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Ode To Birds
"Hideto Kanai's first album is fairly hit-or-miss free jazz, but here he's in full-blown Black Saint and the Sinner Lady mode. There are twenty three musicians on this album (twenty three!), and while the undercurrent of free jazz is still running through, it's much closer to experimental big band or avant-garde jazz. And it's extremely compelling. Two side-long pieces, both of which go in and out of being quite elaborate and being complete chaos. There's some unusual and dissonant guitar and sy…
Spanish Flower
“Spanish Flower” by Tee & Company, an all-star band assembled by producer Takeshi “Tee” Fujii, is an extended (nearly 19 minutes) modal workout very much in the mode of Coltrane or McCoy Tyner‘s 1970s solo work, but the tasteful guitar solo that appears at the 11:30 mark, right after the flute fanfare, is by none other than Masayuki Takayanagi!
Free Form Suite
Classic Japanese free jazz monster, originally released in 1972. Recorded live at Aoi Studio, Tokyo on 19 May 1972. The late 60s and early 70s was the time that Japanese free jazz began to lift off (see We Now Create LP of Togashi Masahiko with Takayanagi, Motoharu and other heavyweights releasing the 1st free jazz LP in Japan) and blossom into a fierce musical power to be reckoned with. Legendary combos such as Masayuki Takayanagi New Direction were soon responsible to be the originators of thi…
Misty
*2022 stock* Few, if any, international audiophile jazz recordings have maintained the kind of deep and profound influence over techniques and even entire label repretoire as Three Blind Mice's Blow Up, Midnight Sugar and Misty. Originally recorded in Tokyo in 1974, this Piano Trio release from TBM features Tsuyoshi Yamamoto on piano, Isoo Fukui on bass and Tetsujiro Obara on drums. The of-the-moment realism of Yoshihiko Kannari's recordings and production aesthetic of producer and label head Ta…
Physical Structure
*2022 stock* Amazing 1976 record by drummer George Otsuka, Physical Structure is an amazing jazz-fusion record featuring Fumio Karashima on piano and Fender Rhodes and Shozo Sasaki on tenor sax. Check the surprising and sublime cover of Naima which alone justifies to get this record! Personell list: George Ostuka (drums), Shozo Sasaki (tenor and soprano sax), Fumio Karashima (piano, electric piano and synthesizer), Mitsuako Furuno (bass), Norio Ohno (percussion).
Remember Of Love
Imada's last album for TBM. The lyrical and flowing solo opening "Maki" is a reprise of the title track from his first solo album (JVC), the title track from TBM5003 (2), a reprise of TBM14 with electric piano (3) (2), a reprise of the title track from TBM5003; (3), a reprise of TBM14 with electric piano; and (4), an ethereal synth piece." - Koki Hanawa
Yokohama Concert
Stunning duo comprised of two of the most important musicians of the Japanese underground/avant-garde, Otomo Yoshihide in a duo with the great Japanese drummer, Hiroshi Yamazaki – who has Kaoru Abe among his extensive list of past collaborators, and was also a member of Masayuki Takayanagi’s pioneering New Directions group. This album is dedicated to Masayuki Takayanagi.Otomo Yoshihide moves between free jazz, noise, improvisation, composition and the unclassifiable with a generosity that opens …
Sleepy
*2022 stock* "Hidehiko Matsumoto Quartet – Sleepy released by Three Blind Mice. Album recorded in 1976 and it was DSD mastering from the original analogue master tapes. This record, made in 1976 in a one-horn quartet setting, showcases Matsumoto’s brilliant playing on both tenor saxophone and flute. He is a true master of both instruments and it is a great pleasure to hear him beautifully recorded by the people of Three Blind Mice. A masterpiece, with great sound." - Audiophile Music
Summertime
*2022 stock* "This is a live recording of "5 Days in Jazz 1976". The album features the seventh release of TBM's "5 Days in Jazz 1976," which concentrates the charm of Tsuyoshi Yamamoto, including his signature tune "Misty," "Summertime," featuring Oyui, and "Cookin' the Blues", which shows off his signature blues feeling to the fullest." - Koki Hanawa
Sunrise/Sunset
*2022 stock* "Mindblowing sounds from Japanese bassist Isoo Fukui – one of a handful of 70s players on that scene who really helped reinvent the sound of his instrument in jazz! Isoo really drives the group here up from the bottom – by playing both bass and cello with these well-inflected notes that are heavy on soul and rhythm, and which often enforce a modal sensibility that's carried out perfectly by the vibes of Kazuhiro Matsuishi and piano of Hideo Ichikawa! A few numbers feature guitar fro…
The World Of Shuko Mizuno
"This is a live recording of "Shuko Mizuno's World Evening" on the fourth day of "5 Days In Jazz 1976", which made the genius Shuko Mizuno known to the world. The massive, fast-paced jazz-rock piece "Concentration" and "Jazz Orchestra '75 Part II" are breathtaking performances. Katsumi Watanabe's superb solo is also noteworthy!" - Koki Hanawa
Maiden Voyage
"Five of Japan's most famous arrangers (Miki, Yamaya, Takahashi, Ueda, Maeda) have come together to create a rare big band work. Highlights include the title track with its electric sound arranged by Miki and the dynamic "Giant Steps" arranged by Maeda. "Koki Hanawa
Step!
