A Love Supreme with Dae Bryant
Talking to Dae feels like rewiring my thoughts. When he described the connection between philosophy and music, I immediately related to his lived experience. He is someone who is creating his own way of living.
カテゴリー ミュージック
私たちはどのように聴いているのでしょうか？
私たちは音楽を、自分自身、そして世界の音やダイナミクスに深く耳を傾け、それに反応するという「ディープ・リスニング」の実践として捉えています。作曲家、ミュージシャン、その他のサウンドアーティストとの対話を通じて、瞑想、即興、そして共有される身体的体験としての音楽を探求します。
Photo © by CydScottPhotoMaking a Life, Not a Career: Listening for the Life That Wants to Grow with Paul Hansen
Paul Hansen is the person who inspired me to explore this theme I call Art of Life. When we last talked on Zoom, he said something that stayed with me: artists have to find their own way to live because no two lives unfold the same way. In this interview, Paul repeated that the essence of life is a long chain of decisions made based on one's own aesthetic sense, and that is what it means to be an artist.
Freedom to Flow with Todd Marston
No one ever actually told me how to live as a musician. There are many ways, and you have so much freedom to create your own way. And that’s not easy because the choices are endless. So, I started this series of interviews to ask my friends how they live as artists. This first interview was with Todd Marston, my long-time friend and a keyboard player, composer, and educator.
Let Me Have It All: Reconsidering Sly & the Family Stone’s Fresh
Sylvester "Sly Stone" Stewart died on June 9th, 2025. There have been a lot of narratives about his life and death, but less about his music, particularly his under-appreciated 1973 album, Fresh. True to its title, Fresh is lighter, more relaxed, and much more personal than any music Sly had written to date. It's also much funkier, as Sly had in turn embraced the deep grooves of the Bootsy Collins-era JBs of James Brown.
パーラメントの『マザーシップ・コネクション』を考察する5つの方法
2025年は、画期的なファンク・アルバム、パーラメントの『マザーシップ・コネクション』の50周年を迎えます。
Photo © by Christopher PelhamFinding Freedom in Music & Motherhood — Yukari Sekiya 関谷 友加里 at Studio T-Bone, Osaka (4/19/24)
While struggling to find contemporary jazz venues in Osaka, I stumbled upon Studio T-Bone, a venue supporting both live jazz and photography and decided to visit. Pianist Yukari Sekiya 関谷 友加里 and percussionist Naoto Yamagishi 山㟁直人 やまぎしなおと were improvising together. While I didn't manage to get to know them well on that occasion, I was delighted to spend time with the creative family members running the studio. A chance encounter months later unexpectedly brought Yukari back into my mind. When I reached out to her, she responded, and I've now learned what a deep and inspiring artist and person she is, opening the door to possible future collaborations. It was a powerful reminder that we can't always see right away why our intuition speaks to us. Sometimes, it may be setting something in motion far in the future or for a purpose quite different from what we imagine.
Photo © by Christopher PelhamSinikka Langeland — Channeling the Spirits of the Forest at Mokkiriya, Kanazawa, 4/21/24
This was the only night I could conceivably visit Kanazawa, and fatefully, Sinikka was performing at the historic Mokkiriya jazz cafe and live house, founded in 1971, on this night, on tour from Norway. Meeting her in western Japan was as fortuitous as it is unlikely. Sinikka performs jazz-inflected songs inspired by the traditional music of the Forest Finns on a 39-string kantele (a kind of harp that sits horizontally on a table) that are haunting and unforgettable.
Sinikka’s singing is as clear as a bell. Yet, the purity of her voice and her decisive intonation, coupled with the dulcet sounds of her instrument, also express something profound, conveying compassion, mystery, and an ancient knowing. Gently, her music flows all around us, free of impurity and full of wonder, like a spring whose pristine and paliative waters well up from some primordial source. I wanted to know what makes Sinikka’s music so grounding, purifying, and ethereal — and what she was doing in Japan!
Photo © by Christopher Pelham置き去られた鏡 The Forsaken Mirror by Chie Matsui 松井智惠 at Gallery Nomart, Osaka 4/20/24
On my last night in Osaka, I attended the closing night reception for the solo exhibition 置き去られた鏡 The Forsaken Mirror by celebrated artist Chie Matsui 松井智惠. The performance consisted of music by avant-garde musicians sara (piano, perc.) & Shin’ichi Isohata 磯端伸 (guitar) and a poem read in Japanese, Korean, and English by Chie, Yangjah, and Miho, respectively. At first, I didn’t know what to make of the performance or the abstract, brightly colored prints surrounding a centrally hung mirror. Eventually, in the space created by the disorientation and abstraction, I reflected on who these people were, who I was, and the various identities we experience throughout life, which proved enlivening.
Photo © by Christopher PelhamAsuca Hayashi 林明日香 — Song of the Earth, Tokyo (May 5, 2024)
On a sunny 5th of May — Children’s Day in Japan — I made my way to what seemed like an unlikely venue, Mifa Football Cafe, for a matinee child/family-friendly concert and luncheon called “Song of the Earth,” organized by the J-Pop singer Asuca Hayashi 林明日香. Mifa is located in Toyosu, one of a series of artificial islands in Tokyo Bay just southeast of the former Tsukuji Fish Market in Tokyo, a strange but fitting location. Both Asuca and the people of Tokyo were charting a new course in pursuit of more healthy, sustainable lives.
Photo © by Christopher PelhamThe Sound of Freedom: Pianist Hitomi Nishiyama at SUB (Osaka, 4/18/24)
My encounter with the well-known — but new to me — pianist Hitomi Nishiyama 西山瞳 at SUB Jazz Cafe, a seminal jazz club in Osaka, took me to places I never expected. Although she was playing jazz standards with a makeshift band, her music and career, characterized by curious changes in direction and exquisite elaborations on connections previously unrecognized, set us free.
Photo © by Christopher PelhamBack to the Garden at Candy Live Jazz in Kyoto (April 17, 2024)
On my second night in Kyoto, I went to Candy Live Jazz in Gion to see the trio of Kotono Nishimura 西村琴乃 (alto and soprano sax), Yuka Yanagihara 柳原由佳 (piano), and Ayuko Ikeda 池田安友子(percussion). I was not familiar with any of them, but from the start, I found their set, inspired by the spring season, infectious, rhythmically adventurous, and uplifting.
At times, most notably during Kotono’s number “Milky Way” from her album “Favorable Move,” I felt as if I’d been transported to a landscape untarnished by humans, where dawn is breaking over mountains in a river-fed valley of verdant splendor where you can hear birds singing and take a breath, like in a Thomas Cole painting, a place where you can look up on a clear, moonless night and be awestruck by the majesty of the Milky Way, so far away and yet seemingly so close.
Photo © by Christopher PelhamFacing Death, Finding Oneself at UrBANGUILD, Kyoto (April 16, 2024)
On my first night in Kyoto, I attended FOUR DANCERS vol281 at UrBANGUILD, a cafe/bar and multidisciplinary performance space in the heart of Kyoto. Like an old-school club on the Lower East Side of Manhattan, it’s dark, grungy, and covered in flyers. UrBANGUILD presents a wide variety of younger and older artists and draws an extremely diverse audience as well, making it a beloved oasis for contemporary and experimental performing artists in the otherwise more traditional and conservative-minded Kyoto. I came to see two artists in particular, Chizuko Kotani / 小谷ちず子 and Miwako Inagaki / 稲垣美輪子.