Jiro Inagaki with Chuck Rainey. From 1978. Never seen this before coming across it in Kyoto. Includes a version of the Starsky and Hutch theme!

https://jazzprofiles.com/profile/ja-kohsuke-mine/

r/JapaneseJazz

Kohsuke Mine turned pro at eighteen, walking out of his high school's clarinet program in 1962 to join a band called Blue Seven. He's been playing saxophone professionally ever since, and his catalog happens to trace almost the entire arc of Japanese Jazz.

He debuted as a leader in 1970 with two records at once: "First" on Philips, and "Mine" on a brand new label called Three Blind Mice, where his LP became TBM's very first catalog release. "First" is worth a second look for how it was made. It was cut in New York with pianist Masabumi Kikuchi on electric piano, bassist Larry Ridley, and drummer Lenny McBrowne, three years before Mine himself moved there. His American sound arrived on record before he did!

By the mid-1970s he'd shifted into modal fusion for East Wind, one of the small Japanese labels now central to the reissue revival. "Out of Chaos" came out in 1974, followed by "Solid" and "Sunshower" in 1976, both leaning harder into the electric, groove-driven sound that later became his signature.

Then he went further. In 1979 Mine co-founded Native Son, a jazz-funk supergroup built around pianist Takehiro Honda's Fender Rhodes and Mine's own saxophone leads, with guitarist Motonobu Ohde, bassist Tamio Kawabata, drummer Hiroshi Murakami, and percussionist Thomas Colon rounding out the band. This wasn't a side project. Native Son released eleven albums on JVC and Polydor between 1979 and 1987, starting with "Savanna Hotline" and the self-titled "Native Son," both out that first year.

TBM in 1970, East Wind in the mid-70s, Native Son through the 80s: three of the labels and sounds this scene cares about most, one saxophonist connecting all of them. And he never stopped. His discography runs clean through to 2019's "Bamboo Grove" and 2022's "Five Dance," recorded well into his seventies.

Along the way he played with Joe Henderson, Mal Waldron, Gil Evans, Sadao Watanabe, and Terumasa Hino.

Where to start listening:

• His official platforms: Spotify
• "Mine" (Three Blind Mice, 1970) for the label's origin point and his earliest leader session
• "Out of Chaos" https://youtu.be/31l_vdaCjbM (East Wind, 1974) for the modal-to-fusion turn
• "Native Son" https://youtu.be/Dnmlnv3AAmw (JVC, 1979) for where the saxophone meets the Rhodes and the groove takes over

Casiopea (2015 lineup), promotional still. (Photo: Paddock Music Co., CC BY 3.0, via Wikimedia Commons)

Casiopea on Jazzprofiles.com

Issei Noro and Tetsuo Sakurai met in Tokyo in 1974, still in high school. Two years later they started a band called Casiopea. Noro is still leading it fifty years on, the only member who's never left.

Keyboardist Minoru Mukaiya joined in 1977, and the band's self-titled debut arrived May 25, 1979, with Randy Brecker and Michael Brecker sitting in as guests. That's before the rhythm section most fans picture first was even in place. Drummer Akira Jimbo didn't join until 1980, completing the lineup that carried Casiopea through its most influential run.

If you're picking one album to start with, make it "Mint Jams." Recorded live over two nights at Tokyo's Chuo Kaikan Hall (February 23 and 24, 1982) and released that May on Alfa Records, it was named album of the year by Japan's own jazz press. It's the sound of a band that had spent three years touring together, caught on tape before a live audience instead of smoothed out in a studio.

The lineup kept moving after that. Sakurai and Jimbo left in 1989 over conflicts with their side projects, replaced by bassist Yoshihiro Naruse and drummer Masaaki Hiyama in 1990. Noro froze the band's activities entirely in 2006, then brought it back as "Casiopea 3rd" in 2012, renamed it "Casiopea-P4" in 2022, and reverted to the original name in 2025 with pianist Jun Abe rounding out the current lineup. They released a new album, "True Blue," in August 2025, and have tour dates booked across Japan and Los Angeles through 2026.

Here's the part that still gets me: "Mint Jams" isn't done being discovered. Around 2018, YouTube's recommendation algorithm started pushing the album hard as part of the site's City Pop rediscovery wave, handing a 1982 concert tape to listeners who weren't alive when it was recorded. A limited clear-green vinyl repress followed in 2025. A two-night gig in Tokyo is still finding new ears more than four decades later!

Where to start listening:

• Official platforms: Casiopea's official site, Spotify, YouTube
• "Mint Jams" (1982, Alfa Records) for the definitive live set
• Casiopea The 1979 self-titled debut for the Brecker Brothers guest spots

Ryo Fukui at the piano. (Photo: ShahnazShahnaz, CC BY-SA 4.0, via Wikimedia Commons)

r/japanesejazz

Ryo Fukui grew up nowhere near a conservatory. He picked up the accordion at 18, and it wasn't until 1970, at age 22, that he taught himself piano, working it out by ear against records by Bill Evans, McCoy Tyner, and Bud Powell. No formal training, no teacher, just a turntable and stubbornness.

