It’s been ten years since I last visited this restaurant, and in that time I’ve learned a great deal about sushi technique through conversations and close observation of several highly regarded chefs — both internationally and within Japan who will remain anonymous out of respect for their privacy and profession: https://mesubim.com/2022/09/02/saito-sushi-kata/
This time there were eight guests seated at the counter. I arrived precisely at 18:00 and was the last to sit down. To my right was a large Japanese gentleman accompanied by an attractive young Japanese woman and, beside them, what appeared to be his mother. They were clearly experienced sushi diners, although the young woman revealed her inexperience slightly when I watched her mixing wasabi into a kind of green soup-sauce as did my neighbor. The tuna fish was Hon-Maguro with the emphasis on Yamayuki a well known supplier who has market influence and this tuna was net caught, common in Japan.
Pacific bluefin tuna (hon maguro) are frequently caught in Funka Bay (Uchiura Bay) in Hokkaido, Japan, primarily using stationary set-nets (teichi-ami). The bay is a prime, cold-water fishing zonewhere the season runs from early summer into late fall and early winter.
Funka Bay (located in southwestern Hokkaido) produces high-quality tuna that are highly valued in Japanese fish markets like Tokyo’s Toyosu Market. Because the fish are caught using stationary set nets, the process is low-stress, allowing the tuna to be landed in excellent condition: https://repun-app.fish.hokudai.ac.jp/course/view.php?id=1566&lang=ms
To my left sat a Taiwanese couple who were polite and well-behaved, aside from occasionally resting their elbows on the counter. At the far end were two Japanese men who seemed to be friends or long-time patrons of the chef, as he spent much of the evening speaking and laughing with them. In truth, it helped keep the atmosphere relaxed and human.
The first time I visited Ichikawa-san, he was operating from another location: https://mesubim.com/2016/05/05/ichikawa-sushi-tokyo-video/ and at that time photography was strictly forbidden. He was extremely quiet, intense, and focused. Interestingly, very little has changed in terms of the overall structure of the menu and his philosophy.
What struck me most this time was not necessarily the fish itself, but watching his technique more carefully. His rice was slightly undercooked — though not unpleasantly so. It had a firmer, almost “al dente” texture, which I actually found interesting.
But what truly stood out was the extraordinary amount of pressure he applied while shaping the nigiri in his hand. At times the compression was so intense that when the sushi was placed on the counter and left untouched briefly, the piece would slowly collapse or fall onto its side — something I had never really experienced before.
It reminded me of observing the hand movements and pressure techniques of chefs such as Takashi Saito and Mekumi, where the manipulation of the rice feels fundamentally different. Each chef develops his own language through touch. Beyond the fish itself, the true signature often lies in the rice: the blend of vinegars, the possible use of mirin, temperature, moisture, firmness, and the balance between air and pressure. The rice is not merely a support for the fish — it is the backdrop against which the fish is understood.
Ichikawa-san served a substantial amount of fish and was generous throughout the meal. At ¥44,000, the price has certainly increased over the years, though this reflects the broader evolution of high-end sushi in Japan, where many restaurants now serve single pieces rather than pairs as was more common in the past.
I was also discussing with a friend how different sushi culture feels today compared to earlier years, when there were often broader à la carte options available. Yet in my own memory, I have almost always experienced sushi through omakase. And I do not believe omakase exists simply so chefs can balance expensive fish against inexpensive fish economically. More importantly, it allows the chef to manage the rhythm, maturation, and condition of the seafood itself. Some fish must be purchased and served immediately; others — particularly tuna — benefit from aging over many days. Other fish may be cured with vinegar or rested with kombu to deepen umami and texture.
In the end, I always feel privileged to sit before a chef who has devoted his life to this craft. Whatever stylistic differences may exist between chefs, there is something deeply moving about experiencing the accumulated discipline, repetition, and quiet obsession behind each piece of sushi. It was, overall, a very good experience.