Finally the pandemic is over (hopefully). I arranged music for the Metropolitan Opera Orchestra for the US Open closing ceremony (performed by Will Liverman and Yannick Nézet-Séguin), which was a meaningful project. I also composed Mushroom Holiday for the Mycological Society’s film festival, marking a creative milestone.

2023

2024

Celebrating 20 years of performing, I had my first artist residency in Norway, where I developed the “Circle Score” music reading system. I also reconnected with Tiziano, a Berklee friend, and performed with him in Italy. Additionally, I joined Ken Shoji’s improvisation group in New York, further expanding my musical collaborations.

2025

In 2025, I focused on both the production and performance of my solo piano work.

My solo piano recordings were mixed and mastered in Oslo, Norway, marking an important step in my artistic development.

That same year, my solo piano performances became a regular feature at Debbie’s, allowing me to share my music with a wider audience.

I was also actively involved in performances with Ken Shoji’s Spontaneous Trio, further deepening my exploration of improvisation.

To celebrate 20 years of my musical practice, I presented a special program of compositions written throughout my career at Sunny’s Bar.

2022

The third year of the pandemic. As live performances resumed slowly, I was still not ready for getting gigs. While I remained careful about risks, I appreciated the opportunities that came my way.

2021

The second year of the pandemic was similarly quiet. I focused on online teaching and stayed cautious, reflecting on how to re-engage with music when the time was right.

2020

The pandemic halted most musical activities, but I continued teaching piano online and appreciated the New York Symphonic Brass performing my piece, keeping some connection to live music.

2019

I released The Doggy Cats’ first album and spent the year promoting it through performances and events. It was fulfilling to see the band’s music reach a wider audience.

2018

This year, I held my first solo art exhibition at Sunny’s Bar. It was a turning point that encouraged me to explore other forms of creative expression more than music.

2017

I began focusing more on solo piano improvisation while keeping The Doggy Cats active. Teaching piano became a larger part of my life, helping me stay financially stable while pursuing music.

2016

The Decoda Cello Quartet performed my work for the Carnegie Hall Community Concert Series. I also formed The Doggy Cats, a brass band in Red Hook, Brooklyn, which became an enjoyable and creative outlet and start performing at Sunny's Bar.

2015

I moved to New York City and began building a new life, writing for the New York Symphonic Brass and Halcyon Chamber Series. Adjusting to the financial and social challenges of New York was difficult, but I appreciated the fresh start. This year, I also returned to Japan for the first time in six years.

2014

Struggling with depression, I reached out to friends in New York City, including Dos Allen, who introduced me to new communities. The New York Symphonic Brass performed my music at Fish Church in Stamford, CT, and I started collaborating with Dos on a contemporary jazz ensemble. I also began visiting Sunny’s Bar in Brooklyn, which became an important creative space for me.

2013

The Boston Cello Quartet premiered my third piece at Tanglewood. While I was grateful for these opportunities, I started feeling isolated in Boston as friends moved away and the performance scene shifted.

2012

The Boston Cello Quartet continued to perform my piece, and I wrote another work for their premiere at Ozawa Hall. I also began arranging music professionally, which taught me valuable lessons about the industry. While opportunities to perform my own music became limited, I focused on building my skills.

2011

I wrote a piece for the Boston Cello Quartet, part of the Boston Symphony Orchestra’s chamber group, which premiered at Ozawa Hall, Tanglewood. This was a milestone for me, as I had always admired the Boston Symphony. For my senior recital at Berklee, I composed for a string orchestra and big band, coordinating over 30 musicians for rehearsals and performances. And finally graduated Berklee with Magna cum laude.

2010

At Berklee, I focused on jazz composition and was fortunate to receive the Wayne Shorter Award for my writing. I also started taking courses in string and musical writing, which expanded my understanding of composition.

2009

In February, I traveled to New York City for the first time with Senzoku’s jazz study program, which was an inspiring experience. After graduating from Senzoku, I moved to Boston to study at Berklee College of Music. Adjusting to a new culture and language was difficult, but I learned a lot about resilience and adaptability. Since I hadn’t had the chance to learn English before, I enrolled in Berklee’s English program, IMELI, to catch up. It was an eye-opening experience—not just for the language skills I gained, but for the incredible friendships I made with people from all over the world. It amazed me how deeply we could connect and communicate, even when words sometimes failed us.

2008

This was a year of growth and collaboration. My senior concert at Tenmado Ebisu (恵比寿天窓スイッチ) included performances by Dizz Band, Starfall Orchestra, and my jazz quintet. I auditioned for Berklee’s Global Scholarship program and was selected, setting the stage for the next chapter.

2007

I wrote my first major composition containing 1 hour to perform, Crow and Sea, and premiered it with Dizz Band at Next Sunday Asagaya in Tokyo. I also began performing at restaurants like Nadaman (なだ万) and venues like IKEA, gaining more practical performance experience. Kanipan disbanded, and the leader Hiroko Shionoya started a swing jazz project, Coconuts Minako, which I supported while continuing with several of my projects.

2006

I continued performing with Dizz Band and Kanipan. This year, Ryoko and I formed a J-pop group called La Belta and Starfall Orchestra, which broadened my experience in different musical genres.

2005

I entered the Jazz Course at Senzoku College of Music. Netsukingyo disbanded as members pursued different paths, but I stayed connected with a few of them through new projects. I joined the ska band Kanipan and started my own group, Dizz Band, initially playing theme park music but quickly transitioning to my original compositions.

2004

Netsukingyo became more active, performing in competitions and building our repertoire. I also returned to the Senzoku jazz camp, deepening my connections with other musicians.

2003

In high school, I joined the Senzoku College of Music Winter Jazz Camp, commuting over two hours each way from Chiba to Yokohama. This was my first time meeting musicians outside the classical world. My jazz ensemble group included Ayaka Hirahara who was about to become a big star at that time. Inspired by this new environment, My friend Hisae formed a band, Netsukingyo (熱金魚 “Fever Goldfish”), and we began rehearsing in Shibuya.

2002

I studied at Yamaha Music School until 2002. Though I wasn’t a standout performer, I appreciated the structure and routine of my lessons.

Early Years

I started learning music at the age of three through Eurhythmics, which helped me develop a strong sense of rhythm and solfège. At six, I began classical piano lessons at Yamaha Music School, studying with three different teachers until I was 15. One teacher was especially strict, even hitting my hands for mistakes, which was challenging. I was below average compared to my peers but continued anyway, learning that persistence often outlasts talent. Annual recitals were always nerve-wracking but rewarding.

SCHEDULE OF 2026 IS HERE. PLEASE CLICK TO CHECK.

2026