Joh Yamada

For sheer beauty of expression, Joh Yamada can’t be beat. His masterful approach to melodic improvisation on alto sax reveals a knowing sense of the interior patterns of ballads and standards. He makes them glow. He can also crank up the tempo on bop-like numbers to reel off long trajectories of vibrant exploration that are intensely exciting. While Yamada is superb in larger ensembles, as he always seems to be listening Intently and responding creatively to other players, it is fascinating to hear what he comes up with when he’s the man. He has an amazing blend of influences, you can hear almost the whole history of alto jazz players floating up at different times, yet the creativity of the blend and the intensity of his approach is highly personal. Compelling jazz that hits both heart and mind in proportion is not easy to come by.

What age did you start playing an instrument?

I started piano from a young age, I don’t know how old, but I didn’t like it.

Your teacher was too strict or…?

No, the teacher was really good, only, I don’t really know why, it just wasn’t interesting.

And after that?

In primary school, about fifth grade, I played trombone in a marching band. I liked that at first, but trombone in the marching band was just “bom bom bom.” It was very boring. I wanted to play melodies, so my teacher said that if I liked melodies, maybe I should play trumpet. Finally, I switched to the saxophone to play melody, because there were more keys. That was in a symphony band.

Was there a jazz band?

No, but my first year in high school, I was introduced to jazz by my saxophone “senpai” who listened to jazz, and played jazz. Not only jazz, but to other things as well, pop, classical, everything.  So, at high school, by the second or third year, I was trying to play jazz.

What kind of jazz did you listen to?

I can’t remember, but most of the music we listened to was popular stuff.

At first was improvisation natural, or difficult for you?

It was very difficult. Very difficult. My second year of high school I started, but no one really taught me, though others were practicing. People were practicing Charlie Parker solos. I found some materials, and tried to play, but I couldn’t. It took one year or two years to find a way to improvise.

Did you study chord progressions and theory?

A little bit, yes of course, but mostly it was the melodies that I liked.

At that time, for high school students, was listening to jazz common?

No, it was something very unusual, very strange. But it was very natural for me. I checked out a lot of popular music and classical music, but I just didn’t like them. Especially electric music, I found uninteresting. When I listened to electric music, it just didn’t fit me.

Not even groups like Weather Report?

Not really. It was interesting in a way, I suppose, but it just didn’t appeal to me. I can’t enjoy it. It goes [he moves a finger in one ear and out the other].

So, the electric sound is too strong or too simple for you?

I don’t know. I like the acoustic sound. The electric doesn’t feel right. So, I guess that’s my own problem.

Problem?

Well, trouble maybe. [He laughs].

So, at college you listened to more and more jazz?

More playing than listening. There was a circle and we played in small groups, quintets and quartets. There were practice rooms and we would jam.

Mostly for fun?

Yes, but not just that. If there were a band competition, we’d get ready for that, or if there were a live show, we’d prepare for that.

So after that, you decided to go to America, to Berklee [College of Music in Boston]?

I should explain about that. I had a senpai who I played jazz with, who mentioned it, and then a trumpet player friend decided to go there. There was Berklee in Japan at that time. I read their info, but it didn’t seem very interesting. However, if you sent in a tape, you could apply that way. I decided I would apply by tape and see what happened. So, in my room, with “Minus One” playing, I recorded a tape, sent it in and got lucky. I got a scholarship for one year.

So, you quit college? How old were you?

I was nineteen, but I didn’t quit. I could take a year off from college and return after that, so I went to Berklee, even though I had only finished a year of college. After Berklee, I came back to finish the last years of college.

Did you learn a lot during that year?

Yes, of course, but really it wasn’t a big deal. Learning how to play takes a very long time even if you go to study.

So, it saved time?

It was helpful, but it didn’t save time. It just takes a long time to learn how to play. I still listen to Charlie Parker. There’s no way to learn more quickly, I think.

What did you study at college?

Um, what was it? Oh yeah, education and society. It was similar to sociology, but a little different. It was very interesting. My professor studied school refusers, those kids who refuse to go to school. Instead, they go to free schools sometimes. So, I went to the free school to do research.

Those students are usually very bright.

They are very bright. But I wanted to give them a questionnaire, and they hate that. On a survey form, they know they can’t express their real feeling, and they don’t feel like they are treated like a person. So, my research wasn’t very conclusive.

Did you think of becoming a teacher at a school like that?

No, not really, but even now, I still sympathize with their attitude and understand it.

Do you teach students saxophone now?

No, not at all. I used to teach, but not anymore.

