'My Homeport -Singing Soda-' is a passionate vocal album by composer and author Yoshimitsu Takuki?performing here under his moniker Jin Soda (known for his EWI performances)?created as a personal culmination of his life's journey.

In his twenties, Takuki's musical talent was recognized by Eikichi Yazawa's director, securing a debut with CBS/Sony. However, an aggressive recruitment push from Victor Records triggered a chain of misfortune and fractured industry relationships, causing his music to be overshadowed for years.

Undeterred, he went on to win the Shosetsu Subaru Prize for New Writers in his thirties, debuting as a novelist while never abandoning his passion for composing. At 38, he began studying guitar from scratch under jazz guitarist Hiroharu Yoshihara, eventually forming the guitar duo KAMUNA and releasing three albums. In his late fifties, he discovered the EWI4000S?an instrument perfectly aligned with his lifelong pursuit of pure melody. Releasing three albums under the name Jin Soda, he established a sound he calls "Digital Wabi-Sabi."

Now at age 71, Takuki delivers nine essential tracks using his current voice, casting them into the world as a time capsule. True to his philosophy of "Melody Supremacy," every track possesses a timeless, evergreen beauty?both gentle and resilient.

Hoping that in 50 or 100 years, when a new "era of melody" may return to the global music scene, someone will rediscover, sing, and play these songs, he now sends this album out into the turbulent seas of the modern world.

You can get it from almost all distributors.

This 16-track album was put together with the mindset that it might be my last songbook. It features a collection of fine songs, including tracks written since moving to Nikko, as well as reworked versions of songs I composed in my 20s and 30s. The 16 tracks include works that break new ground, drawing inspiration from sources such as the *Hyakunin Isshu（百人一首）*, *The Pillow Book（枕草子）*, and the *Iroha Song（いろは歌）*.
The album was recorded and mastered at Tanupack Nikko Studio over a period of more than 10 years.

The long-awaited third installment of the "Digital Wabi-Sabi" series by EWI (Electronic Wind Instrument) player Jin Soda is here.

While Vol.1 and Vol.2 heavily featured EWI performances mimicking the rich textures of violins and cellos, Vol.3 marks a bold return to his roots. This album shines a spotlight on the raw, iconic internal sound engine of the legendary AKAI EWI4000S. Furthermore, to capture the true essence of a wind instrument, these tracks were not recorded via line-in. Instead, the sound blasting from the speakers was captured live in the room with studio microphones?preserving every breath, subtle air movement, and raw nuance. In today's AI-driven music era, this project is a definitive statement: using digital instruments while fiercely protecting the organic, analog warmth of human life.

At the core of Jin Soda’s artistry lies a single, uncompromising philosophy: The Absolute Supremacy of Melody.

Unlike many jazz players who chase dazzling virtuosity and theoretical perfection through complex chord scales, Jin Soda believes that improvisation itself must be a beautiful, singular melody. His approach is strict and pure?recording only the spontaneous notes that ring in his mind at that exact, fleeting moment. Now in his 70s, this conviction has grown even more profound. In Vol.3, his "Digital Wabi-Sabi" worldview deepens, meticulously weaving improvisational phrases into a stunning mosaic that harmonizes perfectly with the main theme.

As with previous volumes, all non-EWI accompaniment (primarily acoustic nylon string guitars and programmed bass) is multi-tracked and performed entirely by Jin Soda himself, with the sole exception of the track "Engage."

Experience a masterful blend of the digital and the organic. Listen to the breath of a soul inhabiting the machine.

The 1980s was the golden era of Japanese pop, a dazzling decade dominated by iconic idols such as Seiko Matsuda, Akina Nakamori, Momoko Kikuchi, and Yoko Minamino.
Amidst this glittering galaxy, there was another voice - a remarkably talented high school girl who possessed a pure, unforgettable sound.

In her sophomore year, she applied for a joint talent search by the legendary Momoco magazine and the cult-classic film franchise The Hole in the Underpants (Pantsu no Ana). She was chosen, given original songs, and spent her days in the studio recording for a major-label debut. Yet, due to a twist of fate, her music was never released to the world. She became a tiny shooting star - shining with brilliant potential, yet passing through the night sky unnoticed. Her name was Chiaki Nishimura.

Now, nearly half a century later, this album brings her entire lost catalog to light, preserved exactly as it was intended.

Every track is written by the composer who originally discovered her, featuring the authentic, nostalgic pulse of the 1980s: the iconic Roland D-50 synthesizer and the driving beats of the TR-707 drum machine. Chiaki's innocent, crystal-clear vocals pierce through time, shining just as brightly as they did decades ago.

