月別アーカイブ: 2016年3月

Toshiko Akiyoshi(4)

March 31,2016



When talking about Toshiko Akiyoshi, we must not forget two Japanese jazz musicians.

Shotaro Moriyasu was death at a young age,and I posted in the past about him.

please refer to my past blog.Go here

Sadao Watanabe has been active in jazz player even now.

In 1953,he was participating in Toshiko Akiyoshi’s cozy quartet.

After that ,please refer to his website.Go here

In addition,about an initial of Toshiko Akiyoshi, please refer to the JazzWax.



I found her recent activities.Go here

Toshiko Akiyoshi(3) Charlie Mariano dedicated his tune to sumo wrestler

March 30.2016

March 30, 2016


I want post in detail at a later date about his achievements.

But for me he had recording an impressive tune.

My guess is that Toshiko Akiyoshi quoted from his tone of as Japanese atmosphere when she produced ‘(孤軍)Kogun’ in her first orchestra recording.

The name of tune was ‘To Taiho’ which had been contained in ‘A Jazz Portrait of Charlie Mariano’.

This song was dedicated to ’Taiho(大鵬)’ who was the grand champion of sumo wrestling in Japan.

His intro sound had replicated the calling voice of sumo wrestling.

I want to express in Japanese.


Charlie Mariano (as); Marvin Stamm (tp); Jaki Byard (p); Richard Davis (b); Albert Heath (ds)

Recorded in New York City, July 25 & 26, 1963


A Jazz Portrait of Charlie Mariano



Toshiko Akiyoshi(2) her daughter Monday Michiru

March 29.2016


The program also introduced her daughter Michiru.

She was in charge of the narrator in special program.

She had co-star with her mother on stage in Japan.

She was born August 19, 1963 ,and her father was famous jazz saxophonist Charlie Mariano.

In 1987,she debuted as an actress in ’Hikaru Onna’(Luminous Woman).

She won Best New Actress awards from Kinema Junpo, The Japan Academy, and the Yokohama Film Festival.

Now She  has been active in NY.


Toshiko Akiyoshi(1)

March 28.2016

March 28. 2016

Last night, a special program of Toshiko Akiyoshi had been televised in Japan.

Jazz pianist, Toshiko Akiyoshi to reach the 70-year debut this year (86).

She was awarded ‘the Jazz Master’.

This title is highest award in the US jazz world.

Now also she has continued to success in NYC.

After she enterd to the U.S. at the age 26,she received the race and discrimination against women.

But she was fused elements of jazz form and Japanese style and pioneered a unique jazz.

She has continued to struggle as a pianist,as a woman, as a Japanese.

This special program offer her great hardships.

In addition she played some performance for this program.

Here is Toshiko Akiyoshi and her trio.

Henri Renault

March 27.2016

Henri Renault was a pianist and composer,arranger in France.

He was learning violin lesson from an early age,and began to play piano at 8 years old.

When he was 19 years old,he moved to Paris.

He appeared in a small club as a pianist.

Then he played with American jazz musician who visit Paris.

During 1949 and 1950 he accompanied Don Byas, James Moody and Roy Eldridge.

He was blessed with the opportunity to record with Milt Jackson, J. J. Johnson and Al Cohn.

In the late ’50s,he was active as a producer,developed an obscure musician and gave an opportunity of recording.


In addition, his early recordings have been issued.

I recommend the article of JazzWax about his early recordings.



Martial Solal

March 26.2016



Even now there is an active jazz musician who became famous by Charles Delaunay’s effort.

Martial Solal was born on August 23, 1927 in Algiers, France.

He was the son of an opera singer and piano teacher, and learned the instrument from the age of six.

After settling in Paris in 1950, he soon began working with leading musicians including Django Reinhardt .

Also he was playing with Sidny Bechet and Don Byas.

He had recording as a leader since 1953.

Charles Delaunay(2)

March 25.2016


Photo above of Charles Delaunay and Thelonious Monk

Charles Delaunay is probably the father of discographical format.

He noticed the importance of master numbers.

He was listing each artist’s work in chronological or matrix number order.

