor cake cafe, a spacious second-floor coffee lounge, and a communal round-table lounge on the third floor. In 1987, Dug relocated elsewhere in Shinjuku. In 1995, Dug started to host live jazz events, and famous Japanese and international players including Tommy Flanagan performed here. In 2000, Dug moved to a new location in Shinjuku and hosted live jazz with famous musicians including Archie Shepp, Dave Pike, and Steve Kuhn. In 2004, a book with essays and photos about Dug and Shinjuku jazz was published as The Story of Shinjuku DIG DUG (新宿 DIG DUG 物語 ～中平穂積読本～). In 2007, Dug (the location operating since 2000) closed. Since then, New Dug (the location operating since 1977) carried on the legacy under the name Dug. ","permalink":"https://mirror2.jazzofjapan.com/dug/","summary":"\u003cp\u003e\u003cem\u003eNote: Dug has announced that they will be closing permanently on June 27, 2026. A 65-year history is coming to an end, so swing by while you still can!\u003c/em\u003e\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_2393-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_2393-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWell-regarded and oft-mentioned, the dark and soulful jazz cafe Dug may be one of the first stops on a jazz seeker’s quest in Japan. For many years, Dug has been one of the few jazz bars listed in popular guidebooks and tourist information.\u003c/p\u003e","title":"Dug"},{"content":"Abstract Messages is the final record from the group Bungalow, an album created under unique circumstances and with a different structure from previous releases. A mix of acoustic instruments and electronic sounds, the album is not only full of beautiful music but is also an accomplishment of coordination, both in its creation and the dynamic of the music.\nConfined to two separate countries in 2020, the three remaining members of Bungalow were recorded in two different sessions. The two musicians Koichi Sato and Ko Omura recorded piano and percussion in Japan and handed off the recordings to third member Mike Rivett in Australia, who layered in saxophones, loops, and sound effects, and finished the mixing.\nThe result is wondrous, an interweaving of shorter sketches of sound and longer two-part musical stories. The songs seek to surpass conventions like trading of solos and patterns, and often set up foundations of cycling riffs and odd-metered percussion beats, all with a sense of acoustic humanness threaded with synthetic interjections of trilling chirps and buzzes, whispers of ambient sound, and blankets of samples and recorded speech.\nWith eleven tracks averaging three to seven minutes each, the album itself even seems to contain a subtle “A” and “B” side. The first six tracks are shorter three-to-four-minute sketches, continuously coalescing into moments of solid music and dissolving into cloud-like mists. This music is full of twists of arpeggios and streams of piano and sax melodies in combination with fascinating percussion and drum sounds, interlaced with the sinew and muscle of electronic filters, modulation, and samples moving together through flex and relaxation.\nThe next set of five tracks contains songs averaging six minutes each, several of which even contain a two-part structure. For example, “Abstract Messages”, “Destination of the Spirit”, and “Fragile Systems/Between Realms” each roughly plays out in two parts, establishing contrasts of serenity and chaos, pairs of organic and synthetic, or raw and digital forces that mirror the acoustic and electronic balance at play throughout the album. The final track, “Gong”, takes this concept furthest, switching back and forth several times between busy and ambient soundscape interludes with a restlessly manic musical loop.\nAbsorbing and hypnotic, this final album from Bungalow (or “Post Bungalow”, as named in one of their final videos) is a worthy end statement, weighty with experimental and melodic emotional output, radial waves tying up the frayed edges of modern obstacles and challenges into a new, beautiful mosaic.\nLiner Notes (Translated from the original Japanese liner notes written by Yo Nakagawa.)\nThere was music from the year 2020. Twenty years into the twenty-first century, Bungalow’s new album Abstract Messages brought about the impression that twenty-first-century music had appeared at last.\nThe new coronavirus brought about a pandemic and nothing but negativity, but encountering this music and reflecting with a birds-eye view, perhaps this was a necessary process for the world to advance to the next step.\nBungalow was formed in 2010 with saxophonist Masahiro Yamamoto who was later replaced by Mike Rivett. In January 2019 bassist Hiroshi Ikejiri withdrew from the band. Reflecting back, Ko Omura says that although he’s not physically present on the recording, Ikejiri’s energy is also captured in the work.\nAfter that, without any thought of including a replacement bassist, a three-member Bungalow with Koichi Sato (piano), Ko Omura (drums), and Mike Rivett (Sax) made a plan for a fifth Bungalow recording in the early spring of 2020.\nThen the pandemic happened.\nSato and Omura entered the studio in Japan in February and went ahead with the recording. However, these recorded ingredients were sent to Mike in Australia, who processed the sound, reconstructed it, and mixed it to finish the recording.\nNow with the album complete, Omura said, “There’s a lot of abstract music, and the change we’ve arrived at may surprise a lot of people who have listened to us so far. However, in the performance of original music, the spiritual feeling has not changed. I think that it can be said that it’s an acoustic work that makes full use of technology.”\nSato said, “To the music Ko and I recorded in the studio, Mike layered in sax and arranged the sound. He made quite a number of adjustments such as adding effects to the overall sound produced. Mike has long been a person involved with electronic music and sampling. It’s an album on which the three of us feel a sense of accomplishment together.”\nThe messages the three exchanged in group chats exceeded 100 and seemed to foster a closer exchange than when actually meeting and communicating in person.\n“Have we become such a band that can exchange opinions so frankly?” This was a feeling shared by the three members.\nHere I would like to share the impressions of each song borrowing the words of the song’s composer as a way of understanding each song and hinting at the intentions of the three musicians.\nM1. Entropy in Flux (Omura) - There is no piano solo in this song. We stopped exchanging solos on this album and tried to go beyond that template.\nM2. Rainy Lullaby (Sato) - A piano arpeggio establishes the motif, with saxophone singing beautifully over it.\nM3. Dance of the Earth (Sato) - A minimalist song with the same riff repeated, overlaid with a sampled speech.\nM4. The Simple Truth (Rivett) - Without naming a particular country, there is the nuance of a folk song. There is also truth there.\nM5. Til When (Omura) - An impression of acoustic music making full use of technology.\nM6. Reduce (Omura) - A song written before corona, but one that became a prophetic song.\nM7. Abstract Messages (Omura) - An impression of looking at a mandala.\nM8. Fifteen Years (Sato) - Sato graduated from university fifteen years ago and wrote this song for a friend he hadn’t seen for a long time.\nM9. Destination of the Spirit (Omura) - A chaotic first half, with “nothingness” and “heaven” experienced in the second half.\nM10. Fragile Systems/Between Realms (Omura/Rivett) - The system of economy and education also continues to change in the present. The vicissitudes of fortune. Take-wise, two songs are combined.\nM11. Gong (Sato) - Hearing the sound of a bell… Well, at this point, the album ends with this sign of a new era.\nBungalow’s debut album was/ Metropolitan Oasis/ (2011), and the present work may be a proposal for the next stage of Metropolitan Oasis.\nEven now, Bungalow beckons you in, inviting you to relax while looking up at the blue sky.\nNow, let’s take a deep breath, and hang out for a while together.\n中川ヨウ Yo Nakagawa /\nAbstract Messages by Bungalow Mike Rivett - tenor sax, woodwinds, 808 bass, samples \u0026amp; sound manipulation Koichi Sato - piano, Rhodes, Wurlitzer, Minimoog Ko Omura - drums, tabla, gatam Isabeau Hansen - flute Gordon Richter - clarinet \u0026amp; bassoon Released in 2020 on Studio Songs as YZSO-10109.\nJapanese names: 佐藤浩一 Sato Koichi 大村亘 Omura Ko\nAudio and Video Video for “Entropy In Flux”, track #1 on this album: Video for “Abstract Messages” (excerpt), track #7 on this album: Excerpt from track #8: “Fifteen Years” ","permalink":"https://mirror2.jazzofjapan.com/bungalow-abstract-messages/","summary":"\u003cp\u003e\u003cem\u003eAbstract Messages\u003c/em\u003e is the final record from the group Bungalow, an album created under unique circumstances and with a different structure from previous releases. A mix of acoustic instruments and electronic sounds, the album is not only full of beautiful music but is also an accomplishment of coordination, both in its creation and the dynamic of the music.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230559x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230559x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eConfined to two separate countries in 2020, the three remaining members of Bungalow were recorded in two different sessions. The two musicians Koichi Sato and Ko Omura recorded piano and percussion in Japan and handed off the recordings to third member Mike Rivett in Australia, who layered in saxophones, loops, and sound effects, and finished the mixing.\u003c/p\u003e","title":"Bungalow: Abstract Messages"},{"content":"World-traveling pianist Yukako Yamano released Imperial in 2018, a three-song mini-album showcasing not only her original songs but also the special instrument after which the album is named.\nThe inspiration for this album was the sound produced by a luxury piano the young pianist had the opportunity to play, a Bösendorfer 290 Imperial 1978. This type of grand piano has a bass-extended range of 97 keys over a full eight octaves, compared to 88 keys on a standard full-sized piano. The addition of extra bass strings and hardware not only offers the player deeper notes to strike but also enhances the total sound produced by all of the other keys with richer harmonic resonance — as well as increasing the overall size and weight of the imposing instrument.\nThe occasion of this recording was a fortunate happenstance. A colleague of the pianist owns this rare piano and invited Yamano to play it. It so happened that on the day, recording equipment was also available, so the playing session was captured as if it were an impromptu live performance.\nPleased with the result of the piano’s sound, Yamano decided to release the session to share the beautiful sound of the Imperial Bösendorfer. As an unplanned album produced in quick order, she offered the CD in a simple package at a handy “one-coin” price of 500 yen (about $3.50 USD).\nYamano leads off Imperial with “Symphony of Lights”, an adventurous composition with a magnificent grandeur suiting the album concept, light and cheery with an underlying fullness. The next track, “Yusha” (Hero), summons an old-world setting like a rousing march forming a grand impression. Finally, the outstanding “Catherine no Yuutsu” (Melancholy of Catherine) opens slowly in a minor key and develops into a happier gallop with promenade-style accents. This song (amusingly inspired by a diet slimming patch commercial she watched in Barcelona) is a winner, balanced and uplifting with its subtly Studio Ghibli-esque Japanese harmony rooted within an addictive and modern seven-beat frame.\nImperial by Yukako Yamano Yukako Yamano - piano Released in 2018 on Yukako Yamano as YKRN-0004.\nJapanese names: 山野友佳子 Yamano Yukako\nAudio and Video Live performance of “Yusha (Hero)”, track #2 on this album: Excerpt from track #3: “キャサリンの憂鬱 (Katherine\u0026rsquo;s Melancholy)” ","permalink":"https://mirror2.jazzofjapan.com/yukako-yamano-imperial/","summary":"\u003cp\u003eWorld-traveling pianist Yukako Yamano released \u003cem\u003eImperial\u003c/em\u003e in 2018, a three-song mini-album showcasing not only her original songs but also the special instrument after which the album is named.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230145x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230145x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe inspiration for this album was the sound produced by a luxury piano the young pianist had the opportunity to play, a Bösendorfer 290 Imperial 1978. This type of grand piano has a bass-extended range of 97 keys over a full eight octaves, compared to 88 keys on a standard full-sized piano. The addition of extra bass strings and hardware not only offers the player deeper notes to strike but also enhances the total sound produced by all of the other keys with richer harmonic resonance — as well as increasing the overall size and weight of the imposing instrument.\u003c/p\u003e","title":"Yukako Yamano: Imperial"},{"content":"While leading and participating in different groups through the years, musicians Hiroe Kobayashi and Sayaka Kishi have also played together on various projects incorporating standard jazz, pop, and Latin genres, and even Disney and movie songs. In 2022, the duo released their first full-length album entitled Luar under the band name Sul Madrugada. This name, Portuguese for “southern dawn”, together with the title Luar for “moonlight” beautifully describes the atmospheric direction the pair gravitates towards with this Latin jazz project. On this release, the duo is devoted to creating South American music in a package that embraces nature through the icons of the sun and moon.\nLuar is a sparkling album with a running time of 45 minutes and contains a mix of original and Brazilian selections. Three songs from Brazilian artists are included, and the four original compositions also convey bona fide South American influences with slow ballads, catchy pop, and uptempo samba. The one exception to the theme is Stevie Wonder’s “I Just Called to Say I Love You”, played with a laidback midtempo groove for a mid-album refreshment.\nWhile Kobayashi uses some English and Japanese lyrics, the vocalist mostly sings in Portuguese as on the covers of “Caminho das Águas”, “Encontros e Despedidas”, and “Flor de Lis”. Yet more often, the versatile Kobayashi enjoys vocalizing without words, adding nicely textured organic layers to the music with colorful oohs, aahs, and laas to build up the sound by using her voice as an additional instrument.\nSimilar to the musicians’ other albums, the songwriting on Luar is one of the main attractions. Kobayashi supplies two originals with tracks #1 and 3: “Primavera de Batana” soars lightly, with pretty harmonizing of voice, piano, and keyboard, and on “Canto de Céu”, the vocalist combines a poetry-like reading with guitar, keyboard, and distant choral singing for a wandering ambience.\nPianist Kishi’s original songs include the spiritual colors of “Luar”, the light pop of “Morning Blend”, and the spicy energy of “Early Samba”, which brings to mind another of Kishi’s groups Conviano, a popular and exciting Latin-based trio made up of conga, vibraphone, and piano.\nAlong with her songwriting, Kishi’s skill at juggling various instruments like piano, keyboard, and percussion is impressive. This sort of fluidity also extends to Sul Madrugada’s live shows, where Kobayashi and Kishi switch positions between acoustic piano and electric keyboard or guitar for selected songs. This vitality and variation are elemental to their absorbing music, engaging the audience like the attractive pull of heavenly bodies, sun and moon.\nLuar by Sul Madrugada Sayaka Kishi - piano, keyboard Hiroe Kobayashi - voice Released in 2022 on River City Music Entertainment as RRCRK-220101.\nJapanese names: 岸淑香 Kishi Sayaka 小林宏衣 Kobayashi Hiroe\nAudio and Video Promotional video for “Early Samba”, track #7 on this album and the title of a four-song mini-album from Sul Madrugada: Excerpt from track #1: “Primavera De Batata” ","permalink":"https://mirror2.jazzofjapan.com/sul-madrugada-luar/","summary":"\u003cp\u003eWhile leading and participating in different groups through the years, musicians Hiroe Kobayashi and Sayaka Kishi have also played together on various projects incorporating standard jazz, pop, and Latin genres, and even Disney and movie songs. In 2022, the duo released their first full-length album entitled \u003cem\u003eLuar\u003c/em\u003e under the band name Sul Madrugada. This name, Portuguese for “southern dawn”, together with the title \u003cem\u003eLuar\u003c/em\u003e for “moonlight” beautifully describes the atmospheric direction the pair gravitates towards with this Latin jazz project. On this release, the duo is devoted to creating South American music in a package that embraces nature through the icons of the sun and moon.\u003c/p\u003e","title":"Sul Madrugada: Luar"},{"content":"With many jazz bars and performance opportunities reduced during the pandemic period, musicians used novel approaches to create and record music. Musicians would play together over video feeds, host live online events, and send audio files back and forth to one another for collaboration. Some musicians also composed and recorded in conditions resembling self-isolation or even quarantine, resulting in an increase in self-produced music created entirely at home by individual artists. Many of the albums released in recent years share these common bonds like generational traits imprinted on the music. This is another small way by which this period leaves unique reminders of the strangeness of the times characterized by new restrictions, lockdowns, medicines, and masks.\nYuichi Narita’s 2022 project provides a great example from the self-created category with his first solo album Urban Nocturne. The versatile musician recorded his songs alone using computer midi to record piano, synthesizer, drums, and other instruments. Truly an independent creation, Narita also created the artwork and design and completed the mixing and mastering for this album.\nThe album contains nine original songs and one classical piece by Chopin. The music has an interesting flow and is one of the more unique entries in a Japanese jazz collection, alternating between electronic and acoustic styles from track to track. Many songs are quick sketches on the shorter side. Half are in the two-to-three-minute range, and the rest are three-to-five minutes long, making for an album running time of a quick thirty-one minutes.\nNarita is well-known as a jazz pianist leader and consummate sideman performing at clubs in Japan, and naturally jazz music can be found on this disc. His modern style makes use of acoustic piano, Rhodes, accordion, and other instruments, and strong similarities could be made to popular pianists like Brad Mehldau, Robert Glasper, and Keith Jarrett. There is even a brief tribute track “L.T.”, where Narita’s twisty, angular lines riding over a relentless cymbal pattern conjure up Lennie Tristano’s cool style.\nBetween the jazz selections, Narita freely incorporates other influences and genres. Club music, hip-hop, electronica, groove, bebop, European, and classical music surface in the tracks like sampling the genres available in the musician’s prismatic mind. Adding to the electronic colors of synthesizers, samples, and beats are acoustic instruments like accordion, cello, bass, and drums, all played in various combinations, overdubbed, and recorded by Narita.\nWhen initially listening to this album, first impressions flit between distinguishing the electronic music with hip-hop drum beats from the acoustic-sounding music in modern jazz or ballad styles. The album is roughly evenly split between the styles, creating a back-and-forth flow that is fluctuating yet balanced. With some songs lasting only a few minutes, the listener stays engaged with these dream-like changes which morph from tune to tune.\nThe combination of instruments is also fascinatingly varied. On the electronic tracks (#1, 3, 6, 9), synthesizers and hip-hop drum beats are the primary sounds, with Rhodes piano and electric keyboards looping stylish riffs and groovy melodies. Contrastingly, the interlaced tracks (#2, 4, 5, 7, 8) are rooted in acoustic jazz and ballad playing, where piano, bass, accordion, and percussion create lovely, pensive music draped in rich harmonies, emotional content, and deep reverb. This is especially powerful on the two-part title tracks “Urban Nocturne I” (with piano, accordion, cello) and “Urban Nocturne II” (piano with overdubbed piano), two high points on an album full of equally beautiful yet dissimilar peaks. The final track #10 concludes the journey intimately with a Chopin etude, an emotional farewell that winds down this Urban Nocturne with classical beauty.\nUrban Nocturne by Yuichi Narita Yuichi Narita - piano, Rhodes, organ, synthesizer, accordion, cello, bass, drums, percussion Released in 2021 on Coffee Table Records as COTA-001.\nJapanese names: 成田祐一 Narita Yuichi\nAudio and Video Audio for “Urban Nocturne I”, track #7 on this album: Audio for “Urban Nocturne II”, track #8 on this album: Recording of “Opus No. 2” by Yuichi Narita and Akiko Suda: Live solo piano concert from 2023: Excerpt from track #4: “No Return” ","permalink":"https://mirror2.jazzofjapan.com/yuichi-narita-urban-nocturne/","summary":"\u003cp\u003eWith many jazz bars and performance opportunities reduced during the pandemic period, musicians used novel approaches to create and record music. Musicians would play together over video feeds, host live online events, and send audio files back and forth to one another for collaboration. Some musicians also composed and recorded in conditions resembling self-isolation or even quarantine, resulting in an increase in self-produced music created entirely at home by individual artists. Many of the albums released in recent years share these common bonds like generational traits imprinted on the music. This is another small way by which this period leaves unique reminders of the strangeness of the times characterized by new restrictions, lockdowns, medicines, and masks.\u003c/p\u003e","title":"Yuichi Narita: Urban Nocturne"},{"content":"Nestled in an ordinary neighborhood located between the popular Tokyo tourist sites of Ueno Park and Asakusa’s Senso-ji temple, Knuttel House is a hidden treasure for underground music and art fans. The working-class surroundings are a point of distinction for this spot, where the associated qualities of honest, hard-working folk doing business and honing their craft align comfortably in this old downtown district. At Knuttel House, the craft includes a small gallery with art on the walls and live performances of jazz, free jazz, improvisation, and experimental artists. An example is described in a previous post about a live album recorded here.\nAlthough similar to other nondescript buildings in the neighborhood, the Knuttel House shop stands out a bit with its festively painted facade and door that leads to a square room where performances take place. Upon entering, customers can immediately sense the bar’s friendly atmosphere and the welcoming feeling of a true neighborhood establishment.\nThe space is simply furnished with about a dozen chairs spread around some tables and a small bar along the back wall. The walls of the four-cornered room feature impressive modern paintings by “Knuttel”, or a rotating artist’s exhibition depending on the schedule. A very reasonably-priced menu lists lots of beer, wine, and spirits, with soft drinks and a few basic snacks also available.\n","permalink":"https://mirror2.jazzofjapan.com/knuttel-house/","summary":"\u003cp\u003eNestled in an ordinary neighborhood located between the popular Tokyo tourist sites of Ueno Park and Asakusa’s Senso-ji temple, Knuttel House is a hidden treasure for underground music and art fans. The working-class surroundings are a point of distinction for this spot, where the associated qualities of honest, hard-working folk doing business and honing their craft align comfortably in this old downtown district. At Knuttel House, the craft includes a small gallery with art on the walls and live performances of jazz, free jazz, improvisation, and experimental artists. An example is described in a previous \u003ca href=\"https://www.jazzofjapan.com/archive/tetsuji-yoshida-and-mikiko-nagatake\"\u003epost\u003c/a\u003e about a live album recorded here.\u003c/p\u003e","title":"Knuttel House"},{"content":"Trumpeter Tetsuji Yoshida and pianist Mikiko Nagatake create new music in old town surroundings on 2021’s Live at Knuttel House. Yoshida’s original compositions make up the six songs for forty minutes selected from live performances at Knuttel art and live house. The modest venue is nestled in a working-class neighborhood in old Tokyo that seems to imbue the music with the charm and patina of the traditional surroundings. Yoshida’s conceptions skate around the borders of jazz, rock, and blues with hints of uniquely Japanese folk melodies, into which the talented pair freely incorporates traditional jazz forms.\nThe opening track “Kototoi-dori” is an immediate attention-grabber with a stark rhythm and sparse call-and-repeat melody, accompanied by a video of the performance and a quick tour of the surrounding neighborhood and street named in the title. This catchy song seems like it could also be the product of a stripped-down guitar band, a style also shared by track #4, “Stomach Elegy” with its brisk and exciting musical chase.\nThe remaining four tracks portray other aspects of the songwriting and the duo’s balance and taste. “Jackanapes” combines Latin rhythms with melancholy yearning, and “Inori” (prayer) conjures up a haunting ballad with rich emotion. Free jazz experimentation appears on “Iwaki No Yoru Wa Fukete” (late night in Iwake) with provocative simultaneous improvisation and standout solo piano playing from Nagatake.\nThe final track, “One Blues”, ends the album cheerily with evocatively muted trumpet and the swagger of blues piano grooves. As the musical statements conclude and the album winds down, the sounds of applause and gratitude from the musicians bring into focus how the nearby audience and community play an important part in the atmosphere and inspiration, a vital component of the music created in the moment.\nLive at Knuttel House by Tetsuji Yoshida \u0026amp; Mikiko Nagatake Duo Tetsuji Yoshida - trumpet Mikiko Nagatake - piano Released in 2021 on Yoshidamusic as NYAN-382.\nJapanese names: 吉田哲治 Yoshida Tetsuji 永武幹子 Nagatake Mikiko\nAudio and Video Video for “Kototoi-dori”, track #1 on this album: Excerpt from track #3: “祈り (Prayer)” ","permalink":"https://mirror2.jazzofjapan.com/tetsuji-yoshida-mikiko-nagatake-duo-live-at-knuttel-house/","summary":"\u003cp\u003eTrumpeter Tetsuji Yoshida and pianist Mikiko Nagatake create new music in old town surroundings on 2021’s \u003cem\u003eLive at Knuttel House\u003c/em\u003e. Yoshida’s original compositions make up the six songs for forty minutes selected from live performances at Knuttel art and live house. The modest venue is nestled in a working-class neighborhood in old Tokyo that seems to imbue the music with the charm and patina of the traditional surroundings. Yoshida’s conceptions skate around the borders of jazz, rock, and blues with hints of uniquely Japanese folk melodies, into which the talented pair freely incorporates traditional jazz forms.\u003c/p\u003e","title":"Tetsuji Yoshida \u0026 Mikiko Nagatake Duo: Live at Knuttel House"},{"content":"Located in the fashionable area of Omotesando and Minami-Aoyama, and not too far from Shibuya, Zimagine is a precious gem in the city. Recently relocated and renovated, the stylish space is modeled in the form of an underground exposed-brick cellar with a gentle arc of a dark metal ceiling, a dark underground cathedral to artistic music and performances.\nThe brick walls are carefully plastered with rough strokes creating slight gaps and cracks here and there for atmospheric wear and tear decorating a brand-new space. With a nice wooden floor, stage, tables, and chairs, the dark room creates a comfortable space for music to flow in a natural setting. The stage features a grand piano as well as a Fender Rhodes electric piano which is brought out on occasion according to the event.\nA pay-on-delivery system makes it easy to pick up drinks and snacks at the bar. Freshly-sliced Parmesan cheese or raw ham is wonderful and goes well with a glass of red wine or something from their long list of cocktails. (Note: Certain menu items including the cheese and ham have not been available recently, but hopefully these delicious options will make a comeback in the future.) A few non-alcoholic specialty cocktails are also available, for those who are tired of having the usual ginger ale or tea at bars.\nAside from snacks such as mixed nuts or chocolate, full meals are not offered here, but the bar does allow customers to bring in food and eat at their table (bringing in drinks is not allowed, as guests are customarily expected to buy drinks from the bar). Customers who do bring in their own foods and snacks are asked to take their trash with them when they leave as with similar shops.\nZimagine moved in 2017 and is now located near Omote-Sando station, close to the world-famous Blue Note Tokyo. Before the move, Zimagine was not too far away in a slightly smaller but similar setting near Gaienmae station. Some photos from the previous location can be seen below.\n","permalink":"https://mirror2.jazzofjapan.com/zimagine/","summary":"\u003cp\u003eLocated in the fashionable area of Omotesando and Minami-Aoyama, and not too far from Shibuya, Zimagine is a precious gem in the city. Recently relocated and renovated, the stylish space is modeled in the form of an underground exposed-brick cellar with a gentle arc of a dark metal ceiling, a dark underground cathedral to artistic music and performances.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1170954-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1170954-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe brick walls are carefully plastered with rough strokes creating slight gaps and cracks here and there for atmospheric wear and tear decorating a brand-new space. With a nice wooden floor, stage, tables, and chairs, the dark room creates a comfortable space for music to flow in a natural setting. The stage features a grand piano as well as a Fender Rhodes electric piano which is brought out on occasion according to the event.\u003c/p\u003e","title":"Zimagine"},{"content":"Fumika Asari’s first album is Introducin’ from 2020, a satisfying debut with a mix of players, combinations, and a to-the-point title with a respectful nod to classic jazz album titles. The beautiful sound of acoustic jazz matches well with the young guitarist’s natural style and concept, jazz that shuns attention-seeking tricks and lofty effects in favor of a genuine, pared-down jazz feeling.\nFrom song to song, the combination of musicians and styles changes, shuffling between quartets, trios, and duos. Throughout, relaxed easiness and vintage swing arise from classy ensemble playing and spotlit guitar improvisation. As for the changing combos, a guitar quartet is featured on track #1 (guitar, piano, bass, drums), then a trio on #2 (guitar, bass, drums), a guitar \u0026amp; guitar duo, a quartet, a trio, a guitar \u0026amp; piano duo, a quartet (guitar, alto sax, trombone, bass), a sextet, and finally a guitar solo. This variation of players and combinations of instruments keeps things interesting while introducing Asari’s musical vision for her debut release.\nThe first two tracks on Introducin’ are instantly welcoming, with the nice bossa group sound on “Triste” followed by a bluesy jazz groove on Asari’s original “Summit”, a song with a classic vintage vibe recalling the feeling of Grant Green or Sonny Clark albums. Next, “Black Orpheus” pairs Asari with guitarist Sadanori Nakamure for the hypnotic sound of two guitars playing off of each other. (Asari is also featured on a 2022 release entitled /Generations Guitar Trio /with Nakamure and guitarist Mitsukuni Tanabe, expanding on this layered guitar sound with a full album).\nOther highlights include a comfortably swinging jazz quartet on “Bluesette”, up-tempo excitement on “Daahood”, and even some pop easy-listening with two Carpenters songs played back-to-back near the end of the album. Asari ends with an especially sentimental guitar solo on “But Beautiful”, leaving a warm impression as a lasting introduction to her music.\nLiner Notes (Translated from the original Japanese liner notes written by Hiro Yamanaka.)\nIn the summer of 2015, I was in Ochanomizu covering the finals of the Gibson Jazz Guitar contest. While exchanging pleasantries with an acquaintance who was a jazz guitarist, she told me about a wonderful young woman, a guitarist who was appearing that day. That was the day I first heard the playing of Fumika Asari.\nIt was also the day that signaled to me the coming of a new generation, as I heard the traditional old-style playing (in a good way) of a guitarist still in her early 20s. After that, I had the opportunity to interview her several times for jazz magazines, and as I got to know her personally I could sense her unchanging honest characteristics, and perhaps a slightly stubborn side as well, if I may be so bold. I was happy as I sensed the progress of her guitar playing over time as if it were my own accomplishment. As she was polishing her skills accumulating many live performances with excellent musicians, it was not only this writer but many jazz guitar fans who were looking forward to her debut recording. And now that time has come.\nAnyone listening to this work Introducin’ will certainly feel happy. You can understand how she loves jazz, and how she studied the playing styles of many legends. Rather than writing liner notes in the old style of a track-by-track explanation, it seems unnecessary because the listener’s heart and ears will judge while enjoying the music. So here I will write mainly about my honest feelings.\nThere are many jazz guitarists in Japan’s jazz scene now expressing themselves in different styles. In particular, young guitarists seem to prefer a traditional style. Of course, there are guitarists such as May Inoue who pursue new expressions and styles, which is an attractive part of the future of Japanese jazz guitar.\nFumika Asari’s jazz origins were most likely influenced by Mingus, an old jazz cafe in her hometown of Fukushima City where she heard the music of players like Grant Green and Jim Hall.\nAs those who know these two legends are aware, their musical sensibilities vary widely, yet she absorbed them simultaneously. For example, you can hear a strong Grant Green style in the straight melodic expression in “Triste” and “Bluesette”, but when it comes to ad-libbed improvisation, within the Grant Green style you can hear some Jim Hall coexisting in the construction of harmony and flow of her phrasing.\nEmily Remler is another guitarist who influenced her. In addition to Remler’s hard-picking and powerful swing, perhaps the recording of “Daahoud” here is influenced by Remler’s recording of “Daahoud.” As for “Daahoud,” the name comes from a colleague of composer Clifford Brown, the trumpeter Talib Dawud. This must be an expression of respect characteristic of jazz players.\nThis album contains two original songs, both of which are excellent and fully express Asari’s sensitivity. Surely I’m not the only one who can also feel the good sensibility of Emily Remler here. And the seventh and eighth songs are arranged like a medley of two hit songs by a band she loves, the Carpenters. It’s a really smart, crowd-pleasing technique.\nPicking highlights is difficult when all the tracks are so good, but the duo on “Black Orpheus” with Japanese jazz guitar god Sadanori Nakamure naturally deserves special mention. In recent years, Asari has been performing regularly in a guitar trio with Nakamure and Mitsukuni Tanabe, and knowing their minds so well they breathe life into the songs head-on. It’s quite admirable. Incidentally, both Asari and Nakamure were born in the Year of the Rooster, yet there is a sixty-year age difference!\nHow is Fumika Asari’s debut album? The guitar tone is incredibly beautiful! Plus, the importance of the melody and poetic sentiment is conveyed. And, the special attention paid to the various formations, and the support of the participating musicians really shines through. In the 1947 American film Road to Rio, Bing Crosby sings the song “But Beautiful” with lyrics comparing the aspects of love. I don’t think that this meaning here of the word “beautiful” is the same as the Japanese word “utsukushii” (beautiful). As this “beautiful” is expressed by the meaning of the lyrics as “subarashii” (wonderful), such is Fumika Asari’s solo guitar beautiful.\nJazz journalist Hiro Yamanaka 山中弘行\nIntroducin’ by Fumika Asari Fumika Asari - guitar Sadanori Nakamure - guitar (#3) Satoshi Kosugi - bass (#1, 2) Daiki Mishima - bass (#4, 5, 7, 8) Mamoru Ishida - piano, Rhodes (#6, 8) Kanoko Kitajima - piano (#1, 4) Hiro Kimura - drums (#1, 2, 8) Yusuke Yaginuma - drums (#4, 5) Akane Ezawa - alto saxophone (#7, 8) Itsumi Komano - trombone (#7, 8) Released in 2020 on ReBorn Wood as RBW-0018.\nJapanese names: 浅利史花 Asari Fumika 中牟礼貞則 Nakamure Sadanori 小杉敏 Kosugi Satoshi 三嶋大輝 Mishima Daiki 石田衛 Ishida Mamoru 北島佳乃子 Kitajima Kanoko 木村紘 Kimura Hiro 柳沼佑育 Yaginuma Yusuke 江澤茜 Ezawa Akane 駒野逸美 Komano Itsumi\nAudio and Video Fumika Asari playing track #4 “Bluesette” with ceramic art by Mika Noguchi: Fumika Asari Quartet playing “Daahood” live, track #5 on this album: Excerpt from track #1: “Triste” ","permalink":"https://mirror2.jazzofjapan.com/fumika-asari-introducin/","summary":"\u003cp\u003eFumika Asari’s first album is \u003cem\u003eIntroducin’\u003c/em\u003e from 2020, a satisfying debut with a mix of players, combinations, and a to-the-point title with a respectful nod to classic jazz album titles. The beautiful sound of acoustic jazz matches well with the young guitarist’s natural style and concept, jazz that shuns attention-seeking tricks and lofty effects in favor of a genuine, pared-down jazz feeling.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230273x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230273x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eFrom song to song, the combination of musicians and styles changes, shuffling between quartets, trios, and duos. Throughout, relaxed easiness and vintage swing arise from classy ensemble playing and spotlit guitar improvisation. As for the changing combos, a guitar quartet is featured on track #1 (guitar, piano, bass, drums), then a trio on #2 (guitar, bass, drums), a guitar \u0026amp; guitar duo, a quartet, a trio, a guitar \u0026amp; piano duo, a quartet (guitar, alto sax, trombone, bass), a sextet, and finally a guitar solo. This variation of players and combinations of instruments keeps things interesting while introducing Asari’s musical vision for her debut release.\u003c/p\u003e","title":"Fumika Asari: Introducin’"},{"content":"Cochi is a reliably satisfying jazz bar with a friendly neighborhood feel, the kind of place to rub shoulders with local folks while listening to home-ground jazz musicians. Although the room is tiny, the space is well furnished with vintage decor and ambiance, featuring a small bar and a set of tables and low couch seats where you can watch the musicians play within arm’s reach away. In fact, the nearest front table offers an up-close-and-personal experience, basically sharing floor space with the musicians, alongside a bass drum and cymbal stands on nights when drums are featured—a really nice way to get into the music.\nPerformance duos and trios are common here, as is a monthly jam session where amateur musicians can join the house band for a song or two each. The schedule includes local professional musicians and talented up-and-coming artists. Cochi is a perfect setting for an opportunity to catch popular and soon-to-be-popular artists in a comfortable and casual setting. The grand piano at Cochi is also a musician’s favorite, whose sublime tuning and sound occupy a large part of the sonic and physical territory in the room.\nCreative homestyle dishes include the Cochi curry, tomato fried rice, salads, yakisoba, and snacks, as well as Heartland beer, sake, and other drinks. For non-Japanese speakers, the handwritten menu posted on the wall with the monthly schedules can pose a problem, but just ask the friendly owners or nearby customers to help you out, and if still in doubt, beer usually works as a universal language.\nLike other tiny spots in Tokyo, there are times when all seats at Cochi are filled with reservations for that night. It’s sometimes an adventure to trek out and try your luck without making concrete plans, and more often than not this works out fine. Yet, it can be disappointing to be turned away at the door when there’s no room left for drop-ins. On full nights, solo customers may be able to beg a foldaway stool or standing room in a corner, but this will likely not be the most comfortable or view-friendly option and sometimes isn’t even possible. It’s usually a better idea to make a reservation if you can and really intend to go, which can be easily done by phone or through the bar’s website.\n","permalink":"https://mirror2.jazzofjapan.com/cochi/","summary":"\u003cp\u003eCochi is a reliably satisfying jazz bar with a friendly neighborhood feel, the kind of place to rub shoulders with local folks while listening to home-ground jazz musicians. Although the room is tiny, the space is well furnished with vintage decor and ambiance, featuring a small bar and a set of tables and low couch seats where you can watch the musicians play within arm’s reach away. In fact, the nearest front table offers an up-close-and-personal experience, basically sharing floor space with the musicians, alongside a bass drum and cymbal stands on nights when drums are featured—a really nice way to get into the music.\u003c/p\u003e","title":"Cochi"},{"content":"The title of the album Acoustic Fluid from the Ryosuke Hashizume Group captures the essence of moving, flowing sounds that fill up this music. Like most of Hashizume’s albums and live shows, his original compositions are featured on this 2012 album, his sixth release. Throughout /Acoustic Fluid/’s nine tracks, the five-member group expands these charts with push-and-pull activity, like waves on water or breaths of air.\nThe music on this album alternates between slow, free sketches and mid-tempo modern jazz. The slower tracks are beautifully patient, somewhat open-ended with room for the group to pulse and grow organically while trekking through the movements.\nWhether on the undertow of “Current”, the storytelling of “The Color of Silence”, or the tranquil, soft “Home”, the slower numbers are soundscapes for creating acoustic moods, a vaguely Blade Runner Vangelis-esque setting of future nostalgia. The recorded warmth of the instruments adds to this with a dynamic mix of warbling guitar, artistically nimble drums, fluidly echoey sax, the magnetic attraction of fretless electric bass, and full, graceful piano.\nAmong the slower songs, the mid-tempo songs are latched to frames in motion through riffs, loops, or steady rhythms on which longer themes develop. Songs like “Last Moon Nearly Full”, “Conversations with Moore”, and “The Last Day of Summer” thrill with emotional, shapeshifting suspense through the peaks and valleys of the compositions layered with individual improvisation. Throughout, the album is a chimera of imagination, a satisfying journey from the initial pull of the opening “Current” to the last welcome of “Home”.\nAcoustic Fluid by Ryosuke Hashizume Group Ryosuke Hashizume - tenor saxophone, effects Motohiko Ichino - guitar, effects Ryoji Orihara - fretless bass Manabu Hashimoto - drums, percussion Koichi Sato - piano (#2, 3, 8) Released in 2012 on Tactile Sounds Records as TS-001.\nJapanese names: 橋爪亮督 Hashizume Ryosuke 市野元彦 Ichino Motohiko 織原良次 Orihara Ryoji 橋本学 Hashimoto Manabu 佐藤浩一 Sato Koichi\nAudio and Video Live performance of “Last Moon Nearly Full”, track #2 on this album: Live performance of “The Last Day of Summer”, track #4 on this album: Excerpt from track #3: “Conversations with Moore” ","permalink":"https://mirror2.jazzofjapan.com/ryosuke-hashizume-group-acoustic-fluid/","summary":"\u003cp\u003eThe title of the album \u003cem\u003eAcoustic Fluid\u003c/em\u003e from the Ryosuke Hashizume Group captures the essence of moving, flowing sounds that fill up this music. Like most of Hashizume’s albums and live shows, his original compositions are featured on this 2012 album, his sixth release. Throughout /Acoustic Fluid/’s nine tracks, the five-member group expands these charts with push-and-pull activity, like waves on water or breaths of air.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200739x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200739x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe music on this album alternates between slow, free sketches and mid-tempo modern jazz. The slower tracks are beautifully patient, somewhat open-ended with room for the group to pulse and grow organically while trekking through the movements.\u003c/p\u003e","title":"Ryosuke Hashizume Group: Acoustic Fluid"},{"content":"Boozy Muse is a fresh jazz bar that hosts jazz on most nights of the week. Artists range from vocal groups to instrumental groups, and the first set usually starts at 7:40 pm, wrapping up around 10:20 pm.\nOnce in a while, there are daytime shows on Sundays or holidays. Drinks range from the usual beers, wine, and bottles of scotch, whiskey, and other liquors, and the food menu is typical bar-style spaghetti, mini pizza, cheese plates, and similar. If it’s still there, try to spot the big baby bottle of liquor behind the bar.\nWhat makes Boozy Muse special is the living-room style of the place. There is right-up-front couch seating, friendly musicians, a superior grand-piano sound, and slick wood paneling lining the walls and tables. A wall-sized mirror behind the piano adds to the spaciousness and style of the room. A clean, professional yet friendly atmosphere makes this jazz joint a consistently pleasing place to catch new acts.\nOn special occasions such as CD release anniversary celebrations and similar events, Boozy Muse can get quickly filled up with advance reservations. If there is an artist you want to see here, reservations are recommended. On typical nights, though, getting there early should land you get a good seat at the bar, a rear table, or right up front on the seats right in front of the musicians.\n","permalink":"https://mirror2.jazzofjapan.com/boozy-muse/","summary":"\u003cp\u003eBoozy Muse is a fresh jazz bar that hosts jazz on most nights of the week. Artists range from vocal groups to instrumental groups, and the first set usually starts at 7:40 pm, wrapping up around 10:20 pm.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1150758-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1150758-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eOnce in a while, there are daytime shows on Sundays or holidays. Drinks range from the usual beers, wine, and bottles of scotch, whiskey, and other liquors, and the food menu is typical bar-style spaghetti, mini pizza, cheese plates, and similar. If it’s still there, try to spot the big baby bottle of liquor behind the bar.\u003c/p\u003e","title":"Boozy Muse"},{"content":"For My Lady is a relaxing package of jazz standards performed by a sensitive trombone and piano duo. Akane Matsumoto, known for her impressive bebop and swing skills, joins up with young newcomer Nanami Haruta on trombone, and both players select favorites from the jazz standard library for this album, each song accompanied by comments in the liner notes translated below.\nWith a laid-back and reigned-in sound, the album is easy to listen to, suitable for relaxation or a comfortable backdrop to day or night. The music fills the room with a calm background texture, with most songs played at slow tempos or as freely-interpreted ballads. The dark-tinged wistful sound of Haruta’s trombone supported by Matsumoto’s wide piano dynamics creates a melancholy feeling with undercurrents of swing, unobtrusive, quietly persuasive, and suggestive of mellow musical stories being told.\n/For My Lady /contains eight standards with one original composition from Haruta entitled “Midnight Sun”, a beautifully melancholy ballad. The jazz song chosen for this album honor greats like George Gershwin, Antonio Carlos Jobim, and Hoagy Carmichael.\nShining moments include Haruta’s emotional playing opening Gerry Mulligan’s “The Real Thing” alone before Matsumoto’s piano joins with gossamer sophistication. Next, the bluesy “Please Send Me Someone to Love” is filled with admiration for Phineas Newborn Jr., one of Matsumoto’s favorite pianists, and shines with the album’s most soulful grooves for the players to dig into. Closing the album, a dreamy rendition of the ever-popular tune “Stardust” is a beautiful take.\nFinally, the lightly bouncing tune “For My Lady”, written by the grand harmonicist Toots Thielemans, takes on a special meaning here with Matsumoto’s love for her princess puppy, who makes surprise guest appearances in the videos for “Angela” and “Kemono Change”.\nLiner Notes (Translated from the original Japanese liner notes written by Akane Matsumoto and Nanami Haruta.)\nFOR MY LADY\nAkane Matsumoto Nanami Haruta\n1.I’ve Got A Crush On You\nBeing largely self-taught in orchestration and achieving success with his masterpiece “Rhapsody in Blue”, George Gershwin extended his knowledge and tackled the merging of jazz and classical music, dipping into the live performance elements of ragtime. Through his short lifespan of 38 years and his lifestyle which left many works transcending the boundaries of genre, he left us with a way to study the importance of finding one’s own path daily, keeping the spirit of endless pursuit and burning passion. Through this famous George Gershwin tune we hope you can feel our direct affection through our music. (Akane Matsumoto)\n2.Angela\nAntonio Carlos Jobim left this world with a huge number of songs, quiet and beautiful music like drifting slowly on the ocean. Finding a favorite among his works is almost like a treasure hunt. (Akane Matsumoto)\n3.For My Lady\nA long-time dream came true and a small, female mixed-breed dog finally arrived at home. Although I was excited about the calm, gentle time I would spend together with a dog, she surpassed expectations as a queen of destruction. Tears… Even so, her sleeping figure is like a pure and innocent princess, so lovely that it makes me want to cry. With this song, I tried to depict that happy feeling and always perform it tenderly. (Akane Matsumoto)\n4.Byakuya (Midnight Sun)\nAmong these famous gems, I’ve mixed in only one original composition. When composing, the concept or title can spring to mind first, or sometimes the melody is first to arise. This song was the latter case and I played it live for several months as-is without a title.\nHowever when I visited Lake Akan in November of last year, the cloudless sky, the faintly dyed red color of the setting sun on the snow-covered peak of Mount Oakan, and the scent characteristic of winter in eastern Hokkaido… It’s difficult to put into words, but I wanted to adopt the association of how that scenery moved me.\n(When I try to come up with titles, it can be tough…) Someday I want to try to see the real midnight sun. (Nanami Haruta)\n5.This Is All I Ask\nA work filled with the wonderful message that simple joys enrich life.\nThere is a mountain called Oyama in my hometown which celebrated its 1300th founding anniversary several years ago. The locals say “With gratitude to Mount Oyama” and live their lives with the blessings of the four seasons. And this richness is quietly conveyed. I learn through the figures of the folks living in my hometown that true happiness lies in being humble towards others and nature. (Akane Matsumoto)\n6.The Real Things\nA work by Gerry Mulligan that brought about a sort of feeling of nostalgia. I thought about that for a while and realized that it is like a lullaby that my mother used to sing to me when I was a child. I recalled the happiness of that time, the good feeling of being wrapped up in a blanket with Mom’s singing voice and warmth. (Akane Matsumoto)\n7.Please Send Me Someone To Love\nThere are several Phineas Newborn Jr. songs in Nanami’s and my repertoire. This time, we recorded this favorite song, which is also the title of a Phineas Newborn Jr. album. Bluesy and funky, it’s exactly what I love. It’s a number that always creates a fun feeling. (Akane Matsumoto)\n8.A Flower Is A Lovesome Thing\nI fell in love with Billy Strayhorn’s music, and I can say that encountering this song is what made it happen. I think that Strayhorn’s music is always beautiful, vibrant, soft, and somewhat dark. I tend to like many things with these characteristics by nature. For example, authors such as Saneatsu Mushanokoji, plants like the Rindo Flower, and instruments like the trombone. When I encountered this song, it was love at first sound. No matter how you slice it, it is a charming song that I love. (Nanami Haruta)\n9.Stardust\nThere was a time in high school when I was addicted to looking up the lyrics to jazz standards and copying them, along with translations, into notebooks. I remember being moved by how pure and beautiful the lyrics were that so matched the melody. Ever since, it’s been one of my favorite jazz standards.\nBy the way, when I happen to hum this song, I’m struck and transformed by the twinkling dreamlike melody and often start to feel uncomfortable or suffering. I wonder if there’s something like light and shadow at work here. (Nanami Haruta)\nFor My Lady by Akane Matsumoto \u0026amp; Nanami Haruta Nanami Haruta - trombone Akane Matsumoto - piano Released in 2023 on Concept Record as CR-17.\nJapanese names: 治田七海 Haruta Nanami 松本茜 Matsumoto Akane\nAudio and Video Video for “I’ve Got A Crush On You”, track #1 on this album: Video for “Angela”, track #2: Video for “For My Lady”, track #3: Video for “Byakuya”, track #4: Video for “Kemono Charge”: Excerpt from track #7: “Please Send Me Someone To Love” ","permalink":"https://mirror2.jazzofjapan.com/akane-matsumoto-nanami-haruta-for-my-lady/","summary":"\u003cp\u003e\u003cem\u003eFor My Lady\u003c/em\u003e is a relaxing package of jazz standards performed by a sensitive trombone and piano duo. Akane Matsumoto, known for her impressive bebop and swing skills, joins up with young newcomer Nanami Haruta on trombone, and both players select favorites from the jazz standard library for this album, each song accompanied by comments in the liner notes translated below.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230647x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230647x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWith a laid-back and reigned-in sound, the album is easy to listen to, suitable for relaxation or a comfortable backdrop to day or night. The music fills the room with a calm background texture, with most songs played at slow tempos or as freely-interpreted ballads. The dark-tinged wistful sound of Haruta’s trombone supported by Matsumoto’s wide piano dynamics creates a melancholy feeling with undercurrents of swing, unobtrusive, quietly persuasive, and suggestive of mellow musical stories being told.\u003c/p\u003e","title":"Akane Matsumoto \u0026 Nanami Haruta: For My Lady"},{"content":"As the sign describes, “Cocktails, dinner, and standard jazz live” is what you will find at Jazz Bird. This fancy yet comfortable spot is a solid jazz option in the upscale district of Omote-Sando. Jazz Bird is located in an area that is otherwise not full of jazz bars and the related underground ambience, providing a great option for a little something different for those in the neighborhood.\nWith three- and four-piece groups playing standard jazz most nights of the week, this jazz bar delivers a nice jazz hideaway atmosphere with easy access to the station and an open jazz jam on selected Sundays.\n","permalink":"https://mirror2.jazzofjapan.com/jazz-bird/","summary":"\u003cp\u003eAs the sign describes, “Cocktails, dinner, and standard jazz live” is what you will find at Jazz Bird. This fancy yet comfortable spot is a solid jazz option in the upscale district of Omote-Sando. Jazz Bird is located in an area that is otherwise not full of jazz bars and the related underground ambience, providing a great option for a little something different for those in the neighborhood.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"P1060850-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"P1060850-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWith three- and four-piece groups playing standard jazz most nights of the week, this jazz bar delivers a nice jazz hideaway atmosphere with easy access to the station and an open jazz jam on selected Sundays.\u003c/p\u003e","title":"Jazz Bird"},{"content":"Independence is a cool underground jazz bar in Ikebukuro, a long and narrow room like a tunnel with a door at one end and a stage at the other. The friendly proprietor offers small homemade appetizers and the usual drinks, bar snacks, and dishes including pizza, pasta, and rice dishes. The middle of the room is filled with small tables and chairs lined up against the long wall, with a small facing bar that also provides great views of the stage.\nIndependence welcomes diehard jazz addicts as well as newbies, making efforts to appeal to customers who may be unfamiliar with other insular jazz scenes by providing an up-close experience, an at-home atmosphere with front-row seats and the stage area mingling close together, facilitating direct eye contact and excitement brought about by the magnetic and unpredictable qualities of jazz improvisation.\nSunday “sunset live” shows start a bit earlier than usual and often feature up-and-coming younger artists, with daytime shows and amateur jazz jam sessions also appearing on the calendar from time to time.\n","permalink":"https://mirror2.jazzofjapan.com/independence/","summary":"\u003cp\u003eIndependence is a cool underground jazz bar in Ikebukuro, a long and narrow room like a tunnel with a door at one end and a stage at the other. The friendly proprietor offers small homemade appetizers and the usual drinks, bar snacks, and dishes including pizza, pasta, and rice dishes. The middle of the room is filled with small tables and chairs lined up against the long wall, with a small facing bar that also provides great views of the stage.\u003c/p\u003e","title":"Independence"},{"content":"Phrases like good honest work and good clean fun convey the simple and satisfying rewards that result from high levels of skill, effort, and enjoyment. Good honest music is a simple but to-the-point description of saxophonist Seiji Harakawa’s debut album Skipping Down the Street, an excellent showcase for the agile alto sax leader and rhythm section to project their skill, effort, and enjoyment of jazz.\nThe full group listed on the record, “Seiji Harakawa Quartet featuring Fukushi Tainaka” also emphasizes the importance of drums and groove on this album, and honors Harakawa’s experience playing living legend drummer Tainaka in New York for half a decade before Harakawa returned to Japan.\nThis 9-track album runs for 52 minutes and includes a selection of jazz covers and three of the leader’s original songs. Most of the songs are taken at a good-feeling mid-tempo 4/4 groove that doesn’t drag or get old in the least. The quartet’s playing is naturally top-notch, with familiar jazz patterns and quotes thrown in from time to time, lending authenticity to the players’ sense of togetherness and shared jazz language.\nA few ballads and Latin songs are included for variety: the standard “Cherokee”, a song often played at breakneck speed as a sort of thrill-ride woodshedding contest, is here surprisingly played at a slow and pleasant pace, and fast-tempo responsibilities are taken up by the quartet’s high-speed, exciting playing on the American baseball anthem “Take Me Out to the Ball Game”.\nThe sound of the quartet is very much focused on locked-in swing and hard bop drive, taking after the positive energy and strong rhythms that groups like Art Blakey and the Jazz Messengers were creating in the 1950s. It may not be a coincidence that Harakawa was also a member of a local Japanese jazz combo called the Japanese Jazz Messengers, and he released three albums with that group in recent years leading up to this debut release.\nHarakawa’s alto sax sound is strong, fluid, and engaging, very well suited for the spotlight on his debut album. Harakawa’s sax can recall bop giants like Sonny Stitt with his technically agile sound and effortless playing steeped in bebop and blues. This is quite apparent on the final track, Harakawa’s “Give Me More Hot Sauce”, which is a perfect album closer with its laid-back bluesy groove and the silky smooth leads that Harakawa sings through his sax.\nI’ve seen Harakawa’s group play through the years and have always been impressed by the group preparation, skill, and consistency of their performances. From song selection, arrangements, and solid groove, the music is always fulfilling and leaves a lasting impression.\nOne of the best things I can say about the music on Skipping Down the Street is that the live performance feeling is captured so well on this recording. A gem that honors Harakawa’s exceptional effort and abilities, this release is full of reliable and pure jazz that doesn’t disappoint, drawing on the skill and love that these musicians have for good honest music.\nSkipping Down the Street by Seiji Harakawa Quartet Seiji Harakawa - saxophone Hiroyuki Takubo - piano Motoi Kanamori - bass Fukushi Tainaka - drums Released in 2020 on T \u0026amp; A Music as SEI-001.\nJapanese names: 原川誠司 Harakawa Seiji 田窪寛之 Takubo Hiroyuki 金森もとい Kanamori Motoi 田井中福司 Tainaka Fukushi\nAudio and Video Live Performance of “Take Me Out to the Ball Game” by the Seiji Harakawa Quartet: Excerpt from track #5: “I\u0026rsquo;ve Never Been In Love Before” ","permalink":"https://mirror2.jazzofjapan.com/seiji-harakawa-quartet-skipping-down-the-street/","summary":"\u003cp\u003ePhrases like good honest work and good clean fun convey the simple and satisfying rewards that result from high levels of skill, effort, and enjoyment. Good honest music is a simple but to-the-point description of saxophonist Seiji Harakawa’s debut album \u003cem\u003eSkipping Down the Street\u003c/em\u003e, an excellent showcase for the agile alto sax leader and rhythm section to project their skill, effort, and enjoyment of jazz.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1240030x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1240030x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe full group listed on the record, “Seiji Harakawa Quartet featuring Fukushi Tainaka” also emphasizes the importance of drums and groove on this album, and honors Harakawa’s experience playing living legend drummer Tainaka in New York for half a decade before Harakawa returned to Japan.\u003c/p\u003e","title":"Seiji Harakawa Quartet: Skipping Down the Street"},{"content":"Saxophonist Akihiro Yoshimoto’s 62 Charlesgate is a 2022 album where he showcases both his original music and a group of young musicians from the Japanese jazz scene. The quartet is made up of saxophone, trombone, bass, and drums, with no chordal instrument like piano or guitar filling up the comping harmonies. The resulting music, composed for two horns to play melodies in union, harmony, counterpointing, or trading phrases, has a well-suited sound for Yoshimoto’s organized yet free and open concept on this album.\nOn 64 Charlesgate, there are elements of free Ornette Coleman-style jazz, moments of simultaneous improvisation, and melodic cycles and horn loops similar to Dave Holland’s Quintet or even approaching John Zorn territory. Yet the music is not chaotically explosive, but more like playful abandon in the structured framework that Yoshimoto lays out for each track.\nKicking off the album, Yoshimoto’s “Funny Book” gets to the heart of the matter with quirky riffs parading vibrantly before introducing open sections for free improvisation. This song is played twice, included as both the album opener and closer in an alternate version. The choice to repeat this particular composition was perhaps made to emphasize the balance of cooperative unity and the individual passions of improvisation, combined also with a sense of humor and fun.\nPicking album highlights is difficult as the whole album hangs well together with special characteristic moments in each song. As far as first impressions, fresh ears may perk up on track #2 “Trash Box”, the origami-like multifold form and rock groove, the slow buildup of #6 “Mud Drawing” and its well-developed outro section, and the exciting chase-scene energy and dramatic time shifts on #7 “Silly Rabbit” and #9 “Mr. R”.\nThe album also includes two shorter songs inserted like brief asides: Tracks #3 “Interlude” and #8 “Ocean add a suite or concept feeling to the entire album and calm the ears in less than two minutes each, like muted buffer zones of repose and curiosity.\n64 Charlesgate by Akihiro Yoshimoto Quartet Akihiro Yoshimoto - saxophone Nanami Haruta - trombone Raiga Hayashi - drums Makoto Togashi - bass Released in 2022 on Quint Co. Ltd. / Chitei Records as B102F.\nJapanese names: 吉本章紘 Yoshimoto Akihiro 治田七海 Haruta Nanami 林頼我 Hayashi Raiga 冨樫マコト Togashi Makoto\nAudio and Video The Akihiro Yoshimoto Quartet playing live in 2020 in support of his album “Moving Color”: Excerpt from track #1: “Funny Book” ","permalink":"https://mirror2.jazzofjapan.com/akihiro-yoshimoto-quartet-64-charlesgate/","summary":"\u003cp\u003eSaxophonist Akihiro Yoshimoto’s \u003cem\u003e62 Charlesgate\u003c/em\u003e is a 2022 album where he showcases both his original music and a group of young musicians from the Japanese jazz scene. The quartet is made up of saxophone, trombone, bass, and drums, with no chordal instrument like piano or guitar filling up the comping harmonies. The resulting music, composed for two horns to play melodies in union, harmony, counterpointing, or trading phrases, has a well-suited sound for Yoshimoto’s organized yet free and open concept on this album.\u003c/p\u003e","title":"Akihiro Yoshimoto Quartet: 64 Charlesgate"},{"content":"“Smokin’, Drinkin’, Never Thinkin’” is the motto at Jazz Spot Intro, a classic for many years in the underground Tokyo jazz scene. This is the quintessential jazz bar for jazz musicians of all stripes to gather to jam together, hone their craft, and just have a good time surrounded by jazz music and history. It sometimes seems that all Japanese jazz musicians have woodshedded here at some point, or at least know about and honor this club.\nIntro specializes in the jazz jam: jazz musicians of all abilities congregate here to meet, rehearse, and play standard jazz tunes together. This is a great place for touring musicians as well, who are referred to Jazz Spot Intro upon asking the familiar question “Where can I go for a jazz jam in Tokyo, tonight?”\nIntro is a formerly-secret bar that’s now so well-known and respected that it is generally recognized as a fundamental part of the living history of jazz in Japan. This is a must-visit for true jazz fans of all stripes who only have one or two nights free for jazz in Tokyo.\nAlso welcome is the news that the room has been cleaned and refurbished in recent years, welcome news to those who may have heard old rumors of general dinginess, occasional bug bites, and concentrated tobacco smoke that lingers in your clothes for days.\nOne long-standing draw of Intro is the all-night, 12-hour jazz session every Saturday night from 5pm to 5am. Depending on the night, the atmosphere may get cramped and rambunctious when the hot jazz starts, but the bar is well-stocked with cold drinks to keep things balanced and friendly.\n","permalink":"https://mirror2.jazzofjapan.com/intro/","summary":"\u003cp\u003e“Smokin’, Drinkin’, Never Thinkin’” is the motto at Jazz Spot Intro, a classic for many years in the underground Tokyo jazz scene. This is the quintessential jazz bar for jazz musicians of all stripes to gather to jam together, hone their craft, and just have a good time surrounded by jazz music and history. It sometimes seems that all Japanese jazz musicians have woodshedded here at some point, or at least know about and honor this club.\u003c/p\u003e","title":"Intro"},{"content":"Yuichiro Aratake continues to express his compassionate vision with Music Make Us One, a live concert recorded in 2010 and released in a CD/DVD package. Through six songs, the 40-minute album features his expanded piano trio spotlighting harmonica, vocals, and an eight-member string section.\nTwo of the six songs are instrument-based tracks that feature Aratake’s expressive playing that supports bluesy harmonica playing together and warm string arrangements. Vocalist Ryutaro Makino joins on the other four songs, including Aratake’s “Family” and “Say We Love”. The violins, violas, and cellos in the string section add a classy texture to much of the album and, together with the song selection and arrangements, shifts the music into orchestral pop territory. The recorded live sound also captures the expansive feeling of a large stage and concert hall filled with an audience of fans.\nIn addition to bluesy songs, romantic ballads, and pop, the album’s jazzier moments include Makino singing Ellington’s “It Don’t Mean a Thing (If It Ain’t Got That Swing)” at a quick finger-snapping pace. Another listener favorite is Aratake’s own “Yuyake (Red Sunset)” with its modern Latin character and irresistible rhythm.\nMusic Make Us One by Yuichiro Aratake Yuichiro Aratake - piano Kunio Oinuma - bass Koichi Inoue - drums Koei Tanaka - harmonica Ryutaro Makino - vocal Naomi Urushibara - violin Leina Ushiyama - violin Kanae Shima - violin Asami Matsuda - violin Daisuke Tomita - viola Ryosuke Sato - viola Takefumi Shirasa - cello Masato Kubo - cello Released in 2010 on Urban Jazz as 151A-0003.\nJapanese names: 荒武裕一朗 Aratake Yuichiro 生沼邦夫 Oinuma Kunio 井上功一 Inoue Koichi 田中光栄 Tanaka Koei 牧野竜太郎 Makino Ryutaro 漆原直美 Urushibara Naomi 牛山玲名 Ushiyama Leina 志摩かなえ Shima Kanae 松田麻美 Matsuda Asami 富田大輔 Tomita Daisuke 佐藤良輔 Sato Ryosuke 白佐武史 Shirasa Takefumi 久保公人 Kubo Masato\nAudio and Video Video of “Yuyake”, track #4 on this album: Video of “It Don’t Mean A Thing”, track #2 on this album: Excerpt from track #1: “Sepia” ","permalink":"https://mirror2.jazzofjapan.com/yuichiro-aratake-music-make-us-one/","summary":"\u003cp\u003eYuichiro Aratake continues to express his compassionate vision with \u003cem\u003eMusic Make Us One\u003c/em\u003e, a live concert recorded in 2010 and released in a CD/DVD package. Through six songs, the 40-minute album features his expanded piano trio spotlighting harmonica, vocals, and an eight-member string section.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1210248x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1210248x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eTwo of the six songs are instrument-based tracks that feature Aratake’s expressive playing that supports bluesy harmonica playing together and warm string arrangements. Vocalist Ryutaro Makino joins on the other four songs, including Aratake’s “Family” and “Say We Love”. The violins, violas, and cellos in the string section add a classy texture to much of the album and, together with the song selection and arrangements, shifts the music into orchestral pop territory. The recorded live sound also captures the expansive feeling of a large stage and concert hall filled with an audience of fans.\u003c/p\u003e","title":"Yuichiro Aratake: Music Make Us One"},{"content":"Donfan (Don Juan) is a relaxing and casual jazz bar with a family feel and neighborhood friendliness. Small dishes are served and the usual assortment of beer and liquor is available. Shows usually start a little later than normal (8:30 pm) and may last until late at night.\nThe musicians are top-notch and depending on the performers you may be amazed at the high quality and professionalism of the musicianship. The main owner and bartender, Shinobu-san, is ever friendly and may sit with customers between sets and chat happily about anything. A feeling of fun and anything-can-happen spontaneity abounds here. Holidays are festive, and Halloween is also a fun time to visit—simple costumes, hats, and masks, may be provided to the band and audience members to enliven the atmosphere.\n","permalink":"https://mirror2.jazzofjapan.com/donfan/","summary":"\u003cp\u003eDonfan (Don Juan) is a relaxing and casual jazz bar with a family feel and neighborhood friendliness. Small dishes are served and the usual assortment of beer and liquor is available. Shows usually start a little later than normal (8:30 pm) and may last until late at night.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"P1080630-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"P1080630-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe musicians are top-notch and depending on the performers you may be amazed at the high quality and professionalism of the musicianship. The main owner and bartender, Shinobu-san, is ever friendly and may sit with customers between sets and chat happily about anything. A feeling of fun and anything-can-happen spontaneity abounds here. Holidays are festive, and Halloween is also a fun time to visit—simple costumes, hats, and masks, may be provided to the band and audience members to enliven the atmosphere.\u003c/p\u003e","title":"Donfan"},{"content":"Vibrant is a 2020 solo piano recording from Hitomi Nishiyama, her second solo album after 2013’s Crossing and her 20th overall release. At the time of this recording, her heavy metal project NHORHM had recently finished, and on this album she chose to face the piano quietly and alone, playing nine of her original compositions.\nProviding an interesting contrast to the title, the monochrome package design is plain and minimalistic, listing the tracks and credits without any artwork or photos. The disc itself, printed in calming pink, begins to turn up the vibrancy level as you get closer to the recorded music.\nThe musical direction is also conveyed through titles such as “Empathy”, “Recollection”, “Until the Quiet Comes”, and “Hand in Hand”, implying themes of calmness, maturity, and emotional settings. The music accomplishes that, enhanced by the beautifully recorded piano and the hall’s natural reverb. The spaciousness of sound creates a sense of safety and peace. It’s an intimate album, where she sits down at the piano alone and plays her music directly for the audience, whether it’s one person or a full auditorium.\nThis album breezes with emotive ballads, light yet kinetic pulses, classical influences, and stimulating traces of European jazz, Chopin, Keith Jarrett, and Bill Evans. In Nishiyama’s trademark style, dramatic tension shifts in and out through waves of notes and chords strung together in colorful harmonic movement. The music gravitates towards a medium tempo with the underlying inertial rhythm that the pianist expertly establishes while she creates melodies out of thin air.\n“Empathy” opens the album as a slow, dreamy invitation, and the next two tracks lock in with propelling rhythms: “Vibrant” pushes and pulls with catchy momentum and a lyrical melody, and “Recollection” shines as a layered composition with a strong hook and some resemblance to the music of her NHORHM project.\nThe dramatic songs “To the North” and “Snow Train” are also ear-catching highlights, the former with its cinematic tension and arpeggiated structures, and the latter which sets up a repeated syncopated vamp as her improvisation floats, twists, and develops curiously.\nThis is a solo piano album and its sound qualities are defined by the single instrument’s dynamic and sonic range, so one way to listen is to allow the music to drift in and out of consciousness as the tracks change. In that manner, this music can work as a background for work, walks, or relaxation. Paying closer attention also packs an impact, and allows for focusing on the stirring compositions and accomplished playing which evokes each title’s meaning vibrantly.\nVibrant by Hitomi Nishiyama Hitomi Nishiyama - piano Released in 2020 on Meantone Records as MT-08.\nJapanese names: 西山瞳 Nishiyama Hitomi\nAudio and Video Promotional video with clips from this album: Excerpt from track #3: “Recollection” ","permalink":"https://mirror2.jazzofjapan.com/hitomi-nishiyama-vibrant/","summary":"\u003cp\u003e\u003cem\u003eVibrant\u003c/em\u003e is a 2020 solo piano recording from Hitomi Nishiyama, her second solo album after 2013’s \u003cem\u003eCrossing\u003c/em\u003e and her 20th overall release. At the time of this recording, her heavy metal project \u003ca href=\"https://www.jazzofjapan.com/archive/nhorhm-extra-edition\"\u003eNHORHM\u003c/a\u003e had recently finished, and on this album she chose to face the piano quietly and alone, playing nine of her original compositions.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230230x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230230x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eProviding an interesting contrast to the title, the monochrome package design is plain and minimalistic, listing the tracks and credits without any artwork or photos. The disc itself, printed in calming pink, begins to turn up the vibrancy level as you get closer to the recorded music.\u003c/p\u003e","title":"Hitomi Nishiyama: Vibrant"},{"content":"Soultrane is a classic jazz bar conveniently located near the famous grand shrine in Asakusa. This club is a funky hideaway den located on the second floor in a famous neighborhood filled with popular shrines and old-fashioned buildings.\nThe room itself is filled with various unmatched chairs and side tables surrounding a large table in the center creating the feel of a slapdash but comfortable dining room. A nicely stocked bar with a wrap-around counter sports great views out the picture windows which fill up one wall of the room.\nAlso furnishing the room is a hodgepodge collection of knick-knacks, CDs, records, posters of jazz musicians and classic Hollywood stars, and a few standing drums and instruments tucked away in any available corners.\nAs for the stage area, a baby grand piano, double bass, and drum set stand up against the floor-to-ceiling wall-to-wall windows, providing a dramatic look out onto the comings and goings of the nearby elevated Tobu trains.\nWith a capacity for perhaps 20 to 30 people, Soultrane provides a friendly and easygoing atmosphere for catching local jazz musicians. Ambitious amateur jazz players may even choose to join the frequent open jazz jam sessions which cost around 2500 to 3000 yen.\n","permalink":"https://mirror2.jazzofjapan.com/soultrane/","summary":"\u003cp\u003eSoultrane is a classic jazz bar conveniently located near the famous grand shrine in Asakusa. This club is a funky hideaway den located on the second floor in a famous neighborhood filled with popular shrines and old-fashioned buildings.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20170916_143012_hdrx-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20170916_143012_hdrx-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe room itself is filled with various unmatched chairs and side tables surrounding a large table in the center creating the feel of a slapdash but comfortable dining room. A nicely stocked bar with a wrap-around counter sports great views out the picture windows which fill up one wall of the room.\u003c/p\u003e","title":"Soultrane"},{"content":"The full title of this 2023 album sets the stage: “/Folds - Live at 100Ban Hall/ by the Hiro Kimura Quintet featuring Kazuhiko Takeda”.\nFolds is a live recording of Kimura’s quintet playing in Kobe in 2022. Drummer Kimura leads the group featuring special guest Kazuhiko Takeda, whose melodic, soulful jazz guitar is exquisitely framed by the relatively younger musicians. Regardless of age, the unit displays talent, harmonious energy, and reverence for the music they create together.\nThe album contains eight tracks, seven jazz standards and covers plus one original composition from Kimura. Starting with the slow ballad “My Ideal”, the music is straight-ahead, satisfying jazz with a few members each soloing on specific songs.\nTakeda’s guitar shines throughout with a warm tone and superb improvisation, a mellow sound that is well-balanced against Hirose’s excellent trumpet notes full of real jazz spirit. The piano sound may seem understated at first, but Naoko Tanaka exhibits a high level of skill with her impressive, jazzy lines and confident comping.\nBassist Yuji Ito and leader Kimura hold down the impeccable bass lines and rhythms throughout the album, and each takes the spotlight on later tracks. Kimura especially, as the leader and rhythmic director, adds ear-catching dynamic variations, rumbling textures, and splashes of sound throughout to support and respond to the musicians as they ad-lib in the moment.\nBesides the slow ballad “My Ideal” and the bossa nova “Triste”, most of the songs are mid- to up-tempo numbers that swing with real live vitality, music created in the moment before a rapt audience with fun interplay and imaginative improvisation. Highlights like “Summertime”, “Someday My Prince Will Come”, and “Our Delight” invoke the live spirit and sounds of combos like Art Blakey and the Jazz Messengers. Similarly, the drummer’s original song “Face to Face” has a distinctive Cedar Walton hard-bop style and is a standout with its catchy structure and thrilling solos.\nThis straight-ahead music combines respect for the art form with modern influences, and it doesn’t disappoint.\nLiner Notes (Translated from Hiro Kimura’s original Japanese liner notes.)\n1.My Ideal\nThis is a ballad with a cute melody. This song was played as an encore for that day’s second set. Listen to the warm sound of the band.\n2.Face to Face\nThis is the only “Kimura original”, played here by the quartet without Takeda. It’s a song I wrote during a self-restrained lifestyle imposed by the corona pandemic while thinking about the enjoyment of playing with people. This song was the first song of the first set.\n3.Summertime\nThis is George Gershwin’s well-known melancholic song. We played it simply with a medium swing feel.\n4.Triste\nAntonio Carlos Jobim’s refreshing song. You can feel the early summer atmosphere present on the day of the recording.\n5.Povo\nA funky song by trumpeter Freddie Hubbard. Hirose explodes! And definitely check out Takeda’s musical interjections near the end of the last melody statement… it’s so cool.\n6.Someday My Prince Will Come\nThe very famous Disney song. I wonder if it’s rare to be playing this song in this way in the 2020s. We play the song vigorously and at a faster tempo compared to Miles Davis’ famous take.\n7.Willow Weep For Me\nThis is a bluesy song that’s a favorite of Takeda. As for me, when I think of this song I think of Takeda. It’s a beautiful ensemble with him. Please check out the only bass solo on this album.\n8.Our Delight\nThis is a 1964 song from pianist Tadd Dameron. Takeda often played this song in the past, but on this day it seems that it had been several years since he played it. During the rehearsal, we confirmed the melody bit by bit, and we were all moved by the wonderful performance.\nMiscellaneous Notes:\nI’d love to record with Kazuhiko Takeda.\nThis has been my [Kimura’s] secret dream for the past several years.\nThe performance of Kansai’s world-renowned guitar master Kazuhiko Takeda is one of a kind, with frightening sharpness and speed and an original sense of melody that is deeply rooted in jazz.\nAfter meeting Takeda in 2014 we played together many times, but the 2020 corona pandemic made me unable to meet him for over a year.\nIn the fall of 2021, we finally performed together again. I was astonished by that performance and decided to make a live recording.\nThe venue was 100Ban Hall in the Takasago Building, a historic building in my hometown of Kobe. This is the spot where my father had an office when I was a child and where I used to come to play, so I feel a strange connection to this venue.\nThe members for my first album include the ever-reliable pianist Naoko Tanaka and bassist Yuji Ito who I’ve played with the most. In front is the strong trumpeter Miki Hirose, who makes that day’s music the best whenever he is there.\nTanaka and Ito met Takeda for the first time the day before the recording. It’s truly a once-in-a-lifetime recording.\nAs for the results… let your ears be the judge.\nHiro Kimura\nFolds by Hiro Kimura Quintet Hiro Kimura - drums Kazuhiko Takeda - guitar Miki Hirose - trumpet Naoko Tanaka - piano Yuji Ito - bass Released in 2023 on KINO Records as KIN-002.\nJapanese names: 木村紘 Kimura Hiro 竹田一彦 Takeda Kazuhiko 広瀬未来 Hirose Miki 田中菜緒子 Tanaka Naoko 伊藤勇司 Ito Yuji\nAudio and Video The Hiro Kimura Quintet playing “Triste” from this album: Excerpt from track #2: “Face To Face” ","permalink":"https://mirror2.jazzofjapan.com/hiro-kimura-quintet-folds/","summary":"\u003cp\u003eThe full title of this 2023 album sets the stage: “/Folds - Live at 100Ban Hall/ by the Hiro Kimura Quintet featuring Kazuhiko Takeda”.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230437x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230437x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003e\u003cem\u003eFolds\u003c/em\u003e is a live recording of Kimura’s quintet playing in Kobe in 2022. Drummer Kimura leads the group featuring special guest Kazuhiko Takeda, whose melodic, soulful jazz guitar is exquisitely framed by the relatively younger musicians. Regardless of age, the unit displays talent, harmonious energy, and reverence for the music they create together.\u003c/p\u003e","title":"Hiro Kimura Quintet: Folds"},{"content":"Awareness is the inspiring title of trombonist Mariko Maeda’s debut album of newly-recorded music that her jazz quartet is currently taking on tour in Japan. This eagerly-awaited debut album introduces listeners to Maeda’s style and influences through her artful playing and compositions. Fittingly, the cover art sets the mood with a beautiful painting that shows the young musician surrounded by symbols that tempt with possible clues and associations to the ten musical tracks.\nMaeda performs here with her quartet of trombone, piano, bass, and drums. Her original songs exhibit modern sparkle and creativity, great material for the musicians who also display respect for standard jazz forms and graceful sensitivity on ballads. As is natural for a leader’s debut record, the focus is on Maeda, and her melodic sense and organic tone shine on every song. Kota Kaihori’s dynamic piano solos provide a contrasting balance of sound and ideas, and the spotlight is also turned on Yosuke Terao’s bass and Yuto Maseki’s drums as well with a featured song each. Yet it is Maeda’s mellow trombone sound and engaging style that anchors the comfortable throughline from center stage on Awareness.\nReleased less than two months ago, this new album occupies the position of the most recent release currently in my collection. As a personal anecdote, I was fortunate to catch Maeda’s live performance in April, on the same day she received the just-manufactured CDs and started to offer them for sale. It turned out that my purchase was for the very first copy of Awareness that she sold.\nGiven such fresh music, instead of summarizing the album overall with a few descriptive sentences, the following notes are improvised thoughts jotted down while listening to the album, track-by-track, from the opening to the ending song.\n“Marigold” opens with a gentle piano intro and builds into a medium jazz waltz. Maeda’s trombone solo is immediately jazzy and soulful in her first solo, followed by a stimulating piano solo. The title is a reference to the type of yellow flower she was fond of as a child.