In the second part of the interview, we will focus on the charm of the improvisational music scene in Tokyo in the early 2000s, which constituted one of his musical backgrounds, the utility of improvisational performance in music production, the relationship between live performances and recordings, and musicians he appreciates now.

“New attempts were coming out one after another.” The appeal of the improvisational music scene in the early 2000s

——In the second part, I would like to ask you mainly about the relationship between improvisational music and you. At the end of the first part, you said: “I used to go to improvisational live performances in the early 2000s.” It coincides with the time when Off Site in Yoyogi, one of the bases of the improvisational music scene in Tokyo was opened. Is there any event that left a strong impression on you?

Chihei Hatakeyama: I’ve been to the Off Site several times. Those were probably Sachiko M’s event and the live performances of Atsushiro Ito and Tetuzi Akiyama. The most shocking improvisational live was the Amplify Festival hosted by John Abbey from ERSTWHILE Records. It was held at the Star Pines Cafe in Kichijoji in 2002, and it was insanely interesting. Moreover, despite the fact that it’s an improvisational live, a lot of listeners came for some reason (laughs). But anyway, it was an event where domestic and foreign musicians gathered and performed in various combinations. I was particularly impressed by the duo of Thomas Lane and Marcus Schmicler. Thomas Lane was using an analog synth called EMS, which looked new to me.

——What kind of charm did you find in improvisational music at that time?

Hatakeyama: I like reading books, and I was struck by Atsushi Sasaki’s book “Tech Noise Materialism” (Seidosha) published in 2001. There is a chapter entitled “Free Improvisation in the 21st Century” that mentions musicians like Yoshihide Otomo, Sachiko M, and Derek Bailey. In retrospect, it’s unusual that Mika Vinio, Jeff Mills, and Satoshi Ashikawa appear in the same book (laugh). But at that time, It was quite common to talk about, say, Alva Noto (Carsten Nicolai) along with Taku Sugimoto. Anyway, using the book as a clue, I met music that I had never heard before, which was refreshing and interesting. Also, at that time, the technological development of equipments was visibly progressing, a lot of music that obviously did not exist in the previous era was appearing. I was attracted by improvisational music partly due to a lot of new attempts and equipments coming out one after another in this field.

—— At that time, haven’t you worked on so-called sound improvisation characterized by the stoic performances mainly consist of muted sounds and the frequent use of silence?

Hatakeyama: I had tried a few recordings before releasing my first album (“Minima Moralia”), but it wasn’t quite convincing. I liked listening to improvisational live performances, but when it comes to making my own work, I had to rely on my own taste and aesthetic . Otherwise I didn’t have any mean to measure the value of my work. Thinking about what kind of music would suit me, I thought the beat would impose a limitation on the sound. As such, I decided to start off with a quiet music with no beats, that has a glimmer of melody appearing occasionally, which came to fruition in an album called “Minima Moralia” released in 2006. So I wasn’t trying to do ambient or drone in the beginning.

——Did you get any clue for your own music production from the exposure to sound improvisation scene?

Hatakeyama: There may not be many people who think of it like this, but in terms of the influence from the improvisational scene at that time, the biggest thing would be “landscapes made with sound”. For example, the music of Toshimaru Nakamura and Tetuzi Akiyama has imaginative aspects that would make listeners imagine that the scenery of the sound changes and the “visibility” of the scenery is generated as time goes on. I was inspired by this kind of spatial width of sounds. Though “Minima Moralia” is often categorized as ambient music, I think it actually shares similarities with that kind of improvised music, such as the way the sounds are used, composed, and mixed.

Utilization of improvisation as a method in “Late Spring”

——You sometimes use improvisation as a method. For example, in this “Late Spring”, one of the concepts was “to find a good take from one-take improvisational recordings”.

Hatakeyama: That’s right. There are some songs that have been slightly modified, but basically all of them are recorded in one take. The concept for the seventh song, “Thunder Ringing in the Distance,” which is a recording of improvisational performance of an acoustic guitar, was to avoid overdubbing and to add no supplemental sound so as to keep as much of the sound as it was recorded. To put it the other way around, I had a specific concept for each song that would determine the direction of performance beforehand, and I recorded several performances made under that concept and adopted the best take.

——What inspired you to come up with the idea of ​​“one-take improvisation” like a jazz solo album?

