Day 3: Japan Album Release Tour JINSEI 2024 – Tagen, Tokyo

December 13, 2024

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Woke up early, as my gig at Tagen would start at 4 PM with a rehearsal, and the showtime would be 6 PM. My plan for the day was to visit Kyu-Furukawa Gardens, which I had found during my trip preparation. It was just a short walk from my hotel in Komagome.

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After a quick stop at one of the machines that provide all sorts of goods, my coffee hobby was getting out of hand as I kept trying different brands and combinations, I noticed that while this machine was near my hotel, most don’t have a garbage disposal next to them.

In fact, it’s hard to find that anywhere in Tokyo, but this one did, so I could drink on the spot and throw away the used cans. The best way to get rid of any litter is to use a combini, like 7/11 or Lawson, which always have a part of the store dedicated to waste disposal.

Arriving at Kyu-Furukawa Gardens felt like stepping into a peaceful retreat from the bustling city. The entrance fee was quite reasonable, around 600 yen, and after purchasing my ticket at the counter, I eagerly began my walk through this beautifully maintained park. The path ahead promised tranquility, and even though it was a Saturday, the park wasn’t overly crowded.

As I wandered deeper into the gardens, the gentle chirping of birds blended with the faint hum of distant city life, creating a unique soundscape. The air was fresh, filled with the earthy scent of fallen leaves, making it easy to forget the urban environment just beyond the park’s boundaries. Every corner of the park seemed thoughtfully designed, showcasing nature’s beauty in its many forms.

In the heart of the gardens lay a large pond, its stillness only interrupted by the occasional ripple of koi fish. Nearby, a small but mesmerizing waterfall. Towering ancient trees stood as silent witnesses to time, their gnarled roots and wide trunks exuding a quiet majesty. Scattered throughout were remnants of trees that had been cut down, their exposed roots creating intricate natural sculptures—a reminder of the cycle of life.

The blend of nature’s raw beauty and the careful attention to detail made the visit unforgettable.

After spending a few hours there, I returned to my hotel to change outfits, grab my sax, and head to Tagen. The walk was only about 20 minutes from my hotel and it was a nice, straight line to the venue. The last part of the walk passed through Asukayama Park, behind Ōji station, where many young kids were playing with their parents or grandparents. The weather was warm and friendly.

When I arrived at the station, I noticed a big guy standing with a double bass and amp, my second bass player for the tour, Junichi Sato. After saying hello, it was clear that it was indeed him. We walked together to Tagen, which was very close to the station—just a left turn and 20 meters away. Joining me, Shunichi, and Gaku was also alto and sopranino saxophonist Yuichiro Tokuda, who would be part of the lineup for this special concert.

When I got to Tagen, Gaku and Shunichi were already there, setting up. A little later, my longtime friend Yuichiro Tokuda arrived, and soon we were ready to work on the tunes for the show. My connection with Japan began with Yuichiro, as I met him and his band members at the Nanjing Jazz Festival in China. We toured together, and my ties with Japan only grew stronger after forming the Joris Posthumus Group, a collaboration between myself and musicians from Japan. As things naturally progressed, this group became a band of brothers, all focused on the music, sharing energy and spirit.

The reason we played at Tagen is deeply personal, and words fall short in describing it. It concerns a Silent Warrior, a special person and wonderful pianist. I wrote Silent Warrior, a tune as a tribute to him, on the JINSEI album.

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At 6 PM, we started the first set. There was already a full crowd, a mix of familiar and new faces. I must give credit to Junichi Sato, as he was fantastic to play with—his strong swing and impeccable timing made him a joy to share the stage with. Since Yuichiro and I both play alto saxophone, it was especially nice to also have him on double on sopranino on some of the tunes, for a new sonic texture. We finished the first set on a high note, and during the break, Mr. Amano-san came in—it’s been a long time since we had seen each other.

The second set began, and I presented my album JINSEI to Tetsuro Tamura, the brother of The Silent Warrior. When I met him in 2020, after recording JINSEI, I visited him at Tagen and told him about the song I had written for his brother, Kazuhiro.

Playing that tune after this moment felt deeply special, and I felt connected through both music and spirit.

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After the second set, I spent some time, with great help from Yuichiro, promoting the album, talking with people, and taking pictures. I always make sure to take time for this part. When the venue began to empty, Tagen stayed open for the band to have food, drinks, and a chance to unwind.

There was also something else to look forward to—my student and friend Johan would soon arrive at Tagen. He had just arrived in Japan that day and would join me for parts of my tour. Johan speaks Japanese, and it was great to see him there, having conversations with my band members.

As the night wore on, with the last train approaching, Johan and I left Tagen to find a late-night food and drink spot. Near my hotel, there were many cool streets filled with food stalls, so we searched for an inviting place and found one that stayed open until very late. We got a table, complete with a basket to store our coats, and examined the extensive menu. It was an Okonomiyaki-style Izakaya, and after ordering some beers, I was ready to dig in.

Johan, in his usual inspector gadget mode, was closely examining the menu, it was big!!

The waiter, although unsure about some dishes, did his best to guide us. His English was quite good, and I asked him about his job and future plans. He told me he was in university, working at the restaurant part-time while studying computer languages, though he actually wanted to become a kindergarten teacher.

As the food started to arrive, we began to toast, saying “kampai!” in between bites. It was also nice to speak some Dutch again, though it quickly turned into a mix of Dutch and English—jetlag talk at its finest.

Johan would be attending the gig the next day at No Room For Squares. This performance was arranged by my pianist, Shunichi Yanagi, and while there were a few translation mishaps when Shunichi sent over the lineup before the tour began (he misspelled Tamaya’s name)

Tamaya Honda is well-known both in Japan and internationally, a high-energy powerhouse on the drums. I had only met him once before, at the jazz festival in Okinawa. When Shunichi called him to ask if he would join us for the gig at No Room For Squares, Tamaya responded, “With that alto player from the Okinawa festival? Sure!” It was an honor for both Shunichi and me to have Tamaya behind the drums for this performance.

This gig would also be my first time playing with Daiki Mishima, the bass player for the night. One of the unique aspects of this tour is the opportunity to collaborate with seven different bass players, each bringing their own distinctive style and energy to the music. These fresh musical encounters challenge me to adapt and stay in the moment, keeping every performance an exciting and unpredictable experience.

After a fun and very late night, I asked the hotel staff to call a cab for Johan, so he could get to his hotel. It arrived shortly after, and with that, we wrapped up a memorable day.