At early stage of modern jazz in Japan there were a few artists,known internationally (of whom veteran Sadao Watanabe still plays and records new music), true explosion happened when free jazz met Japanese young generation musicians at late 60s. Often being under-valuated as "secondary" or "copy-cats" till that time, Japanese scene gave some original world level music at that step. 

Free jazz revolution shaded away very soon in early 70s in Japan (same as in Western world though) and the next significant jump was jazz fusion. Some best Miles Davis  fusion albums are recorded live in Japan, many of leading world fusion stars played there and local following was truly enormous. This fashion influenced birth of hundreds of local fusion bands (very few were really original though), them dominated on domestic scenes right up till the end of the century and some are still active and popular today. 

At the same time starting from late 70s Japan suddenly became main market for high quality mainstream jazz. Many hard bop and post-bop Western stars who lost scenes around America and Europe almost in one day stayed highly regarded on prestigious Japanese scenes for decades ahead. Many best mainstream jazz albums during 70s,80s and 90s have been recorded and released in Japan (Herbie Hancock VSOP band's series of release are great example). 

Starting from late 90s and till now Japanese scene can offer all the line of original young artists playing modern jazz, mixing electronics,rock,hip-hop into their music. Still Japanese jazz is almost unknown outside of the country and possibly only modern fusion star Hiromi received true international  success.

At the same time, local jazz market is burgeoning with lots of new names, strong releases and world largest best jazz re-issues programs. Being follower of Jazz from Japan (i.i. jazz,recorded by Japanese artists and international jazz artists releases,recorded/released originally in Japan) for some years, I would like to spread some more interesting moments of it on this thread. It supposed to be no way chronological or any other systematic writings, more a collection of brightest impressions from some very new music and some really old, with no order. Hope some will find it interesting and useful.

                       

The next one is already announced to be released at the very beginning of 2018. It will contain the soundtrack to "Silver Bullet" anime.

One of best Japanese free jazz bands from early 70s - Yosuke Yamash*ta trio:

 

Full soundtrack (recorded in 1972) has been released on CD in 2008

In 2001 Sakata recorded quite unusual and interesting album with bassist Bill Laswell, drummer Hamid Drake and guitarist Pete Cosey "Fisherman's.com"

     

Sadao surprised many of his old fans releasing an album of Bach pieces, played on flute just two month ago (Oct.2017)

more energetic than genre's idols Swedes EST, Fox Capture Plan are hip and melodic, and they use more electronic tricks

their new album("Untitled") has been released just a few months ago, and the new one is already announced for the 2018 beginning

One of a very fresh examples is Chick Corea and The Gadd Band's new album "Chinese Butterfly" which is available in Japan from November'17, but will be released in Western world in 2018 only.

 

Tokyo-Chutei-Iki are 13-baritone saxes band, founded in 2000

Selim Slive Elementz:

 

    

Guitarist Otomo Yoshihide - "Lonely Woman"

and some shred without guitars

October'17 live album:  

 

Second album of enka singer Yashiro Aki, released few months ago

She is going to release new album's vinyl version upcoming spring (CD version is already on the market)

One among most original Japanese jazz pianist Masabumi Kikuchi (who passed away few years ago) - probably most New York-an of all Japanese jazz musicians

http://tsgw.bandcamp.com/releases" rel="nofollow - http://tsgw.bandcamp.com/releases

 

 

 

(Takumi Moriya)

Japan-born New York-based keyboardist BIGYUKI releases his debut album on February 2

He is still almost the same after all those decades.....

  http://soundcloud.com/mentalgroove/wrwtfww020" rel="nofollow - http://soundcloud.com/mentalgroove/wrwtfww020

new album

Hirado's most current project - Yusuke Hirado Prospect - released their album last summer

new album  - in March

 

new album comes next week

new single released just a week ago

new album (Jan' 2018)

http://soundcloud.com/bk-music-pr/kira-kira-because-of-the-sun" rel="nofollow - http://soundcloud.com/bk-music-pr/kira-kira-because-of-the-sun

Young pianist Masahiro Urashima album:

new album release - May 23

new album - already released

new album's coming in June

The duo of Yumi Orikasa(shakuhachi, koto, shamisen) and Christian Adair(drums, sax, and piano).

