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{{Infobox music genre
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| name = {{Flagicon|Japan}} Japanese jazz
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{{Culture of Iceland}}
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The '''music of [[Iceland]]''' includes vibrant [[folk music|folk]] and [[pop music|pop]] traditions, as well as an active classical and contemporary music scene. Well-known artists from Iceland include medieval music group [[Voces Thules]], alternative rock band [[The Sugarcubes]], singers [[Björk]], [[Hafdís Huld]] and [[Emiliana Torrini]], post-rock band [[Sigur Rós]], post-metal band [[Sólstafir]], indie folk/indie pop band [[Of Monsters and Men]], blues/rock band [[Kaleo (band)|Kaleo]], metal band [[Skálmöld]] and techno-industrial band [[Hatari (band)|Hatari]]. Iceland's traditional music is related to [[Nordic music]] forms. Although Iceland has a very small population, it is home to many famous and praised bands and musicians.
|stylistic_origins= {{hlist|[[Jazz]]|[[Ragtime]]|[[Classical music|Classical]]|[[Folk music|Folk]]|[[Blues]]}}
| cultural_origins = Early 1920s, [[Tokyo]] and [[Osaka]], Japan
| instruments = [[Piano]] – [[Vocals]] – [[Horn (instrument)|Horns]] – [[Double bass]] – [[Drums]]
| derivatives =
| subgenrelist =
| subgenres =
| other_topics = {{hlist|[[List of jazz venues|Jazz clubs]]|[[Jazz standard]]|[[Jazz (word)]]}}
}}
'''Japanese jazz''' is [[jazz]] played by Japanese musicians and connected to [[Japan]] or [[Culture of Japan|Japanese culture]]. The term often refers to the history of jazz in Japan, which has the largest proportion of jazz fans in the world, according to some estimates.<ref name="Craig2000">{{cite book|last=Craig|first=Timothy J. |title=Japan Pop!: Inside the World of Japanese Popular Culture|url=https://books.google.com/books?id=xwJw1q0unYAC|accessdate=31 January 2015|year=2000|publisher=M.E. Sharpe|isbn=978-0-7656-0560-3|page=29}}</ref> Attempts at fusing jazz with Japanese culture in the United States are commonly termed [[Asian-American jazz]].


==History of jazz in Japan==
==Folk music==
Early jazz music was popularized in Japan thanks to the overseas trips of both Americans and Filipino jazz bands, the latter having acquainted themselves with the music in their native country through the presence of the American occupying forces.<ref>William Minor ''Jazz Journeys to Japan: The Heart Within'', Ann Arbor: University of Michigan Press, 2004, p.9; E. Taylor Atkins ''Blue Nippon: Authenticating Jazz in Japan'', Durham: Duke University Press, 2001, pp. 58-60</ref> The [[Hatano Jazz Band]] is sometimes described as the first Japanese jazz band,<ref>{{cite book|editor1=Simon Broughton|editor2=Mark Ellingham|editor3=Richard Trillo|title=World Music: The Rough Guide|url=https://books.google.com/books?id=QzX8THIgRjUC&lpg=PA147&dq=%22Hatano%20Jazz%20Band%22&pg=PA147#q=%22Hatano%20Jazz%20Band%22|volume=2|year=2000|publisher=Rough Guides Ltd|page=147|isbn=9781858286365}}</ref> having absorbed some music during boat trips to San Francisco,<ref name="JT">Lash, Max E. (23 December 1964) "Jazz in Japan". ''The Japan Times''. p. 5.</ref> although they were principally a dance band.<ref>Atkins ''Blue Nippon'', p. 53</ref> Built around the performances of the Filipinos, local jazz practice began to emerge in Japan in the early 1920s, most notably in the prosperous entertainment districts of [[Osaka]] and [[Kobe]]. By 1924 the city of Osaka already boasted twenty dance halls, which gave many Japanese-born musicians the first opportunity to play jazz themselves professionally.<ref>Atkins ''Blue Nippon'', p. 58</ref> Trumpeter [[Fumio Nanri]] (1910–1975) was the first of these Japanese jazz performers to gain international acclaim for his playing style. In 1929 Nanri traveled to [[Shanghai]], where he played with [[Teddy Weatherford]], and in 1932 he toured in the United States. After his return to Japan, Nanri made several recordings with his Hot Peppers, an American-style [[Swing (jazz performance style)|swing]] band.<ref>{{cite web|last1=Sugiyama|first1=Kazunori| title=Fumio Nanri| url = http://www.oxfordmusiconline.com/subscriber/article/grove/music/J649300| website=Oxford Music Online: The New Grove Dictionary of Jazz|publisher=Grove Music Online, Oxford Music Online|accessdate=14 October 2009}}</ref>
{{Main|Icelandic folk music}}
{{Listen|filename=Numa rimur extract.ogg|title=Extract from Núma rímur|Description=Extract from Númar rímur|format=[[Ogg]]}}
Icelandic music has a very long tradition, with some songs still sung today dating from 14th century. Folk songs are often about love, sailors, masculinity, hard winters, as well as [[elves]], [[trolls]] and other mythological creatures, and tend to be quite secular and often humorous. [[Bjarni Þorsteinsson]] collected Icelandic folk music between 1906 and 1909, and many of the songs he encountered were accompanied by traditional instruments like the [[langspil]] and [[fiðla]], which are among the few musical instruments traditionally played in Iceland. Chain dances, known as víkivaki, have been performed in Iceland since the 11th century at a variety of occasions, such as in churches and during the Christmas season. An example is "Ólafur Liljurós", an Icelandic víkivaki folk song dating to the 14th century, about a man who, while on his way to meet his mother, is seduced, kissed, and stabbed by an elf woman while riding his horse, then eventually dies.


The "Americanness" and mass appeal of early jazz as dance music gave reason for concern among the conservative Japanese elite, and in 1927 Osaka municipal officials issued ordinances that forced the dance halls to close. A large number of young musicians switched to the jazz scene in [[Tokyo]], where some found employment in the house jazz orchestras of the major recording companies.<ref>Atkins ''Blue Nippon'', pp. 58 and 70-2.</ref> In the 1930s, popular song composers [[Ryoichi Hattori]] and [[Koichi Sugii]] tried to overcome jazz music's controversial qualities by creating a distinctively Japanese kind of jazz music. They reworked ancient Japanese folk or theatre songs with a jazz touch, and in addition wrote new jazz songs that had Japanese thematic content and often closely resembled well-known traditional melodies.<ref>Atkins ''Blue Nippon'', pp. 132-9.</ref> In 1933 Chigusa, Japan's first jazz cafe, or ''[[jazu kissa]]'', opened in Osaka.<ref>Atkins ''Blue Nippon'', pp. 5 and 74</ref> Since then, jazz coffeehouses have provided a popular alternative to the dance hall, offering the latest jazz records (while occasionally also hosting live performances) to an attentively listening audience.<ref>David Novak 2008 "2,5 x 6 metres of space: Japanese music coffeehouses and experimental practices of listening", ''Popular Music'', 27:1: 15-34</ref>
Iceland's isolation meant that, until the 18th century, foreign influences were almost completely absent, which resulted in the maintenance of a particular rhythm, called ''[[hákveða]]'', lost in other Nordic countries and considered one of the main characteristics of Icelandic folk music. Hákveða refers to a special emphasis placed on some of the words of a song, often the last word of each sentence in each verse. In the following example, taken from the song "[[Ólafur Liljurós]]", hákveða is shown in italics:


Hattori's songs, however, flirted with controversy, most notably in his 1940 {{Nihongo|''Shortage Song''|タリナイ・ソング|Tarinai songu}}, which he wrote for [[Tadaharu Nakano|Tadaharu Nakano's]] Rhythm Boys. Satirizing the shortages of food and material then widespread in Japan, the song drew the ire of government censors and was quickly banned.<ref name="google">{{cite book|title=Sayonara Amerika, Sayonara Nippon: A Geopolitical Prehistory of J-Pop|author=Bourdaghs, M.K.|date=2013|publisher=Columbia University Press|isbn=9780231530262|url=https://books.google.com/books?id=kct-B2llvGEC|accessdate=2015-01-31}}</ref> The controversy was among the factors that led to the Rhythm Boys' breakup in 1941.
:Ólafur reið með björgunum fram, villir ''Hann'', stillir "''Hann'',
:hitti hann fyrir sér ''álfarann'', þar rauði loginn ''brann'',
:Blíðan lagði byrinn undan ''björgunum'', blíðan lagði byrinn undan ''björgunum'' fram.