Hatakeyama: There are several triggers, but one of them was a gathering with Toshimaru Nakamura, Tetuzi Akiyama, and electronics player Ken Ikeda, which happened  before the coronavirus pandemic. What we talked in that gathering was: “Rather than constructing sounds through overdubbing, a recording of one performance leads to a good piece of work.” Besides, I also work as a recording engineer. Now, DAW has become so convenient that we can easily replace just one part of song. So as part of my work, I was doing something like replacing only the ad-lib part in a jazz session with another take, which made me wonder if it is really okay to keep doing something like this (Laughs). With that kind of personal experience, I decided to record the entire performance as much as possible.

——It may be closer to the feeling that you prefer the unedited version of Miles Davis’ On The Corner. Is the jumpiness-like glitch noise in the 7th song “Spica” also one-take recording of improvisation?

Hatakeyama: That’s right. It’s also part of one-take performance with a modular synth. In that sense, I think that traces of my play are scattered in the sound. If you look for them while listening to it, even people who usually listen to jazz may be able to enjoy it.

——I think it would be interesting to listen to it along with Masabumi Kikuchi’s synth solo. For “Late Spring” you adopted a one-take recording of improvisation, but what do you think is the musical element unique to improvisation that cannot be obtained by constructing everything in a DAW in advance, for example?

Hatakeyama: It may be personal sense of time reflected in the sound after all. If you make everything with a DAW, the sound will be bound by the time signature. Of course, depending on the settings, you can create a tune in which its time changes, but it’s very difficult to do that by inputting all the required data. However, with improvisation, for example, the player’s sense of time that may slightly shifts on the spot is reflected even in a tune of a four-quarter time. With a sequencer of newest modular synth, the time of respective phrases match, but since it’s analog, it feels a bit out of sync compared to the sound made with a laptop DAW. But that’s not too bad.

“Even if the types of music seem totally different on the surface, you are able to trace their histories back to John Cage”

——By the way, I first learned about you not in the context of ambient music, but in the magazine “Improvised Music from Japan 2009”. You were interviewed in the article about the series of events “AFTERWARDS” co-hosted by you and sound artist Makoto Oshiro. Why did you start planning an event in collaboration with Oshiro?

Hatakeyama: To put it simply, our houses were close (laugh). I used to live in Fujisawa, but I moved to Nishiogikubo, Tokyo around 2007. At that time, Taro Nijikama invited me to the cherry blossoms viewing, and about 40 people gathered, including Oshiro. When I talked to him, it turned out that Oshiro had just moved to Tokyo as well and that his house was within walking distance from my place. That’s why I started going out with him for drinks and talking about planning an event together. After that, the first event was held in June 2008.

——According to the article, AFTERWARDS is derived from Natsume Soseki’s novel “And Then”, and one of the concepts was ‘thinking about “Afterwards” of music through events’.

Hatakeyama: Yeah, that’s right. I was hosting live shows where completely different types of musicians and artists were mixed. Until around 2010, such a different combinations were rather appreciated. So looking back now, the lineup seems quite chaotic (laugh). However, you will know that they actually share a common ground if you trace their roots. For example, if you trace back through the history of ambient music, you will first reach Brian Eno. And Eno was influenced by John Cage. In that sense, it can be said that sound art and live electronics have the same root. Even if the types of music seem totally different from one another on the surface, you may possibly be able to trace their histories back to John Cage. In other words, it also means you can’t see their common ground unless you trace the process back to that point.

——Do you still like to listen to Cage’s music?

Hatakeyama: What I often listen to lately is Arnold Schoenberg, under whom Cage was studying. While making audibly chaotic music using atonality and twelve-tone techniques, he sometimes added dark melodies or songs to his music. I really like such a balanced approach. Also, when I retraced Schoenberg’s music, I could tell that it was a difficult time for music to develop properly, partly because of two world wars and the unstable social situation. After the war, Cage began to become active as a composer, and the well-known “4’33” came out in 1952. It feels like there was a leap, or Cage skipped the history that was supposed to be there. It was too radical, wasn’t it? So, It makes me wonder what would happen if the history of music after Schoenberg had been built up appropriately.

——I see, the fact that Cage had such an impact makes us believe what you said about him: One will come upon Cage when he/she traces the history back.

Hatakeyama: Well, Derek Bailey began his quest for free improvisation in the mid-1960s, so it’s later than Cage in chronological order, but some part of Bailey’s music feels like a pre-Cage work. It may be partly because Bailey’s melody was influenced by Schoenberg’s disciple Anton Webern. But the biggest thing is that, in contrast to Cage who went too far ahead, Bailey traced the musical genealogy back to the point where Cage had not appeared yet, and reinterpreted the history leading up to Schoenberg.