\n“Frida” is a modern mid-tempo tune played straight, a great backdrop for Maeda’s tangible and breathy tone. The stepwise melody and improvisation seem to paint contrasting images of strength and weakness, living and pain, and perhaps even life and death, themes inspired by and dedicated to the song’s great namesake artist Frida Kahlo.\n“Cafuné” is an elegy written for a departed loved one, and is a lovely ballad duo featuring piano and trombone supporting each other reassuringly. The title, incidentally, seems to be a Portuguese word meaning to run one’s hands through someone’s hair caressingly.\n“My Sweet Terry” is another song in memory of a passed-away friend. Muted trombone opens with vocal-like growls and hums and leads to an upbeat second-line New Orleans-style jazz tune. Pianist Kaihori plays trumpet for this tune, and the quartet of trombone, trumpet, bass, and drums imparts an outdoor marching Mardi Gras Bourbon Street parade feeling of joyous celebration.\n“Waiting for the Wind” refers in the liner notes to the quotes “There is no rain that won’t stop” and “There is no night without the dawn.” This song is a slow-beat modern jazz groove over which Maeda’s honest trombone relays a patient and beckoning vocal-like melody. There seem to be words hidden in the trombone’s melody, and one wonders what those lyrics might be.\n“Merlot” in another homage, this time to a woman she admires, an unnamed pianist who likes red wine. This medium-tempo tune is a satisfying jazz track with a strong swing feeling and perhaps the most orthodox track on the album.\n“New Year’s Song” was composed in the midst of the pandemic when the year changed, signifying samsara, a cycle of death and rebirth and all that a new year can represent in a rare period of history. The song features a bass intro after which slow jazz waltz time is set and Maeda lays out a melancholy melodic plea with her soft, melodic playing. This highlight is perhaps one of the most sensitive and affecting tracks on the album.\n“Sophie” is a tender ballad written when upon the birth of her niece eight years ago. With elements of free time and beautiful bowed bass, there is a sweet, wistful sound somewhat reminiscent of the gentle weightiness in Horace Silver’s classic ballad “Peace”.\n“Doa” (Prayer in Indonesian) is another album highlight, a Latin dance-style upbeat affair. The inspiration for this song was born from Maeda’s past experience touring with the Asian Youth Orchestra through several countries with players from Japan, Indonesia, Thailand, Singapore, and the Philippines. This experience helped her to become more aware of the shared qualities and challenges of different people and places, especially when brought together for creativity and with a common purpose. Alongside a great drum solo, the musicians play additional percussion instruments together, resulting in a buoyant rhythmic groove.\n“What a Wonderful World” is a beloved tune in the classic jazz repertoire; Louis Armstrong’s famous version of the song is deep and appreciated by many, needless to say. For the last track on Awareness, Maeda plays the tune as an unaccompanied trombone solo, and she delivers the melody straight with minimal improvisation in a plain-speaking style. By doing so, she chooses this heartwarming song as an uplifting plea for peace, one voice delivered honestly and directly. Through this choice to end the album bravely alone, she shows a respectful awareness of the power of great jazz music and the message that she wants to send through it.\nAwareness by Mariko Maeda Mariko Maeda - trombone Kota Kaihori - piano, trumpet on #4 Yosuke Terao - bass Yuto Maseki - drums Released in 2023 on DoLuck Jazz as DLC-28.\nJapanese names: 前田真梨子 Maeda Mariko 海堀弘太 Kaihori Kota 寺尾陽介 Terao Yosuke 柵木雄斗 Maseki Yuto\nAudio and Video Promotional video for this album: Excerpt from track #2: “Frida” ","permalink":"https://mirror2.jazzofjapan.com/mariko-maeda-awareness/","summary":"\u003cp\u003e\u003cem\u003eAwareness\u003c/em\u003e is the inspiring title of trombonist Mariko Maeda’s debut album of newly-recorded music that her jazz quartet is currently taking on tour in Japan. This eagerly-awaited debut album introduces listeners to Maeda’s style and influences through her artful playing and compositions. Fittingly, the cover art sets the mood with a beautiful painting that shows the young musician surrounded by symbols that tempt with possible clues and associations to the ten musical tracks.\u003c/p\u003e","title":"Mariko Maeda: Awareness"},{"content":"Note: Body \u0026amp; Soul has announced that they will be closing permanently after September, 2026. A 52-year history is coming to an end, so swing by while you still can!\nFigure 1: Stage area at the remodeled and new location of Body \u0026amp; Soul in April 2024\nA veritable stalwart in the Tokyo jazz club scene, Body \u0026amp; Soul is a true jazz listening room with a respected reputation. Known for being one of the oldest and most prestigious jazz clubs in Japan, this spot checks all the boxes for both customers and jazz musicians.\nA beautiful floor-level stage is surrounded by seats and tables for great views and direct sound. Both local and touring musicians can often be found here, and similarly, Body \u0026amp; Soul is popular with locals and well as visiting jazz fans. In addition to its legacy, atmosphere, and music schedule, this establishment also takes pride in its high-quality menu offerings.\nBody \u0026amp; Soul is a perfect choice for both diehard jazz and more casual listeners who are looking for an authentic Tokyo jazz experience. Be sure to find the new location for Body \u0026amp; Soul, as the club has moved recently and now occupies a spot between Shibuya and Harajuku stations.\n","permalink":"https://mirror2.jazzofjapan.com/body-soul/","summary":"\u003cp\u003e\u003cem\u003eNote: Body \u0026amp; Soul has announced that they will be closing permanently after September, 2026. A 52-year history is coming to an end, so swing by while you still can!\u003c/em\u003e\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20240401_190230441_HDR-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20240401_190230441_HDR-1200.jpeg\"\n         alt=\"Figure 1: Stage area at the remodeled and new location of Body \u0026amp; Soul in April 2024\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eStage area at the remodeled and new location of Body \u0026amp; Soul in April 2024\u003c/p\u003e\n        \u003c/figcaption\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eA veritable stalwart in the Tokyo jazz club scene, Body \u0026amp; Soul is a true jazz listening room with a respected reputation. Known for being one of the oldest and most prestigious jazz clubs in Japan, this spot checks all the boxes for both customers and jazz musicians.\u003c/p\u003e","title":"Body \u0026 Soul"},{"content":"JZ Brat is a great Tokyo jazz bar connected to the Cerulean Tower Tokyu Hotel, a luxury hotel in Shibuya. This hotel also features an upscale bar on an upper floor with an amazing view through wall-to-wall glass windows behind the bar, a great respite to stop by before or after a live show at JZ Brat.\nSimilarly, the bar atmosphere is also resplendent, filled with nice tables and an attractive bar seating area towards the back. Large video screens capture the on-stage live performance and provide a good view of the stage from all seats.\nCompared to some other jazz bars, prices match the elegance and are higher than average. Yet, the menu offers a great range of drinks and food which is better than average, making this jazz club seem like a fancy restaurant with a wonderful jazz stage included at one end. JZ Brat is definitely one of the best options to watch a jazz performance in a stylish setting for an exciting night out on the town.\n","permalink":"https://mirror2.jazzofjapan.com/jz-brat/","summary":"\u003cp\u003eJZ Brat is a great Tokyo jazz bar connected to the Cerulean Tower Tokyu Hotel, a luxury hotel in Shibuya. This hotel also features an upscale bar on an upper floor with an amazing view through wall-to-wall glass windows behind the bar, a great respite to stop by before or after a live show at JZ Brat.\u003c/p\u003e\n\u003cp\u003eSimilarly, the bar atmosphere is also resplendent, filled with nice tables and an attractive bar seating area towards the back. Large video screens capture the on-stage live performance and provide a good view of the stage from all seats.\u003c/p\u003e","title":"JZ Brat"},{"content":"A-Un is a tiny hidden-away bar in the twisty alleys just north of Shinjuku, a gem in rough for those who are fortunate to find it. Walking down through the modest entry leads to a small underground bar with an upright piano and a spot for vocalists or other musicians. On a typical night, a pair of vocalists will share the stage and take turns singing jazz standards and pop classics with piano accompaniment. Adding to the convivial atmosphere in the cozy room, the performers may also spend time mingling with the customers during breaks.\nIncidentally, as for the interesting name A-Un, the name refers to the sound of the first and last letters of the Japanese hiragana alphabet あ and ん, which can be spoken together in a way similar to the meditative chant om. This pair of letters can be said to represent the beginning and end of all things, much like the Greek letters Alpha and Omega. Another interpretation points out how the sounds ah and un are often used in Japanese during everyday conversation as active listening confirmations and replies.\n","permalink":"https://mirror2.jazzofjapan.com/a-un/","summary":"\u003cp\u003eA-Un is a tiny hidden-away bar in the twisty alleys just north of Shinjuku, a gem in rough for those who are fortunate to find it. Walking down through the modest entry leads to a small underground bar with an upright piano and a spot for vocalists or other musicians. On a typical night, a pair of vocalists will share the stage and take turns singing jazz standards and pop classics with piano accompaniment. Adding to the convivial atmosphere in the cozy room, the performers may also spend time mingling with the customers during breaks.\u003c/p\u003e","title":"A-Un"},{"content":"On his debut album First Touch from 2021, George Nakajima delivers the curated sound of his jazz piano trio, thoughtfully balancing song choices and playing set modestly between modern edge and old-fashioned homage. Through its seven tracks, the album is easy to enjoy and runs for a satisfying 46 minutes.\nJoining the pianist are Nakajima’s long-time musical partners Yoshida Yutaka on bass and Masanori Ando on drums, a trio with a locked-in feeling created through years of performing together in Japan’s live scene.\nPerhaps unexpectedly trepidatious for a debut album, Nakajima bucks the natural impulse to open with a high-energy song and starts with the very lovely ballad “But Beautiful”. This patient approach seems to subtly invite the listener to tune in gradually and focus their attention at one’s own pace.\nIn fact, slow ballads are chosen for the opening, middle (Ellington’s “Prelude to a Kiss”), and ending songs, establishing a gentle and moderated baseline for the album as a whole. These anchor points set up a reassuring center of gravity with a throughline of unhurried piano and bass notes supported by soft drums brushes, a very enjoyable relaxed jazz trio in a quiet mood. Burt Bacharach’s masterful tune “A House Is Not a Home” closes the album and is an especially impressive highlight, expertly played with finesse and respect.\nIn between the ballads, the songs lift from this foundation with the uptempo bop of “Relaxin’ at Camarillo” and the jangly playful “Evidence”. Similarly, the exoticism of “Nardis”, a song often associated with Bill Evans’ melodic trio, is performed here in a slightly slower, otherworldly setting. Alongside these jazz standard tunes, Nakajima’s original composition “First Touch” complements the setlist with its simple heartbeat melodic motif with comfortable waltz-time ease.\nWith a respectful length and a perfect song selection honoring great jazz musicians, George Nakajima’s First Touch leaves a heartwarming impression with its modest yet stimulating approach, a compelling initial statement that tempts with future possibilities for sharing his gratifying music.\nLiner Notes (Translated from the original Japanese liner notes written by George Nakajima.)\nThank you very much for listening to my first album “First Touch”.\nI’ve been working with the wonderful and dedicated trio members Yoshida Yutaka and Masanori Ando for the last eight and a half years, all the while thinking about making a CD. Somehow the days passed, but the timing was never right.\nAt some point, I received a call from jazz pianist and CEO of Own Wing Records Yuichiro Aratake, and this resulted in my recording this album.\nNeedless to say, releasing a jazz CD requires a lot of courage, so I felt like recording in the pattern of our regular live shows among the background of our ongoing live efforts.\nI hope that you enjoy these sounds, notes that were only produced once and at that time.\nAs for “First Touch”, this is my only recorded original song.\nIn soccer, the term first touch refers to the moment when a player first touches the ball.\nI don’t usually write originals, but this is a song that resulted when I challenged myself to write a composition a few years ago.\nI tried to write a simple form using various feelings from the time to create a fresh feeling.\nAs the world is still unsettled due to corona, I continue to pray for a steady resolution, and I sincerely hope that this CD can be delivered throughout the country as soon as possible.\n2021.4 George Nakajima\nFirst Touch by George Nakajima Trio George Nakajima - piano Yutaka Yoshida - bass Masanori Ando - drums Released in 2021 on Owl Wing Record as OWL-022.\nJapanese names: 中嶋錠二 Nakajima George 吉田豊 Yoshida Yutaka 安藤正則 Ando Masanori\nAudio and Video Promotional video for this album: Excerpt from track #3: “First touch” ","permalink":"https://mirror2.jazzofjapan.com/george-nakajima-trio-first-touch/","summary":"\u003cp\u003eOn his debut album \u003cem\u003eFirst Touch\u003c/em\u003e from 2021, George Nakajima delivers the curated sound of his jazz piano trio, thoughtfully balancing song choices and playing set modestly between modern edge and old-fashioned homage. Through its seven tracks, the album is easy to enjoy and runs for a satisfying 46 minutes.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230237x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230237x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eJoining the pianist are Nakajima’s long-time musical partners Yoshida Yutaka on bass and Masanori Ando on drums, a trio with a locked-in feeling created through years of performing together in Japan’s live scene.\u003c/p\u003e","title":"George Nakajima Trio: First Touch"},{"content":"Bully’s is a jazz joint where good music and honest cooking brighten up the evening. Cheekily named for the gruff proprietor with a soft heart, the “old Edo Japanese” workingman’s hangout. As jazz music fills the main room, the owner mostly stays behind the counter mixing drinks and cooking, while his daughter (affectionately known as Bully Two) can sometimes be found working the bar here. She also plays a mean jazz saxophone and on special occasions may join in on a few bebop tunes.\nThe relaxed atmosphere is also lightened by one or two sleepy dogs who mostly doze beneath the piano but may peek out and amble quietly through the room.\nBully’s is a great, simple place with an easy atmosphere and good music. A variety of satisfying menu items is available, including a tasty cheese plate and home-cooked chicken chashu.\n","permalink":"https://mirror2.jazzofjapan.com/bullys/","summary":"\u003cp\u003eBully’s is a jazz joint where good music and honest cooking brighten up the evening. Cheekily named for the gruff proprietor with a soft heart, the “old Edo Japanese” workingman’s hangout. As jazz music fills the main room, the owner mostly stays behind the counter mixing drinks and cooking, while his daughter (affectionately known as Bully Two) can sometimes be found working the bar here. She also plays a mean jazz saxophone and on special occasions may join in on a few bebop tunes.\u003c/p\u003e","title":"Bully's"},{"content":"Porto is an unpretentious and comfy little bar in Nippori, a hidden neighborhood spot well suited for an in-the-know experience. Many performances at Porto feature a vocalist and guitar duo who sit at the inner end of the room serving as the stage area, while a dozen or so customers sit at tables and the bar which spans the club lengthwise. Although this club is not equipped with a piano or drum set, on occasion other musicians may set up with flute, harmonica, keyboards, or other instruments.\nThe modest bar is well-stocked with alcohol and features a small selection of single malt scotches and liquor for various cocktails. Light snack options like nuts and cheese are also available. One notable feature at Porto is the special Gargery beer, a locally-produced item that is a rarity in Tokyo jazz bars. The delicious stout is served in a stylish rune-covered glass cone that rests tip-down in a glass stand between sips.\nAn extra fun but somewhat rare happening at Porto occurs when the musicians play an unplugged set, perhaps at the request of audience members, devoted fans, or bar regulars. If possible, the singer and guitarist may pull up some chairs and make room to sit among the customers and play a few songs right in the middle of the room, creating shared harmony and lasting memories for everyone.\n","permalink":"https://mirror2.jazzofjapan.com/porto/","summary":"\u003cp\u003ePorto is an unpretentious and comfy little bar in Nippori, a hidden neighborhood spot well suited for an in-the-know experience. Many performances at Porto feature a vocalist and guitar duo who sit at the inner end of the room serving as the stage area, while a dozen or so customers sit at tables and the bar which spans the club lengthwise. Although this club is not equipped with a piano or drum set, on occasion other musicians may set up with flute, harmonica, keyboards, or other instruments.\u003c/p\u003e","title":"Porto"},{"content":"Cafe Beulmans is a charming and cheery jazz house that seems like a mix of a chamber music studio and a museum room with the comfort of a grandmother’s living room. Seats in the recital space and small bar area all have excellent views of the musician who perform in front of curtained windows. For especially full events, there is also a second viewing room, separated from the front room by a wall containing a large arch through which the rear audience can watch and hear the performance.\nFigure 1: Maiko (violin) and Tomokazu Sugimoto (bass) at Cafe Beulmans in May 2024\nThis jazz spot hosts both daytime and evening events on specific days. While this destination may seem out of the way for some, Cafe Beulmans is quite easy to get to from Shinjuku station using the Odakyu Line and provides a nice daytime “coffee and jazz” cafe alternative for those seeking a change from the usual late-night jazz bar experience.\n","permalink":"https://mirror2.jazzofjapan.com/cafe-beulmans/","summary":"\u003cp\u003eCafe Beulmans is a charming and cheery jazz house that seems like a mix of a chamber music studio and a museum room with the comfort of a grandmother’s living room. Seats in the recital space and small bar area all have excellent views of the musician who perform in front of curtained windows. For especially full events, there is also a second viewing room, separated from the front room by a wall containing a large arch through which the rear audience can watch and hear the performance.\u003c/p\u003e","title":"Cafe Beulmans"},{"content":"A straight-to-the-point jazz spot, Apollo is unvarnished in a good way, a simple and deeply satisfying jazz bar in Tokyo. This place offers cool and creative jazz groups and foreign acts from overseas on occasion. What you’ll get here is cozy creativity and originality with no pretensions. This fantastic spot also hosts instrumental jazz jam sessions on select Sunday afternoons.\nMore down to earth than upper-crust, some customers may feel uncomfortable in this dark, soulful spot, but the underground vibe here adds to the charm of the authentic Apollo experience. Let the otherworldly music take you on a journey aboard Apollo, where a bit more avante-garde music is appreciated and flows freely through this atmospheric space.\n","permalink":"https://mirror2.jazzofjapan.com/apollo/","summary":"\u003cp\u003eA straight-to-the-point jazz spot, Apollo is unvarnished in a good way, a simple and deeply satisfying jazz bar in Tokyo. This place offers cool and creative jazz groups and foreign acts from overseas on occasion. What you’ll get here is cozy creativity and originality with no pretensions. This fantastic spot also hosts instrumental jazz jam sessions on select Sunday afternoons.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20190703_220205490-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20190703_220205490-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eMore down to earth than upper-crust, some customers may feel uncomfortable in this dark, soulful spot, but the underground vibe here adds to the charm of the authentic Apollo experience. Let the otherworldly music take you on a journey aboard Apollo, where a bit more avante-garde music is appreciated and flows freely through this atmospheric space.\u003c/p\u003e","title":"Apollo"},{"content":"Vocalist and pianist Rie Taguchi delivers a follow-up to her debut album The Gift with her 2021 album naturally titled The Gift II. This swinging outing features her Special Sextet as before with new outstanding arrangements.\nPresenting Taguchi’s sweetly mellow voice in an exquisite frame, Pianist Seiji Endo arranged all the songs on this album, and his vision combined with the front line of saxophone, violin, and guitar creates a lush, big band-style sound from the six instruments.\nFrom thrilling and upbeat to smooth and slow, the musicians play together tightly, forming a solid foundation and spotlight for the singer. Listeners can easily imagine Taguchi elegantly standing on stage with a tall mic stand next to her and the Special Sextet decked out stylishly behind her. Taguchi’s delivery is direct but soft, rounded and sincere, verging on husky but always in balance. In particular, the positive attitude of her voice shines like a smile throughout the album.\nLike the previous Special Sextet album, The Gift II is straightforward, cheerful, and classic jazz with big band sensibilities. The music emphasizes swing with a fullness of energy and brightness. Perhaps like other albums created during the gloom of the pandemic years, the musicians may have felt added motivation to create and spread joy through their music.\nThe Gift II abounds in swing and grace with jazz standards including “A Foggy Day”, “Cheek to Cheek”, and “Night and Day”. Other tracks like a dreamy “Misty” and an adventurous “Caravan” build up tension with dynamic changes and a slight sense of mystery. Closing the album, Chick Corea’s always-welcome composition “Spain” is slightly rearranged by Endo with tasteful finesse and performed exuberantly, supplying another exotic and sparkling gem in Rie Taguchi’s bejeweled offering.\nLiner Notes (Translated from the original Japanese liner notes written by Rie Taguchi.)\nAfter five years, a jewel box of spun notes…\nFive years since the previous work “The Gift”!\nA gift of sounds from the magnificent Special Sextet. After five years of accumulating live concerts and adding wonderful arrangements with each performance, we’ve arrived at repertoire of 40 songs. The universe of arrangements by Seiji Endo tells a story, song by song, each performed by the Special Sextet’s musicians with craftsman-like mastery. The world of the arrangements has expanded even further, unfolding on stage with thrilling excitement. I was thinking that I wanted to release this world on a CD!\nYet with the hurdles in moving forward and the unprecedented events of the coronavirus, the situation prevented us from easily creating music together as musicians on stage… I hit upon the thought that it was the right time to make a CD. After asking for support through crowdfunding, I received a whopping 250 people who graciously supported my idea.\nTruly, truly thank you so much! Thank you from the bottom of my heart. I truly appreciate everyone who participated in crowdfunding, and to each and every person who supported us in other ways throughout. Please accept this present, this gift of notes and sound.\nRie Taguchi\nThe Gift II by Rie Taguchi Rie Taguchi - vocal Seiji Endo - piano, arrangments Seiji Tada - alto saxophone, flute Noriko Satomi - violin Mitsukuni Tanabe - guitar Yusuke Nakaishi - bass Akira Yamada - drums Released in 2021 on Studio TLive Records as STLR-021.\nJapanese names: 田口理恵 Taguchi Rie 遠藤征志 Endo Seiji 多田誠司 Tada Seiji 里見紀子 Satomi Noriko 田辺充邦 Tanabe Mitsukuni 仲石裕介 Nakaishi Yusuke 山田玲 Yamada Akira\nAudio and Video Promotional video for this album: Excerpt from track #1: “A Foggy Day” ","permalink":"https://mirror2.jazzofjapan.com/rie-taguchi-the-gift-ii/","summary":"\u003cp\u003eVocalist and pianist Rie Taguchi delivers a follow-up to her debut album \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/rie-taguchi-gift\"\u003eThe Gift\u003c/a\u003e\u003c/em\u003e with her 2021 album naturally titled \u003cem\u003eThe Gift II\u003c/em\u003e. This swinging outing features her Special Sextet as before with new outstanding arrangements.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230279-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230279-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003ePresenting Taguchi’s sweetly mellow voice in an exquisite frame, Pianist Seiji Endo arranged all the songs on this album, and his vision combined with the front line of saxophone, violin, and guitar creates a lush, big band-style sound from the six instruments.\u003c/p\u003e","title":"Rie Taguchi: The Gift II"},{"content":"A lovely place in one of the more expensive nightlife centers of the metropolis, Barbra provides a fun balance of class and comfort, with beautiful, talented vocalists and instrumentalists and snazzily-dressed bartenders all contributing to the upscale mood. Classy cocktails are featured and light seasonal snacks are often available.\nGrab a seat at the bar or amble right up to the seats at the piano to get close up to the performers and the music, where you can’t miss the photo of the bar’s namesake celebrity near the piano or the huge, eye-catching artwork on the adjacent wall.\nIf you’re up for it, request a song from the bar master Kazuma-san (“Can’t Help Falling In Love” is a popular request) who summons up memories of his past as a young idol in the world of Tokyo pop. On special event nights, customers may also be able to join in on stage with the supportive musicians and staff.\n","permalink":"https://mirror2.jazzofjapan.com/barbra/","summary":"\u003cp\u003eA lovely place in one of the more expensive nightlife centers of the metropolis, Barbra provides a fun balance of class and comfort, with beautiful, talented vocalists and instrumentalists and snazzily-dressed bartenders all contributing to the upscale mood. Classy cocktails are featured and light seasonal snacks are often available.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230335-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230335-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eGrab a seat at the bar or amble right up to the seats at the piano to get close up to the performers and the music, where you can’t miss the photo of the bar’s namesake celebrity near the piano or the huge, eye-catching artwork on the adjacent wall.\u003c/p\u003e","title":"Barbra"},{"content":"The Deep is a newer gem in Ginza that balances elegance inherited from the upscale neighborhood and comfortable coziness imparted by the staff and layout. The friendly owner Ayako-san aims to provide a sophisticated atmosphere and a down-to-earth ambience.\nThis jazz room is simply furnished with a grand piano in the center surrounded by couch seating and a small bar area. It’s like an intimate living room providing a good setting for swing tunes, soul music, and jazzy romantic ballads. Rhodes and Wurlitzer electric pianos are also tucked away in the bar, taken out and used by some musicians on various nights.\n“Jazzy soul and soulful jazz” is the motto here at The Deep. The Okinawan owner Ayako-san, a velvety and groovy singer herself, speaks English and welcomes non-Japanese speakers. Meals and snacks are available, with main dishes including Okinawa soba noodles, which are similar to ramen but with curlier Naha-style noodles and a spicy, slightly sour soup), and a hamburg patty and rice plate.\nPreviously there was also a weekly midnight session on Fridays and holidays which ran from around 11 pm until 3 am, for those interested in watching or joining the band for a song or two. Mostly featuring jazz tunes, vocalists or instrumentalists are welcome, or anyone who just wants to stay and listen to a variety of musicians having fun and singing their hearts out. (This overnight session has been canceled since the pandemic, but hopefully may return in the future.)\n","permalink":"https://mirror2.jazzofjapan.com/the-deep/","summary":"\u003cp\u003eThe Deep is a newer gem in Ginza that balances elegance inherited from the upscale neighborhood and comfortable coziness imparted by the staff and layout. The friendly owner Ayako-san aims to provide a sophisticated atmosphere and a down-to-earth ambience.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230189-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230189-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis jazz room is simply furnished with a grand piano in the center surrounded by couch seating and a small bar area. It’s like an intimate living room providing a good setting for swing tunes, soul music, and jazzy romantic ballads. Rhodes and Wurlitzer electric pianos are also tucked away in the bar, taken out and used by some musicians on various nights.\u003c/p\u003e","title":"The Deep"},{"content":"Jazz pianist Shunichi Yanagi’s Slope is his second trio release, a 2015 followup to his 2012 debut Bubble Fish. The trio explores fresh territory in the jazz, rock, and light groove moods which vary from track to track. Each member has a clean touch with a sense of drama in creating excitement, somewhat like a movie or video game soundtrack at times.\nThe opening notes of Slope establish a delicate frame that quickly moves into a modern rock-styled beat, showcasing how this trio tends to move between jazz pop, rock, and light-as-a-bubble tenderness. Leading the trio as the primary composer, Yanagi orchestrates a progressive style, and his own playing is decorated with repeated arpeggios and densely looped patterns packed together like a woven carpet.\nSome tunes like the grunge of the opener “I Can’t Fly” and the sad ballad “Song of Do” are solidly modern, reminiscent of the great jazz trio EST. Other catchy songs like “Yudachi” and “Y’s Swing” feature graceful bossa rhythms and weightless swing patterns with a comfortable ambience, and the ballads “Silence and You” and the solo piano track “B.E.” paint serene and spacious musical landscapes. The final two tracks on the album are highlights as well: the wild spirals and chaotic webs of “Ame to Muchi” and the majestic “Nagai Yumei” both leave a strong impression as the album reaches the end.\nSlope by Shunichi Yanagi Trio Shunichi Yanagi - piano Motoi Kanamori - bass Masatsugu Hattori - drums Released in 2015 on GoodNessPlus Records as GNPR-1148.\nJapanese names: 柳隼一 Yanagi Shunichi 金森もとい Kanamori Motoi 服部正嗣 Hattori Masatsugu\nAudio and Video The Shunichi Yanagi Trio playing “Days and Nights Waiting”: The Shunichi Yanagi Trio playing “Sail Off”: Excerpt from track #1: “I can\u0026rsquo;t fly” ","permalink":"https://mirror2.jazzofjapan.com/shunichi-yanagi-trio-slope/","summary":"\u003cp\u003eJazz pianist Shunichi Yanagi’s \u003cem\u003eSlope\u003c/em\u003e is his second trio release, a 2015 followup to his 2012 debut \u003cem\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/shunichi-yanagi-trio-bubble-fish\"\u003eBubble Fish\u003c/a\u003e\u003c/em\u003e. The trio explores fresh territory in the jazz, rock, and light groove moods which vary from track to track. Each member has a clean touch with a sense of drama in creating excitement, somewhat like a movie or video game soundtrack at times.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220795-2-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220795-2-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe opening notes of \u003cem\u003eSlope\u003c/em\u003e establish a delicate frame that quickly moves into a modern rock-styled beat, showcasing how this trio tends to move between jazz pop, rock, and light-as-a-bubble tenderness. Leading the trio as the primary composer, Yanagi orchestrates a progressive style, and his own playing is decorated with repeated arpeggios and densely looped patterns packed together like a woven carpet.\u003c/p\u003e","title":"Shunichi Yanagi Trio: Slope"},{"content":"A tiny and welcoming jazz bar in the middle of the hustle-and-bustle of Shinjuku Sanchome, Polka Dots is a great place to listen to live music at close quarters with the musicians and other customers for a fun night of jazz and drinks.\nA pleasing menu with a variety of home-cooked dishes (popular choices include the Okinawan stir fry chanpuru and the butter soy sauce rice butter shoyu gohan) awaits hungry customers or those who just want to snack, all prepared carefully and with love by the friendly Junko-san.\nWith a small and friendly shop like this, it is easy to get to mingle with the musicians and other customers and stay late until the last train runs. The atmosphere of listening to great jazz, drinking, and laughing together with people who love jazz is enhanced by the particular energy of a live show performed in a cozy jazz room like Polka Dots.\n","permalink":"https://mirror2.jazzofjapan.com/polka-dots/","summary":"\u003cp\u003eA tiny and welcoming jazz bar in the middle of the hustle-and-bustle of Shinjuku Sanchome, Polka Dots is a great place to listen to live music at close quarters with the musicians and other customers for a fun night of jazz and drinks.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1050928-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1050928-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eA pleasing menu with a variety of home-cooked dishes (popular choices include the Okinawan stir fry \u003cem\u003echanpuru\u003c/em\u003e and the butter soy sauce rice \u003cem\u003ebutter shoyu gohan\u003c/em\u003e) awaits hungry customers or those who just want to snack, all prepared carefully and with love by the friendly Junko-san.\u003c/p\u003e","title":"Polka Dots"},{"content":"All of Me is a classy and dependable jazz joint in rowdy Roppongi. Many live shows at All of Me feature a singer or several singers with a jazz band; the musicians are usually top-notch. The food is nice, restaurant-quality food, better than the average bar fare.\nThis bar is also famous for all-night live shows and jam sessions on selected Fridays and Saturdays, starting just after midnight until about 3:00 am. Check the schedule for details.\n","permalink":"https://mirror2.jazzofjapan.com/all-of-me/","summary":"\u003cp\u003eAll of Me is a classy and dependable jazz joint in rowdy Roppongi. Many live shows at All of Me feature a singer or several singers with a jazz band; the musicians are usually top-notch. The food is nice, restaurant-quality food, better than the average bar fare.\u003c/p\u003e\n\u003cp\u003eThis bar is also famous for all-night live shows and jam sessions on selected Fridays and Saturdays, starting just after midnight until about 3:00 am. Check the schedule for details.\u003c/p\u003e","title":"All of Me"},{"content":"Popularly known as “the smallest jazz bar in the world”, Hot House provides a fun and unique experience. Although the history here is long and rich, like a much-loved old car, I’m not sure how many more years are left on the engine, so it’s best to make it here while you can and experience something truly like nowhere else.\nWhile jazz is the main item on the menu, Hot House is a tiny bar that can also satisfy a huge appetite. During the performance and intermission, you will be served a variety of homemade food. Aki-san, the owner and chef, spends most of the time in the kitchen cooking up the dishes and bringing them out while you enjoy the music. Follow the lead of your neighbors and take a paper plate and a pair of chopsticks and watch the food appear, coming around the table like an indoor jazz picnic.\nThis space is tiny so it’s best to arrive on time to take a seat at the small rectangular table. While the atmosphere may be described as cozy and homey (some may even say dingy), it feels a bit like a beloved old garage with a piano, an old tv, boxes, and who knows what else stacked all over. The walls are covered with papers announcing the upcoming music schedules and photos of past performances.\nOnce the music starts and the dishes are brought out, most of the shoulder-to-shoulder customers may start eating while listening. Typically there is a short break after which another second set is performed, and after that, the musicians may also sit at the table, eat, and join in the conversation. Depending on the atmosphere, people may start to leave here or may stay and chat with the musicians and Aki-san.\nFrom Takadanobaba station it’s about a 10-minute walk down the street to Hot House. You may feel like you must have missed it somewhere since there doesn’t seem to be much else going on this far from the station. Just keep going and looking out closely for the small sign Hot House sign.\nLast thing to note and it’s worth saying again: this precious Tokyo gem has almost closed down once before; it would be a shame to miss stopping by Hot House at least once before it closes its doors for good, someday, perhaps before we know it.\n","permalink":"https://mirror2.jazzofjapan.com/hot-house/","summary":"\u003cp\u003ePopularly known as “the smallest jazz bar in the world”, Hot House provides a fun and unique experience. Although the history here is long and rich, like a much-loved old car, I’m not sure how many more years are left on the engine, so it’s best to make it here while you can and experience something truly like nowhere else.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1080195-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1080195-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWhile jazz is the main item on the menu, Hot House is a tiny bar that can also satisfy a huge appetite. During the performance and intermission, you will be served a variety of homemade food. Aki-san, the owner and chef, spends most of the time in the kitchen cooking up the dishes and bringing them out while you enjoy the music. Follow the lead of your neighbors and take a paper plate and a pair of chopsticks and watch the food appear, coming around the table like an indoor jazz picnic.\u003c/p\u003e","title":"Hot House"},{"content":"Vocalist Naoko Akimoto’s debut release No One Else is a seven-song introduction to the popular singer, a presentation of standard jazz and Japanese pop arranged with care and performed by top musicians from Tokyo.\nThe arrangements are nice, particularly on the opening track “Moondance” which opens with a deep bass, piano, and vibes setting up a grove for Akimoto to lead the listener through the atmospheric drama of the tune. The decorated arrangements include vocal harmonies with trumpet, flute, and other instruments adding beautiful layers to the music.\nAfter the classy opener, the album continues with the title track “No One Else”, a soulful pop ballad written by Akimoto. The remaining five tracks include three jazz standards: the chaste “I’ve Got A Crush On You”, a sultry “This Masquerade”, and a tender, bossa-flavored “Fly Me To The Moon”. While Akimoto sings in English for most of the album, she chooses to sing in Japanese for two pop songs, “Sentimental” and “Ajisai”, adding to the musical variety and showing us more of Akimoto’s range and affection on her album debut.\nNo One Else by Naoko Akimoto Naoko Akimoto - vocal Seiji Endo - piano Akiyoshi Shimizu - bass Ko Omura - drums Shinpei Inoue - flute Yasuhiro Matsuda - alto sax Shinpei Ruike - trumpet Released in 2012 on Marmalade Records as MARM-0004.\nJapanese names: 秋元直子 Akimoto Naoko 遠藤征志 Endo Seiji 清水昭好 Shimizu Akiyoshi 大村亘 Omura Ko 井上信平 Inoue Shinpei 松田靖弘 Matsuda Yasuhiro 類家心平 Ruike Shinpei\nAudio and Video Promotional video for this album featuring the song “Moondance”: Excerpt from track #7: “Fly me to the moon” ","permalink":"https://mirror2.jazzofjapan.com/naoko-akimoto-no-one-else/","summary":"\u003cp\u003eVocalist Naoko Akimoto’s debut release \u003cem\u003eNo One Else\u003c/em\u003e is a seven-song introduction to the popular singer, a presentation of standard jazz and Japanese pop arranged with care and performed by top musicians from Tokyo.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200590x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200590x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe arrangements are nice, particularly on the opening track “Moondance” which opens with a deep bass, piano, and vibes setting up a grove for Akimoto to lead the listener through the atmospheric drama of the tune. The decorated arrangements include vocal harmonies with trumpet, flute, and other instruments adding beautiful layers to the music.\u003c/p\u003e","title":"Naoko Akimoto: No One Else"},{"content":"Our Delight is a relatively newer entry on the scene, a clean and modern jazz space with a unique characteristic: the room sports a high ceiling directly above the performance area, spanning about 5 floors and creating a large open space where the sound of the musicians can expand and flow upwards. This creates a natural reverberation effect which is especially enjoyable during solo piano concerts.\nThe admission ticket system can vary but often includes two prepaid vouchers for drinks such as beer or soda, or you can supplement the voucher with money to pay for more expensive orders as well. The food menu features various dishes such as a delicious house pizza and a snack bowl filled with nuts and chips.\nWhile taking photos during the performance here is not allowed, taking photos afterward with the musicians is possible and often encouraged. The owner of the shop also tends to take nice photos during the performance, and within a few days following the concert will post them online. This is a handy way to get nicely-shot souvenir photos of your night out at Our Delight.\nScreen monitors are also hung in various locations to show the musicians from different angles, including directly onto the hands of the pianist from an overhead angle. This is a great benefit for those seated in the back, given those customers extra sight lines that even the front-row audience may not have.\nUpdate: Our Delight permanently closed and reopened as Re.Delight under new management in October 2024. In April 2026, Re.Delight suddenly closed, but the venue reopened again as Our Delight in May 2026.\n","permalink":"https://mirror2.jazzofjapan.com/our-delight/","summary":"\u003cp\u003eOur Delight is a relatively newer entry on the scene, a clean and modern jazz space with a unique characteristic: the room sports a high ceiling directly above the performance area, spanning about 5 floors and creating a large open space where the sound of the musicians can expand and flow upwards. This creates a natural reverberation effect which is especially enjoyable during solo piano concerts.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20190706_183330681-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20190706_183330681-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe admission ticket system can vary but often includes two prepaid vouchers for drinks such as beer or soda, or you can supplement the voucher with money to pay for more expensive orders as well. The food menu features various dishes such as a delicious house pizza and a snack bowl filled with nuts and chips.\u003c/p\u003e","title":"Our Delight"},{"content":"Well worth visiting for top-quality jazz and an enthusiastic and friendly owner Morikawa-san, Birdland is a top choice for authentic live jazz. While Birdland no longer features live jazz on a nightly basis, the shop has special live shows on occasion, typically once a week. The interior space is cozy with a nice bar which may seasonally sport a large green plant rising from the bar and spreading branches and leaves up towards the ceiling. Facing the bar is an upright piano, and snug in the corner is a drum set, in front of which an upright bass, with space for a horn player or two to just squeeze in, right up against the front bar and tables.\nIt’s great to be able to have closer-than-front row seats to the musicians. Keep in mind that bathroom breaks require access behind the band area and should be made before, after, or between sets to avoid having to weave a path through the musicians to reach the bathroom. While the band’s on break, the master’s choice of LP on rotation is also well worth hanging out for.\nAlso worth appreciating is the nice selection of scotch, including a mini-cask of Bowmore on the counter which is a personal favorite, a feature which the bar master Morikawa-san maintains regularly with pride.\n","permalink":"https://mirror2.jazzofjapan.com/birdland/","summary":"\u003cp\u003eWell worth visiting for top-quality jazz and an enthusiastic and friendly owner Morikawa-san, Birdland is a top choice for authentic live jazz. While Birdland no longer features live jazz on a nightly basis, the shop has special live shows on occasion, typically once a week. The interior space is cozy with a nice bar which may seasonally sport a large green plant rising from the bar and spreading branches and leaves up towards the ceiling. Facing the bar is an upright piano, and snug in the corner is a drum set, in front of which an upright bass, with space for a horn player or two to just squeeze in, right up against the front bar and tables.\u003c/p\u003e","title":"Birdland"},{"content":"Clean, neat, and organized, Into the Blue is one tidy jazz spot. The overhead vaulted ceiling is awash in the cool blue light, arching almost like a church roof, with jazz instruments set up at one end up above like statues around an altar to jazz.\nHere at Into the Blue, the sound is upfront and close, like a mini concert hall or listening room with a kitchen in the back. Like the clean and blue atmosphere, it can be a refreshing change compared to some other cramped, dark big city jazz bars.\nThere are many options for drinks and food on the menu including Margherita pizza and the like. The Into the Blue house cocktail is tempting, surely going well with the ocean blue lighting and overall calm sense of this tidy shop.\n","permalink":"https://mirror2.jazzofjapan.com/into-the-blue/","summary":"\u003cp\u003eClean, neat, and organized, Into the Blue is one tidy jazz spot. The overhead vaulted ceiling is awash in the cool blue light, arching almost like a church roof, with jazz instruments set up at one end up above like statues around an altar to jazz.\u003c/p\u003e\n\u003cp\u003eHere at Into the Blue, the sound is upfront and close, like a mini concert hall or listening room with a kitchen in the back. Like the clean and blue atmosphere, it can be a refreshing change compared to some other cramped, dark big city jazz bars.\u003c/p\u003e","title":"Into the Blue"},{"content":"A neighborhood jazz bar in Tokyo’s bustling Ikebukuro district, P’s Bar may be very small but that results in a cozy, comfortable family-feeling setting. Upon entering the bar you may be greeted and given a seat along the bar or right up in the front table area next to where the musicians perform. The stage area features an upright piano, and that’s about it. Due to the small space, the musicians are usually playing as duos (piano \u0026amp; horn, piano \u0026amp; vocals, guitar \u0026amp; vocals) but occasionally there is a special event with a bassist and sometimes even a drummer squeezed into the corner. Also featured here are occasional afternoon jam sessions and vocal workshops.\nThe humorously-written menu features simple meals such as a variety of tiny cheese pizzas (hamburger, kimchee, bean paste, or the special mochi sweet cheese pizza), and the yakisoba and sausage cabbage dishes are good too.\nAt P’s Bar, the first set typically starts or 7:20 pm, or earlier on holidays and Sundays. The place is tiny, and once ten or so customers show up it may start to feel crowded, but there are also times when 25 or more customers can pack the place. At that point, the folding chairs and plastic stools come out and people just find a way to squeeze in and make room.\nBecause this bar is so tiny with a very at-home feeling, it’s an excellent choice where the very reasonable cost of admission and drinks justify the up-close and personal setting. It feels like a neighborhood hangout where, if you are open to it, you can quickly bond with the other people there.\n","permalink":"https://mirror2.jazzofjapan.com/ps-bar/","summary":"\u003cp\u003eA neighborhood jazz bar in Tokyo’s bustling Ikebukuro district, P’s Bar may be very small but that results in a cozy, comfortable family-feeling setting. Upon entering the bar you may be greeted and given a seat along the bar or right up in the front table area next to where the musicians perform. The stage area features an upright piano, and that’s about it. Due to the small space, the musicians are usually playing as duos (piano \u0026amp; horn, piano \u0026amp; vocals, guitar \u0026amp; vocals) but occasionally there is a special event with a bassist and sometimes even a drummer squeezed into the corner. Also featured here are occasional afternoon jam sessions and vocal workshops.\u003c/p\u003e","title":"P's Bar"},{"content":"Paco is a tiny jazz bar in the central Hanzomon/Yotsuya area that features excellent food and comfortable jazz performances. Upon entering, one feels literally surrounded by jazz, encountering walls covered with jazz CDs and record covers. In this small room, the performers (often a singer plus a guitarist or pianist) will sit or stand right in front of the seated customers for two or three performance sets starting at 7:30, 8:30, and 9:30 PM. The audience area holds about 12 customers at most; at certain times for popular performers, reservations are recommended, although the gracious bar master will try to squeeze in anyone who arrives on crowded nights.\nMine-san, the owner and chef at Paco, used to be the head chef at another famous and long-running jazz bar and now runs the show here. Along with a choice of a few different meals, the Toku Set includes four dishes and is very reasonably priced. Paco also features a nice selection of non-alcoholic cocktails and delicious hand-made desserts, when available.\nPaco ranks well in the category of cheery and welcoming places for at-home jazz performances. This is a great place for cozy jazz with dinner, and an early closing time allows you to return home before it gets too late.\n","permalink":"https://mirror2.jazzofjapan.com/paco/","summary":"\u003cp\u003ePaco is a tiny jazz bar in the central Hanzomon/Yotsuya area that features excellent food and comfortable jazz performances. Upon entering, one feels literally surrounded by jazz, encountering walls covered with jazz CDs and record covers. In this small room, the performers (often a singer plus a guitarist or pianist) will sit or stand right in front of the seated customers for two or three performance sets starting at 7:30, 8:30, and 9:30 PM. The audience area holds about 12 customers at most; at certain times for popular performers, reservations are recommended, although the gracious bar master will try to squeeze in anyone who arrives on crowded nights.\u003c/p\u003e","title":"Paco"},{"content":"Chihiro Yamanaka’s Outside By The Swing (2005) is her fourth piano trio album and continues her annual series of releases since bursting on the scene with her 2001 debut Living Without Friday. While previous releases were on the Osaka boutique jazz label Atelier Sawano, this release marks her first in a long run with Verve Records.\nThe album contains a baker’s dozen of fun jazz tracks, some quite short but mostly in the four-to-six minute range, plenty enough to showcase Yamanaka’s piano filled with percussive fire and melodic creativity.\nWith acrobatic thrills and exciting jazz runs, Yamanaka’s piano is definitely the featured instrument in the trio. Her improvisational runs and fluid technique is on display and easily grab the listener’s attention. Whether playing on uptempo tracks like “Impulsive” or “2:30 Rag”, or slower grooves such as “Angel Eyes” or “Teared Diary”, Yamanaka soars in the spotlight on center stage, justifiably garnering the praise her attention to detail and facility receives.\nPerfectly in line with the direct reference in the album title, pure, simple, straightforward swinging jazz is honored here to a high degree. Along with fleet-fingered lines on Bud Powell’s “Cleopatra’s Dream”, the second track, “I Will Wait”, is a great example of pure swing and scratches that itch perfectly. There is even a behind-the-scenes video for this song with scenes from the recording session. Track six, “Yagibushi - Revised Version” is another highlight, first heard on Yamanaka’s second album When October Goes (2002) and updated here in a refreshing and exciting arrangement.\nOutside by the Swing by Chihiro Yamanaka Chihiro Yamanaka - piano Robert Hurst - bass Jeff “Tain” Watts - drums Released in 2005 on Verve as UCCJ-2040.\nJapanese names: 山中千尋 Yamanaka Chihiro\nAudio and Video Video for “I Will Wait”, track #2 from this album, with scenes from the recording session: Excerpt from track #1: “OUTSIDE BY THE SWING” ","permalink":"https://mirror2.jazzofjapan.com/chihiro-yamanaka-outside-by-the-swing/","summary":"\u003cp\u003eChihiro Yamanaka’s \u003cem\u003eOutside By The Swing\u003c/em\u003e (2005) is her fourth piano trio album and continues her annual series of releases since bursting on the scene with her 2001 debut \u003cem\u003eLiving Without Friday\u003c/em\u003e. While previous releases were on the Osaka boutique jazz label Atelier Sawano, this release marks her first in a long run with Verve Records.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1210659x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1210659x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe album contains a baker’s dozen of fun jazz tracks, some quite short but mostly in the four-to-six minute range, plenty enough to showcase Yamanaka’s piano filled with percussive fire and melodic creativity.\u003c/p\u003e","title":"Chihiro Yamanaka: Outside by the Swing"},{"content":"Alfie is a jazz bar that offers a quality experience in the heart of Roppongi and is a great choice for jazz in Tokyo. The music here is excellent and delivered at a professional level, well-suited to the high level of service and atmospheric setting.\nDepending on any particular night you may hear vocal jazz, funk jazz, modern jazz, or straight-ahead jazz performed by experienced musicians on a small stage surrounded by tables and a nearby overhanging balcony area. This spot offers an amazing vibe and location with a long history of being an authentic and popular Tokyo jazz club.\n","permalink":"https://mirror2.jazzofjapan.com/alfie/","summary":"\u003cp\u003eAlfie is a jazz bar that offers a quality experience in the heart of Roppongi and is a great choice for jazz in Tokyo. The music here is excellent and delivered at a professional level, well-suited to the high level of service and atmospheric setting.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1020355-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1020355-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eDepending on any particular night you may hear vocal jazz, funk jazz, modern jazz, or straight-ahead jazz performed by experienced musicians on a small stage surrounded by tables and a nearby overhanging balcony area. This spot offers an amazing vibe and location with a long history of being an authentic and popular Tokyo jazz club.\u003c/p\u003e","title":"Alfie"},{"content":"Yoyogi Naru is one of a pair of stylish jazz bars that go by “Naru” in Tokyo. Both Narus are elegant without overdoing it, clean and comfortable places that have been operating for a long time while maintaining high standards.\nFigure 1: Naoko Akimoto (vocals), Ken Nakayama (bass), Shuichi Uchida (drums), and Naomi Komoto (sax) at Yoyogi Naru (June 2012)\nThis Naru (near Yoyogi and Shinjuku stations) distinguishes itself from the other Ochanomizu location by featuring jazz vocalists on a regular basis, backed by professional musicians, typically piano and bass. From time to time, a drummer or percussionist will bring in their own set and band, making for a lively fun (and usually, sold-out) night of music.\nSome Saturday nights feature a vocal session, which is a chance for aspiring vocalists to try out their voices, repertoire, and stage presence in order to get a chance to lead their own performance in the future.\nFigure 2: Ayako Taira (vocals), Harumi Nomoto (piano), and Kilin Sato (bass) at Yoyogi Naru (May 2007)\nFor those jazz fans who prefer small groups featuring jazz vocals, this bar definitely fits the bill. On some special event nights, a full band may even be featured.\nThis bar occupies a nice space in the jazz bar world of Tokyo because it is not too casual, but not too strict or expensive either. A great compromise of mid-range prices with a high-class yet comfortable atmosphere, as you may notice from the elegant mama-san, Misako-san, and her professional staff.\nFigure 3: Club owner Misako-san’s birthday party with Mie Joke (vocals), Yukari Inoue (piano), Noriko Satomi (violin), and others at Yoyogi Naru (November 2011)\n","permalink":"https://mirror2.jazzofjapan.com/yoyogi-naru/","summary":"\u003cp\u003eYoyogi Naru is one of a pair of stylish jazz bars that go by “Naru” in Tokyo. Both Narus are elegant without overdoing it, clean and comfortable places that have been operating for a long time while maintaining high standards.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1010930-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1010930-1024.jpeg\"\n         alt=\"Figure 1: Naoko Akimoto (vocals), Ken Nakayama (bass), Shuichi Uchida (drums), and Naomi Komoto (sax) at Yoyogi Naru (June 2012)\"/\u003e \u003c/a\u003e\u003cfigcaption\u003e\n            \u003cp\u003e\u003cspan class=\"figure-number\"\u003eFigure 1: \u003c/span\u003eNaoko Akimoto (vocals), Ken Nakayama (bass), Shuichi Uchida (drums), and Naomi Komoto (sax) at Yoyogi Naru (June 2012)\u003c/p\u003e","title":"Yoyogi Naru"},{"content":"Picture this: a dazzling city, clean and modern yet old-fashioned and traditional – a city of the future and of the past, simultaneously. Bars and izakaya everywhere, busy and tipsy uniformed and suited-up masses of people rushing to and fro. Digital voices emanating from brightly lit signs looming large in the sky, on the sides of buildings, on shop walls. In the middle of this, an unlimited supply of food, drink, merchandise — seafood restaurants, alcohol establishments, and convenience stores are everywhere. And hidden in the dark corners and underground floors… the jazz of Japan. Welcome to the world of Japanese jazz.\nIntroduction You\u0026rsquo;re a jazz fan. You\u0026rsquo;re going to Japan, perhaps for the first time. You don\u0026rsquo;t know much Japanese except maybe sake, sumo, ramen, and teriyaki.\nAs a visitor to Japan, what is on your typical must-do checklist? Probably something along the lines of:\nvisit authentic Japanese temples eat fresh sushi encounter geisha in the streets of old Edo soak in a hot spring onsen walk through intersections surrounded by giant illuminated screens and electronic signs Certainly, there is a wealth of advice about what to do in Japan, how to experience it, where to book your hotels. There are so many reputable guidebooks and seemingly unlimited online information for that, so much so that you could easily spend more time looking things up and reading reviews more than the actual time spent on the trip. Naturally, I have also used numerous guides as I was getting started on my trips through Japan. The information in such guides is often useful and even essential at times, with tons of practical navigational tips and advice. This isn’t an attempt to challenge those types of professional guides.\nHowever, I try to offer something here not found anywhere else. While guidebooks and internet advice do often cover wide breadths of terms of scratching the surface in many areas, naturally they cannot provide in-depth and information in focused areas, such as the world of Japanese jazz. That’s the goal: to provide real information and practical advice on how to experience a side of Japan not yet available to the foreign visitor – the underground world of Japanese jazz.\nWhile this is not an exclusive, members-only society, certain barriers do exist: the language barrier, the relative obscurity of jazz knowledge in the general popular music culture, the somewhat sequestered attitude of some to de-mark “our thing” and keep it somewhat outside the mainstream, somewhat exclusive and special.\nBut breaking those barriers means:\nwatch play musicians their heart out, improvising on the spot listen to world-class musicians share their talent with you, and for you discover underground jazz bars not found in guidebooks Sounds great, doesn’t it? In other words, this is for:\nThe jazz addict who is looking for new avenues of discovery The jazz musician who wants to join jazz sessions in Japan The music lover who doesn’t know much about jazz but is interested in exploring new frontiers Anybody who just wants to try something new and unfamiliar – a challenge! People who love jazz and are traveling to Japan, specifically Tokyo, and want to make sure to enjoy the incredibly deep and flourishing Japanese jazz community Curious people wanting to experience this world vicariously from afar Most of all, this is for anybody who wants to find out just a little bit more, or a perhaps quite lot more, about J Jazz – Japanese Jazz – in Japan!\n","permalink":"https://mirror2.jazzofjapan.com/introduction-to-jazz-of-japan/","summary":"\u003cp\u003ePicture this: a dazzling city, clean and modern yet old-fashioned and traditional – a city of the future and of the past, simultaneously. Bars and \u003cem\u003eizakaya\u003c/em\u003e everywhere, busy and tipsy uniformed and suited-up masses of people rushing to and fro. Digital voices emanating from brightly lit signs looming large in the sky, on the sides of buildings, on shop walls. In the middle of this, an unlimited supply of food, drink, merchandise — seafood restaurants, alcohol establishments, and convenience stores are everywhere. And hidden in the dark corners and underground floors… the jazz of Japan. Welcome to the world of Japanese jazz.\u003c/p\u003e","title":"Introduction to Jazz of Japan"},{"content":"Yasumasa Kumagai’s Pray (2010) is a stylishly straight ahead affair, a cool and groovy collection of the pianist’s original tunes which melds modern jazz, soulful grooves, and gospel influences with his characteristic piano playing and original compositions.\nOn Pray, Kumagai’s trio opens with “Brotherhood”, setting up an atmospherically moody yet light and relaxed vibe. Other album highlights include his live-show favorite “Yellow Tail”, a well-developed modern jazz exciter, and “Choir’s Got Fired”, a laid-back groove with irresistibly catchy riffs and an album highlight. The music is influenced by modern jazz players like Robert Glasper as well as hip hop concepts and includes enough dashes of unexpected changes, odd meters and beats, honest sensitivity, and spicy dissonance to keep the album in regular rotation for a great J Jazz piano trio playlist.\nPray by Yasumasa Kumagai Yasumasa Kumagai - piano Ryu Kawamura - bass Kohzo Komori - drums DJ Passo - (on #6) Released in 2010 on Anturtle Tune as ANTX-4009.\nJapanese names: 熊谷ヤスマサ Kumagai Yasumasa 川村竜 Kawamura Ryu 小森耕造 Komori Kohzo\nAudio and Video A live performance of “Yellow Tail”, the seventh track on the album: Excerpt from track #5: “CHOIR\u0026rsquo;S GOT FIRED” ","permalink":"https://mirror2.jazzofjapan.com/yasumasa-kumagai-pray/","summary":"\u003cp\u003eYasumasa Kumagai’s \u003cem\u003ePray\u003c/em\u003e (2010) is a stylishly straight ahead affair, a cool and groovy collection of the pianist’s original tunes which melds modern jazz, soulful grooves, and gospel influences with his characteristic piano playing and original compositions.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"../images/yasumasa-kumagai-pray/L1200463-1024.JPG\"\u003e\n    \u003cimg loading=\"lazy\" src=\"../images/yasumasa-kumagai-pray/L1200463-1024.JPG\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eOn Pray, Kumagai’s trio opens with “Brotherhood”, setting up an atmospherically moody yet light and relaxed vibe. Other album highlights include his live-show favorite “Yellow Tail”, a well-developed modern jazz exciter, and “Choir’s Got Fired”, a laid-back groove with irresistibly catchy riffs and an album highlight. The music is influenced by modern jazz players like Robert Glasper as well as hip hop concepts and includes enough dashes of unexpected changes, odd meters and beats, honest sensitivity, and spicy dissonance to keep the album in regular rotation for a great J Jazz piano trio playlist.\u003c/p\u003e","title":"Yasumasa Kumagai: Pray"},{"content":"Yukako Yamano’s 3rd Stage is the third album in her live set series, following her 1st Stage and 2nd Stage naturally and wrapping up the symbolic three-set performance established by the album titles. With ten tracks and a running time of approximately 60 minutes, 3rd Stage demonstrates Yamano’s funky, poppy, delicate, and groovy sides through mostly original songs with a few covers as well.\nDiffering from the first two releases, this album focuses on her work as a solo artist and showcases many of her original songs. Throughout, the music is infused with her special style of melodic and memorable jazzy pop creations. As a solo pianist, Yamano’s playing is loaded with catchy riffs and repeating patterns over which she develops improvisational explorations. At other moments, she can create lovely, somber themes with fragile atmospheres. Songs like “Mahoruba” and “Before After” range from galloping grooves to sweet and cute music, while the show-stealer “Summertime/Piano Concerto No. 2” merges Gershwin and Rachmaninov themes in an impressive medley. The final track, “Love Coke!”, is another popular crowd-pleaser and a fun tribute to her collection of variations of this addictive soft drink.\n3rd Stage by Yukako Yamano Yukako Yamano - piano Released in 2017 on Yukako Yamano as YKRN-0003.\nJapanese names: 山野友佳子 Yamano Yukako\nAudio and Video Live performance of “Love Coke!”, the last song on this album: Excerpt from track #7: “Luna” ","permalink":"https://mirror2.jazzofjapan.com/yukako-yamano-3rd-stage/","summary":"\u003cp\u003eYukako Yamano’s \u003cem\u003e3rd Stage\u003c/em\u003e is the third album in her live set series, following her \u003cem\u003e1st Stage\u003c/em\u003e and \u003cem\u003e2nd Stage\u003c/em\u003e naturally and wrapping up the symbolic three-set performance established by the album titles. With ten tracks and a running time of approximately 60 minutes, \u003cem\u003e3rd Stage\u003c/em\u003e demonstrates Yamano’s funky, poppy, delicate, and groovy sides through mostly original songs with a few covers as well.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"../images/yukako-yamano-3rd-stage/L1230152-1024.JPG\"\u003e\n    \u003cimg loading=\"lazy\" src=\"../images/yukako-yamano-3rd-stage/L1230152-1024.JPG\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eDiffering from the first two releases, this album focuses on her work as a solo artist and showcases many of her original songs. Throughout, the music is infused with her special style of melodic and memorable jazzy pop creations. As a solo pianist, Yamano’s playing is loaded with catchy riffs and repeating patterns over which she develops improvisational explorations. At other moments, she can create lovely, somber themes with fragile atmospheres. Songs like “Mahoruba” and “Before After” range from galloping grooves to sweet and cute music, while the show-stealer “Summertime/Piano Concerto No. 2” merges Gershwin and Rachmaninov themes in an impressive medley. The final track, “Love Coke!”, is another popular crowd-pleaser and a fun tribute to her collection of variations of this addictive soft drink.\u003c/p\u003e","title":"Yukako Yamano: 3rd Stage"},{"content":"Another Ordinary Day from 2002 is pianist Harumi Nomoto’s debut album as a leader of her own jazz trio… actually, two jazz trios. Recorded over two summer days in Tokyo, the exciting young pianist runs through eight tunes: five songs with one trio arrangement and two songs with a second trio. Also included among the trio tracks is one solo piece, where Nomoto plays on piano the quiet and affectionate “You Only Know What I Know” by saxophonist Atsushi Ikeda.\nOn her later albums Belinda (2007) and Virgo (2014) and at various live shows, Harumi displays talent and affinity for imaginative original compositions not necessarily bound to the standard jazz trademarks. Yet on this first album, Nomoto earns fundamental jazz credit with well-known and swinging jazz standards like “My Shining Hour, “I Didn’t Know What Time It Was”, and “Stardust”.\nIn addition to these three jazz covers, three originals by Nomoto and two originals by jazz saxophonist Atsushi Ikeda are included. Nomoto’s songs (“Libra Sun”, “Blues on Saturday”, and “Go-Ma”) display early signs of her tendency for addictive grooves and relaxed rhythms, previewing her distinctive talent for imaginative compositions and fresh style.\nAnother Ordinary Day by Harumi Nomoto Trio Harumi Nomoto - piano Norihide Shioda - bass (#1, 2, 3, 4, 8) Tommy Campbell - drums (#1, 2, 3, 4, 8) Masayuki Tawarayama - bass (#5, 7) Yoshihito Eto - drums (#5, 7) Released in 2002 on Venus Records as TKCV-35311.\nJapanese names: 野本晴美 Nomoto Harumi 塩田哲嗣 Shioda Norihide 俵山昌之 Tawarayama Masayuki 江藤良人 Eto Yoshihito\nAudio and Video Audio for “Stardust”, track #8 on the album: Excerpt from track #1: “マイ・シャイニング・アワー (My Shining Hour)” ","permalink":"https://mirror2.jazzofjapan.com/harumi-nomoto-trio-another-ordinary-day/","summary":"\u003cp\u003e\u003cem\u003eAnother Ordinary Day\u003c/em\u003e from 2002 is pianist Harumi Nomoto’s debut album as a leader of her own jazz trio… actually, two jazz trios. Recorded over two summer days in Tokyo, the exciting young pianist runs through eight tunes: five songs with one trio arrangement and two songs with a second trio. Also included among the trio tracks is one solo piece, where Nomoto plays on piano the quiet and affectionate “You Only Know What I Know” by saxophonist Atsushi Ikeda.\u003c/p\u003e","title":"Harumi Nomoto Trio: Another Ordinary Day"},{"content":"Like explorers on a caravan, Bungalow produces imaginative music on their third album Unseen Scenes from 2015, carving their unique path through new jazz and rhythms.\nCompulsively rhythmic and compelling, this album is another fantastical journey through the nooks and crannies of modern jazz with exotic fringes. With Bungalow, creativity is in focus, and on Unseen Scenes this creativity often incorporates repeating riffs and loops of fresh drum patterns and evocative moods. Strands of music weave together to provide the fabric over which saxophone melodies arc and swoop. A combination of dense flavors, spicy accents, and lush spaces with some straight-ahead modern jazz as well.\nNotable tracks include the modern “Gauge”, the European fusion “Astir”, the grand “Dancing Elephant”, and “Bombay Duck” with pleasant sounds of the tabla drum. The final track “Respective Scene” also introduces a new side to Bungalow, where the sounds of electronic knocking, static, whirring, and beeps create a soundscape as the other instruments vamp slowly.\nUnseen Scenes by Bungalow Mike Rivett - tenor sax, electronics Koichi Sato - piano Hiroshi Ikejiri - bass Ko Omura - drums, tabla Released in 2015 on Studio Songs as YZSO-10057.\nJapanese names: 佐藤浩一 Sato Koichi 池尻洋史 Ikejiri Hiroshi 大村亘 Omura Ko\nAudio and Video Excerpt from track #1: “ダンシング・エレファント (Dancing Elephant)” ","permalink":"https://mirror2.jazzofjapan.com/bungalow-unseen-scenes/","summary":"\u003cp\u003eLike explorers on a caravan, Bungalow produces imaginative music on their third album \u003cem\u003eUnseen Scenes\u003c/em\u003e from 2015, carving their unique path through new jazz and rhythms.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1210094-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1210094-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eCompulsively rhythmic and compelling, this album is another fantastical journey through the nooks and crannies of modern jazz with exotic fringes. With Bungalow, creativity is in focus, and on \u003cem\u003eUnseen Scenes\u003c/em\u003e this creativity often incorporates repeating riffs and loops of fresh drum patterns and evocative moods. Strands of music weave together to provide the fabric over which saxophone melodies arc and swoop. A combination of dense flavors, spicy accents, and lush spaces with some straight-ahead modern jazz as well.\u003c/p\u003e","title":"Bungalow: Unseen Scenes"},{"content":"Pianists Yukako Yamano and Yukari Inoue make music with two pianos on this mini-album of cheerful exuberance. Dubai Suite is a five-part composition by Yukako Yamano which reflects her appreciation for the exotic locale the music is named for. She recorded this album in anticipation of a late 2021 return trip to Dubai. Based in Tokyo and with frequent travels throughout America, Europe, Asia, and Africa, Yamano has also been to Dubai twice.\nThe pianist’s November 2020 trip to Dubai was her first overseas tour since the pandemic began. Although there were new hurdles like testing, quarantine, cancelations, and a great deal of uncertainty involved, it was a rewarding experience for the pianist, and she found an even deeper appreciation for traveling and sharing music with people around the world. With these impressions, Yamano created this suite in a burst of inspiration - including her instinctive decision to arrange the music for two pianos. Pianist Yukari Inoue, a popular, skilled, and in-demand pianist in the Tokyo jazz scene, was a natural choice for a musical partner on this album. Fortunately, the album was able to be recorded and produced in short order, and Yamano brought copies of the CD along with her on her second trip to Dubai in December 2021.\nThe album’s five tracks add up to a brisk 23 minutes and relay a narrative with the descriptive song titles “Hope”, “Reality”, “Run”, “Anxiety”, and “Victory”. The opening track sets up a bright prologue to adventure, and the next two shorter tracks capture the suite’s energy with the frolic and whimsey of a chase scene… or perhaps the fun of hurriedly preparing for travel and facing the realities of packing, scheduling, and racing to catch departures. Next, “Anxiety” delivers a slower, suspenseful atmosphere, and the closing track “Victory” returns to uptempo form with a springy rhythm making for toe-tapping positivity. Like other examples of Yamano’s music, the jazz feeling is permeated with a catchy lightness and shine often found in some J-pop styles.\nI was finally able to get to Dubai. The exotic wind after a long absence, the beautiful city of Dubai… I was very happy to be welcomed by the people there.\nNovember 2020 was my first overseas tour since Corona. I was worried, I had to take a PCR test, and it was very different from travel before Corona, but it was a very good experience. After all, I like traveling, I like music, and it’s great to be able to live and be together in this way. I’m glad I went. I created a song from my impressions. I made everything intuitively, and I don’t know why I decided on two pianos (laughs).\nDubai Suite by Yukako Yamano \u0026amp; Yukari Inoue Yukako Yamano - piano Yukari Inoue - piano Released in 2021 on Yukako Yamano as YKCJ-0006.\nJapanese names: 山野友佳子 Yamano Yukako 井上ゆかり Inoue Yukari\nAudio and Video Yukako Yamano and Yukari Inoue playing piano duet live in 2019: Audio for “Hope”, the first track on this album: Excerpt from track #5: “Victory” ","permalink":"https://mirror2.jazzofjapan.com/yukako-yamano-yukari-inoue-dubai-suite/","summary":"\u003cp\u003ePianists Yukako Yamano and Yukari Inoue make music with two pianos on this mini-album of cheerful exuberance. \u003cem\u003eDubai Suite\u003c/em\u003e is a five-part composition by Yukako Yamano which reflects her appreciation for the exotic locale the music is named for. She recorded this album in anticipation of a late 2021 return trip to Dubai. Based in Tokyo and with frequent travels throughout America, Europe, Asia, and Africa, Yamano has also been to Dubai twice.\u003c/p\u003e","title":"Yukako Yamano \u0026 Yukari Inoue: Dubai Suite"},{"content":"The twinkling chords which open Ami Fukui’s debut album Urban Clutter from 2010 shine like a crystalline spotlight, signaling the immediately satisfying sounds and clean, uncomplicated feel-good grooves of the music to come. This first album from the jazz pianist lays down the groundwork for Fukui to showcase her compositional skills for jazz piano trio, which she will explore further on her follow-up albums Amizm (2013) and New Journey (2016).\nThe overall sound and improvisation favor texture-building over flash. Rather than an overload of bebop feats, free jazz, or abstract outside playing, here attention is paid to structure and texture - the musical vibe, rhythm, and riffs. As in the forest for the trees, the focus seems to be on immersing the listening in the comfortably cool and mostly mid-tempo music. For example, “Denim” is a welcoming 3/4-meter with a strong hook and a warm sound. Other tracks such as “Refrain” and “Signal” roam over adventurous territory with a modern odd-beat structure, snazzy angular and compelling shapes with a drum-focused solo ending while the piano and bass vamp.\nFavoring the slicker style popular in some modern jazz releases over the classic, “vintage feeling” of swing-based beats, the group excels at simple yet cohesively interlocked musical patterns. Drummer Sohnosuke Imaizumi and bassist Koji Yasuda in particular bring a lot to the music, crafting the strong and balanced bottom end and rhythms that frame Fukui’s compositions so well. In particular, Imaizumi’s special light touch and syncopated zest elevate the music even further, enhancing the music with unobtrusive yet cleverly-timed punctuations.\nLiner Notes (Translated from the original Japanese liner notes written by Ami Fukui.)\nORGANIC SHOWER\nThis song started when my younger brother asked me to create original music for a project as he was going to video school. To that, I added a chorus and it became this song. As the image related to the feeling of a flower extending and growing, the title was “Organic Growth”, but inside I felt as if waves were sparkling, so with that image I choose the title “Organic Shower”.\nDENIM\nThis song was inspired by a type of incense with the brand name “Denim”. I made the song by consciously using the three elements of humming, a 3-beat meter, and gospel style.\nREFRAIN\nSimilar to Morse code, I like when chords change as the same note continues to be played, and perhaps there are many of those songs in my originals. This is one of those songs. This time, it was a song I composed while addicted to the 7-beat meter, with the key being the last 32 measures in particular.\nZAI JIAN\nIt’s a song I wrote inspired by some influences after returning from last year’s trip to Shanghai… or so I thought, but somehow this was a song I did before then (laughs). I like this word for “let’s meet again” and made it the title.\nMOJITO\nI realized in this composition I was able to make a song in club style. I made a kick during a drum solo because I wanted to make something that would make So-chan (Sohnosuke Imaizumi) on drums groan, I made a feature with a drum solo in the middle. I wonder if that is the selling point (laughs).\nRAIN\nThis was made in the image of the title. I like how the bass starts playing the motif and the piano continues it, and from there the shape gradually changes. From light rain to heavy rain… Then light rain again… I choose an image similar to how the scenery changes. Koji’s bass solo fits this image perfectly.\nSIGNAL\nWhen I went to New York, the ringing of sirens from morning through nighttime left quite an impression. This impression is reflected in the eighth measure of the theme. It sounded like this to me (haha)! This is a song where I started with the supposition that it would be nice to hear the guitar tone as a backdrop. Together with the 5-beat meter, I like the special feeling of floating.\nVELOCITY OF THE LIGHT\nI wrote this song thinking that it would be great if it would change tempos freely, becoming faster and slower throughout the song.\nNOVELLA\nAs a challenge, I thought to myself why don’t I try to make something majestic and classical-like, different from my previous compositions? I made this while thinking of the Church of Santa Maria Novella in Italy, where I would like to visit someday.\nURBAN CLUTTER\nThis is a song I wrote about 4 years ago which I rearranged for this recording. I really wanted to include this song as it could be said to be my starting point. But of course, my tastes have changed between then and now, so I tried to use the original version and see if I somehow could incorporate my current feelings. In that sense, with the passage of time, I think that who I am now somehow came out most. I hope you can feel the darkness if only a little.\nUrban Clutter by Ami Fukui Trio Ami Fukui - piano Koji Yasuda - bass Sohnosuke Imaizumi - drums Released in 2010 on Anturtle Analog Recordings as ANTX-4008.\nJapanese names: 福井亜実 Fukui Ami 安田幸司 Yasuda Koji 今泉総之輔 Imaizumi Sohnosuke\nAudio and Video Promotional video for the song “Urban Clutter”, the last song on this album: Excerpt from track #4: “再見-ZAI JIAN (Rewatch-ZAI JIAN)” ","permalink":"https://mirror2.jazzofjapan.com/ami-fukui-trio-urban-clutter/","summary":"\u003cp\u003eThe twinkling chords which open Ami Fukui’s debut album \u003cem\u003eUrban Clutter\u003c/em\u003e from 2010 shine like a crystalline spotlight, signaling the immediately satisfying sounds and clean, uncomplicated feel-good grooves of the music to come. This first album from the jazz pianist lays down the groundwork for Fukui to showcase her compositional skills for jazz piano trio, which she will explore further on her follow-up albums \u003cem\u003eAmizm\u003c/em\u003e (2013) and \u003cem\u003eNew Journey\u003c/em\u003e (2016).\u003c/p\u003e","title":"Ami Fukui Trio: Urban Clutter"},{"content":"Vocalist Ruriko Kawamura released Blossoms in 2016, her second album following her 2011 debut record Loo Loo.\nThe album is a relaxed tour through 11 varied tracks, all arranged by pianist Seiji Endo who backs up the vocalist throughout the disc. Six songs feature Kawamura singing as a duo with the pianist, and more color is added with violinist Noriko Satomi joining on three tracks and guitarist Akira Sekine joining on two others.\nMuch of the music has a romantic and nostalgic feeling, yet a modern sensibility is included on such tunes as Stevie Wonder’s “Overjoyed” and a surprising rendition of Lady Gaga’s “Born This Way”, expressing Kawamura’s poppier side. In addition, the charming Irish folk song “Down By The Salley Gardens” is a sweet highlight, and two Japanese ballads (sung in Japanese) provide extra variety that boosts the album’s charm.\nStarting quietly, Endo and Kawamura perform a heartwarming version of “The Rainbow Connection”, the uplifting Oscar-winning classic from The Muppet Movie. The duo is then joined by Noriko Satomi on violin for the next track “Nuovo Cinema Paradiso”, sung in Italian and a definite highlight for its lovesick achiness. Guitarist Akira Sekine then joins on Lady Gaga’s “Born This Way” done as a slow rock ballad. The rest of the album continues in this eclectic, wistful manner, with jazz standards including “Route 66”, “Tennessee Waltz”, and “Summertime”, and a lovely version of the Beatles’ “In My Life”.\nBlossoms by Ruriko Kawamura Ruriko Kawamura - vocal Seiji Endo - piano Noriko Satomi - violin Akira Sekine - guitar Released in 2016 on LooLoo Entertainment Records as lulu001.\nJapanese names: 河村留理子 Kawamura Ruriko 遠藤征志 Endo Seiji 里見紀子 Satomi Noriko 関根彰良 Sekine Akira\nAudio and Video A live version of Ruriko Kawamura singing “Down By The Salley Gardens” in 2011: Ruriko Kawamura singing “The Waltz” live in 2011: Excerpt from track #2: “Nuovo Cinema Paradiso” ","permalink":"https://mirror2.jazzofjapan.com/ruriko-kawamura-blossoms/","summary":"\u003cp\u003eVocalist Ruriko Kawamura released \u003cem\u003eBlossoms\u003c/em\u003e in 2016, her second album following her 2011 debut record \u003cem\u003eLoo Loo\u003c/em\u003e.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220250-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220250-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe album is a relaxed tour through 11 varied tracks, all arranged by pianist Seiji Endo who backs up the vocalist throughout the disc. Six songs feature Kawamura singing as a duo with the pianist, and more color is added with violinist Noriko Satomi joining on three tracks and guitarist Akira Sekine joining on two others.\u003c/p\u003e","title":"Ruriko Kawamura: Blossoms"},{"content":"Fever is the 2014 debut release from Trigraph, a band that takes an eclectic approach to their music, focusing on jazz and pop while incorporating various genres and instruments into their music. The core group is the talented trio of musicians Sanae Ishikawa on vocals, Takayoshi Baba on guitar, and Reikan Kobayashi on shakuhachi and other instruments. Two additional musicians fill out the group for this recording, electric fretless bassist Ryoji Orihara, and drummer Yasushi Fukumori.\nWhether singing in English on four tracks or Japanese on five tracks, Ishikawa’s voice is crystal clear and up front in the mix, directly conveying her skill and emotional power storytelling through song. The album works to maintain interest with arrangements and compositions influenced by jazz, pop, rock, Latin, musicals, and classic songwriters such as Stevie Wonder and Freddie Mercury.\nAs for jazz covers, the album opens with the refreshing “It Might as Well Be Spring” and the ballad “Angel Eyes”, performed here with an enticingly sultry nightclub vibe. The cute throwback “Goody-Goody” takes the role of a traditional swing jazz tune embellished with Japanese bamboo flute, and the exciting title track “Fever” is played with uptempo verve and abandon. The Japanese pop hit “Hanamizuki” is also covered, a well-known 2004 song from Japan used in an acclaimed movie by the same name and popular in karaoke rooms.\nIn addition to jazz, Trigraph also features five of their well-crafted original compositions: the sweetly tender “Appreciation”, the passionate “Akanegumo”, the restful “Etude for Shakuhachi and Guitar”, the ballad “Eternal Snow”, and the grand and swelling “Barau”.\nFever by Trigraph Takayoshi Baba - guitar \u0026amp; chorus Reikan Kobayashi - shakuhachi, piano, keyboard, voice percussion, shaker, chorus Sanae Ishikawa - vocal \u0026amp; chorus Ryoji Orihara - electric fretless bass \u0026amp; chorus Yasushi Fukumori - drums \u0026amp; chorus Released in 2014 on Haru Records as HARU-20.