- Could you share the thoughts and ideas behind this DJ set?
For this mix, I chose records that have stayed with me throughout my life—records that have left a lasting impression on my heart. Many of them are what’s often called spiritual jazz, a genre that captivated me because it was created to convey inner freedom and peace, rather than conforming to authority or commercial systems. These records weren’t made for the sake of business, and that’s exactly why every part of them is filled with the artist’s true intention and energy.
While spiritual jazz is at the core of this mix, the records I included are ones I’ve played in many different places—on the club floor, in listening bars—and each carries its own set of memories. When I DJ, I tend to lean toward tracks with a sense of unity and movement rather than introspective ones, often blending in elements from other genres to make the music more accessible to the dancefloor. With this mix, I went back to those early instincts, while also being mindful of jazz’s broader historical flow and its rich, diverse components to shape the overall journey.
- Which tracks did you play from original vinyl records in this DJ set?
For George Russell And His Orchestra’s "Chromatic Universe - Part 1," I used the 1970s compilation by Leonard Feather, which couples Jazz In The Space Age with New York, N.Y.—a great value with excellent sound quality. Aside from that one, all the other records in the mix are original pressings.
- Among the records you played this time, do you have any memories or stories about ones that were particularly difficult to obtain?
About 20 years ago, when Phil Ranelin came to Japan, I somehow managed to get his contact information. This was before the days of social media, so I honestly don’t even remember how I was able to express my thoughts to him. But afterward, I was fortunate enough to purchase some precious dead stock from his Tribe era directly from him. During our correspondence by mail, he sent me—along with what I believe were two or three other sets meant for others as well—a thick portfolio compiling his career, including newspaper and magazine articles, concert flyers, and photographs.
To me, Phil was already a hero, and I was just a record enthusiast. So I was truly struck and deeply moved by how humbly he presented himself and his work to someone like me. I had been focused solely on his past recordings, while he, as a musician, wasn’t looking back—he was always looking ahead, living in the present. That’s when I realized: it’s precisely because musicians keep their eyes on the future that such forward-thinking music comes into existence.
This experience had a huge impact on me—it was a major turning point that led me to not only dig into records but also start paying attention to current musicians and their work. And it instilled in me a desire not to keep these discoveries to myself, but to share them and help spread the word.
- Can you tell us about your approach to DJing?
Before I discovered spiritual jazz, I was collecting soul, funk, hip-hop, and blue-eyed soul. I also mix in club tracks like techno, traditional music from around the world, progressive rock, ambient, minimal, and contemporary jazz. As more and more DJ settings now offer acoustics that can faithfully reproduce the details of a record’s sound, I’ve found that I can more freely and spontaneously draw connections from the sound and feel of the instruments on the records I play. I place records on the turntable one after another, without sticking to genres, and try to find the best sonic moments from among the records I bring.
It was through digging for spiritual jazz records that I first discovered the deeper appeal of jazz. Since then, I’ve become passionate about compiling Japanese jazz label releases and curating or introducing contemporary jazz. Through that work, I’ve come to realize the powerful connection between the people and contexts that created jazz in the past and the jazz being made today—an ongoing lineage that has deepened my appreciation for music and its history. I’d be thrilled if listeners could share in that sense of discovery through my selections.
- Among the tracks or albums you played this time, is there one favorite that you often include in your DJ sets? If so, could you share the reason as well?
This ties into the previous question, but when I play with jazz as the central theme, I always include certain records that act as hubs—bridges that connect the jazz of the past with the world we live in today, records that carry a sense of the present and feel relatable. In that sense, Flying Lotus / Moment of Hesitation, which features Herbie Hancock, is one I often reach for.
Around this track, I like to build a set that moves through contemporary jazz and club-oriented tracks, as well as modern jazz—and even further back to big band and swing numbers. I enjoy crafting a time machine-like journey through the world of jazz, traveling back and forth across eras.
- Besides DJing, what stimulates your creativity?
I often find myself deeply inspired by conversations with fellow DJs at events or with the people who come to those spaces. It's not just about music—I gain insight from their perspectives and ways of life too. These moments spark new ideas and keep my curiosity alive.
These days, I also spend a lot of time with my child, and the imagination and creativity children possess is truly overwhelming and inspiring. They effortlessly create stories from their drawings, from the words they say—even from a miswritten kanji character. Their ability to imagine is so rich, so boundless.
We often go to the park, and I watch how they connect with others without needing words, instantly narrowing the distance between themselves and others. It feels like I’m witnessing a lesson in DJing—how to communicate and resonate through presence alone. There’s so much to learn from the power children naturally hold.
- Do you have any advice for those looking to start a career as a DJ?
It may sound basic, but I believe taking care of your health is essential. When I first dove headfirst into DJing, I poured my time and energy into building connections, digging for records, and immersing myself in music. But over the years, I’ve experienced the sudden loss of several people I deeply respected—and those moments have stayed with me.
Through those experiences, I’ve come to understand that as we get older, there inevitably comes a time when we need to shift our environment. That’s why I try not to cling to the past, and instead focus on taking care of my body and the things around me.
If your love for what you do remains strong, even if things aren’t perfect right now, I believe there will come a moment—at just the right time—when your unique talents and individuality will naturally come to the surface.
- What plans do you have for 2025?
I’d like to gradually move forward with recording projects for my label, Key of Life+. I’m planning to release an EP and continue organizing live shows and DJ events featuring Japanese jazz musicians.
I’m also hoping to put together a written work that highlights the contributions of women and non-binary individuals in the world of jazz. Interviewing DJs, artists, producers, and journalists—people who support the music scene in so many different ways—who share similar perspectives has been incredibly inspiring. Diving into the work of women from the past, the historical context, and how it all connects to what’s happening in the world today continues to be a powerful driving force behind what I do.