“Reciprocal feedback between live performances and recordings”

——Compared to Schoenberg’s time, the factor of recordings has been added to Bailey’s activities as an important aspect of them. In 1970, Bailey launched his own label, Incas Records, together with Evan Parker and others. It is sometimes said that improvisation that put emphasis on one-time performance has poor compatibility with recordings that can be listened to repeatedly, but what is the relationship between live performances and recordings for you?

Hatakeyama: Personally speaking, live performances occupy an important part of my activities, although it’s hard to do them now due to the coronavirus pandemic. I often be able to go to the next step by going back and forth between live and recorded material. I try out the playing style I practiced during a live performance with a recorded work, or put what I thought during the recording at home into practice in a live performance. It’s a relationship where one factor provides another with feedback mutually. When I do a live performance by myself, it’s impossible to reproduce the sound that was precisely constructed with a DAW like a recorded material. So I try to make different music every time, using improvisational method as clues.

——Why did you start using improvisation as a method for recordings?

Hatakeyama: When I first started doing ambient music, I used to construct music elaborately with DAW. However, the result created out of this process was nothing more than what I have just expected, which often made me stuck. In the first place, I was not good at making something in accordance with plans (laughs). However, it was really big thing for me that I became able to edit music on a laptop PC. With it, you can play something on the spot and edit the material later as many times as you like. After the release of “Minima Moralia”, I started using improvisational techniques consciously to calm my mind and play without thinking in front of the equipment.

——You are also involved in label management and event planning, and sometimes plays the role of a producer in both live and recorded material. Are there any musicians who attract your attention now in relation to improvisational music?

Hatakeyama: There are a lot of musicians who capture my interest. Recently I was impressed by this musician called iwamaki who is making a tune by layering noise and drones with synthesizer in quite a geeky fashion. She sometimes appears in my events as well. Also, I think the following artists deserve attention: Leo Okagawa, a sound artist who often plays live at Suidobashi FTARRI and is very familiar with records, and Ayami Suzuki, an artist who uses her own voice for making/playing music and has released a duo work called “Undercurrent / Wanderlust” with Okagawa. Suzuki also sings with a guitar by herself, which is very good as well.

Chihei Hatakeyama
He released a solo album “Minima Moralia” from Chicago-based avant-garde music label Kranky under the name of Chihei Hatakeyama in 2006. Since then, he has released many works from independent labels in Japan and overseas, such as Rural Colors in the UK, Under The Spire, Room 40 in Australia, and Home Normal in Japan, and has also performed live tours overseas. He is well known abroad and was ranked in the top 10 of Spotify’s 2017 “Most Played Japanese Artists Overseas”. In April, the album “Late Spring” was released from Gearbox Records in the UK.

Photography Teppei Hoshida
Edit Jun Ashizawa(TOKION)
Translation Shinichiro Sato(TOKION)

Latest articles on TOKION MUSIC

• Androids, Music, and Film—Android Aria “Seeds of Prophecy,” a New Piece Shown at LEFFEST, and Beyond: Massive Life Flow; Inside the Mind of Keiichiro Shibuya” Part 13
  by 藤川貴弘
  2024-02-29
•  A Vision of the Future Shown by a Dialogue Between Science and Art—IDEA – Dialogue on Love, Death, and Existence by Two Androids, Keiichiro Shibuya + Takashi Ikegami: “MASSIVE LIFE FLOW—Keiichiro Shibuya’s Current Thoughts,” Part 12
  by 藤川貴弘
  2024-02-29
• Interview with Otomo Yoshihide, The Mastery of Guitar & Turntable Achieved in His Mid-60s -Part 2-
  by 細田 成嗣
  2024-02-28
• Interview with Otomo Yoshihide, The Mastery of Guitar & Turntable Achieved in His Mid-60s Part.1
  by 細田 成嗣
  2024-02-28
• Interview with HANABIE., the “Harajuku Core” Girls Metal Band in the Global Spotlight, Part 2: “Chaotic” Music Combined with Japanese Culture
  by 阿刀“DA”大志
  2024-02-27

The post Chihei Hatakeyama talks about the intersection of ambient, jazz or improvisation　Part 2: Exploring the context of improvisational music from Off Site to FTARRI appeared first on TOKION - Cutting edge culture and fashion information.