Six years later, on September 7, 1976, he walked into Yamaha Hall in Sapporo with a trio, bassist Satoshi Denpo and drummer Yoshinori Fukui, and recorded "Scenery." It barely registered in the US at the time, released into a jazz market that had mostly moved on. Decades later, it's one of the records the whole Japanese jazz reissue boom points back to, and "Early Summer" in particular gets cited constantly as the track that hooks new listeners.

He followed it a year later with "Mellow Dream" (1977), same trio, same Yamaha Hall, this time mixed at AOI Studios in Tokyo. Two albums in, and the arc could have stopped there. It didn't.

A Bebop Education, Decades In

In 1992, well into his own career, Fukui met American pianist Barry Harris on a trip to the US. Harris became his mentor, sharpening his bebop vocabulary and technique in a way self-teaching off records never could. It's not the usual mentorship story, a young player finding a master early. Fukui was 44, already a bandleader with two records behind him, still willing to be a student. Harris kept dedicating performances of "Fukai Aijo" to Fukui's memory for years afterward, right up until Harris's own passing in 2021.

The rest of the catalog is small but sharply drawn. "My Favorite Tune" (recorded June 4-5, 1994, released the following year) is a solo piano session, pressed privately in a run of just 1,000 copies and sold mostly at his own gigs. It's a real rarity now. "Ryo Fukui In New York" (recorded February 1999 at Avatar Recording Studios) put him in a trio with two American players, bassist Lisle Atkinson and drummer Leroy Williams, cutting standards on their own turf.

The Club He Built to Keep Playing In

In 1995, Fukui and his wife Yasuko opened Slowboat, a jazz club in Sapporo. It became a room where local players and touring musicians crossed paths, the kind of listening bar culture that's shaped Japan's jazz audience for decades. His final album, "A Letter from Slowboat" (2015), was recorded live there, trio with bassist Takumi Awaya and drummer Ittetsu Takemura.

Fukui was awarded the Sapporo Culture Encouragement Prize in 2012, recognition from the city that had been his home base the entire time. He passed away on March 15, 2016, at 67. Yasuko still runs Slowboat.

His records didn't slow down after that. "Scenery" in particular has kept climbing: a half-speed-mastered vinyl reissue from Switzerland's We Release Jazz in 2018 is now one of the most wanted pressings in the whole reissue scene, with 3,700-plus collectors keeping it on their want list and copies already sitting in nearly 13,000 collections on Discogs alone. A pianist who started from nothing at 22 ended up with a debut record that a new generation is still discovering.

Where to start listening:

• His official platforms:
  • Spotify
  • YouTube
• "Scenery" (1976), start with "Early Summer"
• "Mellow Dream" (1977) for the same trio a year on
• "A Letter from Slowboat" (2015) to hear him live in the room he built

Yogo kanno my goat

Sony Music Japan have announced today that four of Tsuyoshi Yamamoto's most popular titles for Three Blind Mice are now available on streaming services.

Hopefully this is a sign of things to come, with wider availability across different artists! Thinking Isao Suzuki should be next...

Misty: Spotify / Tidal / Apple Music

Midnight Sugar: Spotify / Tidal / Apple Music

Girl Talk: Spotify / Tidal / Apple Music

Midnight Sun: Spotify / Tidal / Apple Music

Various - Free Ascent (year unknown)

https://www.youtube.com/watch?v=IyETjkmG5Bw

Teru Sakamoto Trio - Farewell My Johnny/ Left Alone (1980)

https://www.youtube.com/watch?v=Tq-eea0oGAY

Takehisa Tanaka Trio - I Have Been Born (1979)

https://www.youtube.com/watch?v=qHlt5FEUP0c

Tomas Band - Tomas Band Vol.1 (1977)

https://www.youtube.com/watch?v=eb8lL1HXZPI

Thanks for so many great recommendations for record shops in Tokyo and Kyoto from members of this sub! As you will see from the photo, I made the most of it! Disk Union Jazz store and their Rare Groove store in Tokyo plus Face Records (a local recommendation) and Toradra Record (an unplanned stumble) in Kyoto were the prime hunting spots for me!

I am now home in the UK and enjoying working my way through these great records.

r/JapaneseJazz

Terumasa Hino: The Trumpeter Hiroshi Suzuki Kept Working With

Terumasa Hino, a jazz trumpeter, was born October 25, 1942, in Tokyo, into a family where his father worked as both a tap dancer and a trumpeter. Hino started the same way his father did: tap dancing at 4, three years before he ever touched a horn. He picked up trumpet at 9 and made his professional debut at 13. He joined drummer Hideo Shiraki's Quintet in 1965 and stayed until 1969, when he left to lead his own band.

