Japanese jazz

Japanese jazz (Japanese: 日本のジャズ, Nihon no jazu) is jazz played by Japanese musicians, jazz connected to Japan or Japanese culture, or both. The term often refers to the history of jazz in Japan, which has the largest proportion of jazz fans in the world, according to some estimates.[1] Jazz was first introduced in Japan in the 1910s through transpacific ocean liners, where Filipino musicians took influences from jazz, with the Philippines being an American colony at the time. Following the music recording industry's rise in the 1920s, the lyrics of popular jazz records like "The Sheik of Araby" and "My Blue Heaven" were translated into Japanese. Jazz was associated with native counterparts to flappers and dandies in Japan, often being played in dance halls.[2] Although considered "enemy music" in Japan during World War II, due to its American roots, the genre was far too popular for the complete ban of the music to be viable,[3] and many disobeyed the state mandated destruction of jazz records.[4] Following the surrender of Japan in the second World War, there was a large demand for entertainment for American troops, and jazz was particularly popular.[2] By the 1970s, the Japanese economic miracle paved way for Japanese jazz musicians to achieve international fame, along with new musical genres such as city pop, kankyō ongaku, and japanese folk music.[5] Japanese jazz musicians also began to evolve past Blue Note mimicry, and instead experimented with free jazz, fusion funk, and bebop, among others. This furthered the distinct sound of Japanese jazz. During the 1980s, digital music technology began to influence the Japanese jazz scene.[6]

Clockwise from upper left: Jazz composer and pianist Hiromi Uehara, a Jazu Kissa jazz café in Tokyo, trumpet player Taniguchi Mataji in 1948, and Soil & "Pimp" Sessions' double bassist Akita Goldman.

In present-day Japan, jazz has become more of an alternative genre; it is no longer as popular, but still retains the largest proportion of jazz fans in the world.[1] Jazu Kissa (literally jazz café)[lower-alpha 1], dedicated spaces where aficionados gather to listen to recorded jazz, appeared in the 1950s and 60s around Japan.[7] A phenomenon unique to the country, roughly 600 Jazu Kissa are scattered around the nation in present-day Japan, and there are even Jazu Kissa where conversation is prohibited. Recently,[lower-alpha 2] there has also been an increase in Jazu Kissa in rural areas.[4] Famous contemporary Japanese jazz musicians include Hiromi Uehara, Kyoto Jazz Massive, United Future Organization, Soil & "Pimp" Sessions, and Fox Capture Plan, among others.

Attempts at fusing jazz with Japanese culture in the United States are instead commonly termed Asian-American jazz.

History of jazz in Japan

Jazz music first became popular in Japan in the 1920s, following visits by bands from both America and the Philippines, where American popular music had been introduced by the occupying forces.[8] The Hatano Jazz Band is sometimes described as the first Japanese jazz band,[9] although they were primarily a dance band.[10] The band, which was created in 1912 by graduates from Tokyo Music School,[11] absorbed and performed American dance music after traveling to San Francisco,[12] but their music did not claim to feature jazz improvisation.[13]

Local jazz practice, built around the performances of visiting Filipinos, began to emerge in the early 1920s, most notably in the prosperous entertainment districts of Osaka and Kobe. By 1924, the city of Osaka already boasted twenty dance halls, which gave many Japanese-born musicians an opportunity to play jazz professionally.[14] Trumpeter Fumio Nanri (1910–1975) was the first of these Japanese jazz performers to gain international acclaim for his playing style. In 1929 Nanri traveled to Shanghai, where he played with American jazz pianist Teddy Weatherford, and in 1932 he toured in the United States. After his return to Japan, Nanri made several recordings with his band Hot Peppers, an American-style swing band.[15]

The "Americanness" and mass appeal of early jazz as dance music gave reason for concern among the conservative Japanese elite, and in 1927 Osaka municipal officials issued ordinances that forced the dance halls to close. A large number of young musicians switched to the jazz scene in Tokyo, where some found employment in the house jazz orchestras of the major recording companies.[16]

In 1933 Chigusa, Japan's surviving oldest jazz cafe, or Jazu kissa, opened in Yokohama.[17][18] Since then, jazz coffeehouses have provided a popular alternative to the dance hall, offering the latest jazz records (while occasionally also hosting live performances) to an attentively listening audience.[19] In the 1930s, popular song composers Ryoichi Hattori and Koichi Sugii tried to overcome jazz music's controversial qualities by creating a distinctively Japanese kind of jazz music. They reworked ancient Japanese folk or theatre songs with a jazz touch, and in addition wrote new jazz songs that had Japanese thematic content and often closely resembled well-known traditional melodies.[20] Hattori's songs, however, flirted with controversy, most notably in his 1940 Shortage Song (タリナイ・ソング, Tarinai songu), which he wrote for Tadaharu Nakano's Rhythm Boys. Satirizing the shortages of food and material then widespread in Japan, the song drew the ire of government censors and was quickly banned.[21] The controversy was among the factors that led to the Rhythm Boys' breakup in 1941.