Mix of spiritual jazz, Japanese folk and some pop. Released three weeks ago.

http://yukuberi.bandcamp.com/album/-" rel="nofollow - http://yukuberi.bandcamp.com/album/-

Pianist Miho Nakada covers wide area from Hiromi-influenced high-energy piano fusion to mainstream jazz. New album on sale today

http://diskunion.net/DU-X1_audio_player.html?id=1007711256&disc=1&track=1" rel="nofollow - http://diskunion.net/DU-X1_audio_player.html?id=1007711256&disc=1&track=1

 

https://diskunion.net/jazz/st/images/cmrs_0016_pop180711.jpg" rel="nofollow">

Jazz guitarist Kazushiro Nakane releases today his new album "The Art Of Rolling"

http://diskunion.net/DU-X1_audio_player.html?id=1007477793&disc=1&track=1" rel="nofollow - http://diskunion.net/DU-X1_audio_player.html?id=1007477793&disc=1&track=1

 

new album from Japanese Zeuhl veterans KoenjiHyakkei

 

An album of ballads released yesterday by pianist Michiko Ogawa - "Balluchon:12 Songs For Music And Sound Travelers"

http://diskunion.net/DU-X1_audio_player.html?id=1007726284&disc=1&track=1" rel="nofollow - http://diskunion.net/DU-X1_audio_player.html?id=1007726284&disc=1&track=1

New Heritage Of Real Heavy Metal or NHORHM are Japanese guys playing acoustic chamber jazz versions of known heavy metal hits

their new album is released today :

Second album from young mainstream jazz band J-Squad just released:

• 

In modern life big bands become rare pleasure since in cost-saving world to run big band is an expensive affair.

Liverwort Lab are Japanese big band who released  their debut album four days ago.

• 

listen samples here:

http://diskunion.net/DU-X1_audio_player.html?id=1007790233&disc=1&track=1" rel="nofollow - http://diskunion.net/DU-X1_audio_player.html?id=1007790233&disc=1&track=1

Japanese CARAVAN by Japanese Journey (not US AOR band):

new album released October 10 2018

then you'll possibly like Masayuki Takayanagi from glorious past

and living legend Akira Sakata

another boy-band from Playwright label program - Polyplus

you're welcome

I like digging Japanese jazz - it's quite different from American or European.

Takayunagi is quite unique guitarist who started from cool jazz on early recordings but soon found himself playing proto-noise, possibly the earliest such musician on Japanese scene. Plenty of more current renown Japanese musicians, from avant-rock to imrovs masters are obviously influenced by him, incl. Otomo Yoshihide

Otomo Yoshihide is not always noisy, he can be even romantic - his own way

album released on Zorn's Tzadik label

• 

for fans of today's Japanese nu jazz - new album from one of the leaders "Fox Capture Plan"

https://bbemusic.bandcamp.com/album/j-jazz-deep-modern-jazz-from-japan-1969-1984

 

sound samples:

http://diskunion.net/DU-X1_audio_player.html?id=1007719602&disc=1&track=1" rel="nofollow - http://diskunion.net/DU-X1_audio_player.html?id=1007719602&disc=1&track=1

I just start listening to Japanese Jazz recently, can you suggest for me some famous artists?

http://www.playwright.jp/" rel="nofollow - http://www.playwright.jp/

  

I thought about starting a thread on this but maybe someone here might be interested in this:

your link isn't working

They must have recently done something with the site because it was just up there. Do you have any thoughts on the passage I quoted?