Shin-Shoka (Songs of Timeless Melodies for the Next Generation) is a visionary musical project born out of a deep concern for today's music scene. In an era where complex rhythms and visual over-production often overshadow the pure beauty of a melody-leading to a decline in foundational pitch and ear training for children-this album reclaims the power of song. It features 21 completely original, beautifully simple, yet unforgettable melodies created to be passed down as a time capsule for generations to next 100 years.

This collection was crafted by Yoshimitsu Takuki, the composer heading the TANUPACK label, under his artistic alias Jin Soda.

The album is a rich tapestry of stories, emotions, and lessons:

* The Voice of Nature: Tracks like 'The Pheasant's Cry: "I Am Here" and 'The Satoaogaeru Frog Song' speak for the wild birds and frogs fighting to survive in the changing countryside.

* The Joy of Ear Training: 'The Do-Mi-So Song' is designed to naturally nurture a child's sense of relative pitch through the foundational syllables of solfege.

* Reviving the Classics: 'Akatonbo Plus' (Red Dragonflies) adds a beautiful new chorus to Japan's most famous traditional melody, poignantly coloring the bittersweet bond between a young child and the teenage nursemaid sent away for forced labor.

* Humor & Genre: Songs like 'Your Natto Rock' and 'Komainu Blues' introduce children to the joyful spirit of rock and jazz-blues with wit and playfulness.

* Universal Love: 'Arigato (Thank You)' and 'God Bless Us All With Love' transcend borders and generations to speak directly to the human heart.

From young children discovering their first notes to adults seeking genuine, soulful music, this album is a gift for everyone around the world. We invite you to listen deeply, sing along, and play these melodies yourself. Let the music live on in you.

This is the first album released by EWI player Jin Soda. Is it impossible to capture the essence of wabi-sabi digitally?
The violin tones that run throughout the entire album are all produced by the EWI.
This album breaks new ground by pursuing the essence of melody while crafting a harmonious ensemble.

The second installment in the Digital Wabi-Sabi Series, which pursues melody-first composition through the EWI’s new expressive capabilities.
As the album title suggests, this release also highlights the piano solos, which were meticulously programmed note by note using a mouse.

This compilation album was put together as a requiem for Tanupack Abukuma - a project that had to be abandoned due to the nuclear power plant explosion - while reflecting on the seven years spent in the Abukuma region.
It includes remix versions of tracks from Tanupack’s first CD album, *A Raccoon Dog and the Sheet Music(狸と五線譜)*, as well as “Gray’s Keyboards,” featuring cello arrangements.
As a best-of compilation featuring Takuki Yoshimitsu and KAMUNA, this might be the perfect “trial” album for first-time listeners.

It’s been 30 years since that nightmare?the group disbanding right in the middle of recording our debut album at Victor. And another 12 years have passed since I independently produced “SONGBOOK2,” a collection of songs featuring female vocals, while still unable to bring myself to move on. Finally, the original “SONGBOOK1” is complete.
Some of these songs were written as far back as the 1970s. They were all recorded at Tanupack Abukuma Studio during the depths of winter.

This is the first release on the Tanupack Label. It was highly praised by author Hiroyuki Itsuki, who featured it on his radio show for three consecutive weeks. It was also covered by various media outlets, including the Yomiuri Shimbun, NHK, Fuji TV, and Reuters, and generated a great deal of buzz.
Parts of the album incorporate actual tanuki calls, used much like musical instruments.

A re-release of a collection of songs for women originally written in the 1980s. The track “Arigatou,” with lyrics by Hiroshima’s genius poet Akira Kurisu (sung by Midori Shimizu), has become a hot topic. The album offers a rich variety of music, ranging from the refreshing vocals of high school student Chiaki Nishimura?reminiscent of a young Seiko Matsuda?to the passionate performance by the talented jazz singer Midori Shimizu.

As indicated by the subtitle “KAMUNA 3,” this is the third album by the guitar duo KAMUNA. The title track, “Orca’s Song,” was once known as “Orc’s Grief” and played late at night on NHK BS for a long time; it remains a song with a strong following to this day.
This album includes two versions of the song: a vocal version and a new guitar take. In addition, the album is packed with new tracks, including “Two Note Waltz,” which Takuki proudly calls “his most confident work.”

Guitar duo KAMUNA’s second album. Featuring a more refined sound, it is the band’s most highly regarded album among guitar fans. Listeners can fully enjoy Kanji Yoshihara’s brilliant thumb-octave technique and his soulful distortion solos. This classic album received high praise in *Jazz Life* magazine. Its recording quality also earned it the Runner-Up Award for Best Recording from *Monthly Stereo* magazine.

The debut album by the guitar duo “KAMUNA.” The first track, “Orc’s Grief” (later retitled “Orca’s Song”), was played late at night on NHK BS for a long time. Many of you may have heard it before. Several customers have placed orders saying, “I’ve been looking for this for a long time. I finally found it!”