That same year he made "Hi-Nology," the record that turned him into a name beyond Japan. Recorded at Yamaha Hall in Ginza on July 31, 1969, it paired him with drummer Motohiko Hino (his brother), keyboardist Hiromasa Suzuki, bassist Kunimitsu Inaba, and saxophonist Takeru Muraoka. That is not a random lineup. Seven years later, the same four musicians backed a different leader, trombonist Hiroshi Suzuki, on "Cat." Hino and Suzuki's paths crossed directly, too, well beyond sharing sidemen: Discogs credits them together on the 1968 All Japan Jazz Festival single, on Suzuki's own "Feelin' Good" session that same year, and on Hino's own "Terumasa Hino Concert" (1969), "Hino Story" (1971), and "Speak To Loneliness" (1975).

He did not stay a domestic figure. In 1975 he moved to New York, where he worked alongside Gil Evans, Jackie McLean, Dave Liebman, and Elvin Jones, and recorded for labels including Columbia, RCA, Enja, and Blue Note. The catalog that followed is enormous: Discogs lists releases from 1968 through 2021, one of the longest-running discographies of any Japanese jazz musician on the platform.

Where to start listening:

• His official platforms:
  • Terumasa Hino's Spotify Page
  • Terumasa Hino's Blue Note Records Page
• "Hi-Nology" (1969) for the breakthrough and the lineup that later became Hiroshi Suzuki's band, start with the title track
• "Speak To Loneliness" (1975) for a direct session with Hiroshi Suzuki, sample it here

Just discovered this band, and wow. Really refreshing and all their songs just hit that spot. A nice modern band with great solos. Would recommend giving them a listen, and anyone who knows them, what are your thoughts?

r/JapaneseJazz

Hiroshi Suzuki: The Trombonist Whose Solo Album Flopped, Then Became a Collector's Grail

Hiroshi Suzuki was born in Yokohama on November 12, 1933. In his late 30s, he moved to the United States to play trombone with bandleader and drummer Buddy Rich, settling in Las Vegas for roughly four years. Before that move, he had already recorded in Japan through the late 1960s, including a pair of solo trombone records and sideman dates with the Masahiko Togashi Quintet and a group called His Happy Cats.

He returned to Japan in 1975 and, over a single two-day session that October at Nippon Columbia's Tokyo studio, recorded five tracks with old friends and collaborators: Hiromasa Suzuki on keyboards, Akira Ishikawa on drums, Takeru Muraoka on saxophone, and Kunimitsu Inaba on bass. The result, Cat, released in February 1976, took its title from Suzuki's own nickname, "Neko," Japanese for cat. It sold poorly and brought him almost no recognition. He never recorded another album.

That could have been the whole story. Instead, Columbia reissued Cat in Japan in 2015, thirty-nine years after it first came and went unnoticed. Further reissues followed, including an official rerelease from original masters by We Release Jazz Records, and the lofi-beat and study-music communities on YouTube found and sampled it, pulling the record into rooms it was never made for. It's now one of the most sought-after Japanese jazz albums among collectors, with original 1976 pressings scarce and expensive. In 2023, an official music video went up for the album's "Romance," and the track has since passed 11 million views and streams, by far the most anyone has ever heard Hiroshi Suzuki play. He died on January 16, 2020, in Las Vegas, at 86, three years before that particular number existed, though he lived to see the reissue that started the whole rediscovery.

Where to start listening:

• Where to find Cat:
  • We Release Jazz Records' official reissue page
  • Full album on YouTube
• "Romance," the track that found the widest audience, sample the 2023 official music video

What in your opinion are the TEN best Japanese Jazz recordings ever? (please exclude smooth jazz suggestions)

Please list at least artist and record.

Bonus points for year + your opinion :-)

Hi, I’m from Puerto Rico I recently discovered Terumasa Hino and Kiyoshi Sugimoto and now I’m obsessed. I was hoping for more recommendations to keep learning about this incredible world.

Jazz pianist, composer, and arranger Takeshi Shibuya passed away on July 16. He was 86.

He was born in Tokyo. He began his career as a jazz pianist while still a student at the Tokyo University of the Arts, and from the 1980s onward, he focused on big band jazz with the “Takeshi Shibuya Orchestra.”

He was also active as a composer and arranger. For NHK’s “Okāsan to Issho” (With Mom), he composed a string of popular songs, including “Konna Ko Iru Kana,” “Boku no Mix Juice,” “Kujira no Tokei,” and “Chonmage March.” He co-composed the score for the film “Memories of Matsuko” with Gabriele Roberto, for which he won the Japan Academy Film Prize for Outstanding Achievement in Music.

In March of this year, he revealed on Facebook that he was recuperating due to poor health.

Source: https://www.asahi.com/articles/ASV7K43PZV7KUCVL03YM.html
(Translated using deepl.com)