Biography

Akiyoshi was born in Liaoyang, Manchuria to Japanese emigrants. She was the youngest of four sisters. In 1945, after World War II, Akiyoshi's family lost its home and returned to Japan, settling in Beppu. A local record collector introduced Akiyoshi to jazz by playing a record of Teddy Wilson playing "Sweet Lorraine". Akiyoshi immediately loved the sound, and began to study jazz. In 1952, during a tour of Japan, pianist Oscar Peterson discovered Akiyoshi playing in a club on the Ginza. Peterson was impressed, and convinced record producer Norman Granz to record Akiyoshi. In 1953, under Granz's direction, Akiyoshi recorded her first album with Peterson's rhythm section: Herb Ellis on guitar, Ray Brown on double bass, and J. C. Heard on drums. The album was released as Toshiko's Piano in the U.S. and as Amazing Toshiko Akiyoshi in Japan.

Akiyoshi studied jazz in Boston at the Berklee School of Music. In 1955, Akiyoshi wrote a letter to Lawrence Berk asking him to give her a chance to study at his school. After a year of wrangling with the State Department and Japanese officials, Berk secured permission for Akiyoshi to enroll. He offered her a full scholarship, and he mailed her a plane ticket to Boston. In January 1956, Akiyoshi enrolled to become the first Japanese student at Berklee.

Akiyoshi married saxophonist Charlie Mariano in 1959. The couple had a daughter, Michiru, now a musician who performs as Monday Michiru, in 1963, but divorced in 1967 after forming several bands together. That same year, she met saxophonist Lew Tabackin, whom she married in 1969. Akiyoshi, Tabackin and Michiru moved to Los Angeles in 1972. In March 1973, Akiyoshi and Tabackin formed a 16-piece big band composed of studio musicians. Akiyoshi composed and arranged music for the band, and Tabackin served as the band's featured soloist, on tenor saxophone and flute. The band recorded its first album, Kogun, in 1974. The title, which translates to "one-man army", was inspired by the tale of a Japanese soldier lost for 30 years in the jungle, who believed that World war II was still being fought and thus remained loyal to the Emperor. Kogun was commercially successful in Japan, and the band began to receive critical acclaim.

The couple moved to New York City in 1982, where they promptly assembled a new big band (now called the Toshiko Akiyoshi Jazz Orchestra featuring Lew Tabackin). Akiyoshi toured with smaller bands to raise money for her big band. BMG continued to release her big band's recordings in Japan, but remained skeptical about releasing the music in the United States — since the 1950s, big band music has rarely achieved commercial success in the US. While Akiyoshi was able to release several albums in the US featuring her piano in solo and small combo settings, many of her later big band albums were released only in Japan and were available elsewhere only as imports.

On Monday, 29 December 2003, her band played its final concert at Birdland in New York City, where it had enjoyed a regular Monday night gig for more than seven years. Akiyoshi explained that she disbanded the ensemble because she was frustrated by her inability to obtain US recording contracts for the big band. She also said that she wanted to concentrate on her piano playing, from which she had been distracted by years of composing and arranging. She has said that although she has rarely recorded as a solo pianist, that is her preferred format. On 24 March 2004, Warner Japan released the final recording of Akiyoshi's big band. Titled Last Live in Blue Note Tokyo, the CD was recorded on 28-29 November 2003. Akiyoshi lives on Manhattan's Upper West Side with her husband.

Music

Akiyoshi's music is distinctive for its textures and for its Japanese influence. When Duke Ellington died in 1974, Nat Hentoff wrote in The Village Voice about how Ellington's music reflected his African heritage. Upon reading this, Akiyoshi was inspired to investigate her own Japanese musical heritage. From that point on, she began composing with Japanese themes, Japanese harmonies, and even Japanese instruments (e.g. kotsuzumi, kakko, utai, tsugaru shamisen, etc.) Her music remained planted firmly in jazz, however, reflecting influences including those of Ellington, Charles Mingus, and Bud Powell. One reviewer of the live LP Road Time said the music on her big band albums demonstrates

"a level of compositional and orchestral ingenuity that made her one of perhaps two or three composer-arrangers in jazz whose name could seriously be mentioned in the company of Duke Ellington, Eddie Sauter and Gil Evans."

In 1999, Akiyoshi was approached by a Buddhist priest, Kyudo Nakagawa who asked her if she would consider writing a piece for his hometown, Hiroshima. He sent her some photos depicting the aftermath of the nuclear bombing. Her initial reaction was horror. She could not see how she could compose anything to address the event. Finally she found a picture of a young woman, emerging from an underground shelter with a faint smile on her face. Akiyoshi said that upon seeing this picture, she understood the message: hope. With that message in mind, she composed the three-part suite Hiroshima: Rising from the Abyss. The piece was premiered in Hiroshima on 6 August 2001, the 56th anniversary of the Hiroshima bombing. The Hiroshima suite was featured on a 2002 CD release bearing the same title, Hiroshima - Rising from the Abyss.

Discography

Main article: Toshiko Akiyoshi discography

Since her debut recording for Norgran Records in 1954, Akiyoshi has recorded continuously - almost exclusively as a leader of small jazz combos and of her big bands - averaging one studio album release per year for well over 50 years. She has also recorded several live albums in solo, small combo and big band settings, including three big band concert videos. Akiyoshi has released multiple albums for Victor/BMG, Nippon Columbia, Toshiba, Discomate, Nippon Crown and other labels in Japan and for Norgran/Verve, RCA, Columbia/Sony, Concord and her own Ascent label in the U.S. All of her big band recordings and nearly all of her other early works have been re-issued on CDs over the years.

Awards and honors

• 2007 NEA Jazz Master

Down Beat magazine Critic's Poll winner: Jazz Album of the Year: 1978 (Insights) Big Band: 1979, 1980, 1981, 1982, 1983 Arranger: 1979, 1982, 1990, 1995, 1996 Composer: 1981, 1982

Down Beat magazine Reader's Poll winner: Big Band: 1978, 1979, 1980, 1981, 1982 Arranger: 1978, 1979, 1980, 1981, 1982, 1989, 1995 Composer: 1980, 1981, 1982, 1986

• Grammy award nominations:
  • Best Jazz Instrumental Performance - Big Band: 1976 (Long Yellow Road), 1977 (Road Time), 1978 (Insights), 1979 (Kogun), 1980 (Farewell), 1981 (Tanuki's Night Out), 1984 (Ten Gallon Shuffle), 1985 (March of the Tadpoles), 1992 (Carnegie Hall Concert), 1994 (Desert Lady / Fantasy).
  • Best Arrangement on an Instrumental: 1981 (for "A Bit Byas'd"), 1983 (for "Remembering Bud"), 1985 (for "March of the Tadpoles"), 1994 (for "Bebop").
• Stereo Review magazine (US)
  • Jazz Album of the Year: 1976 (Long Yellow Road)
• Swing Journal (Japanese jazz magazine) awards:
  • Gold Disk: 1976 (Insights), Silver Disk: 1974 (Kogun), 1979 (Salted Gingko Nuts), 1996 (Four Seasons of Morita Village), "Special Award": 2006 (50th Anniversary Concert in Japan)

[ Source: Wikipedia ]