b. c.1949, Yaeyama Isle, Okinawa, Japan. Tetsuhiro’s muse is normally directly associated with his history in the tiny isle of Yaeyama, over 400 kilometres south-west of Okinawa. The Yaeyamans typically sung while functioning the fields, leading to yunta and jiraba or ‘functioning songs’. In the last hundred years the sanshin (a three-string lute created from snake epidermis) was brought in from mainland Okinawa to accompany these music, making shima uta (isle music). Tetsuhiro transferred to Okinawa interface Naha when he was 19, merging performances of both sanshin and fue (a flute with five openings). He gained many honours and awards and was also granted a particular license to instruct traditional music. He proceeds to perform his own universities, of which nowadays there are three. He also became an ambassador for Okinawan music, going to the USA, SOUTH USA and throughout Asia. His displays, promoted from the Okinawa Minkan Kohryu Kokia, an company located in Tokyo specialized in the propagation of traditional Okinawan tradition, involve buyo/odori (dance) amounts furthermore to shima uta. They may be performed by Tetsuhiro alongside his wife, Naiko, on koto, plus four dancers. Through the entire 70s and 80s greater than a dozen albums had been released, but just in Okinawa itself. In 1991 he was became a member of by saxophonist Kazutoki Umezu, previously most widely known for his jazz recordings but also many assorted collaborations. They made a decision to work together on the fusion recording, prompting the discharge of Tetsuhiro’s mainland Japanese debut in 1993. The follow-up merged different instruments and methods that twentieth-century Japan got neglected, including a Japanese chindon music group (which traditionally open up new premises within an explosion of color and music). Tetsuhiro after that recorded the original music ‘Asadoya Yunta’, which got already made an appearance on both his personal albums, alongside fellow Okinawan traditional music group Nenes, for his or her Narabi album.