\nJapanese names: 馬場孝喜 Baba Takayoshi 小林鈴勘 Kobayashi Reikan 石川早苗 Ishikawa Sanae 織原良次 Orihara Ryoji 福森康 Fukumori Yasushi\nAudio and Video Trigraph performing the title track “Fever” live: Trigraph performing the Cyndi Lauper hit “Time After Time”, opening with a live-looped shakuhachi intro: Excerpt from track #1: “It Might As Well Be Spring” ","permalink":"https://mirror2.jazzofjapan.com/trigraph-fever/","summary":"\u003cp\u003e\u003cem\u003eFever\u003c/em\u003e is the 2014 debut release from Trigraph, a band that takes an eclectic approach to their music, focusing on jazz and pop while incorporating various genres and instruments into their music. The core group is the talented trio of musicians Sanae Ishikawa on vocals, Takayoshi Baba on guitar, and Reikan Kobayashi on shakuhachi and other instruments. Two additional musicians fill out the group for this recording, electric fretless bassist Ryoji Orihara, and drummer Yasushi Fukumori.\u003c/p\u003e","title":"Trigraph: Fever"},{"content":"Mistral is a soulful live jazz album from sax and piano duo Toshihiko Inoue and Masaki Hayashi, recorded in 2008 and released in 2013. Although the extended title Mistral: Duo at Mister Kelly’s may seem to reference the historically famous Mister Kelly’s in Chicago and live albums from Sarah Vaughan, Ella Fitzgerald, and others, this Japanese jazz album was recorded at Mister Kelly’s jazz bar in Osaka, an independent venue named in honor of the famous American nightclub.\nMusicians Inoue and Hayashi (also bandmates in the jazz group Clepsydra) play expertly together on /Mistral/’s hour-plus live set, which comes as no surprise considering their respective acclaim and experience. The intimate duo of sax and piano brings a relaxed feel with plenty of space to explore the music, and most songs last ten minutes or more as the musicians craft their improvisations. The format works well to engage the audience members, which in response inspires the musicians to strive for new ideas and discoveries. The duo takes up that task confidently here, roaming from sentimental ballads to acrobatic feats with skill.\nThe album opens up with Inoue striking out alone on solo saxophone on the beautiful, well-known jazz ballad “Lush Life”, unloosing husky melodies for nearly twelve minutes. Hayashi joins on piano for the second track, his delicate and gentle “Göteborg” describing minor shades of budding life. Following these opening ballads, track three energizes the atmosphere with Inoue’s “Ibuki”, rockish jazz with fiery dimensions, fun and invigorating. Next, the duo develops an extended medley of the timeless “Witchi-Tai-To” and Inoue’s “North Rider”, a flashy, dark-tinged adventure that Inoue often performed with his fusion group Fuse. The album closes with Wayne Shorter’s unforgettable “Ana Maria”, a stellar inspiration where Inoue lets loose his light-as-air soprano sax sound.\nMistral by Toshihiko Inoue \u0026amp; Masaki Hayashi Toshihiko Inoue - tenor sax, soprano sax Masaki Hayashi - piano Released in 2013 on 78 Label as FNFY-06.\nJapanese names: 井上淑彦 Inoue Toshihiko 林正樹 Hayashi Masaki\nAudio and Video Toshihiko Inoue and Masaki Hayashi playing “Zutto” with Clepsydra in 2011: Excerpt from track #2: “Goteborg” ","permalink":"https://mirror2.jazzofjapan.com/toshihiko-inoue-masaki-hayashi-mistral/","summary":"\u003cp\u003e\u003cem\u003eMistral\u003c/em\u003e is a soulful live jazz album from sax and piano duo Toshihiko Inoue and Masaki Hayashi, recorded in 2008 and released in 2013. Although the extended title \u003cem\u003eMistral: Duo at Mister Kelly’s\u003c/em\u003e may seem to reference the historically famous Mister Kelly’s in Chicago and live albums from Sarah Vaughan, Ella Fitzgerald, and others, this Japanese jazz album was recorded at Mister Kelly’s jazz bar in Osaka, an independent venue named in honor of the famous American nightclub.\u003c/p\u003e","title":"Toshihiko Inoue \u0026 Masaki Hayashi: Mistral"},{"content":"As jazz fans know, Brazilian music and bossa nova tunes are frequently present on jazz albums, playlists, and jazz bars, and Japan’s live scene is no exception. Naturally, Japanese jazz musicians and groups who specialize in Latin genres can also be found in Japan.\nOne such group is Meu Coração (“my heart” in Portuguese), the creation of Emiko Voice and Taro Sukegawa. The pair delivers impeccable and sweet Brazilian music through perfectly matched voice and guitar. Their 2009 debut album Hall Tone features one hour of Brazilian music through bossa nova, samba, choro, and the like. The simple combination of acoustic guitar and voice brings into relief the strength of the music and atmosphere, and the Portuguese lyrics deliver hints of love songs and bittersweet tales.\nAs suggested by the album title, the natural reverb of a concert hall is a featured quality on this album. The music was recorded at a single source in a large hall to capture the raw sound and reverb of instruments in that space. The power of two musicians making honest, unadorned music rings true here and showcases the strength of the selections and the musicians’ affinity and skill. The pair masters their shared role in shaping and spicing up the music through strumming and plucking of strings and vocal accents to enhance the pulse and movement of the music.\nWhile jazz fans are no doubt familiar with oft-covered tunes such as “Girl from Ipanema”, “Corcovado” and such, much of the music on this collection may be unfamiliar to non-specialists, but no less impressive. Even as Jobim songs are always cozy and welcoming, I found myself returning to the songs on this recording which I hadn’t heard before, pleased to be expanding my horizons. Fans of the inimitable Antônio Carlos Jobim will also eager to hear the duo’s follow-up album Hall Tone 2 from 2012, dedicated to Jobim’s music.\nIt’s also worth mentioning that since the 2009 debut of Hall Tone, Meu Coracao has also been performing unplugged, natural sound shows for more than seven years at sold-out concert halls in Tokyo.\nHall Tone by Meu Coracao Emiko Voice - vocal Taro Sukegawa - guitar Released in 2009 on Coo Records as COO-300.\nJapanese names: エミコヴォイス Emiko Voice 助川太郎 Sukegawa Taro\nAudio and Video A live version of “Pra Que Discutir Com Madame”, track #3 from this album: A 2008 clip from NHK showcasing Meu Coracao playing at an outdoor live concert: Excerpt from track #15: “サイ・デッサ (Sai Dessa)” ","permalink":"https://mirror2.jazzofjapan.com/meu-coracao-hall-tone/","summary":"\u003cp\u003eAs jazz fans know, Brazilian music and bossa nova tunes are frequently present on jazz albums, playlists, and jazz bars, and Japan’s live scene is no exception. Naturally, Japanese jazz musicians and groups who specialize in Latin genres can also be found in Japan.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200796-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200796-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eOne such group is Meu Coração (“my heart” in Portuguese), the creation of Emiko Voice and Taro Sukegawa. The pair delivers impeccable and sweet Brazilian music through perfectly matched voice and guitar. Their 2009 debut album \u003cem\u003eHall Tone\u003c/em\u003e features one hour of Brazilian music through bossa nova, samba, choro, and the like. The simple combination of acoustic guitar and voice brings into relief the strength of the music and atmosphere, and the Portuguese lyrics deliver hints of love songs and bittersweet tales.\u003c/p\u003e","title":"Meu Coracao: Hall Tone"},{"content":"Protean is the first release from jazz pianist Naoko Tanaka, who self-produced and released this album in 2009 under the name Protean along with bassist Naoyuki Seto and drummer Dan Yoshikawa.\nWith six songs over 35 minutes, the album features all originals, four by the pianist and one each from the bassist and drummer. Album highlights such as tracks #3 “Kirin no Sougen” and #5 “Negotiater” showcase the trio’s stimulating, uptempo jazz-rock, summoning slightly Ahmad Jamal’s later period music with dense figures arranged over churning, funky grooves. The trio also offers slow jazz-pop ballads (“Never Say My Mind”) and modern jazz sketches (“Ocean”, “The Last Train”) to extend the atmosphere.\nAlthough this release is on the shorter side, it previews what is to come from Tanaka, foreshadowing her detailed original compositions and impeccable talent continued on her successive releases and met with mounting popularity.\nProtean by Protean Naoko Tanaka - piano Naoyuki Seto - electric bass Dan Yoshikawa - drums Released in 2009 on Protean as Protean.\nJapanese names: 田中菜緒子 Tanaka Naoko 瀬戸尚幸 Seto Naoyuki 吉川弾 Yoshikawa Dan\nAudio and Video A live version of “Negotiater”, track #5 on this album: A live version of “Kirin No Sougen”, track #5 on this album: Excerpt from track #6: “the last train” ","permalink":"https://mirror2.jazzofjapan.com/protean-protean/","summary":"\u003cp\u003e\u003cem\u003eProtean\u003c/em\u003e is the first release from jazz pianist Naoko Tanaka, who self-produced and released this album in 2009 under the name Protean along with bassist Naoyuki Seto and drummer Dan Yoshikawa.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"../images/protean-protean/L1200370-1024.JPG\"\u003e\n    \u003cimg loading=\"lazy\" src=\"../images/protean-protean/L1200370-1024.JPG\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWith six songs over 35 minutes, the album features all originals, four by the pianist and one each from the bassist and drummer. Album highlights such as tracks #3 “Kirin no Sougen” and #5 “Negotiater” showcase the trio’s stimulating, uptempo jazz-rock, summoning slightly Ahmad Jamal’s later period music with dense figures arranged over churning, funky grooves. The trio also offers slow jazz-pop ballads (“Never Say My Mind”) and modern jazz sketches (“Ocean”, “The Last Train”) to extend the atmosphere.\u003c/p\u003e","title":"Protean: Protean"},{"content":"Childhood’s Dream is a 10-song, hour-long studio recording from pianist Shigeo Fukuda and guitarist Toshiki Nunokawa. Both leading veteran players, the musicians are also in-demand sidemen and instructors, well-known in Japan’s live scene from the 1980s through to the current day.\nClean, swinging piano playing together with warm, organic guitar tones balance perfectly over the mostly original material with three jazz standards, “How Deep Is the Ocean”, “The Peacocks”, and “Wrap Your Troubles in Dreams”. While the cover songs offer the most swinging and familiar jazz themes, the pair’s original numbers complete the package with shades of rock, blues, and folk interpreted through a Japanese jazz lens.\nWhile it can be said that Fukuda plays masterly jazz piano in a very piano-like way, a similar description could be made of Nunokawa’s guitar playing, which also brings in funky rock and pop facets with slick guitar jazz. Along with their individually impressive and extensive history, the musicians hold a real 30+ years friendship playing together, and on this album show command of their instruments and their natural jazz musicians’ bond expressed through their dreams from childhood.\nChildhood’s Dream by Shigeo Fukuda \u0026amp; Toshiki Nunokawa Shigeo Fukuda - piano Toshiki Nunokawa - guitar Released in 2011 on BQ Records as BQR-2053.\nJapanese names: 福田重男 Fukuda Shigeo 布川俊樹 Nunokawa Toshiki\nAudio and Video A video of “Childhood’s Dream”, a live version of the title track: A video of “Wrap Your Troubles in Dreams”, a live version of the last track on this album: Excerpt from track #7: “How Deep Is The Ocean” ","permalink":"https://mirror2.jazzofjapan.com/shigeo-fukuda-toshiki-nunokawa-childhoods-dream/","summary":"\u003cp\u003e\u003cem\u003eChildhood’s Dream\u003c/em\u003e is a 10-song, hour-long studio recording from pianist Shigeo Fukuda and guitarist Toshiki Nunokawa. Both leading veteran players, the musicians are also in-demand sidemen and instructors, well-known in Japan’s live scene from the 1980s through to the current day.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200426-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200426-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eClean, swinging piano playing together with warm, organic guitar tones balance perfectly over the mostly original material with three jazz standards, “How Deep Is the Ocean”, “The Peacocks”, and “Wrap Your Troubles in Dreams”. While the cover songs offer the most swinging and familiar jazz themes, the pair’s original numbers complete the package with shades of rock, blues, and folk interpreted through a Japanese jazz lens.\u003c/p\u003e","title":"Shigeo Fukuda \u0026 Toshiki Nunokawa: Childhood’s Dream"},{"content":"On Duet from 2001, bassist Shinichi Kato and pianist Masahiko Sato put forth a misty and stimulating collection of duets. The pair establishes a relaxed rapport based on masterful foundations using 11 original songs for roomy jazz improvisation. While opening slowly in a melancholic mood, the music blooms gradually, drifting around in abstract colors through the first four tracks before settling into more solid ground through the rest of the album.\nFrom the opening “Old Diary”, an elegiac classical-sounding introduction (with traces of Modern Jazz Quartet perhaps), and through the next several tracks, the piano and bass constantly interplay with simultaneous improvisation while adhering to the musical framework, the bass taking lead voice at times and piano at others. While the music can be sparse and airy with a relaxed sense of time, there is plenty of space, freeish solos, and moments where the duo lock tightly in time and harmony.\nFollowing the quiet start, the album shifts gears on the fifth track “Bass Folk Song”, where the piano and bass suddenly strike out with a unison melody. From here the music flows with uptempo moods, ballads, and songs with a somewhat more standard jazz feel. The album finally culminates with the final track “A Song for Jack”, a quicker Latin-styled pulse where the pair play vividly with clear enjoyment.\nOverall, Duet is a nice balance of absorbing and hazy music, swirling around the strings and keys of a well-versed bass and piano duet.\nDuet by Shinichi Kato \u0026amp; Masahiko Sato Shinichi Kato - bass Masahiko Sato - piano Released in 2001 on Nagel Heyer Records as CD-2017.\nJapanese names: 加藤真一 Kato Shinichi 佐藤允彦 Sato Masahiko\nAudio and Video Audio of “Blues for Pluto”, track #10 from this album: Excerpt from track #1: “Old Diary” ","permalink":"https://mirror2.jazzofjapan.com/shinichi-kato-masahiko-sato-duet/","summary":"\u003cp\u003eOn \u003cem\u003eDuet\u003c/em\u003e from 2001, bassist Shinichi Kato and pianist Masahiko Sato put forth a misty and stimulating collection of duets. The pair establishes a relaxed rapport based on masterful foundations using 11 original songs for roomy jazz improvisation. While opening slowly in a melancholic mood, the music blooms gradually, drifting around in abstract colors through the first four tracks before settling into more solid ground through the rest of the album.\u003c/p\u003e","title":"Shinichi Kato \u0026 Masahiko Sato: Duet"},{"content":"From vibraphonist Fumiko Yamazaki, the aptly titled Here Goes! is an enthusiastic introduction to her music with her jazz quartet on her 2011 debut release.\nWith seven tracks at a running time of 48 minutes, the songs fall into a few distinct styles: poppy and upbeat (#1 “Here Goes!” and #6 “Genkidama”), energetic and jazzy (#5’s “Theme from Lupin the Third”), and beautifully bittersweet and evocative, highlighting the pure ringing beauty of the metal bars of the vibraphone hit in rapid succession by soft mallets.\nThe poppy tracks are refreshing and positive, sounding suitable as light-hearted music for Japanese movies or animation (in fact, “Lupin the Third” is a well-known jazz song from the anime series of the same name, and strikes a brisk feeling of criminal adventure). Meanwhile, tracks #2, 3, and 4 (Sholom Secunda’s “Dona Dona”, Yamazaki’s original “Eternity”, and Astor Piazzolla’s famous tango “Oblivion”) are mysterious, gentle, and haunting, and arranged together like a fitting three-part suite. In a similar style, the final song “Okinagusa” closes the album with a peaceful, delicate performance, a graceful departure like a Japanese music box winding down with a wave goodbye.\nHere Goes! by Fumiko Yamazaki Fumiko Yamazaki - vibes, percussion Keizo Kawano - piano, keyboard Shingo Tanaka - bass Takashi Saito - drums, percussion Released in 2011 on T\u0026amp;K Entertainment as QACK-35024.\nJapanese names: 山崎ふみこ Yamazaki Fumiko 河野啓三 Kawano Keizo 田中晋吾 Tanaka Shingo 齋藤たかし Saito Takashi\nAudio and Video Video from a live performance of the song “One” by Fumiko Yamazaki: Excerpt from track #2: “ドナドナ (Dona Dona)” ","permalink":"https://mirror2.jazzofjapan.com/fumiko-yamazaki-here-goes/","summary":"\u003cp\u003eFrom vibraphonist Fumiko Yamazaki, the aptly titled \u003cem\u003eHere Goes!\u003c/em\u003e is an enthusiastic introduction to her music with her jazz quartet on her 2011 debut release.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"../images/fumiko-yamazaki-here-goes/L1200539-1024.JPG\"\u003e\n    \u003cimg loading=\"lazy\" src=\"../images/fumiko-yamazaki-here-goes/L1200539-1024.JPG\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWith seven tracks at a running time of 48 minutes, the songs fall into a few distinct styles: poppy and upbeat (#1 “Here Goes!” and #6 “Genkidama”), energetic and jazzy (#5’s “Theme from Lupin the Third”), and beautifully bittersweet and evocative, highlighting the pure ringing beauty of the metal bars of the vibraphone hit in rapid succession by soft mallets.\u003c/p\u003e","title":"Fumiko Yamazaki: Here Goes!"},{"content":"On her fourth and latest album Beautiful Days (2017), pianist Fumie Chiba records eleven new compositions with a jazz sextet, a piano trio plus trumpet, sax, and vocals. While her first two albums Tip of Dream (2009) and Echoes (2013) featured her jazz trio, the expanded group on her previous Roguequeue (2015) and on this album well suits the textures she strives for. Freshness and energy flow through the rich harmonies and interplay with attention paid to the compositional detail throughout the music.\nAs suggested by the bright album photos, the music inspires verdant images from nature: gentle, green, flowing, water… and of course, swinging. Not bebop or a conventional big band swing feeling, but almost a classical, fantastic beauty and pulse.\nWith eleven songs over an hour, most songs run for five to six minutes, ample time to establish a mood and rhythmic patterns to develop over. Chiba’s music often sets up a repeated riff on which the harmonized horns and vocals soar in graceful crescents. On top of this, the music is detailed like corners adorned with decorations and interesting pathways running to and fro. Some moments almost bring to mind the British contemporary jazz trio Azimuth’s music, with cell-like patterns phasing in and out while wordless vocal improvisation floats around and joins with the music and rhythms.\nAs the music is consistently interesting and the songs are varied, it’s hard to pick excerpts from this packed album, but some current highlights include the breezily modern opening track “Asayake No Uta”, the stylish and delicate “Invisible Colors”, the inspiring reverie of “Kite”, and the beautifully crystalline “Water Drops”.\nMost songs feature the full group, with songs for two piano trio and one solo piano piece. As with Chiba’s other albums, Beautiful Days concludes with the pianist alone, playing a moving solo piano feature with full notes and heartfelt passages.\nBeautiful Days by Fumie Chiba Fumie Chiba - piano Mitsuru Tanaka - trumpet, flugelhorn Shunosuke Ishikawa - tenor sax, soprano sax, flute Aya Kurosawa - voice Koji Tetsui - bass Kaoru Suzuki - drums Released in 2017 on USAGI Records as UR-002.\nJapanese names: 千葉史絵 Chiba Fumie 田中充 Tanaka Mitsuru 石川周之介 Ishikawa Shunosuke 黒沢綾 Kurosawa Aya 鉄井孝司 Tetsui Koji 鈴木郁 Suzuki Kaoru\nAudio and Video Promotional video for this album release: Excerpts from a 2019 live performance of the Fumie Chiba Trio: Excerpt from track #8: “Water Drops” ","permalink":"https://mirror2.jazzofjapan.com/fumie-chiba-beautiful-days/","summary":"\u003cp\u003eOn her fourth and latest album \u003cem\u003eBeautiful Days\u003c/em\u003e (2017), pianist Fumie Chiba records eleven new compositions with a jazz sextet, a piano trio plus trumpet, sax, and vocals. While her first two albums \u003cem\u003eTip of Dream\u003c/em\u003e (2009) and \u003cem\u003eEchoes\u003c/em\u003e (2013) featured her jazz trio, the expanded group on her previous \u003cem\u003eRoguequeue\u003c/em\u003e (2015) and on this album well suits the textures she strives for. Freshness and energy flow through the rich harmonies and interplay with attention paid to the compositional detail throughout the music.\u003c/p\u003e","title":"Fumie Chiba: Beautiful Days"},{"content":"The Naoko Sakata Trio’s second album Flower Clouds from 2013 describes modern jazz in ethereal form, summoning images like glaciers slowly breaking, waves cresting, powerful and mysterious changes patiently unfolding. It is like floating on an ocean raft, subject to unpredictable swells and unsure of the next movement.\nThe songs are effective at advancing modern jazz with moments of experimental group improvisation. There is layered jazz with subtle changes as well as heavy chords and rock-beat propulsion. The balance of the music tends towards deep development with a real organic vs. inorganic feeling, a fusion of nature and machine.\nLike music with a similar European “ECM sound”, atmosphere and creativity are vital forces. Rhythmic power and drama flow through the elegantly recorded material.\nAt 47 minutes long, the twelve tracks stimulate with immediacy and attitude. Four of the most creative tracks feature symbols as names: “□ (Square)”, “∞ (Infinity)”, “△ (Triangle)”, and “○ (Circle)” are soundscapes of group improvisation, yet most other tracks hang comfortably on a jazz-rock framework.\nAll tracks are strong and balance each other well, with some highlights including: “If I Could See You”, a snappy cascade; “Måne”, a fluid mystery; “Bucharest”, wispy and magical; and “Gräsänklingen”, a folkish exploration, thick and tense.\nFlower Clouds by Naoko Sakata Trio Naoko Sakata - piano Anton Blomgren - bass Johan Birgenius - drums Released in 2013 on Atelier Sawano as AS-129.\nJapanese names: 坂田尚子 Sakata Naoko\nAudio and Video Live performance of “If I Could See You”, the first track on this album: Excerpt from track #2: “Mane” ","permalink":"https://mirror2.jazzofjapan.com/naoko-sakata-trio-flower-clouds/","summary":"\u003cp\u003eThe Naoko Sakata Trio’s second album \u003cem\u003eFlower Clouds\u003c/em\u003e from 2013 describes modern jazz in ethereal form, summoning images like glaciers slowly breaking, waves cresting, powerful and mysterious changes patiently unfolding. It is like floating on an ocean raft, subject to unpredictable swells and unsure of the next movement.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220667-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220667-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe songs are effective at advancing modern jazz with moments of experimental group improvisation. There is layered jazz with subtle changes as well as heavy chords and rock-beat propulsion. The balance of the music tends towards deep development with a real organic vs. inorganic feeling, a fusion of nature and machine.\u003c/p\u003e","title":"Naoko Sakata Trio: Flower Clouds"},{"content":"Jazz, soul, and funk bassist Yoshihito “P” Koizumi is an active member of a number of Japanese jazz groups and events, and the 2011 album By Coincidence marks his debut release as “P-Project” featuring Jun Miyakawa on keyboards and Kohzo Komori on drums. With nine tracks and a running time of 34 minutes, the album is full of funky beats, laid-back grooves, retroesque electronic keyboards, and slick bass lines.\nInspiring an easy-go-lucky party mood, the short songs are all of a piece, several even with unassuming titles such as “Sound Check”, “Track”, “Jam 1”, “Jam 2”, and “Jam 3”. It’s easy to put on the album, kick back, and let the music flow and invigorate the mood without any worries.\nWhile session leader and bassist Koizimi states that the recording was not originally intended to be an official release but perhaps a demo tape or similar, the album was released as a memento of the spontaneity of the date. Many of the tracks are improvisational jams will all but basic structures undetermined, yet the spirit of fun with slick rhythms and exuberant grooves smoothly pours from the tracks.\nBy Coincidence by Yoshihito “P” Koizumi P-Project Yoshihito “P” Koizumi - bass Jun Miyakawa - keyboards Kohzo Komori - drums Released in 2011 on Peace Bass Records as PBRS-0001.\nJapanese names: 小泉P克人 Koizumi Yoshihito “P” 宮川純 Miyakawa Jun 小森耕造 Komori Kohzo\nAudio and Video Video featuring Yoshihito “P” Koizumi from 2008: Excerpt from track #1: “JB\u0026rsquo;s Poem” ","permalink":"https://mirror2.jazzofjapan.com/yoshihito-p-koizumi-p-project-by-coincidence/","summary":"\u003cp\u003eJazz, soul, and funk bassist Yoshihito “P” Koizumi is an active member of a number of Japanese jazz groups and events, and the 2011 album \u003cem\u003eBy Coincidence\u003c/em\u003e marks his debut release as “P-Project” featuring Jun Miyakawa on keyboards and Kohzo Komori on drums. With nine tracks and a running time of 34 minutes, the album is full of funky beats, laid-back grooves, retroesque electronic keyboards, and slick bass lines.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200556-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200556-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eInspiring an easy-go-lucky party mood, the short songs are all of a piece, several even with unassuming titles such as “Sound Check”, “Track”, “Jam 1”, “Jam 2”, and “Jam 3”. It’s easy to put on the album, kick back, and let the music flow and invigorate the mood without any worries.\u003c/p\u003e","title":"Yoshihito “P” Koizumi P-Project: By Coincidence"},{"content":"Gallery is the 2008 debut release from jazz pianist Yukiko Hayakawa’s trio, an all-original outing with seven tracks clocking in at 44 minutes . Overall somewhat dark and musing, the music conveys mystery with pensive touches of nostalgia and grace.\nRecorded with a live and echoey sound, the trio locks in with opening tracks “Mirage” and “Montmartre” setting up a smoky, laid-back atmosphere which runs through the album. The third tune “Happy Days” lifts the mood lightly with a swingy bounce, then “One Night” flirts with trembly space on a slow ballad. “Horoscope” is a funkier 4/4 tune, “Snow Crystal” drifts around with light delicacy, and the final track “Desier” features Hayakawa playing solo piano on an original showcase theme.\nGallery by Yukiko Hayakawa Trio Yukiko Hayakawa - piano Terumasa Nishikawa - bass Keiichiro Uemura - drums Released in 2008 on Ventain Records as VJYH-8461.\nJapanese names: 早川由紀子 Hayakawa Yukiko 西川輝正 Nishikawa Terumasa 上村計一郎 Uemura Keiichiro\nAudio and Video Out of the Wind: Excerpt from track #1: “Mirage” ","permalink":"https://mirror2.jazzofjapan.com/yukiko-hayakawa-trio-gallery/","summary":"\u003cp\u003e\u003cem\u003eGallery\u003c/em\u003e is the 2008 debut release from jazz pianist Yukiko Hayakawa’s trio, an all-original outing with seven tracks clocking in at 44 minutes . Overall somewhat dark and musing, the music conveys mystery with pensive touches of nostalgia and grace.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200617-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200617-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eRecorded with a live and echoey sound, the trio locks in with opening tracks “Mirage” and “Montmartre” setting up a smoky, laid-back atmosphere which runs through the album. The third tune “Happy Days” lifts the mood lightly with a swingy bounce, then “One Night” flirts with trembly space on a slow ballad. “Horoscope” is a funkier 4/4 tune, “Snow Crystal” drifts around with light delicacy, and the final track “Desier” features Hayakawa playing solo piano on an original showcase theme.\u003c/p\u003e","title":"Yukiko Hayakawa Trio: Gallery"},{"content":"The piano and cello duo Arco released Live at Yoncha in 2018, a performance recorded at a live music cafe bar in Tokyo. With six songs running 36 minutes, the set captures the feeling of being there as the two musicians blend jazz, classical, rock, Latin, and Japanese sensibilities.\nAt live events, Arco’s magnetic charm never fails to rouse the crowd with their thought-out arrangements of touching music with irresistible good cheer. The duo connects with talent and pure sentiment, folding chords and melodies with deep feeling through classical/pop hybrids and moments of freewheeling fun.\nWhile the music is based on piano and cello, the duo does occasionally add surprises and extra effects using hand percussion, melodion keyboard, cello bow chops, and deep thumps and slaps on the cello’s wooden body.\nOn Live At Yoncha, the set kicks off with an original tune, the fiery “Fiesta”, followed by an elegantly reworked “Pachelbel’s Canon”, Eric Clapton’s “Change The World”, the fascinating and dramatic “Libertango”, and closes with two more originals: Mayumi Sano’s “Elegy” is an emotional ballad with wonderfully heavy long cello notes, while Sayaka Kishi’s “Dai Ni No Furusato” is a charming pop ballad with a flowery sweetness.\nLive At Yoncha by Arco Sayaka Kishi - piano, melodion Mayumi Sano - cello Released in 2018 on Arco as handmade compact discs.\nJapanese names: 岸淑香 Kishi Sayaka 佐野まゆみ Sano Mayumi\nAudio and Video Video from a live Arco performance: Excerpt from track #4: “Libertango” ","permalink":"https://mirror2.jazzofjapan.com/arco-live-at-yoncha/","summary":"\u003cp\u003eThe piano and cello duo Arco released \u003cem\u003eLive at Yoncha\u003c/em\u003e in 2018, a performance recorded at a live music cafe bar in Tokyo. With six songs running 36 minutes, the set captures the feeling of being there as the two musicians blend jazz, classical, rock, Latin, and Japanese sensibilities.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"IMG_20180928_102744061-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"IMG_20180928_102744061-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAt live events, Arco’s magnetic charm never fails to rouse the crowd with their thought-out arrangements of touching music with irresistible good cheer. The duo connects with talent and pure sentiment, folding chords and melodies with deep feeling through classical/pop hybrids and moments of freewheeling fun.\u003c/p\u003e","title":"Arco: Live At Yoncha"},{"content":"On her third album Madrigal, jazz pianist Chihiro Yamanaka continues on her upward arc, working her magic on jazz standards and originals with a top-notch trio.\nWith momentum built from her debut Living Without Friday (2001) and When October Goes (2002), on Madrigal (2004), the pianist impresses with new arrangements, tight playing, and flashy piano solos. Recorded in studio with a great live sound, Yamanaka is backed by quality rhythm section mates bassist Larry Grenadier and drummer Jeff Ballard (stalwart members of Brad Mehldau’s trio), and drummer Rodney Green on three tracks.\nThis is her third album on the boutique Osaka-based Atelier Sawano label. With nine tracks, the album clocks in at a brisk 47 minutes of pure jazz fun. This album completes her early Atelier Sawano trilogy, a great introduction to Yamanaka’s jazz skills and vision which she would continue to pursue on releases for major labels Verve and Blue Note.\nAs on her prior two albums, the music on Madrigal showcases her dexterous threads of improvised notes flowing with a clean touch. Yamanaka also spins her distinctively original arrangements of classic jazz tunes (“Caravan”, “Take Five”), a welcome touchstone on previous and future recordings as well. Compared to her earlier releases, Madrigal shoots for perhaps an even more kinetic mood, with boundless energy and an acrobatic spirit displayed. In fact, Yamanaka dedicated this album to her childhood, and the music is infused with playful creativity as suggested by the album photos and liner notes.\nA track-by-track rundown: simply swinging on “Antonio’s Joke”, addictively fun “Living Time Event V”, the pretty, light “Madrigal”, the unbridled “Ojos De Rojo”, a scrambling “School Days”, the quick Brazilian “Salve Salgueiro”, a strong and distinctive “Caravan”, the cute “Lesson 51”, and a reworked, shifting “Take Five”. Most songs are midtempo or faster, the energy undepletable. The first and third tracks are originals from the pianist, while the cover songs were written by George Russell, Cedar Walton, Duke Ellington, Paul Desmond, and other greats.\nThis album hit #1 on the HMV Weekly Modern Jazz Chart and #2 on the HMV 2004 Yearly CD Jazz Chart.\nMadrigal by Chihiro Yamanaka Trio Chihiro Yamanaka - piano Larry Grenadier - bass Rodney Green - drums (#1, 3, 4) Jeff Ballard - drums Released in 2004 on Atelier Sawano as AS-038.\nJapanese names: 山中千尋 Yamanaka Chihiro\nAudio and Video Salve Salgueiro from this album: Take Five from this album: Excerpt from track #2: “Living Time Event V” ","permalink":"https://mirror2.jazzofjapan.com/chihiro-yamanaka-trio-madrigal/","summary":"\u003cp\u003eOn her third album \u003cem\u003eMadrigal\u003c/em\u003e, jazz pianist Chihiro Yamanaka continues on her upward arc, working her magic on jazz standards and originals with a top-notch trio.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1210630-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1210630-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWith momentum built from her debut \u003cem\u003eLiving Without Friday\u003c/em\u003e (2001) and \u003cem\u003eWhen October Goes\u003c/em\u003e (2002), on \u003cem\u003eMadrigal\u003c/em\u003e (2004), the pianist impresses with new arrangements, tight playing, and flashy piano solos. Recorded in studio with a great live sound, Yamanaka is backed by quality rhythm section mates bassist Larry Grenadier and drummer Jeff Ballard (stalwart members of Brad Mehldau’s trio), and drummer Rodney Green on three tracks.\u003c/p\u003e","title":"Chihiro Yamanaka Trio: Madrigal"},{"content":"Whisper Not is vocalist Layla Tomomi Sakai’s debut release from 2016. Performing here with an intimate guitar and trumpet combo, the striking singer chooses comfortable jazz standards such as “Black Coffee”, “I Can’t Get Started”, and “There Will Never Be Another You” to introduce new listeners to her smooth, husky voice and relaxing style. Six songs are included, and tempos settle at midtempo swing, bluesy groove, or slow sultry ballads, with energy peaking on the quick and exciting “Devil May Care”.\nBuoyed by guitar chords and trumpet improvisation, Sakai’s voice emotes cleanly with a strong, whispering texture. She delivers lyrics with a romantic sincerity and gentle confidence, enticing with subtle mystery like a sly wink given with a sweet smile. Each of the songs clocks in at under five minutes and the album is a quick 25-minute play, a pleasurable coffeehouse break or dreamy escape.\nWhisper Not by Layla Tomomi Sakai Layla Tomomi Sakai - vocal Yuichiro Hiraoka - guitar Ryuichi Takase - trumpet Released in 2016 on Sakai Layla Tomomi as 1.\nJapanese names: 坂井レイラ知美 Sakai Layla Tomomi 平岡遊一郎 Hiraoka Yuichiro 高瀬龍一 Takase Ryuichi\nAudio and Video A live performance of Sakai Layla Tomomi: Excerpt from track #4: “whisper not” ","permalink":"https://mirror2.jazzofjapan.com/layla-tomomi-sakai-whisper-not/","summary":"\u003cp\u003e\u003cem\u003eWhisper Not\u003c/em\u003e is vocalist Layla Tomomi Sakai’s debut release from 2016. Performing here with an intimate guitar and trumpet combo, the striking singer chooses comfortable jazz standards such as “Black Coffee”, “I Can’t Get Started”, and “There Will Never Be Another You” to introduce new listeners to her smooth, husky voice and relaxing style. Six songs are included, and tempos settle at midtempo swing, bluesy groove, or slow sultry ballads, with energy peaking on the quick and exciting “Devil May Care”.\u003c/p\u003e","title":"Layla Tomomi Sakai: Whisper Not"},{"content":"Pianist Hideaki Hori and guitarist Takayoshi Baba create beautiful music together on Resonance, their first studio recording as the unit “Duo Tremolo”. On eleven tracks made up of four standards and seven original compositions, the pair play through easy-going swing, bop, and jazz/rock tracks with hues of Jarrett, Corea, and Metheney glowing within.\nThe graceful players combine the dimensions of Hori’s precise, finessed notes and Baba’s snazzy, bluesy lines at relaxed mid-tempo jaunts, rapid and fluid modern pieces, Latin grooves, and gentle ballads. The music is joyful and emotive, and the two converse with a comfortable flow built solidly on their years performing in various settings. The duo clearly enjoys playing together and it comes through in their playful, professional music.\nTwo of the songs also feature guest percussionist Saori Sendo, and add rich rhythms and dynamics on Bob Berg’s “Friday Night at the Cadillac Club” and Baba’s “J.M.”. The final track “Pedra Bonita” adds another successful layer, where the two musicians are joined by singer Aya Kurosawa on the grooving Brazilian celebration with a rousing vocal ending.\nResonance by Duo Tremolo Hideaki Hori - piano, voice and percussion on #11 Takayoshi Baba - guitar, voice on #11 Saori Sendo - percussion on #3, #8 Aya Kurosawa - voice on #11 Released in 2019 on Orbit Records as ORG-1004.\nJapanese names: 堀秀彰 Hori Hideaki 馬場孝喜 Baba Takayoshi 仙道さおり Sendo Saori 黒沢綾 Kurosawa Aya\nAudio and Video A live performance of Friday Night at the Cadillac Club: Jazz Street performance: Excerpt from track #2: “Choro de Tremolo” ","permalink":"https://mirror2.jazzofjapan.com/duo-tremolo-resonance/","summary":"\u003cp\u003ePianist Hideaki Hori and guitarist Takayoshi Baba create beautiful music together on \u003cem\u003eResonance\u003c/em\u003e, their first studio recording as the unit “Duo Tremolo”. On eleven tracks made up of four standards and seven original compositions, the pair play through easy-going swing, bop, and jazz/rock tracks with hues of Jarrett, Corea, and Metheney glowing within.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220661-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220661-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe graceful players combine the dimensions of Hori’s precise, finessed notes and Baba’s snazzy, bluesy lines at relaxed mid-tempo jaunts, rapid and fluid modern pieces, Latin grooves, and gentle ballads. The music is joyful and emotive, and the two converse with a comfortable flow built solidly on their years performing in various settings. The duo clearly enjoys playing together and it comes through in their playful, professional music.\u003c/p\u003e","title":"Duo Tremolo: Resonance"},{"content":"Inspiring contrasts like strong and warm, comforting and demanding, smoky and silky, the dual vocal front-line of “Water Me!” delivers new takes on familiar jazz tunes with Water Me! from 2014. Vocalists Ayako Taira and Noriko Kotani harmonize and play off each other, syncing up or alternating in offset phrases as they combine, intertwine, and unspool melodies together.\nAlthough the opening interpretation “Satin Doll” hints at jazz with an aggressive edge, the balance of the music shifts into standard jazz with some pop and ballads included. Whatever the setting, the music spotlights the two vocalists harmonizing and embellishing the melody lines, at times hand in hand, and at others passing the baton with grace and finesse.\nAlong with jazz swing, the album also features bossa on “The Girl From Ipanema”, ballad breathiness on “The Nearness of You”, a mysterious “Night in Tunisia” and striking “Moon River”, sultry pop sensitivity on “Feel Like Makin’ Love” and “Will You Still Love Me Tomorrow”, among other reinventions. One original pop tune, “The Night’s Gale”, is also included, laying down a nice groove with Japanese lyrics.\nWater Me! by Water Me! Ayako Taira - vocal Noriko Kotani - vocal Norihiko Kawakubo - piano Yohei Tanaka - bass Tomohiro Ota - drums Released in 2014 on Sunmoon Music as SMCD-0005.\nJapanese names: 平良亜矢子 Taira Ayako 小谷のりこ Kotani Noriko 川久保典彦 Kawakubo Norihiko 田中洋平 Tanaka Yohei 大田智洋 Ota Tomohiro\nAudio and Video Excerpt from track #1: “Satin Doll” ","permalink":"https://mirror2.jazzofjapan.com/water-me-water-me/","summary":"\u003cp\u003eInspiring contrasts like strong and warm, comforting and demanding, smoky and silky, the dual vocal front-line of “Water Me!” delivers new takes on familiar jazz tunes with \u003cem\u003eWater Me!\u003c/em\u003e from 2014. Vocalists Ayako Taira and Noriko Kotani harmonize and play off each other, syncing up or alternating in offset phrases as they combine, intertwine, and unspool melodies together.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1210584-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1210584-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAlthough the opening interpretation “Satin Doll” hints at jazz with an aggressive edge, the balance of the music shifts into standard jazz with some pop and ballads included. Whatever the setting, the music spotlights the two vocalists harmonizing and embellishing the melody lines, at times hand in hand, and at others passing the baton with grace and finesse.\u003c/p\u003e","title":"Water Me!: Water Me!"},{"content":"On Yuka Ueda’s 2013 release Dois, the Japanese singer assembles thirteen songs from her Brazilian and Latin repertoire that she’s perfected at live spots and events around Japan. The track listing satisfies with many deep gems and a few common Jobim tunes, a boon for jazz listeners who may be weary of the usual bossa novas. Definitely not background music, this album is active with a strong spirit and spicy energy powered by swaying hip rhythms and oscillations tuned to the bones.\nGuiding the music is the full voice of the vocalist Ueda, singing in Portuguese and booming with honey richness and strength, swirling around and through the music with a gravitational pull on the dynamics. The music sizzles with kinetic energy and sheer pleasure, and Ueda’s confidence and control fits the bill grandly.\nAs with her debut album Agora, the singer is supported by her familiar guitar and piano mates Shinji Hashimoto and Junichiro Ohkuchi. For Dois, she adds bassist Ryoji Orihara and drummer Nobuyuki Komatsu to the rhythm section for extra vigor and irresistible samba beats, experts at creating the rhythmic currents that soothe, pulse, and energize. Guest Jo Da Babylonia also joins on cavaquinho on three tracks, adding a classical guitar/ukelele sound which enhances the Brazilian sound with keen, invigorating vibrations.\nDois by Yuka Ueda Yuka Ueda - vocal Junichiro Ohkuchi - piano Ryoji Orihara - electric fretless bass Nobuyuki Komatsu - drums Shinji Hashimoto - electric guitar (#1, 5, 7) Jo da Babylonia - cavaquinho (#1, 8, 9) Released in 2013 on Audio Fab Records as AFD-110.\nJapanese names: 上田裕香 Ueda Yuka 大口純一郎 Ohkuchi Junichiro 織原良次 Orihara Ryoji 小松伸之 Komatsu Nobuyuki 橋本信二 Hashimoto Shinji ジョー・ダ・バビロニア Babylonia Jo da\nAudio and Video Yuka Ueda performing live in 2015: Yuka Ueda performing live in 2018: Excerpt from track #1: “Meu Escudo” ","permalink":"https://mirror2.jazzofjapan.com/yuka-ueda-dois/","summary":"\u003cp\u003eOn Yuka Ueda’s 2013 release \u003cem\u003eDois,\u003c/em\u003e the Japanese singer assembles thirteen songs from her Brazilian and Latin repertoire that she’s perfected at live spots and events around Japan. The track listing satisfies with many deep gems and a few common Jobim tunes, a boon for jazz listeners who may be weary of the usual bossa novas. Definitely not background music, this album is active with a strong spirit and spicy energy powered by swaying hip rhythms and oscillations tuned to the bones.\u003c/p\u003e","title":"Yuka Ueda: Dois"},{"content":"Trumpeter Miki Hirose’s Scratch from 2013 sizzles with energy, fueled by impeccable trumpet lines fronting a jazz quintet on this outing. Extra propulsion is garnered from the addition of congas on three of the seven tracks, with funky, Latin, and modern New York jazz vibrations coming together for a satisfying balance of cerebral and physical stimulation. Boiling turbulence, confident swagger, and well-thought out ideas burst acrobatically from the tracks, scratching the itch for flashy yet discerning music.\nScratch by Miki Hirose Miki Hirose - trumpet \u0026amp; flugelhorn Xavier Perez - tenor sax Toru Dodo - piano, Fender Rhodes Aiden O’Donnell - bass Jerome Jennings - drums Mauricio Herrera - congas (#1, 3, 4) Released in 2013 on Jazz Lab Records as JLR-1301.\nJapanese names: 広瀬未来 Hirose Miki 百々徹 Dodo Toru\nAudio and Video Promotional video for this album: Excerpt from track #1: “スクラッチ (Scratch)” ","permalink":"https://mirror2.jazzofjapan.com/miki-hirose-scratch/","summary":"\u003cp\u003eTrumpeter Miki Hirose’s \u003cem\u003eScratch\u003c/em\u003e from 2013 sizzles with energy, fueled by impeccable trumpet lines fronting a jazz quintet on this outing. Extra propulsion is garnered from the addition of congas on three of the seven tracks, with funky, Latin, and modern New York jazz vibrations coming together for a satisfying balance of cerebral and physical stimulation. Boiling turbulence, confident swagger, and well-thought out ideas burst acrobatically from the tracks, scratching the itch for flashy yet discerning music.\u003c/p\u003e","title":"Miki Hirose: Scratch"},{"content":"Pianist Takayuki Yagi’s 2018 release New Departure brings him together with stars of the New York jazz scene for a solid collaboration of New York and Tokyo energies.\nStrident and upbeat, the album’s 11 tracks are arranged in a two-set configuration, splitting the album into a jazz quintet set and a piano trio set. The quintet kicks off the music with four tracks as the pianist is joined by Scott Wendholt on trumpet, Ralph Bowen on tenor sax, Jay Anderson on bass, and Billy Drummond on drums. Pianist Yagi features his original tunes which are spiky, fun, and swinging with titles like “Beyond The New Horizons”, “View From Newark”, and “Kyoto Tower”. The titles hint at evocative settings while the music carries influences like McCoy Tyner, Lennie Tristano, and Thelonious Monk.\nA somewhat dark-tinged recording, the brightness of the front-line horns provides a nice balance to the deep, heavy piano and rhythm section, resulting in a nice integration of light and dark, flash and depth. The robust consistency from Anderson and Drummond on bass and drums keeps the whole album locked into a powerful groove through both quintet and trio formations.\nThe second set features Yagi’s piano trio playing two original songs and five tunes from the likes of Duke Pearson, Larry Young, and others. Compared to the quintet, the trio is comparatively laid-back yet stylishly modern, with vibes of Hampton Hawes, Barry Harris, Duke Ellington, and Mulgrew Miller in the mix.\nWhether playing with his horn mates or leading the trio, Yagi plays with unbridled energy at the keys, bursting through with chunky blocks and frenzied strings of notes. The exuberance of the piano player is clear, striving to make his mark through this New Departure into modern jazz themes with a classic hardbop sensibility.\nLiner Notes (Translated from the original Japanese liner notes written by Takayuki Yagi.)\n01.Beyond The New Horizons (Takayuki Yagi)\nThe title relates to NASA’s Pluto space probe New Horizons.\nImagine a vivid image of Pluto brought about during the composition.\n02.View From Newark (Takayuki Yagi)\nA song written with the image of the wonderful trumpeter Woody Shaw.\nThe title is associated with a winter morning in Newark, looking at the view of Manhattan and Woody’s hometown.\n03.Music On The Second Floor (Takayuki Yagi)\nA song dedicated to a jazz club in Yokohama which has been like a performance home to me for a long time.\n04.130 East 7th Street (Takayuki Yagi)\nA song I wrote for the session at the University of the Streets in East Village a long time ago.\n05.Kyoto Tower (Takayuki Yagi)\nThe theme is Kyoto Tower, which I used to see every day in my hometown of Kyoto.\nThe title references the echoes of oriental-style harmony at the opening.\n06.Rockland Blues (Takayuki Yagi)\nI created this song as I thought that I should write a simple blues.\nThe title comes from the name of the town I was staying in during the recording.\n07.Ritha (Larry Young)\nA beautiful song written by organist Larry Young.\nIt also fits the piano trio well, so in addition to playing it live, it’s also a song I chose for this recording.\n08.Nature Boy (Eden Ahbez)\nEden Ahbez’s wondrous song. Various images well up when I play this, and it’s a song I have wanted to record for a long time.\n09.Is That So? (Duke Pearson)\nA song by pianist Duke Pearson. The innovative changes and the arrangement of the theme are interesting.\n10.On The Real Side (Walter Davis Jr.)\nPianist Walter Davis Jr. left a lot of wonderful songs despite being very underappreciated. This was originally recorded as a piano solo.\n11.Two Faces of Nasheet (Frederick Waits)\nDrummer Frederick Waits wrote this song thinking of his son Nasheet, constructed in two parts with a free section also engaged in close combat.\nNew Departure by Takayuki Yagi Takayuki Yagi - piano Scott Wendholt - trumpet (#1, 2, 3, 5) Ralph Bowen - tenor saxophone (#1, 2, 3, 5) Jay Anderson - bass Billy Drummond - drums Released in 2018 on JazzTOKYO RECORDS as JTRC-002.\nJapanese names: 八木隆幸 Yagi Takayuki\nAudio and Video Promotional video for this album: Excerpt from track #5: “Kyoto Tower” ","permalink":"https://mirror2.jazzofjapan.com/takayuki-yagi-new-departure/","summary":"\u003cp\u003ePianist Takayuki Yagi’s 2018 release \u003cem\u003eNew Departure\u003c/em\u003e brings him together with stars of the New York jazz scene for a solid collaboration of New York and Tokyo energies.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220391-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220391-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eStrident and upbeat, the album’s 11 tracks are arranged in a two-set configuration, splitting the album into a jazz quintet set and a piano trio set. The quintet kicks off the music with four tracks as the pianist is joined by Scott Wendholt on trumpet, Ralph Bowen on tenor sax, Jay Anderson on bass, and Billy Drummond on drums. Pianist Yagi features his original tunes which are spiky, fun, and swinging with titles like “Beyond The New Horizons”, “View From Newark”, and “Kyoto Tower”. The titles hint at evocative settings while the music carries influences like McCoy Tyner, Lennie Tristano, and Thelonious Monk.\u003c/p\u003e","title":"Takayuki Yagi: New Departure"},{"content":"As the sentimental mood hints at in the cover photo and album title, Akane Matsumoto’s 2015 release Memories of You shows a softer side with ballads and heartfelt tunes, set together with her well-renowned fluid bebop and happy jazz style.\nRather than being filled to the brim with high-tempo chases, Matsumoto takes us on a more subdued and delicate journey on this album. While her trademark agility and speed are not completely excluded, the overall mood of the album evokes a slower, more thoughtful elegance.\nThe album contains eight tracks with the pianist contributing three original compositions. On the whole, mid-tempo and ballad tracks get the lion’s share of the playlist. Oscar Peterson’s “Laurentide Waltz” is grand jazz eloquence with a beautiful opening piano solo, “Danny Boy” is slow swing, nostalgic but freshly interpreted, and Oscar Pettiford’s “Gentle Art of Love” showcases bassist Peter Washington’s solemn improvisation over quiet chords and drum brushes.\nOn the other hand, as an interesting twist, classic jazz tunes which are often heard as ballads are freshly reinvented and sped up here. The title track “Memories of You” is stylish and uptempo, sounding like something in the classic Oscar Peterson Trio mold, while Mancini’s “Moon River” is arranged with syncopated hits over a breezy, toe-tapping swing. Matsumoto’s piano improvisations in these sorts of songs are where she particularly shines, laying out bebop lines in a happy-go-lucky style with lots of chic twists and turns. In that same fiery spirit, her original tune “JJ” is included (a live show favorite which also appears on her Big Catch release), showing her breakneck agility and devotion to early piano influences from Phineas Newborn Jr and Oscar Peterson.\nThe final two tracks feature the pianist in a more mellow mood, with a tribute to pianist Mulgrew Miller in her bewitching composition “Goodbye Mr. Miller”, followed by Matsumoto’s “Hometown”, a tender ballad dedicated to Totori, Japan and communicating a shared love of home to all of us.\nMemories of You by Akane Matsumoto Akane Matsumoto - piano Peter Washington - bass Gene Jackson - drums Released in 2015 on Concept Records as CR-03.\nJapanese names: 松本茜 Matsumoto Akane\nAudio and Video Promotional video for this album: Excerpt from track #1: “Memories of You” ","permalink":"https://mirror2.jazzofjapan.com/akane-matsumoto-memories-of-you/","summary":"\u003cp\u003eAs the sentimental mood hints at in the cover photo and album title, Akane Matsumoto’s 2015 release \u003cem\u003eMemories of You\u003c/em\u003e shows a softer side with ballads and heartfelt tunes, set together with her well-renowned fluid bebop and happy jazz style.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1210156-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1210156-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eRather than being filled to the brim with high-tempo chases, Matsumoto takes us on a more subdued and delicate journey on this album. While her trademark agility and speed are not completely excluded, the overall mood of the album evokes a slower, more thoughtful elegance.\u003c/p\u003e","title":"Akane Matsumoto: Memories of You"},{"content":"Memories of T is a 2017 recording from the group TCQ which brings together Japanese and Taiwanese musicians for a cross-cultural jazz collaboration. This quartet features Taiwanese alto sax player Shawna Yang and three musicians from Japan: Naoko Tanaka on piano, Daiki Yasukagawa on bass, and Takeshi Sakamoto on drums. Eight original tracks make up the playlist, two apiece from each member, with a convivial atmosphere running throughout. The music is straightforward and pleasant with swing and bossa grooves underpinning their polished modern jazz sound.\nAlthough the album was released under the TCQ (Twin City Quartet) name, drummer Takeshi Sakamoto bridges the twin cities as leader and founder of this group. Originally from Japan, he studied in New York before moving to Taipei, Taiwan, where he continued to play jazz locally as well as on tours through Asia. It was in Taipei where he worked with the acclaimed jazz saxophonist Shawna Yang (a Berklee College of Music graduate), gaining insights into the parallels of the jazz scenes in each city. Sakamoto was inspired to record this record to promote the jazz cities’ alliance together with Yang and the Tokyo musicians, strengthening the bonds between Taiwan and Japan with this debut recording.\nSakamoto also provides a special essay in the liner notes with background information, where he notes the “/T/” of both “TCQ” and “Memories of T” being used to represent the /T/win cities of /T/okyo and /T/aipei.\nMemories of T by TCQ Shawna Yang - alto sax Naoko Tanaka - piano Daiki Yasukagawa - bass Takeshi Sakamoto - drums Released in 2017 on D-neo Daiki Musica as DNCD-13.\nJapanese names: 田中菜緒子 Tanaka Naoko 安ヵ川大樹 Yasukagawa Daiki 坂本健志 Sakamoto Takeshi\nAudio and Video Promotional video of “Tokyo Image” for this album: Promotional video of “Memories of T” for this album: Excerpt from track #2: “G Island” ","permalink":"https://mirror2.jazzofjapan.com/tcq-memories-of-t/","summary":"\u003cp\u003e\u003cem\u003eMemories of T\u003c/em\u003e is a 2017 recording from the group TCQ which brings together Japanese and Taiwanese musicians for a cross-cultural jazz collaboration. This quartet features Taiwanese alto sax player Shawna Yang and three musicians from Japan: Naoko Tanaka on piano, Daiki Yasukagawa on bass, and Takeshi Sakamoto on drums. Eight original tracks make up the playlist, two apiece from each member, with a convivial atmosphere running throughout. The music is straightforward and pleasant with swing and bossa grooves underpinning their polished modern jazz sound.\u003c/p\u003e","title":"TCQ: Memories of T"},{"content":"A satisfyingly neat outing, Naoko Tanaka Trio’s Memories (2015) leaves a fresh impression of modern Japanese jazz trios. The playing on this album is both playful and precise, with considered arrangements and decorations sprinkled through the welcoming music. Light touches and coordinated rhythmic hits play a role, hinting at styles employed by greats such as the Ahmad Jamal Trio. Attention is paid to the structure of each song, and as with any good jazz record, those structures are filled out with each soloist’s improvisations, bouncing solos off the harmonic movements and the rhythmic frames.\nThe nine-track listing includes seven originals by Tanaka, along with the Gershwin standard “But Not For Me” and a concluding piano-bass classical song. Most tracks feature piano trio with the young pianist firmly in command, releasing quick whirls of bluesy notes and graceful glides connected with flourishes of a technique rooted in classical training yet now dedicated to the jazz language with pomp and flair. On two tracks, the trio becomes a quartet with veteran jazz trumpeter Yoshiro Okazaki adding additional color and exceptional solos.\nFrom the first track “Sailing” a bracing, uplifting mood is established, expanding into dreamy elegance on “Sign of Spring” and the groovy bossa bluesiness of “Cato-cha”. Other tracks range from the lovely ballad “Soramoyou”, good-natured midtempo swing on “But Not For Me” and “For…”. Slightly darker tracks like “NY No Omoide” and “Wall Street Blues” round out the presentation with moody and vibrant flashes of energy, while the final telling of a Chopin’s “Nocturne op.48-1” show pianist Tanaka and bassist Daikiu Yasukagawa in an expressive mood, calmly winding down the trip through Memories with a graceful maturity.\nMemories by Naoko Tanaka Trio Naoko Tanaka - piano Koji Yasuda - bass Masanori Ando - drums Yoshiro Okazaki - trumpet (tr. #6, 8) Daiki Yasukagawa - bass (tr. #9) Released in 2015 on D-neo Daiki Musica as DNCD-05.\nJapanese names: 田中菜緒子 Tanaka Naoko 安田幸司 Yasuda Koji 安藤正則 Ando Masanori 岡崎好朗 Okazaki Yoshiro 安ヵ川大樹 Yasukagawa Daiki\nAudio and Video Naoko Tanaka Trio performing live in 2018: Excerpt from track #1: “Sailing” ","permalink":"https://mirror2.jazzofjapan.com/naoko-tanaka-trio-memories/","summary":"\u003cp\u003eA satisfyingly neat outing, Naoko Tanaka Trio’s \u003cem\u003eMemories\u003c/em\u003e (2015) leaves a fresh impression of modern Japanese jazz trios. The playing on this album is both playful and precise, with considered arrangements and decorations sprinkled through the welcoming music. Light touches and coordinated rhythmic hits play a role, hinting at styles employed by greats such as the Ahmad Jamal Trio. Attention is paid to the structure of each song, and as with any good jazz record, those structures are filled out with each soloist’s improvisations, bouncing solos off the harmonic movements and the rhythmic frames.\u003c/p\u003e","title":"Naoko Tanaka Trio: Memories"},{"content":"Jazz organ trio Aquapit’s first album from 2011 sets up the scene for a rollicking jazz party featuring the warm and fuzzy sounds of a funky jazz organ trio.\nThe trio Aquapit consists of guitar, drums, and of course the unmistakable sound of the Hammond B3 organ, easily recognizable from classic jazz records and legendary organists Jimmy Smith, Larry Young, and others. The power and otherworldly vibrations produced by this instrument can thrill audiences (once designed for churches as a pipe-organ alternative, a big box of “electric flutes”), and features in modern day jazz jam bands such as Medeski Martin and Wood, Soulive, and others.\nThis first album from Aquapit offers eleven original songs, all of a piece, jam jazz music conjured from naughty rock, blues, and a touch of club and funk. A fun and engrossing atmosphere is maintained, propelled by fuzzy, bubbling organ, snazzy guitar, and sizzling drum work. Song titles like “Street Lights”, “Thumb Up!”, and “River” flow by as the moods change like a lava lamp, from poppy and snappy, slippery and groovy, to slower jams and sleek spiraling riffs. Yet marking the title and track changes too closely can almost be beside the point, as it is so easy to simply enjoy the plush sounds and good vibrations from start to finish as a whole.\nAquapit by Aquapit Yuta Kaneko - Hammond B3 Organ Yosuke Onuma - guitar Hidenobu “Kalta” Otsuki - drums Released in 2011 on Mocloud Records as DDCZ-1758.\nJapanese names: 金子雄太 Kaneko Yuta 小沼ようすけ Onuma Yosuke 大槻“KALTA”英宣 Otsuki Hidenobu “Kalta”\nAudio and Video Audio of the tune “Monologue”, track five on this album: Excerpt from track #1: “Street Lights” ","permalink":"https://mirror2.jazzofjapan.com/aquapit-aquapit/","summary":"\u003cp\u003eJazz organ trio Aquapit’s first album from 2011 sets up the scene for a rollicking jazz party featuring the warm and fuzzy sounds of a funky jazz organ trio.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200382-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200382-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe trio Aquapit consists of guitar, drums, and of course the unmistakable sound of the Hammond B3 organ, easily recognizable from classic jazz records and legendary organists Jimmy Smith, Larry Young, and others. The power and otherworldly vibrations produced by this instrument can thrill audiences (once designed for churches as a pipe-organ alternative, a big box of “electric flutes”), and features in modern day jazz jam bands such as Medeski Martin and Wood, Soulive, and others.\u003c/p\u003e","title":"Aquapit: Aquapit"},{"content":"Masako Kunisada’s spiritual, soulful voice channels truth and joy on her first album Wonderful Life from 2012.\nWith experience singing in jazz clubs, piano lounges, and events across Japan, Kunisada immerses herself in cross-genre influences including jazz, soul, soft rock, R\u0026amp;B, and Japanese traditionals. Her husky voice brims with emotion, and her proficiency in voice and piano charms audiences as she draws from popular jazz standards and deep cuts from other genres.\nKunisada has grown up with a deep study of music, from classical to American soul, pop, R\u0026amp;B, and jazz, and even had a stay in the US to absorb gospel music. A popular draw at Tokyo clubs, she is not limited to jazz but spans genres enthusiastically with surprising and pleasing results.\nOn her first album as leader, Kunisada wins over listeners just as she does in live settings, by putting all her energy, soul, and a bit of humor into her pure voice to connect directly with the listeners. She bonds with the music with a natural ability, weaving musical nuances and lyrical meaning into her presence. With an easy groove and confidence, her positivity fills the music with love.\nIncluded in this twelve-track album are ten cover songs book-ended by two original songs. The first track “Wonderful Life” is a stimulating opening, spirited pop which gets the album into gear. Following this are jazz covers in original arrangements: “Body \u0026amp; Soul”, “It’s All Right With Me”, “Come Rain Or Come Shine”, “Just Squeeze Me”, “For All We Know”, “Memories Of You”, and “Day By Day”.\nAlso included are covers of “Louisiana Sunday Afternoon”, “Loving You Was Like A Party”, and “Dancing In The Street”, adding pop-and-groove spices to the mix.\nClosing the album is the singer’s second original tune on this album, “I’m Moving On”, a soulful gospel number. Among her accolades are the featuring of this moving song during 2012 and 2016 Olympic ballet events, as well as her performing in 2018 with the Dave Grusin’s Big Band for the Leonard Bernstein’s 100th Anniversary “West Side Story” Performance National Tour in Japan, where she sang the classic Bernstein showtune “Tonight” to great acclaim.\nAltogether this accessible album emits good vibrations and positive energy, shining like a warm light from Masako Kunisada’s tangibly captivating vocals.\nWonderful Life by Masako Kunisada Masako Kunisada - vocal Shigeru Morishita - piano, Rhodes piano, Hammond organ (#1-6, 8-12) Ryo Ogihara - electric guitar (#1-3, 7, 10) Shinichi Sato - acoustic bass, electric bass Manabu Fujii - drums (tr. 1-6, 8-11) Released in 2012 on Urban Jazz as 151A-0005.\nJapanese names: 国貞雅子 Kunisada Masako 森下滋 Morishita Shigeru 荻原亮 Ogihara Ryo 佐藤慎一 Sato Shinichi 藤井学 Fujii Manabu\nAudio and Video Promotional video for this album: Excerpt from track #8: “For All We Know” ","permalink":"https://mirror2.jazzofjapan.com/masako-kunisada-wonderful-life/","summary":"\u003cp\u003eMasako Kunisada’s spiritual, soulful voice channels truth and joy on her first album \u003cem\u003eWonderful Life\u003c/em\u003e from 2012.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200960-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200960-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWith experience singing in jazz clubs, piano lounges, and events across Japan, Kunisada immerses herself in cross-genre influences including jazz, soul, soft rock, R\u0026amp;B, and Japanese traditionals. Her husky voice brims with emotion, and her proficiency in voice and piano charms audiences as she draws from popular jazz standards and deep cuts from other genres.\u003c/p\u003e","title":"Masako Kunisada: Wonderful Life"},{"content":"Kohsuke Mine Quintet’s 1993 album Major to Minor is full of life, a straight-ahead jazz outing built upon solid group unity and stimulating jazz improvisation.\nMine is a living legend who started young, releasing his first album in 1970 to immediate acclaim. He cut his jazz teeth with many well-known musicians, including Joe Henderson, Mal Waldron, Sadao Watanabe, Terumasa Hino… the list is long. For a period, he was a long-time member of the fusion jazz group Native Son, after which he returned to leading his own straight-ahead groups, touring, recording, and lighting up the jazz scene in Japan and abroad.\nThis album marks Mine’s return to releasing albums under his own name after participating in jazz in New York and Tokyo and his years with Native Sun. The tracks were performed with fellow Tokyo musicians at the popular Body And Soul club in 1993. The album is also noted as a transition from a fusion jazz focus to a more straight-ahead style, being likened to moving from a Wayne Shorter “Weather Report” approach to Sonny Rollins’s rhythmic bop style. In any case, Mine’s playing is top-notch and expressively original, with fluid horn flights that are stunning and exciting, soulful and jaunty.\nThe album’s six tracks are all originals played live, united with the raw energy of the audience. Mine’s originals are well-built frameworks, addictive grooves with enough space for the soloists to stretch and fly.\nThe solid swing jazz on “Major to Minor” kicks off with deep color and edge, continuing with the weighty bluesiness of “Morning After”, pulsing adrenalin of “Last Shot”, the deeply resonant ballad “Sasuke”, and the ballad-to-midtempo-walking chimera of deep jazz attitude. “Changa”, an original tune offered by bassist Tsutomu Okada, is another highlight of high-energy expression, a slow-building tidal wave of churning sound and risk-taking solos like high-wire acts over rumbling bass roots.\nThroughout, the group hangs together tightly, flexible enough to decorate each other’s textures with responses and well-timed splashes of color, the rhythmic cohesion warranting as much attention as the expert improvisations.\nThis album received the 1993 Japan Jazz Disc Award.\nMajor to Minor by Kohsuke Mine Quintet Kosuke Mine - tenor saxophone Kazumasa Akiyama - guitar Junichiro Ohkuchi - piano Tsutomu Okada - bass Ryojiro Furusawa - drums Released in 1993 on Verve Records as POCJ-1195.\nJapanese names: 峰厚介 Mine Kosuke 秋山一将 Akiyama Kazumasa 大口純一郎 Ohkuchi Junichiro 岡田勉 Okada Tsutomu 古澤良治郎 Furusawa Ryojiro\nAudio and Video Kohsuke Mine performing “Blue Plum” live: Kohsuke Mine performing “Seymour” live: Excerpt from track #1: “Major to Minor” ","permalink":"https://mirror2.jazzofjapan.com/kohsuke-mine-quintet-major-to-minor/","summary":"\u003cp\u003eKohsuke Mine Quintet’s 1993 album \u003cem\u003eMajor to Minor\u003c/em\u003e is full of life, a straight-ahead jazz outing built upon solid group unity and stimulating jazz improvisation.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220713-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220713-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eMine is a living legend who started young, releasing his first album in 1970 to immediate acclaim. He cut his jazz teeth with many well-known musicians, including Joe Henderson, Mal Waldron, Sadao Watanabe, Terumasa Hino… the list is long. For a period, he was a long-time member of the fusion jazz group Native Son, after which he returned to leading his own straight-ahead groups, touring, recording, and lighting up the jazz scene in Japan and abroad.\u003c/p\u003e","title":"Kohsuke Mine Quintet: Major to Minor"},{"content":"Chihiro Yamanaka’s second release When October Goes was released in 2002, a natural followup to her impressive debut Living Without Friday released the prior year. This second album features the pianist playing with new recording members Larry Grenadier on bass and Jeff Ballard on drums, members of the Brad Mehldau Trio who would continue to record and tour to great acclaim like Yamanaka herself.\nThe ten tracks on When October Goes include three original songs, with the balance of the music being jazz standards and rearranged songs.\nThe opening original number “Taxi” is a highlight, a great way to open the set with creative modern jazz and scintillating piano improv. The other two originals reveal a humorous side to go along with her prodigious jazz talent: “Plum the Cow”, named for a neighbor’s bovine pet, is a quirky uptempo blues, while “S.L.S. (Silly Little Song)” is an ultra-catchy odd-meter tune with swirling keyboards, easily hooking the listener all the way to the don’t-want-it-to-end fade out.\nAmidst the high-energy swing, the emotional ballad “When October Goes” is delivered with deserving finesse and care for the music. Other jazz covers include “Just In Time”, “In A Mellow Tone”, and George Gershwin’s “I’ve Got Rhythm”, masterfully reinvented with novel accents and an extended vamp for the pianist to spin twisty improvisations over an in-the-pocket rhythm section groove.\nTogether with jazz and pop standards, Yamanaka also includes her upbeat jazz version of a Japanese traditional song “Yagi Bushi” (later revisited on her 2005 album Outside By The Swing) and a memorable pick of Keith Jarrett’s “Paint My Heart Red”, where the pianist’s long, fluid lines float gracefully over soft jazz chords with a mesmerizing beat.\nWhen October Goes received numerous awards upon release, including four weeks at #1 on the HMV Weekly Modern Jazz Chart, 33 weeks at #1 on the HMV Yearly Modern Jazz Chart, and 2003 HMV Grand Prize Record of the Year for Best Japanese Jazz Album.\nLiner Notes This is a transcription of the CD liner notes written by Chihiro Yamanaka:\nI’d like to explain a bit about these tunes.\n“Taxi” was composed right after I moved to NY city and I tried to describe my impression of the cityscape from BQE (highway to Brooklyn). This title comes from one of my favorite TV series, “TAXI”.\nI didn’t expect “Just In Time” to be on this CD because we actually recorded this after the sessions were completed.\nKeith played “Paint My Heart Red” for the Hanshin Earthquake. I still remember seeing him play on the NHK news show in the morning. But I forgot some part of the tune…\nAs you may know, “Yagi Bushi” is a traditional Japanese “dance” song. I arranged this for Kiryu City a long time ago.\n“Plum The Cow” is about my friend’s cow “Plum”. She is very cute and naughty.\nI love lyrics for “Ballad For Their Footsteps” and I felt this song and “Three Views of a Secret” have the same spirituality. Both tune’s original keys were the same.\n“I Got Rhythm” was arranged for “JVC Jazz Festival in NY”.\n“When October Goes” has beautiful text too. I played this tune for the first time with Nancy Wilson.\n“S.L.S.” standards for Silly Little Song. Accidentally, we recorded this as 5/4 over 7/8 and I added some effects later on. It’s a Steinway piano and mixing this tune was a lot of fun! I’m kind of addicted to it.\nDuke’s melodies have such a strong statement and “In A Mellow Tone” is no exception. Arranging is like cooking. If you get something fresh and delicious, it is so easy to cook. I hope you like it.\nSpecial thanks to: Larry and Jeff for making this music so beautiful. Stanley Kay, Sherri Maricle, Tim Conklin, Yoshiaki Sawano, Hiroaki Ishii, Shoji and Kenji for their deep love of music and continuous support.\nThis music is dedicated to my father Yasusuke, my mother Hiroko and my sister Makoto.\nWhen October Goes by Chihiro Yamanaka Trio Chihiro Yamanaka - piano Larry Grenadier - bass Jeff Ballard - drums Released in 2002 on Atelier Sawano as AS-025.\nJapanese names: 山中千尋 Yamanaka Chihiro\nAudio and Video A live performance of “Yagi Bushi”, the fourth track on this album: Excerpt from track #1: “Taxi” ","permalink":"https://mirror2.jazzofjapan.com/chihiro-yamanaka-trio-when-october-goes/","summary":"\u003cp\u003eChihiro Yamanaka’s second release \u003cem\u003eWhen October Goes\u003c/em\u003e was released in 2002, a natural followup to her impressive debut \u003cem\u003eLiving Without Friday\u003c/em\u003e released the prior year. This second album features the pianist playing with new recording members Larry Grenadier on bass and Jeff Ballard on drums, members of the Brad Mehldau Trio who would continue to record and tour to great acclaim like Yamanaka herself.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1210615-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1210615-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe ten tracks on When October Goes include three original songs, with the balance of the music being jazz standards and rearranged songs.\u003c/p\u003e","title":"Chihiro Yamanaka Trio: When October Goes"},{"content":"Live Fuse is a 2007 live album from Fuse, a modern jazz quartet headed by Toshihiko Inoue on sax, with Nobumasa Tanaka on piano, Benisuki Sakai on bass, and Tsunoken on drums.\nThis two-disc album was recorded live in 2005 and captures provocative dynamic changes and soul-touching music swinging from tender pianissimo to fortissimo over vigorous drum beats and rhythm section riffs.\nThe ornamental twists and organic jams aim to thrill the audience and avoid falling into ruts. While Inoue provides all the compositions, the members reinterpret and occupy the music live, mixing together and shaping the music in performance in a fusion of influence, a tightrope walk of unpredictability.\nAs the ‘Fuse’ from fusion may imply, jazz and rock energy permeates this fiery music, yet is well-balanced with serene moments of graceful and meditative themes, as well with some unconstrained portions of free jazz.\nEach disc contains four tracks with lengthy running times, a true live performance with musicians seizing and extending moments to stretch out creatively. The first set opens with a strong hook and dramatic burners on high with a multi-part suite ”Birth of Life/I Kin Ye”, followed by the refined, introspective ”Watasuge”, groove-riffs and churning bass on ”North Rider”, and the unifying rallying cry of “Witchi-Tai-To”, a tribute to one of Inoue’s influences, the great soprano saxophonist Jan Garbarek.\nDisc two features four more extended tracks: the straight-forward and playfully multi-faceted “Grasshopper”, the evocative poem-like scenery of “Yoshi-Ga-Daira”, the funky exuberance of “Fireworks”, and the minimal framework of “Flood” sustaining the onrush of free group expression.\nThis album is the third and final Fuse release with the original members. Sadly, Toshihiko Inoue passed away in 2015, yet the remaining members continue to perform live reunions and tributes to the great saxophonist.\nLive Fuse by Fuse Toshihiko Inoue - soprano sax, tenor sax Nobumasa Tanaka - piano Benisuke Sakai - bass Ken Tsunoda - drums Released in 2007 on Ewe Records as EWCD-0119.\nJapanese names: 井上淑彦 Inoue Toshihiko 田中信正 Tanaka Nobumasa 坂井紅介 Sakai Benisuke 角田健 Tsunoda Ken\nAudio and Video Video of Toshihiko Inoue performing with Fumio Karashima’s group: Excerpt from track #1: “Grasshopper” Other Links Fuse jazz ","permalink":"https://mirror2.jazzofjapan.com/fuse-live-fuse/","summary":"\u003cp\u003e\u003cem\u003eLive Fuse\u003c/em\u003e is a 2007 live album from Fuse, a modern jazz quartet headed by Toshihiko Inoue on sax, with Nobumasa Tanaka on piano, Benisuki Sakai on bass, and Tsunoken on drums.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200820-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200820-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis two-disc album was recorded live in 2005 and captures provocative dynamic changes and soul-touching music swinging from tender pianissimo to fortissimo over vigorous drum beats and rhythm section riffs.\u003c/p\u003e\n\u003cp\u003eThe ornamental twists and organic jams aim to thrill the audience and avoid falling into ruts. While Inoue provides all the compositions, the members reinterpret and occupy the music live, mixing together and shaping the music in performance in a fusion of influence, a tightrope walk of unpredictability.\u003c/p\u003e","title":"Fuse: Live Fuse"},{"content":"The piano and cello duo Arco released their second album Birth in 2019, two years after their debut Asymmetry, showing grace and refinement in a matured and eternally sunny outlook.\nOpening with overdubbed cello playing a classical Bach theme, the duo kicks into their otherwise all-original songs featuring their airy style vibrating with positivity and passion. The duo is practiced at producing heady pop with classical influences and a definite pulse. Kishi and Sano’s originals are satisfyingly balanced, with moods shifting like wind through the trees with endearing waltzes, fiery Latin movements, and beautifully poignant and sweet melodies. Although the duo focuses on piano and cello arrangements, some minimal additions of percussion clappers and melodion keyboard add spice to enhance the pure music experience.\nAlso featured on this well-crafted album of uplifting music is the icing on the cake of a three-part theme by cellist Sano - “Fragment: Wind”, “Fragment: Journey” and “Fragment: Bud” - reappearing on three tracks interspersed throughout the album, a gentle tune evoking hope for the future and appreciation for the past and present.\nBirth by Arco Sayaka Kishi - piano, melodion Mayumi Sano - cello Released in 2019 on dandanorchestra as DAN-012.\nJapanese names: 岸淑香 Kishi Sayaka 佐野まゆみ Sano Mayumi\nAudio and Video Live performance from Arco: Excerpt from track #3: “Fiesta” ","permalink":"https://mirror2.jazzofjapan.com/arco-birth/","summary":"\u003cp\u003eThe piano and cello duo Arco released their second album \u003cem\u003eBirth\u003c/em\u003e in 2019, two years after their debut \u003cem\u003eAsymmetry\u003c/em\u003e, showing grace and refinement in a matured and eternally sunny outlook.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220699-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220699-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eOpening with overdubbed cello playing a classical Bach theme, the duo kicks into their otherwise all-original songs featuring their airy style vibrating with positivity and passion. The duo is practiced at producing heady pop with classical influences and a definite pulse. Kishi and Sano’s originals are satisfyingly balanced, with moods shifting like wind through the trees with endearing waltzes, fiery Latin movements, and beautifully poignant and sweet melodies. Although the duo focuses on piano and cello arrangements, some minimal additions of percussion clappers and melodion keyboard add spice to enhance the pure music experience.\u003c/p\u003e","title":"Arco: Birth"},{"content":"Jazz bassist Motoi Kanamori’s My Soul Meeting from 2018 is his album debut as leader, where his jazz group rips and swings through eight tracks of modern piano trio jazz. With a polished, fun touch, the group delivers mid- and up-tempo jazz with propulsive grooves, expressive auras, and well-timed hits. His piano trio is joined by alto and tenor sax on two tracks as well, amping up the energy with edginess and texture.\nKanamori, a steady and constant sideman for jazz musicians both inside and outside Japan, built his skill and connections by playing nightly at local clubs around Tokyo in a wide variety of situations. Besides being a first-call bassist for local musicians, he also joins international tours with artists such as Eric Alexander, Vincent Herring, and others. With everlasting good humor and grinning stories, his positivity infuses his expert playing, propelling groups solidly with his deep and melodic bass notes.\nThe well-arranged album flows with vim and vigor, music devoted to satisfying listener as well as performer with a fine balance of five originals and three covers: Rogers \u0026amp; Hart’s “Little Girl Blue”, Tizol \u0026amp; Ellington’s “Caravan”, and Jobim’s “Luiza”. Kanamori’s originals also swing and surge on numbers like the opener “No Fool No Fun”, the thrillingly dramatic “幕開け (Open Curtains!)” and the manic “Metro Maniac”, which features a quintet with the addition of an alto sax and tenor sax front line. Wrapping things up softly with the album closer “Luiza”, Kanamori takes the spotlight in piano-bass duo format, where he adorns the melody with bowed strings in a liltingly romantic performance.\nMy Soul Meeting by Motoi Kanamori Motoi Kanamori - bass Hiroyuki Takubo - piano Akira Yamada - drums Erena Terakubo - alto sax (tr. #6, 7) Akihiro Yoshimoto - tenor sax (tr. #6, 7) Released in 2018 on Laplace Records as LPDCD-103.\nJapanese names: 金森もとい Kanamori Motoi 田窪寛之 Takubo Hiroyuki 山田玲 Yamada Akira 寺久保エレナ Terakubo Erena 吉本章紘 Yoshimoto Akihiro\nAudio and Video Promotional video for this album: Excerpt from track #7: “Metro Maniac” ","permalink":"https://mirror2.jazzofjapan.com/motoi-kanamori-my-soul-meeting/","summary":"\u003cp\u003eJazz bassist Motoi Kanamori’s \u003cem\u003eMy Soul Meeting\u003c/em\u003e from 2018 is his album debut as leader, where his jazz group rips and swings through eight tracks of modern piano trio jazz. With a polished, fun touch, the group delivers mid- and up-tempo jazz with propulsive grooves, expressive auras, and well-timed hits. His piano trio is joined by alto and tenor sax on two tracks as well, amping up the energy with edginess and texture.\u003c/p\u003e","title":"Motoi Kanamori: My Soul Meeting"},{"content":"Agora is the 2011 debut release from vocalist Yuka Ueda who specializes in Brazilian samba and bossa nova music, singing primarily in Portuguese at jazz bars throughout Japan.\nThe striking singer assembles some of her favorite partners for this effort, including guitarist Shinji Hashimoto, pianist Junichiro Ohkuchi, and bassist Daisuke Toi. This jazz family of musicians also joins Yuka Ueda (sometimes written as Yu~ka, Yũka, or Yuuka Ueda) frequently at her beloved neighborhood jazz bar Gate One in Tokyo.\nOn Agora, Ueda leads with a straightforward piano-guitar-voice format, the strong, full voice of the singer confidently flowing over the evocative chords for an atmosphere brimming with romance, nostalgia, and zest.\nYuka Ueda’s repertoire accumulated over years of performing both well-known and less familiar authentic Brazilian music, and this album contains just a tantalizing selection of those fan favorites, making for an eagerly-awaited release.\nLovers of Brazilian and Latin music will be delighted with songs such as “Reunao De Tristeza”, “Flor De Lis”, and “Pressentimento”, and casual listeners will recognize the familiar tunes “Triste” and “Dinji” which are often played as standards on jazz albums. In a creative twist, the song “Berimbau”, which often provokes rousing energy at Yuka Ueda’s live shows, gets special treatment here as the album’s prologo and epilogo bookends, performed in vocal solo with whispering tones and booming sincerity for quite a personal touch.\nAgora by Yuka Ueda Yuka Ueda - vocal Junichiro Ohkuchi - piano Shinji Hashimoto - guitar Daisuke Toi - piano (#8), electric bass (#10) Released in 2011 on Audio Fab Records as AFD-106.\nJapanese names: 上田裕香 Ueda Yuka 大口純一郎 Ohkuchi Junichiro 橋本信二 Hashimoto Shinji トオイダイスケ Toi Daisuke\nAudio and Video Video of Yuka Ueda singing “Pressentimento” live: Video of Yuka Ueda singing “Triste” live: Excerpt from track #9: “Pressentimento” ","permalink":"https://mirror2.jazzofjapan.com/yuka-ueda-agora/","summary":"\u003cp\u003e\u003cem\u003eAgora\u003c/em\u003e is the 2011 debut release from vocalist Yuka Ueda who specializes in Brazilian samba and bossa nova music, singing primarily in Portuguese at jazz bars throughout Japan.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1210478-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1210478-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe striking singer assembles some of her favorite partners for this effort, including guitarist Shinji Hashimoto, pianist Junichiro Ohkuchi, and bassist Daisuke Toi. This jazz family of musicians also joins Yuka Ueda (sometimes written as Yu~ka, Yũka, or Yuuka Ueda) frequently at her beloved neighborhood jazz bar Gate One in Tokyo.\u003c/p\u003e","title":"Yuka Ueda: Agora"},{"content":"Among the modern J-Jazz piano trio mainstays in the collection, Harumi Nomoto Trio’s Belinda is a favorite album to return to for catchy cool original vibes with laid-back warmth. With both loose jams and well-crafted jazz compositions, the album ebbs and flows with mid-tempo grooves and contemporary swinging.\nAs the moods flow, pianist Harumi Nomoto alternates on acoustic piano and the warm tones of Fender Rhodes electric piano, enhancing the songs with jazz grooves fusing elements of jazz, light funk, swing, blue ballads, and gospel. While favorites like “‘7up”, “Crescent”, and the cozy gospel waltz “My Sweet Brown” deliver chic and polished jazz arrangements, the songs are also interspersed with short jams “M.M.C.M.” in two versions, and closes in unrestrained style on two tracks, with Nomoto first roaming freely on solo piano, followed by the trio free-associating and capturing the moment in symbiotic creativity.\nBelinda by Harumi Nomoto Trio Harumi Nomoto - piano, Fender Rhodes electric piano Noboru Ando - bass Daisuke Yoshioka - drums Released in 2007 on Anturtle Tune/BQ Records as BQR-2040.\nJapanese names: 野本晴美 Nomoto Harumi 安東昇 Ando Noboru 吉岡大輔 Yoshioka Daisuke\nAudio and Video Harumi Nomoto solo piano improvisation for this recording: Harumi Nomoto Trio improvisation for this recording: Harumi Nomoto Trio performing “7up” live in 2010: Harumi Nomoto Trio performing “My Sweet Brown” live in 2012: Excerpt from track #2: “7up” ","permalink":"https://mirror2.jazzofjapan.com/harumi-nomoto-trio-belinda/","summary":"\u003cp\u003eAmong the modern J-Jazz piano trio mainstays in the collection, Harumi Nomoto Trio’s \u003cem\u003eBelinda\u003c/em\u003e is a favorite album to return to for catchy cool original vibes with laid-back warmth. With both loose jams and well-crafted jazz compositions, the album ebbs and flows with mid-tempo grooves and contemporary swinging.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1210329-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1210329-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAs the moods flow, pianist Harumi Nomoto alternates on acoustic piano and the warm tones of Fender Rhodes electric piano, enhancing the songs with jazz grooves fusing elements of jazz, light funk, swing, blue ballads, and gospel. While favorites like “‘7up”, “Crescent”, and the cozy gospel waltz “My Sweet Brown” deliver chic and polished jazz arrangements, the songs are also interspersed with short jams “M.M.C.M.” in two versions, and closes in unrestrained style on two tracks, with Nomoto first roaming freely on solo piano, followed by the trio free-associating and capturing the moment in symbiotic creativity.