Discovered by the Japanese legend Terumasa Hino, Jun Miyake started his career as a Jazz trumpeter, graduating Berklee College of Music. As he came back to Tokyo, he became an influential artist, as well as a successful composer.. Miyake has closely worked with Pina Bausch, Wim Wenders, Robert Wilson, Oliver Stone, Jean-Paul Goude, Philippe Decoufle, etc, as well as collaborations with artists such as Hal Willner, Arto Lindsay, Arthur H, Vinicius Cantuaria, Bulgarian Voices, David Byrne, Grace Jones, Gavin Friday, Ron Carter, Michael Brecker, and many others.
With his ability to blend the most seemingly disparate element of music, he has achieved much respect throughout the world. Miyake’s album „Stolen from strangers“ has been selected as „best album of the year“ for numerous European music magazines, and the Grand Prix for the German Record clitics Award 2008.He has been selected as „man of 2009“ by Galerie Lafatette homme. Wim Wenders film „pina“ which Miyake contributed core music for has been awarded as „best documentary film“ by Europian film award 2011, Nominated for Academy award 2012
June Miyake’s music comes light-footed as the bossa nova, accessible as sophisticated pop and refined and versatile as lively jazz. Lost Memory Theatre is an ever-changing constellation of sound images and scenes, bossa nova and reggae, Kurt Weill and Nino Rota, chanson and symphony, jazz and improvisation, rock and folk: the album is a must-hear from start to finish, mixing all styles and genres to create a hybrid of musical genius.
Stolen From Strangers, by Japanese arranger Jun Miyake, is your new best friend …it sounds right in any context: loud, soft, in the kitchen, while travelling, on the radio. Each track is full of delight,.. whether Miyake is the new Gil Evans or merely the new Bacharach, he’s made a fantastic album.
A new kind of musical place (by Wim Wenders)
„As a filmmaker who likes music a whole lot I developed a sort of special sense for the interaction between music and images.Often the most exciting moment in the entire process of making a film, is that initial encounter,when those two “basic elements of my life” come together for the first time.You never know what will happen then … Hopefully, ideally, in that meeting a “third thing” appears, all by itself,that is much more than the sum of the two,like a child being born from that marriage between the visual world of pictures and the musical world of their future „better half“.
There is some music I never want to hear with images attached. I just want to listen, I don’t want to see. Like those Bach cantatas, for instance, or his “Art of Fugue”. When I watch a film that is using my “sacred” music, after all, it creates a pain in my heart, as if I witnessed some sort of abuse.
And then there is music, of course, that evokes imagery vividly and really thrives on it. This music throws you into a sort of “mental cinema”:you see stories in front of your eyes, right away,and the emotions that come with them are flooding through you. You almost don’t need the images any more:the music comes with them and sweeps them into your mind.
And then there is Jun Miyake.
It seems to me that he is opening a whole new chapter in that old relationship between music and images. He is redefining what they can do to each other, remapping how they are connected. His music creates its very own “sense of place”. Jun’s “Lost Memory Theatre” is truly unique: it constantly produces that “Third Thing” between music and imagery. You enter this space for the first time and you’re already addicted to it …”