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Why Is Japan a Jazz Paradise? Part 2—From Sake to Soul: Jazz Musicians and Their Love for Japan

Courtesy Tony Overwater
Now Japan is experiencing a significant tourism boom, drawing millions of visitors each month. But long before this global fascination began, jazz legends had already discovered something far deeper.
In May 2025 Japan welcomed an estimated 3.693 million visitors, marking a surge in global fascination with the countryup 125% (more than double!) compared to a decade ago. Many come for the exquisite Japanese cuisine, the tranquil atmosphere of temples and shrines, the ultra-modern buzz of Tokyo, or the soothing beauty of rural landscapes.
But long before this boom, our proud jazz legendsthe predecessors with finely tuned ears and sensitive soulshad already fallen in love with Japan. What was it about Japan that captivated them? Was it the sushi, sake, or something else?
We musicians know the drilltouring usually means rushing from one venue to the next, squeezing in rehearsals and sound checks, with barely a moment for wandering. So what was it that truly drew them in?
In the 1960s and '70s, more and more American jazz musicians began touring Japan.
With the rise of commercial jet travel, flying from the U.S. to Japan became faster and easier.
At the same time, the U.S. government actively promoted jazz abroad as part of its cultural diplomacy during the Cold Warand Japan was one of the key destinations. Japan's rapid economic growth, modern infrastructure, and a growing middle class eager for new culture made it a warm and welcoming place for visiting jazz artists. Their music tells the story of this special bond better than words ever could.

The Tokyo BluesHorace Silver


Blue Mitchell
trumpet1930 - 1979

Junior Cook
saxophone1934 - 1992

Gene Taylor
bassb.1929

Joe Harris
saxophoneb.1947
Silver is said to have composed "Tokyo Blues" by blending Japanese melodies with Latin rhythms, inspired by his Japan tour in early 1962. However, on closer listening, the Asian-sounding melodies seem more Chinese than Japanese. The other tracks are all groovy, jazzy pieces without a distinctly Japanese feel. Still, the Japanese-themed titles suggest a warm nod to Japanese jazz fans, which adds a charming touch.
Even if there may have been a hint of business ambition behind this gestureperhaps an eye on opportunities in Japanwe cannot help but smile at an album that shows such genuine fondness for Japan!
Nippon SoulCannonball Adderley


Cannonball Adderley
saxophone1928 - 1975

Nat Adderley
trumpet1931 - 2000

Yusef Lateef
woodwinds1920 - 2013

Joe Zawinul
keyboards1932 - 2007

Sam Jones
bass, acoustic1924 - 1981

Louis Hayes
drumsb.1937
"The Japanese audience is definitely a part of the proceedings ... they burst forth at the end of a selection in a most dramatic contrast. And the way they line up for everyone's autograph after a concert... makes you feel like a movie star."
The title reflects the deep emotional connection and passionate energy between the musicians and the Japanese audience, rather than a Japanese musical style. Yes, we Japanese listeners are quietbut deeply passionate.
"Koto Song"Dave Brubeck


Dave Brubeck
piano1920 - 2012

Paul Desmond
saxophone, alto1924 - 1977

Eugene Wright
bass1923 - 2020

Joe Morello
drums1928 - 2011
The final track, "Koto Song," is a 12-bar minor blues imbued with Japanese spirit, influenced by the koto's unique scalesimilar to but distinct from the Western pentatonic scale, notably including half steps that create a wistful, melancholic sound. Brubeck wrote:
"Of the classical instruments I heard, I was most fascinated by the koto, a thirteen-string convex-shaped zither."
This is how jazz musicians arealways reaching for something new, something unheard.
"Oriental Folk Song"Wayne Shorter


Wayne Shorter
saxophone1933 - 2023

Art Blakey
drums1919 - 1990

Weather Report
band / ensemble / orchestra
Jaco Pastorius
bass, electric1951 - 1987

Peter Erskine
drumsb.1954
Shorter's "Oriental Folk Song" struck me deeply when I first heard itthe melody mirrors the traditional Japanese folk song "Sunayama (砂山 = Sand Mountain)," which my mother used to sing for me when I was a child. Later, when I played the piano accompaniment myself while listening to the track, I was surprised to find how perfectly it aligned with the melody of "Sunayama." Shorter's first wife, Mitsuko, was Japanese, so perhaps her humming inspired this beautiful piece.
The modal improvisation layered over this folk foundation shows how cultural memory can fuse with modern jazz language.
"Ad Lib on Nippon"Duke Ellington


Duke Ellington
piano1899 - 1974
In the track "Ad Lib on Nippon," the piano theme at the beginning is marked by moments of silence, evoking mathe uniquely Japanese sense of space and pause. What follows is a playfully Japanese-sounding melody. You can even hear clarinet phrases reminiscent of the shakuhachi, the traditional Japanese bamboo flute. The contrast with the groovy jazz sections is striking. It almost seems to capture the energy and dizzying momentum of Japan's rising productivity and economic boom at the time. You might say it has the very feel of East-meets-West jazz.
This piece is noteworthy not only for its musical qualities but also for its linguistic choices. (The same could be said for Cannonball Adderley's Nippon Soul.) The use of "Nippon" instead of "Japan" shows a sensitivity to how Japanese people refer to their own countrya reflection, perhaps, of how deeply jazz artists honor their origins.
"Soran-Bushi, B.H."Billy Harper


Billy Harper
saxophoneb.1943
Hearing this connection between a centuries-old Japanese folk tune and modal jazz fills me with a quiet sense of pride.
"Vignette"Gary Peacock


Gary Peacock
bass, acoustic1935 - 2020

Masabumi Kikuchi
piano1939 - 2015

Masahiko Togashi
drums1940 - 2007
This stay is said to have deeply influenced his music and approach to improvisationparticularly through his appreciation of a subtle feature of the Japanese language: the frequent omission of the subject "I" (わたし watashi), which he reportedly associated with a kind of selflessness in jazz improvisation. It's the kind of insight that perhaps only a foreigner could havesomething so natural to us Japanese that we might easily overlook it.
On the album Tales of Another, featuring

Keith Jarrett
pianob.1945

Jack DeJohnette
drumsb.1942
Knowing this was his comeback album after returning from Japan makes it all the more convincing.
Flowers and Respect

These keen-eared jazz musicians heard something new and fresh in Japanese folk melodiesthe pentatonic scale common in Japan is subtly different from Western versions, imbued with a wistful and introspective quality. They were drawn not only to these unique sounds but also deeply impressed by the Japanese audience's polite attentiveness and profound respect for musicians.
I will never forget sitting next to

Tommy Flanagan
piano1930 - 2001

Blossom Dearie
piano and vocals1926 - 2009
"Japan is amazing! They once gave Tommy flowers on stage after a concertimagine that! Jazz musicians never get flowers. It was unforgettable."
That is Japan. A country where artistry is honored and "fandom" is full of heartfelt devotiona concept we even have a word for: "hiiki" (贔屓). It is not about trend or celebrity. It is about gratitude and reverence for beauty, regardless of origin.

Hank Jones
piano1918 - 2010
To all the musicians who shared their hearts with us: Arigato. Right back at you!
In Closing
Last June, during a tour in Japan, we had just one day off before the next concert. We visited Kamakura, the 13th-century former capital of Japan. As we walked down the stone steps from a quiet temple, the Dutch bassist I was touring with said, almost to himself, "I can't quite put it into words, but something about Japan really gets to me. The vibe at the concerts, the feeling in the air... I'd really love to come back someday."So yes, maybe it started with sake. But what kept them coming back was something far more soulful.

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