\u003c/p\u003e","title":"Harumi Nomoto Trio: Belinda"},{"content":"Jazz quartet Bungalow issued an imaginative and flavorful debut album with Metropolitan Oasis in 2011. Striking and singular, the songs reward repeat listens by offering creative jazz compositions with stimulating blueprints. The songs ebb and flow with energy, grooves, and clever rhythms, where folk and ethnic influences converge with modern jazz, bop, classical, and free elements, pushing boundaries to reach new vistas.\nMasahiro Yamamoto, an original member of Bungalow featured on their first two albums, plays alto sax with a warm, textured tone which bends and flutters with visceral energy while the band lays out arcane jazz sounds not confined to the genre. Whether on the free opener “Metropolitan Oasis”, the slinky rocker “Underpass”, the mysterious drama of “Human Lost”, or the elaborate pieces “Bastristurgisism” and “O.P.P.M.”, the album cleverly navigates and develops their art of sound with lovely constructions and comfortable escapism.\nMetropolitan Oasis by Bungalow Masahiro Yamamoto - alto sax, soprano sax Koichi Sato - piano Hiroshi Ikejiri - bass Ko Omura - drums Released in 2011 on Daiki Musica as DMCD-17.\nJapanese names: 山本昌広 Yamamoto Masahiro 佐藤浩一 Sato Koichi 池尻洋史 Ikejiri Hiroshi 大村亘 Omura Ko\nAudio and Video Bungalow playing live in 2012: Excerpt from track #3: “Underpass” ","permalink":"https://mirror2.jazzofjapan.com/bungalow-metropolitan-oasis/","summary":"\u003cp\u003eJazz quartet Bungalow issued an imaginative and flavorful debut album with \u003cem\u003eMetropolitan Oasis\u003c/em\u003e in 2011. Striking and singular, the songs reward repeat listens by offering creative jazz compositions with stimulating blueprints. The songs ebb and flow with energy, grooves, and clever rhythms, where folk and ethnic influences converge with modern jazz, bop, classical, and free elements, pushing boundaries to reach new vistas.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200907-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200907-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eMasahiro Yamamoto, an original member of Bungalow featured on their first two albums, plays alto sax with a warm, textured tone which bends and flutters with visceral energy while the band lays out arcane jazz sounds not confined to the genre. Whether on the free opener “Metropolitan Oasis”, the slinky rocker “Underpass”, the mysterious drama of “Human Lost”, or the elaborate pieces “Bastristurgisism” and “O.P.P.M.”, the album cleverly navigates and develops their art of sound with lovely constructions and comfortable escapism.\u003c/p\u003e","title":"Bungalow: Metropolitan Oasis"},{"content":"The living music from vocal a cappella groups can be inspiring and soothing in turbulent times, with voices layered in harmony and synchronized timing for direct connections with each other and the audience. The five-piece group Baby Brothers from Tokyo released their debut Bb in 2007 with their well-arranged jazz, R\u0026amp;B, and hymn-like traditionals. With only their voices and no other instruments, the quality of vocal organic vibrations can powerfully connect with reassuring joy through a skillful, very human communal experience.\nHappy and hopeful, the album’s jazz numbers include swinging tunes “Over the Rainbow”, “Take Five”, “Almost Like Being in Love”, and “Night in Tunisia”, performed with lush arrangements and nice decorations like vocal bass lines, beats, and horn imitations, used tastefully and not overdone. One can imagine the members’ uplifting smiles and movements as they work together to resonate voices in position.\nIn addition to the jazz tunes, other genres perfectly suited to Baby Brothers include R\u0026amp;B, spiritual and traditional music, including Al Jarreau’s “Could You Believe”, the reverent “Lamb of God”, and the folk song “The Water is Wide”, working together to raise the inspirational quality of the album. All songs are performed in English, save the last tune “Furusato”, a wistfully beautiful reminiscence about home and the love remaining there.\nBb by Baby Brothers Sanae Ishikawa - vocal Monet - lead vocal, 2nd chorus Kyoko Ogata - lead vocal, 3rd chorus Takahiko Goto - lead vocal, 4th chorus, bass, voice trumpet Yohhei - lead vocal, bass, 4th chorus, human beat box Released in 2007 on Bb Records as Bb.\nJapanese names: 石川早苗 Ishikawa Sanae モネ Monet 緒方京子 Ogata Kyoko ごとうたかひこ Goto Takahiko ようへい Yohhei\nAudio and Video Baby Brothers singing “My Favorite Things” live: Baby Brothers singing “Furusato” live: Excerpt from track #1: “Over The Rainbow” ","permalink":"https://mirror2.jazzofjapan.com/baby-brothers-bb/","summary":"\u003cp\u003eThe living music from vocal a cappella groups can be inspiring and soothing in turbulent times, with voices layered in harmony and synchronized timing for direct connections with each other and the audience. The five-piece group Baby Brothers from Tokyo released their debut \u003cem\u003eBb\u003c/em\u003e in 2007 with their well-arranged jazz, R\u0026amp;B, and hymn-like traditionals. With only their voices and no other instruments, the quality of vocal organic vibrations can powerfully connect with reassuring joy through a skillful, very human communal experience.\u003c/p\u003e","title":"Baby Brothers: Bb"},{"content":"Jazz pianist Shunichi Yanagi releases a shimmering modern jazz recording with his Tokyo trio on his 2012 debut Bubble Fish. The ten original songs from the pianist incorporate rock edginess and hip coolness into piano jazz with attitude. Modern jazz trios like E.S.T. or The Bad Plus may have been influences to the trio’s kaleidoscopic sound, pushing traditional jazz boundaries with youthful freshness.\nOn Bubble Fish, the jazz trio uses full chords and vital grooves on their compositions, bubbling with rock and pop styles infused with jazz improvisation. Yanagi’s angular patterns run up and down the piano keys with an almost electric guitar mindset. Yet, the pianist also shows a light tenderness where soft melodies rise lightly to the surface with positive energy, particularly on album highlights such as the “Shibuya Crossing” and “Prayer”, which closes the album with calming peace.\nBubble Fish by Shunichi Yanagi Trio Shunichi Yanagi - piano Ryo Shibata - drums Motoi Kanamori - bass Released in 2012 on Truestar Entertainment as TSR-51102.\nJapanese names: 柳隼一 Yanagi Shunichi 柴田亮 Shibata Ryo 金森もとい Kanamori Motoi\nAudio and Video Promotional video for this album: Excerpt from track #7: “渋谷の交差点 (Shibuya Crossing)” ","permalink":"https://mirror2.jazzofjapan.com/shunichi-yanagi-trio-bubble-fish/","summary":"\u003cp\u003eJazz pianist Shunichi Yanagi releases a shimmering modern jazz recording with his Tokyo trio on his 2012 debut \u003cem\u003eBubble Fish\u003c/em\u003e. The ten original songs from the pianist incorporate rock edginess and hip coolness into piano jazz with attitude. Modern jazz trios like E.S.T. or The Bad Plus may have been influences to the trio’s kaleidoscopic sound, pushing traditional jazz boundaries with youthful freshness.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220276-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220276-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eOn \u003cem\u003eBubble Fish\u003c/em\u003e, the jazz trio uses full chords and vital grooves on their compositions, bubbling with rock and pop styles infused with jazz improvisation. Yanagi’s angular patterns run up and down the piano keys with an almost electric guitar mindset. Yet, the pianist also shows a light tenderness where soft melodies rise lightly to the surface with positive energy, particularly on album highlights such as the “Shibuya Crossing” and “Prayer”, which closes the album with calming peace.\u003c/p\u003e","title":"Shunichi Yanagi Trio: Bubble Fish"},{"content":"Japanese jazz musician Yuko Miyawaki’s debut album Song of Flower from 2011 brims with understated calm, burning steadily through original, mellow sounds and sparkling improvisation. Miyawaki’s trumpet and flugelhorn centers her core jazz quartet, adding a fifth member on tenor sax to embellish her jazz themes with sweet harmonies and cutting solos on four tracks.\nIn addition to her compelling horn playing, Miyawaki’s contributions also include original songs and arrangements, all showing a creative style with modern themes calmly developing over sharp grooves with fascinating frameworks. The selected cover songs include a great modern jazz version of the Japanese folk song “Sakura”, the atmospheric latin tune “El Choclo”, “Summer Night” in uptempo swing, and a tender duo with guest pianist Junichiro Ohkuchi (joining on five songs) on the heartful ballad “I’m Glad There Is You”.\nSong of Flower by Yuko Miyawaki Yuko Miyawaki - trumpet, flugelhorn Yutaka Handa - tenor sax Taeko Kurita - piano Yutaka Kaido - bass Masashi Tomikawa - drums Junichiro Ohkuchi - piano (tr. #3, 5, 6, 8, 9) Released in 2011 on Coume Music as DQC-614.\nJapanese names: 宮脇裕子 Miyawaki Yuko 伴田裕 Handa Yutaka 栗田妙子 Kurita Taeko カイドーユタカ Kaido Yutaka 冨川政嗣 Tomikawa Masashi 大口純一郎 Ohkuchi Junichiro\nAudio and Video Yuko Miyawaki performing “Sakura” live in 2011: Excerpt from track #1: “SAKURA” ","permalink":"https://mirror2.jazzofjapan.com/yuko-miyawaki-song-of-flower/","summary":"\u003cp\u003eJapanese jazz musician Yuko Miyawaki’s debut album \u003cem\u003eSong of Flower\u003c/em\u003e from 2011 brims with understated calm, burning steadily through original, mellow sounds and sparkling improvisation. Miyawaki’s trumpet and flugelhorn centers her core jazz quartet, adding a fifth member on tenor sax to embellish her jazz themes with sweet harmonies and cutting solos on four tracks.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200337-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200337-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eIn addition to her compelling horn playing, Miyawaki’s contributions also include original songs and arrangements, all showing a creative style with modern themes calmly developing over sharp grooves with fascinating frameworks. The selected cover songs include a great modern jazz version of the Japanese folk song “Sakura”, the atmospheric latin tune “El Choclo”, “Summer Night” in uptempo swing, and a tender duo with guest pianist Junichiro Ohkuchi (joining on five songs) on the heartful ballad “I’m Glad There Is You”.\u003c/p\u003e","title":"Yuko Miyawaki: Song of Flower"},{"content":"With the jazz album Gift from 2012, pianist and composer Manabu Ohishi reunites the trio from his album Wish (2010) featuring bassist Jean-Philippe Viret and drummer Simon Goubert, and releases another beautifully-recorded album of Japanese/European piano jazz from the family-run Japanese label Atelier Sawano label.\nOhishi is a lyrical player, infusing his melodic touch with musical emotion and composing songs that fit well with the stylish rhythms from his French bandmates, favoring a deep groove and subtle rock rhythms over swing jazz beats.\nThe pianist’s compositions include the emotional ballad “Ambition”, the mysterious and alluring “Hisyô”, the uptempo and modern “Riverside”, and graceful smoothness on “All Because of You”, throughout which Ohishi conveys strong impressions that his music arises from deep and contemplative places. His song “Memories of Paris”, perhaps a nod to his trio mates, also features Ohishi playing pianica and piano simultaneously along with bassist Viret, where the whistling reed of the keyboard instrument invokes accordion-like sounds familiar to French settings.\nIn addition to the original numbers, a cover of the jazz standard “Softly, As In A Morning Sunrise” is painted as a languid fantasy, and a stirring solo piano version of Billy Joel’s “Honesty” wraps up the album with soulful outpouring as Ohishi wrings powerful emotion out of the keys of the piano.\nGift by Manabu Ohishi Trio Manabu Ohishi - piano, pianica Jean-Philippe Viret - bass Simon Goubert - drums Released in 2012 on Atelier Sawano as AS-122.\nJapanese names: 大石学 Ohishi Manabu\nAudio and Video A different version of the Manabu Ohishi Trio with the album “Nebula”: Excerpt from track #2: “Hisyo[^]” ","permalink":"https://mirror2.jazzofjapan.com/manabu-ohishi-trio-gift/","summary":"\u003cp\u003eWith the jazz album \u003cem\u003eGift\u003c/em\u003e from 2012, pianist and composer Manabu Ohishi reunites the trio from his album \u003cem\u003eWish\u003c/em\u003e (2010) featuring bassist Jean-Philippe Viret and drummer Simon Goubert, and releases another beautifully-recorded album of Japanese/European piano jazz from the family-run Japanese label Atelier Sawano label.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200395-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200395-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eOhishi is a lyrical player, infusing his melodic touch with musical emotion and composing songs that fit well with the stylish rhythms from his French bandmates, favoring a deep groove and subtle rock rhythms over swing jazz beats.\u003c/p\u003e","title":"Manabu Ohishi Trio: Gift"},{"content":"Pianist Eriko Shimizu’s Sora is her debut album from 2010 on which she leads her jazz combo through seven songs featuring original and colorful arrangements. Shimizu performs with her piano trio augmented with special guests percussionist Saori Sendo, who supplies bells, chimes, and elemental sounds not typically found in jazz piano trios, and saxophonist Toshihiko Inoue who joins on a few tracks.\nWith two exceptions, the songs are all originals including four from Shimizu. The pianist’s concepts mostly explore modern jazz territory taken at a medium pace with a light rock/country feel and fleeting moments of abstract color, as if influenced by a certain period of Keith Jarrett’s music. The title track “Sora” (sky) rolls along comfortably and brings to mind calm nature scenes while opening with rain and wind effects for atmosphere. The music continues smoothly into the bluesy noirish “Out of the Blue”, again invoking images of nature as if materialized out of the blue sky. Shimizu’s “Cat Trucks” is playfully Monkish, and “Terra” heightens the mood even more with simmering modal jazz and by adding Toshihiko Inoue’s Jan Garbarek-style soprano sax embellishments.\nAlong with original compositions, Duke Ellington’s “Rockin’ In Rhythm” jaunts along at a swinging uptempo pace, and the album closes tenderly with a emotional rendition of the Japanese traditional folk song “Furusato”.\nSora by Eriko Shimizu Eriko Shimizu - piano Toshihiko Inoue - saxophone Saori Sendo - percussion Kunpei Nakabayashi - bass Daisuke Yoshioka - drums Released in 2010 on Casnet as CSNT-8003.\nJapanese names: 清水絵理子 Shimizu Eriko 井上淑彦 Inoue Toshihiko 仙道さおり Sendo Saori 中林薫平 Nakabayashi Kunpei 吉岡大輔 Yoshioka Daisuke\nAudio and Video Promotional video for this album: Eriko Shimizu performing live in 2013: Excerpt from track #1: “SORA” ","permalink":"https://mirror2.jazzofjapan.com/eriko-shimizu-sora/","summary":"\u003cp\u003ePianist Eriko Shimizu’s \u003cem\u003eSora\u003c/em\u003e is her debut album from 2010 on which she leads her jazz combo through seven songs featuring original and colorful arrangements. Shimizu performs with her piano trio augmented with special guests percussionist Saori Sendo, who supplies bells, chimes, and elemental sounds not typically found in jazz piano trios, and saxophonist Toshihiko Inoue who joins on a few tracks.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200403-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200403-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWith two exceptions, the songs are all originals including four from Shimizu. The pianist’s concepts mostly explore modern jazz territory taken at a medium pace with a light rock/country feel and fleeting moments of abstract color, as if influenced by a certain period of Keith Jarrett’s music. The title track “Sora” (\u003cem\u003esky\u003c/em\u003e) rolls along comfortably and brings to mind calm nature scenes while opening with rain and wind effects for atmosphere. The music continues smoothly into the bluesy noirish “Out of the Blue”, again invoking images of nature as if materialized out of the blue sky. Shimizu’s “Cat Trucks” is playfully Monkish, and “Terra” heightens the mood even more with simmering modal jazz and by adding Toshihiko Inoue’s Jan Garbarek-style soprano sax embellishments.\u003c/p\u003e","title":"Eriko Shimizu: Sora"},{"content":"Pianist Yukari Inoue’s Sakura from 2016 blooms with colorful variety as she jumps across genres as brightly as she hops around the keys. This is her first solo piano album, recorded with a beautiful sound in concert-hall quality.\nThe pink of Sakura cherry blossoms fits perfectly with her “color of Japan” series of albums, complementing the purple of Murasaki (2010) and fresh green of Moegi (2016), her other albums on her Silver Fingers label. On Sakura, Inoue is alone at the piano, performing songs which suit her personal piano style with influences from standard jazz to pop and classical.\nWith fifteen songs at about 70 minutes, Inoue embraces variety for her solo performance and makes use of the full, deep sound of the special Bösendorfer piano (coincidentally, the same piano used on Seiji Endo’s Sakura Meditation, another brilliant solo piano album from Japan.)\nStarting with the dramatic opening theme on “Hana”, the album unfolds with sounds subtly invoking Japanese music with a bluesy tint. Hana, meaning flower, supplements the album title and theme nicely, along with “Honeysuckle Rose” played in spirited stride piano, Tchaikovsky’s “Waltz of the Flowers”, the jazz ballad “Spring is Here”, and even the French chanson “Le Temps des Cerises (The Time of Cherries)” making nods to the cherry blossoms of the title.\nAlong with standard jazz tunes including “I Got Rhythm”, “La Fiesta”, and “Someday My Prince Will Come”, Inoue also performs her own compositions and well-known classical piano pieces, interpreting each song freely and adding personal touches by switching between jazz, classical, latin, and pop. Her flair for dramatic control is particularly lovely on Jimi Hendrix’s soulful ballad “Little Wing” as well as her “Sakura Waltz”, which closes the album in grand style.\nSakura by Yukari Inoue Yukari Inoue - piano Released in 2012 on Silver Fingers/Roving Spirits as RKCJ-2053.\nJapanese names: 井上ゆかり Inoue Yukari\nAudio and Video Yukari Inoue Trio performing “Triste”: Excerpt from track #13: “いつか王子様が (Someday My Prince Will Come)” ","permalink":"https://mirror2.jazzofjapan.com/yukari-inoue-sakura/","summary":"\u003cp\u003ePianist Yukari Inoue’s \u003cem\u003eSakura\u003c/em\u003e from 2016 blooms with colorful variety as she jumps across genres as brightly as she hops around the keys. This is her first solo piano album, recorded with a beautiful sound in concert-hall quality.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220442-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220442-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe pink of \u003cem\u003eSakura\u003c/em\u003e cherry blossoms fits perfectly with her “color of Japan” series of albums, complementing the purple of \u003cem\u003eMurasaki\u003c/em\u003e (2010) and fresh green of \u003cem\u003eMoegi\u003c/em\u003e (2016), her other albums on her Silver Fingers label. On \u003cem\u003eSakura\u003c/em\u003e, Inoue is alone at the piano, performing songs which suit her personal piano style with influences from standard jazz to pop and classical.\u003c/p\u003e","title":"Yukari Inoue: Sakura"},{"content":"Jazz violinist Maiko pours her heart and soul out on her 2018 release Solo, brimming with graceful elegance and drama through the resonance of her strings.\nUnaccompanied and pure, the sound is direct and full, as if listening to a private recital in a stately room. Despite performing alone without overdubs or effects, Maiko has the ability to establish a moving pulse with string accents and gorgeous multi-string harmonies, keeping listeners hooked and drawn into the music.\nStandard jazz is delivered through covers with a swing beat such as “I’ve Never Been In Love Before”, “Funkallero”, and “All Blues”, particularly poignant on the beautiful ballad “In A Sentimental Mood” and the earthy dance “Balkan Tale”. Yet Maiko’s original songs and improvisations perhaps convey the violinist’s personality most vividly, with fantastic moods and relaxed sounds mixing classical, jazz, and fairy-tale charm in her music. With five of her original compositions alongside the five covers, fans of jazz violin and entrancing atmospheres will likely return to Maiko’s Solo often.\nSolo by Maiko maiko - violin Released in 2018 on T-Toc Records as TTOC-0029.\nJapanese names: マイコ maiko\nAudio and Video Promotional video for this album: Excerpt from track #9: “Improvisation” ","permalink":"https://mirror2.jazzofjapan.com/maiko-solo/","summary":"\u003cp\u003eJazz violinist Maiko pours her heart and soul out on her 2018 release \u003cem\u003eSolo\u003c/em\u003e, brimming with graceful elegance and drama through the resonance of her strings.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220346-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220346-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eUnaccompanied and pure, the sound is direct and full, as if listening to a private recital in a stately room. Despite performing alone without overdubs or effects, Maiko has the ability to establish a moving pulse with string accents and gorgeous multi-string harmonies, keeping listeners hooked and drawn into the music.\u003c/p\u003e","title":"Maiko: Solo"},{"content":"Vocalist Emiko Voice and pianist Dairo Suga perform jazz standards in non-standard ways on their 2009 release Phase 2Twist \u0026amp; Shout, a followup to their previous Phase 1 duo album from 2006. While the track listing is full of jazz favorites like “Summertime”, “Solitude”, and “Girl From Ipanema”, the standards are anything but ordinary as the music is reinvented in a one-take session with the multi-genre duo exploring different ways of interpreting these gems.\nWhile Emiko Voice can deliver swingy cuteness and honey sweetness on mid-tempo swing and ballads with an alluringly soft style, she can also carve up bebop lines and turn corners expertly on odd-meter and breakneck-speed songs. On tracks like “Just One Of Those Things” and Charlie Parker’s “Confirmation” and “Yardbird Suite”, the vocalist tracks Parker’s original solos with vocalese and lets loose with bebop improvisation as well. Pianist Suga’s experience with free jazz and other genres comes into play as he veers and curves through the music, pushing boundaries with a sense of danger that makes it seem like the structure could come crashing down at any moment, yet holds fast masterfully.\nPlayful yet serious, the duo also covers mid-tempo and ballad tracks such as “Shiny Stockings”, “Solitude”, and “Every Time We Say Goodbye” with original and imposing atmospheres, where the vibrating piano strings and evocative vocals encompass the listener in a stimulating experience.\nPhase 2 by Emiko Voice x Suga Dairo Emiko Voice - vocal Dairo Suga - piano Released in 2009 on Cool Fool as CLFL-0003.\nJapanese names: エミコヴォイス Emiko Voice スガダイロー Suga Dairo\nAudio and Video Emiko Voice and Dairo Suga performing “Honeysuckle Rose”: Excerpt from track #8: “コンファメーション (Confirmation)” ","permalink":"https://mirror2.jazzofjapan.com/emiko-voice-x-suga-dairo-phase-2/","summary":"\u003cp\u003eVocalist Emiko Voice and pianist Dairo Suga perform jazz standards in non-standard ways on their 2009 release \u003cem\u003ePhase 2\u003cdel\u003eTwist \u0026amp; Shout\u003c/del\u003e\u003c/em\u003e, a followup to their previous \u003cem\u003ePhase 1\u003c/em\u003e duo album from 2006. While the track listing is full of jazz favorites like “Summertime”, “Solitude”, and “Girl From Ipanema”, the standards are anything but ordinary as the music is reinvented in a one-take session with the multi-genre duo exploring different ways of interpreting these gems.\u003c/p\u003e","title":"Emiko Voice x Suga Dairo: Phase 2"},{"content":"Wordless is Ryosuke Hashizume’s first album released in Japan in 2006, kicking off a rewarding series of modern and absorbing albums from this jazz saxophonist’s stellar group.\nThrough his modern music, with a clean recording sound and deep reverb, the style of ECM and similar European jazz music is brought to mind. Hashizume’s group for this album is a quartet built on sax, electric guitar, fretless electric bass, and drums, and creates a sound that is both organic and electric, sleekly modern. Hashizume also uses effects to loop his sax on a few tracks, heightening the otherworldly effect on portions of the album.\nWith a length of 72 minutes spread out over ten tracks, the songs breathe and bloom with energy, pushing towards fusion jazz through graceful melodies riding over sharp beats and beguiling frameworks. Song titles include “Face”, “Seven Four”, and “Cycles”, where the music ranges from cool with futuristic floating qualities to sparse, freeish poems and mysterious, rocking adventures, each song offering up a thematic musical drama, thoughtfully constructed and stylishly executed.\nWordless by Ryosuke Hashizume Group Ryosuke Hashizume - tenor saxophone, loops Motohiko Ichino - guitar Manabu Hashimoto - drums Ryoji Orihara - fretless bass Released in 2006 on Polystar Jazz Library as MTCJ-3031.\nJapanese names: 橋爪亮督 Hashizume Ryosuke 市野元彦 Ichino Motohiko 橋本学 Hashimoto Manabu 織原良次 Orihara Ryoji\nAudio and Video Ryosuke Hashizume Group performing live in 2016: Excerpt from track #1: “Face” ","permalink":"https://mirror2.jazzofjapan.com/ryosuke-hashizume-group-wordless/","summary":"\u003cp\u003e\u003cem\u003eWordless\u003c/em\u003e is Ryosuke Hashizume’s first album released in Japan in 2006, kicking off a rewarding series of modern and absorbing albums from this jazz saxophonist’s stellar group.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200727-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200727-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThrough his modern music, with a clean recording sound and deep reverb, the style of ECM and similar European jazz music is brought to mind. Hashizume’s group for this album is a quartet built on sax, electric guitar, fretless electric bass, and drums, and creates a sound that is both organic and electric, sleekly modern. Hashizume also uses effects to loop his sax on a few tracks, heightening the otherworldly effect on portions of the album.\u003c/p\u003e","title":"Ryosuke Hashizume Group: Wordless"},{"content":"Jazz pianist Chihiro Yamanaka’s debut album Living Without Friday turns 20 years old today! Released modestly on October 5, 2001, this album kicked off an impressive run of releases, setting the stage with memorable originals and reinvented standards while introducing new listeners to her amazing technique and creativity.\nPopular and in-demand on albums and live events, Yamanaka is based in New York and is a well-known representative for jazz piano from modern-day Japanese musicians. The ultra-proficient and prolific musician has been releasing new albums every year, impressively spanning a multidecade recording career with no signs of slowing down. Living Without Friday caught early attention and hinted at the potential to be unveiled through her many subsequent albums and her penchant for creative arrangements that suit her modern bop and swing jazz style.\nThis ten-track album contains a mix of jazz standards and several originals, including the sweet “Beverly”, the cute “Pablo’s Waltz”, and the high-energy showstopper “Living Without Friday”. The rearranged standards include a funky and chic “Girl From Ipanema” and the mystical “Balkan Tale” played in mesmerizing 5/4 time, which along with the stirring “A Sand Ship” are two highlights on the album for lyrical power. Throughout, Yamanaka’s playing is always fascinating, especially in moments where her long piano lines unspool through the music in fast, graceful streams of notes, swooping over harmonic changes like the bird soaring over the sea on the cover.\nWith her impeccable technique and twisty improvisations, Yamanaka’s dexterity and endurance deliver boiling excitement on uptempo tunes, yet she also has a melodic finesse used to great effect on slower ballads and subdued waltzes, all providing a great introduction to a jazz pianist offering much more to come.\nThis album hit #1 on the HMV Modern Jazz Chart for four weeks after release, despite being released without any media or advertising support at the time.\nLiving Without Friday by Chihiro Yamanaka Trio Chihiro Yamanaka - piano Ray Parker - bass LaFrae Olivia Sci - drums Released in 2001 on Atelier Sawano as AS-016.\nJapanese names: 山中千尋 Yamanaka Chihiro\nAudio and Video Chihiro Yamanaka playing “Living Without Friday” live from 2013: Excerpt from track #7: “Balkan Tale” ","permalink":"https://mirror2.jazzofjapan.com/chihiro-yamanaka-trio-living-without-friday/","summary":"\u003cp\u003eJazz pianist Chihiro Yamanaka’s debut album \u003cem\u003eLiving Without Friday\u003c/em\u003e turns 20 years old today! Released modestly on October 5, 2001, this album kicked off an impressive run of releases, setting the stage with memorable originals and reinvented standards while introducing new listeners to her amazing technique and creativity.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1210602-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1210602-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003ePopular and in-demand on albums and live events, Yamanaka is based in New York and is a well-known representative for jazz piano from modern-day Japanese musicians. The ultra-proficient and prolific musician has been releasing new albums every year, impressively spanning a multidecade recording career with no signs of slowing down. \u003cem\u003eLiving Without Friday\u003c/em\u003e caught early attention and hinted at the potential to be unveiled through her many subsequent albums and her penchant for creative arrangements that suit her modern bop and swing jazz style.\u003c/p\u003e","title":"Chihiro Yamanaka Trio: Living Without Friday"},{"content":"The album Small Pieces for Flying Padre from Trio Export 63.1.0.X is a special release of a live jazz recording at Kanmachi 63 in Yokohama, Japan. The piano-bass-drums trio performs the set live as recorded, bringing the listener into the music through the raw recorded sound of the room for an “as if you were there” experience. The ambience of music in an enclosed space performed right in front of your eyes is captured well and transmits the energy of musical drama unfolding in unexpected ways.\nThis live set is a four-part jazz suite with original, extended explorations running from 8 to 13 minutes each. The compositions by pianist Heitetsu Rin are unique and hard to describe, although references to the styles of Charles Mingus or Duke Ellington music would not be entirely unsuitable.\nThe musicians go on a journey, from curiously exploring in “Part I”, to abstract windy rumblings in “Part II”, playful tumbling and jaunty plate-spinning in “Part III”, and off-kilter hooks and propulsive excitement in “Part IV”. There are composed musical themes and structures, yet with plenty of flexibility for stop-and-start breaks and free sections where the musicians react and respond to each other’s dynamics and accents within and around the musical blueprint. Each member works together yet with stimulating leeway, and as with another often-referenced live trio recording, Bill Evans’s Trio at the Village Vanguard, Trio Export’s members carry equal weight, working closely together in composed sections as well as decorating the music with individual dynamics and surprises.\nOriginal, catchy, and unique, this handmade album is available for sale at the jazz bar where it was recorded live, Kanmachi 63.\nSmall Pieces for Flying Padre by Trio Export 63.1.0.X Heitetsu Rin - piano Keisuke Furuki - bass Masatsugu Hattori - drums Released in 2019 on Trio Export 63.1.0.X as Small Pieces for Flying Padre.\nJapanese names: リンヘイテツ Rin Heitetsu 古木佳祐 Furuki Keisuke 服部正嗣 Hattori Masatsugu\nAudio and Video Promotional video for this album: Trio Export 63 live performance\nTrio Export 63 live performance 2\nExcerpt from track #1: “Track 1”\n","permalink":"https://mirror2.jazzofjapan.com/trio-export-63.1.0.x-small-pieces-for-flying-padre/","summary":"\u003cp\u003eThe album \u003cem\u003eSmall Pieces for Flying Padre\u003c/em\u003e from Trio Export 63.1.0.X is a special release of a live jazz recording at Kanmachi 63 in Yokohama, Japan. The piano-bass-drums trio performs the set live as recorded, bringing the listener into the music through the raw recorded sound of the room for an “as if you were there” experience. The ambience of music in an enclosed space performed right in front of your eyes is captured well and transmits the energy of musical drama unfolding in unexpected ways.\u003c/p\u003e","title":"Trio Export 63.1.0.X: Small Pieces for Flying Padre"},{"content":"Miyuki Moriya’s Cat’s Cradle from 2010 is modern jazz album from an alto sax quartet featuring engaging sounds and improvisation from exciting musicians. The allure of this album is deepened by the sax leader’s catchy originals, and listeners who are stimulated by angular jazz will be pulled into this music and want to return to these songs again and again.\nAlso distinguishing the sound is the edgy, metallic sound of the alto sax and the funky, crystalline drumming, with stylish planes of piano and guitar and gliding over the deeply full bass lines. Drummer Sohnosuke draws attention with a concentrated hip-hop energy driving the odd-meter songs, and, along with steady bass lines from Ikejiri, keeps the listener anchored even through unusual rhythms beyond standard swing patterns (see Sohnosuke’s Rin (2018) for similar sounds.)\nSharply-crafted jazz with a modern spark particularly identifies Moriya’s music, and with “Tuck Box”, “Matching Dice”, and the title track “Cat’s Cradle”, the sax player strives for originality by building riffs on challenging, odd-meters over which blistering improvisation can be laid down. These songs, as well as her sunny “Message” and soulful “Existence”, hit the bullseye at setting a mood, and are still favorites of Moriya’s fans today and often performed at live concerts to welcoming audiences. Balancing the energy are a few ballads as well, including a piano/sax duo on the emotive ballad “Just A Gigolo”, a melancholy goodbye wrapping up the album.\nCat’s Cradle by Miyuki Moriya Miyuki Moriya - alto sax Mamoru Ishida - piano Kohei Kamuro - guitar Hiroshi Ikejiri - bass Sohnosuke Imaizumi - drums Released in 2010 on Coume Music as DQC-565.\nJapanese names: 守谷美由貴 Moriya Miyuki 石田衛 Ishida Mamoru かむろ耕平 Kamuro Kohei 池尻洋史 Ikejiri Hiroshi 今泉総之輔 Imaizumi Sohnosuke\nAudio and Video Excerpt from track #1: “Tuck Box” ","permalink":"https://mirror2.jazzofjapan.com/miyuki-moriya-cats-cradle/","summary":"\u003cp\u003eMiyuki Moriya’s \u003cem\u003eCat’s Cradle\u003c/em\u003e from 2010 is modern jazz album from an alto sax quartet featuring engaging sounds and improvisation from exciting musicians. The allure of this album is deepened by the sax leader’s catchy originals, and listeners who are stimulated by angular jazz will be pulled into this music and want to return to these songs again and again.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200308-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200308-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAlso distinguishing the sound is the edgy, metallic sound of the alto sax and the funky, crystalline drumming, with stylish planes of piano and guitar and gliding over the deeply full bass lines. Drummer Sohnosuke draws attention with a concentrated hip-hop energy driving the odd-meter songs, and, along with steady bass lines from Ikejiri, keeps the listener anchored even through unusual rhythms beyond standard swing patterns (see Sohnosuke’s \u003cem\u003eRin\u003c/em\u003e (2018) for similar sounds.)\u003c/p\u003e","title":"Miyuki Moriya: Cat’s Cradle"},{"content":"A novel album in several ways, Gakudan Hitori from musician Reikan Kobayashi contains interesting dimensions and juxtapositions. Kobayashi is proficient on many instruments but has primarily made a name for himself by playing shakuhachi in Japan and using the traditional Japanese bamboo flute in jazz music. As strong a voice the whistling wind of the wooden flute is itself, the incorporation of this characteristically Japanese sound to jazz and other music adds to the originality of this 2011 release.\nThe album title translates to “One Man Band” and highlights another unconventional aspect of this record, that of Kobayashi being the sole musician on all the tracks. Not quite a solo performance though, he plays all the instruments separately with overdubbing to create what sounds like several musicians performing together, with guitars, piano, bass, hand percussion and more all in the mix. Of course, the shakuhachi takes center stage on most of the songs, with guitar or piano backing along with other instruments.\nAdding to the variety is the range of material written by the musician, including light pop, bebop blues, sweet Ghibli-like themes, heavy rock, and dramatic soundtrack-type movements. Two tracks in particular, “Ghost’s Tears” and “Takumi”, are quite effective at presenting the mellow, breathy sounds of the Japanese instrument with strong compositions, summoning spiritual, zen-like impressions of traditional Japan.\nNot just a collection of solemn atmospheres, the overall tone leans toward cheerful and moving songs, and while this is not a conventional jazz album, it is a stimulating and diverse collection of musical ideas from one man’s mind, hands, and breath.\nGakudan Hitori by Reikan Kobayashi Reikan Kobayashi - Shakuhachi, piano, keyboard, guitar, wood bass, flute, melodion, egg shaker, voice percussion, whistle, nabe pot Released in 2011 on Mokorin Music as MM-001.\nJapanese names: 小林鈴勘 Kobayashi Reikan\nAudio and Video Reikan Kobayashi’s “Sunday Morning”, the first track on this album: Excerpt from track #6: “Ghost\u0026rsquo;s Tear” ","permalink":"https://mirror2.jazzofjapan.com/reikan-kobayashi-gakudan-hitori/","summary":"\u003cp\u003eA novel album in several ways, \u003cem\u003eGakudan Hitori\u003c/em\u003e from musician Reikan Kobayashi contains interesting dimensions and juxtapositions. Kobayashi is proficient on many instruments but has primarily made a name for himself by playing shakuhachi in Japan and using the traditional Japanese bamboo flute in jazz music. As strong a voice the whistling wind of the wooden flute is itself, the incorporation of this characteristically Japanese sound to jazz and other music adds to the originality of this 2011 release.\u003c/p\u003e","title":"Reikan Kobayashi: Gakudan Hitori"},{"content":"Veteran jazz pianist Fumio Karashima was well-known in Japan for his quick, hard bop style and authentic feel which excited audiences at live concerts and tours as well as on albums. It’s Just Beginning from 2004 is a studio-recorded album with the impulse of a live performance set. Indeed, the tracks were selected by the pianist to showcase the trio and the music performed during a 2003 tour, jazz standards reflecting a passion for genuine jazz with significance to the pianist. Karashima, who spent time with drummer Elvin Jones’ group as well as leading his own trios, gained fans both within Japan and overseas and knows how to deliver a good set, making this an exciting jazz trio album.\nHigh-energy standards include “You and the Night and the Music”, “Mr. P.C.”, and “Un Poco Loco”, Bud Powell’s well-known Afro-Cuban jazz standard. Balancing this energy, Karashima also strikes lyrical, introspective moods, particularly on “Haunted Heart” and “Mother Of Earl”, two songs that Bill Evans famously played and on which Karashima summons Evans’ beautifully sensitive touch. Along with a swinging version of “All Of You”, it definitely feels as if Bill Evans was on the mind.\nThree of Karashima’s originals are also included, with a funky Herbie Hancock-esque “Comrade”, a lyrical waltz-time “Rain”, and the title track, straight-ahead modern jazz with invigorating playing.\nIt’s Just Beginning by Fumio Karashima Trio Fumio Karashima - piano Yosuke Inoue - bass Shingo Okudaira - drums Released in 2004 on Pit Inn Music as VACM-1240.\nJapanese names: 辛島文雄 Karashima Fumio 井上陽介 Inoue Yosuke 奥平慎吾 Okudaira Shingo\nAudio and Video Fumio Karashima Trio performing “You and the Night and the Music”, the first track on this album: Excerpt from track #5: “ミスター・Ｐ．Ｃ． (Mr. P.C.)” ","permalink":"https://mirror2.jazzofjapan.com/fumio-karashima-trio-its-just-beginning/","summary":"\u003cp\u003eVeteran jazz pianist Fumio Karashima was well-known in Japan for his quick, hard bop style and authentic feel which excited audiences at live concerts and tours as well as on albums. \u003cem\u003eIt’s Just Beginning\u003c/em\u003e from 2004 is a studio-recorded album with the impulse of a live performance set. Indeed, the tracks were selected by the pianist to showcase the trio and the music performed during a 2003 tour, jazz standards reflecting a passion for genuine jazz with significance to the pianist. Karashima, who spent time with drummer Elvin Jones’ group as well as leading his own trios, gained fans both within Japan and overseas and knows how to deliver a good set, making this an exciting jazz trio album.\u003c/p\u003e","title":"Fumio Karashima Trio: It’s Just Beginning"},{"content":"Similar in concept to Ray Brown’s Some Of My Best Friends Are… album series in which the legendary bassist plays with assorted partners in jazz, bassist Daiki Yasukagawa’s release Trios II from 2015 features the bassist performing with four different trios assembled from multiple pianists and drummers. A followup to Yasukagawa’s Trios (2010), Trios II brings even more musicians into the recording studio and offers up a new album with the various trios performing 11 songs.\nThe pianists and drummers are all players who perform with the bassist on different albums and at live shows in Japan, and each member adds personal touches and dynamics to the combos. The majority of songs are originals from the bassist, with the balance being in favor of slower tempo ballads and relaxed moods built upon the bassist’s deep, weighty sound and timing. A few uptempo numbers are included, starting with the album opener West Side Story’s “Tonight” which kicks things off with a great swing beat, Yasukawaga’s own joyful “My Bebop Tune”, and an exuberantly wild “Circle III”.\nIn addition to providing a glimpse into the modern working trio in Tokyo’s current jazz scene, Trios II is also a great standalone package of jazz piano trios performing Yasukagawa’s music for a comfortable, mood-enhancing collection.\nTrios II by Daiki Yasukagawa Trio Daiki Yasukagawa - bass Taihei Asakawa - piano (#1, 2) Hitomi Nishiyama - piano (#3, 4) Naoko Tanaka - piano (#5, 6) Mamoru Ishida - piano (#7, 8, 9, 10, 11) Ryo Noritake - drums (#1, 2) Yuto Hirase - drums (#3, 4) Manabu Hashimoto - drums (#5, 6, 7, 8, 9, 10, 11) Released in 2015 on D-Musica as DMCD-28.\nJapanese names: 安ヵ川大樹 Yasukagawa Daiki 浅川太平 Asakawa Taihei 西山瞳 Nishiyama Hitomi 田中菜緒子 Tanaka Naoko 石田衛 Ishida Mamoru 則武諒 Noritake Ryo 平瀬祐人 Hirase Yuto 橋本学 Hashimoto Manabu\nAudio and Video Daiki Yasukagawa Trio video for Trios II: Excerpt from track #1: “Tonight” ","permalink":"https://mirror2.jazzofjapan.com/daiki-yasukagawa-trio-trios-ii/","summary":"\u003cp\u003eSimilar in concept to Ray Brown’s \u003cem\u003eSome Of My Best Friends Are…\u003c/em\u003e album series in which the legendary bassist plays with assorted partners in jazz, bassist Daiki Yasukagawa’s release \u003cem\u003eTrios II\u003c/em\u003e from 2015 features the bassist performing with four different trios assembled from multiple pianists and drummers. A followup to Yasukagawa’s \u003cem\u003eTrios\u003c/em\u003e (2010), \u003cem\u003eTrios II\u003c/em\u003e brings even more musicians into the recording studio and offers up a new album with the various trios performing 11 songs.\u003c/p\u003e","title":"Daiki Yasukagawa Trio: Trios II"},{"content":"Bonanza, from 2012, is the debut release from guitarist Yudo Matsuo, whose kinetic quartet performs original songs with influences from electric jazz fusion to pop songwriters, a palette of sounds reflecting his varied artistic sides.\nThe core band is made up of guitar, trumpet, fretless electric bass, and drums, with guest keyboard on three tracks adding a warm bluesy sound for extra soul. While much of the music is built around a fusion jazz/rock mood which runs through the album, the dial also moves to include smooth jazz sounds, evocative jazz waltzes, and pop, including a rendition of “Blackbird” by The Beatles. One track, “Loplop”, comes closest to pure bop guitar with a fast swing beat and walking bass, where Matsuo plays quick jazzy lines in the style of guitarists such as Tal Farlow and Pat Martino.\nBonanza’s jazz/fusion side is displayed best on the track “Wicked Wind”, an 11-plus minute jam which boils with energy and echoes the electric fusion periods of Miles Davis and Herbie Hancock to some extent. With developed excitement on extended trumpet and guitar solos played over a rousing bass and drum riff, and including a drum feature near the end, one almost expects to hear a crowd’s roar after the final note is played. In fact, a second alternate take of this song is included near the end of the album, a welcome encore of this satisfying set piece.\nAll the musician shine with visceral playing and a clean sound, with solos, duos, and group features arranged among the songs. Adding to the variations in mood are Matsuo’s use of acoustic and electric guitar selected to suit the material, as well as trumpeter Keisuke Nakamura alternating between trumpet, flugelhorn, and even adding real-time delay, wah-wah, and distortion effects to his horn at several dramatic moments. As for the indefatigable rhythm section, the impressively twisty lines from bassist Ryoji Orihara move with glissando slides, deep pops, and high ringing harmonic tones, and add a lot to the music along with the tight patterns and quick reactions from drummer Yasushi Fukumori, who uses the complete set to great effect with brilliant dynamics and incredible playing.\nBonanza by Yudo Matsuo Yudo Matsuo - electric \u0026amp; acoustic guitar Keisuke Nakamura - trumpet, flugelhorn Ryoji Orihara - fretless electric bass Yasushi Fukumori - drums Takeru Yamazaki - keyboards (#2, 4, 9) Released in 2012 on Coume Music as DQC-919.\nJapanese names: 松尾由堂 Matsuo Yudo 中村恵介 Nakamura Keisuke 織原良次 Orihara Ryoji 福森康 Fukumori Yasushi ヤマザキタケル Yamazaki Takeru\nAudio and Video Bonanza performing “Loplop” live, the seventh track on this album: Excerpt from track #4: “Wicked Wind” ","permalink":"https://mirror2.jazzofjapan.com/yudo-matsuo-bonanza/","summary":"\u003cp\u003e\u003cem\u003eBonanza\u003c/em\u003e, from 2012, is the debut release from guitarist Yudo Matsuo, whose kinetic quartet performs original songs with influences from electric jazz fusion to pop songwriters, a palette of sounds reflecting his varied artistic sides.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200253-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200253-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe core band is made up of guitar, trumpet, fretless electric bass, and drums, with guest keyboard on three tracks adding a warm bluesy sound for extra soul. While much of the music is built around a fusion jazz/rock mood which runs through the album, the dial also moves to include smooth jazz sounds, evocative jazz waltzes, and pop, including a rendition of “Blackbird” by The Beatles. One track, “Loplop”, comes closest to pure bop guitar with a fast swing beat and walking bass, where Matsuo plays quick jazzy lines in the style of guitarists such as Tal Farlow and Pat Martino.\u003c/p\u003e","title":"Yudo Matsuo: Bonanza"},{"content":"Modern jazz albums like saxophonist Hiromi Miura’s We Don’t Know Yet occupy a special place, offering original compositions with creative elements which remain in the mind and call for repeated listens. Performed with consummate skill from the New York- and Japan-based musicians, the album offers five of Miura’s songs and two cover songs, focusing on intricate modern compositions and interpretations.\nMiura’s creative songwriting takes on challenges like constructing sweet melodies over shadowy harmonic intervals, odd-metered rhythms, and subtle dynamic changes, also using less tangible influences from snowy weather to fantasy and space. The album was recorded at a time when reflecting on those uncertain moments between transitions, not knowing what will come next but bravely moving forward.\nThe playing from the members is aligned and empathetic, skillfully balancing intellect and emotion. Miura’s playing on both alto and soprano saxes is somewhat reminiscent of the playing of jazz musicians like Warne Marsh or Lee Konitz, with vertical ladder-like lines and mellow improvisation where melodic patterns are embroidered into designs of notes like stars aligning in the sky.\nFollowing the five original jazz pieces, an attention-grabbing jazz blues is performed by cleverly overlaying Joe Henderson’s “Isotope” and Thelonious Monk’s “Evidence”, and the album closes peacefully with quiet shades of Japan on “Yama”, a beautiful ballad written by jazz pianist Bruce Barth.\nWe Don’t Know Yet by Hiromi Miura Hiromi Miura - alto and soprano saxophone Yago Vázquez - piano Greg Ruggiero - guitar Ryoichi Zakota - bass Paolo Orlandi - drums Released in 2013 on D-neo Daiki Musica as DNCD-03.\nJapanese names: 三浦裕美 Miura Hiromi 座小田諒一 Zakota Ryoichi\nAudio and Video Audio samples from this album at D-Musica\nExcerpt from track #2: “I Don\u0026rsquo;t Know Yet”\n","permalink":"https://mirror2.jazzofjapan.com/hiromi-miura-we-dont-know-yet/","summary":"\u003cp\u003eModern jazz albums like saxophonist Hiromi Miura’s \u003cem\u003eWe Don’t Know Yet\u003c/em\u003e occupy a special place, offering original compositions with creative elements which remain in the mind and call for repeated listens. Performed with consummate skill from the New York- and Japan-based musicians, the album offers five of Miura’s songs and two cover songs, focusing on intricate modern compositions and interpretations.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200268-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200268-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eMiura’s creative songwriting takes on challenges like constructing sweet melodies over shadowy harmonic intervals, odd-metered rhythms, and subtle dynamic changes, also using less tangible influences from snowy weather to fantasy and space. The album was recorded at a time when reflecting on those uncertain moments between transitions, not knowing what will come next but bravely moving forward.\u003c/p\u003e","title":"Hiromi Miura: We Don’t Know Yet"},{"content":"Jazz singer Azumi’s 2010 release Almost Like Being in Love is a cheery and ebullient jazz album filled with fresh takes on classic jazz standards. With well-thought-out arrangements and a satisfying choice of tunes, a variation of moods with an undercurrent of lively swing is established right from the inviting title track. Other standards include “On Green Dolphin Street”, “My Favorite Things”, and “Raindrops Keep Falling On My Head”, played as a cute jazz march.\nOther facets include bossanova groove on “One Note Samba” and “No More Blues” and quiet romance on ballads and love songs. One highlight from the latter category is the popular Minnie Riperton classic “Lovin’ You”, a frequent request from Azumi’s songbook and a brilliant showcase for her smooth and lovely vocal range.\nWith the essence of soft blues and pure whites like the album design itself, Azumi’s delicate voice floats gracefully over the music with a sunny confidence well suited to her outlook as an evangelist for happy living. Like both jazz and life, balancing tradition and novel reinvention, moments of glowing energy surface alongside the swinging beats and slower ballads, especially when pianist Sachiko Ikuta and the band sets loose with vigorous improvisation and heavier rhythms.\nAlmost Like Being in Love by Azumi Azumi - vocal Sachiko Ikuta - piano Tetsuro Aratama - bass Kengo Komae - drums Released in 2010 on Jazz On Top Records as JOT-1009-1.\nJapanese names: あづみ Azumi 生田さち子 Ikuta Sachiko 荒玉哲郎 Aratama Tetsuro 小前賢吾 Komae Kengo\nAudio and Video Short clip of Azumi singing live in 2010: Excerpt from track #1: “ｵｰﾙﾓｽﾄ・ﾋﾞｰｲﾝｸﾞ・ｲﾝ・ﾗｳﾞ (Almost Like Being in Love)” ","permalink":"https://mirror2.jazzofjapan.com/azumi-almost-like-being-in-love/","summary":"\u003cp\u003eJazz singer Azumi’s 2010 release \u003cem\u003eAlmost Like Being in Love\u003c/em\u003e is a cheery and ebullient jazz album filled with fresh takes on classic jazz standards. With well-thought-out arrangements and a satisfying choice of tunes, a variation of moods with an undercurrent of lively swing is established right from the inviting title track. Other standards include “On Green Dolphin Street”, “My Favorite Things”, and “Raindrops Keep Falling On My Head”, played as a cute jazz march.\u003c/p\u003e","title":"Azumi: Almost Like Being in Love"},{"content":"Noriko Satomi brings the passion and vibrancy of jazz violin to an acclaimed jazz composition on her 2019 homage to A Love Supreme, which received a Jazz Japan Award from Jazz Japan magazine in January 2020.\nNo doubt familiar to most jazz fans, John Coltrane’s 1965 masterpiece sets a high bar for any jazz group, with both rote recitation and musical reinvention being risky propositions. At the same time, re-experiencing the classic performance at live concerts or on newly recorded albums can provide a thrilling way for fellow fans and the performing musicians themselves to appreciate the music together.\n“A Love Supreme” is revered partly based on its concept, ambition, and the passionate playing of the original four members, and Satomi’s quartet mirrors the original recording with piano, bass, drums, and violin in place of tenor saxophone. Although sax and violin may share an edgy, breathy soulfulness, the two instruments produce quite different sounds, and the wood and strings of the violin bring a new dimension to Coltrane’s music. Warmly evocative, Satomi’s violin is swiftly acrobatic and fiery in the up-tempo sections, while also adding distinctive violin characteristics like seductive whispering, percussive plucking, and playing two strings simultaneously for a multi-toned, haunting effect.\nMoving through the four parts of the suite, “Acknowledgement”, “Resolution”, “Pursuance”, and “Psalm”, the quartet faithfully follows the map laid out by the classic Coltrane recording. Satomi’s violin performs the sax themes and, rather than reciting Coltrane’s solos, improvises freely while channeling Coltrane’s spirit and energy. Similarly, the piano, bass, and drum members each take impressive turns in the spotlight as arranged by the original composition. The high-resolution MQA-CD captures the four musicians with full, clear sound as they spare no efforts to reach supreme heights.\nA bonus track performance of “Danny Boy” is included after the jazz suite as a calming ballad encore.\nAwarded the Jazz Japan Award 2019 Album Of The Year for High-Quality Media (January 2020 issue #114).\nA Love Supreme by Noriko Satomi Noriko Satomi - violin Masaaki Imaizumi - piano Shin Kamimura - bass Masahiko Osaka - drums Released in 2019 on T-Toc Records as TTOC-0032.\nJapanese names: 里見紀子 Satomi Noriko 今泉正明 Imaizumi Masaaki 上村信 Kamimura Shin 大坂昌彦 Osaka Masahiko\nAudio and Video The official promotional video for Noriko Satomi’s “A Love Supreme”: Excerpt from track #1: “至上の愛 パート1-承認 (A Love Supreme Part 1- Approval)” ","permalink":"https://mirror2.jazzofjapan.com/noriko-satomi-a-love-supreme/","summary":"\u003cp\u003eNoriko Satomi brings the passion and vibrancy of jazz violin to an acclaimed jazz composition on her 2019 homage to \u003cem\u003eA Love Supreme\u003c/em\u003e, which received a Jazz Japan Award from \u003cem\u003eJazz Japan\u003c/em\u003e magazine in January 2020.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220637-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220637-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eNo doubt familiar to most jazz fans, John Coltrane’s 1965 masterpiece sets a high bar for any jazz group, with both rote recitation and musical reinvention being risky propositions. At the same time, re-experiencing the classic performance at live concerts or on newly recorded albums can provide a thrilling way for fellow fans and the performing musicians themselves to appreciate the music together.\u003c/p\u003e","title":"Noriko Satomi: A Love Supreme"},{"content":"Veteran bassist Hideaki Kanazawa and stellar pianist Sumire Kuribayashi join up for a calm and lyrical jazz duo on Nijuso from 2017.\nUsing a palette of jazz standards, new compositions, and free improvisation, the duo creates a tranquil mood with songs brimming with warmth. The richly-recorded sounds of piano and bass float in and around the melodies with unhurried timing and free improvisation with vocal-like qualities. Unloosing the emotional core may be the goal as the two musicians work together to create beautiful experiences, a canvas of lullabies and spiritual-like visions.\nFrom the opening Ornette Coleman number “Mary Hartman, Mary Hartman”, the drama unfolds slowly as the duo moves soothingly through the songs. Familiar jazz standards such as “Londonderry Ayre (Danny Boy)”, “I’ll Be Seeing You”, and “All The Things You Are” are balanced with deeper covers like Charlie Haden’s “Our Spanish Love Song” and Bill Evans’ “Children’s Play Song”. Four original compositions are included, ballads and sound-spaces drifting like meandering streams, enjoying the moment with a fulfilling patience rather than rushing to a destination.\nNijuso by Hideaki Kanazawa \u0026amp; Sumire Kuribayashi Hideaki Kanazawa - contrabass Sumire Kuribayashi - piano, percussion Released in 2017 on Roving Spirits as RKCJ-2063.\nJapanese names: 金澤英明 Kanazawa Hideaki 栗林すみれ Kuribayashi Sumire\nAudio and Video Hideaki Kanazawa and Sumire Kuribayashi performing live in 2018: Excerpt from track #1: “Mary Hartman, Mary Hartman” ","permalink":"https://mirror2.jazzofjapan.com/hideaki-kanazawa-sumire-kuribayashi-nijuso/","summary":"\u003cp\u003eVeteran bassist Hideaki Kanazawa and stellar pianist Sumire Kuribayashi join up for a calm and lyrical jazz duo on \u003cem\u003eNijuso\u003c/em\u003e from 2017.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220265-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220265-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eUsing a palette of jazz standards, new compositions, and free improvisation, the duo creates a tranquil mood with songs brimming with warmth. The richly-recorded sounds of piano and bass float in and around the melodies with unhurried timing and free improvisation with vocal-like qualities. Unloosing the emotional core may be the goal as the two musicians work together to create beautiful experiences, a canvas of lullabies and spiritual-like visions.\u003c/p\u003e","title":"Hideaki Kanazawa \u0026 Sumire Kuribayashi: Nijuso"},{"content":"The textured sound of Rabbitoo makes a lasting first impression on their debut album National Anthem of Unknown Country from 2014, a fusion of jazz, rock, and electronica influences.\nThe five-piece group led by guitarist and primary songwriter Motohiko Ichino produces otherworldly atmospheres with loops of sound and cascading sheets of melody set against precise rock and dance-inspired beats. The instruments riff and interlace, fitting together like puzzle pieces at times, an intense chorus at others, while swirling over underlying rhythmic grids for a dusky, spacey, trance-like aura.\nDefinitely not following the typical jazz formula, this beat-centered music with some live jazz improvisation incorporates electronic loops and samples in real-time along with their primary instruments – guitar, sax, keyboards, bass, and drums – modified with echoes, distortion, and other effects. Another clever addition, the Minimoog synthesizer’s characteristic sounds enrich the music greatly with a haunting, retro-futuristic feel, evoking popular songs and suspense movies from the past and strengthening the sensation of this dramatic, mood-pushing music.\nNational Anthem of Unknown Country by Rabbitoo Motohiko Ichino - guitars, keyboards Daisuke Fujiwara - tenor saxophone, electronics Koichi Sato - Rhodes, Minimoog, Nord, piano Hiroki Chiba - contrabass, electric bass, electronics Noritaka Tanaka - drums Released in 2014 on SONG X JAZZ as SONG X 019.\nJapanese names: 市野元彦 Ichino Motohiko 藤原大輔 Fujiwara Daisuke 佐藤浩一 Sato Koichi 千葉広樹 Chiba Hiroki 田中徳崇 Tanaka Noritaka\nAudio and Video Video for “Monkey’s Dream”, track #1 on this album: Video for “Eat Your Orange”, track #7 on this album: Video for “The Third Sun”, track #11 on this album: Excerpt from track #6: “subliminal sublimation” ","permalink":"https://mirror2.jazzofjapan.com/rabbitoo-national-anthem-of-unknown-country/","summary":"\u003cp\u003eThe textured sound of Rabbitoo makes a lasting first impression on their debut album \u003cem\u003eNational Anthem of Unknown Country\u003c/em\u003e from 2014, a fusion of jazz, rock, and electronica influences.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220801-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220801-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe five-piece group led by guitarist and primary songwriter Motohiko Ichino produces otherworldly atmospheres with loops of sound and cascading sheets of melody set against precise rock and dance-inspired beats. The instruments riff and interlace, fitting together like puzzle pieces at times, an intense chorus at others, while swirling over underlying rhythmic grids for a dusky, spacey, trance-like aura.\u003c/p\u003e","title":"Rabbitoo: National Anthem of Unknown Country"},{"content":"Jazz violinist Maiko trio live! Three captures a night in Tokyo in 2016, recorded live at The Glee concert hall and released as a CD and high-resolution download later that year. Jazz violinist Maiko leads the trio which includes well-known fusion guitarist Hiroki Miyano and popular in-demand pianist Shikou Ito.\nWith violin, acoustic guitar, and piano strings resonating together to create dramatic music, comparisons could be made to fusion albums from Al Di Meola and Chick Corea. Yet Maiko’s trio is unique, combining years of experience with jazz, pop, classical, and Latin music, together with Japanese nuances for an energetic and engrossing event.\nWith a masterful controlled touch, the music is at times played with wild, skillful abandon, and the passionate sound of the violin itself adds heavy texture to the music. Anchoring the musicians are Maiko’s original compositions which balance sadness and joy, romance and painful longing, dualities which the violin’s rich sound fits perfectly and adds to the emotional punch.\nWith eight tracks, the songs range from colorful uptempo drama to sentimental waltzes and impressionistic ballads. Aside from six originals, two covers are included, the jazz standard “You and the Night and the Music”, and Bill Evans’s poignant “We Will Meet Again”.\nLive! Three by Maiko Trio maiko - violin Hiroki Miyano - guitar Shikou Ito - piano Released in 2016 on The Glee as GPHR-16011.\nJapanese names: マイコ maiko 宮野弘紀 Miyano Hiroki 伊藤志宏 Ito Shikou\nAudio and Video “Eternally” performed live by maiko trio violin: Chick Corea’s “Spain” performed live by maiko jazz violin: Excerpt from track #8: “Three” ","permalink":"https://mirror2.jazzofjapan.com/maiko-trio-live-three/","summary":"\u003cp\u003e\u003cem\u003eJazz violinist Maiko trio live! Three\u003c/em\u003e captures a night in Tokyo in 2016, recorded live at The Glee concert hall and released as a CD and high-resolution download later that year. Jazz violinist Maiko leads the trio which includes well-known fusion guitarist Hiroki Miyano and popular in-demand pianist Shikou Ito.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220314-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220314-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWith violin, acoustic guitar, and piano strings resonating together to create dramatic music, comparisons could be made to fusion albums from Al Di Meola and Chick Corea. Yet Maiko’s trio is unique, combining years of experience with jazz, pop, classical, and Latin music, together with Japanese nuances for an energetic and engrossing event.\u003c/p\u003e","title":"Maiko Trio: Live! Three"},{"content":"Routine Jazz Sextet from 2008 promotes genuine jazz from Tokyo with the flavor of 1950/60’s era jazz giants such as Horace Silver and Art Blakey \u0026amp; the Jazz Messengers. Not just a throwback, the band honors the musical legacy while incorporating the youthful, modern sound and mindset of current jazz players from Japan.\nPerhaps not well-known among standard jazz fans, the Routine Jazz Label from famed producer and DJ Kei Kobayashi gained international renown with “club jazz” compilations such as Schema, Deja Vu, and Ricky-Tick, beat-oriented music remixed with jazz and bossa nova samples for dance clubs and trance-leaning airwaves.\nHere, Kobayashi joins forces with Takehiko Komine (owner of respected Tokyo jazz club Nardis) to produce “Routine Jazz Sextet”, a tongue-in-cheek comment on his popular club jazz albums, advertised as a “genuine jazz from Tokyo” response to popular club jazz. While straightforward jazz, in one way this is a crossover album, picking songs from the hard bop era that relate to samples and music used in club jazz.\nWith nine tracks over 39 minutes, the music is propulsive, boiling and full of energy. Most of the songs run at around four minutes, straight-ahead showcases for the horn arrangements and improvisations, as well as the unflagging power of the rhythm section which steams through the tracks. The songs include a nice blend of selections from America and Europe, bringing to mind the sounds of Cannonball Adderley, Wayne Shorter, and Ray Bryant, and of course the aforementioned hard bop giants Art Blakey and Horace Silver. Routine in name only, this is wholly enjoyable from start to finish.\nRoutine Jazz Sextet by Routine Jazz Sextet Tomoyuki Konno - drums Shinpei Ruike - trumpet Wataru Hamasaki - flute, tenor sax, soprano sax Taku Akiyama - alto sax Koichi Sato - piano Haruhisa Takamichi - bass Released in 2008 on Routine Records as RCJP-002.\nJapanese names: 紺野智之 Konno Tomoyuki 類家心平 Ruike Shinpei 浜崎航 Hamasaki Wataru 秋山卓 Akiyama Taku 佐藤浩一 Sato Koichi 高道晴久 Takamichi Haruhisa\nAudio and Video Promotional video for a related album from Routine Jazz Quintet: Excerpt from track #3: “The Crosseyed Cat” ","permalink":"https://mirror2.jazzofjapan.com/routine-jazz-sextet-routine-jazz-sextet/","summary":"\u003cp\u003e\u003cem\u003eRoutine Jazz Sextet\u003c/em\u003e from 2008 promotes genuine jazz from Tokyo with the flavor of 1950/60’s era jazz giants such as Horace Silver and Art Blakey \u0026amp; the Jazz Messengers. Not just a throwback, the band honors the musical legacy while incorporating the youthful, modern sound and mindset of current jazz players from Japan.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1230058-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1230058-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003ePerhaps not well-known among standard jazz fans, the Routine Jazz Label from famed producer and DJ Kei Kobayashi gained international renown with “club jazz” compilations such as Schema, Deja Vu, and Ricky-Tick, beat-oriented music remixed with jazz and bossa nova samples for dance clubs and trance-leaning airwaves.\u003c/p\u003e","title":"Routine Jazz Sextet: Routine Jazz Sextet"},{"content":"Pianist Hideaki Hori lets his dexterous fingers do the talking on In My Words from 2010, a solid jazz trio record from Japan.\nHori leads a bright, swinging trio on this jazz record, full of high-energy peaks and steady grooves. Extremely nimble in his playing, Hori’s clearly executed phrases fill his improvisation with exciting patterns and curlicues, urged on by the propulsive anchor of rhythm section members Daiki Yasukagawa on bass and Gene Jackson on drums.\nWhile this is Hori’s third album as leader, In My Words is his first exclusively piano trio album, a great opportunity to honor one of his idols, the pianist Kenny Kirkland. Similar to the album title, the last tune “Another ‘Words’” references an earlier song of Hori’s called “The Words of Mr. Kenny K.”, a tribute to Kenny Kirkland, who is obviously a huge influence in his personal style and a jazz giant whom he appreciates greatly. The listener may recognize the impact in Hori’s amazing playing as well. Highly talented yet not overly flashy, Hori, ever gracious, also leaves plenty of room for his sidemen to shine, with rousing bass solos and drum features, such as the heavy groove riff and drum improvisation on “Form”.\nHori’s songwriting is also on display, with six originals (the crowd favorite “Winter Waltz” being a highlight) and three rearranged covers: “This Is New”, “Take The A Train”, and “So Near, So Far”.\nIn My Words by Hideaki Hori Trio Hideaki Hori - piano Daiki Yasukagawa - bass Gene Jackson - drums Released in 2010 on Daiki Musica as DMCD-06.\nJapanese names: 堀秀彰 Hori Hideaki 安ヵ川大樹 Yasukagawa Daiki\nAudio and Video Audio for track #7, “Winter Waltz”: Excerpt from track #1: “This is New” ","permalink":"https://mirror2.jazzofjapan.com/hideaki-hori-trio-in-my-words/","summary":"\u003cp\u003ePianist Hideaki Hori lets his dexterous fingers do the talking on \u003cem\u003eIn My Words\u003c/em\u003e from 2010, a solid jazz trio record from Japan.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220726-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220726-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eHori leads a bright, swinging trio on this jazz record, full of high-energy peaks and steady grooves. Extremely nimble in his playing, Hori’s clearly executed phrases fill his improvisation with exciting patterns and curlicues, urged on by the propulsive anchor of rhythm section members Daiki Yasukagawa on bass and Gene Jackson on drums.\u003c/p\u003e","title":"Hideaki Hori Trio: In My Words"},{"content":"Seiji “Taddy” Tada cooks with bebop, blues, and ballads on Workout!! from 2018. This album, his 13th as leader, is a dream come true for the musician, as he recorded with stellar American jazz musicians whom he had previously toured with, famed jazz drummer Lewis Nash and his trio. No doubt these players, all worthy idols of Tada’s, provided extra inspiration for the high-caliber and exciting playing on this recording.\nThis album was recorded with Tada and Lewis Nash’s trio over a busy two days in New York, and although beset with some obstacles at first (resulting in drummer Kenny Washington subbing for Nash on the recording), the jazz spirit pushes through on sizzling versions of jazz standards and Tada’s originals. Right out of the gate, attention-grabbing bebop fills the grooves, particularly on Tada’s uptempo tunes “Workout”, “Black Rock”, and Charlie Parker’s “Segment”. The slick alto playing of Sonny Stitt comes to mind with a similar boiling energy and fluid improvisational flights. It’s not all bebop mania however, with lovely sentimental playing on “O Grande Amor” and “Autumn In New York”, giving the leader a chance to shine on his beloved flute and alto flute instruments.\nWhether Japanese or American, in New York or Tokyo, the “This is Jazz!” spirit offers a fulfilling Workout!! here over eight tracks and a 50-minute playing time.\nWorkout!! by Seiji Tada Seiji Tada - alto sax, flute, alto flute Renee Rosnes - piano Peter Washington - bass Kenny Washington - drums Released in 2018 on Studio TLive Records as STLR-018.\nJapanese names: 多田誠司 Tada Seiji\nAudio and Video Seiji Tada performing live: Another clip of Seiji Tada performing live: Excerpt from track #1: “Workout” ","permalink":"https://mirror2.jazzofjapan.com/seiji-tada-workout/","summary":"\u003cp\u003eSeiji “Taddy” Tada cooks with bebop, blues, and ballads on \u003cem\u003eWorkout!!\u003c/em\u003e from 2018. This album, his 13th as leader, is a dream come true for the musician, as he recorded with stellar American jazz musicians whom he had previously toured with, famed jazz drummer Lewis Nash and his trio. No doubt these players, all worthy idols of Tada’s, provided extra inspiration for the high-caliber and exciting playing on this recording.\u003c/p\u003e","title":"Seiji Tada: Workout!!"},{"content":"Jazz pianist Miki Hayama’s 2006 album Prelude to a Kiss features beautiful piano jazz improvisation over smart compositions with a solid jazz trio, straightforward and serious modern jazz. This album, her second as leader, received a 5-start rating from the Japanese jazz magazine Swing Journal.\nWhile the album cover art and title present a gently elegant mood, the music does not shy away from stimulating energy. The ten tracks cover an equal amount of original compositions and rearranged jazz covers (“Beatrice”, “I Love You”, “Skylark”, “Whose Shoes”, and “Prelude to a Kiss”).\nThe group has a vibrant sound similar to classic jazz trios such as those led by McCoy Tyner and Kenny Barron, with Hayama spinning fluid improvisations while locking into the solid rhythm work of bassist Kiyoshi Kitagawa and drummer Eric McPherson. The cover songs allow the group to re-imagine classic songs in personalized ways with proficiency honoring the modern jazz language, and Hayama’s original songs offer different facets of her creative style. Her compositions range from thrilling jazz propulsion on “At the Key Point” and “Frog Dance”, Andrew Hill-style avant-garde/bop with “Into The Silence”, and flowing and fantastical grandness on “Canvas in Blue” and “Taichi’s Playground”.\nThroughout, Hayama’s piano is impressively quick, crystalline light without being overly flashy, yet full and confident as on the solo piano rendition of “Prelude to a Kiss”, a romantic ballad which closes the album warmly.\nPrelude to a Kiss by Miki Hayama Miki Hayama - piano Kiyoshi Kitagawa - bass Eric McPherson - drums Released in 2006 on Art Jazz Records as ARTCD-112.\nJapanese names: 早間美紀 Hayama Miki 北川潔 Kitagawa Kiyoshi\nAudio and Video Miki Hayama Trio performing “At the Key Point”, track two on this album: Excerpt from track #1: “Beatrice” ","permalink":"https://mirror2.jazzofjapan.com/miki-hayama-prelude-to-a-kiss/","summary":"\u003cp\u003eJazz pianist Miki Hayama’s 2006 album \u003cem\u003ePrelude to a Kiss\u003c/em\u003e features beautiful piano jazz improvisation over smart compositions with a solid jazz trio, straightforward and serious modern jazz. This album, her second as leader, received a 5-start rating from the Japanese jazz magazine Swing Journal.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200693-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200693-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWhile the album cover art and title present a gently elegant mood, the music does not shy away from stimulating energy. The ten tracks cover an equal amount of original compositions and rearranged jazz covers (“Beatrice”, “I Love You”, “Skylark”, “Whose Shoes”, and “Prelude to a Kiss”).\u003c/p\u003e","title":"Miki Hayama: Prelude to a Kiss"},{"content":"An unlikely fusion of heavy metal and modern jazz strikes all the right chords on NHORHM’s fourth album New Heritage Of Real Heavy Metal -Extra Edition-, released in 2019 in Japan.\nWhile jazz musicians have traditionally interpreted popular music and Broadway musicals for inspiration, NHORHM harvests heavy metal for a surprisingly fitting and rich source of material.\nPianist Hitomi Nishiyama expertly rearranges heavy metal songs for piano jazz trio arrangements, imbuing the music with her characteristic elegance, darkness, intelligence, and fun. The intricate harmonic lines that Nishiyama excels at playing fit well with the dense heaviness of her carefully curated metal choices, complemented marvelously by the dexterous energy of Ryoji Orihara’s fretless bass and the rhythmically clever dynamics of Manabu Hashimoto. Far from benign cocktail jazz, the resulting music has a smart sharpness inspired by the volume and roughness of the metal spirit. While not distorted or aggressive, it is both light and heavy, and definitely rocks in its own way.\nNHORHM is described as a heavy metal cover jazz band, but this is not just a mimicking of the original metal material. Rather, the music is heightened by the reformatting of the material through intricate arrangements, creative time signatures, harmonic changes, and skillful performances by the members honoring the music with fondness; they are having fun with the recital of music they genuinely appreciate.\nSimilar to how the first three NHORHM albums covered music from major metal bands (Iron Maiden, Black Sabbath, Pantera, Megadeth, AC/DC, Dream Theater, Extreme, and many others), this Extra Edition release features songs from the bands Stratovarius (“Galaxies”), Deep Purple (a delicate and fantastic “Highway Star”), Metallica (an unexpectedly funky “Enter Sandman”), Slayer (a straightforward and interestingly arranged “South of Heaven”), and Yngwie Malmsteen (“Don’t Let It End” and “The Seventh Sign”, both seriously lovely, melodically moving). As with previous albums, this album also contains an original number from Nishiyama.\nWhile a background familiarity with the original heavy metal songs is not necessary, for some listeners it is quite satisfying to experience how distorted guitars and heavy metal aggression can be transformed and handled by a jazz trio such as NHORHM. Not just a gimmick, this is talent on display and a successful experiment for a modern jazz trio, and the end result, the music, is heavily satisfying.\nAbout the name: Perhaps an unwieldy moniker at first, NHORHM - New Heritage Of Real Heavy Metal - is an affectionate nod to the New Wave Of British Heavy Metal (NWOBHM) of the 1970’s and 80’s which included many great heavy metal bands such as Black Sabbath, Motörhead, and Iron Maiden, and many more. Incidentally, the name NHORHM also nicely serves as an acronym for the three musicians read in Japanese name order: Nishiyama Hitomi, Orihara Ryoji, Hashimoto Manabu.\nNew Heritage of Real Heavy Metal -Extra Edition- by NHORHM Hitomi Nishiyama - piano, arrangements, composition Ryoji Orihara - fretless bass Manabu Hashimoto - drums Released in 2019 on Apollo Sounds as APLS1905.\nJapanese names: 西山瞳 Nishiyama Hitomi 織原良次 Orihara Ryoji 橋本学 Hashimoto Manabu\nAudio and Video NHORHM performing “Don’t Let It End”, track five on this album: Promotional video for NHORHM I (first album): Promotional video for NHORHM II (second album): Promotional video for NHORHM III (third album): Excerpt from track #1: “Galaxies” Other Links New Heritage Of Real Heavy Metal ","permalink":"https://mirror2.jazzofjapan.com/nhorhm-new-heritage-of-real-heavy-metal-extra-edition-/","summary":"\u003cp\u003eAn unlikely fusion of heavy metal and modern jazz strikes all the right chords on NHORHM’s fourth album \u003cem\u003eNew Heritage Of Real Heavy Metal -Extra Edition-\u003c/em\u003e, released in 2019 in Japan.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220779-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220779-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWhile jazz musicians have traditionally interpreted popular music and Broadway musicals for inspiration, NHORHM harvests heavy metal for a surprisingly fitting and rich source of material.\u003c/p\u003e\n\u003cp\u003ePianist Hitomi Nishiyama expertly rearranges heavy metal songs for piano jazz trio arrangements, imbuing the music with her characteristic elegance, darkness, intelligence, and fun. The intricate harmonic lines that Nishiyama excels at playing fit well with the dense heaviness of her carefully curated metal choices, complemented marvelously by the dexterous energy of Ryoji Orihara’s fretless bass and the rhythmically clever dynamics of Manabu Hashimoto. Far from benign cocktail jazz, the resulting music has a smart sharpness inspired by the volume and roughness of the metal spirit. While not distorted or aggressive, it is both light and heavy, and definitely rocks in its own way.\u003c/p\u003e","title":"NHORHM: New Heritage of Real Heavy Metal -Extra Edition-"},{"content":"Fans of vintage vocal jazz will be drawn to singer Yako Horikita’s debut album Shining Hour, a swinging collection of twelve jazz standards delivered with a shining, sparking sincerity.\nSinging along with a piano trio plus saxophone, Horikita picks winners from the classic jazz songbook with tunes including “Nice Work If You Can Get It”, “Falling In Love With Love”, and “Under A Blanket Of Blue”. Horikita’s voice, a pleasant mix of deep huskiness with a light delicate touch, is confident, friendly, and warm, fitting perfectly with her jazz combo’s solid performance.\nWhile most of the tracks are straightforward mid-tempo swingers, a few of tunes offer variations with bossa and ballads on “When Sunny Gets Blue”, “Second Love”, and the album closer, a sweetly nostalgic “Over The Rainbow”.\nShining Hour by Yako Horikita Yako Horikita - vocal Takenori Sawaki - alto saxophone Makoto Deguchi - piano Ken Kaneko - bass Nobuhiko Yamashita - drums Released in 2017 on Kylym Records as KYLYM-0001.\nJapanese names: 堀北やこ Horikita Yako 佐脇武則 Sawaki Takenori 出口誠 Deguchi Makoto 金子健 Kaneko Ken 山下暢彦 Yamashita Nobuhiko\nAudio and Video Promotional video for this album: Excerpt from track #11: “Under A Blanket Of Blue” ","permalink":"https://mirror2.jazzofjapan.com/yako-horikita-shining-hour/","summary":"\u003cp\u003eFans of vintage vocal jazz will be drawn to singer Yako Horikita’s debut album \u003cem\u003eShining Hour\u003c/em\u003e, a swinging collection of twelve jazz standards delivered with a shining, sparking sincerity.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220614-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220614-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eSinging along with a piano trio plus saxophone, Horikita picks winners from the classic jazz songbook with tunes including “Nice Work If You Can Get It”, “Falling In Love With Love”, and “Under A Blanket Of Blue”. Horikita’s voice, a pleasant mix of deep huskiness with a light delicate touch, is confident, friendly, and warm, fitting perfectly with her jazz combo’s solid performance.\u003c/p\u003e","title":"Yako Horikita: Shining Hour"},{"content":"The silvery tones of masterful jazz sax glide and soar through dynamically modern jazz on Mabumi Yamaguchi’s 2017 recording Let Your Mind Alone.\nWith eight original songs penned by Yamaguchi, the music is solid, confident, dramatic, and melodically entrancing. From the gripping opening track “Sequel To A Dream”, the songs flow with a fantastic balance of stimulation and control, offering various styles from peppy bossa rhythms, loose, modern swing, sweet ballads, and brightly positive tunes mixed with stimulating dark tinges.\nLiner Notes (Translation of an excerpt from Yo Nakagawa’s original Japanese liner notes.)\n***\nThis is an album that was recorded two months after Mabumi decided to do it. He said something like “I just suddenly felt like doing it”. All of the recorded songs are Mabumi’s originals, and I would like to describe them using his own words.\n“Sequel to a Dream”\nWith its beautiful melody, Mabumi’s soprano sax, and the opportunity to hear each member playing, it’s the perfect opening number. “It’s a song I wrote at the end of 2016 and made minor changes by performing it live. When I compose, the ideas come to me through music I’ve been listening to as well as being delivered through particles in the air, but when finishing I sit at the piano and I wring it out by the process of “not this, not that”. (In conversation with Mabumi Yamaguchi)\n“Little Sorrow”\n“In general I think samba has a strong image of being bright and cheerful, but this spring I composed a samba with a bit of sadness in it.”\n“Let Your Mind Alone”\nThe album title track is both beautiful and heartrending. “I’ve also played this with Masahiko Sato and Mayuko Katakura. This song, written three years ago, is best suited when played as a duo with piano than with a band, I think.”\n“Incantation”\n“This title has the meaning of a spell. The melody almost sounds like a spell, so I chose this title.” It’s clear that Mabumi Yamaguchi is also part of the current jazz trend that has followed Mark Turner.\n“Aerial Passage”\n“I wrote about half of this in 2015 and finished it up for this. It’s the path of airflow, and while there’s a rhythm, I imagined a feeling like the soft weightlessness of air.”\n“The Plot II”\n“The Plot” is a song composed about thirty years ago for the SQUAD led by Motohiko Hino and Yoshio Suzuki. This number is the second part of that, and the dialogue between the rhythm section and Mabumi Yamaguchi is so enjoyable.\n“Carmen”\n“This is a song I wrote about 14-15 years ago when I had a session with some rock musicians at Shinjuku Pit Inn. I changed the keyboard part to piano as well as experimented with changing the pattern.” It’s a really interesting result where a modern beat can be felt.\n“Arm of the Sea”\n“I composed this song for the doctor and famous pianist Hiroshi Irie (1955-2014). He was a genius talent, particularly when it came to rhythms.” The improvisation is filled with tears and touches the heart.\n***\nWhile many of the musicians are young and may not be generally well-known, they are without exception talented musicians who are definitely polishing their skills. Good performances are heard throughout the entire album. Mabumi Yamaguchi introduces the members:\nYoshitaka Shoji (guitarist, 1960, from Kanagawa Prefecture). In a word, “authentic” definitely comes to mind.\nMisato Okumura (pianist, 1981, from Osaka Prefecture). When I’m playing a solo and I hear her comping, I feel like we’re dancing a tango (of course, I’ve never actually danced a tango).\nRyohei Komaki (bassist, 1981, from Kagoshima Prefecture). The type of bassist I’ve been waiting for a long time has appeared. I think that he has tremendous potential.\nNobuyuki Komatsu (drummer, 1977, from Niigata Prefecture). A drummer supporting the Japanese jazz scene. We’ve been working together for about twenty years and I’m looking forward to even more leaps and bounds.\nAfter finishing this album, Mabumi Yamaguchi said his appetite for composing was spurred on and that he wants to write more music after this. May that rising immersive happiness continue on from here.\nLet Your Mind Alone by Mabumi Yamaguchi Mabumi Yamaguchi - Tenor \u0026amp; Soprano Sax Yoshitaka Shoji - guitar Misato Okumura - piano Ryohei Komaki - bass Nobuyuki Komatsu - drums Released in 2017 on Spice of Life as SOLJP-0015.\nJapanese names: 山口真文 Yamaguchi Mabumi 東海林由孝 Shoji Yoshitaka 奥村美里 Okumura Misato 小牧良平 Komaki Ryohei 小松伸之 Komatsu Nobuyuki\nAudio and Video Mabumi Yamaguchi quartet performing live in 2010: Excerpt from track #1: “Sequel to a Dream” ","permalink":"https://mirror2.jazzofjapan.com/mabumi-yamaguchi-let-your-mind-alone/","summary":"\u003cp\u003eThe silvery tones of masterful jazz sax glide and soar through dynamically modern jazz on Mabumi Yamaguchi’s 2017 recording \u003cem\u003eLet Your Mind Alone\u003c/em\u003e.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220375x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220375x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWith eight original songs penned by Yamaguchi, the music is solid, confident, dramatic, and melodically entrancing. From the gripping opening track “Sequel To A Dream”, the songs flow with a fantastic balance of stimulation and control, offering various styles from peppy bossa rhythms, loose, modern swing, sweet ballads, and brightly positive tunes mixed with stimulating dark tinges.\u003c/p\u003e","title":"Mabumi Yamaguchi: Let Your Mind Alone"},{"content":"Jazz vocalist Mie Joké’s 2018 release Etrenne is a fun and fancy swing jazz outing, a fresh throwback to classic vocal jazz recordings. Like the best of jazz lover’s disks, this collection hits the mark with a great selection of familiar jazz standards performed with a loving touch.