During [[World War II]], jazz was considered "enemy music" and banned in Japan. However, by then the genre had become far too popular for a complete ban to be successful. Jazz-like songs, sometimes of a strongly patriotic type, continued to be performed, though these songs were usually referred to as "[[light music]]."<ref>Atkins ''Blue Nippon'', pp. 127-63.</ref> After the war, the Allied Occupation (1945–1952) of Japan provided a new incentive for Japanese jazz musicians to emerge, as the American troops were eager to hear the music they listened to back home. Pianist [[Toshiko Akiyoshi]] (born 1929) arrived in Tokyo in 1948, determined to become a professional jazz musician. After having formed the Cozy Quartet she was then noticed by [[Hampton Hawes]], who was stationed in [[Yokohama]] with his military band, and brought to the attention of [[Oscar Peterson]]. Akiyoshi studied at the [[Berklee School of Music]] in Boston in 1956, and later achieved worldwide success as a bop pianist and big band leader.<ref>[Minor ''Jazz Journeys'', pp. 31-41; Atkins ''Blue Nippon'', pp. 207-9 and 240-1; J. Bradford Robinson and Barry Kernfeld. "Akiyoshi, Toshiko", in [http://www.oxfordmusiconline.com/subscriber/article/grove/music/J004700 ''The New Grove Dictionary of Jazz'', 2nd ed.], edited by Barry Kernfeld. Grove Music Online. Oxford Music Online, (accessed October 14, 2009).</ref>
''Rímur'' are epic tales sung as alliterative, rhyming ballads, usually [[a cappella]]. ''Rímur'' can be traced back to the [[Viking Age]] [[Edda|Eddic]] poetry of the [[skald]]s and employs complex metaphors and cryptic rhymes and forms.<ref>Rich, G. (1977). Icelandic Rímur. ''The Journal of American Folklore'', 90(358), 496-497. doi:10.2307/539626</ref> Some of the most famous ''rímur'' were written between the 18th and early 20th centuries, by poets like [[Hannes Bjarnason]] (1776–1838), [[Jón Sigurðsson]] (1853–1922) and [[Sigurður Breiðfjörð]] (1798–1846).


By the end of the 1950s, native jazz practice again flourished in Japan, and in the following decades an active [[free jazz]] scene reached its full growth. Critic Teruto Soejima considered 1969 as a pivotal year for Japanese free jazz, with musicians such as drummer [[Masahiko Togashi]], guitarist [[Masayuki Takayanagi]], pianists [[Yosuke Yamashita]] and [[Masahiko Satoh]], saxophonist [[Kaoru Abe]], bassist [[Motoharu Yoshizawa]], and trumpeter [[Itaru Oki]] playing a major role.<ref>{{cite journal |last=Crépon |first=Pierre |year=2019 |title=Omnidirectional Projection: Teruto Soejima and Japanese Free Jazz |url=http://pointofdeparture.org/PoD67/PoD67Japan.html |journal=Point of Departure |issue=67 }}</ref> Other Japanese jazz artists who acquired international reputations include [[Sadao Watanabe (musician)|Sadao Watanabe]] (the former soloist of Akiyoshi's Cozy Quartet), [[Ryo Kawasaki]], [[Teruo Nakamura (musician)]], [[Tiger Okoshi|Toru "Tiger" Okoshi]] and [[Makoto Ozone]]. Most of these musicians have toured extensively in the United States and some have moved there permanently for a career in jazz performance or education.<ref>Minor ''Jazz Journeys'', pp. 22-30, 45-58, 136-45 and 273-7.</ref>
In the early 18th century, European dances like [[polka]], [[waltz]], [[reel (dance)|reel]] and [[schottische]] begin to arrive via Denmark. These foreign dances are today known as ''gömlu dansarnir'' or literally the "old dances". After their arrival, native dance and song traditions fell into serious decline. For a long time, ''rímur'' were officially banned by the church. Paradoxically, many Icelandic priests were keen in making ''rímur''. ''Rímur'' remained popular recreation until the early 20th century. In recent years, efforts have been made to revive native Icelandic forms. For example, a modern revitalization of the ''Rímur'' tradition began in 1929 with the formation of the organization [[Iðunn (organization)|Iðunn]].<ref>Cronshaw, pgs. 168-169</ref>


==Jazz and Japanese culture==
Protestantism has also left its mark on the music of Iceland. [[Hallgrímur Pétursson]] wrote numerous [[Protestant]] hymns in the 17th century. In the 19th century, [[Magnús Stephensen]] brought [[pipe organ]]s to Iceland, soon to be followed by [[Pump organ|harmonium]] pumped reed-organs. "Heyr himna smiður" ("Hark, Creator of the Heaven") is probably the oldest psalm which is still sung today; it was composed by [[Kolbeinn Tumason]] in 1208.
Japanese jazz had frequently been criticized as derivative, or even as an unworthy imitation of U.S. jazz, both by American and Japanese commentators. In response to the belittling attitude of their audience, Japanese jazz artists began adding a "national flavor" to their work in the 1960s.<ref>Atkins, Blue Nippon, pp. 165-264.</ref> Expatriate [[Toshiko Akiyoshi]] drew on Japanese culture in compositions for the [[big band]] she co-led with her husband and long-term collaborator [[Lew Tabackin]]. On ''[[Kogun]]'' (1974) they first utilized traditional instruments, such as the ''[[tsuzumi]]'', and ''[[Long Yellow Road, Toshiko Akiyoshi - Lew Tabackin Big Band|Long Yellow Road]]'' (1975) features an adaptation of a melody from the Japanese tradition of court music ("Children in the Temple Ground").<ref>Atkins ''Blue Nippon'', pp. 240-1; Minor ''Jazz Journeys'', pp. 31-41</ref> Inspired by the analogies Akiyoshi presented to him between jazz music and [[Zen Buddhism]], jazz writer William Minor has suggested that a Zen aesthetic can be perceived in the music of [[Masahiko Satoh]] and other Japanese jazz artists.<ref>Minor ''Jazz Journeys'', pp. 39, 58 and ''passim''</ref>


==Recent developments==
== Popular music ==
{{see also|Shibuya-kei}}
The music of Iceland includes vibrant folk and pop traditions and is expanding in its variety of sound styles and genres. Well-known artists from Iceland include alternative rock band [[The Sugarcubes]], singers [[Björk]], [[Hafdís Huld]] and [[Emilíana Torrini]], and post-rock band [[Sigur Rós]], as well as electronic music groups like [[GusGus]]. Iceland's traditional music is related to Nordic music forms.


=== 2000s ===
Icelandic popular music today includes many bands and artists, ranging from [[Independent music|indie]] and [[pop-rock]] to [[electronic music]]. It is also increasingly becoming recognized for its vibrant and growing metal and hardcore scene.<ref name="Invisible Oranges Iceland metal article">{{cite web|last=|first=|date=May 1, 2014|title=Invisible Oranges Iceland metal article|url=http://www.invisibleoranges.com/2014/05/hello-iceland-a-tour-of-recent-exports/|url-status=live|archive-url=|archive-date=|accessdate=May 5, 2014|website=[[Invisible Oranges]]}}</ref><ref name="MetalSucks Iceland Metal article">{{cite web | url = http://www.metalsucks.net/2013/01/28/icelandic-metal-is-the-best-kind-of-metal/ | title = Icelandic Metal is the Best Kind of Metal | author = Kim | date = January 28, 2013 | accessdate = May 5, 2014}}</ref>
Around the turn of the millennium, Tokyo remained the base for a small but thriving jazz community.<ref>Minor, Jazz Journeys, pp. 316–322.</ref> Jazz singer and pianist [[Ayado Chie]] managed to reach out to a larger audience (both in Japan and internationally) with her emulation of black American vocal jazz.<ref>Atkins, Blue Nippon, pp. 271–272.</ref> In 2004, [[Blue Note Records]] released an album by 17-year-old mainstream and bop pianist [[Takashi Matsunaga|Takashi (Matsunaga)]] featuring his own compositions, ''Storm Zone''. Takashi's most recent CD is titled ''Love Makes the Earth Float'' (2008).<ref>{{cite web|last=Porter |first=Christopher |url=http://jazztimes.com/articles/14541-takashi |title=Jazz Departments: Takashi - By Christopher Porter — Jazz Articles |publisher=Jazztimes.com |date= |accessdate=2012-08-11}}</ref><ref>{{cite web|url=http://www.takashimatsunaga.com/english/index.html |title=Profile 松永貴志-Takashi Matsunaga- Official website |publisher=Takashimatsunaga.com |date= |accessdate=2012-08-11}}</ref>