During World War II, jazz was considered "enemy music" and banned in Japan. However, by then the genre had become far too popular for a complete ban to be successful. Jazz-like songs, sometimes of a strongly patriotic type, continued to be performed, though these songs were usually referred to as "light music."[3] Despite the state mandated destruction of jazz records, many did not comply, and hid their records until the aftermath of the war.[4] After the war, the Allied occupation of Japan provided a new incentive for Japanese jazz musicians to emerge, as the American troops were eager to hear the music they listened to back home. Pianist Toshiko Akiyoshi (born 1929) arrived in Tokyo in 1948, determined to become a professional jazz musician. After having formed the Cozy Quartet she was then noticed by Hampton Hawes, who was stationed in Yokohama with his military band, and brought to the attention of Oscar Peterson. Akiyoshi studied at Berklee College of Music in Boston in 1956, and later achieved worldwide success as a bop pianist and big band leader.[22]

By the end of the 1950s, native jazz practice again flourished in Japan, and in the following decades an active free jazz scene reached its full growth. Critic Teruto Soejima considered 1969 as a pivotal year for Japanese free jazz, with musicians such as drummer Masahiko Togashi, guitarist Masayuki Takayanagi, pianists Yosuke Yamashita and Masahiko Satoh, saxophonist Kaoru Abe, bassist Motoharu Yoshizawa, and trumpeter Itaru Oki playing a major role.[23] Other Japanese jazz artists who acquired international reputations include Sadao Watanabe (the former soloist of Akiyoshi's Cozy Quartet), Ryo Kawasaki, Teruo Nakamura (musician), Toru "Tiger" Okoshi and Makoto Ozone. Most of these musicians have toured extensively in the United States and some have moved there permanently for a career in jazz performance or education.[24]

Jazz and Japanese culture

Japanese jazz had frequently been criticized as derivative, or even as an unworthy imitation of U.S. jazz, both by American and Japanese commentators. In response to the belittling attitude of their audience, Japanese jazz artists began adding a "national flavor" to their work in the 1960s.[25] Expatriate Toshiko Akiyoshi drew on Japanese culture in compositions for the big band she co-led with her husband and long-term collaborator Lew Tabackin. On Kogun (1974) they first utilized traditional instruments, such as the tsuzumi, and Long Yellow Road (1975) features an adaptation of a melody from the Japanese tradition of court music ("Children in the Temple Ground").[26] Inspired by the analogies Akiyoshi presented to him between jazz music and Zen Buddhism, jazz writer William Minor has suggested that a Zen aesthetic can be perceived in the music of Masahiko Satoh and other Japanese jazz artists.[27]

Recent developments
See also: Shibuya-kei

2000s

Around the turn of the millennium, Tokyo remained the base for a small but thriving jazz community.[28] Jazz singer and pianist Ayado Chie managed to reach out to a larger audience (both in Japan and internationally) with her emulation of black American vocal jazz.[29] In 2004, Blue Note Records released an album by 17-year-old mainstream and bop pianist Takashi (Matsunaga) featuring his own compositions, Storm Zone. Takashi's most recent CD is titled Love Makes the Earth Float (2008).[30][31] In 2005 Japanese jazz group Soil & "Pimp" Sessions released their full-length debut Pimp Master, with tracks of the album gaining attention from DJs abroad and they began to receive heavy air-play on Gilles Peterson's Worldwide radio program on BBC Radio 1 in the UK.[32] This got the album released in Europe on Compost and in UK on Peterson's Brownswood Recordings and subsequent albums by Soil & Pimp got released on Brownswood, making them arguably the most popular club jazz band to come out of Japan. Osaka based quartet Indigo jam unit have released eleven original and four cover albums since their debut with the album Demonstration in 2006[33][34][35][36] and have been described as a tight and energetic mix between a traditional jazz sound and nu jazz with distinctive beats and flowing jazz piano.[37] After releasing their 11th album Lights in 2015, they announced that they would break up in summer of the following year[38]

Jazz pianist Hiromi Uehara has received worldwide recognition since her debut in 2003 with Another Mind, which was a critical success in North America and in her native Japan, where the album shipped gold (100,000 units) and received the Recording Industry Association of Japan’s (RIAJ) Jazz Album of the Year Award. In 2009, she recorded with pianist Chick Corea Duet, a two-disc live recording of their transcendent, transgenerational and transcultural duo concert in Tokyo. She also appeared on bassist Stanley Clarke’s Heads Up International release, Jazz in the Garden, which also featured former Chick Corea bandmate, drummer Lenny White.[39] In 2011 Hiromi started her piano trio project, The Trio Project with Anthony Jackson and Simon Phillips and has released four albums under the name of this project.[40] Recently not only does she play with jazz musicians but also she collaborates with notable J-pop musicians and bands and orchestras such as Akiko Yano, Dreams Come True, Tokyo Ska Paradise Orchestra, and New Japan Philharmonic.[41] Additionally, the pianist Makoto Ozone collaborated with the prize-winning singer Kimiko Itoh.[42]

