Welcome to the new NEW ORLEANS VOLUME 2 ISSUE 7 504 MAGAZINECITYBUZZ WWW.504MAG.COM Yoshio TOYAMA “Satchmo of Japan” Keiko Matsui Mardi Gras ALSO featuring: Japan Yoshitaka “Z2” Tsuji - piano Haruka Kikuchi - Trombone Dr. Michael White - Clarinet “Mardi Gras in Shimane” Naoko “Naoh Sax” Tanaka Elaine Stepter - Vocal Oct. 2014 Mitsuru “ Mitch” Y asuda - Trp The Mondlarks Hammon d B3 Trio Khacha Band Hiroshima “The Band” 504 Mag is proud to dedicate Issue #7 to the contribution Japanese Musicians have made to New Orleans Jazz 504MAG GOES INTERNATIONAL JAPANESE MUSICIANS HAVE BEEN CONTRIBUTING TO NEW ORLEANS JAZZ FOR MANY YEARS Keiko Komaki Mitsuru “Mitch” Yasuda Hiroshima the “Band” JAIMEE ITAGAKI/COURTESY PHOTO Yoshitaka “Z2” Tsuji Keiko Matsui Hiroshima the “Band” JAIMEE ITAGAKI/COURTESY PHOTO Khacha Band Yoshio Toyama THE NEW NEW ORLEANS “This magazine is dedicated toward CONTENTS building the New NEW ORLEANS” - Doc Jones - 5 Keiko Matsui Yoshitaka Z2 504Magazine 504 Mag Interviews Keiko Matsui The Japanese High Priestess of the keyboard 14 504Mag speaks with Yoshitaka Z2 5 14 Tsuji 24 504Mag introduces Naoh Sax “Japanese Diva” For customer service, change of address, and subscription inquiries, 28 please visit www.504mag.com Yoshio Toyama the “Satchmo of Japan” Spends time with 504Mag Naoh Sax 24 30 “Mitch” NOLA’s coolest Japanese Trumpet player 34 Hiroshima The band 504Mag was honored to Mitsuru Mitch 34 interview Hiroshima 30 36 504Mag is proud to introduce Haruka Yoshio Toyama Haruka 40 28 36 Elaine Stepter Masterful Song ALL Content AND PHotogRAPH mateRIAL ARE Bird of Love back COPYRIGHTED to THEIR ResPECTED OWNERS. to ContaCT OUR EDitoRIAL team PLease EMAIL US at from Japan [email protected] 40 504 MAGAZINE 4 JAPAN’s high-pRiEsTEss oF JaZZ By: Cynthia Gill Mitchell 504 It should be of no surprise to jazz fans, musical history – but shines from their nor is it to 504mag that this petite and ongoing support. In fact, her father talented jazz pianist is one of the jazz worked in the corporate arena as a bu- greats slated to perform at Istanbul sinessman, and her mother delved into Turkey’s celebration of UNESCO’S In- traditional Japanese dance. The career ternational Jazz Day. choices made by her parents, howe- ver, did not stifle Keiko’s need for her Keiko Matsui has been on the Jazz mu- growth in the music business. It was sic scene for 3 decades, and in January proven to be true by her mom’s visions 2011, released her 22nd album “The early on, when Keiko was only 5 years Road.” Of course her non-stop, elec- old, and served as the stepping-stone trifying global performances have cer- brought on in part by an old Japanese tainly kept her in the loop, considering tradition. Her mom believed in that she has not released an album since tradition that if children begin music 2007. And she emerges victoriously lessons on the first day following their with this new, self-produced album. fifth birthday, they will keep studying But before “The Road,” Keiko ceremo- for a long time. Keiko was taken to niously released her 2007 masterpiece, her first piano lesson on that very day “Moyo,” and a hit wonder that seemed when she was five, and since them, the to hold its own throughout this 4-year inevitable has rung true. Keiko didn’t hiatus. With an appreciation of South begin her professional jazz career right Africa, Keiko released “Moyo,” that away, but when she did finally latch on featured Hugh Masakela, and other to the jazz genre, it eventually became jazz greats who shared in her compas- her musical mainstay. Also during the sionate message to those who are vic- early years, she began to compose her tims of that country’s strife. own music, while then deciding that the piano “was her partner for life.” Throughout her ongoing musical jaunt, Keiko has maintained the patience and Inspired by Chick Corea, Sting and endurance she is so known for, and ac- even Mozart, and having performed cording to her, “I always set aside spe- with Stevie Wonder and Miles Davis, cial times for composing charts”. “I sit Bob James, not to mention her con- in front of the piano in a quiet space tinuous trek around the globe, Keiko and wait to hear a melody come from Matsui believes that “music has no somewhere. It may borders and it creates a oneness among take all day but when people.” “There have been many occa- 504 Mag I hear it, I catch it and sions when I have felt like music saved take note.” This ritual me. There is a connection between my Interviews may not be unique, fans and I, and together in my music, but it ultimately works we are sharing