Here is the cached version:

http://webcache.googleusercontent.com/search?q=cache:-1mHeZyti8YJ:www.jazzinjapan.com/interviews/526-the-moment-for-jazz-is-now.html+&cd=1&hl=en&ct=clnk&gl=us&lr=lang_en%7Clang_de%7Clang_es%7Clang_fr%7Clang_it%7Clang_pt&client=firefox-b-1

The Moment for Jazz is Now!

Interview with Kazuki Takami
March 31, 2010

Kazuki Takami is A&R and Label Manager at one of Japan’s best record labels East Works Entertainment. EWE has recorded and promoted some of the very best of Japanese jazz since its inception in 1995. They have developed five distinct labels in that time, spreading out into Latin music, electronic jazz and other inspired music that does not fit easily into simple categories. They focus primarily on Japanese musicians, but include artists from many other countries as well. Their list of straight-ahead jazz is the envy of most other Japan-based major-label companies. EWE has always kept its independent spirit, even as jazz has become both big business and an almost unrecognized art form. The musicians who sign with EWE are the ones most interested in pushing the music forward in unique and engaging ways. In this interview, Takami gives his independent and insiders’ view of jazz and where it might be headed in the future. If anyone would have an informed opinion on where Japanese jazz might be headed and why, it is Takami.
How would you describe the jazz scene right now, business-wise?

I believe we are in one of the most serious situations I have ever experienced in the music business. We now have to start reconsidering the optimum size of what we have been trying to develop due to digital downloading, free music files on the web, and this worldwide recession. Everything affects the sales of tickets and of CDs. But it seems to me that we have been on the way of slow death of jazz music from years ago in every aspect. This recession may accelerate its death. However, jazz, this form of urban folk music, will have to take a totally different form to survive among the people who enjoy it.

What specific effects does the current economic recession have on jazz?

I am deeply concerned about this recession. It will make us think about the future of jazz based on supply and demand within the optimum scale of the market. That could mean dying. It is clear that the suppliers of jazz, the artists, record companies, concert promoters and others, will not take unnecessary risks now. That means it is harder to update the experience of jazz music anymore. Sometimes I am very skeptical even if the musicians can take risks under this economic pressure. Very few musicians can be imaginative enough to go beyond the walls we are facing. I believe that we all, as artists, producers, agents, and journalists need as many try-outs of possible music as possible to keep our tradition and history alive. We always need what may be useless, but really is still necessary, as practice for the development of jazz. To be practical enough, artists need decent financial support. This has been working and healthy for years in Japan, due to the successful independent record companies like EWE. I am also one of those optimistic A&R people who have been trying to keep this residue of cultural practice as much as I can, through my position. However, I think we are now in danger of losing this kind of freedom, and have to start thinking more about "marketability."

So, the effects of the economic downturn are largely negative for jazz?

Not always. These times also offer great chances for artists of different artistic activities to collaborate together, which may provide a different level of development of the art, much as it used to be in New York, Tokyo, Paris, or London in the 60s, or Argentina in 90s.  But it also depends on how positive the arts can be.

How can artists maintain that positive attitude? Is it just about money? Artistic freedom? A devoted audience?

A devoted audience, and devoted artists, absolutely. A devoted, and sustainable communication among them is very important. It may be invisible, though.
But the communication is always the most important point in performing jazz music. And the ability of improvisation is very important when you communicate with the people. If the improvisation is good enough, the communication will be sustainable. And good communication requires devotion.

So, how do you promote jazz so that it can reach more people?

As you know, jazz musicians live a very humble life. Most of them make a living from the fee from small live houses with 50 to 100 seats. Very few artists can fill the seats of a concert hall, though. I think we failed to promote and develop the artists in jazz enough to be able to fill the 1500 to 2000 seat concert halls. And this failure will bring some serious damage to jazz. It may spoil the fundamentals of the jazz business. I guess people with concert business will start giving up on the idea of jazz concerts altogether.

