月別アーカイブ: 2016年9月

Yosuke Yamashita interview on radio in Osaka(4)

He was not satisfied with his modern jazz style.

In 1969 he had turned to free jazz style from modern jazz.

In addition, he had started new playing style by elbow.

In those days he thought that free jazz playing was made up of two important elements.

Free jazz musician must play improvisation and can interact freely with any musician.

He has played with musicians of all genres.

He said a following name.”The Art Ensemble Of Chicago” and “Eitetsu Hayasi(林英哲)” and “Cecil Taylor”.


In 2006 March,he participated in Ornette Coleman Quartet Japan tour as the opening performance.

Ornette Coleman called on him to play at encore,and played “Song X”.

This song was Ornate Coleman’s favorite tune composed by Pat Metheny.Go Here

Next day,I want to post about collaboration with Cecil Taylor.

This is The Art Ensemble Of Chicago.

This is Eitetsu Hayashi and Yosuke Yamashita plays Bolero(ボレロ)
September 18, 1999, In Suntory Hall,Tokyo.

Yosuke Yamashita interview on radio in Osaka(3)

When Yosuke Yamashita was high school,he decided to become a musician.

He hoped to enroll at Kunitachi College of Music.

Please refer to Kunitachi College of Music.Go here

However he could not read the musical at that time.

Unfortunately he failed his college entrance exams for the second time.

In other words he was working as a professional jazz pianist without reading music score.

He was enrolled at the department of composer at the time of the 20-year-old.

In 1965, Jazz Live house was born in Tokyo.

Ginza “Jazz Gallery 8”  and Shinjuku “Pit-inn”.

“Pit-inn” has been held a live performance every day even now.Go here

Fortunately Yosuke Yamashita joined Sadao’s session in Pit-inn.


Sadao and Pit-inn’s owner Yoshitake Sato(佐藤良武)

Below, I supplement with my research.

In 1965 on November 15, Sadao Watanabe was returning from the United States.

Next day , Masahiko Sato trio was playing in Ginza “Jazz Gallery 8”.

Sadao Watanabe took part in Sato’s trio without submitting his entry beforehand.

Sadao gave a shock to all the audience in “Jazz Gallery 8”.


Yosuke Yamashita also was in Ginza “Jazz Gallery 8”.

Sadao watanabe wanted to instruct New Jazz theory to many Japanese musicians.

So he had called out to young musicians with his session in Tokyo.

This is Yosuke Yamashita(山下洋輔) plays Bud Powell

Yosuke Yamashita interview on radio in Osaka(2)


Why woke up to modern jazz ?

In those days they had been a part time job in a dance party at university and college in Tokyo.

One day in intermission he was listening to the piano performance of other band.

The pianist was playing modern jazz.

He found something in modern jazz not having his performance.

There was a special improvisation in modern jazz.

Unfortunately he could not play such as improvisation at that time.

Eventually he noticed that it was blues of 12 bar.

Suddenly, he exclaimed in a loud voice, “Oh, That’s a blues”.

He was impressed some complex chords and phrasing on simple blues tune.

Jazz Musicians Play At Open Door

 Charles Mingus , Roy Haynes,  Thelonious Monk and Charlie Parker (Photo by Bob Parent/Getty Images)

He began playing modern jazz and studied the chord progression of ‘Bird’.

Also he had copied many piano records by his ear.

He thoroughly imitated the piano style of Hampton Haws.

When he was Azabu high school,he made his debut cabaret and dance hall as professional pianist.

Here is Hampton Hawes – I Got Rhythm (1955)

Yosuke Yamashita interview on radio in Osaka(1)

I am looking forward to listen the jazz program on every Sunday night.

My favorite program is WORLD JAZZ WAREHOUSE.

Yosuke Yamashita was the first time appeared in this program.

I heard his interesting story at that night.

This week I’ll post this interesting story I heard on radio program.

Yosuke Yamashita told about his introduction to jazz.

First he talked about his boyhood piano performance.

When he was junior high school two years( in1956) he was start a jazz piano by request of older brother.


Their performance style was from Louis Armstrong era to Eddie Condon era.

Because his brother adored ‘New Orleans style jazz’ , they did not play modern jazz.

The first song that he played with students’ band was ‘On the Sunny Side of the Street’.

He decided to not listen absolutely modern jazz under the influence of brother.

In radio program he was talking eagerly about New Orleans style jazz.

In particular, he had heard well Eddie Condon’s records.

Here is Louis Armstrong, On the Sunny Side of the Street 

Kyosen Ohashi (大橋巨泉)

September 6,2016

Kyosen Ohashi (大橋巨泉) has died. He was 82.

He was one of Japan’s most popular TV personalities from mid-1960s to 1990s.

Also he was famous as a jazz critic.

He entered Waseda University in 1952 to study journalism but quit the university and became a jazz critic.

He had two children, born to his former wife, both of whom are jazz singers.

There remains a translation of “Strange Fruit” as his achievements.

His fondness for Billie Holiday was exceptional.

I quote his comment from Swing Journal(1960) for her last recordings.



”I don’t want to grade her sad posthumous work.

I once loved her.

In those days she was incomparable singer.

So I want to dedicate white gardenia flowers in silence.”



出典 スイングジャーナル 1960年

Here is Billie Holiday sings  “Strange Fruit” Live 1959.


Ozzie Cadena(4)


Legendary recording engineer Rudy Van Gelder died at 91.

He began recording in a room in parents’ house in Hackensack, New Jersey.

Recently I read an interest interview.

Thanks Steven Cerra.

Kenny Clarke and Rudy Van Gelder were a good friend at that time.

I will quote a portion of  terrific blog.

Rudy: It was. That’s right. Of course, the house was built, they built that, It was my father and mother, my parents, built that at the time, as their home. But, they were aware of my interest in the sound, and we had a little control room built right off the living room. This little glass window, overlooking the living room, with a small control room. And it’s nice…

Ben: And there was a place in the living room where you’d always put the drum kit, and …

Rudy: Most of it. Yeah. There was nothing rigid about it. But I remember this one place where I sent Kenny Clarke. Kenny Clarke would always go in that corner. We used to call it “Klook’s Corner.” That’s where he would always set up the drums.

Ben: There’s a song called “Klook’s Corner.”

Rudy: That’s right. That’s how it came about. Right.

Ben: Because he liked it there.

Rudy: That’s right. We got a good sound. It was a good size room, actually. Not huge, but acoustically it sounded nice. Had a nice-sounding room.

Rudy was also responsible for recording of Savoy Records.

Ozzie Cadena talks Rudy Van Gelder on May 26, 2001.


I found a good news about Savoy records. Go here


Ozzie Cadena(3)

After leaving Savoy, Cadena worked for other labels, including Prestige, Blue Note, and Fantasy Records.

At Prestige he produced soul jazz and other records by artists including Red Holloway, Jack McDuff and Shirley Scott.

In 1974 he moved to Hermosa Beach in Southern California.

In 2000 he began organizing free concerts on the plaza in Hermosa Beach every Wednesday.

He died April 9, 2008.

Jazz writer Don Heckman said : “He obviously had an impact via his production work for Savoy. . . . But his biggest contribution was the love and support of jazz that impacted everyone who knew or had any contact with him.”

I found the lovely article of Gloria Cadena who was Mr.Ozzie’s widow.Go here

From 1991 the Savoy library is primarily controlled by Nippon Columbia.

However his achievements have not been evaluated in Japan.

Here is Red Holloway – Moonlight in Vermont : The Burner (1963)

Here is Shirley Scott with Stanley Turrentine – Secret Love (1963)