The first part of an extensive interview that comes in two parts highlights the background against the release of his work from Gearbox Records, the concept of the new album, the charm of jazz seen through the perspective of ambient / drone, and what led him to the world of ambient music.

Reasons for releasing ambient / drone work from a jazz-oriented label

——Gearbox Records, from which you released “Late Spring” this time, is a label that has actively taken up unreleased historic recordings of jazz and new music in the current UK jazz scene. Can you tell us how you as a musician active in the ambient / drone scene, got to release it form this label?

Chihei Hatakeyama: It was triggered by a phone call from Nick Lascomb, a radio DJ at the BBC in the United Kingdom. He is a person who wrote the liner notes for this album. He has known my music for a long time, but he also had a connection with Gearbox and suggested, “There is a British label called Gearbox, why don’t you release a new album?”. However, when I looked at their lists of records released so far, there was nothing other than jazz albums. So when I asked, “Would it be okay to release my album from that?”, I was told that they would set up a Japanese branch office and start a new electronic music series. That sounded good to me and made me decide to put it out.

——I see, so you were singled out as the first of new series of gearbox. When did the offer come?

Hatakeyama: Last year. However, there was already an album that I had been working on since the end of 2017 and it was about to be completed at the time that I received the offer. So when I sent the recording and asked, “I have this work that is almost done. How about it?”, they said, “Let’s go with this!” So I put the finishing touches on the sound and came to release it.

——You have released albums from various labels both in Japan and overseas, but do you have different musical directions or concepts for each label?

Hatakeyama: The concept is not clearly distinguished from one another, but they are slightly different. As for this newest one, I ended up with an album that was made without assuming the Gearbox. But for example, I have released 5 albums from an Australian label called Room 40, and I have some kind of specific sound image within me for the works released from that label. So, in a sense, I kind of regard the works from Room 40 as a series.

—— In relation to a series of works, you have been releasing a series entitled “Void” from White Paddy Mountain, an independent label run by yourself. The 22nd edition was released in January this year. How do you position this series?

Hatakeyama: Originally, the concept was to release live and unreleased recordings only in a digital format. Since I started it in 2010, a time where physical releases were barely the mainstream, I thought it would be interesting to release works that do not come in a form of object. However, as streaming services such as Spotify and Apple Music gradually became widespread, the Void series turned out to be more popular than the normally released album when I checked at the number of views (laughs). Then, I started to think that it would also be good to release new recordings or ones in a physical format while maintaining the atmosphere of Void. In this way, it gradually moved away from the original concept. The 22nd edition consists only of new songs and was released in a CD format.

——What exactly is the “Void atmosphere”?

Hatakeyama: When you release something physically, you do have to deal with the the issue of inventory. Besides, if you put it out from another label, you have to worry about sale as well. The first concept was to release the sound that I love without considering such commercial aspects. So originally, lengthy drones were its main focus, but this has also been changing gradually. Especially after the corona pandemic, I myself have become less motivated to listen to and write long songs. So lately, I’ve been recording and releasing short songs of 3-4 minutes. However, this state of mind is also changing now, and recently I’ve been making a slightly longer song of 7 to 8 minutes.

What David Lynch, Yasujiro Ozu, and “Wabi-Sabi” have in common: the underlying factor of newest album

—— “Late Spring” is also a work that contains a lot of short pieces of 3 to 4 minutes. I found it interesting that you had limited number of the instruments used such as synthesisers and guitars for each song. What was the new challenge for you in this work?

Hatakeyama: Since I had got all the settings of the modular synths satisfactorily prepared, I decided to play a song only with it, which was a big challenge for me. I also changed the recording method for electric guitars. With different recording method, I come up with the different idea through it. As a result, I used the acoustic guitar only for the 7th song “Thunder Ringing in the Distance”, which was recorded with a dedicated recording method. This song was a one-take recording of an acoustic guitar improvisation, and I didn’t add electronic sounds in the post-production process. However, I captured the guitar sounds using a microphone and processed them with a mixing console and effects pedals on the spot, which ended up with the sounds that do not seem to be acoustic guitar sounds. That was one of the ideas that came out of the specific recording method, and something I tried this time.

——If you think of each song as a “solo improvisation with a synth or guitar,” it would be fun to listen to it along with ambient-textured jazz. Did you have any people or works that inspired you to make the album?