\nVocalist Joké purrs atop her jazz group with a confident grace, a breathy tank of soulful emotion and romance. Her solidly swinging jazz combos feature accomplished veteran musicians, with a different group performing for “Side A” and “Side B of the recording as if on a classic jazz vinyl LP.\nThe music is done right, with an honest, straight-ahead vision, swinging and sliding through jazz standards like “Cheek to Cheek”, “Fly Me To The Moon”, and “Caravan” with tender authenticity. Aside from jazz, a few bonus pop songs add to the variety with “Can’t Take My Eyes Off You” and “Still Crazy After All These Years.”\nEtrenne by Mie Joké Mie Joké - vocal Tsuyoshi Yamamoto - piano (tr. #1-5) Hiroshi Kagawa - bass (tr. #1-5) Toshio Osumi - drums (tr. #1-5) Koji Goto - piano (tr. #6-11) Satsuki Kusui - bass (tr. #6-11) Akira Yamada - drums (tr. #6-11) Wataru Hamasaki - sax, flute (tr. #6-11) Released in 2018 on Ultra Art Record as UA-1001.\nJapanese names: 情家みえ Joké Mie 山本剛 Yamamoto Tsuyoshi 香川裕史 Kagawa Hiroshi 大隅寿男 Osumi Toshio 後藤浩二 Goto Koji 楠井五月 Kusui Satsuki 山田玲 Yamada Akira 浜崎航 Hamasaki Wataru\nAudio and Video Promotional video for this album: Excerpt from track #1: “Cheek To Cheek” ","permalink":"https://mirror2.jazzofjapan.com/mie-jok%C3%A9-etrenne/","summary":"\u003cp\u003eJazz vocalist Mie Joké’s 2018 release \u003cem\u003eEtrenne\u003c/em\u003e is a fun and fancy swing jazz outing, a fresh throwback to classic vocal jazz recordings. Like the best of jazz lover’s disks, this collection hits the mark with a great selection of familiar jazz standards performed with a loving touch.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220358-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220358-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eVocalist Joké purrs atop her jazz group with a confident grace, a breathy tank of soulful emotion and romance. Her solidly swinging jazz combos feature accomplished veteran musicians, with a different group performing for “Side A” and “Side B of the recording as if on a classic jazz vinyl LP.\u003c/p\u003e","title":"Mie Joké: Etrenne"},{"content":"With a vintage romantic feel inspired by classic cinema, Shinichi Kato’s 2011 release Bass on Cinema is a well-crafted collection of great film music. Performed as a duo, with Kato on bass and Taihei Asakawa on piano and synthesizer, the album contains absorbing and dramatic moments, as befitting a tribute to the great songs of cinema. With the deep bass on melody, the dazzling piano and arrangements fill out the canvas with cinematic moods ranging from calm, sweet, and introspective to mysterious suspense, classical refinement, rock-and-roll abandon, and delicate melancholy.\nThe movies inspiring this album span decades, genres, and countries, with American, French, Italian, and Japanese cinema from the 1950s to the 1980s represented. Some of the more well-known numbers feature in movies such as Deer Hunter, Easy Rider, Charade, and Mahogany, whose popular theme “Do You Know Where You’re Going To” is interpreted as dazzling Bach-jazz-rock fusion, one of the album’s catchy standouts.\nOther album highlights include music from the Italian classic Cinema Paradiso and legendary film composer Ennio Morricone, beautifully weighty with dramatic significance, played over two album tracks as if a sublime intermission and denouement for this thematic outing.\nBass on Cinema by Shinichi Kato Shinichi Kato - bass Taihei Asakawa - piano, synthesizers, arrangements Released in 2011 on Roving Spirits as RKCJ-2048.\nJapanese names: 加藤真一 Kato Shinichi 浅川太平 Asakawa Taihei\nAudio and Video Shinichi Kato and Taihei Asakawa performing live in 2008: Excerpt from track #1: “Cavatina” ","permalink":"https://mirror2.jazzofjapan.com/shinichi-kato-bass-on-cinema/","summary":"\u003cp\u003eWith a vintage romantic feel inspired by classic cinema, Shinichi Kato’s 2011 release \u003cem\u003eBass on Cinema\u003c/em\u003e is a well-crafted collection of great film music. Performed as a duo, with Kato on bass and Taihei Asakawa on piano and synthesizer, the album contains absorbing and dramatic moments, as befitting a tribute to the great songs of cinema. With the deep bass on melody, the dazzling piano and arrangements fill out the canvas with cinematic moods ranging from calm, sweet, and introspective to mysterious suspense, classical refinement, rock-and-roll abandon, and delicate melancholy.\u003c/p\u003e","title":"Shinichi Kato: Bass on Cinema"},{"content":" Special Guest Contribution // Press Release\nThe birth of a world of visual sound!\nSOULSTATION will spark your own creative imagination. This trio makes powerful and fascinating music.\nUpon Listening to Bassist Minoru Yoshiki’s New Album:\nFor jazz musicians, the ideal music is the kind where subjective ideas bounce off each other, yet somehow give birth to a harmonious whole. This album brilliantly achieves that ideal.\nWhen the wind blows, trees sway and rustle. When it rains, placid streams become rushing torrents. The natural world is full of such examples of call-and-response. So is the music of this trio, which is just that: a force of nature.\nThe contrabass provides a canvas upon which the saxophone and piano freely engage in conversation. Together they have painted a highly visual musical world. It was recorded in a public hall in one take, with no going back—conditions that no doubt contributed to the vibrant immediacy of their sound. Listen to it with your imagination running free, and an entire cosmos will appear before your eyes. It will be time well spent.\nThis trio knows how to make some fascinating music.\nKunihiro Tsuji, Guitarist\nJune 2019 (Reiwa 1)\nPath of Hope by Minoru Yoshiki Soulstation Minoru Yoshiki - contrabass Osamu Soda - piano Shuji Morita - tenor sax Released in 2019 on Urban Jazz as Path of Hope.\nJapanese names: 吉木稔 Yoshiki Minoru 祖田修 Soda Osamu 森田修史 Morita Shuji\nAudio and Video Promotional video for this album: Excerpt from track #1: “Zi-Zi 1” ","permalink":"https://mirror2.jazzofjapan.com/minoru-yoshiki-soulstation-path-of-hope/","summary":"\u003cblockquote\u003e\n\u003cp\u003eSpecial Guest Contribution // Press Release\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"soulstation-flierJPG-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"soulstation-flierJPG-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe birth of a world of visual sound!\u003c/p\u003e\n\u003cp\u003eSOULSTATION will spark your own creative imagination. This trio makes powerful and fascinating music.\u003c/p\u003e\n\u003cp\u003eUpon Listening to Bassist Minoru Yoshiki’s New Album:\u003c/p\u003e\n\u003cp\u003eFor jazz musicians, the ideal music is the kind where subjective ideas bounce off each other, yet somehow give birth to a harmonious whole. This album brilliantly achieves that ideal.\u003c/p\u003e\n\u003cp\u003eWhen the wind blows, trees sway and rustle. When it rains, placid streams become rushing torrents. The natural world is full of such examples of call-and-response. So is the music of this trio, which is just that: a force of nature.\u003c/p\u003e","title":"Minoru Yoshiki Soulstation: Path of Hope"},{"content":"Expressing an exuberance for life with an original jazz spirit, Life Is Too Great from the Sayaka Kishi Trio is a vivid recording, full of variety and infused with the pure music spirit of Sayaka Kishi.\nActive in many groups and collaborations, Kishi returns to the classic piano trio form on Life Is Too Great and leads a powerhouse jazz trio, showcasing talent and songwriting with new original tunes, with the ever-hardy, invigorating Ryoji Orihara on fretless bass and crisp rhythmic master Akira Yamada on drums.\nFrom the swinging modern-jazz opener “DON PAPA”, the trio sparks a fire, and with such variety on the album highlights abound: the smooth fusion groove “Kin No Doto”, the darkly dramatic and tense “Madoka”, and the snappy up-beat samba “Palette” are all addictively ear-catching tunes. In addition, the album includes cleverly-arranged jazz on “I Have A Dream”, Sayaketts-style funky pop jazz on “Trip! or Tweet?”, and honestly sweet ballads on “Life Is Too Great” and “Dai Ni No Furosato”, a great album-closer full of emotion and charm.\nIn addition to her eight original offerings, three cover songs are included: Chick Corea’s “La Fiesta”, Thelonious Monk’s “Evidence”, and the jazz standard “Guilty”, performed as a dreamy piano solo.\nOn Life Is Too Great, Kishi’s tunes and performances are great and full of life, prismatic and memorable, befitting this polished modern jazz trio.\nLife Is Too Great by Sayaka Kishi Trio Sayaka Kishi - piano, keyboard, keyharmonica, percussion Ryoji Orihara - fretless bass Akira Yamada - drums Released in 2019 on T-TOC Records as TTOC-0034.\nJapanese names: 岸淑香 Kishi Sayaka 織原良次 Orihara Ryoji 山田玲 Yamada Akira\nAudio and Video Promotional video for this album: Excerpt from track #1: “DON PAPA” ","permalink":"https://mirror2.jazzofjapan.com/sayaka-kishi-trio-life-is-too-great/","summary":"\u003cp\u003eExpressing an exuberance for life with an original jazz spirit, \u003cem\u003eLife Is Too Great\u003c/em\u003e from the Sayaka Kishi Trio is a vivid recording, full of variety and infused with the pure music spirit of Sayaka Kishi.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220679-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220679-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eActive in many groups and collaborations, Kishi returns to the classic piano trio form on \u003cem\u003eLife Is Too Great\u003c/em\u003e and leads a powerhouse jazz trio, showcasing talent and songwriting with new original tunes, with the ever-hardy, invigorating Ryoji Orihara on fretless bass and crisp rhythmic master Akira Yamada on drums.\u003c/p\u003e","title":"Sayaka Kishi Trio: Life Is Too Great"},{"content":"Like the expansive cover depicting a peaceful blue ocean and sky, jazz bassist Daiki Yasukagawa’s trio on Kanmai creates a mood of a rolling deep and lofty grace.\nThe album includes nine modern jazz tunes, most being original compositions from Yasukagawa, and one each from pianist Sato and drummer Hashimoto. Two standards are also included, a swingy, stylish “Long Ago And Far Away”, and a bowed-bass feature on “Greensleeves”, a delicate, sacred performance heavy with emotional weight.\nOpening with atmospheric space, unhurried and patient, the modern sound develops with a fun looseness based on confidence and skill; the music soars and swings with thrilling percussive, melodic, and bass interplay. These players bring a lot to the performance, listening and responding to each other throughout, reacting and embellishing each other’s ideas and open spaces with exquisite taste.\nKanmai by Daiki Yasukagawa Trio Daiki Yasukagawa - bass Koichi Sato - piano Manabu Hashimoto - drums Released in 2012 on D-Neo Daiki Musica as DNCD-01.\nJapanese names: 安ヵ川大樹 Yasukagawa Daiki 佐藤浩一 Sato Koichi 橋本学 Hashimoto Manabu\nAudio and Video Daiki Yasukagawa Trio video for Kanmai: Excerpt from track #2: “Long Ago and Far Away” ","permalink":"https://mirror2.jazzofjapan.com/daiki-yasukagawa-trio-kanmai/","summary":"\u003cp\u003eLike the expansive cover depicting a peaceful blue ocean and sky, jazz bassist Daiki Yasukagawa’s trio on \u003cem\u003eKanmai\u003c/em\u003e creates a mood of a rolling deep and lofty grace.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220820-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220820-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe album includes nine modern jazz tunes, most being original compositions from Yasukagawa, and one each from pianist Sato and drummer Hashimoto. Two standards are also included, a swingy, stylish “Long Ago And Far Away”, and a bowed-bass feature on “Greensleeves”, a delicate, sacred performance heavy with emotional weight.\u003c/p\u003e","title":"Daiki Yasukagawa Trio: Kanmai"},{"content":"On Bénin Rio Tokyo, Japanese vocalist Nobie takes us on a musical journey spanning West Africa, Brazil, and Tokyo with sparkling duo collaborations. This music is catchy and deep, with layers of voice and guitar infused with a spirit of love, respect, and masterful finesse. With an ideal selection of musical partners and songs, Nobie’s rhythmically thrilling and lush voice cascades through the music like water over rocks, beautifully soft and dynamic.\nThe first four tracks represent Benin with Nobie and guitarist Lionel Loueke playing African and Brazilian music with flair over slick, fun rhythms. Nobie’s gorgeous vocal and percussive sounds add layers to the music, counterpointed beautifully by the deeper voice of Loueke, playing confidently together with joyful ease.\nThe Rio portion features legendary guitarist Toninho Horta playing two of his originals with Nobie. “Beijo Partido” is a mysterious, flowing lament with Nobie’s soft voice gracefully soaring over harmonically-shifting fields, while “Samba For Rudi” is a quick-footed vocalese feature, delightfully effusive and acrobatic.\nOn the Tokyo section, Nobie performs an impressive acapella version of Dave Brubeck’s “Blue Rondo a la Turk”, overdubbing her voice in several parts to brilliant effect. Guitarist Takayoshi Baba joins Nobie on the final track, a cute Japanese song which leaves the listener comforted and relaxed as the worldwide trip winds down.\nBénin Rio Tokyo by Nobie Nobie - vocal Lionel Loueke - guitar, vocals (#1-4) Toninho Horta - guitar, vocals (#5-6) Takayoshi Baba - guitar (#8) Released in 2018 on Dear Heart as DBCW-3333.\nJapanese names: ノビー Nobie 馬場孝喜 Baba Takayoshi\nAudio and Video Nobie and Toninho Horta performing “Beijo Partido” live: Nobie performing “Tombo in 7/4” live: Excerpt from track #1: “Karibu” ","permalink":"https://mirror2.jazzofjapan.com/nobie-b%C3%A9nin-rio-tokyo/","summary":"\u003cp\u003eOn \u003cem\u003eBénin Rio Tokyo\u003c/em\u003e, Japanese vocalist Nobie takes us on a musical journey spanning West Africa, Brazil, and Tokyo with sparkling duo collaborations. This music is catchy and deep, with layers of voice and guitar infused with a spirit of love, respect, and masterful finesse. With an ideal selection of musical partners and songs, Nobie’s rhythmically thrilling and lush voice cascades through the music like water over rocks, beautifully soft and dynamic.\u003c/p\u003e","title":"Nobie: Bénin Rio Tokyo"},{"content":"Easy and breezy, as if dozing in a hammock between palm trees, Layla Tomomi Sakai’s The Island stirs up visions of vacationing and relaxing in sultry lands as music floats softly by.\nSakai’s deep voice embraces the listener, dancing lightly through bossa novas and Latin-tinged music. The music is comforting, the musicians performing pieces that come and go in an uncomplicated manner, lulling the listener into a state of reassuring comfort. Sakai uses her voice gently yet confidently, producing an effect of sweet directness with an affectionate touch.\nSuppressing tense energy and favoring intimacy, the album features vocal/guitar duo arrangements in traditional bossa nova fashion, with additional instruments (piano, saxophone, harmonica) sprinkled in lightly. Several songs feature Sakai singing simply with a guitar and one other instrument: Antonio Carlos Jobim’s “Desafinado” and “Once I Loved”, as well as “Negaeri”, a ballad sung in Japanese as a gentle album closer.\nWhile maintaining the calm atmosphere, three songs also feature Sakai singing with a jazz quintet: “Only Trust Your Heart”, “I Remember You”, and “The Island” all feature piano, guitar, horn, bass, and drums, coming together to create a wonderfully pleasant sound, like an island breeze drifting softly by.\nThe Island by Layla Tomomi Sakai Layla Tomomi Sakai - vocal Yuichiro Hiraoka - guitar (#1, 3, 4, 5, 6) Ryuichi Takase - trumpet (#1, 4) Toshio Miki - sax (#3, 5) Masaru Okuyama - piano (#1, 3, 4) Satoshi Ishikawa - drums (#1, 3, 4) Matsumonica - harmonica (from Momijin) (#2) Norihito Nagasawa - guitar (from Momijin) (#2) Released in 2018 on Laydrunker Records as LAYLA-002.\nJapanese names: 坂井レイラ知美 Sakai Layla Tomomi 平岡遊一郎 Hiraoka Yuichiro 高瀬龍一 Takase Ryuichi 三木俊雄 Miki Toshio 奥山勝 Okuyama Masaru 石川智 Ishikawa Satoshi マツモニカ Matsumonica 長澤紀仁 Nagasawa Norihito\nAudio and Video Layla Tomomi Sakai performing live in 2017: Excerpt from track #1: “Only Trust Your Heart” ","permalink":"https://mirror2.jazzofjapan.com/layla-tomomi-sakai-the-island/","summary":"\u003cp\u003eEasy and breezy, as if dozing in a hammock between palm trees, Layla Tomomi Sakai’s \u003cem\u003eThe Island\u003c/em\u003e stirs up visions of vacationing and relaxing in sultry lands as music floats softly by.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220603-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220603-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eSakai’s deep voice embraces the listener, dancing lightly through bossa novas and Latin-tinged music. The music is comforting, the musicians performing pieces that come and go in an uncomplicated manner, lulling the listener into a state of reassuring comfort. Sakai uses her voice gently yet confidently, producing an effect of sweet directness with an affectionate touch.\u003c/p\u003e","title":"Layla Tomomi Sakai: The Island"},{"content":"Through a beautiful piano sound with deep reverberations, Seiji Endo’s latest solo album releases atmospheric music as if arising from the dreams and memories of ancient Japan. Genji Monogatari Volume 1 features the pianist performing his original compositions with dramatic textures woven from this ancient Japanese epic.\nAs with his previous albums Sakura Meditations and Circle For Peace, Endo plays his entrancing music alone, freely and beautifully. On this album, the novel’s influence adds layers of exoticism to the dramatic compositions. The result is evocative and mysterious music that strikes the heart.\nEndo uses scenes and characters from The Tale of Genji to pull music from the text, from words to sounds (as in the extended title “Echoes of 54 Books: From the Words of Genji, Sounds of Genji”), in music that sounds classical and stately at times, romantic and sweet at other times, and innocent and playful at yet others. Throughout, the twelve songs are set against a backdrop of emotional lyricism, striking an ambiguous resignation between forlorn despair and flickering hopefulness.\nSet among these musical facets, the listener may also pick up hints to classical works as well as others of Endo’s compositions, representing his imaginative fluidity while evoking the shaded atmospheres of Genji.\nGenji Monogatari Volume 1 by Seiji Endo Seiji Endo - solo piano and compositions Released in 2018 on Nippon Acoustic Records as NARP-8015.\nJapanese names: 遠藤征志 Endo Seiji\nAudio and Video Seiji Endo performing his composition “Sun, Moon and Children Smile” (from his “Sakura Meditation” album) in Indonesia in 2014: Excerpt from track #1: “桐壺(桐壺更衣)(きりつぼ・きりつぼのこうい) (Kiritsubo (Kiritsubo changing clothes) (Kiritsubo/Kiritsubo no Koi))” ","permalink":"https://mirror2.jazzofjapan.com/seiji-endo-genji-monogatari-volume-1/","summary":"\u003cp\u003eThrough a beautiful piano sound with deep reverberations, Seiji Endo’s latest solo album releases atmospheric music as if arising from the dreams and memories of ancient Japan. \u003cem\u003eGenji Monogatari Volume 1\u003c/em\u003e features the pianist performing his original compositions with dramatic textures woven from this ancient Japanese epic.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220076-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220076-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAs with his previous albums \u003cem\u003eSakura Meditations\u003c/em\u003e and \u003cem\u003eCircle For Peace\u003c/em\u003e, Endo plays his entrancing music alone, freely and beautifully. On this album, the novel’s influence adds layers of exoticism to the dramatic compositions. The result is evocative and mysterious music that strikes the heart.\u003c/p\u003e","title":"Seiji Endo: Genji Monogatari Volume 1"},{"content":"The sympathetic joy of listening to three accomplished musicians improvising and creating beautiful music together is aroused on Sympathy from the Hitomi Nishiyama Trio from 2013. This kind of sympathy, that of being made happy by the joy of others, builds on the listener’s own enjoyment in listening to the art created here.\nThe Hitomi Nishiyama Trio creates music that is exquisite and graceful, delicate and refined, where the music flows and builds and whirls in a stylish modern jazz style, with piano chords and melody lines moving over the deep bass and crystalline cymbals like wind passing through and around leaves on boughs, swaying and producing tranquil sounds of nature.\nThis musical style is represented as well by the album art, “Knotted Threads” by artist Akiko Ikeuchi, where, in the music and the artwork, intricate lines intersect and diverge like delicate brush strokes of light, deep and reverent (see also to the trio’s Music In You album for a similar art/music connection).\nLike a large lake shifting slowly and powerfully, reacting to deeply-stirring movements, Nishiyama’s original songs on this album are strong, emotional and heavy: The opening “Sympathy” is an darkly sweet waltz; “Scarlet” builds dramatically in a thrilling 7-beat meter; “At The Gate” is a driving, imaginative exploration decorated with elaborate runs and flourishes; “Cross Section of Gray Cities” tells a mechanistic, futuristic tale ; and the album closer “Remains To Be Seen” evokes a purity of message like a butterfly emerging from a chrysalis, delicate and beautiful and about to bravely fly away.\nThe presence of the fellow lyrical jazz pianist Bill Evans is also felt throughout Sympathy. While Evans’ “Laurie” is performed as a sentimental homage to the influential pianist, Nishiyama’s original song “Tack” calls to mind Evans’ lyrical approach to jazz waltz playing, while her “T.C.T.T. (Twelve Chord Tune Two)” offers a reply to Bill Evans’s song “T.T.T. (Twelve Tone Tune)”, a musical puzzle adeptly answered here.\nSympathy by Hitomi Nishiyama Trio Hitomi Nishiyama - piano Yasuhiko “Hachi” Sato - bass Kazumi Ikenaga - drums Released in 2013 on Meantone Records as MT-004.\nJapanese names: 西山瞳 Nishiyama Hitomi 佐藤“ハチ”恭彦 Sato Yasuhiko “Hachi” 池長和美 Ikenaga Kazumi\nAudio and Video Promotional video for this album: Excerpt from track #1: “Sympathy” Other Links Thread sculpture (used as cover art) by Akiko Ikeuchi ","permalink":"https://mirror2.jazzofjapan.com/hitomi-nishiyama-trio-sympathy/","summary":"\u003cp\u003eThe sympathetic joy of listening to three accomplished musicians improvising and creating beautiful music together is aroused on \u003cem\u003eSympathy\u003c/em\u003e from the Hitomi Nishiyama Trio from 2013. This kind of sympathy, that of being made happy by the joy of others, builds on the listener’s own enjoyment in listening to the art created here.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1210117-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1210117-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe Hitomi Nishiyama Trio creates music that is exquisite and graceful, delicate and refined, where the music flows and builds and whirls in a stylish modern jazz style, with piano chords and melody lines moving over the deep bass and crystalline cymbals like wind passing through and around leaves on boughs, swaying and producing tranquil sounds of nature.\u003c/p\u003e","title":"Hitomi Nishiyama Trio: Sympathy"},{"content":"Hikari Ichihara’s fifth album Move On features the trumpeter’s quintet performing finely-tuned compositions with jazz integrity and a vibrant sound full of sparkling energy. The tracks range from knife-edge sharp modern jazz, bouncy swing, wistful ballads, and rapid-fire straight ahead jazz. Also included is a single jazz standard, a fresh interpretation of “Everything Happens To Me”, delivered here with a relaxed groove.\nThe quintet consists of strong, like-minded players who play with a polished yet intimate feeling, creating a solid framework for the improvisers to gracefully leap and flow over. Ichihara’s trumpet solos consistently capture attention, full of impressive decorative swoops and turns, loaded with dramatic soul and a beautifully fluid and organic sound.\nClosing brilliantly with pianist Hideaki Hori’s upbeat composition “Inspiration”, this album’s positive energy and satisfying sound will surely have listeners inspired to listen again, and to move on to explore more of Hikari Ichihara’s music as well.\nMove On by Hikari Ichihara Group Hikari Ichihara - trumpet, flugelhorn Ryosuke Asai - alto sax Hideaki Hori - piano Kunpei Nakabayashi - bass Masanori Ando - drums Released in 2010 on After Beat as PCCY-30157.\nJapanese names: 市原ひかり Ichihara Hikari 浅井良将 Asai Ryosuke 堀秀彰 Hori Hideaki 中林薫平 Nakabayashi Kunpei 安藤正則 Ando Masanori\nAudio and Video Video of Hikari Ichihara playing “Can You Repeat the Past” from the 2014 album “Dear Gatsby”: Excerpt from track #1: “やみくろ (Dark Black)” ","permalink":"https://mirror2.jazzofjapan.com/hikari-ichihara-group-move-on/","summary":"\u003cp\u003eHikari Ichihara’s fifth album \u003cem\u003eMove On\u003c/em\u003e features the trumpeter’s quintet performing finely-tuned compositions with jazz integrity and a vibrant sound full of sparkling energy. The tracks range from knife-edge sharp modern jazz, bouncy swing, wistful ballads, and rapid-fire straight ahead jazz. Also included is a single jazz standard, a fresh interpretation of “Everything Happens To Me”, delivered here with a relaxed groove.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200512-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200512-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe quintet consists of strong, like-minded players who play with a polished yet intimate feeling, creating a solid framework for the improvisers to gracefully leap and flow over. Ichihara’s trumpet solos consistently capture attention, full of impressive decorative swoops and turns, loaded with dramatic soul and a beautifully fluid and organic sound.\u003c/p\u003e","title":"Hikari Ichihara Group: Move On"},{"content":"Yuichiro Aratake’s The Light Flows In is a solo piano collection which sets a calm, relaxing mood, offering peace through original songs and charming jazz and pop standards. With patience and sincerity, Aratake performs the pieces as slow ballads, reflecting the gratitude for loyalty, friendship, and support that inspired the performances.\nThis album features a special Bösendorfer Imperial Concert Grand piano, the deep and full tones echoing beautifully as the pianist moves freely through his selection of originals and familiar covers (“I Loves You, Porgy”, “Round About Midnight”, “What The World Needs Now”, “Blackbird”).\nIn addition to solo piano, 3 of the 12 tracks feature duos: a piano and sax outing on the warm “Family”, a bluesy “Born To Be Blue” for piano and bass, and a vibrant outpouring on “Grumbling Sky”, a piano and drums duo, the one spot on the album which departs from the otherwise tranquil mood. Aside from this charged track, the otherwise quiet solo piano ballads consistently evoke peace and love, ringing through this album with a comforting sense of togetherness.\nThe Light Flows In by Yuichiro Aratake Yuichiro Aratake - piano Tamaya Honda - drums (tr. #10) Hideki Kawamura - tenor sax (tr. #2) Noboru Ando - bass (tr. #7) Released in 2005 on S2S as SSDF-5006.\nJapanese names: 荒武裕一朗 Aratake Yuichiro 本田珠也 Honda Tamaya 河村英樹 Kawamura Hideki 安東昇 Ando Noboru\nAudio and Video Yuichiro Aratake trio playing live in 2014: Excerpt from track #1: “I loves You,Porgy” ","permalink":"https://mirror2.jazzofjapan.com/yuichiro-aratake-the-light-flows-in/","summary":"\u003cp\u003eYuichiro Aratake’s \u003cem\u003eThe Light Flows In\u003c/em\u003e is a solo piano collection which sets a calm, relaxing mood, offering peace through original songs and charming jazz and pop standards. With patience and sincerity, Aratake performs the pieces as slow ballads, reflecting the gratitude for loyalty, friendship, and support that inspired the performances.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1210227-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1210227-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis album features a special Bösendorfer Imperial Concert Grand piano, the deep and full tones echoing beautifully as the pianist moves freely through his selection of originals and familiar covers (“I Loves You, Porgy”, “Round About Midnight”, “What The World Needs Now”, “Blackbird”).\u003c/p\u003e","title":"Yuichiro Aratake: The Light Flows In"},{"content":"Pianist Harumi Nomoto’s 2014 release Virgo is a constellation of grooves, moods, and textures, boldly incorporating inter-genre approaches as piano jazz is woven with Eastern sounds, African rhythms, and hip-hop-influenced beats.\nVirgo follows the pianist’s previous albums Another Ordinary Day (2002) and Belinda (2007) and completes a trio of records that progressively show an expansion of creative vision and songwriting tact. Through arrangements honed at Japanese jazz clubs through prior years, the music was released to eager fans with this album of seven originals plus an arrangement of Thelonious Monk’s “Green Chimneys”, which gets a unique slow-and-low groove treatment here.\nAside from straight-ahead jazz, leader Harumi Nomoto and bandmates fretless electric bassist Ryoji Orihara and multi-genre jazz drummer Sohnosuke Imaizumi have perfected a jazzy, funky groove for modern jazz, apparent throughout on tracks such as “Green Chimneys”, the effervescently modern and angular “Hirari”, and the entrancingly catchy “Avocado” which kicks into a flashy high-gear for an impressive trio showpiece.\nExotic musical elements also surface on Virgo, as African music inspires the strong crowd-pleaser “Do Re Mi”, a joyfully bouncy tune with an upbeat bass and drum groove with fun breaks. Similarly, an adventurous mood arises on “Azurq”, mellow and modal, and evoking foreign vibrations in the vein of Yusef Lateef’s Eastern explorations.\nPlenty of peaceful space is also offered and balances the energy well, with the tender ballad “Aru Hito No Koto” and two versions of the song “Rain”, an ode to the beauty of wet weather and contemplative moods.\nVirgo by Harumi Nomoto Trio Harumi Nomoto - piano Ryoji Orihara - electric fretless bass Sohnosuke Imaizumi - drums Makiko Sugawara - violin (track #8) Nao Sakamoto - Chromasomus/prepared guitar (track #8) Released in 2014 on Okra Record as MIKO-1009.\nJapanese names: 野本晴美 Nomoto Harumi 織原良次 Orihara Ryoji 今泉総之輔 Imaizumi Sohnosuke 菅原牧子 Sugawara Makiko 坂本直 Sakamoto Nao\nAudio and Video Album promo video #1: Album promo video #2: Album promo video #3: Album promo video #4: Excerpt from track #6: “Do re mi” ","permalink":"https://mirror2.jazzofjapan.com/harumi-nomoto-trio-virgo/","summary":"\u003cp\u003ePianist Harumi Nomoto’s 2014 release \u003cem\u003eVirgo\u003c/em\u003e is a constellation of grooves, moods, and textures, boldly incorporating inter-genre approaches as piano jazz is woven with Eastern sounds, African rhythms, and hip-hop-influenced beats.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1210299-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1210299-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003e\u003cem\u003eVirgo\u003c/em\u003e follows the pianist’s previous albums Another Ordinary Day (2002) and Belinda (2007) and completes a trio of records that progressively show an expansion of creative vision and songwriting tact. Through arrangements honed at Japanese jazz clubs through prior years, the music was released to eager fans with this album of seven originals plus an arrangement of Thelonious Monk’s “Green Chimneys”, which gets a unique slow-and-low groove treatment here.\u003c/p\u003e","title":"Harumi Nomoto Trio: Virgo"},{"content":"Through jazz, folk, rock, and imagination, the music on Zephyr unfurls like smoke rising from fragrant incense, floating and curling in beautiful patterns in the air. A trio consisting of saxophone, acoustic guitar, and electric guitar, the front-forward unit is unbound by genre, producing otherworldly sounds evocative of folk songs from a distant world.\nPeaceful, comforting, and deep, the ten tracks feature mostly original music supplied by the members, summoning tranquil and emotional moods. The music is lyrical and poetic, with suggestions of Jan Garbarek, Al Di Meola, Bill Evans and Stan Getz, and even Sting and the Beatles felt among the album’s tracks.\nAside from original compositions, the album also features the jazz standard “Sophisticated Lady”, the anthemic “Witchi Tai To” (a regular feature of saxophonist Inoue), and a beautiful classically-tinged rendition of Sting’s “The Secret Marriage” which, like other parts of the album, evokes a hopelessly romantic scene, music floating on a soft, gentle wind.\nZephyr by Zephyr Toshihiko Inoue - soprano, tenor sax Teiji Taguchi - acoustic guitar Takashi Amano - electric guitar Released in 2013 on What’s New Records as WNCJ-2249.\nJapanese names: 井上淑彦 Inoue Toshihiko 田口悌治 Taguchi Teiji 天野丘 Amano Takashi\nAudio and Video Promotional video for this album: Excerpt from track #1: “Fairly Woods” ","permalink":"https://mirror2.jazzofjapan.com/zephyr-zephyr/","summary":"\u003cp\u003eThrough jazz, folk, rock, and imagination, the music on \u003cem\u003eZephyr\u003c/em\u003e unfurls like smoke rising from fragrant incense, floating and curling in beautiful patterns in the air. A trio consisting of saxophone, acoustic guitar, and electric guitar, the front-forward unit is unbound by genre, producing otherworldly sounds evocative of folk songs from a distant world.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200808-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200808-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003ePeaceful, comforting, and deep, the ten tracks feature mostly original music supplied by the members, summoning tranquil and emotional moods. The music is lyrical and poetic, with suggestions of Jan Garbarek, Al Di Meola, Bill Evans and Stan Getz, and even Sting and the Beatles felt among the album’s tracks.\u003c/p\u003e","title":"Zephyr: Zephyr"},{"content":"The deep, soulful voice of Masako Kunisada warmly embraces the listener on her 2014 recording M, performing classic jazz tunes as well as selections from the 70’s/80’s American soft-rock songbook, and closing with a tender ballad.\nThe simple directness of this recording reflects an honest ethic, a special feeling of being home-made, made with care, carefully curated. Guided by happiness and an irrepressible joy for music, Kunisada sings from the heart and draws from various influences including jazz, R\u0026amp;B, Japanese soul and more, infusing it all with her sincere, expressive voice.\nJoined by pianist and frequent collaborator Manabu Ohishi on all instruments and arrangements, standard jazz is delivered through an uptempo “Speak Low”, a funky “Cherokee”, a swingy pop “That’s All”, and the pretty ballad “Alfie”, while classic soft-rock songs such as “Don’t Let Me Be Lonely Tonight”, “Will You Love Me Tomorrow?”, and a moving “From A Distance” deliver emotional punches through masterful performances.\nAn eclectic addition of Madonna’s “La Isla Bonita” is tasteful and effective, while Kunisada’s original ballad “Kono Mune No Furusato” closes the album with beautiful sentimentality, devoted, full of love, and direct to one’s heart.\nM by Masako Kunisada Masako Kunisada - vocal Manabu Ohishi - all instruments, arrangements M-oto - human beat box (tracks #2, 4, 5, 7) Released in 2014 on Masaki Kunisada as M.\nJapanese names: 国貞雅子 Kunisada Masako 大石学 Ohishi Manabu エムオート M-oto\nAudio and Video An orchestral version of “Kono Mune No Furusato”, the last song on this album: Excerpt from track #8: “From a distance” ","permalink":"https://mirror2.jazzofjapan.com/masako-kunisada-m/","summary":"\u003cp\u003eThe deep, soulful voice of Masako Kunisada warmly embraces the listener on her 2014 recording \u003cem\u003eM\u003c/em\u003e, performing classic jazz tunes as well as selections from the 70’s/80’s American soft-rock songbook, and closing with a tender ballad.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200924-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200924-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe simple directness of this recording reflects an honest ethic, a special feeling of being home-made, made with care, carefully curated. Guided by happiness and an irrepressible joy for music, Kunisada sings from the heart and draws from various influences including jazz, R\u0026amp;B, Japanese soul and more, infusing it all with her sincere, expressive voice.\u003c/p\u003e","title":"Masako Kunisada: M"},{"content":"United by a stellar theme of the universe, the Tokyo jazz quartet Blue Dot explores stars and galaxies on their debut album Halo from 2016.\nThrough ten songs tuned to the mysteries of space and time, the music is solidly modern and positively charged. Tokyo-based drummer Makoto Takeshi leads a quartet consisting of sax, piano, bass, and drums, with original songs supplied by all members of the group.\nThe energetic opener, “Sturm und Drang” (by pianist Tamashi Goto) is a sharp-edge sprint through modern jazz, while “Bird” (by bassist Goro Takano) is a creative and mesmerizing tune, soft and deep, inspired by dreams of flying.\nWith strong appeal to the universe theme, Rikitake’s “Andromeda” is a gentle, peaceful ode to the wonders of space, while “Echo of Stars” (Tamashi Goto) is a darker, ECM-style mysteriously brooding adventure.\nIn a memorable closer, the vocalist Maki Fujimura is featured on the last tune “Moon”, a sweet song with Japanese lyrics.\nOther songs feature jazz combined with pretty waltz-time ballads, poppy soft-rock, quirky uptempo funk, and snappy Latin beats, all infused with a sense of open-eyed wonder and appreciation for nature and life on this blue dot of a planet.\nHalo by Blue Dot Makoto Rikitake - drums Tamashi Goto - piano Masanori Sugimoto - tenor sax Goro Katano - electric bass Maki Fujimura - vocals (track #10) Released in 2016 on Blue Dot as Halo.\nJapanese names: 力武誠 Rikitake Makoto 後藤魂 Goto Tamashi 杉本匡教 Sugimoto Masanori 片野吾朗 Katano Goro 藤村麻紀 Fujimura Maki\nAudio and Video Promotional video for Blue Dot: Excerpt from track #1: “Sturm Und Drang” ","permalink":"https://mirror2.jazzofjapan.com/blue-dot-halo/","summary":"\u003cp\u003eUnited by a stellar theme of the universe, the Tokyo jazz quartet Blue Dot explores stars and galaxies on their debut album \u003cem\u003eHalo\u003c/em\u003e from 2016.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1220113-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1220113-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThrough ten songs tuned to the mysteries of space and time, the music is solidly modern and positively charged. Tokyo-based drummer Makoto Takeshi leads a quartet consisting of sax, piano, bass, and drums, with original songs supplied by all members of the group.\u003c/p\u003e\n\u003cp\u003eThe energetic opener, “Sturm und Drang” (by pianist Tamashi Goto) is a sharp-edge sprint through modern jazz, while “Bird” (by bassist Goro Takano) is a creative and mesmerizing tune, soft and deep, inspired by dreams of flying.\u003c/p\u003e","title":"Blue Dot: Halo"},{"content":"New York-style jazz with a fresh Japanese take is the focus on 2010’s Playing New York, where popular Japanese pianist Akane Matsumoto leads a trio with veteran NYC musicians Nat Reeves (bass) and Joe Farnsworth (drums).\nWith ten songs ranging from speedy bebop to romantic ballads, well-known tunes from jazz influences are covered, such as Oscar Peterson’s “Wheat Land”, Bud Powell’s “Celia”, and Duke Ellington’s “Sunset and the Mockingbird”, a sensitive and lingering close to the album. Matsumoto also presents three original tunes: “Playing”, a whirlwind Phineas Newborn Jr-style quick bop, “Twilight”, a soft, tender ballad in three, and “My Dear”, a comfortable and heart-warming bossa nova tune.\nHer impressive dexterity and jazz proficiency is apparent right from the opening of the album, bringing to mind the legendary Phineas Newborn Jr., who was also honored on Matsumoto’s previous release I Love Phineas. Her skills shine on faster tunes such as “Relaxing at Camarillo” and “Celia”, demonstrating a mastery of bebop and her characteristic happy, deeply-swinging style that she clearly enjoys performing while thrilling the listener.\nAt medium tempos, Matsumoto’s relaxed rhythmic sense is unerringly charming, playing with a solid, feel-good groove and tangible pulse from the trio. With another tip of the hat to the legendary Phineas, this groovy feeling is especially strong on Horace Silver’s “Juicy Lucy”, where the youthful pianist swings with bluesy flair and decorative gospel touches.\nPlaying New York by Akane Matsumoto Akane Matsumoto - piano Nat Reeves - bass Joe Farnsworth - drums Released in 2010 on TK Entertainment as QACK-35007.\nJapanese names: 松本茜 Matsumoto Akane\nAudio and Video Akane Matsumoto playing “My Dear” from this album: Excerpt from track #1: “プレイング (Playing)” ","permalink":"https://mirror2.jazzofjapan.com/akane-matsumoto-playing-new-york/","summary":"\u003cp\u003eNew York-style jazz with a fresh Japanese take is the focus on 2010’s \u003cem\u003ePlaying New York\u003c/em\u003e, where popular Japanese pianist Akane Matsumoto leads a trio with veteran NYC musicians Nat Reeves (bass) and Joe Farnsworth (drums).\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1210174-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1210174-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWith ten songs ranging from speedy bebop to romantic ballads, well-known tunes from jazz influences are covered, such as Oscar Peterson’s “Wheat Land”, Bud Powell’s “Celia”, and Duke Ellington’s “Sunset and the Mockingbird”, a sensitive and lingering close to the album. Matsumoto also presents three original tunes: “Playing”, a whirlwind Phineas Newborn Jr-style quick bop, “Twilight”, a soft, tender ballad in three, and “My Dear”, a comfortable and heart-warming bossa nova tune.\u003c/p\u003e","title":"Akane Matsumoto: Playing New York"},{"content":"Art music from two musician artists, N.40° is sweet and stimulating, mellow and manic, alternating between states on this compelling album. The emotive trumpet-and-piano duo of Shinpei Ruike and George Nakajima delivers atmospheric standards as well as boundary-pushing free improvisations. With moments of both comfortable and experimental jazz, the pieces alternate from limpid and romantic to free and offbeat wild abandon; fun improvisational pieces are placed like splashes of color between beautiful jazz songs (“The Nearness of You”, “Pure Imagination”, “Alone, Alone and Alone”).\nThe album contains 16 songs, an engaging mix of standards and original tunes. Seven shorter solo improvisations (1-2 minutes apiece) of piano or trumpet are found among the fuller, composed songs, providing interesting breaks of splashy free expression to the overall album experience.\nNakajima’s skillful piano provides the cool rhythmic and harmonic underpinning with a sensitive, fun touch, while Ruike’s mysterious and breathy trumpet calls to mind the famous Polish trumpeter Tomasz Stańko at times with its skillfully edgy and elastic sounds.\nN.40° by Shinpei Ruike \u0026amp; George Nakajima Shinpei Ruike - trumpet George Nakajima - piano Released in 2014 on Apollo Sounds as APLS-1403.\nJapanese names: 類家心平 Ruike Shinpei 中嶋錠二 Nakajima George\nAudio and Video Promotional video for this album: Excerpt from track #1: “Nearness of you” ","permalink":"https://mirror2.jazzofjapan.com/shinpei-ruike-george-nakajima-n.40/","summary":"\u003cp\u003eArt music from two musician artists, \u003cem\u003eN.40°\u003c/em\u003e is sweet and stimulating, mellow and manic, alternating between states on this compelling album. The emotive trumpet-and-piano duo of Shinpei Ruike and George Nakajima delivers atmospheric standards as well as boundary-pushing free improvisations. With moments of both comfortable and experimental jazz, the pieces alternate from limpid and romantic to free and offbeat wild abandon; fun improvisational pieces are placed like splashes of color between beautiful jazz songs (“The Nearness of You”, “Pure Imagination”, “Alone, Alone and Alone”).\u003c/p\u003e","title":"Shinpei Ruike \u0026 George Nakajima: N.40°"},{"content":"Music that takes you places, Visible/Invisible from the Ryosuke Hashizume Group presents six works of art from the saxophonist/composer, perfectly executed by the five musicians, through mellow, warm electric guitar, grooving and smooth electric fretless bass, organic and emotive piano, thrillingly creative drumming, and center-stage visceral tenor sax, filling out the spaces of otherworldly jazz.\nThrough sounds ranging from ethereal and delicate to deep and groovy, the music steadily develops in dramatic style, patiently, with nooks and crannies of musical texture creating a fulfilling, lush experience. This is art music, creative jazz with rock, modern classical, and free elements, carefully crafted with space for the skilled musicians to stretch out together, painting fantastic and vivid colors with harmonic richness and rhythmic dynamicism.\nWith six songs ranging from eight to 16 minutes each, the music breathes with life: From the opener “Journey”, flowing like water over a delicate lattice of cymbals and drums, moving into “The Last Day of Summer”, a mysterious melody storytelling over a jazz/rock fusion riff, contrasted against the sound effects of “15 Night”, a darker poem-like atmosphere, floating with the stimulating “Cycles” and settling into “Park”, an anthemic, never-want-it-to-end pop/rock jazz tune, before reemerging from dreams with the final song “Sketch #1”, each composition offers a fascinating path through the seen and unseen facets of this compelling music.\nVisible/Invisible by Ryosuke Hashizume Group Ryosuke Hashizume - tenor, soprano saxophones Motohiko Ichino - guitar Koichi Sato - piano Ryoji Orihara - fretless bass Manabu Hashimoto - drums, percussion Released in 2013 on Apollo Sounds as APLS-1304.\nJapanese names: 橋爪亮督 Hashizume Ryosuke 市野元彦 Ichino Motohiko 佐藤浩一 Sato Koichi 織原良次 Orihara Ryoji 橋本学 Hashimoto Manabu\nAudio and Video Promotional video for this album: Excerpt from track #4: “Cycles” ","permalink":"https://mirror2.jazzofjapan.com/ryosuke-hashizume-group-visible/invisible/","summary":"\u003cp\u003eMusic that takes you places, \u003cem\u003eVisible/Invisible\u003c/em\u003e from the Ryosuke Hashizume Group presents six works of art from the saxophonist/composer, perfectly executed by the five musicians, through mellow, warm electric guitar, grooving and smooth electric fretless bass, organic and emotive piano, thrillingly creative drumming, and center-stage visceral tenor sax, filling out the spaces of otherworldly jazz.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200748-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200748-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThrough sounds ranging from ethereal and delicate to deep and groovy, the music steadily develops in dramatic style, patiently, with nooks and crannies of musical texture creating a fulfilling, lush experience. This is art music, creative jazz with rock, modern classical, and free elements, carefully crafted with space for the skilled musicians to stretch out together, painting fantastic and vivid colors with harmonic richness and rhythmic dynamicism.\u003c/p\u003e","title":"Ryosuke Hashizume Group: Visible/Invisible"},{"content":"Glamorous Osaka-based singer Maki Fujimura enraptures the audience with her silky voice and energetic improvisation on this live album recorded at the intimate Tokyo jazz bar “Apple Jump”.\nGoing by “The Duo!” together with the amazing pianist Hideaki Hori, the two musicians expertly create music with pulse, Fujimura building upon and playing with Hori’s rhythmic timing and impeccable pianistic touch, with her soft yet strong vocals gliding around the piano’s notes in perfect interplay.\nFujimura uses her voice as a musician’s instrument, moving from soft ballads to high-energy sprints, singing as a true musician in charge of her instrument with deep musical knowledge. The singer evokes moods from romantic love and positive energy to moments of moody solitude, while pianist Hori provides the perfect musical partnership gained through their years of playing together on innumerable live dates.\nRecorded as-is and direct over two nights at the jazz bar, the duo performs both originals and standard jazz tunes. Two of Fujimura’s sparkling crowd-favorites are included: “Ray”, a cheery tune pledging eternal love and support, and “A Thousand Kisses”, where Fujimura’s voice floats gracefully over the piano in pretty melodic arcs as she positively fills the room with romance.\nIn addition, the duo thrills with arrangements of standards such as “Summertime”, “Caravan”, and a sincerely moving version of “The Rose”.\nBest Wishes by Maki Fujimura Maki Fujimura - vocal Hideaki Hori - piano Released in 2013 on Maki Fujimura as MAKI.TV-0001.\nJapanese names: 藤村麻紀 Fujimura Maki 堀秀彰 Hori Hideaki\nAudio and Video Maki Fujimura and Hideaki Hori performing “Caravan” live in 2017: Excerpt from track #1: “Ray” ","permalink":"https://mirror2.jazzofjapan.com/maki-fujimura-best-wishes/","summary":"\u003cp\u003eGlamorous Osaka-based singer Maki Fujimura enraptures the audience with her silky voice and energetic improvisation on this live album recorded at the intimate Tokyo jazz bar “Apple Jump”.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1210009-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1210009-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eGoing by “The Duo!” together with the amazing pianist Hideaki Hori, the two musicians expertly create music with pulse, Fujimura building upon and playing with Hori’s rhythmic timing and impeccable pianistic touch, with her soft yet strong vocals gliding around the piano’s notes in perfect interplay.\u003c/p\u003e","title":"Maki Fujimura: Best Wishes"},{"content":"Tokuhiro Doi’s Amalthea from 2011 presents a modern jazz quartet from Japan led by the evocative tones of jazz clarinet. Although jazz clarinet can prompt thoughts of bouncy big bands and classic swing music, this album veers more towards dark and mysterious shades that will interest fans of creative modern jazz.\nDoi’s mature compositions embrace the sounds of jazz in various settings: mid-tempo walking jazz, energetic and frenetic jazz, and elegiac European classical sounds. Like many other modern recordings, facets of bebop, hard-bop, and cool jazz influences also surface effortlessly in the soulful music.\nThe woody tone of the clarinet makes the music organic and present, breathy and pure. Doi’s clarinet spins out long strands of wild jazz improvisation on “Velvet Sun” and “Kids ’24-7′” and cheerful poppy jazz on the catchy album closer “Off Duty”. Yet perhaps even more compelling are the meditatively quiet moments on “One Little Spark”, “Euphoria”, and the title track “Amalthea”, where the quartet fashions a Miles Davis/Bill Evans “Blue In Green” mood of atmospheric calm and beauty.\nAmalthea by Tokuhiro Doi Quartet Tokuhiro Doi - clarinet Koichi Sato - piano Yuhei Honkawa - bass Tomoyuki Konno - drums Released in 2011 on D-musica Daiki Music as DMCD-15.\nJapanese names: 土井徳浩 Doi Tokuhiro 佐藤浩一 Sato Koichi 本川悠平 Honkawa Yuhei 紺野智之 Konno Tomoyuki\nAudio and Video Several audio excerpts serving as an introduction to the Tokuhiro Doi Quartet live: A recent video of Tokuhiro Doi playing “Stella By Starlight” with pianist Akane Matsumoto: Excerpt from track #1: “Years” ","permalink":"https://mirror2.jazzofjapan.com/tokuhiro-doi-quartet-amalthea/","summary":"\u003cp\u003eTokuhiro Doi’s \u003cem\u003eAmalthea\u003c/em\u003e from 2011 presents a modern jazz quartet from Japan led by the evocative tones of jazz clarinet. Although jazz clarinet can prompt thoughts of bouncy big bands and classic swing music, this album veers more towards dark and mysterious shades that will interest fans of creative modern jazz.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"../images/tokuhiro-doi-quartet-amalthea/L1200329-1024.JPG\"\u003e\n    \u003cimg loading=\"lazy\" src=\"../images/tokuhiro-doi-quartet-amalthea/L1200329-1024.JPG\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eDoi’s mature compositions embrace the sounds of jazz in various settings: mid-tempo walking jazz, energetic and frenetic jazz, and elegiac European classical sounds. Like many other modern recordings, facets of bebop, hard-bop, and cool jazz influences also surface effortlessly in the soulful music.\u003c/p\u003e","title":"Tokuhiro Doi Quartet: Amalthea"},{"content":"Enterprising singer Sanae Ishikawa presents us with her passionate voice on Grown-up Christmas Gift from 2018, a mini-album celebrating classic and modern Christmas songs in a jazz and pop setting. As part of her successful Seasonal Japanese Songbook Project crowdfunding, the popular singer released this album along with her full-length album 冬-Winter- to great anticipation, just in time for the Christmas season that year. 春-Spring- (2019) and 夏-Summer- (2020) have also been released in this jazzy J-pop series, with a hope of seeing 秋-Autumn- in the not-too-distant future.\nThe first track on Grown-up Christmas Gift is the main show, a thirteen-minute “Christmas Medley” featuring Ishikawa’s resonant voice gracing seven classic holiday tunes and popular songs. Stops on the musical tour include “All I Want For Christmas Is You”, “Let It Snow! Let It Snow! Let it Snow!”, “Silent Night”, “Jingle Bells”, “Winter Wonderland”, “The Christmas Song”, and “Happy Xmas”. As the singer moves from song to song, the mood, rhythm, and instrumentation change as well, where jazz piano, organ, guitar, and choirs result in a charming holiday medley.\nTrack two features Ishikawa with “Soft Voice”, a four-part vocal group singing “Sutekina Holiday” in Japanese, and the final track presents her intimate duo of vocal and guitar performing the Billboard pop hit “Grown-up Christmas List”.\nGrown-up Christmas Gift by Sanae Ishikawa Sanae Ishikawa - vocal Takayoshi Baba - guitar Hideaki Hori - piano, keyboard Koji Yasuda - bass Sohnosuke Imaizumi - drums, bell Released in 2018 on Sanae Ishikawa Seasonal Japanese Songbook Project as SJSP-002.\nJapanese names: 石川早苗 Ishikawa Sanae 馬場孝喜 Baba Takayoshi 堀秀彰 Hori Hideaki 安田幸司 Yasuda Koji 今泉総之輔 Imaizumi Sohnosuke\nAudio and Video Promotional video for Sanae Ishikawa’s “Everything”: Excerpt from track #1: “クリスマス・メドレー (Christmas Medley)” ","permalink":"https://mirror2.jazzofjapan.com/sanae-ishikawa-grown-up-christmas-gift/","summary":"\u003cp\u003eEnterprising singer Sanae Ishikawa presents us with her passionate voice on \u003cem\u003eGrown-up Christmas Gift\u003c/em\u003e from 2018, a mini-album celebrating classic and modern Christmas songs in a jazz and pop setting. As part of her successful Seasonal Japanese Songbook Project crowdfunding, the popular singer released this album along with her full-length album \u003cem\u003e冬-Winter-\u003c/em\u003e to great anticipation, just in time for the Christmas season that year. \u003cem\u003e春-Spring-\u003c/em\u003e (2019) and \u003cem\u003e夏-Summer-\u003c/em\u003e (2020) have also been released in this jazzy J-pop series, with a hope of seeing \u003cem\u003e秋-Autumn-\u003c/em\u003e in the not-too-distant future.\u003c/p\u003e","title":"Sanae Ishikawa: Grown-up Christmas Gift"},{"content":"Although it may seem overly-ambitious to reinvent the classic 1961 Bill Evans Trio live recordings Waltz for Debby and Sunday At The Village Vanguard, pianist Taihei Asakawa boldly takes that challenge on his deeply fascinating and atmospheric avant-garde solo piano recording Waltz for Debby. Performed live for an audience in 2018, the material and mood are compelling: introspective and patient, occasionally decorated with flights of vibrant melody, constantly summoning emotion from the notes released from the beautifully-recorded piano.\nAlthough Asakawa performs the thirteen tracks live and in the same order as the original Bill Evans recordings, the pianist artfully avoids performing a simple imitation of Bill Evans. Instead, Asakawa interprets the music in his own style, delicately taking care of each piece, letting the notes breathe and the music blossom patiently. Performed with skill and taste, this is a labor of love and respect, an homage to the Bill Evans albums that so many listeners have admired for years.\nDisc one, with five songs averaging between 10 to 14 minutes each, contrasts the light buoyancy of some of the original music (“Waltz for Debby”, “My Romance”) with Asakawa’s somewhat darker and fantastical dream-like style. Asakawa’s interpretations are an effective demonstration of the atmosphere he was aiming for that night: music to carry the listeners away in a meditative calm as he improvised and reflected on the music.\nDisc two continues in this vein and adds variation with several brighter mid- and up-tempo tunes, including a Bill Evans-esque “Solar” and “All Of You”, and a fun Keith Jarrett-style jazz riff improvisation on “Milestones”. In particular, a cheery “Gloria’s Step” and mysterious “Jade Visions” (written by Bill Evans’ bassist Scott LaFaro), are most reminiscent of the original recording here, a welcoming tribute.\nWaltz for Debby by Taihei Asakawa Taihei Asakawa - piano Released in 2018 on Cortez Sound as CSJ0008.\nJapanese names: 浅川太平 Asakawa Taihei\nAudio and Video Promotional video for this album: Excerpt from track #1: “My Foolish Heart” ","permalink":"https://mirror2.jazzofjapan.com/taihei-asakawa-waltz-for-debby/","summary":"\u003cp\u003eAlthough it may seem overly-ambitious to reinvent the classic 1961 Bill Evans Trio live recordings \u003cem\u003eWaltz for Debby\u003c/em\u003e and \u003cem\u003eSunday At The Village Vanguard\u003c/em\u003e, pianist Taihei Asakawa boldly takes that challenge on his deeply fascinating and atmospheric avant-garde solo piano recording \u003cem\u003eWaltz for Debby\u003c/em\u003e. Performed live for an audience in 2018, the material and mood are compelling: introspective and patient, occasionally decorated with flights of vibrant melody, constantly summoning emotion from the notes released from the beautifully-recorded piano.\u003c/p\u003e","title":"Taihei Asakawa: Waltz for Debby"},{"content":"Jazz pianist and composer Fumie Chiba’s Tip of Dream is a great example of modern jazz piano from Japan, displaying high-caliber technique and creative approaches to modern jazz composition.\nThrough the album’s eight tracks, Chiba plays with confidence and verve, showing shades of McCoy Tyner’s rapid abstractions, Bills Evans’ melodic sentimentality, and Mulgrew Miller’s well-rounded fluency and swinging groove.\nThe set starts off strong with “11th Door” which quickly demonstrates the control and power that this trio delivers. The performance is sleek and modern, at times aggressively powerful yet not lacking a sensitive touch and deep energy. From the attention-grabbing opening, the music moves into pretty ballads, lyrical sentimentality with modern flourishes, Herbie Hancock-style funky jazz, and finishes with a piano solo with balanced pop prettiness.\nAlong with the six original songs, Chiba’s reharmonizations and arrangements also demand attention: a slightly dark “Our Love Is Here To Stay” adds a mysterious, hypnotic twist to an old standard. In addition, a sharp re-interpretation of Ravel’s “Pavane For A Dead Princess” shows how beautifully classical music can be adapted to classy modern jazz.\nTip of Dream by Fumie Chiba Trio Fumie Chiba - piano Koichi Kuniwake - bass Shigehito Kawamura - drums Released in 2009 on TRL Music as TRL-0826.\nJapanese names: 千葉史絵 Chiba Fumie 国分航一 Kuniwake Koichi 川村成史 Kawamura Shigehito\nAudio and Video Fumie Chiba Trio live in 2019: Excerpt from track #1: “11th Door” ","permalink":"https://mirror2.jazzofjapan.com/fumie-chiba-trio-tip-of-dream/","summary":"\u003cp\u003eJazz pianist and composer Fumie Chiba’s \u003cem\u003eTip of Dream\u003c/em\u003e is a great example of modern jazz piano from Japan, displaying high-caliber technique and creative approaches to modern jazz composition.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200528-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200528-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThrough the album’s eight tracks, Chiba plays with confidence and verve, showing shades of McCoy Tyner’s rapid abstractions, Bills Evans’ melodic sentimentality, and Mulgrew Miller’s well-rounded fluency and swinging groove.\u003c/p\u003e\n\u003cp\u003eThe set starts off strong with “11th Door” which quickly demonstrates the control and power that this trio delivers. The performance is sleek and modern, at times aggressively powerful yet not lacking a sensitive touch and deep energy. From the attention-grabbing opening, the music moves into pretty ballads, lyrical sentimentality with modern flourishes, Herbie Hancock-style funky jazz, and finishes with a piano solo with balanced pop prettiness.\u003c/p\u003e","title":"Fumie Chiba Trio: Tip of Dream"},{"content":"Inspired by a modern, clean European jazz sound, the jazz piano trio Trispace on their debut 2010 album brings to mind modern jazz along the lines of Swedish jazz supergroup Esbjörn Svensson Trio (EST). Focused in concept, Trispace plays with delicate, beautifully recorded instruments, airy jazz-rock beats, and occasional odd-beat rhythmic structures that carry the listener along on comfortable musical journeys. Even the stylishly serene jacket design conveys the intended atmosphere, perhaps paying homage to the great modern jazz recordings from the ECM label visually as well as aurally.\nYuichi Hayashi’s piano takes center stage, with gentle melodies and pleasant lines of flowing improvisation. Morihiro Omura and Yoshitaka Yamashita, the double-bass and drums rhythm section, together build a solid groove framework over which the fluttering melodies catch the listener’s attention.\nWith nine original songs spanning jazz-rock, soft ballads, and a light EST and Bill Evans-style melodic sense, Trispace sets upon their path as a modern and inspired Japanese jazz trio.\nTrispace by Trispace Yuichi Hayashi - Piano, Composition Morihiro Omura - bass Yoshitaka Yamashita - drums Released in 2010 on Leccia Records / feel free products as LRTR-0004.\nJapanese names: 林祐市 Hayashi Yuichi 大村守弘 Omura Morihiro 山下佳孝 Yamashita Yoshitaka\nAudio and Video Trispace on “Free Will”, the second track on this album: Excerpt from track #6: “Peaceful Mind” ","permalink":"https://mirror2.jazzofjapan.com/trispace-trispace/","summary":"\u003cp\u003eInspired by a modern, clean European jazz sound, the jazz piano trio Trispace on their debut 2010 album brings to mind modern jazz along the lines of Swedish jazz supergroup Esbjörn Svensson Trio (EST). Focused in concept, Trispace plays with delicate, beautifully recorded instruments, airy jazz-rock beats, and occasional odd-beat rhythmic structures that carry the listener along on comfortable musical journeys. Even the stylishly serene jacket design conveys the intended atmosphere, perhaps paying homage to the great modern jazz recordings from the ECM label visually as well as aurally.\u003c/p\u003e","title":"Trispace: Trispace"},{"content":"Pianist Michiyo Matsushita’s Sally Gardens is a lively solo piano album featuring original compositions set against a few Irish folk songs and jazz standards.\nThrough the rich, evocative style of folk music (“Sally Gardens”, “Paddy Ryan’s Dream”), Matsushita’s playing is sweet and comforting, enhanced with fascinating reharmonizations and arrangements. The two jazz standards (“Liza”, “Segment”) impressively show various sides of Matsushita’s jazz playing, with elements of classical, bebop, stride, and other facets of piano surfacing in exciting contrasts.\nApart from the lovely folk tunes and jazzy moments, over half of the songs on Sally Gardens are original compositions from Matsushita, where she gracefully combines jazz with poppy catchiness and emotional drama. Her solo playing shines on uplifting, magical performances (“Infinity”, “Soratobu Usagi”), and also during soothing moments of softly sweet playing on ballads (“Kodou”, “Arigatou.”). As an extra bonus, on “Aki No Sora” (an album highlight), Matsushita plays a breath-powered Melodion with her piano accompaniment, creating a spirited duet sound to striking effect on this excitingly propulsive tune.\nSally Gardens by Michiyo Matsushita Michiyo Matsushita - piano, melodion Released in 2018 on Michiyo Matsushita as Sally Gardens.\nJapanese names: 松下美千代 Matsushita Michiyo\nAudio and Video Promotional video for this album: Excerpt from track #1: “Sally Gardens” ","permalink":"https://mirror2.jazzofjapan.com/michiyo-matsushita-sally-gardens/","summary":"\u003cp\u003ePianist Michiyo Matsushita’s \u003cem\u003eSally Gardens\u003c/em\u003e is a lively solo piano album featuring original compositions set against a few Irish folk songs and jazz standards.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"../images/michiyo-matsushita-sally-gardens/L1210895-1024.JPG\"\u003e\n    \u003cimg loading=\"lazy\" src=\"../images/michiyo-matsushita-sally-gardens/L1210895-1024.JPG\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThrough the rich, evocative style of folk music (“Sally Gardens”, “Paddy Ryan’s Dream”), Matsushita’s playing is sweet and comforting, enhanced with fascinating reharmonizations and arrangements. The two jazz standards (“Liza”, “Segment”) impressively show various sides of Matsushita’s jazz playing, with elements of classical, bebop, stride, and other facets of piano surfacing in exciting contrasts.\u003c/p\u003e","title":"Michiyo Matsushita: Sally Gardens"},{"content":"Sakura Meditation from pianist Seiji Endo is a gorgeous collection of evocative solo piano pieces. Through the ten tracks, Endo searches for and finds the perfect phrases and dramatic touches to draw out emotion from his beautiful and pure compositions.\nMost of the songs are just three to five minutes long with strains of classical and slightly jazzy influences surface in the music. The music deeply evokes feelings ranging from pretty etude-like sketches to the childlike innocence of a lullaby, to pieces overflowing with romantic drama and emotional depth. Endo’s poetic style and his passion are directly focused through a soft touch and breath-like pulse: simplicity and brevity through understated effectiveness.\nParticularly striking are the two longest songs which develop slowly and powerfully. The seven-minute #9 “Requiem and Hope” is a turbulent and profound exploration and plea, while the nine-minute title track #4 “Sakura Meditation” unfolds from a mysterious 5/4 opening, journeying through darkness until ultimately blooming in a graceful and inspiring resolution.\nLiner Notes (Translated from the original Japanese liner notes.)\nPoetry of sound rich with color\nOn August 17, 2006, I was on vacation in New York, and I stopped by a friend’s house to visit and exercise my fingers on his piano when I happened to meet Seiji Endo who was also there at that time.\nI heard that he was on a mission, training to become a jazz pianist in his hometown. If that’s the case, I begged him, then please take this opportunity and play something for me, and although he was shy, he steadied his resolve and headed towards the piano. Almost like a young boy taking something precious out of a treasure chest and appreciating the value of the existence of each note, he began to play gently and with grace, and I vividly remember how surprised I was at hearing his poetry of sound rich with color.\nEven now as I relisten to this album while trying to write this article, I have no choice but to press the stop button, as I can’t simply ignore the music without ending up being completely absorbed in listening to it.\nShall I call it “instrumental music where you can almost hear words spilling out”?\nI once again experienced how the rare expressive person is set apart from the large number of jazz pianists who pursue superior techniques with an emphasis on power, where one mistake could be regarded as violent.\nIf you are looking for the type of so-called “jazz” filled with the sounds of tense chords constantly, this may be in a slightly wrong direction, with the possible exception of track #3 “Good Luck”.\nPersonally, track #5 “Mebukatoki” (Time of Budding) especially appeals to me with its relaxed style, and I am incredibly drawn to short pieces such as #7 “Ikirukoto” (To Live).\nWhat about composing vocal works or film music in the future, Seiji? I think it would suit you well.\nIncidentally, it seems that at our first meeting I said to him “I think that you may also become a composer” (sorry, but I completely forgot about this). With this one sentence as impetus, he was encouraged to compose, and when I heard that this album was announced, I thought “Might I have the makings of a prophet?!”\nI look forward to even more leaps forward, and in addition, I “predict” them. Good luck, Seiji!\nピアニスターHIROSHI / Pianistar HIROSHI\nSEIJI ENDO Pianist/Composer\nSeiji Endo was born in Nigata in April 1978. He started to play piano due to the influence of his musician father. After an almost ten-year break, while in his fourth year at university, he was inspired by improvisational music and devoted himself to jazz piano. He started working as a musician upon graduating from the department of education at Tamagawa University, including participating in many festivals and events with bands including the Takeshi Inomata Trio and the Tokyo Jazz Quartet.\nIn 2005, he appeared as himself on the 2005 television program Koi no Jiken (Time for Love) starring Hitomi Kuroki on the TBS drama series Nichiyou Gekijou (Sunday Night Theater) and garnered more attention.\nIn January 2006, he moved to New York on his own to live in Harlem and start his training from scratch. He was active as a regular performer at jazz clubs, restaurants, and the like. In November he appeared on Manhattan cable television. Also in the same year, he studied music therapy under Clive Robbins of the Nordoff-Robbins Music Therapy Foundation.\nIn February 2007, he returned to Japan and resumed his activities in Tokyo. In September, his first album My Mind was released on RCC Records.\nIn August 2008, he co-starred in a double concert with international opera singer Sai Yanguang at Tobu Hotel Levant.\nIn March 2009, a Seiji Endo Trio concert was held at the Australian Embassy. In April, his second album Angel Eyes was released on Yes Records.\nIn August 2010, he wrote the theme music “Sun, Moon and Children Smile” as a message of “love and peace” for the children of the world, which became a topic of conversation. This was performed during the opening ceremony of the International Korczak Association 2010 with events held by those who had gathered from countries around the world.\nIn April 2011, his solo concert series began with the “Seiji Endo Piano Solo Concert, Spring 2011” at Hakuju Hall, continuing to various locations and receiving high praise from many audiences. In September, he played at the Kanazawa Jazz Street 2011 together in Kanazawa with musicians who came from all around the world.\nIn April 2012, he was invited to perform at the Sakura Festival in New York Sakura Park to commemorate the 100th anniversary of Japan’s donation of cherry blossom trees, where plans to perform his new composition Sakura Meditation there. Around the same time, he will also release his Sakura Meditation Seiji Endo Piano Solo Album with the same composition for the first time.\nWith his delicate and rich tone colors and performances with a strong sense of spirituality, Seiji Endo’s original works are endlessly fascinating and overflowing with talent. We look forward to his continued activities as a young pianist and composer who transcends genres.\nSakura Meditation by Seiji Endo Seiji Endo - piano, composition Released in 2012 on Concordia as CONR-002.\nJapanese names: 遠藤征志 Endo Seiji\nAudio and Video Seiji Endo playing “Sakura Meditation”, track #4, live in 2013: Seiji Endo playing “Eien no Hito”, track #2, live in 2020: Excerpt from track #1: “Sun,Moon and Children Smile” ","permalink":"https://mirror2.jazzofjapan.com/seiji-endo-sakura-meditation/","summary":"\u003cp\u003e\u003cem\u003eSakura Meditation\u003c/em\u003e from pianist Seiji Endo is a gorgeous collection of evocative solo piano pieces. Through the ten tracks, Endo searches for and finds the perfect phrases and dramatic touches to draw out emotion from his beautiful and pure compositions.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1210400-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1210400-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eMost of the songs are just three to five minutes long with strains of classical and slightly jazzy influences surface in the music. The music deeply evokes feelings ranging from pretty etude-like sketches to the childlike innocence of a lullaby, to pieces overflowing with romantic drama and emotional depth. Endo’s poetic style and his passion are directly focused through a soft touch and breath-like pulse: simplicity and brevity through understated effectiveness.\u003c/p\u003e","title":"Seiji Endo: Sakura Meditation"},{"content":"At times light and carefree, yet also deeply and seriously musical, Sayaka Kishi’s “pure music” spirit shines beautifully on Colors. While the pianist is a vibrant part of many collaborations covering standard jazz, pop, classical, and Latin fusion among others, here with her group Sayaketts the trio focuses on a fusion of electric funky jazz and R\u0026amp;B pop music amid calmer moments and heart-warming pop-styled piano jazz.\nAbout half of the 13 songs on this album are upbeat, funky, and energized with the sounds of keyboards, piano, electric bass, and drums: glittery music full of energetic live and rock beats. Aside from the fun jams, other songs are charmingly cute and positive (“Iris”, “GAME”) with others crafted to be deeply serious and dramatic scene-stealing compositions (“Dilemma”, “Tegami”, “Toki No Itazura”, “Guzen No Waltz”). While the mood shifts are frequent, the variety of colors explored leaves a rich and lasting impression of fun, welcoming, and engaging music.\nColors by Sayaketts Sayaka Kishi - piano, Rhodes, keyboards, pianica Satoshi Kohno - electric bass Yoshihiro Nakagawa - drums Released in 2009 on Sayaketts as SKTS-001.\nJapanese names: 岸淑香 Kishi Sayaka 鴻野暁司 Kohno Satoshi 中川喜博 Nakagawa Yoshihiro\nAudio and Video Sayaketts playing live in 2013: Excerpt from track #8: “ビチグソロック (Bichiguso Rock)” ","permalink":"https://mirror2.jazzofjapan.com/sayaketts-colors/","summary":"\u003cp\u003eAt times light and carefree, yet also deeply and seriously musical, Sayaka Kishi’s “pure music” spirit shines beautifully on \u003cem\u003eColors\u003c/em\u003e. While the pianist is a vibrant part of many collaborations covering standard jazz, pop, classical, and Latin fusion among others, here with her group Sayaketts the trio focuses on a fusion of electric funky jazz and R\u0026amp;B pop music amid calmer moments and heart-warming pop-styled piano jazz.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200417-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200417-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAbout half of the 13 songs on this album are upbeat, funky, and energized with the sounds of keyboards, piano, electric bass, and drums: glittery music full of energetic live and rock beats. Aside from the fun jams, other songs are charmingly cute and positive (“Iris”, “GAME”) with others crafted to be deeply serious and dramatic scene-stealing compositions (“Dilemma”, “Tegami”, “Toki No Itazura”, “Guzen No Waltz”). While the mood shifts are frequent, the variety of colors explored leaves a rich and lasting impression of fun, welcoming, and engaging music.\u003c/p\u003e","title":"Sayaketts: Colors"},{"content":"Taihei Asakawa’s beautiful Touch of Winter from 2013 is a contemplative jazz album rooted in calm emotion: Memory, melancholy, and rebirth combine to paint stimulating music on a pure white winter tableau.\nThe 10 original songs on this album unfold in the emotion-heavy Brad Mehldau vein of modern piano trio jazz. Patient, somber ballads lie alongside straight-ahead compositions thick with melodic effusions, traces of classical influence, and bluesy suggestions as well.\nThis album also includes free moments which leave the musical structure open compositionally, allowing the trio to slowly create mysterious, sensitive soundscapes, searching and reaching for expression. At times somber and wistful (with the recent death of the pianist’s father being cited as an influence on the music), there is also grace and forward-momentum on this trio’s journey through this comforting, introspective music.\nTouch of Winter by Taihei Asakawa Trio Taihei Asakawa - piano, compositions Daiki Yasukagawa - bass Ryo Noritake - drums Released in 2013 on D-musica Daiki Musica as DMCD-26.\nJapanese names: 浅川太平 Asakawa Taihei 安ヵ川大樹 Yasukagawa Daiki 則武諒 Noritake Ryo\nAudio and Video Promotional video for this album with album excerpts played live: Excerpt from track #2: “Dream Garden” ","permalink":"https://mirror2.jazzofjapan.com/taihei-asakawa-trio-touch-of-winter/","summary":"\u003cp\u003eTaihei Asakawa’s beautiful \u003cem\u003eTouch of Winter\u003c/em\u003e from 2013 is a contemplative jazz album rooted in calm emotion: Memory, melancholy, and rebirth combine to paint stimulating music on a pure white winter tableau.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200282-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200282-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe 10 original songs on this album unfold in the emotion-heavy Brad Mehldau vein of modern piano trio jazz. Patient, somber ballads lie alongside straight-ahead compositions thick with melodic effusions, traces of classical influence, and bluesy suggestions as well.\u003c/p\u003e","title":"Taihei Asakawa Trio: Touch of Winter"},{"content":"Utopia is the debut leader album for pianist Koichi Sato, who reaches for high standards in his original compositions and impressive performances. This is stimulating modern jazz performed by a piano trio not limited by standard jazz conventions, based in jazz tradition while incorporating some classical and pop influences as well.\nThe nine original songs on this album are full of lyrical freshness balanced with impeccable timing and a sensitive touch. The music covers territory from dream-fantasy jazz waltzes, Lennie Tristano-style post-bop, melancholy ballads, and groovy rock-beat uplifting music, all united with sense of the peace and comfort brought about by Sato’s poetic vision of utopia.\nUtopia by Koichi Sato Koichi Sato - piano Hiroshi Ikejiri - bass Ko Omura - drums Released in 2011 on Pony Canyon / Twinkle Note as PCCY-30186.\nJapanese names: 佐藤浩一 Sato Koichi 池尻洋史 Ikejiri Hiroshi 大村亘 Omura Ko\nAudio and Video Koichi Sato playing live in 2010: Excerpt from track #5: “ミラード・ミラー (Mirrored Mirror)” ","permalink":"https://mirror2.jazzofjapan.com/koichi-sato-utopia/","summary":"\u003cp\u003e\u003cem\u003eUtopia\u003c/em\u003e is the debut leader album for pianist Koichi Sato, who reaches for high standards in his original compositions and impressive performances. This is stimulating modern jazz performed by a piano trio not limited by standard jazz conventions, based in jazz tradition while incorporating some classical and pop influences as well.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200237-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200237-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe nine original songs on this album are full of lyrical freshness balanced with impeccable timing and a sensitive touch. The music covers territory from dream-fantasy jazz waltzes, Lennie Tristano-style post-bop, melancholy ballads, and groovy rock-beat uplifting music, all united with sense of the peace and comfort brought about by Sato’s poetic vision of utopia.\u003c/p\u003e","title":"Koichi Sato: Utopia"},{"content":"Ami Fukui’s second album Amizm advertises “Mellow and Groovy” on the label, and delivers a nice package of funky, Electrik Band-styled jazz. Amizm, this version of Fukui’s jazz piano trio format, brings together piano, electric keyboards, slick electric bass, and exciting drumming to imbue a classic and bright fusion jazz sound to Fukui’s modern compositions.\nThe longer tracks #2 “Lion’s Empire”, #4 “Absinthe”, and #8 “Jungle City” showcase these characteristics best and build on Fukui’s trademark creativity. Her song craft is as sweet as ever and includes catchy melodies and transitions, joyful rhythms, and groovy riffs used to great dramatic effect.\nThe album’s opening and closing tracks are quieter tunes where the mood is set by Fukui’s melodic and graceful piano playing. She opens with the gentle prelude #1 “Komorebi”, and closes with the relaxing, softly rocking lullaby #10 “Undertone”. This softer touch also appears on the soulful mid-album track #6 “ODE”.\nIn between these two bookends, the music is a stimulating blend of vividly electric songs, funky bass and drum grooves, and expressive piano riffs. Throughout, there is also a fun and mischievous nature that can be subtly felt in the performance and the production.\nFor example, at one point, a 30-second riff and drum feature is curiously inserted among the tracks (#3 “Guiliana7”). In a similarly unconventional way, three other short tracks (#5 “Eccentric Blues No. 1”, #7 “Eccentric Blues No. 2”, and #9 “Eccentric Blues No. 3”) are dropped in nonconsecutively and essentially form a multi-movement piece, a loose-yet-composed groovy jam interwoven among the other songs on the album.\nOn Amizm, Yasushi Fukumori’s hyper drumming and Yoshihito “P” Koizumi’s smooth and popping bass lines, together with Ami’s variety of keyboard sounds, go a long way in influencing the overall sound compared to Fukui’s other albums and trio formations: A spicy and intense dish served between her other richly sweet and delicious offerings.\nObi Notes (A translation of the album description on the obi.)\nIt’s been about three years since the previous release Urban Clutter. The newly-formed group “Amizm” has released their long-awaited new album. Listeners will be captivated by their colorful pop worldview which combines wild strength with heartwarming sounds.\nAmizm by Ami Fukui Ami Fukui - piano, Clavinet, Rhodes, CP-80, synth Yoshihito “P” Koizumi - bass Yasushi Fukumori - drums Released in 2013 on Peace Bass Records as PBRS-0002.\nJapanese names: 福井亜実 Fukui Ami 小泉P克人 Koizumi Yoshihito “P” 福森康 Fukumori Yasushi\nAudio and Video Preview of Amizm live performance for Sound Olympic: Amizm live performance for Sound Olympic: Excerpt from track #4: “Absinthe” ","permalink":"https://mirror2.jazzofjapan.com/ami-fukui-amizm/","summary":"\u003cp\u003eAmi Fukui’s second album \u003cem\u003eAmizm\u003c/em\u003e advertises “Mellow and Groovy” on the label, and delivers a nice package of funky, Electrik Band-styled jazz. \u003cem\u003eAmizm\u003c/em\u003e, this version of Fukui’s jazz piano trio format, brings together piano, electric keyboards, slick electric bass, and exciting drumming to imbue a classic and bright fusion jazz sound to Fukui’s modern compositions.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200249x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200249x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe longer tracks #2 “Lion’s Empire”, #4 “Absinthe”, and #8 “Jungle City” showcase these characteristics best and build on Fukui’s trademark creativity. Her song craft is as sweet as ever and includes catchy melodies and transitions, joyful rhythms, and groovy riffs used to great dramatic effect.\u003c/p\u003e","title":"Ami Fukui: Amizm"},{"content":"Modern to the point of futuristic, Open the Green Door features an exciting jazz piano trio with the pianist Hakuei Kim leading a stellar Australian rhythm section of Ben “Donny” Waples on bass and Dave Goodman on drums.\nWith the mature confidence of solid musicianship balanced with fresh enthusiasm, the trio strives for musical excellence with impressive nimbleness and dark, atmospheric explorations. The album features eight tracks made up of five original compositions from the pianist and three reworked jazz standards.\nRight from the opening track “Offer Refused”, Kim’s impressive hummingbird-quick playing demonstrates his quick post-bop fluidity decorated with elegant patterns and rhythmic cells at times reminiscent of Mal Waldron’s playing. In addition to up-tempo and acrobatic flashes, other moods include slow, introspective beauty, stylish riff-rock, and - particularly on the three covers “Beatrice”, “Tempus Fugit”, and “Alone Together” - longing, suspense, and dramatic tension.\nOpen the Green Door by Hakuei Kim Trio Hakuei Kim - piano Ben “Donny” Waples - double bass Dave Goodman - drums and percussion Released in 2005 on DIW Records as DIW-631.\nJapanese names: ハクエイ・キム Kim Hakuei\nAudio and Video Hakuei Kim playing solo piano supporting his 2018 release “Resonance”: Excerpt from track #1: “OFFER REFUSED” ","permalink":"https://mirror2.jazzofjapan.com/hakuei-kim-trio-open-the-green-door/","summary":"\u003cp\u003eModern to the point of futuristic, \u003cem\u003eOpen the Green Door\u003c/em\u003e features an exciting jazz piano trio with the pianist Hakuei Kim leading a stellar Australian rhythm section of Ben “Donny” Waples on bass and Dave Goodman on drums.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200626-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200626-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWith the mature confidence of solid musicianship balanced with fresh enthusiasm, the trio strives for musical excellence with impressive nimbleness and dark, atmospheric explorations. The album features eight tracks made up of five original compositions from the pianist and three reworked jazz standards.\u003c/p\u003e","title":"Hakuei Kim Trio: Open the Green Door"},{"content":"Yasumasa Kumagai’s debut album from 2008, I Need a Change, Too, establishes his J Jazz hip hop concept with force: From the shocking pink cover art and the unexpected electronic soulful beats of the brief opening track “I.N.T.R.O.”, the album takes thrilling twists and turns through jazz laced with groove, centered on a powerfully soulful and vibrant modern jazz piano trio.\nFun and catchy but with a serious musical depth, the music covers both cool and bittersweet moods, at times evoking influences from Robert Glasper’s style of gospel-inspired hip-hop jazz. Kumagai’s songwriting skill and precision playing make for a high-quality J Jazz album, full of soul and passion rooted in authentic jazz with ultra-modern sharpness.\nKumagai’s original songs fill the album, along with a cover of the R\u0026amp;B song “I Wanna Know” and a reworked version of Sonny Rollins’s “St. Thomas”, built on an extended tease vamp breaking into high-intensity jazz changes. Most of the songs feature the piano trio, with guest players including alto sax on two tracks, trumpet on one, and a duo track featuring piano with a talented beatbox vocalist as well.\nLiner Notes (A translation of Tabu Zombie’s original Japanese liner notes.)\nYasumasa Kumagai. I first heard his name about one year ago.\nIt was a name that I had often heard spoken around. After about a year passed, I heard him for the first time, playing live at a jazz club that I happened to drop by. I suddenly understood at that time what people had been talking about. His sensitive style and tuneful melodies flowed naturally to my ears.\nAfter a while, I heard that a friend of mine was going to release Kumagai’s CD on his own label, so I begged him to let me be involved in some way. This was how I came to fill the role of producer for this project.\nWhen creating this work and reaching the stage where I listened to the demo, his vision was complete, and he knew clearly the best direction to go at any point. What surprised me most was his good taste in the songs that he wrote. There’s a melodious delicacy that may be hard to imagine from appearances. In this day and age, players who are blessed with a balance of good playing ability and musical sense are extremely valuable.