2010s

Influenced by modern jazz in America that utilizes odd meters and rhythmic and harmonic elements of Hip hop, R&B, and Neo soul, the sound of Japanese jazz has become more musically complicated and diverse. The bands and artists that represent those new sounds includes MEGAPTERAS, Yasei Collective, Shun Ishiwaka(石若駿), Mononkul, and Takuya Kuroda. While modern jazz sound is becoming mainstream in the music scene, there are still some jazz musicians who play traditional styles of jazz such as Bebop, Hard bop, and post-bop.

In 2012, jazz pianist Ai Kuwabara, whose style is described as post-Hiromi Uehara, released her first album from here to there. Five years later, she recorded somehow, someday, somewhere, in which Ai collaborated with American jazz drummer Steve Gadd and bassist Will Lee.[43] Shun Ishiwaka, jazz drummer and composer, has received huge recognition in Japan because of his incomparable technique and cutting-edge sound and been a part of many recordings and projects with notable musicians such as Terumasa Hino, Tokyo New City Orchestra, Taylor McFerrin, and Jason Moran. Shun released his debut album Cleanup in 2015 in which he combined elements of contemporary classical music, hip hop, and straight ahead jazz and this album received "Album of the year new star praise" and “Jazz album of the year 2015” from Japan’s two biggest jazz magazines Jazz Japan and Jazz life respectively.[44] In 2016, Shun had a concert with his own trio having guitarist Kurt Rosenwinkel as a guest at Blue Note Tokyo.[45]

Ryo Fukui, a now deceased jazz pianist who, in life, struggled to achieve recognition outside of Japan, experienced a monumental rise in popularity thanks to streaming platforms like YouTube Music, Spotify, and others. His most notable work, 1976's "Scenery" is now the most widely consumed Japanese Jazz album on YouTube, having accrued nearly 10 million views as of July 2020. This has led to his albums being reprinted for commercial sale, some of which even using the original studio tapes from 1976, and mastered in half speed.

  • Renée Cho Jazz Is My Native Language: A Portrait of Toshiko Akiyoshi, New York: Rhapsody Films, 1986.
  • Kids on the Slope

