Source: The Wire.
A large part of Teruto Soejima’s Free Jazz In Japan: A Personal History, recently translated by Public Bath Press, focuses on the early years of free jazz in the country. The selection here follows the music’s recorded history from its 1969 starting point to the end of the 1970s.
Although emanating from a small pool of musicians often working in overlapping units, the music was already very diverse by 1969–70 (tracks 1–5). American points of departure are audible, in Masahiko Satō’s piano playing or in bassist Motoharu Yoshizawa and saxophonist Mototeru Takagi’s use of the Ornette Coleman classic “Lonely Woman”, but the music is already quite unlike what could then be heard elsewhere in the world. Masahiko Togashi’s finely articulated drumming, Takagi’s reeds playing, or guitarist Masayuki Takayanagi’s radical Mass Projection methodology, all constitute individual additions to the free playing canon.