\nThe type of jazz that evolved in Japan’s mixture culture has again been subdivided, segmented, and continues to change. Kumagai skillfully absorbs and accumulates various genres of music and expresses them in a wonderful way. With this recording as an impetus, definitely keep an eye on Yasumasa Kumagai.\nTabu Zombie (SOIL \u0026amp; “PIMP” SESSIONS)\nI Need a Change, Too by Yasumasa Kumagai Yasumasa Kumagai - piano Koji Yasuda - bass Shunsuke Umino - drums Afra - human beatbox (#7) Shinobu Ishizaki - alto sax (#9, 13) Tabu Zombie - trumpet (#13) Released in 2008 on Anturtle Tune as ANTX-4001.\nJapanese names: 熊谷ヤスマサ Kumagai Yasumasa 安田幸司 Yasuda Koji 海野俊輔 Umino Shunsuke あふら Afra 石崎忍 Ishizaki Shinobu タブゾンビ Tabu Zombie\nAudio and Video Yasumasa Kumagai Trio playing “Bolivia” live in 2017: Excerpt from track #2: “iI Need achange,too” ","permalink":"https://mirror2.jazzofjapan.com/yasumasa-kumagai-i-need-a-change-too/","summary":"\u003cp\u003eYasumasa Kumagai’s debut album from 2008, \u003cem\u003eI Need a Change, Too\u003c/em\u003e, establishes his J Jazz hip hop concept with force: From the shocking pink cover art and the unexpected electronic soulful beats of the brief opening track “I.N.T.R.O.”, the album takes thrilling twists and turns through jazz laced with groove, centered on a powerfully soulful and vibrant modern jazz piano trio.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200454x-1200.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200454x-1200.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eFun and catchy but with a serious musical depth, the music covers both cool and bittersweet moods, at times evoking influences from Robert Glasper’s style of gospel-inspired hip-hop jazz. Kumagai’s songwriting skill and precision playing make for a high-quality J Jazz album, full of soul and passion rooted in authentic jazz with ultra-modern sharpness.\u003c/p\u003e","title":"Yasumasa Kumagai: I Need a Change, Too"},{"content":"Unconditional Love is the 11th album from pianist Hideaki Hori and features his trio playing live at Nardis, a gem among Tokyo’s many respected and intimate jazz bars. Throughout this double album, the trio captures the relaxed and friendly atmosphere that this home-ground bar provides, all while creating top-notch jazz to delight the audience.\nUnconditional Love features songs recorded live over three consecutive nights at Nardis. Presented on the two discs as “1st set” and “2nd set”, this arrangement gives the listener the feel of being a part of the in-house audience from the first song to the encore. The long-established trio’s playing is impeccable with high levels of musicianship and solidarity, eliciting joy and affinity from the audience.\nThe twelve songs include four originals by Hori (the funky “The Shell” and high-energy “Stop \u0026amp; Go” thrill the audience), some classic standards (“Up Jumped Spring”, “I Thought About You”, “My Favorite Things”) and choice modern picks from the likes of Cedar Walton, Keith Jarrett, and John Ellis (his “Bonus Round” is a special treat). Through these carefully chosen pieces, dynamics range from comfortable, mid-tempo swing, to fiery and up-tempo bop. For balance and breathing space, a few pretty ballads are included, including a fascinating version of Keith Jarrett’s “Blossom” which enraptures the club with a musical spell.\nUnconditional Love by Hideaki Hori Trio Hideaki Hori - piano Yuhei Honkawa - bass Gaku Hasegawa - drums Released in 2014 on BQ Records as BQR-2064/2065.\nJapanese names: 堀秀彰 Hori Hideaki 本川悠平 Honkawa Yuhei 長谷川ガク Hasegawa Gaku\nAudio and Video A track from this album, the jazz standard “Up Jumped Spring”: Excerpt from track #3: “Our Love Is Here To Stay” ","permalink":"https://mirror2.jazzofjapan.com/hideaki-hori-trio-unconditional-love/","summary":"\u003cp\u003e\u003cem\u003eUnconditional Love\u003c/em\u003e is the 11th album from pianist Hideaki Hori and features his trio playing live at Nardis, a gem among Tokyo’s many respected and intimate jazz bars. Throughout this double album, the trio captures the relaxed and friendly atmosphere that this home-ground bar provides, all while creating top-notch jazz to delight the audience.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"../images/hideaki-hori-trio-unconditional-love/L1200301-1024.JPG\"\u003e\n    \u003cimg loading=\"lazy\" src=\"../images/hideaki-hori-trio-unconditional-love/L1200301-1024.JPG\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003e\u003cem\u003eUnconditional Love\u003c/em\u003e features songs recorded live over three consecutive nights at Nardis. Presented on the two discs as “1st set” and “2nd set”, this arrangement gives the listener the feel of being a part of the in-house audience from the first song to the encore. The long-established trio’s playing is impeccable with high levels of musicianship and solidarity, eliciting joy and affinity from the audience.\u003c/p\u003e","title":"Hideaki Hori Trio: Unconditional Love"},{"content":"Moving Color is the second album from saxophonist Akihiro Yoshimoto and his quartet. With eight original songs drawn from his palette, he blends serious musical exploration and improvisation with elements of modernity, jazz tradition, and a bit of humor. Strength in composition and group cohesion is clear: the quartet plays confidently, as if they are disclosing a secret bit by bit, modestly exhibiting their skills yet playing with brimming energy and a locked-together sense of where they are going.\nThe tracks are solidly modern jazz tunes, with sizzling improvisation from Yoshimoto and pianist Choulai melodically laying out fiery, stimulating lines. There are a few moments of avant-garde exploration, where Sugawa’s bowed bass is used extremely effectively.\nA brooding atmosphere arises on #4 “Nostalgic Farm” and especially #7 “Ice Castle”, where a museum-like calm settles, foreboding and somewhat Nordic with its dark, chilling sound. There’s even a bit of goofy humor on two songs (#2 “The Mystery of Onion Rings” and #6 “Reminiscing About Banana Beer”), where Monkish exuberance and swing add a loose, jolly balance to the album.\nThe two longest tracks, #5 “Sabaku No Akari” and #8 “Water Drops”, build patiently. These two compositions portray Yoshimoto’s thoughtful and edgy songwriting strength, masterfully refined in balancing honed compositions with space for group dynamics and spontaneity.\nThese tracks and #3 “Possom” also summon a sense of Wayne Shorter’s modern quartet. This is exciting jazz with unextinguishable energy powered locomotively by drummer Ishiwaka and bassist Sugawa. All throughout, Yoshimoto’s liquid tenor swings over the chords like a daredevil trapeze artist, flowing and moving colorfully in impressive patterns.\nLiner Notes (Translated from the original Japanese liner notes written by Toshihiko Hoshino, music writer.)\nOften, when seeing the children of family members after a long time, you can be surprised at how much they’ve grown. I was struck by a similar sensation when I heard this album. This was in spite of the fact that I went to almost all of this group’s live shows in Tokyo and should have recognized their growth firsthand.\nThe debut release Blending Tone from the Akihiro Yoshimoto Quartet pairs the ideal combination of allies Akihiro Yoshimoto and Aaron Choulai with the addition of the youthful rhythm section of Takashi Sugawa and Shun Ishiwaka. This was an epoch-making album from 2012.\nA band grows by keeping its members fixed and regularly performing together. When I listened to Blending Tone and Moving Color in succession, a clear evolution in the band’s sound became apparent.\nThere are two dimensions to this evolution: maturity and transformation. Maturity refers firstly to the greatness of the Yoshimoto and Choulai combination. This is exactly what the phrase “Aun breathing” (two people performing together in sync and in harmony) is all about. In particular, hats off to Choulai, who perfectly understands Yoshimoto’s musicality and adds his own unique musical personality to it. There are probably not many pianists with such chord stacking, striking, timing, and pace that can be heard just from their backing accompaniment.\nThe beautiful interaction between tenor sax and piano on the ballad “Nostalgic Farm” is breathtaking. On “The Mystery of Onion Rings”, while the style is contemporary, traditional jazz roots are also filled with humorous playing through their personally-stamped homage to good old-fashioned jazz. For encores, this band often plays standards like ballads and bebop tunes, and being able to mix cutting-edge originals with traditional standards without any sense of unease is an example of the depth of their understanding.\nWhile the previous release Blending Tone was aiming towards a band sound, it’s undeniable that Yoshimoto’s and Choulai’s collaboration played a large role at that time. Yet with each live performance by the band, the rhythm section’s involvement grew larger and the band’s individuality became established. This transformation is one of the key successes of this album.\nIt would not be improper to say that Shun Ishiwaka has become the number one young player today. Not only in this quartet, but Ishikawa and Choulai have also involved each other in their own groups, maintaining an unshakably trusting relationship. Highlights of their live performances include the moments when Ishiwaka and Choulai react through eye contact and engage aggressively with Yoshimoto’s tenor.\nCheck out Ishiwaka’s drumming in “Sabaku No Akari” behind Choulai’s piano solo, when a switch is suddenly flipped and the drums start pounding away. Just at the point behind the piano solo where Ishikawa may have gone too far to the edge of collapse, Choulai responds and starts to play furiously. Their momentum continues as the two fiercely and mercilessly challenge Yoshimoto’s tenor, a highlight of the middle portion of the album.\nIn December 2012, bassist Takuya Sakazaki left the group and Takashi Sugawa joined as a new member. Sugawa has been a long-standing member of the Terumasa Hino group and can be called the number one young bassist. He’s also an old friend of Yoshimoto and Choulai. While Sakazaki’s bass was of the unsung hero type, Sugawa’s bass is a type that aggressively connects with the front. The addition of Sugawa also resulted in a clear transformation of the band’s sound, such as the bowed melody on “Ice Castle” and the avant-garde solo on “Reminiscing About Banana Beer”.\nThe culmination of this evolution surely must be the last number, “Water Drops”. The mysterious melody is covered in darkness, led by a striking bass phrase. Yoshimoto’s tenor starts quietly, uses bold low-note phrases effectively, and ascends towards the climax. Perfectly closing in on this tenor, Choulai’s piano comping shape-shifts like a kaleidoscope, adding an amazing sense of color. Ishiwaka’s drums respond to the soloist’s phrases instantly and inject explosive energy.\nYoshimoto’s excellent music and leadership together with the strong individuality of the members has resulted in a band sound that has come to fruition. At over eight minutes, and the longest performance on the album, this dense world of sound doesn’t reveal any flaws and shines brightly on this album.\nThe shape of Akihiro Yoshimoto Quartet, which has achieved remarkable growth, was recorded in February 2014. As they continue to evolve day by day, we look forward to the sounds they express when they next appear before us.\nToshihiko Hoshino 星野利彦 / Music Writer\nMoving Color by Akihiro Yoshimoto Quartet Akihiro Yoshimoto - saxophone Aaron Choulai - piano Takashi Sugawa - bass Shun Ishiwaka - drums Released in 2015 on MOR Records as MOR-1001.\nJapanese names: 吉本章紘 Yoshimoto Akihiro アーロン・チューライ Choulai Aaron 須川崇志 Sugawa Takashi 石若駿 Ishiwaka Shun\nAudio and Video The Akihiro Quartet playing live in 2012: Excerpt from track #5: “Sabaku No Akari” ","permalink":"https://mirror2.jazzofjapan.com/akihiro-yoshimoto-quartet-moving-color/","summary":"\u003cp\u003e\u003cem\u003eMoving Color\u003c/em\u003e is the second album from saxophonist Akihiro Yoshimoto and his quartet. With eight original songs drawn from his palette, he blends serious musical exploration and improvisation with elements of modernity, jazz tradition, and a bit of humor. Strength in composition and group cohesion is clear: the quartet plays confidently, as if they are disclosing a secret bit by bit, modestly exhibiting their skills yet playing with brimming energy and a locked-together sense of where they are going.\u003c/p\u003e","title":"Akihiro Yoshimoto Quartet: Moving Color"},{"content":"“Swing \u0026amp; Blues” is the name of the game with /Big Catch/’s jazz quartet album from 2013. Undoubtedly, the concept of a jazz sax giant meeting a piano trio is a tried and true formula on classic jazz albums (“Ben Webster Meets Oscar Peterson” and “Coleman Hawkins with the Red Garland Trio” come to mind), and this quartet upholds the tradition properly with a big sound and spirit, singing and swinging, bluesy and fun all-around good-feeling jazz.\nAs “meets” indicates, Big Catch is led by two well-traveled and in-demand jazz players, saxophonist Wataru Hamasaki and pianist Akane Matsumoto, each active in popular groups in the J Jazz scene. With Big Catch, the horn player meets the piano trio and forms a quartet focused on turning out bold sounds of full-bodied jazz, groovy, bluesy, and full of pep.\nWith 11 tracks of mostly original songs and several jazz covers, the sound runs from mid-tempo groovy swing jazz (“Big Catch”, “Mean What You Say”) to exciting, up-tempo whiplashers, where the players gleefully race at speed, urging listeners to hang on for the ride (“Hiding Place”, “Playing”). For straight-ahead, satisfying jazz sax, comparisons could be made to the sounds of Gene Ammons, Ben Webster, and Coleman Hawkins, just to name a few. Among the tracks, two slower ballads are included, adding a nice balance of mellow comfort and lyricism (“If You Need A Friend” and “Monica”, where the soprano sax adds a floating, softly romantic sound).\nWhile most of the tracks feature tenor sax, Hamasaki also adds color with soprano sax and flute, expertly played. On two tracks, Matsumoto takes center stage in piano trio format, on a straight-ahead version of “Love Letter” and her crowd-pleasing original tune “JJ”, putting her impressive Phineas Newborn Jr./Oscar Peterson-like piano dexterity on full display.\nCover art by Akane Matsumoto (dig those Big Catch big cats having a ball on the cover: “Swinging Soooo Hard!”).\nBig Catch by Wataru Hamasaki Meets Akane Matsumoto Trio Wataru Hamasaki - tenor and soprano sax, flute Akane Matsumoto - piano Yasushi Gonjyo - bass Tatsuhiko Takeda - drums Osamu Hikage - bass (#3, 5, 6, 9) Kazuyoshi Kuroda - drums (#3, 5, 6, 9) Ryosuke Asai - alto sax (#6) Released in 2013 on Concept Records as CR-01.\nJapanese names: 浜崎航 Hamasaki Wataru 松本茜 Matsumoto Akane 権上康志 Gonjyo Yasushi 竹田達彦 Takeda Tatsuhiko 日景修 Hikage Osamu 黒田和良 Kuroda Kazuyoshi 浅井良将 Asai Ryosuke\nAudio and Video Music from the album “Big Catch”: Excerpt from track #1: “BIG CATCH” ","permalink":"https://mirror2.jazzofjapan.com/wataru-hamasaki-meets-akane-matsumoto-trio-big-catch/","summary":"\u003cp\u003e“Swing \u0026amp; Blues” is the name of the game with /Big Catch/’s jazz quartet album from 2013. Undoubtedly, the concept of a jazz sax giant meeting a piano trio is a tried and true formula on classic jazz albums (“Ben Webster Meets Oscar Peterson” and “Coleman Hawkins with the Red Garland Trio” come to mind), and this quartet upholds the tradition properly with a big sound and spirit, singing and swinging, bluesy and fun all-around good-feeling jazz.\u003c/p\u003e","title":"Wataru Hamasaki Meets Akane Matsumoto Trio: Big Catch"},{"content":"Popular pianist Yukako Yamano’s 1st Stage is a rich and airy musical soufflé. Her catchy debut album from 2013 mixes together swinging jazz, modern fusion, cute pop, and straightforward sincerity. On 1st Stage, the world-traveling pianist introduces eleven of her feel-good melodies and propulsive rhythms as she balances unpretentious cheer with dramatic tension on the lively tracks.\nThe listener may notice subtle Japanese pop and classical influences in the playing. With quick energy and clever movements, the music is fun, bold, and sincere. The songs vary from grooving straight-beat swing (“Over Parents”, “On A Sunny Moon”), rock-style solo piano (“Galopping Ponies”), romantic, sad ballads (“Another Step”, “Kanashimi No Mukougawa”), serious adventures (“Double A”, “City Walker”), anthemic ballad-rock (“Kanashimi No Mukougawa”), and quirky, candy-sweet fusion (“Wild Sweets”). On the whole, the album strives to involve the listener directly without overcomplicating the compositions, all while ensuring the musicians are having fun creating music together and keeping the audience hooked.\n1st Stage features Yukako Yamano on piano along with regular trio members multi-genre drummer Manabu Fujii and well-known bassist Koichi Osamu, both professional and accomplished musicians in their own right. All of the songs on this album were written by Yamano Yukako.\n1st Stage by Yukako Yamano Yukako Yamano - piano Koichi Osamu - bass Manabu Fujii - drums Released in 2013 on Yukako Yamano as YKRN-0001.\nJapanese names: 山野友佳子 Yamano Yukako 納浩一 Osamu Koichi 藤井学 Fujii Manabu\nAudio and Video A live performance from 2013 of “On A Sunny Moon”, track #6 on this album: Excerpt from track #1: “Over Parents” ","permalink":"https://mirror2.jazzofjapan.com/yukako-yamano-1st-stage/","summary":"\u003cp\u003ePopular pianist Yukako Yamano’s \u003cem\u003e1st Stage\u003c/em\u003e is a rich and airy musical soufflé. Her catchy debut album from 2013 mixes together swinging jazz, modern fusion, cute pop, and straightforward sincerity. On \u003cem\u003e1st Stage\u003c/em\u003e, the world-traveling pianist introduces eleven of her feel-good melodies and propulsive rhythms as she balances unpretentious cheer with dramatic tension on the lively tracks.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"../images/yukako-yamano-1st-stage/L1200210-1024.JPG\"\u003e\n    \u003cimg loading=\"lazy\" src=\"../images/yukako-yamano-1st-stage/L1200210-1024.JPG\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe listener may notice subtle Japanese pop and classical influences in the playing. With quick energy and clever movements, the music is fun, bold, and sincere. The songs vary from grooving straight-beat swing (“Over Parents”, “On A Sunny Moon”), rock-style solo piano (“Galopping Ponies”), romantic, sad ballads (“Another Step”, “Kanashimi No Mukougawa”), serious adventures (“Double A”, “City Walker”), anthemic ballad-rock (“Kanashimi No Mukougawa”), and quirky, candy-sweet fusion (“Wild Sweets”). On the whole, the album strives to involve the listener directly without overcomplicating the compositions, all while ensuring the musicians are having fun creating music together and keeping the audience hooked.\u003c/p\u003e","title":"Yukako Yamano: 1st Stage"},{"content":"Takako Yamada’s The Flow of Time features 11 original compositions from the pianist, a bold collection of exciting moods and modern compositions in adventurous style.\nStarting assertively with a modern jazz/rock feel, electric guitar and acoustic piano lay out high opening stakes for an album filled with dramatic creativity. The songs explore moments of musical sensitivity, relaxed swing, Monkish joy and freedom, and bluesy contemplation, with full sounds of crystal piano tones, warm electric guitar, bright drum work and deep, dark bass anchoring the group sound.\nFor added variety, a wonderfully plaintive trumpet is present on several tracks and provides a sweet organic mellowness. Adding to the mix, some of the more magical parts of the album feature the lush instrumentation of ethereal tabla drums, interlude-like sections with a deep and exotic meditative tinge.\nThe Flow of Time by Takako Yamada Takako Yamada - piano Shinpei Ruike - trumpet Teriver Cheung - guitar Koji Yasuda - bass Gaku Hasegawa - drums Ko Omura - tabla, drums Released in 2013 on GoodNessPlus Records as GNPR-1146.\nJapanese names: 山田貴子 Yamada Takako 類家心平 Ruike Shinpei 安田幸司 Yasuda Koji 長谷川ガク Hasegawa Gaku 大村亘 Omura Ko\nAudio and Video Promotional video with excerpts from several songs on the album: Video of “Starting Over” from the album release live show in 2013 with event photos: Excerpt from track #1: “ランドスケープ (Landscape)” ","permalink":"https://mirror2.jazzofjapan.com/takako-yamada-the-flow-of-time/","summary":"\u003cp\u003eTakako Yamada’s \u003cem\u003eThe Flow of Time\u003c/em\u003e features 11 original compositions from the pianist, a bold collection of exciting moods and modern compositions in adventurous style.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200224-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200224-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eStarting assertively with a modern jazz/rock feel, electric guitar and acoustic piano lay out high opening stakes for an album filled with dramatic creativity. The songs explore moments of musical sensitivity, relaxed swing, Monkish joy and freedom, and bluesy contemplation, with full sounds of crystal piano tones, warm electric guitar, bright drum work and deep, dark bass anchoring the group sound.\u003c/p\u003e","title":"Takako Yamada: The Flow of Time"},{"content":"Drummer Ko Omura leads the listener on his voyage of introspection on his debut album Introspect, portraying the colors and maps of his musical mind.\nThis 2011 recording features eight tracks: six original songs from Omura in his detailed, catchy style, unfolding story-like with depth and groovy accuracy. The music brims with fiery energy, passionate yet also containing also a smoldering, somber melancholy. Two of the tracks are group-created free jazz collaborations, splashes of color adding mystery and adventure. The recorded audio is also done beautifully, with separation of drums and cymbals gracefully captured with a lush live sound.\nA creative aspect used on this recording is the collaboration of three pianists Hakuei Kim, Koichi Sato, and Mamoru Ishida, playing separately as well as together on some songs, stretching the limits of the standard piano trio format. On several songs two or three of the pianists play simultaneously on acoustic and electric piano in distinct audio channels: center, right, or left separate and identify the pianists on three songs. On other songs, the standard piano trio format is used with pianists alternating on a song or two each, while the rhythm of bassist Koji Yasuda and drummer Ko Omura laying out the pulse and foundation of the music.\nIntrospect by Ko Omura Hakuei Kim - piano Koichi Sato - piano Mamoru Ishida - piano Koji Yasuda - bass Ko Omura - drums Released in 2011 on Daiki Musica as DMCD-12.\nJapanese names: ハクエイ・キム Kim Hakuei 佐藤浩一 Sato Koichi 石田衛 Ishida Mamoru 安田幸司 Yasuda Koji 大村亘 Omura Ko\nAudio and Video Excerpt of Ko Omura’s song “Slow Highway”, recorded live: Excerpt from track #5: “Slow Highway” ","permalink":"https://mirror2.jazzofjapan.com/ko-omura-introspect/","summary":"\u003cp\u003eDrummer Ko Omura leads the listener on his voyage of introspection on his debut album \u003cem\u003eIntrospect\u003c/em\u003e, portraying the colors and maps of his musical mind.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1190764-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1190764-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis 2011 recording features eight tracks: six original songs from Omura in his detailed, catchy style, unfolding story-like with depth and groovy accuracy. The music brims with fiery energy, passionate yet also containing also a smoldering, somber melancholy. Two of the tracks are group-created free jazz collaborations, splashes of color adding mystery and adventure. The recorded audio is also done beautifully, with separation of drums and cymbals gracefully captured with a lush live sound.\u003c/p\u003e","title":"Ko Omura: Introspect"},{"content":"Jazz pianist Taihei Asakawa pushes boundaries on his 2011 release Catastrophe in Jazz.\nThis modern jazz piano trio album is a fascinating one, balancing moments of furious musical fire, where rapid melodic lines are played as if by electric guitar, alongside slower melancholic moments of pianistic beauty, heavy with emotion.\nThe 12 original songs on this album range from hot to cool, exploring clever odd-metered structures, modern lyrical European-style jazz, energetic rapid-fire aggression, classical piano sounds, moments of meditative reflection, and even quirky hiphop-influenced jazz pop.\nEnhancing the compositional texture of this album is Asakawa’s use of instrumental arrangement. In addition to the typical modern jazz piano/bass/drums trio format on most songs here, Asakawa also employs a spacier, floating piano/drums duet at times, with other songs featuring Asakawa’s moving solo piano to great dramatic effect (“Nostalgia”, “Elegy”).\nWith virtuosity and compositional strength on display, the care and attention dedicated here, far from being an accidental catastrophe, results in a musical outpouring of creative modern jazz with high repeat-value listenability.\nCatastrophe in Jazz by Taihei Asakawa Taihei Asakawa - piano, compositions Shinichi Kato - bass Manabu Hashimoto - drums Released in 2011 on Roving Spirits as RKCJ-2046.\nJapanese names: 浅川太平 Asakawa Taihei 加藤真一 Kato Shinichi 橋本学 Hashimoto Manabu\nAudio and Video Excerpt from “Nostalgia”, track #3 on this album: Excerpt from track #1: “The Pioneer” ","permalink":"https://mirror2.jazzofjapan.com/taihei-asakawa-catastrophe-in-jazz/","summary":"\u003cp\u003eJazz pianist Taihei Asakawa pushes boundaries on his 2011 release \u003cem\u003eCatastrophe in Jazz\u003c/em\u003e.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200201-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200201-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis modern jazz piano trio album is a fascinating one, balancing moments of furious musical fire, where rapid melodic lines are played as if by electric guitar, alongside slower melancholic moments of pianistic beauty, heavy with emotion.\u003c/p\u003e\n\u003cp\u003eThe 12 original songs on this album range from hot to cool, exploring clever odd-metered structures, modern lyrical European-style jazz, energetic rapid-fire aggression, classical piano sounds, moments of meditative reflection, and even quirky hiphop-influenced jazz pop.\u003c/p\u003e","title":"Taihei Asakawa: Catastrophe in Jazz"},{"content":"Tokyo-based jazz singer Sanae Ishikawa sings from her heart, presenting her full, confident voice on choice jazz standards with her 2007 debut Feel Like Makin’ Love.\nHer beautiful, crystal-clear delivery resonates with an easy joyfulness and charm, yet can also reflect depths of dramatic emotion to moving effect. Building on the strength of her veteran backup musicians, her innate jazz timing elevates the performance and welcomes the listener straight into the music.\nHer self-described “juicy voice” is powerful with natural buoyancy and shimmering vibrations, and her impressively clear pronunciation adds another level of quality to this enjoyable session.\nThis 12-track album is well-rounded and arranged like a live performance, with five standard jazz swing numbers (including “Cheek to Cheek”, “Our Love Is Here To Stay”, “All Of Me”), Latin/bossa songs (“How Insensitive”, “Antonio’s Song”, …), slower ballads (“Blame It On My Youth”, …), and the title song done in a groovy, soulful style.\nFeel Like Makin’ Love by Sanae Ishikawa Sanae Ishikawa - vocal Shigeo Fukuda - piano, electric piano Shinji Hashimoto - guitar Daisuke Toi - bass Satoshi Kosugi - bass Cecil Monroe - drums Released in 2007 on Polystar Jazz Library (PJL) / JAZZBANK Cat’s Meow as MTCJ-1098.\nJapanese names: 石川早苗 Ishikawa Sanae 福田重男 Fukuda Shigeo 橋本信二 Hashimoto Shinji トオイダイスケ Toi Daisuke 小杉敏 Kosugi Satoshi\nAudio and Video “Tea For Two” from the album release performance: “So Many Stars” from the album release performance: “Day In, Day Out” from the album release performance: “Cheek To Cheek” from the album release performance: Excerpt from track #7: “チーク・トゥ・チーク (Cheek To Cheek)” ","permalink":"https://mirror2.jazzofjapan.com/sanae-ishikawa-feel-like-makin-love/","summary":"\u003cp\u003eTokyo-based jazz singer Sanae Ishikawa sings from her heart, presenting her full, confident voice on choice jazz standards with her 2007 debut \u003cem\u003eFeel Like Makin’ Love\u003c/em\u003e.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200193-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200193-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eHer beautiful, crystal-clear delivery resonates with an easy joyfulness and charm, yet can also reflect depths of dramatic emotion to moving effect. Building on the strength of her veteran backup musicians, her innate jazz timing elevates the performance and welcomes the listener straight into the music.\u003c/p\u003e","title":"Sanae Ishikawa: Feel Like Makin’ Love"},{"content":"The jazz group Bungalow displays their original approach to modern art jazz on their second album, Past Life, from 2013. As a jazz quartet featuring airy alto sax and piano, double bass, and drums, the group incorporates creative musical elements such as the use of Indian tabla drums and subtle sound effects and processing, a bit similar to the style of the Swedish jazz group E.S.T.\nBungalow’s compositions are in focus here, and like modern songwriting from Wayne Shorter, the music differs from standard jazz patterns with interesting, well-constructed songs, featuring elements of upbeat swing, poetic and meditative calm, visceral rock and organically looping riffs, embellished with searching melodies and smart improvisation played brilliantly. This is well-balanced and addictive modern jazz that weaves deep musical grooves with imaginative compositions and skillful playing, reflecting future-facing sounds built on traditional music from Past Life.\nPast Life by Bungalow Masahiro Yamamoto - alto sax, soprano sax, tenor sax Koichi Sato - piano Hiroshi Ikejiri - bass Ko Omura - drums, tabla Released in 2013 on Studio Songs as YZSO-10036.\nJapanese names: 山本昌広 Yamamoto Masahiro 佐藤浩一 Sato Koichi 池尻洋史 Ikejiri Hiroshi 大村亘 Omura Ko\nAudio and Video Live performance of the title track “Past Life”: Excerpt from track #1: “上昇気流 (Updraft)” ","permalink":"https://mirror2.jazzofjapan.com/bungalow-past-life/","summary":"\u003cp\u003eThe jazz group Bungalow displays their original approach to modern art jazz on their second album, \u003cem\u003ePast Life\u003c/em\u003e, from 2013. As a jazz quartet featuring airy alto sax and piano, double bass, and drums, the group incorporates creative musical elements such as the use of Indian tabla drums and subtle sound effects and processing, a bit similar to the style of the Swedish jazz group E.S.T.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200188-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200188-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eBungalow’s compositions are in focus here, and like modern songwriting from Wayne Shorter, the music differs from standard jazz patterns with interesting, well-constructed songs, featuring elements of upbeat swing, poetic and meditative calm, visceral rock and organically looping riffs, embellished with searching melodies and smart improvisation played brilliantly. This is well-balanced and addictive modern jazz that weaves deep musical grooves with imaginative compositions and skillful playing, reflecting future-facing sounds built on traditional music from \u003cem\u003ePast Life\u003c/em\u003e.\u003c/p\u003e","title":"Bungalow: Past Life"},{"content":"Saxophonist Ayumi Koketsu creates exciting modern jazz on her third album Rainbow Tales from 2012, where she leads of group of accomplished Norwegian musicians on a modern-sounding recording.\nThe session was beautifully captured at the famous Rainbow Studios in Oslo, where the European-label ECM sound seems to influence the session under Koketsu’s leadership and virtuosity. With crystal clear sax and cymbals riding above the warm, full piano and deep wood bass, this style is particularly noticeable on “Mikazuki” (Crescent Moon), a folk/rock-like tune reminiscent of Keith Jarrett.\nThe album contains a nice balance on its eleven songs. Along with three swinging original numbers, Koketsu also picks some jazz standards including a lovely “Bewitched”, a driving “Summertime”, a Paul Desmond-like “When Joanna Loved Me”, Lennie Tristano’s “Two Not One”, and Ornette Coleman’s “Bird Food”. Throughout, Koketsu’s versatile bop playing and improvisation are on display, along with exquisite modern solos from the pianist and a sharp rhythm section elevating the sound and color spectrum.\nRainbow Tales by Ayumi Koketsu Ayumi Koketsu - alto sax Svein Olav Herstad - piano Magne Thormodsæter - bass Per Oddvar Johansen - drums Released in 2012 on Pony Canyon as MYCJ-30620.\nJapanese names: 纐纈歩美 Koketsu Ayumi\nAudio and Video Ayumi Koketsu performing “Near The Clouds” in a duo setting: Excerpt from track #1: “ウィズ・メイ (With May)” ","permalink":"https://mirror2.jazzofjapan.com/ayumi-koketsu-rainbow-tales/","summary":"\u003cp\u003eSaxophonist Ayumi Koketsu creates exciting modern jazz on her third album \u003cem\u003eRainbow Tales\u003c/em\u003e from 2012, where she leads of group of accomplished Norwegian musicians on a modern-sounding recording.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200179-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200179-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe session was beautifully captured at the famous Rainbow Studios in Oslo, where the European-label ECM sound seems to influence the session under Koketsu’s leadership and virtuosity. With crystal clear sax and cymbals riding above the warm, full piano and deep wood bass, this style is particularly noticeable on “Mikazuki” (Crescent Moon), a folk/rock-like tune reminiscent of Keith Jarrett.\u003c/p\u003e","title":"Ayumi Koketsu: Rainbow Tales"},{"content":"Joyful notes flow effortlessly from pianist Yuya Wakai as he confidently opens his solo piano album Images.\nHis catchy exuberance is on display as he flies colorfully through chords reminiscent of Keith Jarrett’s fluid style. On ballads such as the charming “Easy To Love” and heartfelt “Over The Rainbow”, Wakai plays with a loving touch.\nDifferent sides of standard jazz and solo piano are portrayed among the eleven tracks. Exciting drama builds with a rock-ish, upbeat “Better Days Ahead” (Pat Metheny) and a pop exploration of “Great Day” (Paul McCartney) which evokes music Brad Mehldau might offer. A moving cover of a Japanese animation theme, “Aimo Tori No Hito” is included, played in a sad yet hopeful mood with deep meaning.\nRelated to the album title (and perhaps also alluding to Debussy’s classical work for piano), Wakai’s own classical exploration “Afterimages” tells a dreamlike story, painting a canvas with vivid abstract modernism. Finally, the pianist closes the album gently with “Duke Ellington’s Sound Of Love”, played like a soft lullaby.\nImages by Yuya Wakai Yuya Wakai - piano Released in 2013 on Mikorin Music as MM-002.\nJapanese names: 若井優也 Wakai Yuya\nAudio and Video Yuya Wakai playing “All The Things You Are” in a jazz trio: Excerpt from track #1: “There Will Never Be Another You” ","permalink":"https://mirror2.jazzofjapan.com/yuya-wakai-images/","summary":"\u003cp\u003eJoyful notes flow effortlessly from pianist Yuya Wakai as he confidently opens his solo piano album \u003cem\u003eImages\u003c/em\u003e.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200174-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200174-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eHis catchy exuberance is on display as he flies colorfully through chords reminiscent of Keith Jarrett’s fluid style. On ballads such as the charming “Easy To Love” and heartfelt “Over The Rainbow”, Wakai plays with a loving touch.\u003c/p\u003e\n\u003cp\u003eDifferent sides of standard jazz and solo piano are portrayed among the eleven tracks. Exciting drama builds with a rock-ish, upbeat “Better Days Ahead” (Pat Metheny) and a pop exploration of “Great Day” (Paul McCartney) which evokes music Brad Mehldau might offer. A moving cover of a Japanese animation theme, “Aimo Tori No Hito” is included, played in a sad yet hopeful mood with deep meaning.\u003c/p\u003e","title":"Yuya Wakai: Images"},{"content":"Pianist Miki Hayama creates superb jazz on Wide Angle, exploring powerful, edge-of-your-seat quickness with modern dimensions. This album is her third as a leader and received awards from the Japanese jazz magazine Swing Journal in 2009 and 2010.\nWith the album title perhaps being a nod to the angular McCoy Tyner-ish style of playing that Hayama excels at, the music is full of various moods. Hayama’s trio thrives on quick tempo and high-energy improvisation, a great platform for the pianist’s skill with rapid patterns and leaping bursts. Her agile solos are full of notes which seem to climb and swirl and fall into place like musical puzzle pieces. At mid-tempo songs and slower ballads, her graceful side shows an impressive command of modern jazz piano and smartly constructed arrangements.\nIn addition to straight-ahead locomotion, other angles are explored: wisps of fantasy ala Wayne Shorter and Herbie Hancock (“Flying Horses”, “Sound of Migration”), relaxing moods (“Who Cares”, “A Time For Peace”), some two-handed doubling on the odd-metered “Freight Trane”. The mesmerizing “Dismissed” lays out yet another dimension, where Hayama’s piano is at times doubled with her voice, a beautiful shadowing for poignant deepness.\nWide Angle by Miki Hayama Trio Miki Hayama - piano Kiyoshi Kitagawa - bass Victor Lewis - drums Released in 2009 on ART UNION/@jazz as ARTCD-114.\nJapanese names: 早間美紀 Hayama Miki 北川潔 Kitagawa Kiyoshi\nAudio and Video A track from this album, Tommy Flanagan’s “Freight Trane”: Miki Hayama in 2008 playing “There Is No Greater Love”: Miki Hayama playing a live version of “Horizon”: Excerpt from track #1: “ワッツ・ネクスト？ (What’s Next?)” ","permalink":"https://mirror2.jazzofjapan.com/miki-hayama-trio-wide-angle/","summary":"\u003cp\u003ePianist Miki Hayama creates superb jazz on \u003cem\u003eWide Angle\u003c/em\u003e, exploring powerful, edge-of-your-seat quickness with modern dimensions. This album is her third as a leader and received awards from the Japanese jazz magazine \u003cem\u003eSwing Journal\u003c/em\u003e in 2009 and 2010.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200167-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200167-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eWith the album title perhaps being a nod to the angular McCoy Tyner-ish style of playing that Hayama excels at, the music is full of various moods. Hayama’s trio thrives on quick tempo and high-energy improvisation, a great platform for the pianist’s skill with rapid patterns and leaping bursts. Her agile solos are full of notes which seem to climb and swirl and fall into place like musical puzzle pieces. At mid-tempo songs and slower ballads, her graceful side shows an impressive command of modern jazz piano and smartly constructed arrangements.\u003c/p\u003e","title":"Miki Hayama Trio: Wide Angle"},{"content":"Ideal for peaceful, calming piano, Ken’ichiro Shinzawa’s Piano Works features seven original compositions with a sweet purity in the musical message.\nThe slow, melodic music conveys a pure innocence, almost evoking Japanese Studio Ghibli movies with scenes of happy animated characters walking through peaceful woods and resting on hillsides. With song titles like “Gentle Breeze” and “Quiet Leaves”, the pianist may have been in a similar state of mind when composing these piano sketches.\nThe songs are well-structured and composed, calming and easily listenable, with no jagged corners or dissonant harmonics distracting from the relaxed mood. There is a slight Bill Evans feeling, with traces of melodies resembling songs that the famous jazz pianist was known for, like subtle hints of homage. One song, the 12-minute “Above the Sky”, contrasts with the generally serene mood and builds slowly with wild excitement, resembling a long Keith Jarrett-style vamping piano solo.\nPiano Works by Ken’ichiro Shinzawa Ken\u0026rsquo;ichiro Shinzawa - piano, composition Released in 2009 on Iceblue Records as IBRC-8001.\nJapanese names: 新澤健一郎 Shinzawa Ken\u0026rsquo;ichiro\nAudio and Video Solo performance from Ken’ichiro Shinzawa: Excerpt from track #1: “２つの命 Two Lives” ","permalink":"https://mirror2.jazzofjapan.com/kenichiro-shinzawa-piano-works/","summary":"\u003cp\u003eIdeal for peaceful, calming piano, Ken’ichiro Shinzawa’s \u003cem\u003ePiano Works\u003c/em\u003e features seven original compositions with a sweet purity in the musical message.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200162-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200162-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe slow, melodic music conveys a pure innocence, almost evoking Japanese Studio Ghibli movies with scenes of happy animated characters walking through peaceful woods and resting on hillsides. With song titles like “Gentle Breeze” and “Quiet Leaves”, the pianist may have been in a similar state of mind when composing these piano sketches.\u003c/p\u003e","title":"Ken’ichiro Shinzawa: Piano Works"},{"content":"The Hara Dairiki Trio creates a jubilant atmosphere on You’ve Changed, playing choice jazz standards from the bebop and straight-ahead jazz songbook.\nThe drum-led trio creates a live sound, bright and open, in a chord-less configuration consisting of drums, bass, and alto sax. The stripped-down sound creates both purity and rawness that pulls the listener straight into the music, loose and fun and in control, with soaring, bebop saxophone fluidly soaring over the solid double bass and drum foundation.\nThe players are confident as experienced musicians who know each other well, grooving and swinging with playful quotes and spontaneous interplay spicing up their collaboration.\nThe album has six standards including Thelonious Monk’s “Four In One” and Charlie Parker’s “Ah-Leu-Cha”, with one short 45-second drum improvisation interlude before the final track, John Coltrane’s spirited “Chasin’ The Trane”. This is pure jazz played with a relaxed feeling, evoking an experience like being invited to a high-quality jazz session in a cozy jazz bar.\nYou’ve Changed by Hara Dairiki Trio Dairiki Hara - drums Atsushi Ikeda - alto sax Yasushi Yoneki - bass Released in 2009 on Anturtle Tune as ANTX-4004.\nJapanese names: 原大力 Hara Dairiki 池田篤 Ikeda Atsushi 米木康志 Yoneki Yasushi\nAudio and Video A performance of the Hara Dairiki Trio playing live in Tokyo in 2009: Excerpt from track #1: “Four In One” ","permalink":"https://mirror2.jazzofjapan.com/hara-dairiki-trio-youve-changed/","summary":"\u003cp\u003eThe Hara Dairiki Trio creates a jubilant atmosphere on \u003cem\u003eYou’ve Changed\u003c/em\u003e, playing choice jazz standards from the bebop and straight-ahead jazz songbook.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200158-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200158-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe drum-led trio creates a live sound, bright and open, in a chord-less configuration consisting of drums, bass, and alto sax. The stripped-down sound creates both purity and rawness that pulls the listener straight into the music, loose and fun and in control, with soaring, bebop saxophone fluidly soaring over the solid double bass and drum foundation.\u003c/p\u003e","title":"Hara Dairiki Trio: You’ve Changed"},{"content":"From Osaka-based label Atelier Sawano comes this beautifully-recorded jazz trio recording starring pianist Manabu Ohishi. The label’s concept of “hand-made jazz” features jazz music which one could describe as having Japanese attention to detail and craftsmanship with European touches. On Wish, the music upholds the classic jazz piano trio tradition, evoking lyrical jazz trio recordings such as those from the Bill Evans Trio.\nOhishi’s strength as a romantic melodist is evident as the opening notes from the piano sound, heavy with sentimentality. His vibrant improvisations often unspool with passion, as if he is pushing notes out physically from the piano, squeezing out as much expression and emotion as possible.\nAnother moving feature is Ohishi’s lovely reharmonization of popular standards, here with “My Foolish Heart” and “What A Wonderful World”, adding alluring deepness to these ballads.\nWish by Manabu Ohishi Trio Manabu Ohishi - piano Jean-Philippe Viret - bass Simon Goubert - drums Released in 2010 on Atelier Sawano as AS-100.\nJapanese names: 大石学 Ohishi Manabu\nAudio and Video A version of Ohishi’s song “Continuous Rain”: Excerpt from track #1: “I\u0026rsquo;m Yours” ","permalink":"https://mirror2.jazzofjapan.com/manabu-ohishi-trio-wish/","summary":"\u003cp\u003eFrom Osaka-based label Atelier Sawano comes this beautifully-recorded jazz trio recording starring pianist Manabu Ohishi. The label’s concept of “hand-made jazz” features jazz music which one could describe as having Japanese attention to detail and craftsmanship with European touches. On \u003cem\u003eWish\u003c/em\u003e, the music upholds the classic jazz piano trio tradition, evoking lyrical jazz trio recordings such as those from the Bill Evans Trio.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1200151-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1200151-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eOhishi’s strength as a romantic melodist is evident as the opening notes from the piano sound, heavy with sentimentality. His vibrant improvisations often unspool with passion, as if he is pushing notes out physically from the piano, squeezing out as much expression and emotion as possible.\u003c/p\u003e","title":"Manabu Ohishi Trio: Wish"},{"content":"This 2016 album simply entitled Live from Hitomi Nishiyama’s Parallax piano trio marks 10 years since her label debut Cubium in 2006. With various projects and albums released under her name, this is the third release for her Parallax group, an edgier, groovier, and rhythmically-energized jazz piano trio.\nRecorded live over two nights at the Creole jazz bar in Kobe, the eight songs feature her original compositions plus a rearranged “My Favorite Things”, with a new pulse and layers added to the popular standard.\nAs always, Nishiyama’s music is graced with a flowing elegance and creativity, displaying elements of European jazz with a searching, driving melodic sense. The listener is treated to odd time signatures, up-tempo jazz, elegiac ballads, some soul and rock structures, all framed in an in-the-moment live jazz setting.\nAs complex as the compositions may be, the recorded-live aspect brings tangible energy with a raw edge to the extended songs, and also shines a spotlight on the trio’s cohesiveness and ability to respond to each other in the moment, making music as a unit, three minds in parallel.\nLive by Hitomi Nishiyama Trio “Parallax” Hitomi Nishiyama - piano Takuya Sakazaki - bass Takehiro Shimizu - drums Released in 2016 on Meantone Records as MT-007.\nJapanese names: 西山瞳 Nishiyama Hitomi 坂崎拓也 Sakazaki Takuya 清水勇博 Shimizu Takehiro\nAudio and Video Promotional video featuring the first two tracks, “Heavens Fall” and “Keys”: Excerpt from track #3: “Move” ","permalink":"https://mirror2.jazzofjapan.com/hitomi-nishiyama-trio-parallax-live/","summary":"\u003cp\u003eThis 2016 album simply entitled \u003cem\u003eLive\u003c/em\u003e from Hitomi Nishiyama’s Parallax piano trio marks 10 years since her label debut \u003cem\u003eCubium\u003c/em\u003e in 2006. With various projects and albums released under her name, this is the third release for her Parallax group, an edgier, groovier, and rhythmically-energized jazz piano trio.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180533-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180533-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eRecorded live over two nights at the Creole jazz bar in Kobe, the eight songs feature her original compositions plus a rearranged “My Favorite Things”, with a new pulse and layers added to the popular standard.\u003c/p\u003e","title":"Hitomi Nishiyama Trio “Parallax”: Live"},{"content":"Pianist Mayuko Katakura’s 2015 album The Echoes of Three captures an exciting reunion of old friends whose strong connections and shared history result in a high-level trio session. With plenty of speedy McCoy Tyner angularism and Monkish spontaneity, Katakura spurs the trio on, delivering a great balance of compositional planning with in-the-moment abandon.\nThe first five tracks are back-to-back originals, starting with the contemplative “Echo” leading into the bouncing “Into Somewhere” (based on the standard “Out Of Nowhere”), the exquisite “A Dancer’s Melancholy” (also performed on her 2010 recording Faith), a fiery group improvisation “At The Studio (Reunion)”, and the modern “Directions”, honoring influences from jazz pianists Mulgrew Miller and Geri Allen.\nThe second half features a slow-dancing “Serene” (Eric Dolphy), a ripping “Pinocchio” (Wayne Shorter), and a sweet interpretation of Duke Pearson’s ballad “You Know I Care”, before closing with another original, “A Barfly’s Hope”, a swinging, striding song written for the pianist Elmo Hope.\nThe Echoes of Three by Mayuko Katakura Mayuko Katakura - piano Yasushi Nakamura - bass Carmen Intorre Jr. - drums Released in 2015 on 55 Records as JNCJ-5561.\nJapanese names: 片倉真由子 Katakura Mayuko 中村恭士 Nakamura Yasushi\nAudio and Video Mayuko Katakura playing Herbie Hancock’s “Speak Like A Child” in a duo setting from 2012: Excerpt from track #3: “ア・ダンサーズ・メランコリー (A Dancer\u0026rsquo;s Melancholy)” ","permalink":"https://mirror2.jazzofjapan.com/mayuko-katakura-the-echoes-of-three/","summary":"\u003cp\u003ePianist Mayuko Katakura’s 2015 album \u003cem\u003eThe Echoes of Three\u003c/em\u003e captures an exciting reunion of old friends whose strong connections and shared history result in a high-level trio session. With plenty of speedy McCoy Tyner angularism and Monkish spontaneity, Katakura spurs the trio on, delivering a great balance of compositional planning with in-the-moment abandon.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180989-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180989-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe first five tracks are back-to-back originals, starting with the contemplative “Echo” leading into the bouncing “Into Somewhere” (based on the standard “Out Of Nowhere”), the exquisite “A Dancer’s Melancholy” (also performed on her 2010 recording Faith), a fiery group improvisation “At The Studio (Reunion)”, and the modern “Directions”, honoring influences from jazz pianists Mulgrew Miller and Geri Allen.\u003c/p\u003e","title":"Mayuko Katakura: The Echoes of Three"},{"content":"Three established musicians join up to release Les Komatis, a rich fusion of jazz, pop, and Brazilian influences combined for thrilling and moving music.\nVoice, flute, and piano fill the aural landscape, with hand percussion adding a visceral rhythmic pulse. Starting with Akemi Ohta’s “Spur”, darting melodic lines weave over heavy piano riffs and harmonies on several songs, while other songs set up sensitive moods with ballads and bossa. The musicians even layer their voices in chorus at one point (on Jimi Hendrix’s “Little Wing”), permeating listeners with soulful warmth and passion.\nAlong with songs sung in English, Japanese, and Portuguese, the vocalist Nobie often features her voice as an instrument, wordlessly doubling and counterpointing the tandem flute and piano in complex arrangements and soaring improvisation.\nLes Komatis balances jazz, pop, and Latin with the album’s originals, comfortable ballads, catchy interludes, and even two powerhouse McCoy Tyner covers for added energy: “Man From Tanganyika” and “Fly With The Wind”. The set closes with a Zen-like take on the final track, Mayuko Katakura’s deep “Mugen” (with 夢幻 here meaning dreams, visions, fantasy).\nLes Komatis by Les Komatis Nobie - vocal, voice, percussion Akemi Ohta - flute, alto flute, percussion, chorus Mayuko Katakura - piano, Rhodes piano, chorus Nobumasa Yamada - percussion Released in 2015 on F.S.L as FSCJ-0007.\nJapanese names: ノビー Nobie 太田朱美 Ohta Akemi 片倉真由子 Katakura Mayuko 山田ノブマサ Yamada Nobumasa\nAudio and Video Audio samples from bowz.shop-pro.jp\nExcerpt from track #1: “Spur”\n","permalink":"https://mirror2.jazzofjapan.com/les-komatis-les-komatis/","summary":"\u003cp\u003eThree established musicians join up to release Les Komatis, a rich fusion of jazz, pop, and Brazilian influences combined for thrilling and moving music.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180805-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180805-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eVoice, flute, and piano fill the aural landscape, with hand percussion adding a visceral rhythmic pulse. Starting with Akemi Ohta’s “Spur”, darting melodic lines weave over heavy piano riffs and harmonies on several songs, while other songs set up sensitive moods with ballads and bossa. The musicians even layer their voices in chorus at one point (on Jimi Hendrix’s “Little Wing”), permeating listeners with soulful warmth and passion.\u003c/p\u003e","title":"Les Komatis: Les Komatis"},{"content":"Vibist Kaori Nakajima returns with her second album Cross Point featuring KVQ: Kaori Vibes Quartet (formerly Vangy!!), a jubilant combo with jazz vibraphone springing out mellow tones at the center.\nStarting with the high-energy “Cross Point”, the quartet explores directions from straight-ahead jazz and relaxed swing to quiet ballads and Spanish-tinged rubato. With skilled playing and engaging compositions, highlights include the pop-catchy “Dandelion”, the edgy “Flicker”, a nod to Horace Silver and Cedar Walton on “Golden Pine”, and the soft atmospheric reverb of “Moonlights Underwater”, summoning undulating waves in the comfort of twilight.\nCross Point by Kaori Vibes Quartet Kaori Nakajima - vibraphone Tamashi Goto - piano Minoru Yoshiki - bass Masanori Ando - drums Released in 2016 on Urban Jazz as 151A-0017.\nJapanese names: 中島香里 Nakajima Kaori 後藤魂 Goto Tamashi 吉木稔 Yoshiki Minoru 安藤正則 Ando Masanori\nAudio and Video Kaori Nakajima plays “At That Room”, the final song on this album: Excerpt from track #1: “Cross Point” ","permalink":"https://mirror2.jazzofjapan.com/kaori-vibes-quartet-cross-point/","summary":"\u003cp\u003eVibist Kaori Nakajima returns with her second album \u003cem\u003eCross Point\u003c/em\u003e featuring KVQ: Kaori Vibes Quartet (formerly Vangy!!), a jubilant combo with jazz vibraphone springing out mellow tones at the center.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1190171-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1190171-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eStarting with the high-energy “Cross Point”, the quartet explores directions from straight-ahead jazz and relaxed swing to quiet ballads and Spanish-tinged rubato. With skilled playing and engaging compositions, highlights include the pop-catchy “Dandelion”, the edgy “Flicker”, a nod to Horace Silver and Cedar Walton on “Golden Pine”, and the soft atmospheric reverb of “Moonlights Underwater”, summoning undulating waves in the comfort of twilight.\u003c/p\u003e","title":"Kaori Vibes Quartet: Cross Point"},{"content":"Jazz singer Atomi Hamada releases This is Atomi, a five-track debut featuring songs she has loved as jazz instrumental standards. Here, using her voice as an instrument, she adds a fresh dimension to songs that some listeners may have heard only instrumentally before.\nThis is intimate, close-quarters jazz, with piano and bass backing up the vocals for a soft mellow mood.\nStarting with a quiet dynamic, Hamada sings a wistful “Round Midnight” before moving to a relaxed “Speak No Evil” and a cheery “All The Things You Are”. She wraps up the five-track album with a catchy “Ladies in Mercedes” and a reconstructed “Confirmation” to close the set on a bebop high.\nThis is Atomi by Atomi Hamada Atomi Hamada - vocal Momo Nonami - piano Hiroaki Mizutani - bass Released in 2017 on Atomi Hamada as This is Atomi.\nJapanese names: 浜田亜東実 Hamada Atomi 野波桃 Nonami Momo 水谷浩章 Mizutani Hiroaki\nAudio and Video Live performance of track #4, “Ladies in Mercedes”: Excerpt from track #3: “オール・ザ・シングス・ユー・アー (All the Things You Are)” ","permalink":"https://mirror2.jazzofjapan.com/atomi-hamada-this-is-atomi/","summary":"\u003cp\u003eJazz singer Atomi Hamada releases \u003cem\u003eThis is Atomi\u003c/em\u003e, a five-track debut featuring songs she has loved as jazz instrumental standards. Here, using her voice as an instrument, she adds a fresh dimension to songs that some listeners may have heard only instrumentally before.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1190142-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1190142-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis is intimate, close-quarters jazz, with piano and bass backing up the vocals for a soft mellow mood.\u003c/p\u003e\n\u003cp\u003eStarting with a quiet dynamic, Hamada sings a wistful “Round Midnight” before moving to a relaxed “Speak No Evil” and a cheery “All The Things You Are”. She wraps up the five-track album with a catchy “Ladies in Mercedes” and a reconstructed “Confirmation” to close the set on a bebop high.\u003c/p\u003e","title":"Atomi Hamada: This is Atomi"},{"content":"Ami Fukui’s third album New Journey grabs the listener’s attention with colorful, immersive songs, 11 well-crafted originals played with exciting energy and vigor.\nMuch of the music builds on strong rhythms and bassline hooks (credit given to Kudo and Fukumori, whose brightness and expert rhythms fit the music perfectly), over which catchy melodies soar.\nThroughout the album, surprises and discoveries often surface – bonus interludes, doubled-up lines, coordinated syncopation, even some voice and handclaps - compositional embellishments that demonstrate Fukui’s dedication to careful songwriting which pleases the listener. The result: lush music that grooves with fun, pure and simple.\nNew Journey by Ami Fukui Trio Ami Fukui - piano Show Kudo - double bass, electric bass Yasushi Fukumori - drums Akiko Suda - vocals (#7) Released in 2016 on Diw The Grace as DG-1007.\nJapanese names: 福井亜実 Fukui Ami 工藤精 Kudo Show 福森康 Fukumori Yasushi 須田晶子 Suda Akiko\nAudio and Video Live performance of the last track, “Burn Red”: Excerpt from track #6: “ニュー・ジャーニー (New Journey)” ","permalink":"https://mirror2.jazzofjapan.com/ami-fukui-trio-new-journey/","summary":"\u003cp\u003eAmi Fukui’s third album \u003cem\u003eNew Journey\u003c/em\u003e grabs the listener’s attention with colorful, immersive songs, 11 well-crafted originals played with exciting energy and vigor.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1190042-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1190042-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eMuch of the music builds on strong rhythms and bassline hooks (credit given to Kudo and Fukumori, whose brightness and expert rhythms fit the music perfectly), over which catchy melodies soar.\u003c/p\u003e\n\u003cp\u003eThroughout the album, surprises and discoveries often surface – bonus interludes, doubled-up lines, coordinated syncopation, even some voice and handclaps - compositional embellishments that demonstrate Fukui’s dedication to careful songwriting which pleases the listener. The result: lush music that grooves with fun, pure and simple.\u003c/p\u003e","title":"Ami Fukui Trio: New Journey"},{"content":"The Japanese vocal-guitar duo Meu Coração releases the stunning A Tempo as a return to an earlier form. While the duo is well known for playing acoustic Brazilian music at sold-out concert halls and their Hall Tone albums, this sixth album presents dramatic variations with an exciting full-band sound.\nThe album starts with a vibrant “One Note Samba” and also features a catchy “Lawns”, the peppy Brazilian tunes “Corrida De Jangada” and “Batacuda Surgiu”, and a sentimental, lush “Amazon River”. The album closes like a sweet lullaby with a dreamy “Love Me Tender”.\nThe music grooves with creative arrangements and interesting effects, rooted by the vocal-guitar duo at the core who continue to make music from the heart.\nA Tempo by Meu Coracao Emiko Voice - vocals Taro Sukegawa - acoustic \u0026amp; electric guitar, cavaquinho Ken\u0026rsquo;ichiro Shinzawa - keyboards Cokky - electric bass Kiyotaka Kuroda - drums Yasuhiro Yoshigaki - percussion (#4, 7) Released in 2016 on Eclectic Records as ECLC-101.\nJapanese names: エミコヴォイス Emiko Voice 助川太郎 Sukegawa Taro 新澤健一郎 Shinzawa Ken\u0026rsquo;ichiro コッキー Cokky 黒田清高 Kuroda Kiyotaka 芳垣安洋 Yoshigaki Yasuhiro\nAudio and Video Live performance of “Corrida De Jangada”, the third track on this album: Promotional video featuring the second track “Lawns”: Excerpt from track #1: “Samba de uma nota so[\u0026rsquo;]” ","permalink":"https://mirror2.jazzofjapan.com/meu-coracao-a-tempo/","summary":"\u003cp\u003eThe Japanese vocal-guitar duo Meu Coração releases the stunning \u003cem\u003eA Tempo\u003c/em\u003e as a return to an earlier form. While the duo is well known for playing acoustic Brazilian music at sold-out concert halls and their \u003cem\u003eHall Tone\u003c/em\u003e albums, this sixth album presents dramatic variations with an exciting full-band sound.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1190130-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1190130-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe album starts with a vibrant “One Note Samba” and also features a catchy “Lawns”, the peppy Brazilian tunes “Corrida De Jangada” and “Batacuda Surgiu”, and a sentimental, lush “Amazon River”. The album closes like a sweet lullaby with a dreamy “Love Me Tender”.\u003c/p\u003e","title":"Meu Coracao: A Tempo"},{"content":"In memory of the lives taken by the devastating Tohoku earthquake and tsunami of March 11, 2011, three musicians formed the Tsutaete Ikou project. Pianist Seiji Endo and vocalists Hiroco Nagano and Shinya Nitta were touched by the brave and kindhearted students they met at a benefit concert, children who became an inspiration for the musicians.\n“Tsutaete Ikou” is the resulting heart-warming anthem, dedicated to strengthening the spirit of survivors and helping to soothe painful memories. The title echoes a stone monument at Ishinomaki high school which promises to tell their story forever. After disasters such as this, one may feel hopeless individually, yet the act of remembering together, passing the message on, and uniting with music does wonders to support the spirit.\nThe CD contains three versions of the song “Tsutaete Ikou”, and proceeds were donated to affected disaster areas and educational funds for children.\nTsutaete Ikou by Seiji Endo Hiroco Nagano - vocal Shinya Nitta - vocal Seiji Endo - piano, vocals Yasuhiro Hasegawa - bass (#2) Yoshiyuki Nakaya - drums (#2) Arata Umehara - guitar (#2) Released in 2015 on Music Art Records as MAR-1501.\nJapanese names: 永野寛子 Nagano Hiroco 仁田真也 Nitta Shinya 遠藤征志 Endo Seiji 長谷川泰弘 Hasegawa Yasuhiro 中屋啓之 Nakaya Yoshiyuki 梅原新 Umehara Arata\nAudio and Video Video for the song “Tsutaete Ikou”: Solo piano version of the song for karaoke: Excerpt from track #1: “伝えていこう (Let\u0026rsquo;s Tell It)” Other Links The Tsutaete Ikou project website, with piano score and lyrics ","permalink":"https://mirror2.jazzofjapan.com/seiji-endo-tsutaete-ikou/","summary":"\u003cp\u003eIn memory of the lives taken by the devastating Tohoku earthquake and tsunami of March 11, 2011, three musicians formed the \u003cem\u003eTsutaete Ikou\u003c/em\u003e project. Pianist Seiji Endo and vocalists Hiroco Nagano and Shinya Nitta were touched by the brave and kindhearted students they met at a benefit concert, children who became an inspiration for the musicians.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180630x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180630x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003e“Tsutaete Ikou” is the resulting heart-warming anthem, dedicated to strengthening the spirit of survivors and helping to soothe painful memories. The title echoes a stone monument at Ishinomaki high school which promises to tell their story forever. After disasters such as this, one may feel hopeless individually, yet the act of remembering together, passing the message on, and uniting with music does wonders to support the spirit.\u003c/p\u003e","title":"Seiji Endo: Tsutaete Ikou"},{"content":"Hitomi Nishiyama’s 2011 album Music in You features an established trio that shares a cohesive sensibility, creating beautiful textural moods with European-flavored jazz influences. As befits a group of skilled jazz musicians, the players breathe as one while creating textures of sound, restrained yet deep with emotion.\nLike the gracefully knotted thread art on the album cover, Nishiyama’s music also seems to be composed of delicate lines, intricately flowing and interweaving to create a weightless construction of deep substance.\nThe music designs atmospheres of melancholy, brilliance, and intoxicating nostalgia. The songs are all of a piece, reflecting a careful sensitivity and attention paid to composition, with improvisation that reflects the musician’s inner voice on display as the group shifts and supports together.\nAll of the compositions on Music in You are by Nishiyama, several with novel titles like “Kinora”, “Syneya”, “Unfolding Universe”, “Exhibiting the ‘NOW’”, and “T.C.T. Twelve Chord Tune” — a descendant of and tribute to Bill Evans’s “T.T.T. (Twelve Tone Tune)”, a clever musical experiment based on tone rows.\nAlongside these are songs with more direct titles, such as “Standing There”, “Pictures”, “Pathos”, and “Just By Thinking Of You”. With the considered imagery of both compositional and title choices on Music in You, the musical and literary personality of the accomplished pianist can be further appreciated and understood. Yet words can only go so far. The best way to get the music in you is to listen.\nMusic in You by Hitomi Nishiyama Trio Hitomi Nishiyama - piano Yasuhiko “Hachi” Sato - bass Kazumi Ikenaga - drums Ryosuke Hashizume - tenor sax (#12) Released in 2011 on Meantone Records as MT-002.\nJapanese names: 西山瞳 Nishiyama Hitomi 佐藤“ハチ”恭彦 Sato Yasuhiko “Hachi” 池長和美 Ikenaga Kazumi 橋爪亮督 Hashizume Ryosuke\nAudio and Video Video with samples from this album: Excerpt from track #4: “Unfolding Universe” Other Links Thread sculpture (used as cover art) by Akiko Ikeuchi\nInternational Songwriters Competition 2009\n","permalink":"https://mirror2.jazzofjapan.com/hitomi-nishiyama-trio-music-in-you/","summary":"\u003cp\u003eHitomi Nishiyama’s 2011 album \u003cem\u003eMusic in You\u003c/em\u003e features an established trio that shares a cohesive sensibility, creating beautiful textural moods with European-flavored jazz influences. As befits a group of skilled jazz musicians, the players breathe as one while creating textures of sound, restrained yet deep with emotion.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"../images/hitomi-nishiyama-trio-music-in-you/L1210064-1024.JPG\"\u003e\n    \u003cimg loading=\"lazy\" src=\"../images/hitomi-nishiyama-trio-music-in-you/L1210064-1024.JPG\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eLike the gracefully knotted thread art on the album cover, Nishiyama’s music also seems to be composed of delicate lines, intricately flowing and interweaving to create a weightless construction of deep substance.\u003c/p\u003e","title":"Hitomi Nishiyama Trio: Music in You"},{"content":"Tomoka Miwa, Tokyo-based jazz and pop singer, uses her jazz palette on Colors in Silence, a live recording from 2015. Playing with a piano, bass, and drums combo, she sings jazz standards such as “I’ve Got You Under My Skin” and “My Favorite Things” and the fan-favorite “A House Is Not A Home”. Some spice is added to the set with the classic bolero “Somos Novios”, and the groovy samba-funk “Skindo-le-le”, while the sultry “Love Dance” and the beautiful hymn “Hallelujah” add extra colors to the canvas.\nThe instrumental musicians get plenty of space for stretching out, with pianist Yuichi Narita pushing for moments of exploratory post-bop jazz with his solos. Each musician is also featured in a duet with the vocalist for extra variety.\nColors in Silence by Tomoka Miwa Tomoka Miwa - vocal Yuichi Narita - piano, keyboards Daisuke Toi - bass Sebastiaan Kaptein - drums Released in 2015 on Tomoka Miwa as MUW-002.\nJapanese names: 三輪知可 Miwa Tomoka 成田祐一 Narita Yuichi トオイダイスケ Toi Daisuke\nAudio and Video Promotional video for a 2017 album from Tomoka Miwa: Excerpt from track #2: “Love dance” ","permalink":"https://mirror2.jazzofjapan.com/tomoka-miwa-colors-in-silence/","summary":"\u003cp\u003eTomoka Miwa, Tokyo-based jazz and pop singer, uses her jazz palette on \u003cem\u003eColors in Silence\u003c/em\u003e, a live recording from 2015. Playing with a piano, bass, and drums combo, she sings jazz standards such as “I’ve Got You Under My Skin” and “My Favorite Things” and the fan-favorite “A House Is Not A Home”. Some spice is added to the set with the classic bolero “Somos Novios”, and the groovy samba-funk “Skindo-le-le”, while the sultry “Love Dance” and the beautiful hymn “Hallelujah” add extra colors to the canvas.\u003c/p\u003e","title":"Tomoka Miwa: Colors in Silence"},{"content":"Sumitty \u0026amp; the Funfair is a 2015 release from drummer Sumito Oi and his band of merry music makers, assembling here to produce an original work of creatively poppy jazz. Not circus clown tomfoolery, but, rather, light and glittery music played with a cheerful buoyancy and sensitivity by improvisational jazz musicians. The theme is musical fun, wide-smiled mirth carried by a sweet nostalgia for amusement park ambiance.\nAs a drummer’s quartet, rhythm moderates the music delightfully, propulsive but never overpowering. Flutes with electric and acoustic instruments add evocative flavors, leading us through the fair and summoning musical images like childhood memories.\nSumitty \u0026amp; The Funfair by Sumito Oi Sumito Oi - drums Toyomi Kobayashi - flute, alto flute, bass flute, Andes25F Koichi Sato - piano, Fender Rhodes, Wurlitzer Show Kudo - double bass, electric bass Released in 2015 on S\u0026amp;T Music as STMU-1001.\nJapanese names: 大井澄東 Oi Sumito 小林豊美 Kobayashi Toyomi 佐藤浩一 Sato Koichi 工藤精 Kudo Show\nAudio and Video Live performance of “Fascinating Rhythm”: Excerpt from track #1: “Ferris Wheel” ","permalink":"https://mirror2.jazzofjapan.com/sumito-oi-sumitty-the-funfair/","summary":"\u003cp\u003e\u003cem\u003eSumitty \u0026amp; the Funfair\u003c/em\u003e is a 2015 release from drummer Sumito Oi and his band of merry music makers, assembling here to produce an original work of creatively poppy jazz. Not circus clown tomfoolery, but, rather, light and glittery music played with a cheerful buoyancy and sensitivity by improvisational jazz musicians. The theme is musical fun, wide-smiled mirth carried by a sweet nostalgia for amusement park ambiance.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"../images/sumito-oi-sumitty-and-the-funfair/L1180745-1024.JPG\"\u003e\n    \u003cimg loading=\"lazy\" src=\"../images/sumito-oi-sumitty-and-the-funfair/L1180745-1024.JPG\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAs a drummer’s quartet, rhythm moderates the music delightfully, propulsive but never overpowering. Flutes with electric and acoustic instruments add evocative flavors, leading us through the fair and summoning musical images like childhood memories.\u003c/p\u003e","title":"Sumito Oi: Sumitty \u0026 The Funfair"},{"content":"A jazz pianist who balances lyricism with boldness, Sachiko Ikuta leads a piano trio on Haru No Kaze (Spring Wind) from 2012. Legendary jazz trumpeter Terumasa Hino also joins on two songs, adding an adventurous splash of avant-garde improvisation to the album.\nStarting with the title track “Haru No Kaze”, the sense of an overture is felt through the light Japanese touches of a sweet melody which turns into the whirling winds of a solid jazz piano trio locking into a tune together. The next track, “Last Tango In Paris”, introduces a mood of evocative drama and intrigue with a relaxed beat.\nThe album’s nine songs feature classic jazz standards, songs by Bills Evans and Thelonious Monk, two original compositions, and a charming reconstruction of “Twinkle Twinkle Little Star” which swings gracefully. Ikuta even puts her well-rounded solo piano on display with a confident rendition of “Everything Happens To Me”, showcasing her dedication to the tradition of great jazz pianists.\nHaru No Kaze by Sachiko Ikuta Trio Sachiko Ikuta - piano Hideaki Kanazawa - contrabass Shun Ishiwaka - drums Terumasa Hino - trumpet, cornet (#3, 6) Released in 2012 on Studio TLive Records as XQHG-1007.\nJapanese names: 生田さち子 Ikuta Sachiko 金澤英明 Kanazawa Hideaki 石若駿 Ishiwaka Shun 日野皓正 Hino Terumasa\nAudio and Video The Sachiko Ikuta Trio performing “Haru no Kaze”: Excerpt from track #1: “春の風 (Spring Breeze)” ","permalink":"https://mirror2.jazzofjapan.com/sachiko-ikuta-trio-haru-no-kaze/","summary":"\u003cp\u003eA jazz pianist who balances lyricism with boldness, Sachiko Ikuta leads a piano trio on \u003cem\u003eHaru No Kaze (Spring Wind)\u003c/em\u003e from 2012. Legendary jazz trumpeter Terumasa Hino also joins on two songs, adding an adventurous splash of avant-garde improvisation to the album.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180787-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180787-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eStarting with the title track “Haru No Kaze”, the sense of an overture is felt through the light Japanese touches of a sweet melody which turns into the whirling winds of a solid jazz piano trio locking into a tune together. The next track, “Last Tango In Paris”, introduces a mood of evocative drama and intrigue with a relaxed beat.\u003c/p\u003e","title":"Sachiko Ikuta Trio: Haru No Kaze"},{"content":"Pianist Mayuko Katakura’s 2009 debut album Inspiration immediately impresses. The album kicks off at a rapid pace with “Blues For Tyner”, a tribute to one of her jazz inspirations pianist McCoy Tyner. Right from this fierce opening, Katakura’s amazing technique is on full display with angular, acrobatic lines flying through this up-tempo tune.\nIn addition to speed, Katakura’s confident jazz piano sense extends to bluesy grooves and touching sensitivity. This is a pianist who plays with a dedication to the music and to those she has been inspired by. The ten tracks on Inspiration, with originals and nicely-arranged standards, make this a well-balanced set with a variety of tempos and moods.\nInspiration by Mayuko Katakura Mayuko Katakura - piano Yasushi Nakamura - bass Carl Allen - drums Released in 2009 on Pony Canyon as MYCJ-30554.\nJapanese names: 片倉真由子 Katakura Mayuko 中村恭士 Nakamura Yasushi\nAudio and Video Audio for the first track, “Blues for Tyner”: Performance of “Linden Blvd” with Mayuko Katakura and the Kiyoshi Kitakawa trio: Excerpt from track #1: “ブルース・フォー・タイナー (Blues For Tyner)” ","permalink":"https://mirror2.jazzofjapan.com/mayuko-katakura-inspiration/","summary":"\u003cp\u003ePianist Mayuko Katakura’s 2009 debut album \u003cem\u003eInspiration\u003c/em\u003e immediately impresses. The album kicks off at a rapid pace with “Blues For Tyner”, a tribute to one of her jazz inspirations pianist McCoy Tyner. Right from this fierce opening, Katakura’s amazing technique is on full display with angular, acrobatic lines flying through this up-tempo tune.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180975-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180975-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eIn addition to speed, Katakura’s confident jazz piano sense extends to bluesy grooves and touching sensitivity. This is a pianist who plays with a dedication to the music and to those she has been inspired by. The ten tracks on \u003cem\u003eInspiration\u003c/em\u003e, with originals and nicely-arranged standards, make this a well-balanced set with a variety of tempos and moods.\u003c/p\u003e","title":"Mayuko Katakura: Inspiration"},{"content":"Drummer Sohnosuke Imaizumi lays down impressive foundations with his debut album Rin. Having worked as a member of groups including Quasimode and Beatmoss, this is his first album as a leader. These 14 tracks feature his trio playing original songs and jazz standards, interwoven with hip-hop-influenced grooves and spacey drums-and-sampler interludes.\nA gorgeously-recorded drum and cymbal sound makes Imaizumi a pleasure to listen to as he plays with his well-suited bandmates. His rhythmic sense is masterful, lightly delivered with ease as he improvises fills, accents beats, and plays with time. His drumming is particularly in sync with bassist Kazuhiro Sunaga from the Japanese jazz group Quasimode, where Imaizumi previously drummed for five years and released five Blue Note releases.\nSession leader Imaizumi contributes all of the original songs and arrangements on the album (“Nag Champa”, “You So Kind”, “1993 Misawa Air Base”, and others). In addition to jazz, the drummer’s style and influences are on display with the track “Hip Hop Medley”, where “Carry On Tradition” (Nas) and “Each and Every Thursday” (Funky DL) are performed as a stylish jazz tribute, one of the album’s groovier high points. Two choice jazz standards are also performed in straight-ahead jazz form, Benny Golson’s “Fair Weather” and George Gershwin’s “Soon”.\nIn addition, six tracks by Imaizumi and sampler artist Blahmuzik are placed between other tracks and serve as interesting sound buffers showcasing the drummer’s beat and textural capabilities.\nThe overall album delivers an exciting variety of moods centered around a modern jazz piano trio with a fun vibe, well-produced, skillfully played, and decorated with stimulating experimentation.\nRin by Sohnosuke Imaizumi Sohnosuke Imaizumi - drums Kazuhiro Sunaga - bass Kazuhiro Tamura - piano BLAHMUZIK - sampler Released in 2015 on Flower Records as FLRC-070.\nJapanese names: 今泉総之輔 Imaizumi Sohnosuke 須長和広 Sunaga Kazuhiro 田村和大 Tamura Kazuhiro ブラムジック BLAHMUZIK\nAudio and Video Promotional video for this album: Drums-and-sampler excerpts from Sohnosuke Imaizumi and Blahmuzik: Excerpt from track #1: “Nag Champa” ","permalink":"https://mirror2.jazzofjapan.com/sohnosuke-imaizumi-rin/","summary":"\u003cp\u003eDrummer Sohnosuke Imaizumi lays down impressive foundations with his debut album \u003cem\u003eRin\u003c/em\u003e. Having worked as a member of groups including Quasimode and Beatmoss, this is his first album as a leader. These 14 tracks feature his trio playing original songs and jazz standards, interwoven with hip-hop-influenced grooves and spacey drums-and-sampler interludes.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180955-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180955-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eA gorgeously-recorded drum and cymbal sound makes Imaizumi a pleasure to listen to as he plays with his well-suited bandmates. His rhythmic sense is masterful, lightly delivered with ease as he improvises fills, accents beats, and plays with time. His drumming is particularly in sync with bassist Kazuhiro Sunaga from the Japanese jazz group Quasimode, where Imaizumi previously drummed for five years and released five Blue Note releases.\u003c/p\u003e","title":"Sohnosuke Imaizumi: Rin"},{"content":"Vayu captures a solo saxophone performance from veteran jazz player Toshihiko Inoue in 2006, released in 2016.\nOriginally planned as an indoor solo performance, the fine spring weather lured Toshihiko Inoue outside to perform in a garden terrace. Surrounded by nature, Inoue’s music conveys gentleness and introspection, even inspiring birds to sing along with his mellow sounds. Quiet outdoor noises, the creaking of wood, and other ambient sounds create a peaceful mood as a recording which facilitates an absorbing experience.\nAs Inoue plays through the five songs on this album, the listener is transported to that spring day to commune with nature and Inoue’s spirit. A legendary player for over 40 years, Toshihiko Inoue’s influence on jazz lives on, with his songs and groups continuing to be appreciated.\nLiner Notes (Translated from the original Japanese liner notes written by F.S.L.)\n※ Vayu = God of the Wind in Indian mythology. Incorporated into Buddhism, it becomes “Futen” (風天, Wind God).\nThis recording is from a concert held on April 1, 2006, which was held in a rented open garden from a landscaping company in Chofu City.\nInitially, it was planned to be held indoors, but Mr. Inoue said himself “The weather is nice, the wind feels good, why don’t we do it outside?” Preparations were made hurriedly to move the stage outdoors.\nFrom time to time a strong wind blew, but it was a mild spring day. The chirping of birds, the taking off and landing of airplanes, the creaking of the wood deck, the opening and shutting of doors, and Mr. Inoue’s saxophone which wound around like the wind, all seeming to be heard as one piece of music in complete harmony.\nThis was unearthed from a simple audio recording and certainly not high-quality sound, yet I hope you can feel the warm atmosphere.\nWe would like to thank everyone who helped us in releasing this.\nVayu by Toshihiko Inoue Toshihiko Inoue - solo saxophone Released in 2016 on Foot \u0026amp; Shoe as FSCJ-0011.\nJapanese names: 井上淑彦 Inoue Toshihiko\nAudio and Video Toshihiko Inoue playing solo saxophone live in 2012: Audio samples\nExcerpt from track #1: “Fireworks”\n","permalink":"https://mirror2.jazzofjapan.com/toshihiko-inoue-vayu/","summary":"\u003cp\u003e\u003cem\u003eVayu\u003c/em\u003e captures a solo saxophone performance from veteran jazz player Toshihiko Inoue in 2006, released in 2016.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180766-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180766-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eOriginally planned as an indoor solo performance, the fine spring weather lured Toshihiko Inoue outside to perform in a garden terrace. Surrounded by nature, Inoue’s music conveys gentleness and introspection, even inspiring birds to sing along with his mellow sounds. Quiet outdoor noises, the creaking of wood, and other ambient sounds create a peaceful mood as a recording which facilitates an absorbing experience.\u003c/p\u003e","title":"Toshihiko Inoue: Vayu"},{"content":"Four accomplished musicians reunite for Needful Things, a live recording of original compositions, bewitching music with a touching beauty.\nStarting with a slow build-up of sounds and chant-like effects, the songs develop deeply, breathing traces of folk, pop, and contemporary jazz into melancholy themes. Without drums or percussion, the quartet is able to create a slightly floating feeling, while the players’ steady pulse keeps the time anchored, subtle yet solidly unwavering.\nThe players evoke a calm confidence together, creating music that grooves with tension and release, mixing solemnity with hopefulness, freedom with structure… a distinctively lovely product from these dedicated musicians.\nRecorded live at Jalan Jalan in Wakayama, Japan on November 22-23, 2008.\nNeedful Things by Ryosuke Hashizume Ryosuke Hashizume - tenor saxophone, clarinet, effects, voice Takumi Seino - electric, acoustic guitars Masako Hamamura - piano Yasutaka Yorozu - bass Released in 2009 on Grapes Records as GPS-1206.\nJapanese names: 橋爪亮督 Hashizume Ryosuke 清野拓巳 Seino Takumi 浜村昌子 Hamamura Masako 萬恭隆 Yorozu Yasutaka\nAudio and Video Excerpt from track #1: “Stone Pavement” ","permalink":"https://mirror2.jazzofjapan.com/ryosuke-hashizume-needful-things/","summary":"\u003cp\u003eFour accomplished musicians reunite for \u003cem\u003eNeedful Things\u003c/em\u003e, a live recording of original compositions, bewitching music with a touching beauty.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180765-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180765-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eStarting with a slow build-up of sounds and chant-like effects, the songs develop deeply, breathing traces of folk, pop, and contemporary jazz into melancholy themes. Without drums or percussion, the quartet is able to create a slightly floating feeling, while the players’ steady pulse keeps the time anchored, subtle yet solidly unwavering.\u003c/p\u003e","title":"Ryosuke Hashizume: Needful Things"},{"content":"Vocalist Rie Taguchi leads a swinging sextet on her first full-length album, The Gift.\nHer sultry voice seems to crack smiles and reminisce on old times as she dips and sways through the music. Popular standards such as “I Wish You Love” and “I’ve Got You Under My Skin” convey her cheerful energy, hearkening back at times to a type of Las Vegas showroom jazz. Her bright charm describes a sparkling smile, perhaps even a tipsy grin as she gracefully sings the notes.\nThe album features delightful arrangements by Seiji Endo along with Taguchi’s pop-oriented originals. The music starts in full swing with a riveting “The Lady is a Tramp”, and finishes up the set with a warm “Close to You” followed by the vocalist quietly playing piano and singing her song “Voices”.\nThe Gift by Rie Taguchi Rie Taguchi - vocals, piano Seiji Endo - piano, arrangements Seiji Tada - alto sax, flute Noriko Satomi - violin Mitsukuni Tanabe - guitar Yusuke Nakaishi - bass Akira Yamada - drums Released in 2016 on Rose Happy Music as RHM002.\nJapanese names: 田口理恵 Taguchi Rie 遠藤征志 Endo Seiji 多田誠司 Tada Seiji 里見紀子 Satomi Noriko 田辺充邦 Tanabe Mitsukuni 仲石裕介 Nakaishi Yusuke 山田玲 Yamada Akira\nAudio and Video Television broadcast of Rie Taguchi singing in Tokyo: Excerpt from track #1: “The Lady Is A Tramp” ","permalink":"https://mirror2.jazzofjapan.com/rie-taguchi-the-gift/","summary":"\u003cp\u003eVocalist Rie Taguchi leads a swinging sextet on her first full-length album, \u003cem\u003eThe Gift\u003c/em\u003e.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180796-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180796-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eHer sultry voice seems to crack smiles and reminisce on old times as she dips and sways through the music. Popular standards such as “I Wish You Love” and “I’ve Got You Under My Skin” convey her cheerful energy, hearkening back at times to a type of Las Vegas showroom jazz. Her bright charm describes a sparkling smile, perhaps even a tipsy grin as she gracefully sings the notes.\u003c/p\u003e","title":"Rie Taguchi: The Gift"},{"content":"Pianist and composer Koichi Sato’s 2016 release Melancholy of a Journey features a distinctive jazz sextet: a piano trio adding clarinet and guitar for modern groundedness and cello providing graceful maturity.\nSato conceived the main theme while traveling in Norway and viewing a certain painting. The work of art, Art Rolfsen’s “The Big Station”, graces the cover and inspired “The Railway Station”, a four-part suite arranged over four tracks. This music emerges and recedes through tracks #1, 6, 9, and 12, resulting in four distinct songs with common echoes.\nFrom this setting and throughout the rest of the album, beautiful music blossoms and inspires scenes of travel. Dramatic compositions with full, earthy sounds create moods spanning excitement, relaxation, hectic impressionism, and, naturally, melancholy. This music embraces emotions that may arise at different times during a long journey, a soundtrack to a trip, a modern work of art.\nMelancholy of a Journey by Koichi Sato Koichi Sato - piano Tokuhiro Doi - clarinet, bass clarinet Motohiko Ichino - guitar Harutoshi Ito - cello Hiroki Chiba - double bass Ryo Noritake - drums Released in 2016 on Song X Jazz as SONG X 038.\nJapanese names: 佐藤浩一 Sato Koichi 土井徳浩 Doi Tokuhiro 市野元彦 Ichino Motohiko 伊藤ハルトシ Ito Harutoshi 千葉広樹 Chiba Hiroki 則武諒 Noritake Ryo\nAudio and Video Audio samples from the CD: Excerpt from track #1: “The Railway Station” ","permalink":"https://mirror2.jazzofjapan.com/koichi-sato-melancholy-of-a-journey/","summary":"\u003cp\u003ePianist and composer Koichi Sato’s 2016 release \u003cem\u003eMelancholy of a Journey\u003c/em\u003e features a distinctive jazz sextet: a piano trio adding clarinet and guitar for modern groundedness and cello providing graceful maturity.