Otodama is a musical encounter between a flutist and a percussionist which brings about a meditative improvised music, where silence and all its noises are considered as a third musician.

Listening is the main architect and does not put a hierarchy between the surrounding sounds and the musical sounds.

Otodama went to record in the forest whose sounds are a source of inspiration whatever the musical context in which the duo performs.

The exploration of inner musicality, free, without any demonstrative will, makes the flutist slide at times towards percussion and the percussionist towards the breath. Thus, the roles are sometimes exchanged, the blowing becomes tapping and the tapping becomes blowing.

Beyond the sounds of the forest, the sounds of the musicians, the sounds of silence, it embarks on the sound journey and finding the path that leads to the origin of all these sounds, life and its creative energy, and of trying to sculpt a musical form from them.


Otodama est une rencontre musicale entre Yukari (flûtes) et Luc Müller (percussions) dont le résultat est une musique improvisée méditative, où le silence et tous ses bruits sont considérés comme un.e 3ème

L’écoute en est l’architecte principale et ne met pas de hiérarchie entre les sons environnants et les sons musicaux.

Otodama est allé enregistrer sa musique dans la forêt, dont les sonorités sont une source d’inspiration quelque soit le contexte musical dans lequel le duo se produit.

L’exploration de la musicalité intérieure, libre, sans volonté démonstrative, fait glisser par moment la flûtiste vers la percussion et le percussionniste vers le souffle. Ainsi il arrive que les rôles soient échangés, le soufflant devient tapant et le tapant devient soufflant.

Au-delà des sons de la forêt, des sons des musiciens, des sons du silence, il s’agit surtout de se mettre à l’écoute et de trouver la voie qui mène à l’origine de tous ces sons, la vie et son énergie créatrice, et de tenter d’en sculpter une forme musicale.



“Kamisama no Uta”

Koichi Sato (piano), YUKARI (flute)



Yukari’s Spicepot 3  -Thomas Morgan (bass), Satoshi Takeishi (Percussion/Drums)

Yukari’s spicepot  

Spices from all over the world gathered into one pot, bringing its rich aromas and flavors to discover an unknown blend…

Yukari’s Spicepot honors spontaneity and bravery to take risks, honesty to face our faults and embrace our beauty. Being apart and reunifying with the trust, allowing silence in music to encompass the parallel world to expand our limit and let go ourselves.

The band concept of Spicepot is created in 2003 in New York in order to keep exploring life and ourselves through improvisational music.



Yukari’s spicepot  

Des épices du monde entier réunies dans une même bocal, apportant leurs riches arômes et saveurs pour découvrir un mélange inconnu…

Yukari’s Spicepot honore la spontanéité et le courage de prendre des risques, l’honnêteté d’affronter nos défauts et d’embrasser notre beauté. Être séparé et se réunir avec la confiance, permettre le silence dans la musique pour englober le monde parallèle afin d’étendre nos limites et de nous laisser aller.

Le concept du groupe Spicepot a été créé en 2003 à New York afin de continuer à explorer la vie et nous-mêmes à travers la musique d’improvisation.

CD “SYNCHRONIC” was released from QFTF in October 2017.



Review about CD “Synchronic”

All About Jazz

YUKARI With THOMAS MORGAN / SATOSHI TAKEISHI – Synchronic (QFTF 025; Earth) Featuring Yukari on flute, alto & bass flutes, Thomas Morgan on contrabass and Satoshi Takeishi on drums & percussion. The last time we heard from Japanese flutist, Yukari, was in 2011, when she played at DMG and left us with a couple of her fine CD’s. In the past Yukari has worked with Ben Monder, Carlo Costa and Greg Osby. She has been living in Brooklyn for the past 13 years and considers this disc to be a snapshot of Brooklyn. Yukari here works with a formidable Downtown rhythm team, the ubiquitous Thomas Morgan (for Bill Frisell, David Binney, Scott DuBois & Paul Motian) and restless drummer, Satoshi Takeishi (Michael Attias, Erik Friedlander & Patrick Zimmerli). I just caught Satoshi Takeishi last night with Gordon Grdina at Cornelia St., reminding me once again of what an important part he is of the Downtown Scene.
This first thing I noticed about this disc is how well it is recorded, a perfectly balanced well-recorded trio. On the opening track, “Les Oiseaux”, the trio is swinging hard, effortlessly with a joyous, uplifting vibe. On the title track, Yukari, sails along with the strong, skeletal rhythm section. The is a robust, dynamic and powerful trio and they work strongly together. From what I can half of these songs were written by Ms. Yukari, the rest improvised by the trio. For many years, I thought that Nicole Mitchell’s trio with Harrison Bankhead & Hamid Drake were the best flute trio anywhere. This trio can certainly give them a run for their money. Thomas Morgan’s powerful bass is often at the center of many of the pieces, spinning a web, casting a spell, never playing too many or two few notes to keep this trio perfectly balanced. There are a few pieces where we can here what sounds like fragments of written parts. There are some pieces which stand out, like “363”, where Yukari overdubs a couple of complex flute lines near the end. No matter how free certain pieces appear to be, there is something magical that keeps this trio consistently focused, playing as one force of nature. In the past year, DMG has had performances by master flutists: Robert Dick and Jim Denley, as well as an especially great set from Nicole Mitchell (w/ Joelle Leandre & Melanie Dyer) at the Vision Fest. Once we get to hear a set from Yukari, we will have seen & heard the best flutists of the current creative scene. Lucky us!

– Bruce Lee Gallanter, DMG  July 2018





Shoko Nagai (piano), Pascal Niggenkemper (bass), YUKARI (flute)


Miya Masaoka (Koto &Electronics), Tamaya Honda (drums)

@Pit Inn 2016

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