Moving to Japan to be a Jazz Musician
thegoons
"Gerry" <222...@adelphia.net.invalid> wrote in message
news:161020031753367133%222...@adelphia.net.invalid...
> Crazy, huh? Well if Bush's economic recovery gets much better I may be
> searching another career, or a pleasant low-income retirement.
>
> Assume I'm a more than capable Gaijin jazz player. I want to move to
> Osaka or Hakata or Kobe and play jazz professionally. Make enough to
> pay the bills.
>
> What stands in my way of doing this from a legal standpoint?
>
> --
> ///--- Vote for the richest Republican. He understand the common man.
Eric Takabayashi
> Cross posting
>
> "Gerry" <222...@adelphia.net.invalid> wrote in message
> news:161020031753367133%222...@adelphia.net.invalid...
> > Crazy, huh? Well if Bush's economic recovery gets much better I may be
> > searching another career, or a pleasant low-income retirement.
> >
> > Assume I'm a more than capable Gaijin jazz player. I want to move to
> > Osaka or Hakata or Kobe and play jazz professionally. Make enough to
> > pay the bills.
> >
> > What stands in my way of doing this from a legal standpoint?
What kind of visa do you hold, or plan on getting?
Gerry
<eta...@yahoo.co.jp> wrote:
> > Crazy, huh? Well if Bush's economic recovery gets much better I may be
> > searching another career, or a pleasant low-income retirement.
> >
> > Assume I'm a more than capable Gaijin jazz player. I want to move to
> > Osaka or Hakata or Kobe and play jazz professionally. Make enough to
> > pay the bills.
> >
> > What stands in my way of doing this from a legal standpoint?
>
> What kind of visa do you hold, or plan on getting?
I know nothing. What kind of visa do I need?
Michael Cash
<222...@adelphia.net.invalid> belched the alphabet and kept on going
with:
>In article <3F921D25...@yahoo.co.jp>, Eric Takabayashi
><eta...@yahoo.co.jp> wrote:
>
>> > Crazy, huh? Well if Bush's economic recovery gets much better I may be
>> > searching another career, or a pleasant low-income retirement.
>> >
>> > Assume I'm a more than capable Gaijin jazz player. I want to move to
>> > Osaka or Hakata or Kobe and play jazz professionally. Make enough to
>> > pay the bills.
>> >
>> > What stands in my way of doing this from a legal standpoint?
>>
>> What kind of visa do you hold, or plan on getting?
>
>I know nothing. What kind of visa do I need?
One which allows you to both reside in Japan and work. Let's start
from there.
Eric Takabayashi
> In article <3F921D25...@yahoo.co.jp>, Eric Takabayashi
> <eta...@yahoo.co.jp> wrote:
>
> > > Crazy, huh? Well if Bush's economic recovery gets much better I may be
> > > searching another career, or a pleasant low-income retirement.
> > >
> > > Assume I'm a more than capable Gaijin jazz player. I want to move to
> > > Osaka or Hakata or Kobe and play jazz professionally. Make enough to
> > > pay the bills.
> > >
> > > What stands in my way of doing this from a legal standpoint?
> >
> > What kind of visa do you hold, or plan on getting?
>
> I know nothing. What kind of visa do I need?
If you have no connections in Japan, like a future employer or sponsor, and
know nothing about visas, try here for general info:
http://www.mofa.go.jp/j_info/visit/visa/
And for more specific procedures:
"We advise you to contact the Consular Section of the Embassy or Consulate
General of Japan nearest you for more information and advice."
Michael Cash
<eta...@yahoo.co.jp> belched the alphabet and kept on going with:
Why don't you go ahead and teach him about tarai-mawashi while you're
at it?
Eric Takabayashi
> >If you have no connections in Japan, like a future employer or sponsor, and
> >know nothing about visas, try here for general info:
> >
> >http://www.mofa.go.jp/j_info/visit/visa/
> >
> >And for more specific procedures:
> >
> >"We advise you to contact the Consular Section of the Embassy or Consulate
> >General of Japan nearest you for more information and advice."
>
> Why don't you go ahead and teach him about tarai-mawashi while you're
> at it?
His case would be straightforward enough. He'd either have the backing and
paperwork, or not. I remember asking the Consulate in Honolulu about getting a
descendant of Japanese National visa, and I was able to know right away that it
would be impossible. No wonder some South Americans are accused of bribery and
forgery to get such status.
wasabi
> news:161020031753367133%222...@adelphia.net.invalid...
> > Crazy, huh? Well if Bush's economic recovery gets much better I may be
> > searching another career, or a pleasant low-income retirement.
> >
> > Assume I'm a more than capable Gaijin jazz player. I want to move to
> > Osaka or Hakata or Kobe and play jazz professionally. Make enough to
> > pay the bills.
Even though you're very talented, you'll face stiff competition from
very talented local musicians. Most jazz street performers are as
good as those I've seen/heard in San Francisco clubs. Many of these
guys started out in classical music in grade school then switched for
some reason. And they practice like crazy. So they have the
technique down pat. Their only weakness, I think, is vocals. For
some strange reason, they all seem to want to sing in English with
their Japanese accent. Even when the accent is slight it still hurts
my ears! I'd rather hear enka. So don't go to a Ella Fitzgeral
tribute. But if they try to do Chick Corea's Spain, the result is
superb.
Anyway back to your problem. You'd have the same problems as in the
U.S. with the added complication of language. You'll have to
establish yourself and make the necessary contacts. Then you'll have
to build your audience so that you're in demand.
As far as the legal problems, you probably could get the necessary
work permit by teaching English in your spare time for one of those
English schools.