Already, many of the jazz festivals in Japan have disappeared.

Since the mid 90s, there has been no jazz festival in Japan that is internationally known. Tokyo Jazz could be the only one. We now have no jazz festival tourism like in Europe and the USA. There may be some reasons why we could not maintain the healthy potential in the concert business of jazz. It is partially because of such jazz clubs like Blue Note or Billboard, which offer food and music with very expensive price, but with only 300 seats. We should have made as many people come to see jazz concerts as possible, not for food and drinks, but for the music itself.

That lack of an ongoing public will have an effect on the future of jazz, too, right?

I guess the standard, or optimum price of the ticket, CDs, and everything has started falling. I heard some event planners say people nowadays just stay home, but I do see many people coming to concerts and live venues. And still we have many concerts on the list to go, though many of them were originally planned last year. We are still enjoying the ghosts from 2008. But at the end of that list, I am not sure if we still have something to enjoy.

So, why don’t more people listen to jazz? What is holding them back?

In Tokyo, jazz is like air. If you go to a Japanese bistro, or izakaya, you may find jazz is always is on the air inside the restaurant. People here don’t need to go listen to it. It is always there. Jazz is just an ambient sound for Japanese people now. And also, in our history of learning music here, popular music is put in the second position to classical music. Still, popular music is inside the form of classical music, and is always outside of music literacy. And there are very few jazz artists from foreign countries. Not only jazz but all other music is hidden inside our same appearance. We need more exotic encounters with many things.

In Japan, many jazz fans only like traditional styles of jazz. How can they learn to listen to more cutting edge music?

Well, Japan has imported many kinds of music from foreign countries. We have totally different skill of enjoying and producing the music. There are still many record stores here. And Japanese musicians are also very good listeners of those different kinds of music. They are like very skillful buyers of music, in a sense. Jazz has been very open to every possible idea. So if you are very good listener of jazz by good Japanese musicians, you may find yourself very far from the traditional style of jazz. The cutting edge music does not always mean jazz, but I know there are some people who dare to see jazz as cutting edge music! But jazz is getting very old, here with people who like to listen to the United States of Jazz. They do not think tradition, and history is the invention of people who live inside of it. Jazz is the art form in progress with the people who get involved. Jazz is not just about CDs in the jazz section of the store. We should always keep that mind. But for most people, and a very large part of jazz fans here, they have met jazz through records and CDs as their first experience. They do not feel traditions and histories are very fragile. They need to feel this. But it could be their reason to stay with the traditional form of jazz.

Where will the musicians of the future head in the future, do you think? More commercial, more experimental, what?

I really cannot see their future. I hope they will be more emotional, and more physical. We are very emotional physical entities. I do not want to forget that. The music and musicians are the great reminder of this fact as a human being.

What do you see for the years ahead in jazz?

For everybody, it is clear it is going to be very unhappy for a while in jazz. But still there is a bright side of the dark situation. It will be a very good chance for everybody involved with jazz music to reconsider their own motivation, not based on the economic reasons, but cultural, and emotional, reasons.

Speaking about jazz popularity in general, I can mention some moments about situation in Europe (I believe the situation in States is different). Jazz has never disappeared from European scenes but as everywhere it experiences some ups and downs. Last decade, especially after-crisis time, is quite successful time for jazz in Europe (not only European jazz), but it differs from country to country. 

English jazz scene which has been never before a jazz Mecca (or almost never before, excluding some short periods of early fusion etc) is one of the world's most dynamic jazz places now. Some acts are even commercially enough strong and successful, what is generally a rarity in jazz world.

In general, jazz in Europe is partially successful (or at least alive) mostly because of a) educational moments which build its image as "high art" (on the same or similar level as classic music), not just entertainment and b) financial support from governments in many countries same way as them support classical music

Without above two factors we wouldn't see the picture we have now, and I expect this is a major difference between the situation in Europe and one we have in US or Japan.