The story of jazz in Japan is one of cultural osmosis, arriving on Japanese shores through the interchange of globalisation. Technological innovation in the late 19th and early 20th centuries drove a steep rise in transportation. People and goods moved faster. Trade and tourism spread cultural products and practices internationally.
Jazz, a genre that originated in the African American communities of New Orleans in the late 19th and early 20th centuries, has undergone a fascinating evolution as it crossed borders and merged with various cultural influences worldwide. The Japanese jazz scene is marked by its unique interpretations, blending traditional elements with Western influences, resulting in a rich sound tapestry reflecting the nation’s cultural resilience and creativity.
But how did Japanese jazz come to be? What’s the connection between Japan and jazz? The development of Japan and jazz involves decades of history and cultural influences that make the Japanese jazz scene what it is today, and the biggest contributor to the spread of jazz in Japan came from the Philippines.
The Pinoy Effect
Occupied by the USA from 1898 until 1946, and later by Japan, the Philippines was a melting pot of American culture. Jazz musicians taught Filipino players. They performed on ocean liners and in hotel lobby orchestras. Their music filled cities like Kobe, Osaka, and Shanghai. Due to their Americanized education, these musicians would perfect the art of jazz and bring these teachings to Japanese shores. Despite their traditionally conservative trading and immigration rules, Japan acknowledged the American occupation, allowing trading activities and immigration with the Philippines to grow enormously, resulting in an exchange of musical culture.
The famous Filipino jazz pianist Luis Borromeo was one of these musicians. He came from his native island. They sent him to the USA to study jazz. Finding success after an impromptu performance at the San Francisco Pan-Pacific International Exposition in 1915, he went on to sign a multi-year contract with the Orpheum Theatre chain, touring with a vaudeville-style stage show until eventually moving back to the Philippines to start his own company. Later coined the “King of Jazz” in his home country, Borromeo, who would later be billed as “Borromeo Lou”, is but one of many Filipino musicians who would inadvertently nurture the spread of Japanese jazz and East Asia as a whole.
One of these musicians was the famous Filipino jazz pianist, Luis Borromeo, who was sent from his native island to the USA to study jazz. Finding success after an impromptu performance at the San Francisco Pan-Pacific International Exposition in 1915, he went on to sign a multi-year contract with the Orpheum Theatre chain, touring with a vaudeville-style stage show until eventually moving back to the Philippines to start his own company. Borromeo was later called the “King of Jazz” in his home country. He was also billed as “Borromeo Lou.” He was one of many Filipino musicians who helped spread jazz in Japan and East Asia.
The Early Days of Jazz in Japan
Jazz first made its way to Japan in the 1920s, during a period of modernization and Western influence. The arrival of jazz was facilitated by American sailors and musicians, who introduced the genre to eager Japanese audiences. Tokyo’s bustling nightlife, particularly in areas like Ginza, became a hotbed for jazz clubs, where locals and expatriates alike gathered to enjoy the new sound.
While the music recording industry started to take off in the ‘20s, the first few jazz records were Japanese versions of popular songs such as “My Blue Heaven” and “The Shiek of Araby.” Some of these songs had translated lyrics and featured early Japanese jazz artists and musicians. The most well-known instance of the word “jazz” being used was in 1929 in a popular movie called Tokyo March. The term jazz was then associated with young and modern girls and boys, often played in dance halls.
War-time Break
After gaining supreme popularity in Japan, the advent of World War Two prompted an abrupt end to the spread of jazz in Japan. They banned it, along with many other aspects of American pop culture. They replaced it with traditional Japanese music to support the country’s wartime conservatism. This was not the first time that jazz had struggled to find its footing in the country, however. In an interview with NPR, jazz expert, Professor E. Taylor Atkins suggests that during the 1920s, the genre had already faced “hostile reactions” from the music establishment.