I want to ask about your development as a player. Three years ago, you relied on more bop phrases, but now, your sound has changed and you seem to play Ornette Coleman and John Coltrane numbers more often. Is that a conscious change?

Yes, I’ve been trying to change. I never really have had an interest in style. I want to focus on what sounds to play, but it’s boring to only think about what goes into it. The most important thing is just communication. So, I don’t really think it’s bop, I don’t even know what bop is. I’m not even sure what jazz is. I just want to make excellent music.

Music that feels more natural?

Yes, when I don’t have to struggle with the phrases as much, it feels more natural and is enjoyable. I don’t really know why I’ve changed exactly, but there has to be variety. Maybe that’s just the way it is. It’s just changed.

But that’s good, no?

Maybe. I’m not sure.

Does that change feel like progress?

No, it’s just a change. I was trying--I am trying--to change, so now it feels more like it comes from the heart.

So, communication is the most important thing?

I’m not sure if it’s always necessary, but for me, it’s important. If you don’t have that, it’s strange. Of course, you can play by yourself in a room. There are some people who like to compose, and that’s something that you do alone. Those people have their own world, and originality. If they want to do that kind of thing alone, they can do that with recording technology. But for me, it’s not that I hate that, but I like a live setting. Some of that music is excellent, but it always depends on recording.

So, for you, the club atmosphere and playing in the moment, is most important?

That has more feeling, and more than that, it’s with people. Playing live, you can understand everything that the customers are thinking and feeling by seeing the reaction on their faces. It’s more honest in a way.

But everyone who hears you always likes your playing.

[No answer].

Most players invite some disagreement, but everyone likes your playing.

[Hesitates]. The most difficult thing is thinking about it, and since I was a child, I always enjoyed playing. So, when I can see that people are enjoying it, I think that’s excellent. It is best to be in that situation of playing with that feeling of communication.

So, do you lose yourself when you’re playing or do you think a lot?

It’s case by case. But, yes, I think a lot! [laughs]. Of course, always! [laughs again].

Your new trio is especially good, and with the addition of piano the other night, it was excellent. Are you going to record with them?

Well, I’m not planning to yet. The pianist is great, and he’s trying to do something different. The drummer came from Kyushu, maybe that doesn’t matter, but he’s really busy. He’s incredibly passionate, but has a softness, even while being very intense. The bass player is only 29, but he sounds great.  When the piano is good, it makes a big difference. The show the other night with them at GH9 went well, I thought. The sound system was good, too. Often, the drummer is too loud or the piano too soft.

Does the sound mix often bother you?

As long as it’s basically OK, then that’s enough.

Are you playing a lot these days?

It depends on the week. I’m not really sure exactly, but around five nights.

Does that seem like a lot to you or about right?

No, that’s good. I’m really lucky. Many excellent musicians do not have enough gigs. So, I want to take advantage of that and introduce good music and good musicians if I can.

Do you play jam sessions?

Not anymore really. I like jam sessions, but when it’s like a fight or competing, I don’t like that. I used to play in them before more often. Now, it’s mostly sessions at clubs, which I like.

If you think of the groups you played with in the past, which of those groups influenced you the most?

All of them. I learned something from all of them. Each situation was different, and there was something to be learned in all of them. Every one of them was very important to develop some aspect of playing.

Do you think there is Japanese jazz that is different from other kinds of jazz?

I’m not even really sure what jazz really is exactly, but the experience of every jazz musician is different. Basically, jazz is very individual, so the musician’s specific sound is the most important point. I think that people want to play what they want to play, and for Japanese, their identity as Japanese is important and of course that affects the sound. For example, I think there is, and I don’t mean this in a bad way, a Yokohama jazz sound. Musicians who play together often develop themselves together and maybe influence each other. That’s natural. Like in America, Kansas City or Chicago, they all had their own sound, so it just naturally happens.

It’s hard to describe what that would be, even if you can hear it, you mean?

Maybe, but at the time I am playing, I don’t think like that. When I listen to a tape later, then I can hear it sounds a certain way or describe it like that. It depends. I like a strong, clear sound.

Do you record yourself and listen after every gig?

No, but sometimes when I’m trying to hear something particular, I will record myself and listen again afterwards. If I’m trying to concentrate on developing something, then I will listen again. Or if I play something bad.

Jazz improvisation is a difficult thing, do you think it influences your life?

Maybe, but everything affects your life.

Do you have any plans to make a new CD?

No, not really. Not right now.

From now looking ahead to the future, what is your plan?

Nothing. [laughs and takes a big drink of his coffee].

(Originally published in Jazznin July 2003)