Stepping toward the stage, one’s eyes are immediately drawn to the high-set cymbals of Akira Jimbo’s custom black Yamaha drum kit. To the right, two Yamaha synthesizers stand stacked; to the left sits a white bass, seemingly a Japanese handcrafted masterpiece. Clad in all-white, the three members—Akira Jimbo (Dr), Minoru Mukaiya (Synth/Piano), and Tetsuo Sakurai (Bass)—take the stage. The moment the performance begins, the first piano note strikes like a bold opening gambit, pulling back the curtain on an extraordinary evening.

The air is thick with notes. Perhaps because they are a trio, each member’s personality feels remarkably three-dimensional. Beyond the band, synthesist Minoru Mukaiya is a renowned video game composer who famously crafted the departure melodies for over 110 train stations across Japan—scoring the adolescent fantasies and daily commutes of millions. By the 1980s, these three were already titans of the scene. Veterans of the world-touring band "CASIOPEA," having navigated departures and solo careers, they are now reunited. We are fortunate to witness a massive fragment of history—musical energy accumulated over more than half a century.

In certain corners of the world, crate-diggers still unearth the works left by these pioneers. CASIOPEA’s 1979 self-titled album remains a subject of endless discussion among fans. Whether they are Vaporwave and Synth-Pop enthusiasts admiring the first generation of synth wizards, or Jazz-Fusion aficionados studying the classics, this trio is an unavoidable force.

Standing alongside legends like Chick Corea, Weather Report, Return to Forever, YMO, Masayoshi Takanaka, and T-SQUARE, Katsushika Trio continues to write this epic chapter.

The opening track, "M.R.I_Mirai," from their 2023 album, features an intro melody steeped in "Oriental" colors. The rhythmic synchronization is flawless, reminiscent of 90s British electronic artist Squarepusher’s experimental approach in Hard Normal Daddy—that perfect balance of breakbeat and jazz harmony. It isn't purely electronic; rather, it amplifies the "mechanical texture" of the performers, transforming it into a new musical vernacular. When asked how he hones his craft, Akira Jimbo once mentioned that modern drummers learn at an incredible pace, and he constantly absorbs new techniques. Perhaps he, too, was inspired by millennial rave music? Or perhaps it was Squarepusher who was originally inspired by bassist Tetsuo Sakurai.

The high-energy live spirit of CASIOPEA, and later the duo JIMSAKU, is precisely what allows them to create such a rich musical universe.

"Spaceman’s Shuffle" opens with what feels like the distilled wisdom of Latin music, while spacey synth tones add a cinematic sci-fi flair. "Bright Life" features a classic 80s drum intro—think Phil Collins meets Stevie Wonder. Mukaiya plays a perfect hook that induces a trance-like state, while Jimbo’s drumming dialogues with the melody, providing the perfect final touch.

Additional Listening:

"a la moda" leans heavily into Tango rhythms. Legend has it that Tango was born from the flirtatious, clandestine trysts of South American youths. It’s charming to think a whole genre was birthed from such heart-pounding moments, isn’t it?

The term "Jazz-Fusion" explains itself: the fusion of free improvisation and diverse genres. To create such music requires a vast internal database—a true synthesis of ethnic cultures, languages, and grooves. At a Katsushika Trio show, it might be Samba one second, Shuffle the next, followed by a rhythm section that opens a narrative door for the synthesizer to play a dreamlike theme or echo a Clave rhythm.

"Katsushika de CHA CHA CHA," from their latest 2025 release, features a collaboration with a brass band, adding subtle layers to the Trio. It’s a playful Cha-cha-cha where they capture the humor within the groove: Sakurai uses his bass to mimic whistling, while Mukaiya simulates a string section via synth. Jimbo holds back here, maintaining the danceable swing and giving the audience a breather before the next musical wave hits.

A song like "My Precious Heart" provides necessary breathing room before "Origin" opens with a tense atmosphere, quickly shifting into a dynamic Soca or Afrobeat rhythm that transforms unease into a sensual Latin dance.

When the graceful piano intro of "Red Express" begins, the drums follow with tender precision. Jimbo is an exquisitely detailed drummer; every movement is an interaction with the instrument. A single cymbal or drum can possess a thousand moods depending on the angle, force, and timing of the stick. The ending features a complex unison phrase where Jimbo "sings" through his drums, his pitches echoing the melodic rise and fall. After individual improvisations, the musicians instantly "fall back in line" to complete the unison phrase.

A Katsushika Trio performance is composed of many segments where the players decide the length through eye contact—the improvisational telepathy of jazz musicians and, undeniably, a form of real-time composition. They improvise around a motif before returning "home" to the original theme. A Taiwanese musician once said of the genre, "Past is passed—that is the essential spirit of Jazz." Let this be our conclusion and perhaps a hint for life. May you, dear reader, live a life as diverse and free as jazz when facing different values. Blessings!