In 2005 Japanese jazz group [[Soil & "Pimp" Sessions]] released their full-length debut ''Pimp Master'', with tracks of the album gaining attention from DJs abroad and they began to receive heavy air-play on [[Gilles Peterson]]'s Worldwide radio program on BBC Radio 1 in the UK.<ref>{{Cite web|url=https://www.bbc.co.uk/events/e84mxj/acts/a32p8g|title=Glastonbury 2015 - SOIL&"PIMP"SESSIONS|website=BBC Music Events|language=en|access-date=2018-04-18}}</ref> This got the album released in Europe on Compost and in UK on Peterson's [[Brownswood Recordings]] and subsequent albums by Soil & Pimp got released on Brownswood, making them arguably the most popular club jazz band to come out of Japan.
One widely known Icelandic artist is eclectic singer and composer [[Björk]], who has received 13 [[Grammy]] nominations and sold over 15 million albums worldwide, including two platinum albums and one gold album in the [[United States]].<ref>{{cite web|last1=Booking Entertainment|title=Björk|url=http://www.bookingentertainment.com/artists/adult/bjork.php|website=www.bookingentertainment.com}}</ref> Another is the post-rock formation [[Sigur Rós]] and its lead singer [[Jónsi]]. Widely known outside Iceland, they were immortalized in an episode of ''[[The Simpsons]]''<ref>{{cite web|last1=Sigur Rós|title=sigur rós scores an upcoming episode of ‘the simpsons’|url=http://www.sigur-ros.co.uk/news/2013/sigur-ros-scores-an-upcoming-episode-of-the-simpsons/|website=www.sigur-ros.co.uk}}</ref> and more recently in an episode of ''[[Game of Thrones]]''.<ref>{{cite web|last1=Reed|first1=Ryan|title=Sigur Ros Share Gloomy 'Game of Thrones' Cover |url=https://www.rollingstone.com/music/news/sigur-ros-share-gloomy-game-of-thrones-cover-20140414|website=www.rollingstone.com|accessdate=16 June 2014}}</ref>


Osaka based quartet [[Indigo jam unit]] have released eleven original and four cover albums since their debut with the album ''Demonstration'' in 2006<ref name="Lira Musikmagasin 1 2012">{{cite journal |title = Lira Lyssna |date = February 2012 |page = 9 |publisher = Lira (Sweden)}}</ref><ref>{{cite web|author=Tokyo Jazz Notes |url=http://tokyojazznotes.blogspot.jp/2011/09/indigo-jam-unit-feat-alicia-saldenha.html |title=indigo jam unit feat. Alicia Saldenha - Rose |publisher=Tokyo Jazz Notes|date=2011-09-03 |accessdate=2012-04-03}}</ref><ref name="IndigoJamUnitDiscography">{{cite web|author=Basis Records |url= http://www.basisrecords.com/indigo/discography-e.php |title = indigo jam unit official web site discography |publisher = Basis Records |accessdate=2012-05-25}}</ref><ref name="Indigo_Jam_Unit_Discography_Oricon">{{cite web |author=Oricon |url = http://www.oricon.co.jp/prof/artist/385224/profile/history/p/1/r/ |title = Oricon indigo jam unit profile |publisher = Oricon Inc |accessdate=2012-05-25}}</ref> and have been described as a tight and energetic mix between a traditional jazz sound and [[nu jazz]] with distinctive beats and flowing jazz piano.<ref name="Lira Musikmagasin 1 2012a">{{cite journal |title = Lira Lyssna |date = February 2012 |page = 119 |publisher = Lira (Sweden)}}</ref> After releasing their 11th album ''Lights'' in 2015, they announced that they would break up in summer of the following year<ref>{{Cite web|url=https://www.basisrecords.com/indigo/discography.php|title=- basis records: indigo jam unit -|website=www.basisrecords.com|language=en|access-date=2018-04-18}}</ref>
==Popular artists==


Jazz pianist [[Hiromi Uehara]] has received worldwide recognition since her debut in 2003 with ''Another Mind'', which was a critical success in North America and in her native Japan, where the album shipped gold (100,000 units) and received the Recording Industry Association of Japan’s (RIAJ) Jazz Album of the Year Award. In 2009, she recorded with pianist [[Chick Corea]] ''Duet'', a two-disc live recording of their transcendent, transgenerational and transcultural duo concert in Tokyo. She also appeared on bassist [[Stanley Clarke]]’s Heads Up International release, Jazz in the Garden, which also featured former Chick Corea bandmate, drummer [[Lenny White]].<ref>{{Cite web|url=http://www.hiromiuehara.com/s/y01en/artist/001/profile?ima=3525|title=PROFILE{{!}}Hiromi Uehara|website=Hiromi Uehara|access-date=2018-04-18}}</ref>In 2011 Hiromi started her piano trio project, THE TRIO PROJECT with [[Anthony Jackson (musician)|Anthony Jackson]] and [[Simon Phillips (drummer)|Simon Phillips]] and has released four albums under the name of this project.<ref>{{Cite web|url=http://www.hiromiuehara.com/|title=DISCOGRAPHY|website=Hiromi Uehara|access-date=2018-04-18}}</ref> Recently not only does she play with jazz musicians but also she collaborates with notable J-pop musicians and bands and orchestras such as [[Akiko Yano]], [[Dreams Come True (band)|DREAMS COME TRUE]], [[Tokyo Ska Paradise Orchestra]], and [[New Japan Philharmonic]].<ref>{{Cite web|url=http://www.hiromiuehara.com/s/y01/artist/001/profile?ima=3525|title=PROFILE{{!}}上原ひろみ オフィシャルサイト|website=上原ひろみ オフィシャルサイト|language=ja|access-date=2018-04-18}}</ref>
===Indie and pop-rock===
According to the Icelandic label Record Records, the indie pop-folk group [[Of Monsters and Men]] is Iceland’s biggest act since Björk and Sigur Rós. Their debut album ''[[My Head Is an Animal]]'', as well as their first single “Little Talks”, reached high positions in single and album charts worldwide. In 2013 they won the [[European Border Breakers Awards]]. Singer-songwriter [[Ásgeir Trausti]] did likewise in 2014, and ever since has been successfully touring Europe and the U.S. with his melodic-folk-pop songs, which he sings both in his native language Icelandic and in English. Female singer-songwriter [[Emiliana Torrini]] is an established Icelandic artist. Her song "[[Jungle Drum]]", from her 2008 album ''Me and Armini'', is well known abroad and reached number one in the German, Austrian, Belgium and Icelandic single charts. Her latest album ''Tookah'', released in 2013, reached the Top 50 album charts in several countries.


=== 2010s ===
Other artists that are attracting attention outside Iceland include the electro-pop group [[FM Belfast]], indie pop / rock / folk band [[Kaleo (band)|Kaleo]] as well as the singers and composers [[Sóley]] and [[Sin Fang]], who are both known as founding members of the band [[Seabear]].
Influenced by modern jazz in America that utilizes odd meters and rhythmic and harmonic elements of [[Hip hop]], [[R&B]], and [[Neo soul]], the sound of Japanese jazz has become more musically complicated and diverse. The bands and artists that represent those new sounds includes [https://www.universal-music.co.jp/megapteras/ MEGAPTERAS], [http://yaseicollective.com/ Yasei Collective], Shun Ishiwaka([[:ja:石若駿|石若駿]]), [http://mononkul.tumblr.com/ Mononkul] and [[Takuya Kuroda]]. While modern jazz sound is becoming mainstream in the music scene, there are still some jazz musicians who plays traditional style of jazz such as [[Bebop]], [[Hard bop]], and [[post-bop]].


