［Description］

An analog release of a work reconstructed by J.A.K.A.M. (JUZU a.k.a. MOOCHY) from an improvised session recording that lasted for 8 hours in live venues and studios in Kyoto from 2018 to 2022.

Released by J.A.K.A.M.'s label CROSSPOINT in 2012, the ensemble YAKAZA ENSEMBLE from Istanbul, Turkey, gathered as the collaborating band during the 2015 Japan tour. The four musicians consisted of Christopher Fryman (trumpet), Atsushi Sakata (shamisen), Yuuji Hiromoto (tabla), and KND (electronics).

J.A.K.A.M. dismantled and reconstructed the 8-hour improvised session recordings that took place from 2018 to 2022 in Kyoto. He visited the Kyoto Imperial Palace to gain inspiration for the work, where he found commonality between the beauty of "nature" hidden in their improvisations and the view of the garden, where trees and flowers were likened to "nature" itself. Like a gardener, J.A.K.A.M. meticulously arranged and mixed the music while drawing parallels to the ever-changing nature observed in the garden.

Capturing the natural transformations over time within the confines of music, this unique work can be described as "garden music."

*ZEN ENSEMBLE:*
- Trumpet: Christopher Fryman
ovedBorn in Manchester, UK during World War II, raised in Canada, and then moved through Australia, Papua New Guinea, and Tokyo before settling in Kyoto over 30 years ago. He worked in film, television, and theater for 40 years before retiring from the film industry. As a composer and trumpet player, he has been involved in jazz bands, gypsy music, free improvisations, and dance music.

- Shamisen: Atsushi Sakata a.k.a. Tokyo Gettou Shamisen
Shamisen player and musician. In 2008, he began his career aiming to create indigenous music rooted in Japan's climate and began his activities based in Tokyo. In 2012, he moved his base to Kyoto, where he created a lifestyle centered around self-sufficient farming, aligning with nature and experiencing the nuances of the four seasons. He acquired the skills of the Takayama-ryu (“ryu” means a traditional play style) Tsugaru Shamisen in 2013 and has since studied classical shamisen music such as minyo, “Shin-Uchi” and “Nagauta”, as well as traditional music from East Asia. Through various traditional cultures and beliefs, he learns about indigenous spiritual culture and refined aesthetic consciousness. He has performed extensively in various stages, shrines, temples, streets, and nature, collaborating with various musicians to create his unique shamisen music that breathes in the contemporary world.

- Tabla: Yuuji Hiromoto
A tabla player is mainly active in solo activities. He went to India in 1995, where he began learning Banaras-style tabla. Around 1999, he began performing extensively in India and Germany. Since then, he has explored and developed his unique sound by interacting with various artists of different genres, focusing on Indian classical music. He actively performs live mainly in the Kansai region.
- EFX: Tadashi Kondo a.k.a. KNDSOFT, Kobeta Piano, KOKENSHOW, EUTRO, UCND, Final Drop, Goo Choki Paa, etc.
An electronic musician and producer who is active as a member of various groups such as KNDSOFT, Kobeta Piano, KOKENSHOW, EUTRO, UCND, Final Drop, Goo Choki Paa, etc. He has been involved in various works as a sound engineer and has worked on many notable albums.

-Artwork & Design: QOTAROO
He began his career as a house music DJ in high school. In his twenties, he starts to learn graphic expression on his own after gaining experience as a booking manager for nightclubs and attending Burning Man. Since then, he has continued his activities rooted in club and music culture. 
He has worked on a vast number of music-related artworks, graphic designs, and art directions, such as album covers for various musicians/DJs and flyers for underground parties throughout Japan. Known for leading the Kansai party scene in the 2000s, QOTAROO translates the emotions and vibrations of the moment when DJs release their music into visual expressions. "When creating flyers or album jackets, I think of colors as melodies and shapes as grooves, translating from auditory to visual," he says. "Seeing sound. Hearing light." This perspective is the essence of QOTAROO's design.