The government imposed the wartime ban to support national conservatism. Some argue that it stemmed from the ruling classes’ reluctance to embrace the chaotic pleasures of the American genre. Like hip-hop, Japanese jazz was embraced by the young, urban class while the governing bodies, the musical elites and purveyors of culture, saw it as a slight on classical Western compositions that had come before. The advent of World War Two simply brought that historic rejection back to the surface and gave reason for the government to brandish the genre as “enemy music.” However, by that time, jazz had already become far too popular to be fully extinguished.
The Root of Japanese Jazz
Tokyo had acted as the epicentre for Japanese jazz throughout the early 20th century, with dance bands performing in many of the city’s music halls and theatres. Yet, due to the Great Kanto Earthquake in 1923, Japanese jazz musicians and establishments moved to Osaka, Japan’s other major cultural centre. There, jazz would continue to grow and develop, even throughout the war era, with groups performing at two dozen newly-built dance halls in 1924.
Even when the city banned the use of dance halls to try and stem the spread of Americanisms in 1927, the genre continued in smaller venues, prompting the origination of the first “jazz kissaten” (jazz café), Chigusa, in 1933. Chigusa sat in the Dōtonbori district. It offered audiences a space to enjoy smooth slow-town blues or energetic swing music. There was no fear of shutdowns from the government or classical music critics.
Jazz critic Karl Ackerman called the Dōtonbori district the “Japanese jazz mecca.” It kept this title even after a 1945 bombing by American fighter jets. The attack burned down Chigusa, but it was later rebuilt in Yokohama. Later becoming the hangout for future stars such as Akiyoshi and trumpeter, Terumasa Hino, jazz in Osaka survived, “sometimes tucked away in small neighborhoods that came through the war years with their rickety wooden buildings and tea houses intact.”
Post-World War Two Pickup
The end of World War II brought significant changes to Japan’s cultural landscape, including a burgeoning interest in jazz. American soldiers stationed in Japan introduced a wider array of different Japanese jazz fusions and styles, further fueling its popularity. The late 1940s and 1950s are often referred to as the golden age of jazz in Japan, characterized by a blossoming of homegrown talent and innovative experimentation.
During this period, Japanese jazz musicians began to carve out their niche within the world. Notable figures like saxophonist Sadao Watanabe and pianist Masabumi Kikuchi emerged, gaining recognition both domestically and internationally. Their works showcased a distinct style that combined elements of American jazz with Japanese musical traditions.
The influence of bebop also played a crucial role in shaping the Japanese jazz scene. Musicians were inspired by the likes of Charlie Parker and Dizzy Gillespie, incorporating complex harmonies and improvisational techniques into their performances. Jazz clubs in Tokyo, Japan, such as the famed Blue Note Tokyo, became cultural hubs, attracting both local and international talent.
After the war, there were new incentives and opportunities for Japanese jazz bands and musicians to emerge. The Japanese jazz pianist Toshiko Akiyoshi arrived in Tokyo in 1948, and she was determined to become a professional jazz musician. She then formed the Japanese jazz band, the Cozy Quartet, which saxophonist Sadao Watanabe later joined. Toshiko Akiyoshi struggled for years to establish herself as a jazz musician. She finally recorded her first album after producer Norman Granz introduced himself to her.
The album cover of Toshiko’s Piano (1954)
Image courtesy of Album Cover
The Era of Japanese Jazz Fusion
The 1960s and 1970s marked a period of creative fusion in Japanese jazz, as musicians began to explore a wide array of genres and styles. The rise of free jazz and avant-garde movements provided fertile ground for experimentation. Artists like Toshiko Akiyoshi and her husband, Lew Tabackin, were instrumental in this evolution, blending jazz with traditional Japanese music forms.
Toshiko Akiyoshi’s Japanese jazz band compositions, characterized by intricate arrangements and a deep understanding of both jazz and Japanese aesthetics, garnered international acclaim. Her work, along with others, contributed to a distinct Japanese jazz identity that diverged from its Western counterparts while maintaining a connection to its roots.
