That Atkins book is especially interesting on pre-war jazz -- especially the role of Philippine bands as role models and on Shanghai as a proving ground for Japanese players. He's also thorough on the war years and the grim ways musicians embraced or adapted to extreme nationalism. What we'd generally recognize as jazz didn't really get going in Japan until the Occupation years, when the scene shifted from dance halls to coffee shops. Atkins is a historian so his emphasis is more on the social contexts than on analysis of the music, but he seems to cover all the big-name players prior to 1980 or so.
The Japanese quest for jazz authenticity is pretty fascinating and puts concerns about authenticity within American music in a constructively weird perspective.
― Brad C., Monday, 29 January 2018 19:50 (seven months ago) Permalink
cool, i will have to check that out. tbh the premise sounded kind of insufferable to me, it's nice to know that the "argument" or w/e of the book is potentially as interesting as the facts i had hoped to gleam in spite of academic handwringing over "authenticity"
the volume that atkins edited -- "jazz planet" -- is positively packed with essays that each look super interesting. but that's for a different thread.
also, it looks like michael molasky (who made a contribution to "jazz planet") is working on a translation of a book he wrote originally in japanese -- "the jazz culture of postwar japan: film, literature, subculture"
― budo jeru, Monday, 29 January 2018 20:19 (seven months ago) Permalink
gleam = glean lol
― budo jeru, Monday, 29 January 2018 20:27 (seven months ago) Permalink
Another nice one,
― Federico Boswarlos, Friday, 9 February 2018 18:47 (seven months ago) Permalink
Also interesting to hear about Jazz becoming popular during the Occupation in Japan. I recall something similar being the case - though pls correct me if wrong - in Germany while troops were stationed during/after WWII and with jazz clubs opening to cater to them.
― Federico Boswarlos, Friday, 9 February 2018 18:50 (seven months ago) Permalink
Comp with more of an epic scope than the (awesome) BBE one, listening now and very much enjoying:
― Daniel_Rf, Sunday, 24 June 2018 12:48 (two months ago) Permalink
I wrote about the BBE and Jazzman compilations back in April. Now it turns out the very rare album Tachibana by the Tohru Aizawa Quartet, one track from which appears on the J-Jazz comp, is being reissued next month. I pre-ordered it on Bandcamp:
― grawlix (unperson), Sunday, 24 June 2018 13:57 (two months ago) Permalink
Listening to the J-Jazz Como a lot this week and Eiji Nakayama’s Aya’s Samba is a wonderful piece. Almost disarmingly simple and slightly melancholic but beautiful textured.
― American Fear of Pranksterism (Ed), Monday, 9 July 2018 22:48 (two months ago) Permalink
Just got this press release:
BBE Music is proud to present the next instalment in the J Jazz Masterclass Series: ‘East Plants’ by Takeo Moriyama, one of Japan’s finest jazz drummers.A genuine ‘under the radar’ album known only to a handful of Japanese jazz collectors, ‘East Plants’ is now available once more, reissued for the first time as a double 180g LP, with exact reproductions of the original artwork, obi strip and insert. It also comes with the original notes fully translated. ‘East Plants’ is also available as CD and digital formats. This reissue is fully endorsed by Takeo Moriyama himself.Originally released in 1983 on the Japanese VAP label, ‘East Plants’ is an essential album in the J Jazz canon. It’s an album that distils several key characteristics of Moriyama’s music: clearly articulated and inventive rhythms, open yet orderly arrangements, and an accessible groove balanced with a graceful control.
― dow, Friday, 7 September 2018 20:51 (two weeks ago) Permalink
the Tohru Aizawa Quartet record is (mostly) awesome. some seriously fiery playing.
― tylerw, Friday, 7 September 2018 20:57 (two weeks ago) Permalink