Day 4: Japan Album Release Tour JINSEI 2024 – No Room For Squares, Tokyo

Waking up late this time—after staying up until 6 AM with Johan the previous night—I finally got some much-needed sleep and woke around 2 PM. This evening, I’d be performing a Quartet gig with pianist Shunichi Yanagi, bassist Daiki Mishima, and the incredibly energetic drummer Tamaya Honda.

I’ve played at No Room For Squares before, back in 2020, as preparation for the JINSEI album recording. The venue’s owner is relatively young and quite funny, and his speakeasy-style jazz bar is truly one of a kind. It’s always a pleasure to perform here.

With only a little free time before the gig, I grabbed some food from a local konbini and made sure my gear was ready. I reached out to Yanagi-san to see if we could travel together since we’d need to navigate Shinjuku Station—not my favorite place due to its overwhelming size. I always enjoy traveling with Yanagi; we’ve spent a lot of time together during this tour as he’s joining me for almost all of the gigs. We agreed to meet at Takadanobaba Station, which is close to where Yanagi lives, around 4:30 PM.

One thing I continue to admire about Japan is the efficiency of its public transport system. Despite the occasional crowd, trains are always on time, affordable, and easy to navigate—a musician’s dream when touring.

After a short ride on the Yamanote Line, I met Yanagi at the Takadanobaba ticket gate, and we headed to Shinjuku Station to change trains. Takadanobaba brings back memories, as I’ve stayed in that area during previous tours. It’s a vibrant neighborhood filled with students and is home to one of the coolest jazz sessions in Tokyo at a spot called Intro, just a short walk from the station.

One of the things in Japan I still find amazing is the perfect running public transport system making it possible to navigate this city and most all other cities in Japan with no problems. Sure, it can be crowded at times, but it’s on time and not expensive.

At the venue, Tamaya-san was already setting up, and Daiki-san soon arrived as well. In Japan, it’s common among jazz musicians to do lengthy rehearsals, but I’m cautious about conserving energy for the performance itself. Luckily, it was clear from the start that this band was going to be on fire. After running through a few short heads and tails, I suggested we grab some food.

While Tamaya stayed behind at the club, Shunichi, Daiki, and I wandered the vibrant streets of Shimokitazawa. Known for its old-Tokyo vibe, narrow mural-painted lanes, and vintage shops, Shimokita is a cultural hub with craft cafes, brewpubs, and live music venues. Shunichi led us to a local sushi spot—a hidden gem with yen-only prices, Japanese menus plastered on the walls, and three chefs working tirelessly in the middle of a conveyor belt setup. The sushi was fresh, delicious, and exactly what we needed before the show.

When we returned to the club, the room was already packed with a mixed crowed. My friend Johan, who arrived late, was lucky that Yanagi-san was at the door and managed to get him in. Johan later told me that people were being turned away because the venue was full. Another pleasant surprise awaited me as my friend Dustin Brown, whom I’d met years ago while recording my first album, was sitting at the back of the room. We’ve stayed in touch since that time, and he’ll also be joining the upcoming gig at Jazz Inn Lovely in Nagoya. We agreed to travel together to Nagoya the next day.

The gig itself was electric. The energy and flow were incredible, with Tamaya Honda elevating the performance to new heights. It was one of those nights where everything clicked. (Find a review of the performance here.)