The 1970s also saw the emergence of “city pop,” a genre that fused jazz, pop, and rock elements. This musical style reflected Japan’s economic prosperity and urban lifestyle, resonating with a generation eager for new sounds. Artists like Haruki Murakami often referenced jazz in their literary works, further solidifying the genre’s place in Japanese culture.
As the 1990s rolled in, Japanese jazz continued to evolve, incorporating new influences while staying true to its heritage. The rise of smooth jazz and acid jazz added new dimensions to the genre, with artists experimenting with electronic sounds and global influences. This era saw the emergence of a new generation of musicians who blended jazz with hip-hop, R&B, and even rock.
Prominent figures like Hiatus Kaiyote and Nulbarich have garnered international attention, showcasing the versatility and global appeal of Japanese jazz. Furthermore, festivals such as the Tokyo Jazz Festival and the Yokohama Jazz Promenade have become essential platforms for both established and emerging artists, fostering a sense of community and cultural exchange.
Freedom or Finesse?
Jazz is representative of all these things and more, the right to freedom and movement, as well as the pursuit of excellence and ability above all else. Japanese jazz has not only enriched its own cultural landscape but has also made a significant impact on the global jazz scene. Collaborations between Japanese and international musicians have led to innovative projects that transcend geographical boundaries. The cross-pollination of ideas and styles continues to push the genre forward, keeping it vibrant and relevant in today’s musical landscape.
Final Words on Japanese Jazz
Japanese jazz is jazz. Taking the legacy of the genre, the chops and grooves and producing new works that don’t try to authenticate the nation’s position within it, but instead simply to make great fucking music. And there is an abundance of it. Collating various sub-genres and styles, and proving that Japan can absorb technique and history and transpose it into greatness, here are five recordings worth listening to in your quest for the best in Japanese jazz.
Jiro Inagaki & Soul Media – Funky Stuff (1975)
Born October 3rd 1933, Jiro Inagaki has performed in various bands in various roles. After playing the saxophone and flute in collaboration with some of the greatest Japanese jazz musicians such as Frankie Sakai and Hideo Shiraki, Jirō started his own band, Jiro Inagaki & Soul Media in 1969. Jiro has reissued his albums countless times. He fuses black funk with jazz-rock. This blend is unusual in Japan. The country takes cues from these genres to create musical masterpieces. Give this a listen for fresh beats and cool grooves.
Ryo Fukui – Scenery (1976)
An expert accordionist and self-taught pianist, Ryo Fukui is celebrated as one of Japan’s standout jazz musicians. Born in Sapporo in 1948 and moving to Tokyo in 1976, Fukui performed under the mentorship of saxophonist Hidehiko Matsumoto and later, under the legendary American musician, and exponent of the bebop style, Barry Harris. A musical prodigy who failed to recognise his own success, Fukui’s first album, Scenery, has found continual success over the years, regaining popularity in the early 2010s on streaming platforms such as YouTube and Spotify. All but ignored in America on release, Fukui’s curation of original and repurposed jazz tracks offers a smooth fuse of modal, bop, and cool jazz influences.
Toshiko Akiyoshi-Lew Tabackin Big Band – Insights (1976)
Of course, this list would be nothing without the Queen of Japanese jazz herself, Toshiko Akiyoshi, whose achievements in the genre have arguably eclipsed that of any of her forebears, or successors. Akiyoshi was born in 1929 in Liaoyang, Manchuria, to Japanese colonists. A local record collector introduced her to jazz. He played her Teddy Wilson’s “Sweet Lorraine.” Inspired by his swing style and unbeatable improv skills, Akiyoshi began to study jazz, moving to the Berkley School of Music in 1956 to become their first Japanese student. Forming the band, the Toshiko Akiyoshi – Lew Tabackin Big Band in 1973, Akiyoshi has scored numerous hits from her 1953 debut album, Toshiko’s Piano, all the way to her aforementioned anti-war piece, Hiroshima – Ring from the Abyss in 2002.