The first United States edition of Delaunay’s book was published with the help of Commodore Record Shop.

This book became my favorite discography.

I have put this discography within reach even now.


Photo above of George Avakian

George Avakian said to JazzWax about this discography:

“Charles Delaunay’s Hot Discography and Hugues Panassie’s Le Jazz Hot, a definitive guide to jazz musicians that explained why they were great.

There was a summary at the end of each chapter telling you which records to buy. Of course, the records recommended were the European releases, but the book gave me a head start.”

JazzWax:March 15, 2010

Interview: George Avakian (Part 1)

Charles Delaunay(1)

I post about the Charles Delaunay today.

As I wrote on Monday blog was a founding member of the FHC.

He evaluated the bop revolution in jazz unlike Hugues Panassie.

I think his achievements are next three.


First,he promoted ‘the Quintette du Hot Club de France’ with Django Reinhardt and Stephane Grappelli.



Photo above Sidney Bechet

Second,in 1948 he founded the record label Disques Vogue.

This company recorded local musicians such as Django, and American performers such as Sidney Bechet.


Third,he was author of the famous ‘New Hot Discography’.

About this book I will post tomorrow.

Here is The Quintette du Hot Club de France play “The Sheik of Araby”.(1937)


Hugues Panassie(3)

March 23.2016


Photo above of Tommy Ladnier

In 1938, Hugues Panassie  was invited to RCA for real jazz recording.

Hugues Panassie supervised four-recording session 17 songs.

Initially, he wished to record with Louis Armstrong.

However at that time Louis Armstrong had been entered into an exclusive contract with other company.

He gave up a recording with Louis, and decided to record with Tommy Ladnier.

But at that time Tommy Ladnier’s whereabouts was unknown.

He postponed recording to look for Tommy Ladnier.

He and Mezz Mezzrow were looked for Tommy in Harlem.

At last they grabbed a clue about Tommy’s address from a man playing in billiard.

After three days, Tommy visited Mezz Mezzrow’ home.

Tommy Ladnier had emigrated to Newburgh a few years ago from New York.

Tommy lived in peace and quiet while teaching personal guidance of trumpet.

Their performance was ‘typical of New Orleans style’.

Hugues Panassie  indicated the strength and charm of New Orleans ensemble that had been forgotten  at the time of 1938.

1938年、Hugues PanassieはアメリカRCAに招かれ、計17曲を監修しました。
当初、彼はLouis Armstrongの演奏を録音することを希望した。
しかし、当時Louis Armstrongは他社と専属契約を結んでいた為。Louis Armstrongとの録音を断念し、Tommy Ladnierの演奏を録音することを決定した。しかし、その当時、Tommy Ladnierの所在は不明であった。
彼はTommy Ladnierの所在を探すために録音を延期しました。
彼とMezz Mezzrow はTommyを探すため、Harlemを歩き回りました。
3日後、Tommy LadnierはMezz Mezzrowの自宅を訪問してきました。
その当時、Tommy Ladnierはニューヨークから数年前にNewburghに移住していました。
Tommy Ladnierは、トランペットの個人指導をしながら、優雅に暮らしていました。
Hugues Panassieが録音した彼らの演奏スタイルは「ニューオーリンズスタイルの典型」でした。
Hugues Panassieは1938年という時期に、忘れ去られたニューオリンズスタイルを再現させました。




Hugues Panassié (2)

March 22.2016


Hugues Panassie was born in Paris.(27 February 1912 – 8 December 1974)

He was the founding president of ‘the Hot Club de France’.

In a changing world of jazz, he was an devotee of traditional jazz.

He was fond of an orthodox jazz from New Orleans.

Consequently he rejected so-called bebop as “a form of music distinct from jazz.”

Also he ranked Benny Goodman as a detestable clarinetist,because Benny Goodman was inferior to Jimmy Noone and Omer Simeon.


Mezz Mezzrow

On the other hand he liked only white musician Mezz Mezzrow.

In addition he criticized West Coast jazz as inauthentic, because most musicians were white and also sounded white.

However, he was the great producer in history of jazz.

He produced several jazz records.

The most famous recording was Panassie session.