Jazz Jam in Japan

Of course, the main reason for visiting Japan was that I’d always wanted to, to bring myself in closer touch with the source of its elegant traditional aesthetics, and of Zen Buddhism, which has helped me cut through my analytical overthink throughout my adult life. A second reason–and the reason to come now, in the fall, instead of the spring, is to immerse in the forests as the seasons change. It’s been far too long since I’ve enjoyed the colorful foliage and the fecund aromas of a mid-latitude autumn. But another big asset Japan offers me as a visitor, is that jazz is so well-thought-of here, with many venues. Surely, if I search, I can find some places to sit in, or some jam sessions.

My web search was pretty bleak. I found only one club, in one of the cities I thought we could visit. But at least their response was encouraging! From Sapporo:

But I hoped there was more. Fortunately, I discovered I had a Japanese jazz-playing Facebook friend; we had met in Chiang Mai years ago. I asked him for help, and he dove into the task, digging up at least half a dozen scheduled jam sessions in Kyoto and Sapporo. Of course these were posted only in Japanese, so he had to filter them for me and provide some translation. That was a big factor in deciding that we would stay longer in Sapporo.

I made it to four of these sessions. First, in Kyoto, a Saturday afternoon meeting in a club called Sahouril, near a college campus. All the nearby restaurants are low-cost ramen shops. (Did American college kids learn to survive on ramen from their Japanese peers?) But this club is actually upstairs, in what might be a little, low-profile office building. It’s small, and devoid of art, but equipped with a grand piano; always a good sign.

There are quite a few musicians here, but they are mostly either old and, frankly, rather played-out (these are brought up first, as a courtesy I suppose), or young students. When I was called up to play, the elders were on bass and drums, while a student was the only horn.
For some reason, this Horace Silver tune came to mind, as a good compromise between wanting to break away from the too-familiar standards (like, say, Autumn Leaves) while keeping a comfortable, unchallenging feeling about the groove.

A couple of the singers are clearly amateurs. But some are better. This lady has superb concentration and vocal styling:

Notice this bass player. She was the best musician I saw that day. There was a good woman drummer, too. (I’ll get back to that point).

I played another number, with a livelier rhythm section, but it didn’t get recorded, and actually I don’t remember what it was.

This little club has jazz almost every night, so I doubt that the participants who came Satuday afternoon represent their overall style. But the atmosphere sure was friendly.

Sunday night, we found another venue, a place called “Le Club Jazz”. This is right next to a big shopping area and transit hub; again, not on the street, but upstairs inside a building with a little cluster of vintage clothing shops on the ground floor, and maybe offices or apartments above. The space might be called a loft: big room, high ceilings. Unlike Sahouril, it’s clearly been decorated to demonstrate devotion to the jazz culture: black walls, a full and well-lit stage.

And this host band is not amateur! Real jazz, played professionally. The host, Masashi Shinozaki, looks relaxed, plays hip, knows the tunes inside and out, and smiles a lot. Someone I wish I could hang out with more.

Here’s my first round with them (or, the first two minutes of an eight-minute take

Me playing Ceora with Masashi Shinozaki sax, Megumi Otsuka bass.
I don’t know the name of the trumpet player.
(Drummer might be Youhei Saito but I have not confirmed)

If you this makes you think that they know the tune better than I do, you’re not wrong.
Second round, Dolphin Dance, not recorded. Too bad, I was sure it was brilliant.

At break time, I find Megumi, the bassist. I tell her (using a translation app, since most Japanese don’t converse well in English), I really admire your playing. Your solos are so well-crafted and melodic. To my surprise, she answers comfortably in English. So I go on to say that women bassists are rare in American jazz. She’s quite surprised at this. Now, remember that the best bass player at the first session was also a woman. In fact, of all the rhythm-section players I’ve seen, women have at least co-equal status with men. Quite a contrast to the US, where jazz instrumentals are a largely male pursuit. (Also a contrast, I see later, to business in Japan: on our flight from Sapporo to Tokyo, 90% of the business-class travelers are men in suits)

I would recommend this club with enthusiasm, but for one detail: our bill was over ¥8000 (about $55), just for the cover charge and one-drink minimum for two people. Seems like a lot to pay for a chance to play a couple of tunes with the local pros. More like tickets to SF Jazz. I guess that’s largely because of the high-rent location.

In Sapporo, one club is having two jams, Sunday and Monday night. Too busy with touring to do both; but first, I found a chance to visit Cats & Dogs. Like Le Club Jazz, it’s in a busy shopping area, but a more obscure entrance, and only a small back room on the 7th floor.

Kumiko gave us a warm welcome.

Saturday night, 8:30; there is one other customer in the place. A young guitarist is sitting on the stage, next to the vacant grand piano. We exchange introductions, his name is Kaz. He’s waiting for his partner to show up. When the pianist didn’t show, 15 minutes after the scheduled time, Kumiko nudges Kaz to invite me up to play with him.
Days of Wine and Roses, All the Things You Are, Stella by Starlight — I finally rebel against the soft lounge feeling and ask to play Take the A Train, Blue Monk, some Jobim. Nothing too hip or challenging, but at least they are less than 80 years old.

Girl from Ipanema is one of those standards that everyone knows so well that strangers can play it together and make each other sound good. The guy walking in at the end is the scheduled pianist and leader.

We played a full set, and then the scheduled pianist finally showed up. Not really a jam session, almost more like a gig, and not the kind of gig that I would really want to do very often (and pay for the privilege!)
When we left, there was still just the one other customer in the bar.
So, not an exciting night for music. But Kumiko was so delightful, and the overall atmosphere so supportive, I have nothing but good feelings about the place. I wonder what their jam sessions are like.

Sunday night we were tired from touring, and didn’t go out. But Monday was perfect for my trip to 札幌“D-Bop”Jazz Club (I’ll just call it D-Bop), while Esso went shopping for gifts. This one is away from the city center, in what seems to be a residential area. I love the entryway, with bright signs and a spooky basement stair.

Inside, it’s even more impressive. Not as big as Le Club Jazz, but way spiffier and more atmostpheric. Everything looks very professional, and the walls have concert posters of famous musicians who have played here. I mean, I’m sure most of them are famous in Japan, but several are Americans with names I recognize.

Tonight, however, it’s just a jam session, and a rather low-key one. Once again, the women rule the rhythm section, opening with My Favorite Things

I’m pretty sure these are college students–it seems that Sapporo University has a jazz program. Maybe Sunday night, the jam I missed, is when the more seasoned players come. I don’t care; they are fine: diligent, creative, and enthusiastic. When they call me up, I ask if they know Windows (a very tricky Chick Corea tune that you would never call at most jams, because if someone tries to play it without really knowing it, it’s a mess). Their eyes light up: yes, they know it, and the challenge is more excitement than they expected. And we all sound great together. Another one: Nica’s Dream? Also very tricky, same response, fine result. (Without Esso, I had no one to record these, so trust me).
Since the session is so sparsely attended, I am able to play several more times before hitting my energy limit around 10:00. As I’m leaving, two young cats carrying instruments pass me coming in. Maybe the action is just starting. But I’ve had my delight; no need to overdo it.