Yoshio Otomo’s Moon Ray pairs warm, sharply phrased alto saxophone with Tsuyoshi Yamamoto’s swinging piano trio.

A hole fits Asa’s body as if it had been made for her.

Two lonely people and a blue house, suspended between place and idea.

A city of connections without a centre: everything touches, nothing merges.

The body separates from biography; desire becomes purely physical.

Ryo Fukui’s music is direct and warm, balancing melancholy with a quiet sense of momentum

A ritual record where Buddhist chant, fuzz guitar and slow psychedelic grooves.

Minoru Muraoka turns the shakuhachi into a modern jazz, bringing breath, tension and raw physical presence into the groove.

Tsuyoshi Yamamoto turns blues, standards and a tightly recorded trio into the warm, physical sound of Midnight Sugar.

Isao Suzuki brought the double bass to the foreground with physical sound, melodic freedom and the distinctive TBM aesthetic.

George Otsuka’s Sea Breeze pairs propulsive drumming with electric piano and horns in a spacious, soulful quintet sound.

Shigeo Sekito turns the Electone into a dreamy, psychedelic instrument, moving between familiar standards and the strange electronic world of The Word II.

Jiro Inagaki pushed Japanese jazz toward electric groove, soul and funk with Soul Media.

Masaru Imada moves between electric groove and acoustic lyricism on Green Caterpillar, one of Three Blind Mice’s most adventurous piano-led sessions.

Hiroshi Suzuki’s Cat blends warm trombone lines with deep electric groove and a distinctive, relaxed intensity.

African Rock pushes Japanese jazz into a harder, percussion-heavy space of electric groove and Afro-rock energy.

Takeshi Inomata pushed Japanese jazz-rock toward a dense mix of brass, organ, flute, electric guitar and heavy rhythm.

Sinsuke Fujieda blends modal jazz, Eastern atmosphere and chamber-like textures into the meditative sound of Fukushima.