tabtabt All jazz spots in the city were the target points to investigate in first priority. There was one of such shops on Station Avenue parallel to Central Avenue. While I cannot remember the name of this shop now, I temporarily name it as G-Spot here. This shop was long and slender from the entrance to the audio-room, the inside of the tunnel was filled with darkness, and a glassed lattice door occupying the opening, came to be a luminous rectangular body of color temperature 2000 Kelvin (near a candle flame), and projected something like a belt of lights dropping from a skylight of a church.

tabtabt I sat on a seat near the entrance and there were no other customers. A man who came out from the audio-room was not the young operator usually in sight but a senior-middle-aged man whom I had never seen before. The man had a short but strongly built physique and in his features, a kind of rudeness and dignity appeared in half and half. Think this new operator was already strange, the music which he played up took me entirely by surprise. The sounds spouted out all of a sudden from the speakers in the four corners were electric-guitars' high-key (not black) sounds, moreover they were mingled with men's and women's vocals. Concerning the jazz-scene in Sendai of those days, it must have been natural that I felt at once "This is not a jazz."

tabtabt I went to take the album-jacket displayed before the audio-room to research the meaning of "the matter". It was the new album of Quincy Jones. Quincy was a leading figure of the jazz world who already had won his fame, and I found that these days, he divorced his wife who had shared their joys and sorrows for a long time, and married a younger new woman. Did the case come to be a momentum to make him move to his new music? or else did such a case occur incidentally as a result of whatever his music obtained new tones?