Toshiko Akiyoshi’s “The Village”
Toshiko Akiyoshi, one of the most renowned (and one of my favorite) jazz pianists, didn’t always bring her Japanese roots into her music. That changed after she read a 1974 article by Nat Hentoff about Duke Ellington and how his work was tied to his African heritage. It got her thinking about her own background and what it meant for her music. She started experimenting with Japanese themes, scales, and traditional instruments like the kotsuzumi and shamisen, mixing them with her jazz foundation shaped by legends like Ellington, Charles Mingus, and Bud Powell.
The Village is one of the products of that exploration. Inspired by a folk song from the Kisarazu region, it is a perfect example of how she blended Japanese folk influences with jazz.
(I’ve been obsessed with this one lately. I can’t find any transcriptions online, so I’ll probably end up making one myself someday.)
Other Recommendations
Ryo Fukui’s “Sonora”
Ryo Fukui was a Japanese jazz pianist. Everything Fukui played is super accessible, and for those who don’t usually listen to jazz, he’s a perfect gateway into the genre. Some in the jazz world criticize his style — and Japanese jazz in general — as not being a “true” representation of jazz. While there’s some truth to that (he was self-taught, after all), I think it’s okay to sometimes just enjoy music for what it is rather than what it’s supposed to be. For a genre that can feel pretty inaccessible, I really appreciate Fukui’s albums for being such an easy entry point. That said, I’m a big advocate for properly learning about jazz and its roots for anyone who listens to it regularly. Understanding where it comes from only deepens the appreciation of artists like Fukui.
I plan to perform some of his works, including “Early Summer” and “Sonora,” along with other jazz works by East Asian artists as part of my school’s spring concert, organizing a small student ensemble. Through the performance, I will spotlight how jazz took root in Japan and developed within postwar Japanese musical culture, and how artists like Fukui engaged deeply with the American tradition while contributing to the distinct local jazz scene in Japan. I’m currently working on the transcriptions.
In spring of 2026, I plan to organize a cross-cultural jazz charity concert spotlighting Latin jazz, one of my favorite styles. I am currently recruiting other musicians to perform with me and play selections by Chick Corea, a master of Latin jazz and an incredible pianist whose work continues to shape the genre. Beyond live performance, the concert will include artist-led conversations about the cultural roots of Latin jazz and what the music represents beyond technique. Through this project, I hope to deepen my community's appreciation for Latin jazz not just as a sound, but as a cultural tradition. All donations would go toward micro-grants supporting underrepresented jazz musicians.
Recommended Listening: Underrepresented East Asian Voices in Jazz Today
B Minor Waltz, as played by Bill Evans
Here’s my take on B Minor Waltz by Bill Evans! The video quality isn’t great, but I’m thankful it was recorded at all.
Just a short snippet of the full waltz. There’s something about the way Evans touches the piano that makes him so distinctive, and his playing was always incredibly lyrical and intentional. I try to capture a bit of that in my own playing every day.