See also

References
  1. Craig, Timothy J. (2000). Japan Pop!: Inside the World of Japanese Popular Culture. M.E. Sharpe. p. 29. ISBN 978-0-7656-0560-3. Retrieved 31 January 2015.
  2. Jarenwattananon, Patrick (30 April 2014). "How Japan Came To Love Jazz". Retrieved 16 March 2023.
  3. Atkins Blue Nippon, pp. 127-63.
  4. "Tokyo Jazz Kissa: Vintage High Fidelity with #VINYL". Resistor Magazine. 1 October 2020. Retrieved 16 March 2023.
  5. "Jazz in Japan, a story of resilience". Fahrenheit Magazine. Retrieved 16 March 2023.
  6. Van Nguyen, Dean (12 January 2022). "'Society was volatile. That spirit was in our music': how Japan created its own jazz". The Guardian. Retrieved 16 March 2023.
  7. Matsumoto, Takuya (25 December 2020). "A Legendary Jazz Café Brought to the Screen". Nippon.com. Retrieved 16 March 2023.
  8. William Minor Jazz Journeys to Japan: The Heart Within, Ann Arbor: University of Michigan Press, 2004, p.9; E. Taylor Atkins Blue Nippon: Authenticating Jazz in Japan, Durham: Duke University Press, 2001, pp. 58-60
  9. Simon Broughton; Mark Ellingham; Richard Trillo, eds. (2000). World Music: The Rough Guide. Vol. 2. Rough Guides Ltd. p. 147. ISBN 9781858286365.
  10. Atkins Blue Nippon, p. 53
  11. Toru Mitsui, ed. (2014). Made in Japan: Studies in Popular Music. Routledge. p. 5. ISBN 9781135955342.
  12. Lash, Max E. (23 December 1964) "Jazz in Japan". The Japan Times. p. 5.
  13. Atkins Blue Nippon, pp. 53, 287
  14. Atkins Blue Nippon, p. 58
  15. Sugiyama, Kazunori. "Fumio Nanri". Oxford Music Online: The New Grove Dictionary of Jazz. Grove Music Online, Oxford Music Online. Retrieved 14 October 2009.
  16. Atkins Blue Nippon, pp. 58 and 70-2.
  17. Atkins Blue Nippon, pp. 5 and 74
  18. "ジャズ喫茶ちぐさ｜ジャズ喫茶&音楽バー｜横浜市中区野毛町". ジャズ喫茶ちぐさ (in Japanese). Retrieved 2020-12-09.
  19. David Novak 2008 "2,5 x 6 metres of space: Japanese music coffeehouses and experimental practices of listening", Popular Music, 27:1: 15-34
  20. Atkins Blue Nippon, pp. 132-9.
  21. Bourdaghs, M.K. (2013). Sayonara Amerika, Sayonara Nippon: A Geopolitical Prehistory of J-Pop. Columbia University Press. ISBN 9780231530262. Retrieved 2015-01-31.
  22. [Minor Jazz Journeys, pp. 31-41; Atkins Blue Nippon, pp. 207-9 and 240-1; J. Bradford Robinson and Barry Kernfeld. "Akiyoshi, Toshiko", in The New Grove Dictionary of Jazz, 2nd ed., edited by Barry Kernfeld. Grove Music Online. Oxford Music Online, (accessed October 14, 2009).
  23. Crépon, Pierre (2019). "Omnidirectional Projection: Teruto Soejima and Japanese Free Jazz". Point of Departure (67).
  24. Minor Jazz Journeys, pp. 22-30, 45-58, 136-45 and 273-7.
  25. Atkins, Blue Nippon, pp. 165-264.
  26. Atkins Blue Nippon, pp. 240-1; Minor Jazz Journeys, pp. 31-41
  27. Minor Jazz Journeys, pp. 39, 58 and passim
  28. Minor, Jazz Journeys, pp. 316–322.
  29. Atkins, Blue Nippon, pp. 271–272.
  30. Porter, Christopher. "Jazz Departments: Takashi - By Christopher Porter — Jazz Articles". Jazztimes.com. Archived from the original on 2012-02-29. Retrieved 2012-08-11.
  31. "Profile 松永貴志-Takashi Matsunaga- Official website". Takashimatsunaga.com. Archived from the original on 2012-05-11. Retrieved 2012-08-11.
  32. "Glastonbury 2015 - SOIL&"PIMP"SESSIONS". BBC Music Events. Retrieved 2018-04-18.
  33. "Lira Lyssna". Lira (Sweden). February 2012: 9. {{cite journal}}: Cite journal requires |journal= (help)
  34. Tokyo Jazz Notes (2011-09-03). "indigo jam unit feat. Alicia Saldenha - Rose". Tokyo Jazz Notes. Retrieved 2012-04-03.
  35. Basis Records. "indigo jam unit official web site discography". Basis Records. Retrieved 2012-05-25.
  36. Oricon. "Oricon indigo jam unit profile". Oricon Inc. Retrieved 2012-05-25.
  37. "Lira Lyssna". Lira (Sweden). February 2012: 119. {{cite journal}}: Cite journal requires |journal= (help)
  38. "- basis records: indigo jam unit -". www.basisrecords.com. Retrieved 2018-04-18.
  39. "PROFILE|Hiromi Uehara". Hiromi Uehara. Retrieved 2018-04-18.
  40. "DISCOGRAPHY". Hiromi Uehara. Retrieved 2018-04-18.
  41. "PROFILE|上原ひろみ オフィシャルサイト". 上原ひろみ オフィシャルサイト (in Japanese). Retrieved 2018-04-18.
  42. "第34回 （2000年度） スイングジャーナル ジャズ・ディスク大賞 - ジャズ名盤紹介サイト JAZZCD.JP". jazzcd.jp. 10 September 2015.
  43. "ジャズピアニスト桑原あいのオフィシャルサイト。". aikuwabara.com. Retrieved 2018-04-18.
  44. "石若駿 SHUN ISHIWAKA OFFICIAL WEBSITE". Shun Ishiwaka. Retrieved 2018-04-19.
  45. "【BLUE NOTE TOKYO】The EXP Series #06 SHUN ISHIWAKA CLEANUP TRIO meets KURT ROSENWINKEL (2016 6.27 mon.)". Blue Note TOKYO (in Japanese). Retrieved 2018-04-19.
  1. Alternatively, since "Kissa" means "have a cup of tea", "Jazu kissa" could be interpreted as "a place where you can listen to jazz while drinking tea."
  2. As of 2020.

Further reading
  • E. Taylor Atkins “Can Japanese sing the blues? 'Japanese jazz' and the problem of authenticity”, in Timothy J. Craig (ed.) Japan Pop!: Inside the World of Japanese Popular Culture, Armonk, N.Y.: M.E. Sharpe, 2000
  • E. Taylor Atkins, Blue Nippon: Authenticating Jazz in Japan, Durham: Duke University Press, 2001.
  • Teruto Soejima, Free Jazz in Japan: A Personal History, Nara: Public Bath Press, 2018.
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