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180495-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180495-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eSato conceived the main theme while traveling in Norway and viewing a certain painting. The work of art, Art Rolfsen’s “The Big Station”, graces the cover and inspired “The Railway Station”, a four-part suite arranged over four tracks. This music emerges and recedes through tracks #1, 6, 9, and 12, resulting in four distinct songs with common echoes.\u003c/p\u003e","title":"Koichi Sato: Melancholy of a Journey"},{"content":"Seiji Endo, a poet at the piano, plays his original compositions for solo piano on his second solo album Circle for Peace. While he plays unaccompanied throughout, a children’s choir (Zushi Iruka Jido Gasshoudan) also joins him briefly on tracks 1 and 11, reminding one of the childlike purity and hopefulness conceived in his music.\nThrough sincerity depicted on the album cover and title, the concept is peace and comfort. Accordingly, Endo’s playing is full of emotion: tenderness and sensitivity ring throughout, with some melancholy mixed in, alternately romantic, classical, and soft pop at times. Melodic quotes from his previous album even make appearances. Overall, Endo conveys his personality through his soothing music filled with hope and beauty, calm and peace.\nCircle for Peace by Seiji Endo Seiji Endo - solo piano and compositions Released in 2016 on Nippon Acoustic Records, Inc as NARP-8009.\nJapanese names: 遠藤征志 Endo Seiji\nAudio and Video Seiji Endo performing “Bara No Sasayaki” (Whispers of a Rose): Excerpt from track #1: “Circle For Peace” ","permalink":"https://mirror2.jazzofjapan.com/seiji-endo-circle-for-peace/","summary":"\u003cp\u003eSeiji Endo, a poet at the piano, plays his original compositions for solo piano on his second solo album \u003cem\u003eCircle for Peace\u003c/em\u003e. While he plays unaccompanied throughout, a children’s choir (Zushi Iruka Jido Gasshoudan) also joins him briefly on tracks 1 and 11, reminding one of the childlike purity and hopefulness conceived in his music.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180870-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180870-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThrough sincerity depicted on the album cover and title, the concept is peace and comfort. Accordingly, Endo’s playing is full of emotion: tenderness and sensitivity ring throughout, with some melancholy mixed in, alternately romantic, classical, and soft pop at times. Melodic quotes from his previous album even make appearances. Overall, Endo conveys his personality through his soothing music filled with hope and beauty, calm and peace.\u003c/p\u003e","title":"Seiji Endo: Circle for Peace"},{"content":"Takuji Yamada is a professional jazz musician who takes care with his jazz. His first album Lite Blue from 2012 reflects that care through his beautifully written compositions and nicely-arranged standards, not to mention his spot-on stimulating jazz sax playing.\nAccurate playing, adventurous phrasing, and emotional balance mark this modern jazz album with a distinctive New York flavor. The NY-based rhythm section players keep the soloist’s backdrop consistently interesting through the range of moods, from modern straight-ahead jazz to bluesy, groovy, and romantic.\nThe track listing consists of 10 songs, mostly originals from Yamada with three standards (“Don’t Blame Me”, “When Lights Are Low”, and “Skylark”) included as a strong jazz frame. Yamada’s catchy originals on this album include the stimulating opener “In A Reverse Way”, the darkly swirling “Rain”, and the warm, modern “Kurikology”, a portmanteau of the Japanese name Kuriko and the suffix -ology, a nice tip of the hat to Charlie Parker bebop along the lines of “Ornithology” and “Anthropology”.\nLite Blue by Takuji Yamada Takuji Yamada - alto and soprano saxophones, bass clarinet Danny Grissett - piano Daisuke Abe - guitar (tr. 3, 5, 6, 8, 9, 10) Luques Curtis - bass Quincy Davis - drums Released in 2012 on D-Musica as DMCD-18.\nJapanese names: 山田拓児 Yamada Takuji 阿部大輔 Abe Daisuke\nAudio and Video Takuji Yamada’s Folklore playing “In a Reverse Way” live: Live version of Takuji Yamada’s song “Rain”: Excerpt from track #1: “In A Reverse Way” ","permalink":"https://mirror2.jazzofjapan.com/takuji-yamada-lite-blue/","summary":"\u003cp\u003eTakuji Yamada is a professional jazz musician who takes care with his jazz. His first album \u003cem\u003eLite Blue\u003c/em\u003e from 2012 reflects that care through his beautifully written compositions and nicely-arranged standards, not to mention his spot-on stimulating jazz sax playing.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"../images/takuji-yamada-lite-blue/L1180749-1024.JPG\"\u003e\n    \u003cimg loading=\"lazy\" src=\"../images/takuji-yamada-lite-blue/L1180749-1024.JPG\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAccurate playing, adventurous phrasing, and emotional balance mark this modern jazz album with a distinctive New York flavor. The NY-based rhythm section players keep the soloist’s backdrop consistently interesting through the range of moods, from modern straight-ahead jazz to bluesy, groovy, and romantic.\u003c/p\u003e","title":"Takuji Yamada: Lite Blue"},{"content":"Faith is the second album from Mayuko Katakura, an amazing jazz pianist with an impeccable touch that echoes jazz piano legends. Listening to Katakura, one can sense the fondness and appreciation for players like McCoy Tyner and Sonny Clark. In fact, the album’s wistful ballad “Blue Sonny” was written for Sonny Clark by Katakura.\nThis straight-ahead jazz trio is marked by warmth between the musicians, who agreed to not over-arrange the recording session and have faith in the group and their love of jazz. Simple and irresistable, the group jumps in and swings hard together with skillful agility over five of the pianist’s originals and five jazz covers. The resulting sense of relaxation allows their individual mastery and group cohesiveness to produce exciting results, proving their faith to be well-rewarded.\nFaith by Mayuko Katakura Mayuko Katakura - piano Rodney Whitaker - bass Carl Allen - drums Released in 2010 on Pony Canyon as MYCJ-30578.\nJapanese names: 片倉真由子 Katakura Mayuko\nAudio and Video Audio for “A Dancer’s Melancholy” from this album: Excerpt from track #1: “ミセス・パーカー・オブ ＫＣ (Mrs. Parker of KC)” ","permalink":"https://mirror2.jazzofjapan.com/mayuko-katakura-faith/","summary":"\u003cp\u003e\u003cem\u003eFaith\u003c/em\u003e is the second album from Mayuko Katakura, an amazing jazz pianist with an impeccable touch that echoes jazz piano legends. Listening to Katakura, one can sense the fondness and appreciation for players like McCoy Tyner and Sonny Clark. In fact, the album’s wistful ballad “Blue Sonny” was written for Sonny Clark by Katakura.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"../images/mayuko-katakura-faith/L1180720-1024.JPG\"\u003e\n    \u003cimg loading=\"lazy\" src=\"../images/mayuko-katakura-faith/L1180720-1024.JPG\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis straight-ahead jazz trio is marked by warmth between the musicians, who agreed to not over-arrange the recording session and have faith in the group and their love of jazz. Simple and irresistable, the group jumps in and swings hard together with skillful agility over five of the pianist’s originals and five jazz covers. The resulting sense of relaxation allows their individual mastery and group cohesiveness to produce exciting results, proving their faith to be well-rewarded.\u003c/p\u003e","title":"Mayuko Katakura: Faith"},{"content":"Accomplished pianist Junichiro Ohkuchi leads a trio of solid veterans in the straight-ahead jazz tradition on his 2016 album Invisible. The trio works well together, demonstrating the equal partnership and careful intercommunication that occurs between professional jazz musicians. Evident throughout is a confident sense of risky looseness, with complete control of timing and notes, each member supporting and energizing one another.\nThe pianist Ohkuchi contributes three original songs (the opener is a highlight) with other tunes by Andrew Hill, Bill Evans, Thelonious Monk, Duke Ellington, and others – undoubtedly influences on Ohkuchi’s piano style. The result is a skilled piano trio having a great time making high-caliber jazz.\nInvisible by Junichiro Ohkuchi Trio Junichiro Ohkuchi - piano Yasushi Yoneki - bass Tamaya Honda - drums Released in 2016 on Big Mouth Records as Invisible.\nJapanese names: 大口純一郎 Ohkuchi Junichiro 米木康志 Yoneki Yasushi 本田珠也 Honda Tamaya\nAudio and Video Live video of the Junichiro Ohkuchi trio in 2021: Live video from 2008: Excerpt from track #1: “Sopa de Ajo” ","permalink":"https://mirror2.jazzofjapan.com/junichiro-ohkuchi-trio-invisible/","summary":"\u003cp\u003eAccomplished pianist Junichiro Ohkuchi leads a trio of solid veterans in the straight-ahead jazz tradition on his 2016 album \u003cem\u003eInvisible\u003c/em\u003e. The trio works well together, demonstrating the equal partnership and careful intercommunication that occurs between professional jazz musicians. Evident throughout is a confident sense of risky looseness, with complete control of timing and notes, each member supporting and energizing one another.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180595x-1024.jpeg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180595x-1024.jpeg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe pianist Ohkuchi contributes three original songs (the opener is a highlight) with other tunes by Andrew Hill, Bill Evans, Thelonious Monk, Duke Ellington, and others – undoubtedly influences on Ohkuchi’s piano style. The result is a skilled piano trio having a great time making high-caliber jazz.\u003c/p\u003e","title":"Junichiro Ohkuchi Trio: Invisible"},{"content":"Trumpeter Keisuke Nakamura leads a group of contemporary jazz musicians called Humadope, a post-bop Jazz Messengers-styled quintet with a trumpet-sax front line and piano-bass-drums rhythm section. The name itself (a mix of human/mad/dope) suggests a dangerous edge on blisteringly fast tunes as the skilled soloists riotously burn through the changes. Yet, the group handily balances this attitude with a warm sensitivity played on soulful ballads and cooler numbers.\nThis album consists of well-written original compositions with a few covers thrown in (Freddie Hubbard, Herbie Hancock, Quincy Jones). Overall, this is an excellent debut with a variety of moods, tempos, and exciting solos showcasing some premium J Jazz from the current crop of musicians.\nHumadope by Keisuke Nakamura Keisuke Nakamura - trumpet, flugelhorn Akihiro Nishiguchi - tenor sax, soprano sax Akane Matsumoto - piano Motoi Kanamori - bass Yasushi Fukumori - drums Mamoru Ishida - Rhodes (tr. #5, 6) Shun Ishiwaka - drums (tr. #1) Released in 2014 on M581 Records as SDR1401.\nJapanese names: 中村恵介 Nakamura Keisuke 西口明宏 Nishiguchi Akihiro 松本茜 Matsumoto Akane 金森もとい Kanamori Motoi 福森康 Fukumori Yasushi 石田衛 Ishida Mamoru 石若駿 Ishiwaka Shun\nAudio and Video Live performance of track #4 “Round Table”: Excerpt from track #1: “SPEED HARASSMENT” ","permalink":"https://mirror2.jazzofjapan.com/keisuke-nakamura-humadope/","summary":"\u003cp\u003eTrumpeter Keisuke Nakamura leads a group of contemporary jazz musicians called \u003cem\u003eHumadope\u003c/em\u003e, a post-bop Jazz Messengers-styled quintet with a trumpet-sax front line and piano-bass-drums rhythm section. The name itself (a mix of human/mad/dope) suggests a dangerous edge on blisteringly fast tunes as the skilled soloists riotously burn through the changes. Yet, the group handily balances this attitude with a warm sensitivity played on soulful ballads and cooler numbers.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180587-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180587-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis album consists of well-written original compositions with a few covers thrown in (Freddie Hubbard, Herbie Hancock, Quincy Jones). Overall, this is an excellent debut with a variety of moods, tempos, and exciting solos showcasing some premium J Jazz from the current crop of musicians.\u003c/p\u003e","title":"Keisuke Nakamura: Humadope"},{"content":"With a clean, clear pianist’s touch melding jazz with classical and a subtle rock sensibility, Hitomi Nishiyama’s 2007 album Many Seasons is reminiscent of great European jazz melodists (Giovanni Mirabassi comes to mind), with lyrical passages twisting through rich harmony and odd meters. Aside from the high technical prowess, the beautifully-written songs overflow with delicate emotion, with pangs of nostalgia and sweetness in abundance.\nThis album was recorded in Stockholm with two Swedish musicians, befitting the graceful melding of European and Japanese musical minds on display.\nMany Seasons by Hitomi Nishiyama Trio Hitomi Nishiyama - piano Hans Backenroth - bass Anders Kjellberg - drums Released in 2007 on Spice of Life as SOLJP-0005.\nJapanese names: 西山瞳 Nishiyama Hitomi\nAudio and Video Live performance of Hitomi Nishiyama’s track #3 “Sakira”: Excerpt from track #1: “フラッド (Flood)” ","permalink":"https://mirror2.jazzofjapan.com/hitomi-nishiyama-trio-many-seasons/","summary":"\u003cp\u003eWith a clean, clear pianist’s touch melding jazz with classical and a subtle rock sensibility, Hitomi Nishiyama’s 2007 album \u003cem\u003eMany Seasons\u003c/em\u003e is reminiscent of great European jazz melodists (Giovanni Mirabassi comes to mind), with lyrical passages twisting through rich harmony and odd meters. Aside from the high technical prowess, the beautifully-written songs overflow with delicate emotion, with pangs of nostalgia and sweetness in abundance.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"../images/hitomi-nishiyama-trio-many-seasons/L1180611-1024.JPG\"\u003e\n    \u003cimg loading=\"lazy\" src=\"../images/hitomi-nishiyama-trio-many-seasons/L1180611-1024.JPG\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis album was recorded in Stockholm with two Swedish musicians, befitting the graceful melding of European and Japanese musical minds on display.\u003c/p\u003e","title":"Hitomi Nishiyama Trio: Many Seasons"},{"content":"Bass on Times is a 2009 album from jazz bassist Satoshi Kosugi, a well-known and active musician in Japan’s jazz scene spanning several decades. For this recording, Kosugi assembles familiar partners and veteran players such as the bluesy Shinji Hashimoto on guitar and Kazuhide Motooka on piano, to deliver hard-swinging standards such as “Monk’s Dream”, “Vierd Blues”, and “The Best Thing For You Would Be Me”. With good arrangements and strong bass, naturally, the well-established musicians deliver quality jazz with a genuine good spirit throughout this satisfying record. One happy highlight even has Kosugi joyfully whistling the melody on “There Goes My Heart” as he doubles with his bass line to open and close the swinging tune.\nBass on Times by Satoshi Kosugi Satoshi Kosugi - bass Yoshiro Okazaki - trumpet Kazuhide Motooka - piano Shinji Hashimoto - guitar Yoshihito Eto - drums Released in 2009 on Pax Box Press as PBP-0001.\nJapanese names: 小杉敏 Kosugi Satoshi 岡崎好朗 Okazaki Yoshiro 元岡一英 Motooka Kazuhide 橋本信二 Hashimoto Shinji 江藤良人 Eto Yoshihito\nAudio and Video Satoshi Kosugi with Kanji Ohta and Kenichiro Murata playing “Chasin’ the Bird”: Excerpt from track #1: “Monk\u0026rsquo;s Dream” ","permalink":"https://mirror2.jazzofjapan.com/satoshi-kosugi-bass-on-times/","summary":"\u003cp\u003e\u003cem\u003eBass on Times\u003c/em\u003e is a 2009 album from jazz bassist Satoshi Kosugi, a well-known and active musician in Japan’s jazz scene spanning several decades. For this recording, Kosugi assembles familiar partners and veteran players such as the bluesy Shinji Hashimoto on guitar and Kazuhide Motooka on piano, to deliver hard-swinging standards such as “Monk’s Dream”, “Vierd Blues”, and “The Best Thing For You Would Be Me”. With good arrangements and strong bass, naturally, the well-established musicians deliver quality jazz with a genuine good spirit throughout this satisfying record. One happy highlight even has Kosugi joyfully whistling the melody on “There Goes My Heart” as he doubles with his bass line to open and close the swinging tune.\u003c/p\u003e","title":"Satoshi Kosugi: Bass on Times"},{"content":"Kaori Vibes Quartet is a jazz quartet centered around the lovely ringing bell-tones of jazz vibraphone. After three years of playing together, the group formerly known as Vangy!! (note the vibraphone mallets “!!” in the name) released their eagerly awaited debut album Flying Mind in 2013, much to fans’ delight.\nThe magically mellow yet bright sounds of the vibraphone fill the tracks of this album, bouncing through songs swinging with positivity and charm, creating relaxing, feel-good music. The compositions include foot-tapping modern jazz tunes, two pretty ballads, a soulful groovy number, and a speedy rendition of “Grease Piece” by Horace Silver – a rewarding effort for all fans of jazz vibraphone.\nFlying Mind by Kaori Vibes Quartet Kaori Nakajima - vibraphone Tamashi Goto - piano Minoru Yoshiki - bass Masanori Ando - drums Released in 2013 on Urban Jazz as 151A-0007.\nJapanese names: 中島香里 Nakajima Kaori 後藤魂 Goto Tamashi 吉木稔 Yoshiki Minoru 安藤正則 Ando Masanori\nAudio and Video The song “Perfume” performed as a duo from 2015: Excerpt from track #1: “Flying Mind” ","permalink":"https://mirror2.jazzofjapan.com/kaori-vibes-quartet-flying-mind/","summary":"\u003cp\u003eKaori Vibes Quartet is a jazz quartet centered around the lovely ringing bell-tones of jazz vibraphone. After three years of playing together, the group formerly known as Vangy!! (note the vibraphone mallets “!!” in the name) released their eagerly awaited debut album \u003cem\u003eFlying Mind\u003c/em\u003e in 2013, much to fans’ delight.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180727-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180727-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe magically mellow yet bright sounds of the vibraphone fill the tracks of this album, bouncing through songs swinging with positivity and charm, creating relaxing, feel-good music. The compositions include foot-tapping modern jazz tunes, two pretty ballads, a soulful groovy number, and a speedy rendition of “Grease Piece” by Horace Silver – a rewarding effort for all fans of jazz vibraphone.\u003c/p\u003e","title":"Kaori Vibes Quartet: Flying Mind"},{"content":"Flowers On The Hill is a beautiful album of tender and impeccably delivered music from the vocalist Akiko Suda. The album features lovely original compositions together with jazz, bossa nova, and pop standards performed artistically with creative arrangements.\nThe talented musicians play sensitively and at times sound like a Brad Mehldau-inspired modern jazz piano trio, creating a lush background for Suda’s masterful voice.\nThe album starts strongly with four catchy and elaborate originals penned by Suda and pianist Yuichi Narita, then moves into jazz and pop territory. Novel versions of “Waters of March”, “Doralice”, Chick Corea’s “Crystal Silence”, and the jazz standards “How About You” and “What a Wonderful World” fill out the middle of the tracklist. The album closes sweetly with two pop songs, Paul McCartney’s “Blackbird” and Randy Newman’s “I Think It’s Going To Rain Today”, a pairing perfectly matched with the band’s modern, affectionate mood.\nFlowers On The Hill by Akiko Suda Akiko Suda - vocal Yuichi Narita - piano, accordion, chorus Koji Yasuda - bass Yu Kudo - drums, percussion Nao Teraya - guitar Toyomi Kobayashi - flute, andes Released in 2016 on Diw The Grace as DW-1008.\nJapanese names: 須田晶子 Suda Akiko 成田祐一 Narita Yuichi 安田幸司 Yasuda Koji 工藤悠 Kudo Yu 寺屋ナオ Teraya Nao 小林豊美 Kobayashi Toyomi\nAudio and Video Promotional video for this album: Excerpt from track #1: “Flowers On The Hill” ","permalink":"https://mirror2.jazzofjapan.com/akiko-suda-flowers-on-the-hill/","summary":"\u003cp\u003e\u003cem\u003eFlowers On The Hill\u003c/em\u003e is a beautiful album of tender and impeccably delivered music from the vocalist Akiko Suda. The album features lovely original compositions together with jazz, bossa nova, and pop standards performed artistically with creative arrangements.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"../images/akiko-suda-flowers-on-the-hill/L1180460-1024.JPG\"\u003e\n    \u003cimg loading=\"lazy\" src=\"../images/akiko-suda-flowers-on-the-hill/L1180460-1024.JPG\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe talented musicians play sensitively and at times sound like a Brad Mehldau-inspired modern jazz piano trio, creating a lush background for Suda’s masterful voice.\u003c/p\u003e\n\u003cp\u003eThe album starts strongly with four catchy and elaborate originals penned by Suda and pianist Yuichi Narita, then moves into jazz and pop territory. Novel versions of “Waters of March”, “Doralice”, Chick Corea’s “Crystal Silence”, and the jazz standards “How About You” and “What a Wonderful World” fill out the middle of the tracklist. The album closes sweetly with two pop songs, Paul McCartney’s “Blackbird” and Randy Newman’s “I Think It’s Going To Rain Today”, a pairing perfectly matched with the band’s modern, affectionate mood.\u003c/p\u003e","title":"Akiko Suda: Flowers On The Hill"},{"content":"Okurimono is a two-track release from vocalist Hiroco Nagano with pianist Seiji Endo. On the first track, the duo takes a relaxed approach to the beautiful jazz ballad “Someone To Watch Over Me”. On track two, guitarist Arata Umahara joins in on “Okurimono”, an original song written by Endo with Japanese lyrics penned by Nagano.\nAlthough there are only two tracks here, the music serves to whet the appetite and showcase the sweet, sensitive music crafted with love and care.\nOkurimono by Hiroco Nagano Hiroco Nagano - vocal Seiji Endo - piano Arata Umehara - guitar Released in 2017 on Music Art Records as MAR-1701.\nJapanese names: 永野寛子 Nagano Hiroco 遠藤征志 Endo Seiji 梅原新 Umehara Arata\nAudio and Video Promotional video for an album from Hiroco Nagano: Excerpt from track #1: “Someone To Watch Over Me” ","permalink":"https://mirror2.jazzofjapan.com/hiroco-nagano-okurimono/","summary":"\u003cp\u003e\u003cem\u003eOkurimono\u003c/em\u003e is a two-track release from vocalist Hiroco Nagano with pianist Seiji Endo. On the first track, the duo takes a relaxed approach to the beautiful jazz ballad “Someone To Watch Over Me”. On track two, guitarist Arata Umahara joins in on “Okurimono”, an original song written by Endo with Japanese lyrics penned by Nagano.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180447-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180447-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eAlthough there are only two tracks here, the music serves to whet the appetite and showcase the sweet, sensitive music crafted with love and care.\u003c/p\u003e","title":"Hiroco Nagano: Okurimono"},{"content":"Pianist Sayaki Kishi and cellist Mayumi Sano released their first album together under the moniker Arco with Asymmetry in 2017. The pair’s music consists of original songs with a single Bach composition, all played in lovely and skillful arrangements. With more than a slight touch of classical elegance, the music spans various moods with verve: upbeat, fresh, somber, and refined. Although it may be apt to call this music classical-pop or pop-classical rather than typical jazz, the improvisational spirit and composed musicianship are definitely on display and quite enjoyable.\nAsymmetry by Arco Sayaka Kishi - piano, melodion Mayumi Sano - cello Released in 2017 on dandanorchestra as DAN-007.\nJapanese names: 岸淑香 Kishi Sayaka 佐野まゆみ Sano Mayumi\nAudio and Video Promotional video with samples from the album: Excerpt from track #1: “Asymmetry” ","permalink":"https://mirror2.jazzofjapan.com/arco-asymmetry/","summary":"\u003cp\u003ePianist Sayaki Kishi and cellist Mayumi Sano released their first album together under the moniker Arco with \u003cem\u003eAsymmetry\u003c/em\u003e in 2017. The pair’s music consists of original songs with a single Bach composition, all played in lovely and skillful arrangements. With more than a slight touch of classical elegance, the music spans various moods with verve: upbeat, fresh, somber, and refined. Although it may be apt to call this music classical-pop or pop-classical rather than typical jazz, the improvisational spirit and composed musicianship are definitely on display and quite enjoyable.\u003c/p\u003e","title":"Arco: Asymmetry"},{"content":"Featuring Te, a 2014 release from pianist Sayaka Kishi, is a fun and bright collection of original solo piano tunes with some guest musicians contributing as well.\nThis album’s printed title feat.手 (“Featuring Hands”) fittingly describes the pianist’s concept, to create a fun jazz album showcasing original compositions for piano (and hands) with jazz, pop, and classical influences. As the songs play out, one gets the feeling of dipping into Kishi’s deep store of originals, ranging from upbeat energy to comfortable dreaminess with several musical genres melded together. Along with her compositions, the album closes with a graceful rendition of the traditional ballad “Danny Boy”.\nAlthough this is mostly a solo piano album spotlighting Kishi and her music, two additional musicians join in on several tracks. Cellist Mayumi Sano performs with Kishi on three songs, presenting an early version of the piano-cello duo Arco who will go on to release Asymmetry in 2017 - track 3 “Hanaga Sakumade” (“Until the Flowers Bloom”) is a definite album highlight which features the pair. Vocalist Aya Kurosawa also adds her lovely, resonant vocals on one track. Overall, the 13 songs on this album offer a fun and creative exploration of the mind of a Japanese pianist and her compositions.\nFeaturing Te by Sayaka Kishi Sayaka Kishi - piano Mayumi Sano - cello (#2, 5, 9) Aya Kurosawa - vocal (#11) Released in 2014 on Roving Spirits as RKC-8050.\nJapanese names: 岸淑香 Kishi Sayaka 佐野まゆみ Sano Mayumi 黒沢綾 Kurosawa Aya\nAudio and Video A solo performance of track #3, “Inori Featuring Te”: Track #9, “Hanaga Sakumade” featuring Sakaka Kishi and Mayumi Sano (Arco): Excerpt from track #1: “up to you” ","permalink":"https://mirror2.jazzofjapan.com/sayaka-kishi-featuring-te/","summary":"\u003cp\u003e\u003cem\u003eFeaturing Te\u003c/em\u003e, a 2014 release from pianist Sayaka Kishi, is a fun and bright collection of original solo piano tunes with some guest musicians contributing as well.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"../images/sayaka-kishi-featuring-te/L1180437-1024.JPG\"\u003e\n    \u003cimg loading=\"lazy\" src=\"../images/sayaka-kishi-featuring-te/L1180437-1024.JPG\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThis album’s printed title \u003cem\u003efeat.手\u003c/em\u003e (“Featuring Hands”) fittingly describes the pianist’s concept, to create a fun jazz album showcasing original compositions for piano (and hands) with jazz, pop, and classical influences. As the songs play out, one gets the feeling of dipping into Kishi’s deep store of originals, ranging from upbeat energy to comfortable dreaminess with several musical genres melded together. Along with her compositions, the album closes with a graceful rendition of the traditional ballad “Danny Boy”.\u003c/p\u003e","title":"Sayaka Kishi: Featuring Te"},{"content":"Fun and buoyant bebop jazz in the style of Oscar Peterson and Phineas Newborn Junior, this is a happy jazz record from a thoroughly swinging trio led by pianist Akane Matsumoto. Professional arrangements performed by highly skilled musicians result in a solid album ranging from amazing quick-tempo tunes to slower, romantic brush-stroke ballads. Matsumoto’s fourth album as a leader, Night \u0026amp; Day features the accomplished pianist with her “New York Trio,” her second release with bassist Peter Washington and drummer Gene Jackson since Memories of You (2015).\nAlongside classic and rearranged standards from Cole Porter, Irving Berlin, Billy Strayhorn, and Jimmy Van Heusen, Matsumoto showcases her skill and bebop affinity on the opening title track and Oscar Peterson’s “Place St. Henri,” while spreading softer wings on the graceful “Miss Sunshine” and her original “Quiet Rain,” a touching ballad which closes the album.\nNight \u0026amp; Day by Akane Matsumoto Akane Matsumoto - piano Peter Washington - bass Gene Jackson - drums Released in 2017 on Concept Record as CR07.\nJapanese names: 松本茜 Matsumoto Akane\nAudio and Video Promotional video for this album: Excerpt from track #1: “Night\u0026amp;Day” ","permalink":"https://mirror2.jazzofjapan.com/akane-matsumoto-night-day/","summary":"\u003cp\u003eFun and buoyant bebop jazz in the style of Oscar Peterson and Phineas Newborn Junior, this is a happy jazz record from a thoroughly swinging trio led by pianist Akane Matsumoto. Professional arrangements performed by highly skilled musicians result in a solid album ranging from amazing quick-tempo tunes to slower, romantic brush-stroke ballads. Matsumoto’s fourth album as a leader, \u003cem\u003eNight \u0026amp; Day\u003c/em\u003e features the accomplished pianist with her “New York Trio,” her second release with bassist Peter Washington and drummer Gene Jackson since \u003cem\u003eMemories of You\u003c/em\u003e (2015).\u003c/p\u003e","title":"Akane Matsumoto: Night \u0026 Day"},{"content":"Alto saxophonist Ayumi Koketsu released a sophisticated tribute to Art Pepper on her album Art from 2016. With slick bop lines and a fresh spirit, Koketsu and her bandmates deliver the goods sincerely, kicking things off at high tempos with “Cool Bunny” and “Straight Life” before moving into other moods of mid-tempo bop and ballads. Koketsu is a prolific artist who releases high-quality albums and often uses overseas musicians for her backup band. This album will satisfy fans of straight-ahead jazz quartets with a bright and exciting saxophone prodigy taking center stage.\nArt by Ayumi Koketsu Ayumi Koketsu - alto sax Jeremy Manasia - piano Mike Karn - bass Mark Taylor - drums Released in 2016 on Pony Canyon as MYCJ-30653.\nJapanese names: 纐纈歩美 Koketsu Ayumi\nAudio and Video The track “Cool Bunny” from this release: The track “Imagination” from this release: The track “Patricia” from this release: Excerpt from track #1: “クール・バニー (Cool Bunny)” ","permalink":"https://mirror2.jazzofjapan.com/ayumi-koketsu-art/","summary":"\u003cp\u003eAlto saxophonist Ayumi Koketsu released a sophisticated tribute to Art Pepper on her album \u003cem\u003eArt\u003c/em\u003e from 2016. With slick bop lines and a fresh spirit, Koketsu and her bandmates deliver the goods sincerely, kicking things off at high tempos with “Cool Bunny” and “Straight Life” before moving into other moods of mid-tempo bop and ballads. Koketsu is a prolific artist who releases high-quality albums and often uses overseas musicians for her backup band. This album will satisfy fans of straight-ahead jazz quartets with a bright and exciting saxophone prodigy taking center stage.\u003c/p\u003e","title":"Ayumi Koketsu: Art"},{"content":"On Bungalow’s fourth album You Already Know (2017), the modern jazz group does what they do best with creative jazz, new ideas, and textured sounds. This album is rich with catchy ideas and incorporates elements of jazz groove, free jazz, Indian tabla drums, and electronic sound effects.\nYou Already Know is part of the band’s series of adventurous and atmospheric releases filled with strong hooks and compelling rhythms. While vamps and percussion anchor the music, shifting tempos, primal folk elements, dreamy improvisation, and some noise effects also factor in on tracks such as “Gravity Snap”, “Imagined Winter”, and the graceful title track. Whether you already know Bungalow’s music or not, this music does take you places.\nYou Already Know by Bungalow Mike Rivett - Tenor Sax, Electronics Koichi Sato - Piano, Fender Rhodes Hiroshi Ikejiri - Acoustic Bass, Ukelele Bass Ko Omura - Drums, Tabla Released in 2017 on Studio Songs as YZSO-10075.\nJapanese names: 佐藤浩一 Sato Koichi 池尻洋史 Ikejiri Hiroshi 大村亘 Omura Ko\nAudio and Video Promotional video for this album: Excerpt from track #1: “サンタ・クルズ (Santa Cruz)” ","permalink":"https://mirror2.jazzofjapan.com/bungalow-you-already-know/","summary":"\u003cp\u003eOn Bungalow’s fourth album \u003cem\u003eYou Already Know\u003c/em\u003e (2017), the modern jazz group does what they do best with creative jazz, new ideas, and textured sounds. This album is rich with catchy ideas and incorporates elements of jazz groove, free jazz, Indian tabla drums, and electronic sound effects.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180441-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180441-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003e\u003cem\u003eYou Already Know\u003c/em\u003e is part of the band’s series of adventurous and atmospheric releases filled with strong hooks and compelling rhythms. While vamps and percussion anchor the music, shifting tempos, primal folk elements, dreamy improvisation, and some noise effects also factor in on tracks such as “Gravity Snap”, “Imagined Winter”, and the graceful title track. Whether you already know Bungalow’s music or not, this music does take you places.\u003c/p\u003e","title":"Bungalow: You Already Know"},{"content":"An elegant package inside and out, brimming with atmosphere. The outer package is a slim booklet, containing photography, a poem, and an essay. The music itself is a modern take on classic jazz songs with Japanese words and flavor sprinkled throughout, featuring excellent arrangements by pianist Koichi Sato.\nEmiko’s voice is front-and-center and spans the gamut from quick instrumentesque aerobics to passionate crooning. Vocals, piano, Fender Rhodes, and an innovative stand-up drum set constitute the core of the group, and several other instrumentalists contribute to the album, with material ranging from dreamy and moody to light and shimmering.\nCarta by Emiko Voice Emiko Voice - vocal Koichi Sato - piano, Rhodes Akemi Ohta - flute Momoko Aida - violin Akira Tanidono - trumpet Toru Nishijima - bass Keita Okada - drums, percussion Released in 2017 on Zipangu Label as ZIP-0058.\nJapanese names: エミコヴォイス Emiko Voice 佐藤浩一 Sato Koichi 太田朱美 Ohta Akemi 会田桃子 Aida Momoko 谷殿明良 Tanidono Akira 西嶋徹 Nishijima Toru 岡田ケイタ Okada Keita\nAudio and Video Promotional video for this album: Track #2 “Sanosa” was featured on The Rough Guide to Avant-Garde Japan 2021: Excerpt from track #1: “The Days Of Wine And Roses” ","permalink":"https://mirror2.jazzofjapan.com/emiko-voice-carta/","summary":"\u003cp\u003eAn elegant package inside and out, brimming with atmosphere. The outer package is a slim booklet, containing photography, a poem, and an essay. The music itself is a modern take on classic jazz songs with Japanese words and flavor sprinkled throughout, featuring excellent arrangements by pianist Koichi Sato.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"L1180430-1024.jpg\"\u003e\n    \u003cimg loading=\"lazy\" src=\"L1180430-1024.jpg\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eEmiko’s voice is front-and-center and spans the gamut from quick instrumentesque aerobics to passionate crooning. Vocals, piano, Fender Rhodes, and an innovative stand-up drum set constitute the core of the group, and several other instrumentalists contribute to the album, with material ranging from dreamy and moody to light and shimmering.\u003c/p\u003e","title":"Emiko Voice: Carta"},{"content":"Incomplete Voices is the latest release from the Ryosuke Hashizume Group, released in 2017. As with prior albums, this is a wonderful collection of carefully conceived modern jazz compositions showcasing the saxophonist’s concepts and the tight-knit group dynamics. Close attention is paid to the harmonic and rhythmic layers in the music with excitement built on climactic resolutions and striking moods.\nThe music is sleek, organic, and hypnotic at times. For example, track #3 “Synesthesia” is particularly magical as time and pulse slip and shift as the music develops; at other times, the group locks into a detailed groove, or opens up the framework and allows timekeeping to fade from the audio palette. The roomy improvisational passages are filled with emotional passion and rooted by the quintet’s empathy established through years of live and recording experience.\nHigh-caliber musicianship and exquisite songcraft make this an absorbingly satisfying listen, cerebral yet bodily grooving.\nIncomplete Voices by Ryosuke Hashizume Group Ryosuke Hashizume - tenor, soprano saxophones Motohiko Ichino - guitar Koichi Sato - piano Ryoji Orihara - fretless bass Manabu Hashimoto - drums, percussion Released in 2017 on Apollo Sounds as APLS1704.\nJapanese names: 橋爪亮督 Hashizume Ryosuke 市野元彦 Ichino Motohiko 佐藤浩一 Sato Koichi 織原良次 Orihara Ryoji 橋本学 Hashimoto Manabu\nAudio and Video Promotional video with clips from the album: Excerpt from track #1: “Still” ","permalink":"https://mirror2.jazzofjapan.com/ryosuke-hashizume-group-incomplete-voices/","summary":"\u003cp\u003eIncomplete Voices is the latest release from the Ryosuke Hashizume Group, released in 2017. As with prior albums, this is a wonderful collection of carefully conceived modern jazz compositions showcasing the saxophonist’s concepts and the tight-knit group dynamics. Close attention is paid to the harmonic and rhythmic layers in the music with excitement built on climactic resolutions and striking moods.\u003c/p\u003e\n\u003cfigure\u003e\u003ca href=\"../images/ryosuke-hashizume-group-incomplete-voices/L1180434-1024.JPG\"\u003e\n    \u003cimg loading=\"lazy\" src=\"../images/ryosuke-hashizume-group-incomplete-voices/L1180434-1024.JPG\"/\u003e \u003c/a\u003e\n\u003c/figure\u003e\n\n\u003cp\u003eThe music is sleek, organic, and hypnotic at times. For example, track #3 “Synesthesia” is particularly magical as time and pulse slip and shift as the music develops; at other times, the group locks into a detailed groove, or opens up the framework and allows timekeeping to fade from the audio palette. The roomy improvisational passages are filled with emotional passion and rooted by the quintet’s empathy established through years of live and recording experience.\u003c/p\u003e","title":"Ryosuke Hashizume Group: Incomplete Voices"},{"content":"The jazz style of pianist/composer Yasumasa Kumagai has always been pinned to the leading edge of modern J Jazz built on a foundation of straight-ahead jazz standards and jams. With a strong influence from jazz pianist Robert Glasper, a one-time teacher of Kumagai, this pianist flows naturally with his fearless compositions and modern angles. Kumagai’s music is no-nonsense jazz rooted in tradition amidst elements of groovy gospel music, Latin flavors, and funky hip-hop — all with a fashionable streetwise attitude and a good-natured sense of humor.\nJ-Straight Ahead was released in 2015 and is Kumagai’s fourth album release as a leader. It is preceded by his albums I Need a Change, Too (2008), Ol’ School Jazz (2009), and Yasumasa Kumagai: Pray (2010) and followed by Last Resort (2020).\nAs always, Kumagai’s energetic and exciting piano jazz trio is on display, where his great compositions and an at-times edgy attitude are the surfaces covering a sensitive and deep sense of musicality. Like a engrossing conversation, Kumagai’s piano solos often start simple and build with fiery drama while bassist Yosuke Inoue and drummer Masahiko Osaka stir up some boiling rhythms.\nAside from jazz recording, teaching, and keeping an active performance schedule, Kumagai has also been productive online with his newsletter, blog, and his YouTube channel related to J Jazz with interviews, jazz piano technique lessons, and live performance videos. Recently, he’s even started his JAZZY BEAR product line of branded goods like designed hats and shirts. (The name Kumagai starts with the kanji for bear, 熊 kuma.) He released J-Straight Ahead on his label of the same name.\nObi Notes The first album release in five years! The more evolved sound of Kumagai explodes with a powerful rhythm section!\nYasumasa Kumagai / J-Straight Ahead\nBorn in 1979 in Mito, Ibaraki. He began playing piano at three years old and started his self-study of jazz piano during middle school. Moved to the US in 1998, and entered Berklee College of Music. Graduated in 2000 and moved to New York. Studied under Robert Glasper. He returned to Japan in 2003 and is currently active throughout the country with a base of Tokyo. His previous releases include the leader albums I Need A Change,Too, Ol\u0026rsquo; School Jazz’, and Pray. In 2015 he released his long-awaited work on his own JAZZY BEAR label.\nJ-Straight Ahead by Yasumasa Kumagai Yasumasa Kumagai - piano Yosuke Inoue - bass Masahiko Osaka - drums Released in 2015 on Jazzy Bear Records as JZBR-0001.\nJapanese names: 熊谷ヤスマサ Kumagai Yasumasa 井上陽介 Inoue Yosuke 大坂昌彦 Osaka Masahiko\nAudio and Video Promotional video for “Chill Out” (track #4): Live performance of “Draft Beer” (track #1) with Motoi Kanamori on bass and Akira Yamada on drums: Live performance of “Moonlight” (track #2) with Keisuke Furuki on bass and Akira Yamada on drums: Excerpt from track #1: “Draft Beer” ","permalink":"https://mirror2.jazzofjapan.com/yasumasa-kumagai-j-straight-ahead/","summary":"\u003cp\u003eThe jazz style of pianist/composer Yasumasa Kumagai has always been pinned to the leading edge of modern J Jazz built on a foundation of straight-ahead jazz standards and jams. With a strong influence from jazz pianist Robert Glasper, a one-time teacher of Kumagai, this pianist flows naturally with his fearless compositions and modern angles. Kumagai’s music is no-nonsense jazz rooted in tradition amidst elements of groovy gospel music, Latin flavors, and funky hip-hop — all with a fashionable streetwise attitude and a good-natured sense of humor.\u003c/p\u003e","title":"Yasumasa Kumagai: J-Straight Ahead"},{"content":"Niwatazumi is a wonderful modern jazz record from drummer Kazumi Ikenaga and Pauseland, a Danish group described as ambient jazz with Scandinavian folk influences. Spacey original compositions and mature musicianship flow in a breathy, open style resembling a modern ECM recording. Relaxing and anthemic, the music on Niwatazumi (translated as a large puddle remaining after heavy rainfall) is at times mesmerizing and at other times gently rocking and grooving. It’s a captivating journey from a drummer’s quintet, focused on ethereal ambiance in a way that constructs scenes and visions drawn out of nature, memories, and the texture of life.\nLiner Notes (Translated from the original Japanese liners notes written by Kazumi Ikenaga.)\nUnspoken Language / Jakob Buchanan This song was actually performed and recorded at the end of our session, but when I listened back to the take, the idea came to me that it should be the album opener. This was my first time playing this piece, but my body reacted so naturally to it that I didn’t even look at the score. We were all just having a conversation through the music at the time.\nTwosome / Christian Vuust This song was written by Christian Vuust for his longtime friend and collaborator Jakob Buchanan. It’s a relaxing and melodious piece in which the scenery of Scandinavia emerges and disappears. While recording, I forgot that we were in a studio, and fell into the illusion of the scenery of the sky being changed by the wind.\nJSB / Christian Vuust This is named after the initials of Johann Sebastian Bach, of of Christian Vuust’s greatest musical inspirations. It’s a three-part construction of the theme in rubato, a tenor solo in straight eighths, and a mallet solo, with the final theme in rubato played again as an ending. It makes me imagine the magnificent nature of Scandinavia, the people who enjoy life there, and the history that is made as time passes.\nNiwatazumi / Kazumi Ikenaga The word niwatazumi (潦) is not very common in modern times but used to appear in haiku and ancient language forms. This is a waltz that was inspired by watching young children play in puddles of water left behind by the summer rain. It was a great take of the members’ performances.\nPlastic Moon / Kazumi Ikenaga Whether with my own group or elsewhere, I still often play the title song from Magnus Hjorth Trio’s 2010 CD Jogen—Plastic Moon. Since then, the song has gone through revisions, and as the instrument arrangement changes, and as the world changes, this song brings new discoveries each time.\nNanna / Jakob Buchanan Nanna is the name of this song’s composer Jakob Buchanan’s beloved wife. It’s a song with a steady groove, rare in this album full of many rubato songs. As the rhythm section is enjoying the groove, the horns’ melody is full of humor and wit, yet the landscape of sound changes even to the extent of feeling melancholy and grief.\nReturning / Kazumi Ikenaga When I was eleven years old, due to family circumstances, I moved to a town where I spent seven impressionable years. It was there that I met important friends and started to study music on my own. Decades later, when I returned from studying abroad and visited the town after a long time, everything seemed to have gotten smaller. The air and the water were delicious in that town, the nature is abundant, and the changing of the seasons can really be felt. I felt that my sensibilities were cultivated there.\nHøj Himmel / Christian Vuust In English, it means “High Sky”. In Denmark, it’s said to represent the appearance of a vast sky on the flat land. Christian, who has loved ornithology since childhood, wrote this song one day while birdwatching cranes, hawks, and egrets on a lake in his home country.\nBy The Blue Bridge To Morgan Country / Jakob Buchanan This is composed of a simple melodic refrain that evokes a philosophical feeling almost as if listening to a Zen dialogue. This song felt appropriate for an ending, where time passes gently as waves ebb and flow on the coastline. The whole song is played with mallets.\nNiwatazumi by Kazumi Ikenaga Kazumi Ikenaga - drums Christian Vuust - tenor saxophone and clarinet Jakob Buchanan - flugelhorn Soren Dahl Jeppesen - guitar Klaus Nørgaard - bass Released in 2017 on Cloud as DDCJ-4019.\nJapanese names: 池長和美 Ikenaga Kazumi\nAudio and Video The title track “Niwatazumi”: Excerpt from track #2: “トゥーサム (Twosome)” ","permalink":"https://mirror2.jazzofjapan.com/kazumi-ikenaga-niwatazumi/","summary":"\u003cp\u003e\u003cem\u003eNiwatazumi\u003c/em\u003e is a wonderful modern jazz record from drummer Kazumi Ikenaga and Pauseland, a Danish group described as ambient jazz with Scandinavian folk influences. Spacey original compositions and mature musicianship flow in a breathy, open style resembling a modern ECM recording. Relaxing and anthemic, the music on \u003cem\u003eNiwatazumi\u003c/em\u003e (translated as a large puddle remaining after heavy rainfall) is at times mesmerizing and at other times gently rocking and grooving. It’s a captivating journey from a drummer’s quintet, focused on ethereal ambiance in a way that constructs scenes and visions drawn out of nature, memories, and the texture of life.\u003c/p\u003e","title":"Kazumi Ikenaga: Niwatazumi"},{"content":" Welcome to Jazz of Japan This site is dedicated to showcasing modern jazz albums from Japan and Japanese musicians.\nOn Jazz of Japan, my motivation is to provide straightforward descriptions of jazz recordings from Japanese musicians with photos, audio clips, and links to more information. Rather than a music critic’s album reviews, these are simple, honest introductions of new music to enjoy related to Japanese jazz.\nIn addition to albums, in some articles I also explore the world of Japanese jazz in real jazz bars, clubs, and live spots in Japan.\nSubscribe to the newsletter By subscribing to the newsletter, you won’t have to worry about missing anything. Each new edition goes directly to your inbox, and you can unsubscribe or resubscribe easily at any time.\nAbout this site Jazz of Japan is an email newsletter with a website archive at www.jazzofjapan.com.\nYou can view, browse, and search the website for free and without an account. And, if this topic appeals to you, you can also sign up for the free newsletter to get updates in your email. There’s also a premium membership available to upgrade your subscription for extra updates and to support my work here.\nAbout the albums The album articles relate to jazz albums from Japan and are free and readable by all. Subscribers to the newsletter will get an email each time a new article is published.\nI strive to make each article brief but descriptive: a straightforward overview of an album with photos of the CD and links to audio and video. I include short audio excerpts to get a taste of the album, and sometimes I translate and include portions of the liner notes as well.\nThe focus of each article is on the music itself with the goal of sharing it with a wider audience. In most cases, these are modern-day albums from current musicians who are still playing in Japan and can be seen at live performances.\nAbout the clubs In addition to albums, I also write about live jazz venues including clubs, bars, cafes, and similar places in Japan. For both albums and clubs, all of the information is gathered first-hand through my direct experience, and all photos were taken by me (excluding official album cover art images).\nThese club articles are mostly about specific venues in Japan, and also occasionally feature extra information for interested readers, with more photos and guides about Japanese jazz.\nQ\u0026amp;A What’s this site about?\nFor sharing information about jazz and related music from Japan and Japanese musicians, mostly through albums released during the last twenty years. I write about both new releases and older albums in no particular order, but I try to prioritize new releases when I can.\nHow can I find a specific musician here?\nSearch the archive, or check the Index, which has links to musicians’ websites and albums.\nHow can I find albums with vocals, solo piano, violin, bossa nova, subgenres\u0026hellip;\nYou can search the archive for keywords like “straight ahead”, “bebop”, “solo piano”, “violin”, “vocals”, “bossa nova”, “Brazilian”, etc.\nWhere can I buy these CDs?\nCheck the Japanese sites for HMV, Amazon, Tower, and CD Japan (not all sites ship overseas). You may also be able to buy CDs directly from the musicians at their live shows or through their websites.\nWhat’s J Jazz?\nJapanese Jazz (see [What’s J Jazz? for more). An early version of this website and newsletter was named J Jazz.\nWhere are the albums by \u0026hellip; ?\nThere are some famous musicians and albums that are still missing from the archive. I hope to cover these excellent players and albums someday! Still, I do try to share information about newer albums and musicians that are not as widely discussed.\nFor example, some famous Japanese jazz musicians and groups include:\nOn piano: Toshiko Akiyoshi, Hiromi Uehara, Makoto Ozone, Ryo Fukui, Masabumi Kikuchi, Yosuke Yamashita, Masahiko Satoh, \u0026hellip; On bass: Kiyoshi Kitagawa, Yasushi Nakamura, Noriko Ueda, Isao Suzuki, Tetsuo Sakurai, \u0026hellip; On sax: Sadao Watanabe, Kosuke Mine, Hideaki Mochizuki, \u0026hellip; On trumpet: Terumasa Hino, Takuya Kuroda, Fumio Nanri, Hideo Shiraki, \u0026hellip; On drums: George Kawaguchi, Takeshi Inomata, Akira Jimbo , Fukushi Tainaka, \u0026hellip; On guitar: Ryo Kawasaki, Kazumi Watanabe, Issei Noro, \u0026hellip; Groups: T-Square, Soil \u0026amp; “Pimp” Sessions, Kyoto Jazz Massive, Casiopea, Orange Pekoe, Tokyo Jihen, KBB, Quasimode, \u0026hellip; How are the names of Japanese musicians displayed here?\nThe musicians’ names on this website are shown in first-name last-name order when written in English (given name first), and last-name first-name order in Japanese (family name first). For example:\nAkane Matsumoto is 松本茜, where Akane is 茜 and Matsumoto is 松本, typically read in Japanese in the order 松本 (MATSUMOTO) 茜 (AKANE). Fumio Karashima is 辛島文雄, where Fumio is 文雄 and Karashima is 辛島, typically read in Japanese in the order 辛島 (KARASHIMA) 文雄 (FUMIO). Although some official organizations and media use the traditional Japanese name order as standard, in many cases (such as on albums and music catalogs) Japanese musicians’ names are shown in first-name last-name order when displayed in English, such as with an artist or a band name.\nFor any comments or questions\u0026hellip;\nDon’t hesitate to reach out with your suggestions or comments. An easy way to contact me is by replying to the newsletter email.\nPublishing since 2018 as “J Jazz: Modern Jazz From Japan” (since Jan 2018 on WordPress), “J Jazz Substack” (since May 2021 on Substack), and “Jazz of Japan” (since Jan 2022 on GitHub, May 2023 on Substack, and Feb 2026 on Buttondown).\n© Brian McCrory. All rights reserved. Content may be quoted with attribution but may not be reproduced in full or used for commercial or promotional purposes without permission. This site does not collect or track personal data. Payment information is processed securely by Stripe and is never stored or shared by this site. Any other information you voluntarily submit is used only to respond or improve the site and is not sold or disclosed to third parties.\n","permalink":"https://mirror2.jazzofjapan.com/about/","summary":"\u003cfigure\u003e\n    \u003cimg loading=\"lazy\" src=\"intro-jazz-1024.jpeg\"\n         alt=\"Intro to Jazz of Japan\"/\u003e \n\u003c/figure\u003e\n\n\u003ch2 id=\"welcome-to-jazz-of-japan\"\u003eWelcome to Jazz of Japan\u003c/h2\u003e\n\u003cp\u003eThis site is dedicated to showcasing modern jazz albums from Japan and Japanese musicians.\u003c/p\u003e\n\u003cp\u003eOn \u003cstrong\u003eJazz of Japan\u003c/strong\u003e, my motivation is to provide straightforward descriptions of jazz recordings from Japanese musicians with photos, audio clips, and links to more information. Rather than a music critic’s album reviews, these are simple, honest introductions of new music to enjoy related to Japanese jazz.\u003c/p\u003e","title":"About Jazz of Japan"},{"content":"\nAudio Mix #15 “Yell” - Sumire Kuribayashi: Orbital Resonance - 0:00:00 “Brilliant Darkness” - Fumio Karashima: Great Time - 0:03:18 “朧月に谺す (Look at the Moon)” - Shikou Ito Trio Syncretia: Kakusareta Guwa - 0:06:26 “ストップ・コール (Stop Call)” - Yukari Sekiya Trio with Yuko Tanaka: It’s Ordinary Love And\u0026hellip; - 0:09:33 “Canja” - Yukari Sekiya: Duets Till Now, From Here - 0:12:41 “di di” - Akihiro Yoshimoto Quartet: Blending Tone - 0:15:49 “Let\u0026rsquo;s Do It” - Asuka Watanabe: Unaffected - 0:18:57 “Listen to my Blues” - Wataru Hamasaki \u0026amp; Akane Matsumoto: Listen to My Blues - 0:21:25 “Rising Sun” - Yuto Komatsu Quartet: Defune - 0:24:33 “The last is the first” - Toshihiko Inoue: Fuse - 0:27:41 “Marigold” - Hitomi Aikawa \u0026amp; Masaki Hayashi: Ten To Sen - 0:31:44 “O Morro Não Tem Vez” - Rio Osawa: Rio - 0:34:52 “Mirage” - Maiko: Reminiscence - 0:38:00 “Karys Trance” - Ayumi Koketsu: Struttin’ - 0:41:33 “メユメユ Meyu-meyu” - Ochikochi: Ochikochi - 0:44:41 “Something Like That” - Saki Ozawa: Cheers! - 0:47:49 “These Are Soulful Days” - Koichi Hirata: Introducing Koichi Hirata - 0:50:57 “Aderante” - Yuki Ito Trio: Semendo Sementes - 0:54:05 “We Can Hardly See” - Otohito Fuse Trio: Thus Have I Heard - 0:57:13 “Blue violet” - Yudo Matsuo Quartet: Songs in Motion - 1:00:20 Audio Mix #14 “Sign” - Ryosuke Hashizume Group: As We Breathe - 0:00:00 “Take Me in Your Arms” - Chihiro Yamanaka: Abyss - 0:03:08 “The Ways To Come Back Home Again” - Sumire Kuribayashi / Kazuma Fujimoto / Takashi Sugawa: Tides of Blue - 0:06:16 “Hill Road-坂道- (Hill Road-Sakamichi-)” - Takako Yamada Trio: Live at The Moment - 0:09:24 “For George” - Hiroyuki Yamaguchi Quintet: Mowna - 0:12:32 “砂 (Sand)” - Hitomi Aikawa: Sweet - 0:15:40 “Caravan” - Toshiki Abe Life Memory Project: The Simplicity - 0:16:02 “Groove for Clyde” - Davy Mooney \u0026amp; Ko Omura: The Word - 0:19:10 “Frontier” - Hitomi Nishiyama: Astrolabe - 0:22:18 “dawn” - Fumie Chiba Trio: Echoes - 0:25:26 “Mrs.Hummingbird” - The Third Tribe: Nearly Dusk - 0:28:34 “Lull In The Rain” - Sumireiko: Decision - 0:31:42 “Another Yes Or No” - Kaoru Azuma: Footprints in New York - 0:34:50 “Don’t Take Your Love From Me” - Toru Takahashi: Tokyo Groovin’ High! - 0:37:58 “飛び立つ水鳥 (Waterfowl Taking Flight)” - Daiki Yasukagawa / Hitomi Nishiyama / Maiko: The Tree of Life - 0:41:06 “O little town of Bethlehem” - Harumi Nomoto: I’ll Be Home for Christmas - 0:44:14 “Introduction -Breathe Beneath the Sun-” - Mikiko Nagatake Trio: Breathe Beneath the Sun - 0:45:59 “Lost And Found” - Hiroshi Fukutomi Quintet: Rings of Saturn - 0:49:03 “Double touch” - Harumi Nomoto Trio: Anitya - 0:52:11 “炭坑節(Tanko Bushi)” - Yuri Hirota: Magical Moonlight - 0:55:19 Audio Mix #13 “The Laughing Stock” - Hikari Ichihara Group: Unity - 0:00:00 “Arrakis” - Hitomi Nishiyama: Echo - 0:03:08 “I\u0026rsquo;m missing you” - Hitomi Nishiyama Trio: I’m Missing You - 0:06:16 “Sheepwash” - Fe: Live at Virtuoso - 0:09:24 “Spring Is Here” - Akane Matsumoto \u0026amp; Ayumi Koketsu: Trust - 0:12:32 “バルバロ (Barbaro)” - Kaito Nakamura: Invisible Diary - 0:15:40 “Ai San San” - Shinya Fukumori Trio: For 2 Akis - 0:18:48 “Stolen Moments” - Layla Tomomi Sakai: Stolen Moments - 0:21:56 “Long way to go” - Kanoko Kitajima: Long Way to Go - 0:25:04 “Metsa” - Setagaya Trio: Progress - 0:28:12 “Stablemates” - Yosuke Sato \u0026amp; George Nakajima: Longing - 0:31:20 “Evenfall” - Kunpei Nakabayashi Orchestra: Circles - 0:34:28 “The Duality Of My Soul” - Mayuko Katakura: The Duality of My Soul - 0:37:36 “Conversation and Confession” - Melodies: Melodies - 0:40:44 “Hand Of Time” - Taeko Kurita \u0026amp; Akira Sotoyama: Duo - 0:43:52 “北に生まれ (Born In The North)” - Taeko Kurita: Ko-tsu-ko-tsu - 0:47:00 “Vocalise” - Koto ha, To: Shiro o Matoeba - 0:50:08 “Upper Levels” - NHORHM: New Heritage of Real Heavy Metal - 0:53:16 “Full House” - Yuji Ito \u0026amp; Koichi Hirata Duo: Two for the Road - 0:56:24 “La Tierra” - Michiyo Matsushita Trio: Free - 0:59:32 Audio Mix #12 “True Face” - Mabumi Yamaguchi: Viento - 0:00:00 “矛盾の街 (Vain Pursuit) (City of Contradiction (Vain Pursuit))” - Chie Nishimura: Virtual Silence - 0:03:08 “シチリアーノ (Siciliano)” - Makiyo Sakai: Silver Painting - 0:06:16 “Slumber” - Ryosuke Hashizume Group: Side Two - 0:09:24 “ringlight” - Fumie Chiba: Rougequeue - 0:12:32 “Snowflake” - Yuka Yanagihara Trio: Beloved Ones - 0:15:40 “まことのことば (True Word)” - Seiji Endo: Piano Pieces Collection - 0:18:48 “Erica” - Seiji Endo: Piano Pieces Collection II - 0:21:33 “Updraft” - Hiro Kimura: Trees - 0:24:41 “Oh,Lady Be Good” - Akane Matsumoto: Oh, Lady Be Good - 0:27:49 “Nostalgio” - Megumi Yonezawa / Masa Kamaguchi / Ken Kobayashi: Boundary - 0:30:57 “おわりとはじまり (The end and the beginning)” - Nobie \u0026amp; Takayoshi Baba: Owari to Hajimari - 0:34:05 “Wunderbarland” - Daiki Yasukagawa New Trio: The Three Roses - 0:37:13 “Autumn Leaves” - Motoi Kanamori: The Live - 0:40:21 “Short Stories No.6” - Magnolia: El viento y las flores - 0:43:29 “Flip a Coin” - Miyuki Moriya: Beyond the Sea - 0:46:37 “Voltex” - Ami Fukui Trio: MCY - 0:49:45 “Hanauta” - Hideaki Hori \u0026amp; Wataru Hamasaki: Encounter - 0:52:53 “Poinciana” - Emiko Voice \u0026amp; Yuka Yanagihara: Enyana - 0:56:01 “A Goat Climbs A Peak” - Ghost Peak: The Goat on a Peak - 0:59:09 Audio Mix #11 “Punk” - Erisa Ogawa: Where Have U Been? - 0:00:00 “NARROW AND WIDE” - Otohito Fuse Trio: Isolated - 0:03:08 “Desafinado” - Miwo: Tranquillo - 0:06:16 “Vibrant Line” - Reiko Yamamoto: The Square Pyramid - 0:09:24 “Nature Boy” - Yuki Ito: Retattanni no Mori - 0:12:32 “Saenk kun dit hoved du blomst” - Kazumi Ikenaga \u0026amp; Taihei Asakawa: NordNote - 0:15:40 “Sara Smile” - Hikari Ichihara: Sara Smile - 0:18:48 “Mokume #1” - Akihiro Yoshimoto \u0026amp; Takashi Sugawa: Oxymoron - 0:21:56 “Wrapped Up” - Motohiko Ichino: Sketches - 0:25:04 “I Will Wait For You” - Yoshiko Saita: Back in Time to Boston - 0:28:12 “The Sea -Seven Years Voyage-” - Eri Chichibu: Crossing Reality - 0:31:20 “Neste Pais” - Banda Feliz: Boa Viagem - 0:34:28 “May Song” - Koichi Sato: Embryo - 0:37:36 “Blues” - Yasumasa Kumagai \u0026amp; Ryu Kawamura: Ol’ School Jazz - 0:40:44 “Loop” - Nobie: Primary - 0:43:52 “I Miss the Blue Sky” - Sayaka Kishi Trio: Banquet - 0:47:00 “息吹 (Breath)” - Clepsydra: Un Jour - 0:50:08 “グランド・ライン (Grand Line)” - Sumire Kuribayashi Trio: Toys - 0:53:16 “ザ・ライダー (The Rider)” - Hitomi Nishiyama: Dot - 0:56:24 “チャッチャー(Chatchar)” - Mamoru Ishida: Afterglow - 0:59:32 Audio Mix #10 “1965” - Nanami Haruta: II - 0:00:00 “Sliding Doors” - Hideaki Hori: Horizon - 0:03:08 “A song for U_U” - Hideaki Hori: Melodies for Night \u0026amp; Day - 0:06:16 “詠音～うたおと～ (Utaoto)” - Miyuki Moriya: Uta Oto - 0:09:24 “My Favorite Things” - Baby Brothers: Happy Christmas with Bb - 0:12:32 “J” - Kaoru Azuma / Hitomi Nishiyama: Faces - 0:15:40 “First Contact” - Mase Hiroko Quintet: First Contact - 0:18:48 “After Tours” - Yuka Yanagihara Trio: Inner Views - 0:21:56 “Sense Of Mission” - Keisuke Nakamura: Humadope 2 - 0:25:04 “Hommage” - Ami Fukui Trio: Nova Manhã - 0:28:12 “825” - Polyglot: Talk, Vol. 1 - 0:31:20 “Minor King” - Hiroshi Fukutomi: Memory Stones - 0:34:28 “カン・ビロン・ヴリュ・ダンセ (Can biron velue danse)” - Chihiro Yamanaka: Lach Doch Mal - 0:37:36 “M.T” - Naoko Tanaka: Appreciation - 0:40:44 “Mysterious Dress (Nami Kano)” - Jabuticaba: Jabuticaba - 0:43:52 “Le Bourgeon” - Nami Kano: Mawsim - 0:47:00 “Savichara” - eFreydut: Fairway - 0:50:08 “Loudvik” - Hitomi Nishiyama Trio: Calling - 0:53:13 “Frozen Dust” - Takumi Seino \u0026amp; Motohiko Ichino: Frozen Dust - 0:56:21 “Yakusoku-Yakusoku-” - Noriko Satomi: Project-N - 0:59:29 Audio Mix #9 “Sepia” - Yuichiro Aratake: Music Make Us One - 0:00:00 “Funny Book” - Akihiro Yoshimoto Quartet: 64 Charlesgate - 0:03:08 “I\u0026rsquo;ve Never Been In Love Before” - Seiji Harakawa Quartet: Skipping Down the Street - 0:06:16 “Please Send Me Someone To Love” - Akane Matsumoto \u0026amp; Nanami Haruta: For My Lady - 0:09:24 “Conversations with Moore” - Ryosuke Hashizume Group: Acoustic Fluid - 0:12:32 “Triste” - Fumika Asari: Introducin’ - 0:15:40 “祈り (Prayer)” - Tetsuji Yoshida \u0026amp; Mikiko Nagatake Duo: Live at Knuttel House - 0:18:48 “No Return” - Yuichi Narita: Urban Nocturne - 0:21:56 “Primavera De Batata” - Sul Madrugada: Luar - 0:25:04 “キャサリンの憂鬱 (Katherine\u0026rsquo;s Melancholy)” - Yukako Yamano: Imperial - 0:28:12 “Fifteen Years” - Bungalow: Abstract Messages - 0:31:20 “走れ、走れメロス (Run, run, Melos)” - FNK: Canvas - 0:34:28 “McMahons Point” - Mamoru Ishida: Ishida Mamoru 4 feat. Mike Rivett - 0:37:36 “Green Chimneys” - Mikiko Nagatake: Solo - 0:40:44 “Apologetic Blues” - Yasumasa Kumagai \u0026amp; J-Jazz Homies: Last Resort - 0:43:52 “Chovendo na Roseira” - Emiko Voice: Standard Trio - 0:47:00 “火のこどもたち (Children Of Fire)” - Rabbitoo: The Torch - 0:50:08 “Through the lights” - Kaori Vibes Quartet: Starry Nights - 0:53:16 “Plus fort que nous” - Shinpei Ruike \u0026amp; George Nakajima: Duo - 0:56:24 “Laurentide Waltz” - Akane Matsumoto: Little Girl Blue - 0:59:32 Audio Mix #8 “How Deep Is The Ocean” - Shigeo Fukuda \u0026amp; Toshiki Nunokawa: Childhood’s Dream - 0:00:00 “the last train” - Protean: Protean - 0:03:08 “サイ・デッサ (Sai Dessa)” - Meu Coracao: Hall Tone - 0:06:16 “Goteborg” - Toshihiko Inoue \u0026amp; Masaki Hayashi: Mistral - 0:09:24 “It Might As Well Be Spring” - Trigraph: Fever - 0:12:32 “Nuovo Cinema Paradiso” - Ruriko Kawamura: Blossoms - 0:15:40 “再見-ZAI JIAN (Rewatch-ZAI JIAN)” - Ami Fukui Trio: Urban Clutter - 0:18:48 “Victory” - Yukako Yamano \u0026amp; Yukari Inoue: Dubai Suite - 0:21:56 “ダンシング・エレファント (Dancing Elephant)” - Bungalow: Unseen Scenes - 0:25:04 “マイ・シャイニング・アワー (My Shining Hour)” - Harumi Nomoto Trio: Another Ordinary Day - 0:28:12 “Luna” - Yukako Yamano: 3rd Stage - 0:31:20 “CHOIR\u0026rsquo;S GOT FIRED” - Yasumasa Kumagai: Pray - 0:34:28 “OUTSIDE BY THE SWING” - Chihiro Yamanaka: Outside by the Swing - 0:37:36 “Fly me to the moon” - Naoko Akimoto: No One Else - 0:39:47 “I can\u0026rsquo;t fly” - Shunichi Yanagi Trio: Slope - 0:42:55 “A Foggy Day” - Rie Taguchi: The Gift II - 0:46:03 “First touch” - George Nakajima Trio: First Touch - 0:49:11 “Frida” - Mariko Maeda: Awareness - 0:52:19 “Face To Face” - Hiro Kimura Quintet: Folds - 0:55:27 “Recollection” - Hitomi Nishiyama: Vibrant - 0:58:35 Audio Mix #7 “Major to Minor” - Kohsuke Mine Quintet: Major to Minor - 0:00:00 “For All We Know” - Masako Kunisada: Wonderful Life - 0:03:08 “Street Lights” - Aquapit: Aquapit - 0:06:16 “Sailing” - Naoko Tanaka Trio: Memories - 0:09:24 “G Island” - TCQ: Memories of T - 0:12:32 “Memories of You” - Akane Matsumoto: Memories of You - 0:15:40 “Kyoto Tower” - Takayuki Yagi: New Departure - 0:18:48 “スクラッチ (Scratch)” - Miki Hirose: Scratch - 0:21:56 “Meu Escudo” - Yuka Ueda: Dois - 0:25:04 “Satin Doll” - Water Me!: Water Me! - 0:28:12 “Choro de Tremolo” - Duo Tremolo: Resonance - 0:31:20 “whisper not” - Layla Tomomi Sakai: Whisper Not - 0:34:28 “Living Time Event V” - Chihiro Yamanaka Trio: Madrigal - 0:37:36 “Libertango” - Arco: Live At Yoncha - 0:40:44 “Mirage” - Yukiko Hayakawa Trio: Gallery - 0:43:52 “JB\u0026rsquo;s Poem” - Yoshihito “P” Koizumi P-Project: By Coincidence - 0:47:00 “Mane” - Naoko Sakata Trio: Flower Clouds - 0:50:08 “Water Drops” - Fumie Chiba: Beautiful Days - 0:53:16 “ドナドナ (Dona Dona)” - Fumiko Yamazaki: Here Goes! - 0:56:24 “Old Diary” - Shinichi Kato \u0026amp; Masahiko Sato: Duet - 0:59:32 Audio Mix #6 “Ghost\u0026rsquo;s Tear” - Reikan Kobayashi: Gakudan Hitori - 0:00:00 “Tuck Box” - Miyuki Moriya: Cat’s Cradle - 0:03:08 “Track 1” - Trio Export 63.1.0.X: Small Pieces for Flying Padre - 0:06:16 “Balkan Tale” - Chihiro Yamanaka Trio: Living Without Friday - 0:09:24 “Face” - Ryosuke Hashizume Group: Wordless - 0:12:32 “コンファメーション (Confirmation)” - Emiko Voice x Suga Dairo: Phase 2 - 0:15:40 “Improvisation” - Maiko: Solo - 0:18:46 “いつか王子様が (Someday My Prince Will Come)” - Yukari Inoue: Sakura - 0:21:54 “SORA” - Eriko Shimizu: Sora - 0:25:02 “Hisyo[^]” - Manabu Ohishi Trio: Gift - 0:28:10 “SAKURA” - Yuko Miyawaki: Song of Flower - 0:31:18 “渋谷の交差点 (Shibuya Crossing)” - Shunichi Yanagi Trio: Bubble Fish - 0:34:26 “Over The Rainbow” - Baby Brothers: Bb - 0:37:34 “Underpass” - Bungalow: Metropolitan Oasis - 0:40:42 “7up” - Harumi Nomoto Trio: Belinda - 0:43:50 “Pressentimento” - Yuka Ueda: Agora - 0:46:58 “Metro Maniac” - Motoi Kanamori: My Soul Meeting - 0:50:06 “Fiesta” - Arco: Birth - 0:53:14 “Grasshopper” - Fuse: Live Fuse - 0:56:22 “Taxi” - Chihiro Yamanaka Trio: When October Goes - 0:59:30 Audio Mix #5 “DON PAPA” - Sayaka Kishi Trio: Life Is Too Great - 0:00:00 “Zi-Zi 1” - Minoru Yoshiki Soulstation: Path of Hope - 0:03:08 “Cavatina” - Shinichi Kato: Bass on Cinema - 0:06:16 “Cheek To Cheek” - Mie Joké: Etrenne - 0:09:24 “Sequel to a Dream” - Mabumi Yamaguchi: Let Your Mind Alone - 0:12:32 “Under A Blanket Of Blue” - Yako Horikita: Shining Hour - 0:15:40 “Galaxies” - NHORHM: New Heritage of Real Heavy Metal -Extra Edition- - 0:18:18 “Beatrice” - Miki Hayama: Prelude to a Kiss - 0:21:26 “Workout” - Seiji Tada: Workout!! - 0:24:34 “This is New” - Hideaki Hori Trio: In My Words - 0:27:42 “The Crosseyed Cat” - Routine Jazz Sextet: Routine Jazz Sextet - 0:30:50 “Three” - Maiko Trio: Live! Three - 0:33:58 “subliminal sublimation” - Rabbitoo: National Anthem of Unknown Country - 0:37:06 “Mary Hartman, Mary Hartman” - Hideaki Kanazawa \u0026amp; Sumire Kuribayashi: Nijuso - 0:40:14 “至上の愛 パート1-承認 (A Love Supreme Part 1- Approval)” - Noriko Satomi: A Love Supreme - 0:43:22 “ｵｰﾙﾓｽﾄ・ﾋﾞｰｲﾝｸﾞ・ｲﾝ・ﾗｳﾞ (Almost Like Being in Love)” - Azumi: Almost Like Being in Love - 0:46:30 “I Don\u0026rsquo;t Know Yet” - Hiromi Miura: We Don’t Know Yet - 0:49:27 “Wicked Wind” - Yudo Matsuo: Bonanza - 0:52:35 “Tonight” - Daiki Yasukagawa Trio: Trios II - 0:55:43 “ミスター・Ｐ．Ｃ． (Mr. P.C.)” - Fumio Karashima Trio: It’s Just Beginning - 0:58:51 Audio Mix #4 “Peaceful Mind” - Trispace: Trispace - 0:00:00 “11th Door” - Fumie Chiba Trio: Tip of Dream - 0:03:08 “My Foolish Heart” - Taihei Asakawa: Waltz for Debby - 0:06:16 “クリスマス・メドレー (Christmas Medley)” - Sanae Ishikawa: Grown-up Christmas Gift - 0:09:24 “Years” - Tokuhiro Doi Quartet: Amalthea - 0:12:32 “Ray” - Maki Fujimura: Best Wishes - 0:15:40 “Cycles” - Ryosuke Hashizume Group: Visible/Invisible - 0:18:48 “Nearness of you” - Shinpei Ruike \u0026amp; George Nakajima: N.40° - 0:21:56 “プレイング (Playing)” - Akane Matsumoto: Playing New York - 0:25:04 “Sturm Und Drang” - Blue Dot: Halo - 0:28:12 “From a distance” - Masako Kunisada: M - 0:31:20 “Fairly Woods” - Zephyr: Zephyr - 0:34:28 “Do re mi” - Harumi Nomoto Trio: Virgo - 0:37:36 “I loves You,Porgy” - Yuichiro Aratake: The Light Flows In - 0:40:44 “やみくろ (Dark Black)” - Hikari Ichihara Group: Move On - 0:43:52 “Sympathy” - Hitomi Nishiyama Trio: Sympathy - 0:47:00 “桐壺(桐壺更衣)(きりつぼ・きりつぼのこうい) (Kiritsubo (Kiritsubo changing clothes) (Kiritsubo/Kiritsubo no Koi))” - Seiji Endo: Genji Monogatari Volume 1 - 0:50:08 “Only Trust Your Heart” - Layla Tomomi Sakai: The Island - 0:53:16 “Karibu” - Nobie: Bénin Rio Tokyo - 0:56:24 “Long Ago and Far Away” - Daiki Yasukagawa Trio: Kanmai - 0:59:32 Audio Mix #3 “ワッツ・ネクスト？ (What’s Next?)” - Miki Hayama Trio: Wide Angle - 0:00:00 “There Will Never Be Another You” - Yuya Wakai: Images - 0:03:08 “ウィズ・メイ (With May)” - Ayumi Koketsu: Rainbow Tales - 0:06:16 “上昇気流 (Updraft)” - Bungalow: Past Life - 0:09:24 “チーク・トゥ・チーク (Cheek To Cheek)” - Sanae Ishikawa: Feel Like Makin’ Love - 0:12:32 “The Pioneer” - Taihei Asakawa: Catastrophe in Jazz - 0:15:40 “Slow Highway” - Ko Omura: Introspect - 0:18:48 “ランドスケープ (Landscape)” - Takako Yamada: The Flow of Time - 0:21:56 “Over Parents” - Yukako Yamano: 1st Stage - 0:25:04 “BIG CATCH” - Wataru Hamasaki Meets Akane Matsumoto Trio: Big Catch - 0:28:12 “Sabaku No Akari” - Akihiro Yoshimoto Quartet: Moving Color - 0:31:20 “Our Love Is Here To Stay” - Hideaki Hori Trio: Unconditional Love - 0:34:28 “iI Need achange,too” - Yasumasa Kumagai: I Need a Change, Too - 0:37:36 “OFFER REFUSED” - Hakuei Kim Trio: Open the Green Door - 0:40:44 “Absinthe” - Ami Fukui: Amizm - 0:43:52 “ミラード・ミラー (Mirrored Mirror)” - Koichi Sato: Utopia - 0:47:00 “Dream Garden” - Taihei Asakawa Trio: Touch of Winter - 0:50:08 “ビチグソロック (Bichiguso Rock)” - Sayaketts: Colors - 0:53:16 “Sun,Moon and Children Smile” - Seiji Endo: Sakura Meditation - 0:56:24 “Sally Gardens” - Michiyo Matsushita: Sally Gardens - 0:59:32 Audio Mix #2 “The Lady Is A Tramp” - Rie Taguchi: The Gift - 0:00:00 “Stone Pavement” - Ryosuke Hashizume: Needful Things - 0:03:08 “Fireworks” - Toshihiko Inoue: Vayu - 0:06:16 “Nag Champa” - Sohnosuke Imaizumi: Rin - 0:09:24 “ブルース・フォー・タイナー (Blues For Tyner)” - Mayuko Katakura: Inspiration - 0:12:32 “春の風 (Spring Breeze)” - Sachiko Ikuta Trio: Haru No Kaze - 0:15:40 “Ferris Wheel” - Sumito Oi: Sumitty \u0026amp; The Funfair - 0:18:48 “Love dance” - Tomoka Miwa: Colors in Silence - 0:21:56 “Unfolding Universe” - Hitomi Nishiyama Trio: Music in You - 0:25:04 “伝えていこう (Let\u0026rsquo;s Tell It)” - Seiji Endo: Tsutaete Ikou - 0:28:12 “Samba de uma nota so[\u0026rsquo;]” - Meu Coracao: A Tempo - 0:31:20 “ニュー・ジャーニー (New Journey)” - Ami Fukui Trio: New Journey - 0:34:28 “オール・ザ・シングス・ユー・アー (All the Things You Are)” - Atomi Hamada: This is Atomi - 0:37:36 “Cross Point” - Kaori Vibes Quartet: Cross Point - 0:40:44 “Spur” - Les Komatis: Les Komatis - 0:43:52 “ア・ダンサーズ・メランコリー (A Dancer\u0026rsquo;s Melancholy)” - Mayuko Katakura: The Echoes of Three - 0:47:00 “Move” - Hitomi Nishiyama Trio “Parallax”: Live - 0:50:08 “I\u0026rsquo;m Yours” - Manabu Ohishi Trio: Wish - 0:53:16 “Four In One” - Hara Dairiki Trio: You’ve Changed - 0:56:24 “２つの命 Two Lives” - Ken’ichiro Shinzawa: Piano Works - 0:59:32 Audio Mix #1 “トゥーサム (Twosome)” - Kazumi Ikenaga: Niwatazumi - 0:00:00 “Night\u0026amp;Day” - Akane Matsumoto: Night \u0026amp; Day - 0:03:08 “クール・バニー (Cool Bunny)” - Ayumi Koketsu: Art - 0:06:16 “サンタ・クルズ (Santa Cruz)” - Bungalow: You Already Know - 0:09:24 “The Days Of Wine And Roses” - Emiko Voice: Carta - 0:12:32 “Still” - Ryosuke Hashizume Group: Incomplete Voices - 0:15:40 “Draft Beer” - Yasumasa Kumagai: J-Straight Ahead - 0:18:48 “Asymmetry” - Arco: Asymmetry - 0:21:56 “up to you” - Sayaka Kishi: Featuring Te - 0:25:04 “Flowers On The Hill” - Akiko Suda: Flowers On The Hill - 0:28:12 “Someone To Watch Over Me” - Hiroco Nagano: Okurimono - 0:31:20 “Flying Mind” - Kaori Vibes Quartet: Flying Mind - 0:34:28 “Monk\u0026rsquo;s Dream” - Satoshi Kosugi: Bass on Times - 0:37:36 “フラッド (Flood)” - Hitomi Nishiyama Trio: Many Seasons - 0:40:44 “SPEED HARASSMENT” - Keisuke Nakamura: Humadope - 0:43:52 “Sopa de Ajo” - Junichiro Ohkuchi Trio: Invisible - 0:47:00 “ミセス・パーカー・オブ ＫＣ (Mrs. Parker of KC)” - Mayuko Katakura: Faith - 0:50:08 “In A Reverse Way” - Takuji Yamada: Lite Blue - 0:53:16 “Circle For Peace” - Seiji Endo: Circle for Peace - 0:56:24 “The Railway Station” - Koichi Sato: Melancholy of a Journey - 0:59:32 ","permalink":"https://mirror2.jazzofjapan.com/audio/","summary":"\u003cp\u003e\u003ca id=\"mix-15\"\u003e\u003c/a\u003e\u003c/p\u003e\n\u003chr\u003e\n\u003ch2 id=\"audio-mix-15\"\u003eAudio Mix #15\u003c/h2\u003e\n\u003caudio controls preload=\"none\" style=\"width:100%; max-width:400px;\"\u003e\n\u003csource src=\"https://pub-e785095dc4fd4b1a828fe9eb8d30846b.r2.dev/audio/mix15.mp3\" type=\"audio/mpeg\"\u003e\n\u003c/audio\u003e\n\u003cul\u003e\n\u003cli\u003e“Yell” - \u003ca href=\"https://www.jazzofjapan.com/archive/sumire-kuribayashi-orbital-resonance\"\u003eSumire Kuribayashi: \u003cem\u003eOrbital Resonance\u003c/em\u003e\u003c/a\u003e - 0:00:00\u003c/li\u003e\n\u003cli\u003e“Brilliant Darkness” - \u003ca href=\"https://www.jazzofjapan.com/archive/fumio-karashima-great-time\"\u003eFumio Karashima: \u003cem\u003eGreat Time\u003c/em\u003e\u003c/a\u003e - 0:03:18\u003c/li\u003e\n\u003cli\u003e“朧月に谺す (\u003cem\u003eLook at the Moon\u003c/em\u003e)” - \u003ca href=\"https://www.jazzofjapan.com/archive/shikou-ito-trio-syncretia-kakusareta-guwa\"\u003eShikou Ito Trio Syncretia: \u003cem\u003eKakusareta Guwa\u003c/em\u003e\u003c/a\u003e - 0:06:26\u003c/li\u003e\n\u003cli\u003e“ストップ・コール (\u003cem\u003eStop Call\u003c/em\u003e)” - \u003ca href=\"https://www.jazzofjapan.com/archive/yukari-sekiya-trio-with-yuko-tanaka-its-ordinary-love-and\"\u003eYukari Sekiya Trio with Yuko Tanaka: \u003cem\u003eIt’s Ordinary Love And\u0026hellip;\u003c/em\u003e\u003c/a\u003e - 0:09:33\u003c/li\u003e\n\u003cli\u003e“Canja” - \u003ca href=\"https://www.jazzofjapan.com/archive/yukari-sekiya-duets-till-now-from-here\"\u003eYukari Sekiya: \u003cem\u003eDuets Till Now, From Here\u003c/em\u003e\u003c/a\u003e - 0:12:41\u003c/li\u003e\n\u003cli\u003e“di di” - \u003ca href=\"https://www.jazzofjapan.com/archive/akihiro-yoshimoto-quartet-blending-tone\"\u003eAkihiro Yoshimoto Quartet: \u003cem\u003eBlending Tone\u003c/em\u003e\u003c/a\u003e - 0:15:49\u003c/li\u003e\n\u003cli\u003e“Let\u0026rsquo;s Do It” - \u003ca href=\"https://www.jazzofjapan.com/archive/asuka-watanabe-unaffected\"\u003eAsuka Watanabe: \u003cem\u003eUnaffected\u003c/em\u003e\u003c/a\u003e - 0:18:57\u003c/li\u003e\n\u003cli\u003e“Listen to my Blues” - \u003ca href=\"https://www.jazzofjapan.com/archive/wataru-hamasaki-akane-matsumoto-listen-to-my-blues\"\u003eWataru Hamasaki \u0026amp; Akane Matsumoto: \u003cem\u003eListen to My Blues\u003c/em\u003e\u003c/a\u003e - 0:21:25\u003c/li\u003e\n\u003cli\u003e“Rising Sun” - \u003ca href=\"https://www.jazzofjapan.com/archive/yuto-komatsu-quartet-defune\"\u003eYuto Komatsu Quartet: \u003cem\u003eDefune\u003c/em\u003e\u003c/a\u003e - 0:24:33\u003c/li\u003e\n\u003cli\u003e“The last is the first” - \u003ca href=\"https://www.jazzofjapan.com/archive/toshihiko-inoue-fuse\"\u003eToshihiko Inoue: \u003cem\u003eFuse\u003c/em\u003e\u003c/a\u003e - 0:27:41\u003c/li\u003e\n\u003cli\u003e“Marigold” - \u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-aikawa-masaki-hayashi-ten-to-sen\"\u003eHitomi Aikawa \u0026amp; Masaki Hayashi: \u003cem\u003eTen To Sen\u003c/em\u003e\u003c/a\u003e - 0:31:44\u003c/li\u003e\n\u003cli\u003e“O Morro Não Tem Vez” - \u003ca href=\"https://www.jazzofjapan.com/archive/rio-osawa-rio\"\u003eRio Osawa: \u003cem\u003eRio\u003c/em\u003e\u003c/a\u003e - 0:34:52\u003c/li\u003e\n\u003cli\u003e“Mirage” - \u003ca href=\"https://www.jazzofjapan.com/archive/maiko-reminiscence\"\u003eMaiko: \u003cem\u003eReminiscence\u003c/em\u003e\u003c/a\u003e - 0:38:00\u003c/li\u003e\n\u003cli\u003e“Karys Trance” - \u003ca href=\"https://www.jazzofjapan.com/archive/ayumi-koketsu-struttin\"\u003eAyumi Koketsu: \u003cem\u003eStruttin’\u003c/em\u003e\u003c/a\u003e - 0:41:33\u003c/li\u003e\n\u003cli\u003e“メユメユ Meyu-meyu” - \u003ca href=\"https://www.jazzofjapan.com/archive/ochikochi-ochikochi\"\u003eOchikochi: \u003cem\u003eOchikochi\u003c/em\u003e\u003c/a\u003e - 0:44:41\u003c/li\u003e\n\u003cli\u003e“Something Like That” - \u003ca href=\"https://www.jazzofjapan.com/archive/saki-ozawa-cheers\"\u003eSaki Ozawa: \u003cem\u003eCheers!