harmony.” and has added creden- the high- ce to her efforts. Keiko literally shared harmony with Stevie Wonder, Patti Austin and Ja- Priestess of Jazz In Japan, like most mes Ingram in a collective rendition jazz artists in the U.S., of Marvin Gaye’s What’s Going On, i.e., New Orleans, the- at a special event that took place at Keiko Matsui re is usually a history the Staples Center and penned “Wave in the family, and an of Peace.” This show was dedicated to expectation for potential musicians to what happened after 911. “I played my follow in the footsteps of family mem- piano piece called Deep Blue, and “that bers - especially their parents. Howe- was quite an experience for everyone.” ver, Keiko’s back story does not inclu- de a comeuppance due to her family’s Continued on page 8 504 MAGAZINE 5 gathering of good friends or family coming together to Kermit’s Treme Speak- share stories while enjoying a cold beer or other bar favorite; Kermit’s favorite a cold Bud Lite. That’s dur- ing the earlier part of the day, but when the music starts easy there/s far less talking and more listening to the top notch level of New Orleans Jazz and traditional tunes In Kermit Ruffins’ world, Music and food go together like being performed. There is noticable toe tapping, head red beans and rice, like icecream and apple pie. The bobbing and finger snapping throughout the room. On joy of New Orleans food figures prominently into the a recent visit, the dining room, more sparcely occupied trumpeter’s life. Kermit’s band apprpriately called the than usual, I realized the “come early” attitude of the Barbecue Swingers has for many years made barbecue, group, most regulars, nursing beers and offering commen- red beans and other good eats a fixture at his regular tary on the day’s cable news while bidding their time gigs, served up for free during set breaks. until the chef finished preparing the day’s fresh batch of red beans and rice. Now, that Ruffins has his own restaurant, ‘Kermit’s Treme Speakeasy’ (located at 1535 Basin St., 309-5828) The menu is listed on a specials board and changes the tradition continues.The Speakeasy opened just after daily. Some of the mainstays are barbecue shrimp, fried the New Orleans Jazz and Heritage Festival, The varying chicken or fish, smothered cabbage, hot tamales menu serves traditional New Orleans dishes some Creole- and stewed rabbit, served with a pile of snap style country dishes, and I must add, some of the best beans and mounds of gravy-soaked rice. Occa- fresh fried catfish you’ll ever eat, all the while the venue doubles as a live music spot. sionally there’s raccoon with grits. Portions are large, and prices are modest, with most dishes The restaurant is in a handsomely renovated corner around $10. Tuesday features boiled seafood spot with terrazzo floors, a small bar and an small stage night, and vegetables, sausage and turkey with mic stands and a keyboard alway ready. necks are boiled with shellfish. Kermit performs with the Barbecue Swingers on Sun- days and Mondays; with kickoff time at a too early, 6 The bar has an assortment of bottled beers, pm, for most of us. Performances end way too early, basic cocktails and half-pints of booze served between 7:30 and 8pm. Although the performances are with mixers for neighborhood-style bottle ser- very worthy, minus a rare special event, there are no vice. Kermit’s Treme Speakeasy Restaurant cover, no smoking and dinner is served while the music plays. opens daily at noon Fresh cut flowers adorn the tables along with candles adding to the ombience. The atmosphere is very casual early on in the day, lending the venue to a feeling of a Keiko also admits that her music development come such strong classical, world and new age influences that the result is across “as if she is offering her music as a prayer.” This truly unique. But it is in her compositions that Keiko’s genius outshi- revelation probably complements one constant in her nes all others - her amazing melodies are simply breathtaking!” life, as it is obvious through her association with and contributions to charitable organizations such as Y-Me To expound on Weiss’s generous statements about this gracious per- Breast Cancer Organization, United Nations World former, this writer has been a major fan of Keiko every since she Food Programme’s efforts in Africa, and California for debuted on the scene back in the early 80’s, and from the majority A3M’s charity for the National Marrow Donor Program of tunes I possess, the stirring melodies capture what this lady is all is very near and dear to her.