In 2012, jazz pianist [[Ai Kuwabara]], whose style is described as post-[[Hiromi Uehara]], released her first album ''from here to there.'' Five years later, she recorded ''somehow, someday, somewhere'', in which Ai collaborated with American jazz drummer [[Steve Gadd]] and bassist [[Will Lee (bassist)|Will Lee]].<ref>{{Cite web|url=http://aikuwabara.com/biography/|title=ジャズピアニスト桑原あいのオフィシャルサイト。|website=aikuwabara.com|access-date=2018-04-18}}</ref>
===Alternative and metal===
The alternative and metal scene is vibrant with Icelandic bands playing large festivals in Europe and the United States. The metal-band [[Sólstafir]] is widely known outside Iceland. Already back in 1999 they had a contract for their debut album with a German record label. The Viking-Metal Band [[Skálmöld]] played two sold out shows with the [[Iceland Symphony Orchestra]] in the capital’s concert hall Harpa in December 2013.<ref>{{cite web|last1=Benjamin|first1=Tómas Gabríel|title=Gourmet Viking Metal|url=http://grapevine.is/culture/music/live-music-reviews/2013/12/09/gourmet-viking-metal/|website=grapevine.is|accessdate=16 June 2014}}</ref> [[Agent Fresco]] combine metal, rock and alternative elements with the unique voice of singer Arnór Dan Arnarson and have also gained international attention. The instrumental post-rock and alternative-rock band [[For a Minor Reflection]] is widely known since supported [[Sigur Rós]] on tour back in 2009. Their sound is often compared to [[Explosions in the Sky]] or the Scottish post-rock band [[Mogwai]]. [[Dead Skeletons]] are not only known for their unique psychedelic-rock sound but also for their artwork and an art gallery in Reykjavik run by front man and singer Jón Sæmundur Auðarson.<ref>{{cite web|last1=Auðarson|first1=Jón Sæmundur|title=About Dead|url=http://dead.is/about.html|website=www.dead.is}}</ref>
[[The Vintage Caravan]], founded by two of the members in 2006 when they were only 12 years old, have played festivals in Europe, including the [[Wacken Open Air]] and toured with bigger bands like [[Europe (band)|Europe]] and [[Opeth]].


Shun Ishiwaka, jazz drummer and composer, has received huge recognition in Japan because of his incomparable technique and cutting-edge sound and been a part of many recordings and projects with notable musicians such as [[Terumasa Hino]], [[:ja:東京ニューシティ管弦楽団|Tokyo New City Orchestra]], [[Taylor McFerrin]], and [[Jason Moran (musician)|Jason Moran]]. Shun released his debut album ''Cleanup'' in 2015 in which he combined elements of contemporary [[classical music]], [[hip hop]], and [[Straight-ahead jazz|straight ahead jazz]] and this album received "Album of the year new star praise" and “Jazz album of the year 2015” from Japan’s two biggest jazz magazines Jazz Japan and Jazz life respectively.<ref>{{Cite web|url=http://www.shun-ishiwaka.com/home/|title=石若駿 SHUN ISHIWAKA OFFICIAL WEBSITE|website=Shun Ishiwaka|language=en-US|access-date=2018-04-19}}</ref> In 2016, Shun had a concert with his own trio having guitarist [[Kurt Rosenwinkel]] as a guest at [[Blue Note Tokyo]].<ref>{{Cite news|url=http://www.bluenote.co.jp/jp/artists/shun-ishiwaka/2016_06/|title=【BLUE NOTE TOKYO】The EXP Series #06 SHUN ISHIWAKA CLEANUP TRIO meets KURT ROSENWINKEL (2016 6.27 mon.)|work=Blue Note TOKYO|access-date=2018-04-19|language=ja}}</ref>
Iceland also has a thriving [[extreme metal]] scene which is gaining recognition abroad.<ref>{{Cite news|url=http://teamrock.com/feature/2016-08-29/top-10-best-iceland-metal-bands|title=The Top 10 Metal Bands From Iceland|date=2016-08-29|work=Metal Hammer|access-date=2018-03-11|language=en-GB}}</ref><ref name=":1"/><ref>{{Cite news|url=https://daily.bandcamp.com/2017/10/12/iceland-black-metal-bands-bandcamp/|title=Ten Bands Setting Iceland’s Black Metal Scene Ablaze|date=2017-10-12|work=Bandcamp Daily|access-date=2018-03-11|language=en-US}}</ref><ref name=":0">{{Cite news|url=http://www.terrorizer.com/news/features-2/scene-report-icelandic-black-metal/|title=Scene Report - Icelandic Black Metal - Terrorizer|date=2016-03-31|work=Terrorizer|access-date=2018-03-11|language=en-GB}}</ref><ref>{{Cite web|url=http://www.heavyblogisheavy.com/2016/01/28/look-to-the-north-why-icelandic-black-metal-is-the-next-big-thing/|title=Look To The North: Why Icelandic Black Metal Is The Next Big Thing - Heavy Blog Is Heavy|website=www.heavyblogisheavy.com|language=en-US|access-date=2018-03-11}}</ref> The black metal band [[Svartidauði]] are widely considered a central figure in the development of the Icelandic black metal scene. Many of the scene's most significant albums were recorded and produced at Studio Emissary, a recording studio set up by Irish musician Stephen Lockhart,<ref name=":1">{{Cite news|url=https://noisey.vice.com/da/article/695vg8/oration-mmxvi-review|title=Snow, Booze, and Blood: Icelandic Black Metal Is Still on Top|date=2016-02-24|work=Noisey|access-date=2018-03-11|language=da}}</ref> and the cassette label Vánagandr has also had a significant role in the development of the country's black metal scene.<ref name=":0" /> In 2016, the music festival Oration MMXVI debuted as Iceland's first black metal festival, and subsequently returned for two final instalments in 2017 and 2018.<ref name=":1" /> In 2016, [[black metal]] band [[Misþyrming]] were selected as one of [[Roadburn Festival|Roadburn Fesitval]]'s artists in residence.<ref>{{Cite news|url=https://grapevine.is/culture/music/2015/10/01/misthyrming-is-roadburn-festivals-2016-artist-in-residence/|title=Misþyrming Is Roadburn Festival's 2016 Artist In Residence - The Reykjavik Grapevine|last=grapevine.is|date=2015-10-01|work=The Reykjavik Grapevine|access-date=2018-03-11|language=en-US}}</ref>


[[Ryo Fukui|Ryu Fukui]], a now deceased Jazz pianist who, in life, struggled to achieve recognition outside of Japan, experienced a monumental rise in popularity thanks to streaming platforms like [[YouTube Music]], [[Spotify]], and others. His most notable work, 1976's "[[Scenery (Ryo Fukui album)|Scenery]]" is now the most widely consumed Japanese Jazz album on YouTube, having accrued nearly 10 million views as of July 2020. This has led to his albums being reprinted for commercial sale, some of which even using the original studio tapes from 1976, and [[Mastering (audio)|mastered in half speed]].
===Electronic music===
The techno house group [[GusGus]] is one of Iceland’s most successful exports in the field of electronic music. So far they released nine studio albums. The latest ''Lies Are More Flexible'' came out in February 2018.


==Media related to the subject==
Other artists include DJ duo [[Gluteus Maximus]], [[Hermigervill]], [[Bloodgroup]] and [[Sísý Ey]].
*Renée Cho ''Jazz Is My Native Language: A Portrait of Toshiko Akiyoshi'', New York: Rhapsody Films, 1986.
*[[Kids on the Slope]]


==References==
The international franchise [[Sónar]] held their first festival in Reykjavik in 2013 with a long roster of international and local electronic acts.

===Experimental===
[[Ben Frost (musician)|Ben Frost]], born in Melbourne, living in Reykjavik, is bringing together electronic soundscapes with classical elements and noisy tunes. His latest album, ''[[Aurora (Ben Frost album)|Aurora]]'', was released in June 2014.

Classical elements also characterize the symphonic music of Icelandic born composer and singer [[Ólafur Arnalds]]. Other widely known experimental bands are [[Múm]] and the high school originated [[Hjaltalín]].

The trio [[Samaris (band)|Samaris]] have gained attention, especially in Europe, and have played festivals all over Europe. Their self-released EP, ''Stofnar falla'', received positive reviews and was followed by their self-titled debut album, released in July 2013.

[[Mengi]] in Reijkjavik is a centre for [[avant garde music]], [[experimental music]] and [[contemporary music]]. The organisation organizes [[performance]]s, [[exhibition]]s, [[conference]]s and runs a [[recording studio]] and a [[record label]].

===Classical music===

====Composition====
Classical music came to Iceland comparatively late, with the first Iceland composers working in the western, classical tradition emerging in the late 19th century and the early 20th century. Among them was [[Sveinbjörn Sveinbjörnsson]], who is considered to have been the first Icelandic professional composer.<ref>{{cite web|title=Briefly About History of Icelandic Music|url=http://www.arnastofnun.is/page/briefly_about_history_of_icelandic_music|website=The Árni Magnússon Institute for Icelandic Studies|publisher=The Árni Magnússon Institute for Icelandic Studies|accessdate=13 November 2016}}</ref> Among his contributions to Icelandic music is the national anthem, [[Lofsöngur]]. Belonging to this first generation of Icelandic composers were Sigvaldi Kaldalóns and Sigfús Einarsson, and Emil Thoroddsen, best known for their songs with piano accompaniment. The most significant Icelandic composer in the first half of the 20th century was [[Jón Leifs]].