*2022 stock* Naosuke Miyamoto Sextet's Step!, originally released in 1973. A fantastic modal jazz album, led by Naosuke Myamoto on bass, with Masayoshi Yoneda on the piano and Takashi Goto on saxophone. On One For Trane, the group delivers a strong and amazing moment of spiritual jazz. Also features Kunji Shigi (trumpet), Takashi Furuya and Shoji Nakayama (drums). Produced by Takeshi Jujii. Recorded on August 25, 1973.
Albumin
Tip! Jim O'Rourke and Jos Smolders teamed up again after their first collaboration, Additive Inverse from 2021. Over a period of three years, both artists worked in sessions of a day, each in their own studio.The result is sometimes like a warm cloud of sounds, suddenly breaking up into a rhythmic, irregular pattern, after which it dives into introverted mindsets. The music is in constant flux. The project followed the same workflow, but this time Jim took the lead and kicked off with a salvo of…
Broken Landscapes
Follow-up to Atsusaku (2016) by Gareth Davis (bass clarinet) and Merzbow. The earlier theme of mechanical compression is here extended into a meditation on the fears of mechanisation in the natural environment: North Sea wind farms, Southern Californian industry, the survival of animals in overrun habitats. Three tracks of impenetrable manipulated field recordings against saturated bass clarinet midrange and Merzbow's analogue/digital crossfire, with brief recognisable voices flashing through.
Cuspa Llullu
Second collaboration between Anla Courtis and Daniel Menche, recorded across Portland and Buenos Aires. Two side-long pieces traverse a kaleidoscopic sound labyrinth: Side A moves through metallic, multi-layered corridors in constant mutation, Side B opens outdoors and gradually visits a sequence of interior regions toward a final climax. The sound material is treated as living, vibrating matter rather than inert sample, a study in frequency-as-organism on the drone-noise threshold.
States
States grew from a live-electronics setup developed by Tijs Ham (Tapage) in 2016: analogue feedback routed through digital manipulation to form a self-balancing, self-generating chaotic system, capable of producing its own deep melodic and textured material once the performer steps back. The 2017 sessions at Steim with bass clarinetist Gareth Davis insert a reed voice into this recursive system, opening it to spacious interplay between acoustic gesture and the autonomy of the patch.
Focus Intensity Power
BJ Nilsen's first LP for the label, departing from his field-recording practice. Recorded during a Fall 2017 residency at Willem Twee Electronic Music Studio in Den Bosch, the five pieces document improvised sessions on modular synthesizers, tone generators and laboratory test instruments. The flâneur's ear, normally trained on wind or city traffic, is here turned on machine-generated material: analogue pulse, droning waves and subtle noise arranged with the same patient sense of texture.
Onder/Stroom
Title and concept play against Extrapool's short-lived Zonder Stroom programme (performances entirely without electricity). One bleak winter afternoon the trio decided to do the inverse, using every keyboard, synthesizer and piece of electronics they could lay hands on. The album collects mixes and remixes of that single session: a joyful, dense electroacoustic improvisation with Richard Youngs's experimental folk instincts threading through de Waard's and Nÿland's electronic vocabulary.
Terreng
Long-form duo work between Balázs Pándi (percussion) and Jon Wesseltoft (electronics), shaped as an open landscape of contrasts articulating space in both time and depth. The two players alternately trade and merge their instrumental identities, generating zones of improvised openness alongside densely constructed electroacoustic narrative. The vocabulary moves between quiet, ritually framed rhythmic space and saturated information, held as deliberate counterweights.