From Whence It Came

Jazz, along with the gramophone, was introduced to Taiwan during the Japanese colonial period. Inspired by recordings and Japanese performances, the first Taiwanese jazz musicians began to try out this new musical form. In 1949, new arrivals from mainland China added some of the juice from the influential Shanghai scene.

The next wave of influence came from the America militaryn bases located in Taiwan from the 1950s through the 1970s. During the Vietnam War in particluar, jazz greats like Louis Armstrong even came to Taiwan to entertain the troops.

Embodying these influences, local jazz aficionado Tsai Ba (??) opened the now legendary Blue Note bar in 1974 and is still a main fixture on the scene. Armies of musicians have passed through his doors, and countless careers launched with the Blue Note's encouragement.

Another milestone in Taiwan's jazz history is 1981, when the Dizzy Jazz Band was formed. Today, this is more of a community than a band--there are currently five 'Dizzy' bands and they maintain their own offices. These bands consist of the big band they are famous for , a Latin band, a youth band, a 'small' seven person combo band and yet another youth band. Other bands have grown out of the Dizzy community, like Metamorphosis which, naturally enough, plays at the Blue Note regularly.

Two developments have played out in recent years. The first is the growing number of establishments that have live jazz bands performing (see sidebar). The second is the number of festivals and events cropping up, including the Taichung International Jazz Festival (see page four of this article), the Taipei International Jazz Festival and the Chrysler and ICRT Jazz Competition.

Asked to comment on the scene, those involved with it all seem to disagree. While Blue Note's owner Tsai Ba frets about the future, jazz musician Ashley Hines (who has been on the scene since the 1980s), is much more positive--especially when comparing the Taiwan scene to others in Asia.

He notes "Taipei alone, I would estimate, has about four to five times the numbers of musicians as Beijing. Those in Shanghai are all imported and leave when their contracts are up. By comparison, in Asia, Taiwan is really happening. Only Japan really outshines Taiwan. And Taipei is important for the Taichung scene, too, because many Taipei musicians make the trip down for regular gigs, often commuting between the two cities--cross-fertilising the two scenes."

Grooveyard owner and jazz musician Patrick Byrne has another take on the scene: "The scene grew really quickly for awhile, but has leveled out a bit. It's all the same bands now. The quality has been getting better, though. As for the listeners, there is a growing interest in what is perceived as 'jazz', and some of that is percolating down."

Asking a jazz musician or anyone passionate about music to define jazz is risky. Some are upset by the question. Others take you on a long historical journey that doesn't seem to answer the question so much as document it. Yet others take the question as an opportunity to rant about how much they hate Kenny G.

Over time it has become a melange of different styles. Originally it drew from classical and the blues. Now it's drawing heavily from hip hop and funk. Many note the heavy use of improvisation, a more complicated harmonic structure and chord progressions, and the heavier use of wind instruments as defining features--though none of these features are uniformly present. Complicating matters further are bands like Bearbabes, wich in one song plays pure jazz, the next a fusion of jazz and rock, and then follows that with pure rock.

All that being said, there is frequently consensus on what constitutes 'jazz' when people hear it.

Challenges

The jazz scene does have some challenges to overcome to continue growing, both locally and internationally. Booking agents hire bands to play what they perceive as audience demand. In practice, this means bands that play either the classics ('Girl from Ipanema', 'Take Five') or soft background music that often is a live version of elevator music.

This isn't necessarily bad, at least as a start. The listening public doesn't have a feel or understanding for jazz, so starting with the easily accessible classics and unchallenging background music can act a starting point or 'first lesson' in the music genre. This start, hopefully, leads some listeners to delve deeper.

Another problem or challenge that keeps many potential listeners away is the perception that the music is staid. Patrick Byrne notes, "People take it too seriously. Traditionally, jazz was party music--people jumping up and dancing on the tables. Classical went through the same thing; originally people would be getting drunk and heckling the bands, but then it became so serious. Take someone like Miles Davis; you don't want to see him at the concert hall--you want to see him at a smoky bar."

2006 Taichung Jazz Festival showcases top foreign, local jazz talent
Taiwan music fans regularly pencil an October trip to Taichung into their calendars, as that's when the Taichung Jazz Festival rolls around each year. This year's festival--on the weekends of Oct. 21-22 and 27-29--provides more outstanding live jazz from a spectrum of styles and local and international artists. Highlights include the following (performance times noted):
Incredibly, alto sax player Bud Shank (Oct. 21, 7-10 p.m.) has played a big role in the U.S. jazz scene for 60 years as a player, composer and arranger from the "West Coast" jazz movement. Since the '40s, he has performed and worked with dozens of jazz greats--from Ray Brown and Phil Woods to Jackie McLean--in over 50 albums and countless performances. Now in his 80s, he still welcomed by jazz fans the world over.

The Erik Truffaz Quartet (Oct. 21, 7-10 p.m.) is led by French trumpeter Truffaz. Often compared to Miles Davis, Truffaz has won acclaim for his own brand of new jazz that features modern dance rhythms, from drums and bass to hip hop, in a jazz-pop-rock fusion. This Blue Note Records artist has released a number of albums, including 1998's European hit "The Dawn". A Japanese household name and leading jazz pianist Yosuke Yamashita (Oct. 21, 7-10 p.m.) has released over 40 albums and toured widely the past 30 years. He and his New Quartet will Taichung to his unique brand of contemporary jazz.

Acclaimed, world-class tenor sax player and BMG recording artist Harry Allen (Oct. 29, 7-10 p.m.) has over 20 recordings and has worked with jazz musicans worldwide, including Rosemary Clooney, Ray Brown and Hank Jones. Trio da Paz (Oct. 29, 7-10 p.m.) consists of three top Brazilian jazz musicians--guitarist Romeo Lubambo, jazz drummer Duduka Fonseca and string bassist Nilson Matt. Formed in 1990, they have ganed fame for their live performances and collaborated with artists from Charlie Byrd to Herbie Mann.
Other Festival artists/bands include Taiwan's Japanese-born UNO Jazz Trio, the Dizzy Jazz Big Band, JEG Jazz Band, Montunos Lartin Band, Japanese/Taiwanese acid jazz quintet Hip Swing, Taipei Jazz Ensemble, Mosquito Latin Band, and Taichung's own popular bands 'Round Midnight and Jazzaholics.

Performances start at 3 p.m. on Oct. 21, 22, 28 and 29, and at 6 p.m. Oct. 27 on the two smaller J1 and J2 stages along the JingGuo Boulevard parkway, where dozens of food and drink vendors will also be present. Big-stage performances on Peoples' Square are on Oct. 21 and 29 from 7 to 10 p.m. For more information, go the Festival website at http://www.jazzfestival.com.tw