Today, Iceland has a vibrant classical music scene, with numerous composers of contemporary music achieving international success.<ref>{{cite web|last1=Dammann|first1=Guy|title=Ice and fire: the classical music scene in Iceland|url=https://www.theguardian.com/music/musicblog/2015/jan/09/classical-music-scene-in-iceland|website=The Guardian|publisher=The Guardian|accessdate=13 November 2016}}</ref> These include [[Haukur Tómasson]], [[Anna Thorvaldsdottir]], [[Daníel Bjarnason]], [[Jóhann Jóhannsson]] and [[Hugi Gudmundsson]].

====Performance====
The first proper orchestral concert in Iceland was held in 1921, in conjunction with the royal visit of [[Christian X of Denmark]], the reigning monarch of Iceland. The ensemble created for the occasion was given the name Hljómsveit Reykjavíkur (The Reykjavík Orchestra), and performed sporadically in the years that followed under the direction of Sigfús Einarsson and Páll Ísólfsson. Following the founding of the Icelandic [[RÚV|National Broadcasting Service]] in 1930, and the festivities at the 1000th anniversary of the [[Alþingi]], and through the pioneering work of musicians like Franz Mixa, Victor Urbancic and Róbert A. Ottóson, this ensemble was slowly transformed into the professional symphony orchestra known today as the [[Iceland Symphony Orchestra]]. The orchestra resides in [[Harpa (concert hall)|Harpa]], Reykjavík's largest concert house, and holds weekly concerts in its Eldborg hall.

Additionally, a number of musical ensembles regularly perform in Reykjavík, playing music that ranges from Baroque to contemporary music. These include Reykjavík Chamber Orchestra, CAPUT ensemble and Nordic Affect. Several classic music festivals are held in Reykjavík and all around Iceland annually, including Dark Music Days and Reykjavík Midsummer Music.<ref>{{cite web|title=Iceland Music Export: Festivals|url=http://icelandmusic.is/festivals/|website=IMX: Iceland Music Export|publisher=Útón: Útflutningsskrifstofa íslenskrar tónlistar|accessdate=13 November 2016}}</ref>

Icelandic classical instrumentalists have achieved success internationally. Undoubtedly, the most famous Icelandic citizen within the world of classical music is the Russian pianist [[Vladimir Ashkenazy]], who settled in Iceland with his Icelandic wife Þórunn Jóhannsdóttir in 1968, following their defection from the Soviet Union. He was awarded Icelandic citizenship in 1972.<ref>{{cite web|title=ÍSMÚS: Icelandic Music and Cultural Heritage|url=http://www.ismus.is/i/person/id-1008840|website=ÍSMÚS|publisher=ÍSMÚS|accessdate=13 November 2016}}</ref> Other notable, Icelandic classical instrumentalists with international careers include Sigurbjörn Bernharðsson, violinist and member of the [[Pacifica Quartet]],<ref>{{cite web|last1=Schweitzer|first1=Vivien|title=Review: The Pacifica Quartet Interprets Composers’ ‘Last Words’|url=https://www.nytimes.com/2015/12/11/arts/music/review-the-pacifica-quartet-interprets-composers-last-words.html|website=The New York Times|publisher=The New York Times|accessdate=13 November 2016}}</ref> Elfa Rún Kristinsdóttir, violinist,<ref>{{cite web|title=Nordic Music Council Prize: Nominees|url=http://www.musikpris.com/Default.aspx?ID=56&Action=1&NewsId=95&PID=88|website=Nordic Council Music Prize|publisher=Nordic Council|accessdate=13 November 2016}}</ref> [[Víkingur Ólafsson]], pianist,<ref>{{cite web|last1=Hewett|first1=Ivan|title=Review: Philip Glass: The Études, Barbican, review: 'a well-oiled machine'|url=https://www.telegraph.co.uk/culture/music/classicalconcertreviews/11566653/Philip-Glass-The-tudes-Barbican-review-a-well-oiled-machine.html|website=The Telegraph|publisher=The Telegraph|accessdate=13 November 2016}}</ref><ref>{{cite web|last1=McCreary|first1=Alf|title=Review: Ulster Orchestra is pulling out all the stops|url=http://www.belfasttelegraph.co.uk/entertainment/music/review-ulster-orchestra-is-pulling-out-all-the-stops-34119741.html|website=Belfast Telegraph|publisher=Belfast Telegraph|accessdate=13 November 2016}}</ref> and the cellist Sæunn Thorsteinsdóttir.<ref>{{cite web|last1=da Fonseca-Wollheim|first1=Corinna|title=Review: Argento Chamber Ensemble Brings Out Mahler’s Inventive Side|url=https://www.nytimes.com/2015/03/28/arts/music/review-argento-chamber-ensemble-brings-out-mahlers-inventive-side.html|website=The New York Times|publisher=The New York Times|accessdate=13 November 2016}}</ref>

==List of Icelandic music artists==
{{See also|List of bands from Iceland|List of Icelandic singers|List of singer-songwriters#Iceland|List of Icelandic composers}}
{{Div col|colwidth=20em}}
* 1860
* [[Á Móti Sól]]
* [[Árstíðir]]
* [[Agent Fresco]]
* [[AMFJ]]
* [[Amiina]]
* [[Anna Mjöll]]
* [[Apparat Organ Quartet]]
* [[Ásgeir Trausti]]
* [[Bang Gang]]
* [[Björk]]
* [[Botnleðja]]
* [[Bubbi Morthens]]
* [[Daði Freyr]]
* [[Daníel Ágúst]]
* [[Dikta]]
* [[Eberg]]
* [[Emilíana Torrini]]
* [[Eurobandið]]
* [[For a Minor Reflection]]
* [[FM Belfast]]
* [[Glowie]]
* [[GusGus]]
* [[HAM (band)|HAM]]
* [[Hafdís Huld]]
* [[Hatari (band)|Hatari]]
* Herra Hnetusmjör
* [[Hildur Guðnadóttir]]
* [[Hilmar Jensson]]
* [[Hjálmar]]
* [[Hjaltalín]]
* [[Jagúar (band)|Jagúar]]
* [[Jakobínarína]]
* [[Jófríður Ákadóttir]]
* [[Jóhann Jóhannsson]]
* [[JóiPé]]
* [[Jón Þór Birgisson|Jónsi]]
* [[Jónsi & Alex]]
* [[Just Another Snake Cult]]
* [[Kaleo (band)|Kaleo]]
* [[Kiasmos]]
* [[Kukl (band)|Kukl]]
* [[Lay Low]]
* [[Leaves (Icelandic band)|Leaves]]
* [[Low Roar]]
* [[Magni Ásgeirsson]] (Rock Star Supernova)
* Mainline
* [[Maus (band)|Maus]]
* [[Megas]]
* [[Mammút]]
* [[Mezzoforte (band)|Mezzoforte]]
* [[Mínus]]
* [[Moses Hightower]]
* [[Mugison]]
* [[múm]]
* [[Noise]]
* [[Of Monsters and Men]]
* [[Ólafur Arnalds]]
* [[Ólöf Arnalds]]
* [[Páll Óskar]]
* [[Parachutes (band)|Parachutes]]
* [[Pascal Pinon (band)|Pascal Pinon]]
* [[Purrkur Pillnikk]]
* [[Quarashi]]
* [[Ragnheiður Gröndal]]
* [[Rökkurró]]
* [[Samaris]]
* [[Sálin hans Jóns míns (band)|Sálin hans Jóns míns]]
* [[Sigur Rós]]
* [[Sign (band)|Sign]]
* [[Seabear]]
* [[Sin Fang]]
* [[Singapore Sling (band)|Singapore Sling]]
* [[Skálmöld]]
* [[Soffía Björg]]
* [[Sóley]]
* [[Sólstafir]]
* [[Stafrænn Hákon]]
* [[Steed Lord]]
* [[Stjórnin]]
* [[Svala Björgvinsdóttir]]
* [[Svartidauði]]
* [[The Sugarcubes]]
* [[Tappi Tíkarrass]]
* [[Todmobile]]
* [[Trabant (band)|Trabant]]
* [[Valgeir Sigurðsson]]
* [[Vök]]
* [[Yohanna]]
* [[Þeyr]]
{{Div col end}}

==National anthem==
The [[national anthem]] of Iceland is "[[Lofsöngur]]", written by [[Matthías Jochumsson]], with music by [[Sveinbjörn Sveinbjörnsson]].<ref>{{cite web|title=The Icelandic National Anthem|work=musik og saga|accessdate=November 11, 2005|url=http://www.musik.is/Lof/E/lofe.html}}</ref> The song, in the form of a hymn, was written in 1874, when Iceland celebrated the one thousandth anniversary of settlement on the island. It was first published under the title "A Hymn in Commemoration of Iceland's Thousand Years".