\u003c/em\u003e\u003c/a\u003e - 0:47:49\u003c/li\u003e\n\u003cli\u003e“These Are Soulful Days” - \u003ca href=\"https://www.jazzofjapan.com/archive/koichi-hirata-introducing-koichi-hirata\"\u003eKoichi Hirata: \u003cem\u003eIntroducing Koichi Hirata\u003c/em\u003e\u003c/a\u003e - 0:50:57\u003c/li\u003e\n\u003cli\u003e“Aderante” - \u003ca href=\"https://www.jazzofjapan.com/archive/yuki-ito-trio-semendo-sementes\"\u003eYuki Ito Trio: \u003cem\u003eSemendo Sementes\u003c/em\u003e\u003c/a\u003e - 0:54:05\u003c/li\u003e\n\u003cli\u003e“We Can Hardly See” - \u003ca href=\"https://www.jazzofjapan.com/archive/otohito-fuse-trio-thus-have-i-heard\"\u003eOtohito Fuse Trio: \u003cem\u003eThus Have I Heard\u003c/em\u003e\u003c/a\u003e - 0:57:13\u003c/li\u003e\n\u003cli\u003e“Blue violet” - \u003ca href=\"https://www.jazzofjapan.com/archive/yudo-matsuo-quartet-songs-in-motion\"\u003eYudo Matsuo Quartet: \u003cem\u003eSongs in Motion\u003c/em\u003e\u003c/a\u003e - 1:00:20\u003c/li\u003e\n\u003c/ul\u003e\n\u003cp\u003e\u003ca id=\"mix-14\"\u003e\u003c/a\u003e\u003c/p\u003e","title":"Audio"},{"content":"Albums (299) | Musicians (572) | Articles (375)\nAlbums (299) Index of albums discussed on this site\n2025 Releases Davy Mooney \u0026amp; Ko Omura: The Word Emiko Voice \u0026amp; Yuka Yanagihara: Enyana Harumi Nomoto Trio: Anitya Hitomi Aikawa \u0026amp; Masaki Hayashi: Ten To Sen Kaito Nakamura: Invisible Diary Mayuko Katakura: The Duality of My Soul Melodies: Melodies Otohito Fuse Trio: Thus Have I Heard Shikou Ito Trio Syncretia: Kakusareta Guwa Sumire Kuribayashi: Orbital Resonance Sumire Kuribayashi / Kazuma Fujimoto / Takashi Sugawa: Tides of Blue Wataru Hamasaki \u0026amp; Akane Matsumoto: Listen to My Blues Yukari Sekiya: Duets Till Now, From Here Yuto Komatsu Quartet: Defune 2024 Releases Akane Matsumoto \u0026amp; Ayumi Koketsu: Trust Hiroyuki Yamaguchi Quintet: Mowna Hitomi Nishiyama: Echo Koichi Hirata: Introducing Koichi Hirata Maiko: Reminiscence Michiyo Matsushita Trio: Free Miyuki Moriya: Beyond the Sea Nami Kano: Mawsim Otohito Fuse Trio: Isolated Sayaka Kishi Trio: Banquet Setagaya Trio: Progress Taeko Kurita \u0026amp; Akira Sotoyama: Duo Takako Yamada Trio: Live at The Moment Yoshiko Saita: Back in Time to Boston Yuji Ito \u0026amp; Koichi Hirata Duo: Two for the Road Yuka Yanagihara Trio: Beloved Ones eFreydut: Fairway 2023 Releases Akane Matsumoto \u0026amp; Nanami Haruta: For My Lady Ami Fukui Trio: MCY Ghost Peak: The Goat on a Peak Harumi Nomoto: I’ll Be Home for Christmas Hiro Kimura Quintet: Folds Hitomi Nishiyama: Dot Mabumi Yamaguchi: Viento Mamoru Ishida: Afterglow Mariko Maeda: Awareness Motoi Kanamori: The Live Nobie \u0026amp; Takayoshi Baba: Owari to Hajimari Saki Ozawa: Cheers! Seiji Endo: Piano Pieces Collection II Yosuke Sato \u0026amp; George Nakajima: Longing 2022 Releases Akane Matsumoto: Little Girl Blue Akihiro Yoshimoto Quartet: 64 Charlesgate Ami Fukui Trio: Nova Manhã Daiki Yasukagawa New Trio: The Three Roses Emiko Voice: Standard Trio Eri Chichibu: Crossing Reality FNK: Canvas Hideaki Hori: Melodies for Night \u0026amp; Day Magnolia: El viento y las flores Mikiko Nagatake: Solo Mikiko Nagatake Trio: Breathe Beneath the Sun Nanami Haruta: II Naoko Tanaka: Appreciation Shinpei Ruike \u0026amp; George Nakajima: Duo Sul Madrugada: Luar Toshiki Abe Life Memory Project: The Simplicity 2021 Releases Chie Nishimura: Virtual Silence Fe: Live at Virtuoso George Nakajima Trio: First Touch Hiro Kimura: Trees Hitomi Nishiyama Trio: Calling Jabuticaba: Jabuticaba Kaori Vibes Quartet: Starry Nights Koichi Sato: Embryo Kunpei Nakabayashi Orchestra: Circles Miyuki Moriya: Uta Oto Rie Taguchi: The Gift II Rio Osawa: Rio Seiji Endo: Piano Pieces Collection Tetsuji Yoshida \u0026amp; Mikiko Nagatake Duo: Live at Knuttel House Toru Takahashi: Tokyo Groovin’ High! Yuichi Narita: Urban Nocturne Yukako Yamano \u0026amp; Yukari Inoue: Dubai Suite Yuki Ito Trio: Semendo Sementes 2020 Releases Banda Feliz: Boa Viagem Bungalow: Abstract Messages Fumika Asari: Introducin’ Hitomi Nishiyama: Vibrant Kaoru Azuma / Hitomi Nishiyama: Faces Kazumi Ikenaga \u0026amp; Taihei Asakawa: NordNote Mase Hiroko Quintet: First Contact Miwo: Tranquillo Polyglot: Talk, Vol. 1 Seiji Harakawa Quartet: Skipping Down the Street Sumireiko: Decision Yasumasa Kumagai \u0026amp; J-Jazz Homies: Last Resort 2019 Releases Akane Matsumoto: Oh, Lady Be Good Arco: Birth Daiki Yasukagawa / Hitomi Nishiyama / Maiko: The Tree of Life Duo Tremolo: Resonance Erisa Ogawa: Where Have U Been? Kanoko Kitajima: Long Way to Go Keisuke Nakamura: Humadope 2 Layla Tomomi Sakai: Stolen Moments Minoru Yoshiki Soulstation: Path of Hope NHORHM: New Heritage of Real Heavy Metal -Extra Edition- Noriko Satomi: A Love Supreme Reiko Yamamoto: The Square Pyramid Sayaka Kishi Trio: Life Is Too Great The Third Tribe: Nearly Dusk Trio Export 63.1.0.X: Small Pieces for Flying Padre Yuka Yanagihara Trio: Inner Views Yuki Ito: Retattanni no Mori 2018 Releases Arco: Live At Yoncha Hitomi Aikawa: Sweet Layla Tomomi Sakai: The Island Maiko: Solo Megumi Yonezawa / Masa Kamaguchi / Ken Kobayashi: Boundary Michiyo Matsushita: Sally Gardens Mie Joké: Etrenne Motoi Kanamori: My Soul Meeting Nobie: Bénin Rio Tokyo Sanae Ishikawa: Grown-up Christmas Gift Seiji Endo: Genji Monogatari Volume 1 Seiji Tada: Workout!! Shinya Fukumori Trio: For 2 Akis Taihei Asakawa: Waltz for Debby Takayuki Yagi: New Departure Yudo Matsuo Quartet: Songs in Motion Yukako Yamano: Imperial 2017 Releases Akane Matsumoto: Night \u0026amp; Day Akihiro Yoshimoto \u0026amp; Takashi Sugawa: Oxymoron Arco: Asymmetry Atomi Hamada: This is Atomi Bungalow: You Already Know Emiko Voice: Carta Fumie Chiba: Beautiful Days Hideaki Kanazawa \u0026amp; Sumire Kuribayashi: Nijuso Hiroco Nagano: Okurimono Kazumi Ikenaga: Niwatazumi Koto ha, To: Shiro o Matoeba Mabumi Yamaguchi: Let Your Mind Alone Noriko Satomi: Project-N Ryosuke Hashizume Group: Incomplete Voices TCQ: Memories of T Yako Horikita: Shining Hour Yukako Yamano: 3rd Stage Yuri Hirota: Magical Moonlight 2016 Releases Akiko Suda: Flowers On The Hill Ami Fukui Trio: New Journey Ayumi Koketsu: Art Blue Dot: Halo Hitomi Nishiyama Trio “Parallax”: Live Junichiro Ohkuchi Trio: Invisible Kaori Vibes Quartet: Cross Point Koichi Sato: Melancholy of a Journey Layla Tomomi Sakai: Whisper Not Maiko Trio: Live! Three Makiyo Sakai: Silver Painting Meu Coracao: A Tempo Rabbitoo: The Torch Rie Taguchi: The Gift Ruriko Kawamura: Blossoms Seiji Endo: Circle for Peace Toshihiko Inoue: Vayu 2015 Releases Akane Matsumoto: Memories of You Akihiro Yoshimoto Quartet: Moving Color Bungalow: Unseen Scenes Daiki Yasukagawa Trio: Trios II Fumie Chiba: Rougequeue Les Komatis: Les Komatis Mayuko Katakura: The Echoes of Three NHORHM: New Heritage of Real Heavy Metal Naoko Tanaka Trio: Memories Seiji Endo: Tsutaete Ikou Shunichi Yanagi Trio: Slope Sohnosuke Imaizumi: Rin Sumito Oi: Sumitty \u0026amp; The Funfair Tomoka Miwa: Colors in Silence Yasumasa Kumagai: J-Straight Ahead 2014 Releases Harumi Nomoto Trio: Virgo Hideaki Hori Trio: Unconditional Love Hiroshi Fukutomi: Memory Stones Keisuke Nakamura: Humadope Masako Kunisada: M Rabbitoo: National Anthem of Unknown Country Ryosuke Hashizume Group: Side Two Sayaka Kishi: Featuring Te Shinpei Ruike \u0026amp; George Nakajima: N.40° Sumire Kuribayashi Trio: Toys Trigraph: Fever Water Me!: Water Me! 2013 Releases Ami Fukui: Amizm Bungalow: Past Life Fumie Chiba Trio: Echoes Hiromi Miura: We Don’t Know Yet Hitomi Nishiyama Trio: Sympathy Kaori Vibes Quartet: Flying Mind Maki Fujimura: Best Wishes Miki Hirose: Scratch Naoko Sakata Trio: Flower Clouds Ryosuke Hashizume Group: VisibleInvisible Taihei Asakawa Trio: Touch of Winter Takako Yamada: The Flow of Time Toshihiko Inoue \u0026amp; Masaki Hayashi: Mistral Wataru Hamasaki Meets Akane Matsumoto Trio: Big Catch Yuka Ueda: Dois Yukako Yamano: 1st Stage Yuya Wakai: Images Zephyr: Zephyr 2012 Releases Akihiro Yoshimoto Quartet: Blending Tone Ayumi Koketsu: Rainbow Tales Daiki Yasukagawa Trio: Kanmai Hitomi Nishiyama: Astrolabe Manabu Ohishi Trio: Gift Masako Kunisada: Wonderful Life Naoko Akimoto: No One Else Ochikochi: Ochikochi Ryosuke Hashizume Group: Acoustic Fluid Sachiko Ikuta Trio: Haru No Kaze Seiji Endo: Sakura Meditation Shunichi Yanagi Trio: Bubble Fish Taeko Kurita: Ko-tsu-ko-tsu Takuji Yamada: Lite Blue Yudo Matsuo: Bonanza Yukari Inoue: Sakura 2011 Releases Aquapit: Aquapit Bungalow: Metropolitan Oasis Clepsydra: Un Jour Fumiko Yamazaki: Here Goes! Hikari Ichihara Group: Unity Hitomi Nishiyama Trio: Music in You Ko Omura: Introspect Koichi Sato: Utopia Mamoru Ishida: Ishida Mamoru 4 feat. Mike Rivett Nobie: Primary Reikan Kobayashi: Gakudan Hitori Shigeo Fukuda \u0026amp; Toshiki Nunokawa: Childhood’s Dream Shinichi Kato: Bass on Cinema Taihei Asakawa: Catastrophe in Jazz Takumi Seino \u0026amp; Motohiko Ichino: Frozen Dust Tokuhiro Doi Quartet: Amalthea Yoshihito “P” Koizumi P-Project: By Coincidence Yuka Ueda: Agora Yukari Sekiya Trio with Yuko Tanaka: It’s Ordinary Love And\u0026hellip; Yuko Miyawaki: Song of Flower 2010 Releases Akane Matsumoto: Playing New York Ami Fukui Trio: Urban Clutter Ayumi Koketsu: Struttin’ Azumi: Almost Like Being in Love Eriko Shimizu: Sora Hideaki Hori Trio: In My Words Hikari Ichihara Group: Move On Hiroshi Fukutomi Quintet: Rings of Saturn Manabu Ohishi Trio: Wish Mayuko Katakura: Faith Miyuki Moriya: Cat’s Cradle Trispace: Trispace Yasumasa Kumagai: Pray Yuichiro Aratake: Music Make Us One 2009 Releases Emiko Voice x Suga Dairo: Phase 2 Fumie Chiba Trio: Tip of Dream Hara Dairiki Trio: You’ve Changed Ken’ichiro Shinzawa: Piano Works Mayuko Katakura: Inspiration Meu Coracao: Hall Tone Miki Hayama Trio: Wide Angle Protean: Protean Ryosuke Hashizume: Needful Things Satoshi Kosugi: Bass on Times Sayaketts: Colors Yasumasa Kumagai \u0026amp; Ryu Kawamura: Ol’ School Jazz 2008 Releases Hideaki Hori \u0026amp; Wataru Hamasaki: Encounter Kaoru Azuma: Footprints in New York Routine Jazz Sextet: Routine Jazz Sextet Ryosuke Hashizume Group: As We Breathe Yasumasa Kumagai: I Need a Change, Too Yukiko Hayakawa Trio: Gallery 2007 Releases Baby Brothers: Happy Christmas with Bb Chihiro Yamanaka: Abyss Fuse: Live Fuse Harumi Nomoto Trio: Belinda Hitomi Nishiyama Trio: Many Seasons Motohiko Ichino: Sketches Sanae Ishikawa: Feel Like Makin’ Love 2006 Releases Chihiro Yamanaka: Lach Doch Mal Fumio Karashima: Great Time Hikari Ichihara: Sara Smile Miki Hayama: Prelude to a Kiss Ryosuke Hashizume Group: Wordless 2005 Releases Chihiro Yamanaka: Outside by the Swing Hakuei Kim Trio: Open the Green Door Yuichiro Aratake: The Light Flows In 2004 Releases Asuka Watanabe: Unaffected Chihiro Yamanaka Trio: Madrigal Fumio Karashima Trio: It’s Just Beginning Hitomi Nishiyama Trio: I’m Missing You 2003 Releases Hideaki Hori: Horizon 2002 Releases Chihiro Yamanaka Trio: When October Goes Harumi Nomoto Trio: Another Ordinary Day 2001 Releases Chihiro Yamanaka Trio: Living Without Friday Shinichi Kato \u0026amp; Masahiko Sato: Duet 1999 Releases Toshihiko Inoue: Fuse 1993 Releases Kohsuke Mine Quintet: Major to Minor Musicians (572) Index of the musicians and the albums discussed on this site\nAbe, Atsushi - 阿部篤志 - piano - Standard Trio Abe, Daisuke - 阿部大輔 - guitar - Lite Blue Abe, Toshiki - 阿部俊貴 - saxophone - The Simplicity Afra - あふら - human beatbox - I Need a Change, Too Aida, Momoko - 会田桃子 - violin - Carta Aikawa, Hitomi - 相川瞳 - percussion - Sweet · El viento y las flores · Ten To Sen Akimoto, Naoko - 秋元直子 - vocal - No One Else Akiyama, Kazumasa - 秋山一将 - guitar - Major to Minor Akiyama, Taku - 秋山卓 - saxophone - Routine Jazz Sextet Allen, Carl - drums - Inspiration · Faith Amano, Takashi - 天野丘 - guitar - Zephyr Anacleto, Gustavo - saxophone - Rio Anderson, Jay - bass - New Departure Anderson, Kyrie - キリー・アンダーソン - drums - Orbital Resonance Ando, Kohei - 安藤康平 - saxophone - Trees Ando, Masanori - 安藤正則 - drums - Move On · Unity · Flying Mind · Memories · Cross Point · Starry Nights · Appreciation Ando, Noboru - 安東昇 - bass - The Light Flows In · Belinda Aratake, Yuichiro - 荒武裕一朗 - piano - The Light Flows In · Music Make Us One Aratama, Tetsuro - 荒玉哲郎 - bass - Almost Like Being in Love Archer, Vicente - bass - Abyss Asai, Ryosuke - 浅井良将 - saxophone - Move On · Unity · Big Catch Asakawa, Taihei - 浅川太平 - piano - As We Breathe · Catastrophe in Jazz · Touch of Winter · Trios II · Waltz for Debby · NordNote Asari, Fumika - 浅利史花 - guitar - Introducin’ Awaya, Takumi - 粟谷巧 - bass - II · Cheers! · The Duality of My Soul Azuma, Kaoru - 東かおる - vocal - Footprints in New York · Faces Azumi - あづみ - vocal - Almost Like Being in Love Baba, Takayoshi - 馬場孝喜 - guitar - Astrolabe · Fever · New Heritage of Real Heavy Metal · Grown-up Christmas Gift · Resonance · Owari to Hajimari Babylonia, Jo da - ジョー・ダ・バビロニア - cavaquinho - Dois Backenroth, Hans - bass - Many Seasons Ballard, Jeff - drums - When October Goes · Madrigal · Lach Doch Mal Barry, Steve - piano - Talk, Vol. 1 Birgenius, Johan - drums - Flower Clouds Birnbaum, Adam - piano - Sara Smile BLAHMUZIK - ブラムジック - sampler - Rin Blomgren, Anton - bass - Flower Clouds Bordenave, Matthieu - saxophone - For 2 Akis Bowen, Ralph - saxophone - New Departure Buchanan, Jakob - flugelhorn - Niwatazumi Campbell, Tommy - drums - Another Ordinary Day Carlini, John - guitar - Lach Doch Mal Casado, Milena - ミレナ・カサード - flugelhorn - Crossing Reality Cheung, Teriver - guitar - The Flow of Time Chiba, Fumie - 千葉史絵 - piano - Tip of Dream · Echoes · Rougequeue · Beautiful Days · Canvas Chiba, Hiroki - 千葉広樹 - bass - National Anthem of Unknown Country · The Torch Chichibu, Eri - 秩父英里 - piano - Crossing Reality Chigita, Yusuke - 千北祐輔 - bass - Tokyo Groovin’ High! Choulai, Aaron - アーロン・チューライ - piano - Blending Tone · Moving Color Clohesy, Matt - bass - The Word Cokky - コッキー - bass - A Tempo Curtis, Luques - bass - Lite Blue Dasika, Niran - ニラン・ダシカ - trumpet - Oxymoron · Orbital Resonance Date, Gen - 伊達弦 - percussion - Magical Moonlight Davis, Quincy - drums - Lite Blue Dazai, Yuri - 太宰百合 - piano - Primary Deguchi, Makoto - 出口誠 - piano - Shining Hour DeJohnette, Jack - drums - Great Time Dodo, Toru - 百々徹 - piano - Scratch Doi, Tokuhiro - 土井徳浩 - clarinet - Amalthea · Melancholy of a Journey · Circles Drummond, Billy - drums - New Departure Dupuy, Robin - cello - Embryo Ellis, John - saxophone - The Word Ema - エマ - vocal - Longing Emiko Voice - エミコヴォイス - vocal - Phase 2 · A Tempo · Carta · Standard Trio · Enyana Endo, Jo - 遠藤 定 - bass - Where Have U Been? Endo, Seiji - 遠藤征志 - piano - Sakura Meditation · Tsutaete Ikou · The Gift · Okurimono · Genji Monogatari Volume 1 · The Gift II · Piano Pieces Collection II Eto, Yoshihito - 江藤良人 - drums - Another Ordinary Day · Bass on Times Ezawa, Akane - 江澤茜 - saxophone - Introducin’ Farinacci, Dominick - trumpet - Sara Smile Farnsworth, Joe - drums - Playing New York Forest, Jesse - guitar - Footprints in New York Fujii, Manabu - 藤井学 - drums - Wonderful Life · 1st Stage Fujimoto, Kazuma - 藤本一馬 - guitar - Reminiscence · Tides of Blue Fujimura, Maki - 藤村麻紀 - vocal - Best Wishes · Halo Fujiwara, Daisuke - 藤原大輔 - saxophone - National Anthem of Unknown Country · The Torch Fukuda, Shigeo - 福田重男 - piano - Feel Like Makin’ Love · Childhood’s Dream Fukuhara, Yuta - 福原雄太 - drums - Crossing Reality Fukui, Ami - 福井亜実 - piano - Urban Clutter · Amizm · New Journey · Nova Manhã · MCY Fukumori, Shinya - 福盛進也 - drums - For 2 Akis · Embryo Fukumori, Yasushi - 福森康 - drums - Bonanza · Amizm · Humadope · New Journey Fukutomi, Hiroshi - 福冨博 - guitar - Rings of Saturn · Memory Stones Furuki, Keisuke - 古木佳祐 - bass - The Square Pyramid · Last Resort · Trees Furusawa, Ryojiro - 古澤良治郎 - drums - Major to Minor Fuse, Otohito - 布施音人 - piano - Isolated · Thus Have I Heard Gonjyo, Yasushi - 権上康志 - bass - Big Catch Goodman, Dave - drums - Open the Green Door Goto, Koji - 後藤浩二 - piano - Etrenne Goto, Takahiko - ごとうたかひこ - vocal - Happy Christmas with Bb Goto, Tamashi - 後藤魂 - piano - Flying Mind · Halo · Starry Nights Goubert, Simon - drums - Wish · Gift Green, Rodney - drums - Madrigal Grenadier, Larry - bass - When October Goes · Madrigal · Lach Doch Mal Gress, Drew - bass - Great Time Grissett, Danny - piano - Lite Blue Hamada, Atomi - 浜田亜東実 - vocal - This is Atomi Hamamura, Masako - 浜村昌子 - piano - As We Breathe · Needful Things Hamasaki, Wataru - 浜崎航 - saxophone - Routine Jazz Sextet · Big Catch · Etrenne · Listen to My Blues Handa, Yutaka - 伴田裕 - saxophone - Song of Flower Hansen, Isabeau - flute - Abstract Messages Hara, Dairiki - 原大力 - drums - You’ve Changed Hara, Mitsuaki - 原満章 - bass - I’m Missing You Harakawa, Seiji - 原川誠司 - saxophone - Skipping Down the Street Harigai, Keita - 張替啓太 - trombone - Where Have U Been? Haruta, Nanami - 治田七海 - trombone - II · For My Lady Hasegawa, Chie - 長谷川智恵 - violin - The Live Hasegawa, Gaku - 長谷川ガク - drums - The Flow of Time · Unconditional Love Hasegawa, Yasuhiro - 長谷川泰弘 - bass - Tsutaete Ikou Hashimoto, Atsushi - 橋本專史 - cello - The Live Hashimoto, Ayumi - 橋本歩 - cello - Where Have U Been? Hashimoto, Manabu - 橋本学 - percussion - Horizon · Wordless · As We Breathe · Catastrophe in Jazz · Ochikochi · VisibleInvisible · Side Two · Trios II · Incomplete Voices · New Heritage of Real Heavy Metal -Extra Edition- Hashimoto, Shinji - 橋本信二 - guitar - Feel Like Makin’ Love · Bass on Times · Agora · Dois Hashimoto, Tatsuya - 橋本達哉 - drums - It’s Ordinary Love And\u0026hellip; Hashizume, Ryosuke - 橋爪亮督 - saxophone - Wordless · As We Breathe · Needful Things · Music in You · Acoustic Fluid · VisibleInvisible · Side Two · New Heritage of Real Heavy Metal · Incomplete Voices · Faces · Dot · Echo Hattori, Masatsugu - 服部正嗣 - drums - Slope · Small Pieces for Flying Padre Hattori, Megumi - 服部恵 - percussion - Sweet Hayakawa, Yukiko - 早川由紀子 - piano - Gallery Hayama, Miki - 早間美紀 - piano - Prelude to a Kiss · Wide Angle Hayashi, Eiichi - 林栄一 - saxophone - Breathe Beneath the Sun Hayashi, Hiroki - 林宏樹 - sax - Crossing Reality Hayashi, Masaki - 林正樹 - piano - Un Jour · Mistral · Sweet · Ten To Sen Hayashi, Raiga - 林頼我 - drums - 64 Charlesgate Hayashi, Yuichi - 林祐市 - piano - Trispace Herrera, Mauricio - congas - Scratch Herstad, Svein Olav - piano - Rainbow Tales Hikage, Osamu - 日景修 - bass - Big Catch Hino, Terumasa - 日野皓正 - trumpet - Haru No Kaze Hiraoka, Yuichiro - 平岡遊一郎 - guitar - Whisper Not · Magical Moonlight · The Island · Stolen Moments · Rio Hirase, Yuto - 平瀬祐人 - drums - Trios II Hirata, Koichi - 平田晃一 - guitar - Two for the Road Hirayama, Orie - 平山織絵 - cello - Mawsim Hirose, Junji - 広瀬潤次 - drums - Encounter · Oh, Lady Be Good Hirose, Miki - 広瀬未来 - trumpet - Scratch · Last Resort · Circles · Folds Hirota, Yuri - 廣田ゆり - piano - Magical Moonlight Holober, Mike - piano - Footprints in New York Holoubek, Marty - マーティ・ホロベック - bass - Crossing Reality Honda, Tamaya - 本田珠也 - drums - The Light Flows In · Invisible · Virtual Silence · Viento Honkawa, Yuhei - 本川悠平 - bass - Amalthea · Unconditional Love Hori, Hideaki - 堀秀彰 - piano - Horizon · Encounter · Move On · Unity · Best Wishes · Unconditional Love · Grown-up Christmas Gift · Resonance · Melodies for Night \u0026amp; Day Horikita, Yako - 堀北やこ - vocal - Shining Hour Horta, Toninho - guitar - Primary · Bénin Rio Tokyo Hsieh, Minyen - 謝明諺 - saxophone - Melodies Hurst, Robert - bass - Outside by the Swing Ichihara, Hikari - 市原ひかり - trumpet - Sara Smile · Move On · Unity · New Heritage of Real Heavy Metal Ichikawa, Sora - 市川空 - piano - The Three Roses Ichino, Motohiko - 市野元彦 - guitar - Wordless · Sketches · As We Breathe · Frozen Dust · Acoustic Fluid · VisibleInvisible · Side Two · The Torch · Incomplete Voices · Faces · Embryo · Orbital Resonance Ijichi, Daisuke - 伊地知大輔 - bass - Defune Ikeda, Atsushi - 池田篤 - saxophone - You’ve Changed · Tokyo Groovin’ High! Ikeda, Masaaki - 池田雅明 - trombone - Boa Viagem Ikedo, Yuta - 池戸祐太 - guitar - Live at Virtuoso Ikejiri, Hiroshi - 池尻洋史 - bass - Rings of Saturn · Utopia · Past Life · Unseen Scenes · You Already Know Ikemoto, Shigetaka - 池本茂貴 - trombone - Circles Ikenaga, Kazumi - 池長和美 - drums - Music in You · Sympathy · Niwatazumi · Nearly Dusk · NordNote · Calling Ikuta, Sachiko - 生田さち子 - piano - Almost Like Being in Love · Haru No Kaze Imaizumi, Masaaki - 今泉正明 - piano - Project-N · A Love Supreme Imaizumi, Sohnosuke - 今泉総之輔 - drums - Urban Clutter · Virgo · Rin · Grown-up Christmas Gift · Beyond the Sea · Anitya Inoue, Koichi - 井上功一 - drums - Music Make Us One Inoue, May - 井上銘 - guitar - Virtual Silence Inoue, Shinpei - 井上信平 - flute - No One Else Inoue, Toshihiko - 井上淑彦 - saxophone - Fuse · Live Fuse · Sora · Un Jour · Zephyr · Vayu Inoue, Yosuke - 井上陽介 - bass - It’s Just Beginning · J-Straight Ahead Inoue, Yukari - 井上ゆかり - piano - Sakura · Dubai Suite Intorre, Carmen Jr. - drums - The Echoes of Three Ishida, Hirokazu - 石田寛和 - saxophone - Rougequeue Ishida, Mamoru - 石田衛 - piano - Cat’s Cradle · Ishida Mamoru 4 feat. Mike Rivett · Humadope · Trios II · Tranquillo · Trees · Afterglow · Mawsim Ishii, Hinata - 石井ひなた - piano/saxophone - Mowna Ishikawa, Hiroyuki - 石川広行 - trumpet - Talk, Vol. 1 Ishikawa, Sanae - 石川早苗 - vocal - Happy Christmas with Bb · Fever · Grown-up Christmas Gift Ishikawa, Satoshi - 石川智 - drums - Primary · The Island · Boa Viagem Ishikawa, Shunosuke - 石川周之介 - saxophone - Rougequeue · Beautiful Days Ishiwaka, Shun - 石若駿 - drums - Haru No Kaze · Humadope · Moving Color · II Ishizaki, Shinobu - 石崎忍 - saxophone - I Need a Change, Too · Live at Virtuoso Ito, Aya - 伊藤彩 - violin - Embryo Ito, Harutoshi - 伊藤ハルトシ - cello - Melancholy of a Journey Ito, Shikou - 伊藤志宏 - piano - Primary · Live! Three · Reminiscence · Kakusareta Guwa Ito, Yuji - 伊藤勇司 - bass - Trees · Folds · Two for the Road Ito, Yuki - 伊東佑季 - bass - Shiro o Matoeba · Retattanni no Mori · Semendo Sementes · Reminiscence Iwami, Keigo - 岩見継吾 - bass - Nova Manhã · MCY · Progress Jackson, Gene - drums - In My Words · Memories of You · Night \u0026amp; Day Jennings, Jerome - drums - Scratch Jeppesen, Soren Dahl - guitar - Niwatazumi Johansen, Per Oddvar - drums - Rainbow Tales Joké, Mie - 情家みえ - vocal - Etrenne Kagawa, Hiroshi - 香川裕史 - bass - Etrenne Kai, Masaki - 甲斐正樹 - bass - Embryo · Duets Till Now, From Here Kaido, Yutaka - カイドーユタカ - bass - Song of Flower Kaihori, Kota - 海堀弘太 - piano - Awareness Kajitani, Yuko - 梶谷裕子 - violin - Embryo Kamaguchi, Masa - マサ・カマグチ - bass - Boundary Kamimura, Shin - 上村信 - bass - A Love Supreme Kamimura, Taiichi - かみむら泰一 - saxophone - Sketches · Ochikochi · Duets Till Now, From Here Kamoto, Shinichiro - 嘉本信一郎 - drums - Sketches Kamuro, Kohei - かむろ耕平 - guitar - Cat’s Cradle Kan - 日高歓 - percussion - Crossing Reality Kanamori, Motoi - 金森もとい - bass - Bubble Fish · Humadope · Slope · My Soul Meeting · Long Way to Go · Skipping Down the Street · The Live Kanazawa, Hideaki - 金澤英明 - bass - Haru No Kaze · Nijuso Kaneko, Ken - 金子健 - bass - Shining Hour Kaneko, Yuta - 金子雄太 - Hammond B3 organ - Aquapit Kanno, Tomo - 菅野知明 - drums - Circles Kano, Nami - 加納奈実 - saxophone - Jabuticaba · Mawsim Kaptein, Sebastiaan - drums - Colors in Silence Karashima, Fumio - 辛島文雄 - piano - It’s Just Beginning · Great Time Karn, Mike - bass - Art Katakura, Mayuko - 片倉真由子 - piano - Inspiration · Faith · The Echoes of Three · II · Viento · The Duality of My Soul Katano, Goro - 片野吾朗 - bass - Halo Kato, Ippei - 加藤一平 - guitar - Invisible Diary Kato, Minoru - 加藤実 - piano - Boa Viagem Kato, Shinichi - 加藤真一 - bass - Duet · Catastrophe in Jazz · Toys Kawakubo, Norihiko - 川久保典彦 - piano - Water Me! Kawamura, Hideki - 河村英樹 - saxophone - Horizon · The Light Flows In Kawamura, Ruriko - 河村留理子 - vocal - Blossoms Kawamura, Ryu - 川村竜 - bass - Ol’ School Jazz · Pray · Oh, Lady Be Good Kawamura, Shigehito - 川村成史 - drums - Tip of Dream Kawano, Keizo - 河野啓三 - piano - Here Goes! Kawauchi, Tsutomu - 川内努 - drums - I’m Missing You Kikuta, Kunihiro - 菊田邦裕 - trumpet - Crossing Reality Kim, Hakuei - ハクエイ・キム - piano - Open the Green Door · Introspect Kimura, Hiro - 木村紘 - drums - The Square Pyramid · Introducin’ · Trees · Folds Kimura, Jun - 木村純 - guitar - Silver Painting Kira, Sota - 吉良創太 - drums - Songs in Motion · First Contact · Jabuticaba · Nova Manhã · MCY · Progress Kishi, Sayaka - 岸淑香 - piano - Colors · Featuring Te · Asymmetry · Live At Yoncha · Life Is Too Great · The Simplicity · Banquet Kishi, Tetsuyuki - 岸徹至 - bass - Horizon Kitagawa, Kiyoshi - 北川潔 - bass - Prelude to a Kiss · Wide Angle Kitajima, Kanoko - 北島佳乃子 - piano - Long Way to Go · Introducin’ Kjellberg, Anders - drums - Many Seasons Kobayashi, Hiroe - 小林宏衣 - vocal - Luar · Banquet Kobayashi, Ken - 小林健 - drums - Boundary Kobayashi, Reikan - 小林鈴勘 - shakuhachi - Gakudan Hitori · Fever Kobayashi, Toyomi - 小林豊美 - flute - Sumitty \u0026amp; The Funfair · Flowers On The Hill Kobayashi, Yoko - 小林洋子 - piano - Nearly Dusk Kohno, Satoshi - 鴻野暁司 - bass - Colors Kohno, Toshihiko - 紅野智彦 - piano - Mowna Koike, Madoka - 小池まどか - violin - Crossing Reality Koizumi, Tetsuo - 小泉哲夫 - bass - Where Have U Been? Koizumi, Yoshihito “P” - 小泉P克人 - bass - Primary · Amizm Koketsu, Ayumi - 纐纈歩美 - saxophone - Struttin’ · Rainbow Tales · Art · Trust Komae, Kengo - 小前賢吾 - drums - Almost Like Being in Love Komaki, Ryohei - 小牧良平 - bass - Let Your Mind Alone · Viento Komano, Itsumi - 駒野逸美 - trombone - Introducin’ · Crossing Reality Komatsu, Nobuyuki - 小松伸之 - drums - Horizon · Dois · Let Your Mind Alone Komatsu, Yuto - 小松悠人 - trumpet - Defune Komobuchi, Kiichiro - コモブチキイチロウ - bass - Boa Viagem · Owari to Hajimari Komori, Kohzo - 小森耕造 - drums - Pray · Primary Konno, Tomoyuki - 紺野智之 - drums - Routine Jazz Sextet · Amalthea Koreyasu, Norikatsu - 是安則克 - bass - Ochikochi Kosugi, Satoshi - 小杉敏 - bass - Feel Like Makin’ Love · Bass on Times · Introducin’ Kotani, Noriko - 小谷のりこ - vocal - Water Me! Kouki - vocal - MCY Kubo, Masato - 久保公人 - cello - Music Make Us One Kudo, Show - 工藤精 - bass - Ishida Mamoru 4 feat. Mike Rivett · Sumitty \u0026amp; The Funfair · New Journey · Free Kudo, Yu - 工藤悠 - drums - Flowers On The Hill Kuga, Yu - 陸悠 - baritone saxophone - Circles Kumagai, Yasumasa - 熊谷ヤスマサ - piano - I Need a Change, Too · Ol’ School Jazz · Pray · J-Straight Ahead · Last Resort Kunisada, Masako - 国貞雅子 - vocal - Wonderful Life · M Kuniwake, Koichi - 国分航一 - bass - Tip of Dream Kuribayashi, Sumire - 栗林すみれ - piano - Toys · Nijuso · The Square Pyramid · Decision · Tides of Blue Kurita, Taeko - 栗田妙子 - piano - Song of Flower · Ko-tsu-ko-tsu · The Goat on a Peak · Duo Kuroda, Kazuyoshi - 黒田和良 - drums - Big Catch Kuroda, Kiyotaka - 黒田清高 - drums - A Tempo Kuroda, Takuya - 黒田卓也 - trumpet - Circles Kurosawa, Aya - 黒沢綾 - vocal - Featuring Te · Beautiful Days · Resonance · Reminiscence Kusui, Satsuki - 楠井五月 - bass - Etrenne Lang, Walter - piano - For 2 Akis Le Boeuf, Remy - レミー・ル・ブーフ - sax - Crossing Reality Lewis, Victor - drums - Wide Angle Loueke, Lionel - guitar - Bénin Rio Tokyo M-oto - エムオート - human beat box - M Maeda, Mariko - 前田真梨子 - trombone - Awareness maiko - マイコ - violin - Live! Three · Solo · The Tree of Life · Dot · Reminiscence Makino, Ryutaro - 牧野竜太郎 - vocal - Music Make Us One Manasia, Jeremy - piano - Art Maret, Grégoire - harmonica - Back in Time to Boston Mase, Hiroko - ませひろこ - saxophone - First Contact · Mowna Maseki, Yuto - 柵木雄斗 - drums - Awareness Matsuda, Asami - 松田麻美 - violin - Music Make Us One Matsuda, Yasuhiro - 松田靖弘 - saxophone - No One Else Matsumonica - マツモニカ - harmonica - The Island · Rio Matsumoto, Akane - 松本茜 - piano - Playing New York · Big Catch · Humadope · Memories of You · Night \u0026amp; Day · Oh, Lady Be Good · Little Girl Blue · For My Lady · Trust · Listen to My Blues Matsuo, Yudo - 松尾由堂 - guitar - Bonanza · Songs in Motion Matsushita, Michiyo - 松下美千代 - piano - Sally Gardens · Free McPherson, Eric - drums - Prelude to a Kiss Mendenhall, Kanoa - bass - Fairway Mii, Daisei - 三井大生 - violin - Magical Moonlight Miki, Toshio - 三木俊雄 - saxophone - The Island Mine, Kosuke - 峰厚介 - saxophone - Major to Minor · Breathe Beneath the Sun · Two for the Road Mishima, Daiki - 三嶋大輝 - bass - Introducin’ Mitsuda, Jin - 光田じん - drums - Duets Till Now, From Here Miura, Hiromi - 三浦裕美 - saxophone - We Don’t Know Yet Miwa, Tomoka - 三輪知可 - vocal - Colors in Silence MIWO - vocal - Tranquillo Miyakawa, Jun - 宮川純 - piano - By Coincidence · Circles Miyano, Hiroki - 宮野弘紀 - guitar - Live! Three Miyawaki, Yuko - 宮脇裕子 - trumpet - Song of Flower Miyazaki, Shinji - 宮崎真司 - guitar - The Goat on a Peak Mizutani, Hiroaki - 水谷浩章 - bass - This is Atomi · The Goat on a Peak Mochiyama, Shoko - 持山翔子 - piano - Mawsim Monet - モネ - vocal - Happy Christmas with Bb Monroe, Cecil - drums - Feel Like Makin’ Love Mooney: Davy - guitar - The Word Morinaga, Tetsunori - 森永哲則 - drums - The Simplicity Morisada, Michihiro - 森定道広 - bass - It’s Ordinary Love And\u0026hellip; · Duets Till Now, From Here Morishita, Shigeru - 森下滋 - piano - Wonderful Life Morishita, Suomi - 森下周央彌 - guitar - Duets Till Now, From Here Morita, Shuji - 森田修史 - saxophone - Path of Hope Morita, Yusuke - 森田悠介 - electric bass - Where Have U Been? Moriya, Miyuki - 守谷美由貴 - saxophone - Cat’s Cradle · Uta Oto · Beyond the Sea Morse, Robinson - bass - Footprints in New York Motooka, Kazuhide - 元岡一英 - piano - Bass on Times Nagano, Hiroco - 永野寛子 - vocal - Tsutaete Ikou · Okurimono Nagasawa, Norihito - 長澤紀仁 - guitar - The Island · Rio Nagatake, Mikiko - 永武幹子 - piano - Live at Knuttel House · Solo · Fairway · Defune Nakabayashi, Kunpei - 中林薫平 - bass - Sora · Unity · Circles Nakagawa, Yoshihiro - 中川喜博 - drums - Colors Nakaishi, Yusuke - 仲石裕介 - bass - The Gift · The Gift II Nakaji, Hideaki - 中路英明 - trombone - Stolen Moments Nakajima, George - 中嶋錠二 - piano - N.40° · First Touch · Duo · Longing Nakajima, Kaori - 中島香里 - vibraphone - Flying Mind · Cross Point · Starry Nights Nakamura, Kaito - 中村海斗 - drums - Afterglow · Isolated · Thus Have I Heard Nakamura, Keisuke - 中村恵介 - trumpet - Bonanza · Humadope · Humadope 2 Nakamura, Kengo - 中村健吾 - bass - Tokyo Groovin’ High! Nakamura, Yasushi - 中村恭士 - bass - Inspiration · The Echoes of Three Nakamure, Sadanori - 中牟礼貞則 - guitar - Introducin’ Nakashima, Akiha - 中島朱葉 - saxophone - Trees Nakaya, Yoshiyuki - 中屋啓之 - drums - Tsutaete Ikou Narita, Yuichi - 成田祐一 - piano - Colors in Silence · Flowers On The Hill · Urban Nocturne Nash, Lewis - drums - Sara Smile Nawashiro, Takahiro - 苗代尚寬 - guitar - Crossing Reality Naya, Yoshihiko - 納谷嘉彦 - piano - Struttin’ · Silver Painting Negrete, David - デイビッド・ネグレテ - sax - Crossing Reality Nishiguchi, Akihiro - 西口明宏 - saxophone - Humadope · Circles · Crossing Reality Nishijima, Toru - 西嶋徹 - bass - Carta · Faces · Dot · Echo Nishikawa, Terumasa - 西川輝正 - bass - Gallery Nishimura, Chie - 西村知恵 - vocal - Virtual Silence Nishiyama, Hitomi - 西山瞳 - piano - I’m Missing You · Many Seasons · Music in You · Astrolabe · Sympathy · Trios II · Live · The Tree of Life · Vibrant · Calling · Dot · Echo Nitta, Shinya - 仁田真也 - vocal - Tsutaete Ikou Nobie - ノビー - vocal - Primary · Les Komatis · Bénin Rio Tokyo · Owari to Hajimari Nomoto, Harumi - 野本晴美 - piano - Another Ordinary Day · Belinda · Virgo · I’ll Be Home for Christmas · Anitya Nonami, Momo - 野波桃 - piano - This is Atomi Noritake, Ryo - 則武諒 - drums - Touch of Winter · Memory Stones · Trios II · Melancholy of a Journey · Inner Views · Dot · Echo Nunokawa, Toshiki - 布川俊樹 - guitar - Childhood’s Dream Nørgaard, Klaus - bass - Niwatazumi Obata, Kazuhiko - 小畑和彦 - guitar - Boa Viagem Ochiai, Kosuke - 落合康介 - bass - Talk, Vol. 1 Oda, Tomomi - 小田朋美 - vocal - New Heritage of Real Heavy Metal Ogaeri, Ami - 魚返明未 - piano - Humadope 2 Ogata, Kyoko - 緒方京子 - vocal - Happy Christmas with Bb Ogawa, Erisa - 小川恵理紗 - flute - Where Have U Been? Ogihara, Ryo - 荻原亮 - guitar - Wonderful Life Ogimi, Gen - 大儀見元 - percussion - Kakusareta Guwa Ohishi, Manabu - 大石学 - piano - Wish · Gift · M Ohkuchi, Junichiro - 大口純一郎 - piano - Major to Minor · Song of Flower · Dois · Invisible · Songs in Motion Ohta, Akemi - 太田朱美 - flute - Les Komatis · Carta Ohta, Keisuke - 太田惠資 - violin - Standard Trio Oi, Sumito - 大井澄東 - drums - Sumitty \u0026amp; The Funfair Oinuma, Kunio - 生沼邦夫 - bass - Music Make Us One · Project-N Okabe, Tomoyuki - 岡部朋幸 - drums - Mowna Okabe, Yoichi - 岡部洋一 - percussion - Owari to Hajimari Okada, Keita - 岡田ケイタ - drums - Carta Okada, Tsutomu - 岡田勉 - bass - Major to Minor Okazaki, Masanori - 岡崎正典 - sax - Tokyo Groovin’ High! Okazaki, Yoshiro - 岡崎好朗 - trumpet - Bass on Times · Memories · Appreciation Okudaira, Shingo - 奥平慎吾 - drums - It’s Just Beginning Okumura, Misato - 奥村美里 - piano - Let Your Mind Alone Okuyama, Masaru - 奥山勝 - piano - The Island · Where Have U Been? Omura, Ko - 大村亘 - drums - Utopia · No One Else · The Flow of Time · Unseen Scenes · You Already Know · Talk, Vol. 1 · Live at Virtuoso · Live at The Moment · The Word Omura, Morihiro - 大村守弘 - bass - Trispace Onuma, Yosuke - 小沼ようすけ - guitar - Aquapit Orihara, Ryoji - 織原良次 - fretless bass - Wordless · As We Breathe · Bonanza · VisibleInvisible · Virgo · New Heritage of Real Heavy Metal · Incomplete Voices · New Heritage of Real Heavy Metal -Extra Edition- · Virtual Silence · Breathe Beneath the Sun · Anitya Orlandi, Paolo - drums - Footprints in New York · We Don’t Know Yet Osaka, Masahiko - 大坂昌彦 - drums - J-Straight Ahead · Project-N · A Love Supreme Osamu, Koichi - 納浩一 - bass - 1st Stage Osawa, Rio - 大澤理央 - vocal - Rio Osumi, Toshio - 大隅寿男 - drums - Etrenne Ota, Tomohiro - 大田智洋 - drums - Water Me! Otani, Satoshi - 大谷訓史 - bass - I’m Missing You Otogawa, Eiji - 音川英二 - saxophone - First Contact Otsuka, Megumi - 大塚恵 - bass - Duets Till Now, From Here Otsuka, Yoshimasa - 大塚義将 - bass - Songs in Motion Otsuki, Hidenobu “Kalta” - 大槻“KALTA”英宣 - drums - Aquapit Ozawa, Megumi - 小澤恵 - viola - The Live Ozawa, Saki - 小沢咲希 - piano - Cheers! O’Donnell, Aiden - bass - Scratch Parker, Ray - bass - Living Without Friday Passo, DJ - dj - Pray Perez, Xavier - saxophone - Scratch Reeves, Nat - bass - Playing New York Reeves, Scott - trombone - Footprints in New York Richter, Gordon - clarinet - Abstract Messages Rikitake, Makoto - 力武誠 - drums - Halo · Defune Rin, Heitetsu - リンヘイテツ - piano - Stolen Moments Rivett, Mike - saxophone - Ishida Mamoru 4 feat. Mike Rivett · Unseen Scenes · You Already Know · Abstract Messages Rosnes, Renee - piano - Workout!! Ruggiero, Greg - guitar - We Don’t Know Yet Ruike, Shinpei - 類家心平 - trumpet - Routine Jazz Sextet · No One Else · The Flow of Time · N.40° · Duo Saita, Yoshiko - 斉田佳子 - vocal - Back in Time to Boston Saito, Masaaki - 齋藤大陽 - bass - Crossing Reality Saito, Ryo - 斉藤良 - drums - Stolen Moments · Free Saito, Takashi - 齋藤たかし - drums - Here Goes! Sakai, Benisuke - 坂井紅介 - bass - Fuse · Live Fuse · Kakusareta Guwa Sakai, Layla Tomomi - 坂井レイラ知美 - vocal - Whisper Not · The Island · Stolen Moments Sakai, Makiyo - 酒井麻生代 - flute - Silver Painting · Boa Viagem Sakamoto, Nao - 坂本直 - guitar - Virgo Sakamoto, Takeshi - 坂本健志 - drums - Memories of T Sakata, Naoko - 坂田尚子 - piano - Flower Clouds Sakazaki, Takuya - 坂崎拓也 - bass - Blending Tone · Live Sakemoto, Hirotsugu - 酒本廣継 - trombone - Circles Sakurai, Taishi - 桜井大士 - violin - The Live Sano, Mayumi - 佐野まゆみ - cello - Featuring Te · Asymmetry · Live At Yoncha · Birth Sano, Satoshi - 佐野聡 - flute - Primary Sanyutei, Koyuza - 三遊亭小遊三 - trumpet - Tokyo Groovin’ High! Sasaki, Haruka - 佐々木はるか - sax - Crossing Reality Sasaki, Riko - 佐々木梨子 - alto saxophone - Invisible Diary Sato, Junichi - 佐藤潤一 - bass - Beyond the Sea Sato, Kilin - 佐藤きりん - bass - Magical Moonlight Sato, Koichi - 佐藤浩一 - piano - Routine Jazz Sextet · Rings of Saturn · Utopia · Kanmai · VisibleInvisible · Side Two · Unseen Scenes · The Torch · You Already Know · Abstract Messages · Embryo Sato, Masahiko - 佐藤允彦 - piano - Duet Sato, Ryosuke - 佐藤良輔 - viola - Music Make Us One Sato, Shinichi - 佐藤慎一 - bass - Wonderful Life Sato, Takayuki - 佐藤敬幸 - saxophone - Appreciation Sato, Yasuhiko “Hachi” - 佐藤“ハチ”恭彦 - bass - Music in You · Sympathy · Calling Sato, Yoshiaki - 佐藤芳明 - accordion - Un Jour Sato, Yosuke - 佐藤洋祐 - sax - Longing Satomi, Noriko - 里見紀子 - violin - The Gift · Project-N · A Love Supreme · The Gift II Satsuma, Jun - 佐津間純 - guitar - Tokyo Groovin’ High! Sawaki, Takenori - 佐脇武則 - saxophone - Shining Hour Sayaka (Violin) - violin - Where Have U Been? Sci, LaFrae Olivia - drums - Living Without Friday Scott, Kendrick - drums - Abyss Seino, Takumi - 清野拓巳 - guitar - Needful Things · Frozen Dust Sekine, Akira - 関根彰良 - guitar - Blossoms · Tranquillo Sekiya, Yukari - 関谷友加里 - piano - It’s Ordinary Love And\u0026hellip; · Duets Till Now, From Here Sendo, Saori - 仙道さおり - percussion - Sora · Un Jour · Resonance Seta, Sota - 瀬田創太 - piano - Where Have U Been? Seto, Naoyuki - 瀬戸尚幸 - fretless bass - Protean Shibata, Ryo - 柴田亮 - drums - Rings of Saturn · Bubble Fish · Where Have U Been? Shima, Kanae - 志摩かなえ - violin - Music Make Us One Shimizu, Akiyoshi - 清水昭好 - bass - No One Else · Live at The Moment Shimizu, Eriko - 清水絵理子 - piano - Sora Shimizu, Takehiro - 清水勇博 - drums - I’m Missing You · Toys · Live Shinzawa, Ken\u0026rsquo;ichiro - 新澤健一郎 - piano - Piano Works · A Tempo Shioda, Norihide - 塩田哲嗣 - bass - Another Ordinary Day Shirasa, Takefumi - 白佐武史 - cello - Music Make Us One Shoji, Yoshitaka - 東海林由孝 - guitar - Let Your Mind Alone Shunputei, Shota - 春風亭昇太 - trombone - Tokyo Groovin’ High! Silva, Francis - percussion - Rio Soda, Osamu - 祖田修 - piano - Path of Hope Sone, Mao - 曽根麻央 - trumpet - Trees Sotoyama, Akira - 外山明 - drums - Duo · Melodies Stewart, Grant - saxophone - Sara Smile Suda, Akiko - 須田晶子 - vocal - New Journey Suga, Dairo - スガダイロー - piano - Phase 2 Sugawa, Takashi - 須川崇志 - bass - Moving Color · Oxymoron · Tides of Blue Sugawara, Makiko - 菅原牧子 - violin - Virgo Sugimoto, Masanori - 杉本匡教 - saxophone - Halo Sugimoto, Tomokazu - 杉本智和 - bass - Mawsim Sukegawa, Taro - 助川太郎 - guitar - Hall Tone · A Tempo Sunaga, Kazuhiro - 須長和広 - bass - Rin Suzuki, Hiroshi - 鈴木広志 - saxophone - Sweet Suzuki, Jiro - 鈴木次郎 - guitar - Crossing Reality Suzuki, Kaoru - 鈴木郁 - drums - Echoes · Rougequeue · Beautiful Days · Canvas Suzuki, Takanori - 鈴木孝紀 - clarinet - Dot · Echo Tabu, Zombie - タブゾンビ - trumpet - I Need a Change, Too Tada, Seiji - 多田誠司 - saxophone - The Gift · Workout!! · The Gift II Taguchi, Rie - 田口理恵 - vocal - The Gift · The Gift II Taguchi, Teiji - 田口悌治 - guitar - Zephyr Tainaka, Fukushi - 田井中福司 - drums - Long Way to Go · Skipping Down the Street Taira, Ayako - 平良亜矢子 - vocal - Water Me! Takahashi, Riku - 高橋陸 - bass - Isolated · Thus Have I Heard Takahashi, Toru - 高橋徹 - drums - Tokyo Groovin’ High! Takahashi, Yusei - 高橋佑成 - piano - Progress Takamichi, Haruhisa - 高道晴久 - bass - Routine Jazz Sextet Takase, Hiroshi - 高瀬裕 - bass - Encounter Takase, Ryuichi - 高瀬龍一 - trumpet - Whisper Not · The Island · Stolen Moments Takeda, Kazuhiko - 竹田一彦 - guitar - Folds Takeda, Tatsuhiko - 竹田達彦 - drums - Big Catch Takei, Tsutomu - 武井努 - saxophone - Duets Till Now, From Here Takemura, Ittetsu - 竹村一哲 - drums - Humadope 2 Takino, Satoshi - 滝野聡 - guitar - Encounter Takubo, Hiroyuki - 田窪寛之 - piano - My Soul Meeting · Skipping Down the Street · The Live Tamura, Kazuhiro - 田村和大 - piano - Rin Tamura, Natsuki - 田村夏樹 - trumpet - The Goat on a Peak Tanabe, Mitsukuni - 田辺充邦 - guitar - The Gift · The Gift II Tanaka, Koei - 田中光栄 - harmonica - Music Make Us One Tanaka, Mitsuru - 田中充 - trumpet - Rougequeue · Beautiful Days Tanaka, Naoko - 田中菜緒子 - piano - Protean · Trios II · Memories of T · Trees · Appreciation · Folds Tanaka, Nobumasa - 田中信正 - piano - Fuse · Live Fuse · First Contact · Uta Oto · Owari to Hajimari Tanaka, Noritaka - 田中徳崇 - drums - National Anthem of Unknown Country · The Torch · The Duality of My Soul Tanaka, Shingo - 田中晋吾 - bass - Here Goes! Tanaka, Yohei - 田中洋平 - bass - Water Me! Tanaka, Yuko - 田中ゆうこ - voice - It’s Ordinary Love And\u0026hellip; Tanidono, Akira - 谷殿明良 - trumpet - Carta Tanimukai, Yuzumi - 谷向柚美 - voice - Duets Till Now, From Here Tawarayama, Masayuki - 俵山昌之 - bass - Another Ordinary Day · Struttin’ · Silver Painting Taylor, Mark - drums - Struttin’ · Art Terakubo, Erena - 寺久保エレナ - saxophone - My Soul Meeting Terao, Yosuke - 寺尾陽介 - bass - Awareness Teraya, Nao - 寺屋ナオ - guitar - Rougequeue · Flowers On The Hill · Where Have U Been? · Canvas Tetsui, Koji - 鉄井孝司 - bass - Echoes · Rougequeue · Beautiful Days Thormodsæter, Magne - bass - Rainbow Tales Togashi, Makoto - 冨樫マコト - bass - 64 Charlesgate Toho, Hikaru - 東保光 - bass - Sketches Toi, Daisuke - トオイダイスケ - bass - Feel Like Makin’ Love · Agora · Colors in Silence Tomikawa, Masashi - 冨川政嗣 - drums - Song of Flower Tomita, Daisuke - 富田大輔 - viola - Music Make Us One Tsuchiya, Ayako - 土屋絢子 - vocal - Shiro o Matoeba Tsugami, Kenta - 津上研太 - saxophone - Melodies Tsukada, Yota - 塚田陽太 - drums - The Three Roses Tsukayama, Kozue - 津嘉山梢 - piano - Shiro o Matoeba Tsunoda, Ken - 角田健 - drums - Fuse · Live Fuse Ueda, Yuka - 上田裕香 - vocal - Agora · Dois Uematsu, Yoshitaka - 植松良高 - drums - Unaffected Uemura, Keiichiro - 上村計一郎 - drums - Gallery Uenoyama, Eri - 上野山英里 - piano - Sweet Umehara, Arata - 梅原新 - guitar - Tsutaete Ikou · Okurimono Umino, Shunsuke - 海野俊輔 - drums - I Need a Change, Too Urushibara, Naomi - 漆原直美 - violin - Music Make Us One Ushiyama, Leina - 牛山玲名 - violin - Music Make Us One Viret, Jean-Philippe - bass - Wish · Gift Vuust, Christian - saxophone - Niwatazumi Vázquez, Yago - piano - We Don’t Know Yet Wakai, Yuya - 若井優也 - piano - Images Wakamatsu, Zeze - soundscape artist - Embryo Waples, Ben “Donny” - bass - Open the Green Door Washington, Kenny - drums - Workout!! Washington, Peter - bass - Sara Smile · Memories of You · Night \u0026amp; Day · Workout!! Watanabe, Asuka - 渡辺明日香 - vocal - Unaffected Watts, Jeff “Tain” - drums - Outside by the Swing Wendholt, Scott - trumpet - New Departure Werner, Kenny - piano - Back in Time to Boston Whitaker, Rodney - bass - Faith Yagi, Takayuki - 八木隆幸 - piano - New Departure Yaginuma, Yusuke - 柳沼佑育 - drums - Introducin’ · Cheers! · Two for the Road Yamada, Akira - 山田玲 - drums - The Gift · My Soul Meeting · Life Is Too Great · Last Resort · The Gift II · The Live · Banquet Yamada, Nobumasa - 山田ノブマサ - percussion - Les Komatis Yamada, Takako - 山田貴子 - piano - The Flow of Time · Live at The Moment Yamada, Takuji - 山田拓児 - saxophone - Lite Blue Yamada, Yoshiki - 山田吉輝 - bass - Inner Views · Beloved Ones Yamaguchi, Hiroyuki - 山口裕之 - bass - Mowna Yamaguchi, Mabumi - 山口真文 - saxophone - Let Your Mind Alone · Appreciation · Viento Yamamoto, Masahiro - 山本昌広 - saxophone - Rings of Saturn · Metropolitan Oasis · Past Life Yamamoto, Reiko - 山本玲子 - vibraphone - The Square Pyramid · Decision · El viento y las flores Yamamoto, Tsuyoshi - 山本剛 - piano - Etrenne Yamanaka, Chihiro - 山中千尋 - piano - Living Without Friday · When October Goes · Madrigal · Outside by the Swing · Lach Doch Mal · Abyss Yamano, Yukako - 山野友佳子 - piano - 1st Stage · 3rd Stage · Imperial · Dubai Suite Yamashita, Koji - 山下弘治 - bass - Unaffected Yamashita, Nobuhiko - 山下暢彦 - drums - Shining Hour Yamashita, Yoshitaka - 山下佳孝 - drums - Trispace Yamazaki, Fumiko - 山崎ふみこ - vibraphone - Here Goes! Yamazaki, Takeru - ヤマザキタケル - keyboard - Bonanza · Where Have U Been? Yanagi, Shunichi - 柳隼一 - piano - Bubble Fish · Slope Yanagihara, Yuka - 柳原由佳 - piano - Inner Views · Semendo Sementes · El viento y las flores · Beloved Ones · Enyana Yang, Shawna - saxophone - Memories of T Yashima, Tamako - 八島珠子 - cello - Crossing Reality Yasuda, Koji - 安田幸司 - bass - I Need a Change, Too · Urban Clutter · Introspect · The Flow of Time · Memory Stones · Memories · Flowers On The Hill · Grown-up Christmas Gift · Appreciation · Cheers! Yasukagawa, Daiki - 安ヵ川大樹 - bass - In My Words · Kanmai · Touch of Winter · Trios II · Memories of T · The Tree of Life · Tranquillo · The Three Roses · Banquet Yohhei - ようへい - vocal - Happy Christmas with Bb Yoneki, Yasushi - 米木康志 - bass - You’ve Changed · Invisible Yonezawa, Megumi - 米澤めぐみ - piano - Boundary Yorozu, Yasutaka - 萬恭隆 - bass - Needful Things Yoshiba, Issei - 吉羽 一星 - percussion - Where Have U Been? Yoshida, Atsuki - 吉田篤貴 - violin - Embryo Yoshida, Keiichi - 吉田桂一 - piano - Tokyo Groovin’ High! Yoshida, Satoshi - 吉田サトシ - guitar - Primary Yoshida, Tetsuji - 吉田哲治 - trumpet - Live at Knuttel House Yoshida, Yutaka - 吉田豊 - bass - First Touch · Introducing Koichi Hirata Yoshigaki, Yasuhiro - 芳垣安洋 - percussion - A Tempo Yoshikawa, Dan - 吉川弾 - drums - Protean Yoshiki, Minoru - 吉木稔 - bass - Flying Mind · Cross Point · Path of Hope · Starry Nights Yoshimoto, Akihiro - 吉本章紘 - saxophone - Blending Tone · Moving Color · Oxymoron · My Soul Meeting · Humadope 2 · II Yoshino, Hiroshi - 吉野弘志 - bass - Uta Oto Yoshioka, Daisuke - 吉岡大輔 - drums - Belinda · Sora Yoshioka, Hideaki - 吉岡秀晃 - piano - Unaffected Zakota, Ryoichi - 座小田諒一 - bass - We Don’t Know Yet Zaleski, Glenn - piano - The Word Articles (375) Chronological sitemap with links to articles\nJuly 2026\nYudo Matsuo Quartet: Songs in Motion June 2026\nOtohito Fuse Trio: Thus Have I Heard Yuki Ito Trio: Semendo Sementes Koichi Hirata: Introducing Koichi Hirata May 2026\nSaki Ozawa: Cheers! Velera ~ Ochikochi: Ochikochi Ayumi Koketsu: Struttin’ Maiko: Reminiscence Rio Osawa: Rio April 2026\nHitomi Aikawa \u0026amp; Masaki Hayashi: Ten To Sen Klavier ~ Toshihiko Inoue: Fuse Yuto Komatsu Quartet: Defune March 2026\nWataru Hamasaki \u0026amp; Akane Matsumoto: Listen to My Blues Asuka Watanabe: Unaffected Akihiro Yoshimoto Quartet: Blending Tone Ginza Swing ~ Yukari Sekiya: Duets Till Now, From Here Yukari Sekiya Trio with Yuko Tanaka: It’s Ordinary Love And\u0026hellip; February 2026\nShikou Ito Trio Syncretia: Kakusareta Guwa Fumio Karashima: Great Time Aketa no Mise ~ Sumire Kuribayashi: Orbital Resonance January 2026\nYuri Hirota: Magical Moonlight Harumi Nomoto Trio: Anitya Hiroshi Fukutomi Quintet: Rings of Saturn Mikiko Nagatake Trio: Breathe Beneath the Sun December 2025\nCafe Cotton Club ~ Harumi Nomoto: I’ll Be Home for Christmas Daiki Yasukagawa / Hitomi Nishiyama / Maiko: The Tree of Life Toru Takahashi: Tokyo Groovin’ High! Manhattan ~ November 2025\nKaoru Azuma: Footprints in New York Sumireiko: Decision The Third Tribe: Nearly Dusk Fumie Chiba Trio: Echoes Hitomi Nishiyama: Astrolabe October 2025\nOrgan Jazz Club Abecafe ~ Davy Mooney \u0026amp; Ko Omura: The Word Toshiki Abe Life Memory Project: The Simplicity First-Timer’s Guide to Live Jazz in Japan ^ Hitomi Aikawa: Sweet Hiroyuki Yamaguchi Quintet: Mowna September 2025\nOn A Slow Boat To… ~ Yasumasa Kumagai: J-Straight Ahead * Takako Yamada Trio: Live at The Moment Sumire Kuribayashi / Kazuma Fujimoto / Takashi Sugawa: Tides of Blue August 2025\nBigboy ~ Chihiro Yamanaka: Abyss Ryosuke Hashizume Group: As We Breathe Michiyo Matsushita Trio: Free Yuji Ito \u0026amp; Koichi Hirata Duo: Two for the Road July 2025\nNHORHM: New Heritage of Real Heavy Metal Natural ~ Koto ha, To: Shiro o Matoeba Taeko Kurita: Ko-tsu-ko-tsu June 2025\nTaeko Kurita \u0026amp; Akira Sotoyama: Duo Melodies: Melodies In F ~ Mayuko Katakura: The Duality of My Soul Kunpei Nakabayashi Orchestra: Circles May 2025\nYosuke Sato \u0026amp; George Nakajima: Longing Thelonious ~ Setagaya Trio: Progress Kanoko Kitajima: Long Way to Go Layla Tomomi Sakai: Stolen Moments April 2025\nOto-ya Hiroo ~ Shinya Fukumori Trio: For 2 Akis Kaito Nakamura: Invisible Diary Nardis ~ Akane Matsumoto \u0026amp; Ayumi Koketsu: Trust Fe: Live at Virtuoso March 2025\nHitomi Nishiyama Trio: I’m Missing You Hitomi Nishiyama: Echo Sunny Side ~ Hikari Ichihara Group: Unity Ghost Peak: The Goat on a Peak Emiko Voice \u0026amp; Yuka Yanagihara: Enyana February 2025\nStrings ~ Hideaki Hori \u0026amp; Wataru Hamasaki: Encounter Ami Fukui Trio: MCY Miyuki Moriya: Beyond the Sea Magnolia: El viento y las flores January 2025\nVelvet Sun ~ Motoi Kanamori: The Live Daiki Yasukagawa New Trio: The Three Roses Nobie \u0026amp; Takayoshi Baba: Owari to Hajimari December 2024\nMegumi Yonezawa / Masa Kamaguchi / Ken Kobayashi: Boundary Jazz Nutty ~ Akane Matsumoto: Oh, Lady Be Good Hiro Kimura: Trees Seiji Endo: Piano Pieces Collection II Ten Top 10s for Live Jazz in Tokyo ^ November 2024\nSeiji Endo: Piano Pieces Collection Yuka Yanagihara Trio: Beloved Ones Naru ~ Fumie Chiba: Rougequeue Someday ~ Ryosuke Hashizume Group: Side Two Makiyo Sakai: Silver Painting October 2024\nChie Nishimura: Virtual Silence Mabumi Yamaguchi: Viento Sweet Rain ~ Mamoru Ishida: Afterglow Kanmachi 63 ~ Hitomi Nishiyama: Dot September 2024\nSumire Kuribayashi Trio: Toys Clepsydra: Un Jour Apple Jump ~ Sayaka Kishi Trio: Banquet Nobie: Primary Jazzspot J ~ August 2024\nYasumasa Kumagai \u0026amp; Ryu Kawamura: Ol’ School Jazz Gate One ~ Koichi Sato: Embryo Banda Feliz: Boa Viagem Eri Chichibu: Crossing Reality Somethin’ ~ Yoshiko Saita: Back in Time to Boston July 2024\nMotohiko Ichino: Sketches Akihiro Yoshimoto \u0026amp; Takashi Sugawa: Oxymoron Hikari Ichihara: Sara Smile Kazumi Ikenaga \u0026amp; Taihei Asakawa: NordNote Yuki Ito: Retattanni no Mori June 2024\nReiko Yamamoto: The Square Pyramid Miwo: Tranquillo Salt Peanuts ~ Otohito Fuse Trio: Isolated Blue Note Tokyo ~ May 2024\nErisa Ogawa: Where Have U Been? Koen-Dori Classics ~ Noriko Satomi: Project-N Mabumi Yamaguchi: Let Your Mind Alone * Takumi Seino \u0026amp; Motohiko Ichino: Frozen Dust April 2024\nHitomi Nishiyama Trio: Calling Satin Doll ~ Ami Fukui: Amizm * Seiji Endo: Sakura Meditation * Bon Courage ~ Akihiro Yoshimoto Quartet: Moving Color * March 2024\neFreydut: Fairway Yasumasa Kumagai: I Need a Change, Too * Expression ~ Nami Kano: Mawsim Jabuticaba: Jabuticaba Junichiro Ohkuchi Trio: Invisible * February 2024\nNaoko Tanaka: Appreciation Chihiro Yamanaka: Lach Doch Mal Jazz Spots of Japan ^ Hiroshi Fukutomi: Memory Stones B-flat ~ Polyglot: Talk, Vol. 1 January 2024\nAmi Fukui Trio: Nova Manhã Keisuke Nakamura: Humadope 2 Kohaku ~ Yuka Yanagihara Trio: Inner Views Mase Hiroko Quintet: First Contact Pit Inn ~ December 2023\nKaoru Azuma / Hitomi Nishiyama: Faces Baby Brothers: Happy Christmas with Bb Miyuki Moriya: Uta Oto What\u0026rsquo;s J Jazz? ^ Hideaki Hori: Melodies for Night \u0026amp; Day Hideaki Hori: Horizon Lydian ~ November 2023\nNanami Haruta: II Akane Matsumoto: Little Girl Blue Kazumi Ikenaga: Niwatazumi * Shinpei Ruike \u0026amp; George Nakajima: Duo Kaori Vibes Quartet: Starry Nights October 2023\nSometime ~ Rabbitoo: The Torch Emiko Voice: Standard Trio Yasumasa Kumagai \u0026amp; J-Jazz Homies: Last Resort September 2023\nMikiko Nagatake: Solo No Room for Squares ~ Mamoru Ishida: Ishida Mamoru 4 feat. Mike Rivett FNK: Canvas Dug ~ Bungalow: Abstract Messages Yukako Yamano: Imperial August 2023\nSul Madrugada: Luar Yuichi Narita: Urban Nocturne Knuttel House ~ Tetsuji Yoshida \u0026amp; Mikiko Nagatake Duo: Live at Knuttel House Zimagine ~ Fumika Asari: Introducin’ Cochi ~ July 2023\nRyosuke Hashizume Group: Acoustic Fluid Boozy Muse ~ Akane Matsumoto \u0026amp; Nanami Haruta: For My Lady Jazz Bird ~ Independence ~ Seiji Harakawa Quartet: Skipping Down the Street Akihiro Yoshimoto Quartet: 64 Charlesgate Intro ~ June 2023\nYuichiro Aratake: Music Make Us One Donfan ~ Hitomi Nishiyama: Vibrant Soultrane ~ Hiro Kimura Quintet: Folds Mariko Maeda: Awareness Body \u0026amp; Soul ~ JZ Brat ~ A-Un ~ George Nakajima Trio: First Touch Bully\u0026rsquo;s ~ May 2023\nPorto ~ Cafe Beulmans ~ Apollo ~ Rie Taguchi: The Gift II Barbra ~ The Deep ~ Shunichi Yanagi Trio: Slope Polka Dots ~ All of Me ~ Hot House ~ Naoko Akimoto: No One Else Our Delight ~ Birdland ~ Paco ~ P\u0026rsquo;s Bar ~ Into the Blue ~ Chihiro Yamanaka: Outside by the Swing Alfie ~ Yoyogi Naru ~ Introduction to Jazz of Japan ^ September 2022\nYasumasa Kumagai: Pray August 2022\nYukako Yamano: 3rd Stage July 2022\nHarumi Nomoto Trio: Another Ordinary Day May 2022\nBungalow: Unseen Scenes January 2022\nYukako Yamano \u0026amp; Yukari Inoue: Dubai Suite December 2021\nAmi Fukui Trio: Urban Clutter October 2021\nRuriko Kawamura: Blossoms August 2021\nTrigraph: Fever July 2021\nToshihiko Inoue \u0026amp; Masaki Hayashi: Mistral Meu Coracao: Hall Tone June 2021\nProtean: Protean Shigeo Fukuda \u0026amp; Toshiki Nunokawa: Childhood’s Dream Shinichi Kato \u0026amp; Masahiko Sato: Duet Fumiko Yamazaki: Here Goes! May 2021\nFumie Chiba: Beautiful Days Naoko Sakata Trio: Flower Clouds Yoshihito “P” Koizumi P-Project: By Coincidence April 2021\nYukiko Hayakawa Trio: Gallery March 2021\nArco: Live At Yoncha Chihiro Yamanaka Trio: Madrigal Layla Tomomi Sakai: Whisper Not Duo Tremolo: Resonance February 2021\nWater Me!: Water Me! Yuka Ueda: Dois Miki Hirose: Scratch January 2021\nTakayuki Yagi: New Departure November 2020\nAkane Matsumoto: Memories of You TCQ: Memories of T October 2020\nNaoko Tanaka Trio: Memories September 2020\nAquapit: Aquapit Masako Kunisada: Wonderful Life August 2020\nKohsuke Mine Quintet: Major to Minor Chihiro Yamanaka Trio: When October Goes Fuse: Live Fuse May 2020\nArco: Birth April 2020\nMotoi Kanamori: My Soul Meeting Yuka Ueda: Agora Harumi Nomoto Trio: Belinda March 2020\nBungalow: Metropolitan Oasis Baby Brothers: Bb Shunichi Yanagi Trio: Bubble Fish Yuko Miyawaki: Song of Flower Manabu Ohishi Trio: Gift Eriko Shimizu: Sora Yukari Inoue: Sakura February 2020\nMaiko: Solo Emiko Voice x Suga Dairo: Phase 2 Ryosuke Hashizume Group: Wordless Chihiro Yamanaka Trio: Living Without Friday Trio Export 63.1.0.X: Small Pieces for Flying Padre Miyuki Moriya: Cat’s Cradle Reikan Kobayashi: Gakudan Hitori Fumio Karashima Trio: It’s Just Beginning Daiki Yasukagawa Trio: Trios II Yudo Matsuo: Bonanza Hiromi Miura: We Don’t Know Yet Azumi: Almost Like Being in Love January 2020\nNoriko Satomi: A Love Supreme Hideaki Kanazawa \u0026amp; Sumire Kuribayashi: Nijuso Rabbitoo: National Anthem of Unknown Country Maiko Trio: Live! Three Routine Jazz Sextet: Routine Jazz Sextet Hideaki Hori Trio: In My Words Seiji Tada: Workout!! Miki Hayama: Prelude to a Kiss NHORHM: New Heritage of Real Heavy Metal -Extra Edition- December 2019\nYako Horikita: Shining Hour November 2019\nMabumi Yamaguchi: Let Your Mind Alone October 2019\nMie Joké: Etrenne September 2019\nShinichi Kato: Bass on Cinema Minoru Yoshiki Soulstation: Path of Hope Sayaka Kishi Trio: Life Is Too Great August 2019\nDaiki Yasukagawa Trio: Kanmai Nobie: Bénin Rio Tokyo July 2019\nLayla Tomomi Sakai: The Island Seiji Endo: Genji Monogatari Volume 1 June 2019\nHitomi Nishiyama Trio: Sympathy May 2019\nHikari Ichihara Group: Move On Yuichiro Aratake: The Light Flows In April 2019\nHarumi Nomoto Trio: Virgo March 2019\nZephyr: Zephyr Masako Kunisada: M Blue Dot: Halo February 2019\nAkane Matsumoto: Playing New York Shinpei Ruike \u0026amp; George Nakajima: N.40° January 2019\nRyosuke Hashizume Group: Visible/Invisible Maki Fujimura: Best Wishes Tokuhiro Doi Quartet: Amalthea December 2018\nSanae Ishikawa: Grown-up Christmas Gift Taihei Asakawa: Waltz for Debby Fumie Chiba Trio: Tip of Dream November 2018\nTrispace: Trispace October 2018\nMichiyo Matsushita: Sally Gardens Seiji Endo: Sakura Meditation Sayaketts: Colors Taihei Asakawa Trio: Touch of Winter September 2018\nKoichi Sato: Utopia Ami Fukui: Amizm Hakuei Kim Trio: Open the Green Door August 2018\nYasumasa Kumagai: I Need a Change, Too Hideaki Hori Trio: Unconditional Love Akihiro Yoshimoto Quartet: Moving Color Wataru Hamasaki Meets Akane Matsumoto Trio: Big Catch Yukako Yamano: 1st Stage July 2018\nTakako Yamada: The Flow of Time Ko Omura: Introspect May 2018\nTaihei Asakawa: Catastrophe in Jazz Sanae Ishikawa: Feel Like Makin’ Love Bungalow: Past Life Ayumi Koketsu: Rainbow Tales April 2018\nYuya Wakai: Images Miki Hayama Trio: Wide Angle Ken’ichiro Shinzawa: Piano Works Hara Dairiki Trio: You’ve Changed Manabu Ohishi Trio: Wish Hitomi Nishiyama Trio “Parallax”: Live Mayuko Katakura: The Echoes of Three March 2018\nLes Komatis: Les Komatis Kaori Vibes Quartet: Cross Point Atomi Hamada: This is Atomi Ami Fukui Trio: New Journey Meu Coracao: A Tempo Seiji Endo: Tsutaete Ikou Hitomi Nishiyama Trio: Music in You Tomoka Miwa: Colors in Silence Sumito Oi: Sumitty \u0026amp; The Funfair Sachiko Ikuta Trio: Haru No Kaze Mayuko Katakura: Inspiration February 2018\nSohnosuke Imaizumi: Rin Toshihiko Inoue: Vayu Ryosuke Hashizume: Needful Things Rie Taguchi: The Gift Koichi Sato: Melancholy of a Journey Seiji Endo: Circle for Peace Takuji Yamada: Lite Blue Mayuko Katakura: Faith Junichiro Ohkuchi Trio: Invisible Keisuke Nakamura: Humadope Hitomi Nishiyama Trio: Many Seasons Satoshi Kosugi: Bass on Times Kaori Vibes Quartet: Flying Mind Hiroco Nagano: Okurimono Akiko Suda: Flowers On The Hill January 2018\nSayaka Kishi: Featuring Te Arco: Asymmetry Yasumasa Kumagai: J-Straight Ahead Ryosuke Hashizume Group: Incomplete Voices Emiko Voice: Carta Bungalow: You Already Know Ayumi Koketsu: Art Akane Matsumoto: Night \u0026amp; Day Kazumi Ikenaga: Niwatazumi Audio i Index i About Jazz of Japan i KEY: Albums ~ Clubs ^ Guides i Resources * Article revised ","permalink":"https://mirror2.jazzofjapan.com/indexes/","summary":"\u003cp\u003e\u003ca href=\"#albums\"\u003eAlbums (299)\u003c/a\u003e | \u003ca href=\"#musicians\"\u003eMusicians (572)\u003c/a\u003e | \u003ca href=\"#articles\"\u003eArticles (375)\u003c/a\u003e\u003c/p\u003e\n\u003cp\u003e\u003ca id=\"albums\"\u003e\u003c/a\u003e\u003c/p\u003e\n\u003chr\u003e\n\u003ch2 id=\"albums--299\"\u003eAlbums (299)\u003c/h2\u003e\n\u003cp\u003e\u003cem\u003eIndex of albums discussed on this site\u003c/em\u003e\u003c/p\u003e\n\u003ch3 id=\"2025-releases\"\u003e2025 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/davy-mooney-ko-omura-the-word/\"\u003eDavy Mooney \u0026amp; Ko Omura: \u003cem\u003eThe Word\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/emiko-voice-yuka-yanagihara-enyana/\"\u003eEmiko Voice \u0026amp; Yuka Yanagihara: \u003cem\u003eEnyana\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/harumi-nomoto-trio-anitya/\"\u003eHarumi Nomoto Trio: \u003cem\u003eAnitya\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-aikawa-masaki-hayashi-ten-to-sen/\"\u003eHitomi Aikawa \u0026amp; Masaki Hayashi: \u003cem\u003eTen To Sen\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/kaito-nakamura-invisible-diary/\"\u003eKaito Nakamura: \u003cem\u003eInvisible Diary\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/mayuko-katakura-duality-of-my-soul/\"\u003eMayuko Katakura: \u003cem\u003eThe Duality of My Soul\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/melodies-melodies/\"\u003eMelodies: \u003cem\u003eMelodies\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/otohito-fuse-trio-thus-have-i-heard/\"\u003eOtohito Fuse Trio: \u003cem\u003eThus Have I Heard\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/shikou-ito-trio-syncretia-kakusareta-guwa/\"\u003eShikou Ito Trio Syncretia: \u003cem\u003eKakusareta Guwa\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/sumire-kuribayashi-orbital-resonance/\"\u003eSumire Kuribayashi: \u003cem\u003eOrbital Resonance\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/sumire-kuribayashi-kazuma-fujimoto-takashi-sugawa-tides-of-blue/\"\u003eSumire Kuribayashi / Kazuma Fujimoto / Takashi Sugawa: \u003cem\u003eTides of Blue\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/wataru-hamasaki-akane-matsumoto-listen-to-my-blues/\"\u003eWataru Hamasaki \u0026amp; Akane Matsumoto: \u003cem\u003eListen to My Blues\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yukari-sekiya-duets-till-now-from-here/\"\u003eYukari Sekiya: \u003cem\u003eDuets Till Now, From Here\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yuto-komatsu-quartet-defune/\"\u003eYuto Komatsu Quartet: \u003cem\u003eDefune\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2024-releases\"\u003e2024 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/akane-matsumoto-ayumi-koketsu-trust/\"\u003eAkane Matsumoto \u0026amp; Ayumi Koketsu: \u003cem\u003eTrust\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hiroyuki-yamaguchi-quintet-mowna/\"\u003eHiroyuki Yamaguchi Quintet: \u003cem\u003eMowna\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-nishiyama-echo/\"\u003eHitomi Nishiyama: \u003cem\u003eEcho\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/koichi-hirata-introducing-koichi-hirata/\"\u003eKoichi Hirata: \u003cem\u003eIntroducing Koichi Hirata\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/maiko-reminiscence/\"\u003eMaiko: \u003cem\u003eReminiscence\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/michiyo-matsushita-trio-free/\"\u003eMichiyo Matsushita Trio: \u003cem\u003eFree\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/miyuki-moriya-beyond-the-sea/\"\u003eMiyuki Moriya: \u003cem\u003eBeyond the Sea\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/nami-kano-mawsim/\"\u003eNami Kano: \u003cem\u003eMawsim\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/otohito-fuse-trio-isolated/\"\u003eOtohito Fuse Trio: \u003cem\u003eIsolated\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/sayaka-kishi-trio-banquet/\"\u003eSayaka Kishi Trio: \u003cem\u003eBanquet\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/setagaya-trio-progress/\"\u003eSetagaya Trio: \u003cem\u003eProgress\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/taeko-kurita-akira-sotoyama-duo/\"\u003eTaeko Kurita \u0026amp; Akira Sotoyama: \u003cem\u003eDuo\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/takako-yamada-trio-live-at-the-moment/\"\u003eTakako Yamada Trio: \u003cem\u003eLive at The Moment\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yoshiko-saita-back-in-time-to-boston/\"\u003eYoshiko Saita: \u003cem\u003eBack in Time to Boston\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yuji-ito-koichi-hirata-duo-two-for-the-road/\"\u003eYuji Ito \u0026amp; Koichi Hirata Duo: \u003cem\u003eTwo for the Road\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yuka-yanagihara-trio-beloved-ones/\"\u003eYuka Yanagihara Trio: \u003cem\u003eBeloved Ones\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/efreydut-fairway/\"\u003eeFreydut: \u003cem\u003eFairway\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2023-releases\"\u003e2023 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/akane-matsumoto-nanami-haruta-for/\"\u003eAkane Matsumoto \u0026amp; Nanami Haruta: \u003cem\u003eFor My Lady\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ami-fukui-trio-mcy/\"\u003eAmi Fukui Trio: \u003cem\u003eMCY\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ghost-peak-goat-on-a-peak/\"\u003eGhost Peak: \u003cem\u003eThe Goat on a Peak\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/harumi-nomoto-ill-be-home-for-christmas/\"\u003eHarumi Nomoto: \u003cem\u003eI’ll Be Home for Christmas\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hiro-kimura-quintet-folds/\"\u003eHiro Kimura Quintet: \u003cem\u003eFolds\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-nishiyama-dot/\"\u003eHitomi Nishiyama: \u003cem\u003eDot\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/mabumi-yamaguchi-viento/\"\u003eMabumi Yamaguchi: \u003cem\u003eViento\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/mamoru-ishida-afterglow/\"\u003eMamoru Ishida: \u003cem\u003eAfterglow\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/mariko-maeda-awareness/\"\u003eMariko Maeda: \u003cem\u003eAwareness\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/motoi-kanamori-the-live/\"\u003eMotoi Kanamori: \u003cem\u003eThe Live\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/nobie-takayoshi-baba-owari-to-hajimari/\"\u003eNobie \u0026amp; Takayoshi Baba: \u003cem\u003eOwari to Hajimari\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/saki-ozawa-cheers/\"\u003eSaki Ozawa: \u003cem\u003eCheers!\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/seiji-endo-piano-pieces-collection-ii/\"\u003eSeiji Endo: \u003cem\u003ePiano Pieces Collection II\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yosuke-sato-george-nakajima-longing/\"\u003eYosuke Sato \u0026amp; George Nakajima: \u003cem\u003eLonging\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2022-releases\"\u003e2022 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/akane-matsumoto-little-girl-blue/\"\u003eAkane Matsumoto: \u003cem\u003eLittle Girl Blue\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/akihiro-yoshimoto-quartet-64-charlesgate/\"\u003eAkihiro Yoshimoto Quartet: \u003cem\u003e64 Charlesgate\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ami-fukui-trio-nova-manha/\"\u003eAmi Fukui Trio: \u003cem\u003eNova Manhã\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/daiki-yasukagawa-new-trio-three-roses/\"\u003eDaiki Yasukagawa New Trio: \u003cem\u003eThe Three Roses\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/emiko-voice-standard-trio/\"\u003eEmiko Voice: \u003cem\u003eStandard Trio\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/eri-chichibu-crossing-reality/\"\u003eEri Chichibu: \u003cem\u003eCrossing Reality\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/fnk-canvas/\"\u003eFNK: \u003cem\u003eCanvas\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hideaki-hori-melodies-for-night-day/\"\u003eHideaki Hori: \u003cem\u003eMelodies for Night \u0026amp; Day\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/magnolia-el-viento-y-las-flores/\"\u003eMagnolia: \u003cem\u003eEl viento y las flores\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/mikiko-nagatake-solo/\"\u003eMikiko Nagatake: \u003cem\u003eSolo\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/mikiko-nagatake-trio-breathe-beneath-the-sun/\"\u003eMikiko Nagatake Trio: \u003cem\u003eBreathe Beneath the Sun\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/nanami-haruta-ii/\"\u003eNanami Haruta: \u003cem\u003eII\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/naoko-tanaka-appreciation/\"\u003eNaoko Tanaka: \u003cem\u003eAppreciation\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/shinpei-ruike-george-nakajima-duo/\"\u003eShinpei Ruike \u0026amp; George Nakajima: \u003cem\u003eDuo\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/sul-madrugada-luar/\"\u003eSul Madrugada: \u003cem\u003eLuar\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/toshiki-abe-life-memory-project-simplicity/\"\u003eToshiki Abe Life Memory Project: \u003cem\u003eThe Simplicity\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2021-releases\"\u003e2021 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/chie-nishimura-virtual-silence/\"\u003eChie Nishimura: \u003cem\u003eVirtual Silence\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/fe-live-at-virtuoso/\"\u003eFe: \u003cem\u003eLive at Virtuoso\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/george-nakajima-trio-first-touch/\"\u003eGeorge Nakajima Trio: \u003cem\u003eFirst Touch\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hiro-kimura-trees/\"\u003eHiro Kimura: \u003cem\u003eTrees\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-nishiyama-trio-calling/\"\u003eHitomi Nishiyama Trio: \u003cem\u003eCalling\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/jabuticaba-jabuticaba/\"\u003eJabuticaba: \u003cem\u003eJabuticaba\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/kaori-vibes-quartet-starry-nights/\"\u003eKaori Vibes Quartet: \u003cem\u003eStarry Nights\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/koichi-sato-embryo/\"\u003eKoichi Sato: \u003cem\u003eEmbryo\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/kunpei-nakabayashi-orchestra-circles/\"\u003eKunpei Nakabayashi Orchestra: \u003cem\u003eCircles\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/miyuki-moriya-uta-oto/\"\u003eMiyuki Moriya: \u003cem\u003eUta Oto\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/rie-taguchi-the-gift-ii/\"\u003eRie Taguchi: \u003cem\u003eThe Gift II\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/rio-osawa-rio/\"\u003eRio Osawa: \u003cem\u003eRio\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/seiji-endo-piano-pieces-collection/\"\u003eSeiji Endo: \u003cem\u003ePiano Pieces Collection\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/tetsuji-yoshida-and-mikiko-nagatake/\"\u003eTetsuji Yoshida \u0026amp; Mikiko Nagatake Duo: \u003cem\u003eLive at Knuttel House\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/toru-takahashi-tokyo-groovin-high/\"\u003eToru Takahashi: \u003cem\u003eTokyo Groovin’ High!\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yuichi-narita-urban-nocturne/\"\u003eYuichi Narita: \u003cem\u003eUrban Nocturne\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yukakoyamano-yukariinoue-dubai/\"\u003eYukako Yamano \u0026amp; Yukari Inoue: \u003cem\u003eDubai Suite\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yuki-ito-trio-semendo-sementes/\"\u003eYuki Ito Trio: \u003cem\u003eSemendo Sementes\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2020-releases\"\u003e2020 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/banda-feliz-boa-viagem/\"\u003eBanda Feliz: \u003cem\u003eBoa Viagem\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/bungalow-abstract-messages/\"\u003eBungalow: \u003cem\u003eAbstract Messages\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/fumika-asari-introducin/\"\u003eFumika Asari: \u003cem\u003eIntroducin’\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-nishiyama-vibrant/\"\u003eHitomi Nishiyama: \u003cem\u003eVibrant\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/kaoru-azuma-hitomi-nishiyama-faces/\"\u003eKaoru Azuma / Hitomi Nishiyama: \u003cem\u003eFaces\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/kazumi-ikenaga-taihei-asakawa-nordnote/\"\u003eKazumi Ikenaga \u0026amp; Taihei Asakawa: \u003cem\u003eNordNote\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/mase-hiroko-quintet-first-contact/\"\u003eMase Hiroko Quintet: \u003cem\u003eFirst Contact\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/miwo-tranquillo/\"\u003eMiwo: \u003cem\u003eTranquillo\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/polyglot-talk-vol-1/\"\u003ePolyglot: \u003cem\u003eTalk, Vol. 1\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/seiji-harakawa-quartet-skipping-down/\"\u003eSeiji Harakawa Quartet: \u003cem\u003eSkipping Down the Street\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/sumireiko-decision/\"\u003eSumireiko: \u003cem\u003eDecision\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yasumasa-kumagai-last-resort/\"\u003eYasumasa Kumagai \u0026amp; J-Jazz Homies: \u003cem\u003eLast Resort\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2019-releases\"\u003e2019 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/akane-matsumoto-oh-lady-be-good/\"\u003eAkane Matsumoto: \u003cem\u003eOh, Lady Be Good\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/arco-birth/\"\u003eArco: \u003cem\u003eBirth\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/daiki-yasukagawa-hitomi-nishiyama-maiko-tree-of-life/\"\u003eDaiki Yasukagawa / Hitomi Nishiyama / Maiko: \u003cem\u003eThe Tree of Life\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/duo-tremolo-resonance/\"\u003eDuo Tremolo: \u003cem\u003eResonance\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/erisa-ogawa-where-have-u-been/\"\u003eErisa Ogawa: \u003cem\u003eWhere Have U Been?\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/kanoko-kitajima-long-way-to-go/\"\u003eKanoko Kitajima: \u003cem\u003eLong Way to Go\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/keisuke-nakamura-humadope-2/\"\u003eKeisuke Nakamura: \u003cem\u003eHumadope 2\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/layla-tomomi-sakai-stolen-moments/\"\u003eLayla Tomomi Sakai: \u003cem\u003eStolen Moments\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/minoru-yoshiki-soulstation-path-of-hope/\"\u003eMinoru Yoshiki Soulstation: \u003cem\u003ePath of Hope\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/nhorhm-extra-edition/\"\u003eNHORHM: \u003cem\u003eNew Heritage of Real Heavy Metal -Extra Edition-\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/noriko-satomi-a-love-supreme/\"\u003eNoriko Satomi: \u003cem\u003eA Love Supreme\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/reiko-yamamoto-square-pyramid/\"\u003eReiko Yamamoto: \u003cem\u003eThe Square Pyramid\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/sayaka-kishi-trio-life-is-too-great/\"\u003eSayaka Kishi Trio: \u003cem\u003eLife Is Too Great\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/the-third-tribe-nearly-dusk/\"\u003eThe Third Tribe: \u003cem\u003eNearly Dusk\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/trio-export-small-pieces-for-flying-padre/\"\u003eTrio Export 63.1.0.X: \u003cem\u003eSmall Pieces for Flying Padre\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yuka-yanagihara-trio-inner-views/\"\u003eYuka Yanagihara Trio: \u003cem\u003eInner Views\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yuki-ito-retattanni-no-mori/\"\u003eYuki Ito: \u003cem\u003eRetattanni no Mori\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2018-releases\"\u003e2018 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/arco-live-at-yoncha/\"\u003eArco: \u003cem\u003eLive At Yoncha\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-aikawa-sweet/\"\u003eHitomi Aikawa: \u003cem\u003eSweet\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/layla-tomomi-sakai-island/\"\u003eLayla Tomomi Sakai: \u003cem\u003eThe Island\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/maiko-solo/\"\u003eMaiko: \u003cem\u003eSolo\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/megumi-yonezawa-masa-kamaguchi-ken-kobayashi-boundary/\"\u003eMegumi Yonezawa / Masa Kamaguchi / Ken Kobayashi: \u003cem\u003eBoundary\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/michiyo-matsushita-sally-gardens/\"\u003eMichiyo Matsushita: \u003cem\u003eSally Gardens\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/mie-joke-etrenne/\"\u003eMie Joké: \u003cem\u003eEtrenne\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/motoi-kanamori-my-soul-meeting/\"\u003eMotoi Kanamori: \u003cem\u003eMy Soul Meeting\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/nobie-benin-rio-tokyo/\"\u003eNobie: \u003cem\u003eBénin Rio Tokyo\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/sanae-ishikawa-grown-up-christmas/\"\u003eSanae Ishikawa: \u003cem\u003eGrown-up Christmas Gift\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/seiji-endo-genji-monogatari-volume-1/\"\u003eSeiji Endo: \u003cem\u003eGenji Monogatari Volume 1\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/seiji-tada-workout/\"\u003eSeiji Tada: \u003cem\u003eWorkout!!\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/shinya-fukumori-trio-for-2-akis/\"\u003eShinya Fukumori Trio: \u003cem\u003eFor 2 Akis\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/taihei-asakawa-waltz-for-debby/\"\u003eTaihei Asakawa: \u003cem\u003eWaltz for Debby\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/takayuki-yagi-new-departure/\"\u003eTakayuki Yagi: \u003cem\u003eNew Departure\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yudo-matsuo-quartet-songs-in-motion/\"\u003eYudo Matsuo Quartet: \u003cem\u003eSongs in Motion\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yukako-yamano-imperial/\"\u003eYukako Yamano: \u003cem\u003eImperial\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2017-releases\"\u003e2017 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/akane-matsumoto-night-and-day/\"\u003eAkane Matsumoto: \u003cem\u003eNight \u0026amp; Day\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/akihiro-yoshimoto-takashi-sugawa-oxymoron/\"\u003eAkihiro Yoshimoto \u0026amp; Takashi Sugawa: \u003cem\u003eOxymoron\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/arco-asymmetry/\"\u003eArco: \u003cem\u003eAsymmetry\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/atomi-hamada-this-is-atomi/\"\u003eAtomi Hamada: \u003cem\u003eThis is Atomi\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/bungalow-you-already-know/\"\u003eBungalow: \u003cem\u003eYou Already Know\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/emiko-voice-carta/\"\u003eEmiko Voice: \u003cem\u003eCarta\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/fumie-chiba-beautiful-days/\"\u003eFumie Chiba: \u003cem\u003eBeautiful Days\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hideaki-kanazawa-sumire-kuribayashi-nijuso/\"\u003eHideaki Kanazawa \u0026amp; Sumire Kuribayashi: \u003cem\u003eNijuso\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hiroco-nagano-okurimono/\"\u003eHiroco Nagano: \u003cem\u003eOkurimono\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/kazumi-ikenaga-niwatazumi/\"\u003eKazumi Ikenaga: \u003cem\u003eNiwatazumi\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/koto-ha-to-shiro-o-matoeba/\"\u003eKoto ha, To: \u003cem\u003eShiro o Matoeba\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/mabumi-yamaguchi-let-your-mind-alone/\"\u003eMabumi Yamaguchi: \u003cem\u003eLet Your Mind Alone\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/noriko-satomi-project-n/\"\u003eNoriko Satomi: \u003cem\u003eProject-N\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ryosuke-hashizume-group-incomplete-voices/\"\u003eRyosuke Hashizume Group: \u003cem\u003eIncomplete Voices\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/tcq-memories-of-t/\"\u003eTCQ: \u003cem\u003eMemories of T\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yako-horikita-shining-hour/\"\u003eYako Horikita: \u003cem\u003eShining Hour\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yukako-yamano-3rd-stage/\"\u003eYukako Yamano: \u003cem\u003e3rd Stage\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yuri-hirota-magical-moonlight/\"\u003eYuri Hirota: \u003cem\u003eMagical Moonlight\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2016-releases\"\u003e2016 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/akiko-suda-flowers-on-the-hill/\"\u003eAkiko Suda: \u003cem\u003eFlowers On The Hill\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ami-fukui-trio-new-journey/\"\u003eAmi Fukui Trio: \u003cem\u003eNew Journey\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ayumi-koketsu-art/\"\u003eAyumi Koketsu: \u003cem\u003eArt\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/blue-dot-halo/\"\u003eBlue Dot: \u003cem\u003eHalo\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-nishiyama-trio-parallax-live/\"\u003eHitomi Nishiyama Trio “Parallax”: \u003cem\u003eLive\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/junichiro-ohkuchi-trio-invisible/\"\u003eJunichiro Ohkuchi Trio: \u003cem\u003eInvisible\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/kaori-vibes-quartet-cross-point/\"\u003eKaori Vibes Quartet: \u003cem\u003eCross Point\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/koichi-sato-melancholy/\"\u003eKoichi Sato: \u003cem\u003eMelancholy of a Journey\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/layla-tomomi-sakai-whisper-not/\"\u003eLayla Tomomi Sakai: \u003cem\u003eWhisper Not\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/maiko-trio-live-three/\"\u003eMaiko Trio: \u003cem\u003eLive! Three\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/makiyo-sakai-silver-painting/\"\u003eMakiyo Sakai: \u003cem\u003eSilver Painting\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/meu-coracao-a-tempo/\"\u003eMeu Coracao: \u003cem\u003eA Tempo\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/rabbitoo-the-torch/\"\u003eRabbitoo: \u003cem\u003eThe Torch\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/rie-taguchi-gift/\"\u003eRie Taguchi: \u003cem\u003eThe Gift\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ruriko-kawamura-blossoms/\"\u003eRuriko Kawamura: \u003cem\u003eBlossoms\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/seiji-endo-circle-for-peace/\"\u003eSeiji Endo: \u003cem\u003eCircle for Peace\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/toshihiko-inoue-vayu/\"\u003eToshihiko Inoue: \u003cem\u003eVayu\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2015-releases\"\u003e2015 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/akane-matsumoto-memories-of-you/\"\u003eAkane Matsumoto: \u003cem\u003eMemories of You\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/akihiro-yoshimoto-quartet-moving-color/\"\u003eAkihiro Yoshimoto Quartet: \u003cem\u003eMoving Color\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/bungalow-unseen-scenes/\"\u003eBungalow: \u003cem\u003eUnseen Scenes\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/daiki-yasukagawa-trio-trios-ii/\"\u003eDaiki Yasukagawa Trio: \u003cem\u003eTrios II\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/fumie-chiba-rougequeue/\"\u003eFumie Chiba: \u003cem\u003eRougequeue\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/les-komatis-les-komatis/\"\u003eLes Komatis: \u003cem\u003eLes Komatis\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/mayuko-katakura-echoes-of-three/\"\u003eMayuko Katakura: \u003cem\u003eThe Echoes of Three\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/nhorhm-new-heritage-of-real-heavy-metal/\"\u003eNHORHM: \u003cem\u003eNew Heritage of Real Heavy Metal\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/naoko-tanaka-trio-memories/\"\u003eNaoko Tanaka Trio: \u003cem\u003eMemories\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/seiji-endo-tsutaete-ikou/\"\u003eSeiji Endo: \u003cem\u003eTsutaete Ikou\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/shunichi-yanagi-trio-slope/\"\u003eShunichi Yanagi Trio: \u003cem\u003eSlope\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/sohnosuke-imaizumi-rin/\"\u003eSohnosuke Imaizumi: \u003cem\u003eRin\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/sumito-oi-sumitty-and-the-funfair/\"\u003eSumito Oi: \u003cem\u003eSumitty \u0026amp; The Funfair\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/tomoka-miwa-colors/\"\u003eTomoka Miwa: \u003cem\u003eColors in Silence\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yasumasa-kumagai-j-straight-ahead/\"\u003eYasumasa Kumagai: \u003cem\u003eJ-Straight Ahead\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2014-releases\"\u003e2014 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/harumi-nomoto-trio-virgo/\"\u003eHarumi Nomoto Trio: \u003cem\u003eVirgo\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hideaki-hori-trio-unconditional-love/\"\u003eHideaki Hori Trio: \u003cem\u003eUnconditional Love\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hiroshi-fukutomi-memory-stones/\"\u003eHiroshi Fukutomi: \u003cem\u003eMemory Stones\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/keisuke-nakamura-humadope/\"\u003eKeisuke Nakamura: \u003cem\u003eHumadope\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/masako-kunisada-m/\"\u003eMasako Kunisada: \u003cem\u003eM\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/rabbitoo-national-anthem-of-unknown/\"\u003eRabbitoo: \u003cem\u003eNational Anthem of Unknown Country\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ryosuke-hashizume-group-side-two/\"\u003eRyosuke Hashizume Group: \u003cem\u003eSide Two\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/sayaka-kishi-featuring-te/\"\u003eSayaka Kishi: \u003cem\u003eFeaturing Te\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/shinpei-ruike-george-nakajima-n40/\"\u003eShinpei Ruike \u0026amp; George Nakajima: \u003cem\u003eN.40°\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/sumire-kuribayashi-trio-toys/\"\u003eSumire Kuribayashi Trio: \u003cem\u003eToys\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/trigraph-fever/\"\u003eTrigraph: \u003cem\u003eFever\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/water-me-water-me/\"\u003eWater Me!: \u003cem\u003eWater Me!\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2013-releases\"\u003e2013 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ami-fukui-amizm/\"\u003eAmi Fukui: \u003cem\u003eAmizm\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/bungalow-past-life/\"\u003eBungalow: \u003cem\u003ePast Life\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/fumie-chiba-trio-echoes/\"\u003eFumie Chiba Trio: \u003cem\u003eEchoes\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hiromi-miura-we-dont-know-yet/\"\u003eHiromi Miura: \u003cem\u003eWe Don’t Know Yet\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-nishiyama-trio-sympathy/\"\u003eHitomi Nishiyama Trio: \u003cem\u003eSympathy\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/kaori-vibes-quartet-flying-mind/\"\u003eKaori Vibes Quartet: \u003cem\u003eFlying Mind\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/maki-fujimura-best-wishes/\"\u003eMaki Fujimura: \u003cem\u003eBest Wishes\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/miki-hirose-scratch/\"\u003eMiki Hirose: \u003cem\u003eScratch\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/naoko-sakata-trio-flower-clouds/\"\u003eNaoko Sakata Trio: \u003cem\u003eFlower Clouds\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ryosuke-hashizume-group-visible-invisible/\"\u003eRyosuke Hashizume Group: \u003cem\u003eVisibleInvisible\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/taihei-asakawa-trio-touch-of-winter/\"\u003eTaihei Asakawa Trio: \u003cem\u003eTouch of Winter\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/takako-yamada-flow-of-time/\"\u003eTakako Yamada: \u003cem\u003eThe Flow of Time\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/toshihiko-inoue-and-masaki-hayashi/\"\u003eToshihiko Inoue \u0026amp; Masaki Hayashi: \u003cem\u003eMistral\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hamasaki-matsumoto-bigcatch/\"\u003eWataru Hamasaki Meets Akane Matsumoto Trio: \u003cem\u003eBig Catch\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yuka-ueda-dois/\"\u003eYuka Ueda: \u003cem\u003eDois\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yukako-yamano-1st-stage/\"\u003eYukako Yamano: \u003cem\u003e1st Stage\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yuya-wakai-images/\"\u003eYuya Wakai: \u003cem\u003eImages\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/zephyr-zephyr/\"\u003eZephyr: \u003cem\u003eZephyr\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2012-releases\"\u003e2012 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/akihiro-yoshimoto-quartet-blending-tone/\"\u003eAkihiro Yoshimoto Quartet: \u003cem\u003eBlending Tone\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ayumi-koketsu-rainbow-tales/\"\u003eAyumi Koketsu: \u003cem\u003eRainbow Tales\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/daiki-yasukagawa-trio-kanmai/\"\u003eDaiki Yasukagawa Trio: \u003cem\u003eKanmai\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-nishiyama-astrolabe/\"\u003eHitomi Nishiyama: \u003cem\u003eAstrolabe\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/manabu-ohishi-trio-gift/\"\u003eManabu Ohishi Trio: \u003cem\u003eGift\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/masako-kunisada-wonderful-life/\"\u003eMasako Kunisada: \u003cem\u003eWonderful Life\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/naoko-akimoto-no-one-else/\"\u003eNaoko Akimoto: \u003cem\u003eNo One Else\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ochikochi-ochikochi/\"\u003eOchikochi: \u003cem\u003eOchikochi\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ryosuke-hashizume-group-acoustic/\"\u003eRyosuke Hashizume Group: \u003cem\u003eAcoustic Fluid\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/sachiko-ikuta-trio-haru/\"\u003eSachiko Ikuta Trio: \u003cem\u003eHaru No Kaze\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/seiji-endo-sakura-meditation/\"\u003eSeiji Endo: \u003cem\u003eSakura Meditation\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/shunichi-yanagi-trio-bubble-fish/\"\u003eShunichi Yanagi Trio: \u003cem\u003eBubble Fish\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/taeko-kurita-ko-tsu-ko-tsu/\"\u003eTaeko Kurita: \u003cem\u003eKo-tsu-ko-tsu\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/takuji-yamada-lite-blue/\"\u003eTakuji Yamada: \u003cem\u003eLite Blue\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yudo-matsuo-bonanza/\"\u003eYudo Matsuo: \u003cem\u003eBonanza\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yukari-inoue-sakura/\"\u003eYukari Inoue: \u003cem\u003eSakura\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2011-releases\"\u003e2011 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/aquapit-aquapit/\"\u003eAquapit: \u003cem\u003eAquapit\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/bungalow-metropolitan-oasis/\"\u003eBungalow: \u003cem\u003eMetropolitan Oasis\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/clepsydra-un-jour/\"\u003eClepsydra: \u003cem\u003eUn Jour\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/fumiko-yamazaki-here-goes/\"\u003eFumiko Yamazaki: \u003cem\u003eHere Goes!\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hikari-ichihara-group-unity/\"\u003eHikari Ichihara Group: \u003cem\u003eUnity\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-nishiyama-trio-music-in-you/\"\u003eHitomi Nishiyama Trio: \u003cem\u003eMusic in You\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ko-omura-introspect/\"\u003eKo Omura: \u003cem\u003eIntrospect\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/koichi-sato-utopia/\"\u003eKoichi Sato: \u003cem\u003eUtopia\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/mamoru-ishida-ishida-mamoru-4-feat/\"\u003eMamoru Ishida: \u003cem\u003eIshida Mamoru 4 feat. Mike Rivett\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/nobie-primary/\"\u003eNobie: \u003cem\u003ePrimary\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/reikan-kobayashi-gakudan-hitori/\"\u003eReikan Kobayashi: \u003cem\u003eGakudan Hitori\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/shigeo-fukuda-and-toshiki-nunokawa/\"\u003eShigeo Fukuda \u0026amp; Toshiki Nunokawa: \u003cem\u003eChildhood’s Dream\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/shinichi-kato-bass-on-cinema/\"\u003eShinichi Kato: \u003cem\u003eBass on Cinema\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/taihei-asakawa-catastrophe-in-jazz/\"\u003eTaihei Asakawa: \u003cem\u003eCatastrophe in Jazz\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/takumi-seino-motohiko-ichino-frozen-dust/\"\u003eTakumi Seino \u0026amp; Motohiko Ichino: \u003cem\u003eFrozen Dust\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/tokuhiro-doi-quartet-amalthea/\"\u003eTokuhiro Doi Quartet: \u003cem\u003eAmalthea\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yoshihito-p-koizumi-by-coincidence/\"\u003eYoshihito “P” Koizumi P-Project: \u003cem\u003eBy Coincidence\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yuka-ueda-agora/\"\u003eYuka Ueda: \u003cem\u003eAgora\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yukari-sekiya-trio-with-yuko-tanaka-its-ordinary-love-and/\"\u003eYukari Sekiya Trio with Yuko Tanaka: \u003cem\u003eIt’s Ordinary Love And\u0026hellip;\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yuko-miyawaki-song-of-flower/\"\u003eYuko Miyawaki: \u003cem\u003eSong of Flower\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2010-releases\"\u003e2010 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/akane-matsumoto-playing-new-york/\"\u003eAkane Matsumoto: \u003cem\u003ePlaying New York\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ami-fukui-trio-urban-clutter/\"\u003eAmi Fukui Trio: \u003cem\u003eUrban Clutter\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ayumi-koketsu-struttin/\"\u003eAyumi Koketsu: \u003cem\u003eStruttin’\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/azumi-almost-like-being-in-love/\"\u003eAzumi: \u003cem\u003eAlmost Like Being in Love\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/eriko-shimizu-sora/\"\u003eEriko Shimizu: \u003cem\u003eSora\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hideaki-hori-trio-in-my-words/\"\u003eHideaki Hori Trio: \u003cem\u003eIn My Words\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hikari-ichihara-group-move-on/\"\u003eHikari Ichihara Group: \u003cem\u003eMove On\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hiroshi-fukutomi-quintet-rings-of-saturn/\"\u003eHiroshi Fukutomi Quintet: \u003cem\u003eRings of Saturn\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/manabu-ohishi-trio-wish/\"\u003eManabu Ohishi Trio: \u003cem\u003eWish\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/mayuko-katakura-faith/\"\u003eMayuko Katakura: \u003cem\u003eFaith\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/miyuki-moriya-cats-cradle/\"\u003eMiyuki Moriya: \u003cem\u003eCat’s Cradle\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/trispace-trispace/\"\u003eTrispace: \u003cem\u003eTrispace\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yasumasa-kumagai-pray/\"\u003eYasumasa Kumagai: \u003cem\u003ePray\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yuichiro-aratake-music-make-us-one/\"\u003eYuichiro Aratake: \u003cem\u003eMusic Make Us One\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2009-releases\"\u003e2009 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/emiko-voice-x-suga-dairo-phase-2/\"\u003eEmiko Voice x Suga Dairo: \u003cem\u003ePhase 2\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/fumie-chiba-trio-tip-of-dream/\"\u003eFumie Chiba Trio: \u003cem\u003eTip of Dream\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hara-dairiki-trio-youve-changed/\"\u003eHara Dairiki Trio: \u003cem\u003eYou’ve Changed\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/kenichiro-shinzawa-piano-works/\"\u003eKen’ichiro Shinzawa: \u003cem\u003ePiano Works\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/mayuko-katakura-inspiration/\"\u003eMayuko Katakura: \u003cem\u003eInspiration\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/meu-coracao-hall-tone/\"\u003eMeu Coracao: \u003cem\u003eHall Tone\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/miki-hayama-trio-wide-angle/\"\u003eMiki Hayama Trio: \u003cem\u003eWide Angle\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/protean-protean/\"\u003eProtean: \u003cem\u003eProtean\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ryosuke-hashizume-needful-things/\"\u003eRyosuke Hashizume: \u003cem\u003eNeedful Things\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/satoshi-kosugi-bass-on-times/\"\u003eSatoshi Kosugi: \u003cem\u003eBass on Times\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/sayaketts-colors/\"\u003eSayaketts: \u003cem\u003eColors\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yasumasa-kumagai-ryu-kawamura-ol-school-jazz/\"\u003eYasumasa Kumagai \u0026amp; Ryu Kawamura: \u003cem\u003eOl’ School Jazz\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2008-releases\"\u003e2008 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hideaki-hori-wataru-hamasaki-encounter/\"\u003eHideaki Hori \u0026amp; Wataru Hamasaki: \u003cem\u003eEncounter\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/kaoru-azuma-footprints-in-new-york/\"\u003eKaoru Azuma: \u003cem\u003eFootprints in New York\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/routine-jazz-sextet-routine-jazz-sextet/\"\u003eRoutine Jazz Sextet: \u003cem\u003eRoutine Jazz Sextet\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ryosuke-hashizume-group-as-we-breathe/\"\u003eRyosuke Hashizume Group: \u003cem\u003eAs We Breathe\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yasumasa-kumagai-i-need-a-change-too/\"\u003eYasumasa Kumagai: \u003cem\u003eI Need a Change, Too\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yukiko-hayakawa-trio-gallery/\"\u003eYukiko Hayakawa Trio: \u003cem\u003eGallery\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2007-releases\"\u003e2007 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/baby-brothers-happy-christmas-with-bb/\"\u003eBaby Brothers: \u003cem\u003eHappy Christmas with Bb\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/chihiro-yamanaka-abyss/\"\u003eChihiro Yamanaka: \u003cem\u003eAbyss\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/fuse-live-fuse/\"\u003eFuse: \u003cem\u003eLive Fuse\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/harumi-nomoto-trio-belinda/\"\u003eHarumi Nomoto Trio: \u003cem\u003eBelinda\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-nishiyama-trio-many-seasons/\"\u003eHitomi Nishiyama Trio: \u003cem\u003eMany Seasons\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/motohiko-ichino-sketches/\"\u003eMotohiko Ichino: \u003cem\u003eSketches\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/sanae-ishikawa-feel-like-makin-love/\"\u003eSanae Ishikawa: \u003cem\u003eFeel Like Makin’ Love\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2006-releases\"\u003e2006 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/chihiro-yamanaka-lach-doch-mal/\"\u003eChihiro Yamanaka: \u003cem\u003eLach Doch Mal\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/fumio-karashima-great-time/\"\u003eFumio Karashima: \u003cem\u003eGreat Time\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hikari-ichihara-sara-smile/\"\u003eHikari Ichihara: \u003cem\u003eSara Smile\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/miki-hayama-prelude-to-a-kiss/\"\u003eMiki Hayama: \u003cem\u003ePrelude to a Kiss\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/ryosuke-hashizume-group-wordless/\"\u003eRyosuke Hashizume Group: \u003cem\u003eWordless\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2005-releases\"\u003e2005 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/chihiro-yamanaka-outside-by-the-swing/\"\u003eChihiro Yamanaka: \u003cem\u003eOutside by the Swing\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hakuei-kim-trio-open-the-green-door/\"\u003eHakuei Kim Trio: \u003cem\u003eOpen the Green Door\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/yuichiro-aratake-light-flows-in/\"\u003eYuichiro Aratake: \u003cem\u003eThe Light Flows In\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2004-releases\"\u003e2004 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/asuka-watanabe-unaffected/\"\u003eAsuka Watanabe: \u003cem\u003eUnaffected\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/chihiro-yamanaka-trio-madrigal/\"\u003eChihiro Yamanaka Trio: \u003cem\u003eMadrigal\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/fumio-karashima-trio-its-just-beginning/\"\u003eFumio Karashima Trio: \u003cem\u003eIt’s Just Beginning\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hitomi-nishiyama-trio-im-missing-you/\"\u003eHitomi Nishiyama Trio: \u003cem\u003eI’m Missing You\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2003-releases\"\u003e2003 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/hideaki-hori-horizon/\"\u003eHideaki Hori: \u003cem\u003eHorizon\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2002-releases\"\u003e2002 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/chihiro-yamanaka-trio-when-october/\"\u003eChihiro Yamanaka Trio: \u003cem\u003eWhen October Goes\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/harumi-nomoto-trio-another-ordinary-day/\"\u003eHarumi Nomoto Trio: \u003cem\u003eAnother Ordinary Day\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"2001-releases\"\u003e2001 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/chihiro-yamanaka-trio-living-without-friday/\"\u003eChihiro Yamanaka Trio: \u003cem\u003eLiving Without Friday\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/shinichi-kato-and-masahiko-sato-duet/\"\u003eShinichi Kato \u0026amp; Masahiko Sato: \u003cem\u003eDuet\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"1999-releases\"\u003e1999 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/toshihiko-inoue-fuse/\"\u003eToshihiko Inoue: \u003cem\u003eFuse\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch3 id=\"1993-releases\"\u003e1993 Releases\u003c/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https://www.jazzofjapan.com/archive/kohsuke-mine-quintet-major-to-minor/\"\u003eKohsuke Mine Quintet: \u003cem\u003eMajor to Minor\u003c/em\u003e\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003cp\u003e\u003ca id=\"musicians\"\u003e\u003c/a\u003e\u003c/p\u003e","title":"Indexes"}]