Hatakeyama: There are several, but the biggest one was “Twin Peaks The Return,” which was broadcast in 2017. The new series was broadcast for the first time in 25 years and became a hot topic. Inspired by the taste of video and sounds of it, I made a song called “Spica”, combining improvisational sound of analog synth called Prophet-5, with a kind of glitch-noises generated through a modular. I also made “Butterfly’s Dream” 1 and 2 in the same way.

—— “Twin Peaks” is known as a masterpiece of director David Lynch, but the title of the new album reminds me of Yasujiro Ozu’s movie “Late Spring” (1949).

Hatakeyama: Of course, the title of “Late Spring” comes from Ozu’s “Late Spring”. Yasujiro Ozu and David Lynch are completely different as film directors, but I think they are connected. If you look deeply into the heart of philosophy of ​​”Twin Peaks”, you will find Eastern thought. David Lynch is influenced by the so-called Transcendental Meditation and Buddhist ideas, and there are a bunch of people interpreting the story of “Twin Peaks” through the lens of Buddhism. The taste of Yasujiro Ozu is not Buddhism itself, but there is a part where its spirituality is mixed in, and I think that they have something in common in that sense.

In terms of this album, the concept is to “find a good takes from one-take improvisational recordings” and to embody the Japanese aesthetic “Wabi-Sabi”,  as exemplified by the no-frills taste of the Japanese tea room. The root of aesthetic of the tea ceremony is Zen Buddhism. In this way, David Lynch, Yasujiro Ozu, and “Wabi-Sabi” were all connected in my mind, and I entitled this album “Late Spring.”

——When I listened to the album all the way through it, it seemed as if scenes of a certain day came to my mind, as shown in the sequence of song titles, which started at dawn and ended in the evening. When did you name the song?

Hatakeyama: I name songs always at the end. When all the songs have been sorted out, the album name is decided first, and the individual song names are considered after that. I give each song a name that would match its sound and atmosphere, while correlating it with the album title. Recently, more and more people are listening to each song on a streaming service, so I’m trying to place more value on the song title for each song. But this time, I give names to create film-like flow, and story that would function as a guide for listeners all the way through it.

The charm of jazz seen through the lens of an ambient / drone

——In relation to albums released from jazz-oriented labels, there was also “Sacrifice For Pleasure” released from the Airplane label in 2013. In particular, the songs featuring Hiroki Chiba’s violin / contrabass and Jimanica’s drums had an atmosphere that could be called ambient jazz.

Hatakeyama: That’s right. However, for that work, it wasn’t a one-take recording like “Late Spring”, but in fact I placed great importance on the editing process. I recorded it with Chiba and Jimanica in 2008, and I still remember vividly that we were struggling to get it into shape. At that time, I invited them because I was thinking of doing electro-acoustic music in a band format like the Radian from Vienna. However, we did not continue it as a band, and as a result it was contained in that album. I still want to do jazz-like ambient in a band format if I get the chance.

——What kind of jazz do you like?

Hatakeyama: When I was young, I liked free jazz, but from around the age of 35, modern jazz became more comfortable to me. I sometimes listen to modern jazz playlists on Spotify. However, I still like the so-called spiritual jazz such as Sun Ra and Alice Coltrane. In terms of Sun Ra, I like the melodic and melancholic sound image, or the archaic atmosphere with chorus, rather than the chaotic sounds recorded with many other members. Masterpieces such as “Sleeping Beauty” (1979) and “Cosmos” (1976) are my favorite. I love the sound of strings and piano combined with phaser sound effects.

—— “Lanquidity” (1978) has that kind of atmosphere as well, doesn’t it? By the way, music critic Masaaki Hara have featured Miles Davis’s “In A Silent Way” (1969) and “Get Up With It” (1974) as an ambient music in “TOKION”. What do you think about these ones?

Hatakeyama: Of course I also like Miles Davis. But what I like most about Miles is actually a 6-disc box set that contains the session that was an original recording of “On The Corner” (1972). “On The Corner” itself is often talked about in the context of funk, but I prefer a raw form of the session before being edited. I often listen to it as an ambient music.

——In Masaaki Hara’s essay, he also mentioned Masabumi Kikuchi’s synth solo and Yasuaki Shimizu’s work as ambient-oriented jazz born under the influence of Miles and Brian Eno. In recent years, these works have received renewed interest in the context of new age / ambient revival. How do you perceive these 1980s Japanese ambient-oriented jazz?

