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Soft wood heels tap the floorboards, Coltrane fills the room. Her opalescent lips smudged at the edges, like rippled lines of sand in messy spring winds. He sees her through worn spines of records and shrines of star jasmine, in ripped powder blue silk. She’s gone with the song, like a sweet crescendo, but phantom pheromones hang in the air. The ghost of her stays. He remains wrapped in her net, trapped in gossamer threads, laced with cursed soft feelings, a head rush. A snow white musk descends, like the flurry of pulp in his cold cloudy sake. He’s possessed by a wraith who lives in the notes, a silhouette in the light of paper walls, her name spelled in initials carved in sandalwood bars. She’s in the air and the keys and the flower-filled breeze that blows in the window and whispers, “next to me or nothing.”

The Club: Jazz in Rokudenashi (ろくでなし)

KYOTO
1978 - PRESENT

Rokudenashi translates to "good for nothing," a word that once described the students of 1960s Japan who drifted through university smoking and playing records instead of studying. Naohisa Yokota, a drummer, opened this jazz kissa in 1978 and has been spinning records there since. A short walk from Gion-Shijo station, following a sign up a narrow staircase, is a small room that seats a handful of people, where customers lean into cigarettes and each other. Jazz pressed close in a place where the record is the event and any conversation happens around it. The music is the point, and so is the proximity. Decades on, it remains a hole-in-the-wall by design: the kind of place that doesn't fill a room, just collapses the distance between everyone in it.

The Playlist: Listen to the music of Next to Me or Nothing

NEXT TO ME OR NOTHING — AS TOLD BY OUR DISCOTHÈQUE DJS.