==Music institutions==
* [[Iceland Music]] aims to aid in exporting Icelandic music abroad. It runs a website and newsletter with information about Icelandic music, with a social media presence where an audience can follow development in Icelandic music.<ref>{{cite web|last1=Iceland Music|title=About Iceland Music|url=https://www.icelandmusic.is/about|website=www.icelandmusic.is}}</ref> ÚTÓN is the local wing of Iceland Music which educates musicians on matters of music promotion as well as administering funds and general consultation.<ref>{{cite web|last1=Útón|title=Um Útón|url=http://www.uton.is/um-uton|website=www.uton.is}}</ref>
* The Music Information Center (MIC) is a national agency for contemporary and older, mostly classical, music. It is also part of the International Music Information center.<ref>{{cite web|last1=Iceland Music Information Center|title=About|url=http://mic.is/about/|website=www.mic.is|access-date=2014-06-23|archive-url=https://web.archive.org/web/20141201072739/http://mic.is/about/|archive-date=2014-12-01|url-status=dead}}</ref>
* Samtónn is an umbrella organization for Icelandic authors, performers and producers.<ref>{{cite web|last1=Samtónn|title=Um Samtónn|url=http://www.samtonn.is/Samtonn/|website=www.samtonn.is}}</ref>
* Mengi in Reijkjavik is a centre for [[avant garde music]], [[experimental music]] and [[contemporary music]]. The organisation organizes performances, exhibitions, conferences and runs a recording studio and a record label.

==Festivals==
Iceland hosts a variety of music festivals. The biggest festival is [[Iceland Airwaves]] with over 9000 guests. It takes place in the central area of Iceland’s capital city Reykjavík for five days at the beginning of November. There is also an up-and-coming festival, [[Secret Solstice]], which was held for the first time in the summer of 2014, June 20–22. The festival took place at the Laugardalur recreational area, also known as Hot Spring Valley, which is located just 15 minutes from downtown Reykjavik. There are also a number of intimate and transformative festivals that happen year-round in the countryside, such as [[Saga Fest]] in Selfoss and [[LungA Art Festival]] in Seyðisfjörður.

Other festivals are:
{{columns |width=500px
|col1 =
* Dark Music Days
* Sónar Reykjavík
* Reykjavik Folk Festival
* Battle of the Bands - Músíktilraunir
* AK Extreme
* Tectonics
* Reykjavík Blues Festival
* [[Aldrei fór ég suður]]
* Norðanpaunk
* Gardabaer Jazz Festival
* RAFLOST
* Reykjavík Arts Festival
* Reykjavík Music Mess
* Reykjavík Midsummer Music
* IS NORD
* [[Við Djúpið]] - Summer Courses and Music Festival
* JEA Jazz Festival
* Blue North Music Festival
* Kirkjubæjarklaustur Chamber Music Festival
* Skálholt Summer Concerts
* [[Folk music festival of Siglufjordur]]
* Rauðasandur Festival
* All Tomorrow's Parties
* The Blue Church Concert Series
|col2 =
* [[Eistnaflug]]
* Extreme Chill Festival
* Frum - Contemporary Music Festival
* LungA
* Saga Fest
* Reykjavik Accordion Festival
* Reykholt Music Festival
* Bræðslan
* Síldarævintýrið
* Innipúkinn
* Neistaflug
* Þjóðhátíð í Eyjum
* The Icelandic Chamber Music Festival
* Pönk á Patró
* Reykjavík Jazz Festival
* Gæran
* Tradition for tomorrow
* Reykjavik Cultural Festival
* Melodica Acoustic Festival Reykjavik
* Night of lights
* Októberfest á Íslandi
* Rokkjötnar
* Sláturtíð
}}

==Venues==
Concert hall [[Harpa (concert hall)|Harpa]] held its opening concert on May 4, 2011. Bigger concerts are held in sportshalls Laugardalshöll, Egilshöll and Kórinn. Theaters such as Gamla bíó, Bæjarbíó and Iðnó are used for concerts. Austurbær is an old movie theater.

Smaller concerts are held at smaller venues or pubs located mainly around capital area.

==Record labels==
Some of the labels mostly concentrate on one genre, whilst others are promoting many types of music. [[12 Tónar]] and [[Smekkleysa]] run record stores in Reykjavik.

* [[12 Tónar]]
* [[Bedroom Community]]
* Blánótt
* Ching Ching Bling Bling
* Dimma
* Dirrindí
* Geimsteinn
* Hljóðaklettar
* Kimi Records
* Kóp Boys Entertainment (KBE)
* Lady Boy Records
* Lagaffe Tales
* Mugiboogie
* Möller Records
* Record Records
* Sena
* SJS Music
* Smekkleysa SM/Bad Taste SM
* Synthadelia
* Zonet Music

==Producers and studios==
* Bang Studio
* Greenhouse Studios
* Hljodriti (Studio Syrland Hafnarfjordur)
* Medialux HQ
* Orgelsmiðjan
* Studio Syrland
* Sundlaugin Studio
* Gryfjan

==Notes==
{{Reflist}}
{{Reflist}}


==References==
==Further reading==
*E. Taylor Atkins “Can Japanese sing the blues? 'Japanese jazz' and the problem of authenticity”, in Timothy J. Craig (ed.) ''Japan Pop!: Inside the World of Japanese Popular Culture'', Armonk, N.Y.: M.E. Sharpe, 2000
*{{cite book|chapter=Waiting for the Thaw|author=Cronshaw, Andrew|editor1=Broughton, Simon |editor2=Ellingham, Mark |editor3=McConnachie, James |editor4=Duane, Orla|title=World Music, Vol. 1: Africa, Europe and the Middle East|pages=168–169|year=2000|publisher=London: Rough Guides|isbn=1-85828-636-0}}
*E. Taylor Atkins, ''Blue Nippon: Authenticating Jazz in Japan'', Durham: Duke University Press, 2001.
*{{cite book|title=Kvædaskapur: Icelandic Epic Song|author=Steingrímsson, Hreinn|editor1=Dorothy Stone|editor2=[[Stephen L. Mosko]]|url=http://shoko.calarts.edu/KVAEDASKAPUR/main.html|url-status=dead|archiveurl=https://web.archive.org/web/20051013025159/http://shoko.calarts.edu/KVAEDASKAPUR/main.html|archivedate=2005-10-13}}
*Teruto Soejima, ''Free Jazz in Japan: A Personal History'', Nara: Public Bath Press, 2018.
*[http://drownedinsound.com/in_depth/4137547-the-icelandic-music-scene-after-the-economic-collapse/ The Icelandic music scene after the economic collapse]
*[http://www.redefinemag.com/2011/the-real-icelandic-music-scene/ The Real Icelandic Music Scene -- REDEFINE magazine]
*{{cite web|title=ICELAND MUSIC INFORMATION CENTRE|url=http://mic.is/about/|access-date=2014-06-23|archive-url=https://web.archive.org/web/20141201072739/http://mic.is/about/|archive-date=2014-12-01|url-status=dead}}</ref>
*{{cite web|last1=Benjamin|first1=Tómas Gabríel|title=Gourmet Viking Metal|url=http://grapevine.is/culture/music/live-music-reviews/2013/12/09/gourmet-viking-metal/|website=grapevine.is|accessdate=16 June 2014}}
*{{cite web|last1=Reed|first1=Ryan|title=Sigur Ros Share Gloomy 'Game of Thrones' Cover | url=https://www.rollingstone.com/music/news/sigur-ros-share-gloomy-game-of-thrones-cover-20140414|website=www.rollingstone.com%7caccessdate=16 June 2014}}


==External links==
==External links==
*[http://www.allaboutjazz.com/php/article.php?id=2213 A Choice of Openness: Michael Pronko on Jazz in Japan ]
{{Commons category|Music of Iceland}}
*[https://web.archive.org/web/20131212163813/http://www.icelandiclyrics.com/ Icelandiclyrics.com]
*[https://web.archive.org/web/20090501214237/http://jazzinjapan.com/new/index.php Michael Pronko's own website on jazz in Japan]
*[https://web.archive.org/web/20060516020312/http://www.cjo.co.jp/club/genko.html Beppu/Oita Club Event Listing (Japanese language only)]
*[https://icelandmusic.is/ Iceland Music], the music export office of Iceland which includes a comprehensive database of Icelandic music and musicians (in English)
*[http://jazzitude.forumactif.com/t4351-japan-is-jazz Patlotch Pictures, Music, Links, French Text]
*[http://kraumur.is/?page_id=2 Kraumur Music Fund], supports Icelandic artists, Björk and Kjartan Sveinsson of Sigur Rós are board members (in English)