Hatakeyama: Looking back on the early 2000s when I started making ambient music, to be honest, Yasuaki Shimizu’s music sounded a little outdated to me. At that time, the sounds of musicians like Autechre and Fennesz, the music released from Warp and Mego felt very fresh. About 10 years later, I finally started listening to Japanese ambient music in the 1980s. In 2019, the compilation album “Kankyō Ongaku” was released, and there were many musicians I had never heard in it. However, I’ve liked and been listening to Hiroshi Yoshimura and Satoshi Ashikawa since the 2000s.

The trigger for entering into the world of ambient music

——When you started making ambient music, did the albums of Hiroshi Yoshimura and Satoshi Ashikawa also become a source of inspiration?

Hatakeyama: No, I started listening to it after I started making the ambient music. Before that, I was obsessed with the electronica from Warp and Mego, and the post-rock sounds released from Japanese Indie label HEADZ. A laptop PC I bought around that time became a trigger for me because it made me decided to do laptop music. I also listened to Jim O’Rourke a lot and went to live many times. I also liked Gastr del Sol’s “Camoufleur” (1998). Also, David Grubbs came to Japan and went to see the live performance at Aoyama CAY, which was also insanely good. Around that time, I started going to improvisational live performances a lot.

——Not through Brian Eno, but you entered the world of ambient music through electronica and post-rock.

Hatakeyama: That’s right. Of course I was listening to Brian Eno, but at that time his music also sounded outdated to me. Now I don’t think it is outdated anymore. But Eno did not provide a spark for me to start ambient.

——In relation to Eno, he is also known as a person who has presented the ambiguity of “interesting but negligible” as the definition of ambient music. In this work “Late Spring”, you can listen to it while relaxing, but if you listen carefully, you can find many interesting moments such as a faint noise and a sudden irregular movement of a minimal phrase. What do you think about the ambiguity of the ambient music presented by Eno?

Hatakeyama: Not only for this work, I am always conscious of the ambivalent shape of music mentioned by Eno. Sometimes I concentrate on listening to music, and other times I listen to it as BGM while reading a book. When my album is completed, I don’t just listen to it to check it, but I also read the book while listening to it, looking for something that would get in the way. I am trying to fix it if something captures my attention too much when I listen to it as a BGM.

Chihei Hatakeyama
He released a solo album “Minima Moralia” from Chicago-based avant-garde music label Kranky under the name of Chihei Hatakeyama in 2006. Since then, he has released many works from independent labels in Japan and overseas, such as Rural Colors in the UK, Under The Spire, Room 40 in Australia, and Home Normal in Japan, and has also performed live tours overseas. He is well known abroad and was ranked in the top 10 of Spotify’s 2017 “Most Played Japanese Artists Overseas”. In April, the album “Late Spring” was released from Gearbox Records in the UK.

Photography Teppei Hoshida
Edit Jun Ashizawa(TOKION)
Translation Shinichiro Sato(TOKION)

Latest articles on TOKION MUSIC

• Androids, Music, and Film—Android Aria “Seeds of Prophecy,” a New Piece Shown at LEFFEST, and Beyond: Massive Life Flow; Inside the Mind of Keiichiro Shibuya” Part 13
  by 藤川貴弘
  2024-02-29
•  A Vision of the Future Shown by a Dialogue Between Science and Art—IDEA – Dialogue on Love, Death, and Existence by Two Androids, Keiichiro Shibuya + Takashi Ikegami: “MASSIVE LIFE FLOW—Keiichiro Shibuya’s Current Thoughts,” Part 12
  by 藤川貴弘
  2024-02-29
• Interview with Otomo Yoshihide, The Mastery of Guitar & Turntable Achieved in His Mid-60s -Part 2-
  by 細田 成嗣
  2024-02-28
• Interview with Otomo Yoshihide, The Mastery of Guitar & Turntable Achieved in His Mid-60s Part.1
  by 細田 成嗣
  2024-02-28
• Interview with HANABIE., the “Harajuku Core” Girls Metal Band in the Global Spotlight, Part 2: “Chaotic” Music Combined with Japanese Culture
  by 阿刀“DA”大志
  2024-02-27

The post Chihei Hatakeyama talks about the intersection of ambient and jazz or improvisation　Part.1: The reticulated relationship between ambient and jazz in “Late Spring” appeared first on TOKION - Cutting edge culture and fashion information.