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Big in Japan: A History of Jazz in the Land of the Rising Sun, Part 1

Big in Japan: A History of Jazz in the Land of the Rising Sun, Part 1
Karl Ackermann By

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Foreigners may be more intrigued by the possibilities of ‘Japanese jazz’ than Japanese are. —E. Taylor Atkins
Part 1 | Part 2

The music market in Japan—second only to the U.S. in terms of revenue—generates more than two-billion dollars in sales annually. Enthusiasts and collectors of jazz recordings had long ago discovered that Japan's robust music scene, and the now virtual accessibility to products have made the country a go-to resource for hard-to-find releases. Among the Japanese pressings of American artists, various retail outlets offer vinyl rarities such as Oscar Peterson's Nigerian Marketplace (Jive, 1982), recorded in July 1981 at the Montreux Jazz Festival, the mono version of Erroll Garner Plays (Ember/Tokuma, 1976) or The Complete Keynote Collection (Nippon Phonogram, 1986). Included in this massive twenty-one LP box set are Coleman Hawkins, Teddy Wilson, Lennie Tristano, Lester Young, Benny Carter, Milt Hinton and Lionel Hampton; all mono recordings from the 1940s. One could also purchase Miles Davis' Sketches of Spain (Classic Records, 1994) for two-hundred and fifty US dollars.

The demand for Japanese market jazz recordings is based on a number of factors. Some Japanese manufactures claim that in the 1970s and 1980s American record labels frequently contracted with pressing companies that used recycled or cheap vinyl to press their records, resulting in poor sound quality. Toshiba—one of three major record manufacturers in 1950s Japan—began producing a number of red vinyl pressings. From the mid-1950s through the mid-1970s these so-called "Everclean" pressings were designed to be less susceptible to the build-up of static electricity and, thus, not as likely to accumulate dust. But the red vinyl discs were reserved for specific recordings, only a small number of which were reissues of American jazz albums. Special consideration for these pressings were also given to the most popular international rock bands of the time -The Beatles, Pink Floyd and so on. Still, the market for American jazz, inside of Japan, was—and continues to be—a lucrative one though the roots of jazz in that country have sturdy ties to its native artists.

Early Jazz in Japan

To understand the history of jazz in Japan, it is helpful to first look eighteen-hundred miles south to the Philippines; a country that was occupied by the US and later by Japan, from 1898 until 1946. A nationally famous pianist, Luis Borromeo, was sent as a child from his native island province of the Philippines to study music in the States. In 1915 he was coaxed into an impromptu performance at the San Francisco Pan-Pacific International Exposition, gaining the attention of a promoter. He was signed to a multi-year contract with the Orpheum Theater chain and toured with vaudeville-style stage shows in New York, Chicago, San Francisco, Seattle, and Portland. His trio included two Chinese-American singer/dancers and it became the highlight of the Orpheum stage shows. In 1920, Borromeo returned to the Philippines, now billed as "Borromeo Lou," and organized the first Filipino vaudeville company. In Chinese costumes, the trio performed a hybrid style of syncopated music that included jazz elements—introduced to the Philippines through the American military presence—and Asian influences as well. As Borromeo's act grew in popularity, he came to be known as the "King of Jazz" in his native country. During the American occupation of the Philippines, their trading activities with the Japanese grew enormously as did immigration between the two countries. Along with iron, copper and manganese, both counties were exposed to the other's musical cultural.

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