*[https://www.musik.is/English.html Musik.is: The Icelandic Music Page]
*[http://vimeo.com/channels/musicfromthemoon/ Music From The Moon] A scenic documentary movie about music in Iceland & Greenland
*[https://web.archive.org/web/20140605231202/http://www.shopicelandic.com/store/music-cd-s ShopIcelandic Music]
*[http://www.icelandairwaves.com/ Iceland Airwaves]


{{Nordic_music}}
{{World jazz}}
{{Music of Europe}}
{{Music of Japan}}
{{Icelandic folk music}}
{{Iceland topics|state=autocollapse}}


{{DEFAULTSORT:Music Of Iceland}}
{{DEFAULTSORT:Japanese Jazz}}
[[Category:Icelandic music| ]]
[[Category:Japanese jazz| ]]
[[Category:Music scenes]]

2020年10月12日 (月) 05:35時点における版

日本の旗 Japanese jazz
様式的起源
文化的起源 Early 1920s, Tokyo and Osaka, Japan
使用楽器 Piano – Vocals – Horns – Double bass – Drums
関連項目
テンプレートを表示

Japanese jazz is jazz played by Japanese musicians and connected to Japan or Japanese culture. The term often refers to the history of jazz in Japan, which has the largest proportion of jazz fans in the world, according to some estimates.[1] Attempts at fusing jazz with Japanese culture in the United States are commonly termed Asian-American jazz.

History of jazz in Japan

Early jazz music was popularized in Japan thanks to the overseas trips of both Americans and Filipino jazz bands, the latter having acquainted themselves with the music in their native country through the presence of the American occupying forces.[2] The Hatano Jazz Band is sometimes described as the first Japanese jazz band,[3] having absorbed some music during boat trips to San Francisco,[4] although they were principally a dance band.[5] Built around the performances of the Filipinos, local jazz practice began to emerge in Japan in the early 1920s, most notably in the prosperous entertainment districts of Osaka and Kobe. By 1924 the city of Osaka already boasted twenty dance halls, which gave many Japanese-born musicians the first opportunity to play jazz themselves professionally.[6] Trumpeter Fumio Nanri (1910–1975) was the first of these Japanese jazz performers to gain international acclaim for his playing style. In 1929 Nanri traveled to Shanghai, where he played with Teddy Weatherford, and in 1932 he toured in the United States. After his return to Japan, Nanri made several recordings with his Hot Peppers, an American-style swing band.[7]

The "Americanness" and mass appeal of early jazz as dance music gave reason for concern among the conservative Japanese elite, and in 1927 Osaka municipal officials issued ordinances that forced the dance halls to close. A large number of young musicians switched to the jazz scene in Tokyo, where some found employment in the house jazz orchestras of the major recording companies.[8] In the 1930s, popular song composers Ryoichi Hattori and Koichi Sugii tried to overcome jazz music's controversial qualities by creating a distinctively Japanese kind of jazz music. They reworked ancient Japanese folk or theatre songs with a jazz touch, and in addition wrote new jazz songs that had Japanese thematic content and often closely resembled well-known traditional melodies.[9] In 1933 Chigusa, Japan's first jazz cafe, or jazu kissa, opened in Osaka.[10] Since then, jazz coffeehouses have provided a popular alternative to the dance hall, offering the latest jazz records (while occasionally also hosting live performances) to an attentively listening audience.[11]

Hattori's songs, however, flirted with controversy, most notably in his 1940 Shortage Song（タリナイ・ソングTarinai songu）, which he wrote for Tadaharu Nakano's Rhythm Boys. Satirizing the shortages of food and material then widespread in Japan, the song drew the ire of government censors and was quickly banned.[12] The controversy was among the factors that led to the Rhythm Boys' breakup in 1941.

During World War II, jazz was considered "enemy music" and banned in Japan. However, by then the genre had become far too popular for a complete ban to be successful. Jazz-like songs, sometimes of a strongly patriotic type, continued to be performed, though these songs were usually referred to as "light music."[13] After the war, the Allied Occupation (1945–1952) of Japan provided a new incentive for Japanese jazz musicians to emerge, as the American troops were eager to hear the music they listened to back home. Pianist Toshiko Akiyoshi (born 1929) arrived in Tokyo in 1948, determined to become a professional jazz musician. After having formed the Cozy Quartet she was then noticed by Hampton Hawes, who was stationed in Yokohama with his military band, and brought to the attention of Oscar Peterson. Akiyoshi studied at the Berklee School of Music in Boston in 1956, and later achieved worldwide success as a bop pianist and big band leader.[14]

By the end of the 1950s, native jazz practice again flourished in Japan, and in the following decades an active free jazz scene reached its full growth. Critic Teruto Soejima considered 1969 as a pivotal year for Japanese free jazz, with musicians such as drummer Masahiko Togashi, guitarist Masayuki Takayanagi, pianists Yosuke Yamashita and Masahiko Satoh, saxophonist Kaoru Abe, bassist Motoharu Yoshizawa, and trumpeter Itaru Oki playing a major role.[15] Other Japanese jazz artists who acquired international reputations include Sadao Watanabe (the former soloist of Akiyoshi's Cozy Quartet), Ryo Kawasaki, Teruo Nakamura (musician), Toru "Tiger" Okoshi and Makoto Ozone. Most of these musicians have toured extensively in the United States and some have moved there permanently for a career in jazz performance or education.[16]

Jazz and Japanese culture

Japanese jazz had frequently been criticized as derivative, or even as an unworthy imitation of U.S. jazz, both by American and Japanese commentators. In response to the belittling attitude of their audience, Japanese jazz artists began adding a "national flavor" to their work in the 1960s.[17] Expatriate Toshiko Akiyoshi drew on Japanese culture in compositions for the big band she co-led with her husband and long-term collaborator Lew Tabackin. On Kogun (1974) they first utilized traditional instruments, such as the tsuzumi, and Long Yellow Road (1975) features an adaptation of a melody from the Japanese tradition of court music ("Children in the Temple Ground").[18] Inspired by the analogies Akiyoshi presented to him between jazz music and Zen Buddhism, jazz writer William Minor has suggested that a Zen aesthetic can be perceived in the music of Masahiko Satoh and other Japanese jazz artists.[19]

Recent developments

「Shibuya-kei」も参照

2000s

Around the turn of the millennium, Tokyo remained the base for a small but thriving jazz community.[20] Jazz singer and pianist Ayado Chie managed to reach out to a larger audience (both in Japan and internationally) with her emulation of black American vocal jazz.[21] In 2004, Blue Note Records released an album by 17-year-old mainstream and bop pianist Takashi (Matsunaga) featuring his own compositions, Storm Zone. Takashi's most recent CD is titled Love Makes the Earth Float (2008).[22][23]

In 2005 Japanese jazz group Soil & "Pimp" Sessions released their full-length debut Pimp Master, with tracks of the album gaining attention from DJs abroad and they began to receive heavy air-play on Gilles Peterson's Worldwide radio program on BBC Radio 1 in the UK.[24] This got the album released in Europe on Compost and in UK on Peterson's Brownswood Recordings and subsequent albums by Soil & Pimp got released on Brownswood, making them arguably the most popular club jazz band to come out of Japan.

