1970: Akira Miyazawa Quartet - “Asama”

In a recent Q&A on reddit, someone asked Steve Albini why he didn’t like jazz music.

“Because it sucks and I’m tired of hearing about it. Believe me I’ve tried. I just hate the parts I hate about it more than I like the little things there are to like. The batting average is just so low I can’t bear the dead time between highlights being filled with all that noodling. It’s vain music.”


Of course, I can sorta understand the impulse behind his reaction to a lot of jazz. If above all else you value compositional structure in music, so much “noodling” could be a big turnoff. Eitherway, Albini’s assessment immediately made me question what I valued most in jazz music, so I turned to some beloved tracks to help me figure it out. Going through my ‘favorites’ playlist on YouTube, I was pleasantly reminded of “Asama,” an early-70s flash of manic but syrupy free-jazz from the Akira Miyazawa Quartet.

I guess the track has a lot of “in-between noodling” — it begins with a beautiful, almost Dave Brubeck-esque theme, backed by a droning string sound, before plummeting into a more chaotic and free approach to soloing. What is there to value here? For one — as if I even have to say it — the energy! How the drums would seem batshit crazy taken alone, but in the context of the song glue everything together through intense, driving interplay. It creates a continuously evolving suspense that is never truly satisfied. But that’s the joy of it all, to me — those “in-between” moments that make you question how it’s all held together.

“Asama” doesn’t feel overtly academic or showoff-ish. It’s more about capturing lightning in a bottle, finding excitement in the ephemera of performance and interaction. You could argue the same spirit resides in most visceral, thrilling music.


There’s a lot of good music out there, and it’s not all being released this year. With DeLorean, we aim to rediscover overlooked artists and genres, to listen to music historically and contextually, to underscore the fluidity of music. While we will cover reissues here, our focus will be on music that’s not being pushed by a PR firm.