Postwar Japan embraced the music of its former enemy – and, powered by anti-establishment feeling, remade it. As they find a new global audience, the country’s jazz innovators explain what drove them
The story of Japanese jazz is about music and a movement, but also a nation’s state of mind – a daring vision of a better future after the second world war, sounded out on piano, drums and brass. Jazz is a distinctly American art form – the US’s greatest cultural achievement, in fact, along with hip-hop – and a healthy scene had formed in the 1920s and 30s as American players toured the clubs of Tokyo, Kobe and Osaka. But Japan had historically been an insular nation – its policy of sakoku, which for more than two centuries severely limited contact with the outside world, had only ended in the 1850s – and an increasingly nationalist government, feeling jazz diluted Japanese culture, began to crack down. By the second world war, “the music of the enemy” was outlawed.
After the country’s surrender, occupying forces oversaw sweeping reforms. American troops brought jazz records with them; Japanese musicians picked up work entertaining the troops. There was a proliferation of jazz kissa (cafes), a distinctly Japanese phenomenon where locals could sit and listen to records for as long as they wanted. For some, jazz was the sound of modernity.
In those early postwar years, Japanese musicians were essentially copying the Americans they admired. “That’s what you do,” says Tony Higgins, co-curator of the J Jazz reissues series. “You start off imitating and then you assimilate and then you innovate.”
To discuss the birth of modern Japanese jazz, Toshiko Akiyoshi provides an important base. The pianist was the first Japanese artist to break away from simply copying American artists and develop a distinctive sound and identity that incorporated Japanese harmonies and instruments. At age 92, she’s still active today.
Source: The Guardian
Read the whole article here.