Osaka based quartet Indigo jam unit have released eleven original and four cover albums since their debut with the album Demonstration in 2006[25][26][27][28] and have been described as a tight and energetic mix between a traditional jazz sound and nu jazz with distinctive beats and flowing jazz piano.[29] After releasing their 11th album Lights in 2015, they announced that they would break up in summer of the following year[30]

Jazz pianist Hiromi Uehara has received worldwide recognition since her debut in 2003 with Another Mind, which was a critical success in North America and in her native Japan, where the album shipped gold (100,000 units) and received the Recording Industry Association of Japan’s (RIAJ) Jazz Album of the Year Award. In 2009, she recorded with pianist Chick Corea Duet, a two-disc live recording of their transcendent, transgenerational and transcultural duo concert in Tokyo. She also appeared on bassist Stanley Clarke’s Heads Up International release, Jazz in the Garden, which also featured former Chick Corea bandmate, drummer Lenny White.[31]In 2011 Hiromi started her piano trio project, THE TRIO PROJECT with Anthony Jackson and Simon Phillips and has released four albums under the name of this project.[32] Recently not only does she play with jazz musicians but also she collaborates with notable J-pop musicians and bands and orchestras such as Akiko Yano, DREAMS COME TRUE, Tokyo Ska Paradise Orchestra, and New Japan Philharmonic.[33]

2010s

Influenced by modern jazz in America that utilizes odd meters and rhythmic and harmonic elements of Hip hop, R&B, and Neo soul, the sound of Japanese jazz has become more musically complicated and diverse. The bands and artists that represent those new sounds includes MEGAPTERAS, Yasei Collective, Shun Ishiwaka(石若駿), Mononkul and Takuya Kuroda. While modern jazz sound is becoming mainstream in the music scene, there are still some jazz musicians who plays traditional style of jazz such as Bebop, Hard bop, and post-bop.

In 2012, jazz pianist Ai Kuwabara, whose style is described as post-Hiromi Uehara, released her first album from here to there. Five years later, she recorded somehow, someday, somewhere, in which Ai collaborated with American jazz drummer Steve Gadd and bassist Will Lee.[34]

Shun Ishiwaka, jazz drummer and composer, has received huge recognition in Japan because of his incomparable technique and cutting-edge sound and been a part of many recordings and projects with notable musicians such as Terumasa Hino, Tokyo New City Orchestra, Taylor McFerrin, and Jason Moran. Shun released his debut album Cleanup in 2015 in which he combined elements of contemporary classical music, hip hop, and straight ahead jazz and this album received "Album of the year new star praise" and “Jazz album of the year 2015” from Japan’s two biggest jazz magazines Jazz Japan and Jazz life respectively.[35] In 2016, Shun had a concert with his own trio having guitarist Kurt Rosenwinkel as a guest at Blue Note Tokyo.[36]

Ryu Fukui, a now deceased Jazz pianist who, in life, struggled to achieve recognition outside of Japan, experienced a monumental rise in popularity thanks to streaming platforms like YouTube Music, Spotify, and others. His most notable work, 1976's "Scenery" is now the most widely consumed Japanese Jazz album on YouTube, having accrued nearly 10 million views as of July 2020. This has led to his albums being reprinted for commercial sale, some of which even using the original studio tapes from 1976, and mastered in half speed.

Media related to the subject

  • Renée Cho Jazz Is My Native Language: A Portrait of Toshiko Akiyoshi, New York: Rhapsody Films, 1986.
  • Kids on the Slope

References

  1. ^ Craig, Timothy J. (2000). Japan Pop!: Inside the World of Japanese Popular Culture. M.E. Sharpe. p. 29. ISBN 978-0-7656-0560-3. https://books.google.com/books?id=xwJw1q0unYAC 2015年1月31日閲覧。 
  2. ^ William Minor Jazz Journeys to Japan: The Heart Within, Ann Arbor: University of Michigan Press, 2004, p.9; E. Taylor Atkins Blue Nippon: Authenticating Jazz in Japan, Durham: Duke University Press, 2001, pp. 58-60
  3. ^ Simon Broughton; Mark Ellingham; Richard Trillo, eds (2000). World Music: The Rough Guide. 2. Rough Guides Ltd. p. 147. ISBN 9781858286365. https://books.google.com/books?id=QzX8THIgRjUC&lpg=PA147&dq=%22Hatano%20Jazz%20Band%22&pg=PA147#q=%22Hatano%20Jazz%20Band%22 
  4. ^ Lash, Max E. (23 December 1964) "Jazz in Japan". The Japan Times. p. 5.
  5. ^ Atkins Blue Nippon, p. 53
  6. ^ Atkins Blue Nippon, p. 58
  7. ^ “Fumio Nanri”. Oxford Music Online: The New Grove Dictionary of Jazz. Grove Music Online, Oxford Music Online. 2009年10月14日閲覧。
  8. ^ Atkins Blue Nippon, pp. 58 and 70-2.
  9. ^ Atkins Blue Nippon, pp. 132-9.
  10. ^ Atkins Blue Nippon, pp. 5 and 74
  11. ^ David Novak 2008 "2,5 x 6 metres of space: Japanese music coffeehouses and experimental practices of listening", Popular Music, 27:1: 15-34
  12. ^ Bourdaghs, M.K. (2013). Sayonara Amerika, Sayonara Nippon: A Geopolitical Prehistory of J-Pop. Columbia University Press. ISBN 9780231530262. https://books.google.com/books?id=kct-B2llvGEC 2015年1月31日閲覧。 
  13. ^ Atkins Blue Nippon, pp. 127-63.
  14. ^ [Minor Jazz Journeys, pp. 31-41; Atkins Blue Nippon, pp. 207-9 and 240-1; J. Bradford Robinson and Barry Kernfeld. "Akiyoshi, Toshiko", in The New Grove Dictionary of Jazz, 2nd ed., edited by Barry Kernfeld. Grove Music Online. Oxford Music Online, (accessed October 14, 2009).
  15. ^ Crépon, Pierre (2019). “Omnidirectional Projection: Teruto Soejima and Japanese Free Jazz”. Point of Departure (67). http://pointofdeparture.org/PoD67/PoD67Japan.html. 
  16. ^ Minor Jazz Journeys, pp. 22-30, 45-58, 136-45 and 273-7.
  17. ^ Atkins, Blue Nippon, pp. 165-264.
  18. ^ Atkins Blue Nippon, pp. 240-1; Minor Jazz Journeys, pp. 31-41
  19. ^ Minor Jazz Journeys, pp. 39, 58 and passim
  20. ^ Minor, Jazz Journeys, pp. 316–322.
  21. ^ Atkins, Blue Nippon, pp. 271–272.
  22. ^ Porter, Christopher. “Jazz Departments: Takashi - By Christopher Porter — Jazz Articles”. Jazztimes.com. 2012年8月11日閲覧。
  23. ^ “Profile 松永貴志-Takashi Matsunaga- Official website”. Takashimatsunaga.com. 2012年8月11日閲覧。
  24. ^ “Glastonbury 2015 - SOIL&"PIMP"SESSIONS” (英語). BBC Music Events. 2018年4月18日閲覧。
  25. ^ Lira Lyssna. Lira (Sweden). (February 2012). p. 9. 
  26. ^ Tokyo Jazz Notes (2011年9月3日). “indigo jam unit feat. Alicia Saldenha - Rose”. Tokyo Jazz Notes. 2012年4月3日閲覧。
  27. ^ Basis Records. “indigo jam unit official web site discography”. Basis Records. 2012年5月25日閲覧。
  28. ^ Oricon. “Oricon indigo jam unit profile”. Oricon Inc. 2012年5月25日閲覧。
  29. ^ Lira Lyssna. Lira (Sweden). (February 2012). p. 119. 
  30. ^ “- basis records: indigo jam unit -” (英語). www.basisrecords.com. 2018年4月18日閲覧。
  31. ^ “PROFILE|Hiromi Uehara”. Hiromi Uehara. 2018年4月18日閲覧。
  32. ^ “DISCOGRAPHY”. Hiromi Uehara. 2018年4月18日閲覧。
  33. ^ “PROFILE|上原ひろみ オフィシャルサイト”. 上原ひろみ オフィシャルサイト. 2018年4月18日閲覧。
  34. ^ “ジャズピアニスト桑原あいのオフィシャルサイト。”. aikuwabara.com. 2018年4月18日閲覧。
  35. ^ “石若駿 SHUN ISHIWAKA OFFICIAL WEBSITE” (英語). Shun Ishiwaka. 2018年4月19日閲覧。
  36. ^ 「【BLUE NOTE TOKYO】The EXP Series #06 SHUN ISHIWAKA CLEANUP TRIO meets KURT ROSENWINKEL (2016 6.27 mon.)」『Blue Note TOKYO』。2018年4月19日閲覧。

Further reading

  • E. Taylor Atkins “Can Japanese sing the blues? 'Japanese jazz' and the problem of authenticity”, in Timothy J. Craig (ed.) Japan Pop!: Inside the World of Japanese Popular Culture, Armonk, N.Y.: M.E. Sharpe, 2000
  • E. Taylor Atkins, Blue Nippon: Authenticating Jazz in Japan, Durham: Duke University Press, 2001.
  • Teruto Soejima, Free Jazz in Japan: A Personal History, Nara: Public Bath Press, 2018.

External links


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