Masayuki "Jojo" Takayanagi Second Concept - Cool Jojo
Masayuki "Jojo" Takayanagi Second Concept - Cool Jojo
Takayanagi - Cool Jojo – audiophile vinyl record / vinyle audiophile
Masayuki "Jojo" Takayanagi Second Concept - Cool Jojo
Masayuki "Jojo" Takayanagi Second Concept - Cool Jojo
Takayanagi - Cool Jojo – audiophile vinyl record / vinyle audiophile

Masayuki "Jojo" Takayanagi Second Concept - Cool Jojo (Japanese edition)

€85,00
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Masayuki Takayanagi – guitar

Kenji Kohsei – piano, electric piano

Nobuyoshi Ino – bass

Yasuhiro Yamazaki – drums

 

 

1 LP, standard sleeve with OBI strip and insert

Limited edition – Japanese import

Remastering & cutting by Mixer's Lab (Warner Music Mastering)

Heavy Press : 180g

Record color : black

Speed : 33 RPM

Size : 12”

Stereo

Studio

Label : Sony Music Japan

Original Label : Three Blind Mice 

Recorded December 3-5, 1979 at Epicurus Studio, Tokyo

Engineered by Yoshihiko Kannari

Produced by Takeshi Fujii

Originally released in 1980

Reissued in June 2026

 

 

Tracks:

Side A :

  1. Froggy Day
  2. These Things
  3. Hi Beck
  4. Palo Alto

Side B :

  1. 317 East 32nd
  2. Subconscious Lee
  3. My New Flame
  4. Lennie's Pennies

 

 

Reviews:

2026 Repress. Recorded over three December days in 1979 at Epicurus Studio in Tokyo and issued the following year, Cool Jojo documents a side of Masayuki "Jojo" Takayanagi that sits at considerable remove from the noise-as-method work he was simultaneously pursuing with the New Direction Unit. The guitarist's Second Concept was his vehicle for an explicit return to the Tristano school — the lineage he had absorbed as a young player in postwar Tokyo and never fully set aside — and the programme makes the allegiance unambiguous: three pieces from the Lee Konitz book (Hi Beck, Palo Alto, Subconscious Lee), two from Lennie Tristano (317 East 32nd, Lennie's Pennies), a reading of Kenny Ball's Froggy Day, and a pair of Takayanagi originals (These Things, My New Flame).

With Kenji Kohsei on piano and electric piano, Nobuyoshi Ino on bass and Yasuhiro Yamazaki on drums, Takayanagi pursues the long-line, harmonically extended phrasing that defined the Tristano circle — clean tone, contrapuntal alertness, an insistence on melodic logic over rhetorical heat. Heard against his concurrent free work, the record reads less as retreat than as method study: a player demonstrating that the discipline he was dismantling elsewhere remained intact at the source.

 

 

Ratings :

Discogs : 4.89 / 5

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