W.
Gerry
<eta...@yahoo.co.jp> wrote:
> > > > What stands in my way of doing this from a legal standpoint?
> > >
> > > What kind of visa do you hold, or plan on getting?
> >
> > I know nothing. What kind of visa do I need?
>
> If you have no connections in Japan, like a future employer or sponsor, and
> know nothing about visas, try here for general info:
>
> http://www.mofa.go.jp/j_info/visit/visa/
Thanks; looks like a good start. For the first part of this
idiot's-dream, I'm going in the spring and see if I can hunt down
potential gigs in hotels, sophisticated joints, etc. provided such
exist. Particularly in cities outside Tokyo, where I figure there will
be more competition for such gigs and less interest in the curiosity of
a gaijin jazz guitarist. On the other hand it can't be so rural I
can't find a bass player!
> And for more specific procedures:
>
> "We advise you to contact the Consular Section of the Embassy or Consulate
> General of Japan nearest you for more information and advice."
Cool, there's one in LA, near here. Not that I'm going to get anywhere
with this, but I haven't had a silly goalin a long time.
Gerry
<shi...@excite.com> wrote:
> Even though you're very talented, you'll face stiff competition from
> very talented local musicians. Most jazz street performers are as
> good as those I've seen/heard in San Francisco clubs.
What cities did you hear such players in? I saw a number of players
here in there in various cities but never a single jazz guitarist. Pop,
rock, and a few excellent blues guitarists. But no jazz.
> Many of these guys started out in classical music in grade school
> then switched for some reason. And they practice like crazy. So
> they have the technique down pat.
I would assume Japanese kids would have the precision down. But how's
their improv skills?
> Their only weakness, I think, is vocals. For some strange reason,
> they all seem to want to sing in English with their Japanese accent.
> Even when the accent is slight it still hurts my ears! I'd rather
> hear enka.
Makes sense--you should hear my linguistic skills butcher Enka!
> So don't go to a Ella Fitzgeral tribute. But if they try to do Chick
> Corea's Spain, the result is superb.
>
> Anyway back to your problem. You'd have the same problems as in the
> U.S. with the added complication of language. You'll have to
> establish yourself and make the necessary contacts. Then you'll have
> to build your audience so that you're in demand.
I've no illusion of doing this for long. At best a year or two--and
admittedly with much work and luck. And i'd consider six
financially-marginal months a significant success.
> As far as the legal problems, you probably could get the necessary
> work permit by teaching English in your spare time for one of those
> English schools.
I'm wondering if I could swap teaching guitar instead? My skills in
this regard are pretty broad, classical, jazz, rural blues, rock, et
al. I realize that here too I'd be in the same client-building mode,
but wonder if "American guitarist" buys me any street-cred.
wasabi
<SNIP>
Your in luck! I just found this notice. These guys might be able to
get you started. BTW, I was describing Tokyo & Yokohama. I haven't
heard/seem many jazz guitarist myself--most combos are piano, bass,
drums, & sax/trumpet. I think that teaching guitar requires some
ability to instruct in Japanese.
Anyway, you should contact these guys. Good luck!
Dear Improviser,
I am writing you to ask if you would be interested in performing on a
gig with
Bruce Eisenbeil and I during our tour of Japan this December (6th –
22). We
will be performing in Tokyo, Osaka, Yokohama, Kobe, and Nagoya.
Because I do
not know where you live in Japan, I do not know which gig to invite
you to
perform with us on this tour. This letter is just to see if you are
interested
in the possibility of performing with us. If you are interested,
please resond
directly to one of us and let us know which of the cities listed you
are
closest to, and if necessary please tell us your availability for this
month.
Bruce Eisenbeil and I are professional spontaneous improvisers and
have
recorded and performed extensively in the United States and Europe.
This is our
first tour of Japan. Eisenbeil is a NYC based guitarist and I am a
percussionist/drummer. We recently released a cd together on Nine
Winds
records. To learn more about Bruce and I please visit our respective
websites:
www.eisenbeil.com and www.stephenflinn.net.
It is our intention to develop cross-cultural relations with
improvisers in
your country. Our goal is to foster relations with Japanese artists
and to help
them book tours and perform with us in America. Bruce is based in New
York city
and I am based in Los Angeles. We both are also involved with putting
on
creative music performances in our respective cities.
Thank you very much for your consideration and we look forward to your
reply.
All the best,
Stephen Flinn
BRUCE EISENBEIL - electric and acoustic guitars
Downbeat Magazine wrote: "Eisenbeil plays in a strikingly original
style, the
aural equivalent of a Jackson Pollock painting, laced with abstract
filigree
lines and an undercurrent of searching lyricism." Each of Eisenbeil's
cd's -
OPIUM, MURAL and NINE WINGS - has received critical acclaim. He has
performed
throughout the USA, Brazil and at many festivals including the Texaco
New York
Jazz Festival, Vision Festival, CMJ Music Conference, Buffalo
Interprov
Festival, Philadelphia Mellon Jazz Festival, Trenton Avant-garde
Festival, and
the Philadelphia Fringe Festival. Eisenbeil has collaborated with
many fine
musicians including: Cecil Taylor, David Murray, Milford Graves, Evan
Parker,
Ellery Eskelin, Andrew Cyrille, William Parker, Micheal Manring and
many
others. The readers and writers of Cadence Jazz Magazine voted OPIUM,
his
recent CD, one of the top 10 new jazz releases of 2002. For more info
see:
www.eisenbeil.com
Stephen Flinn - drums, percussion
has been a professional musician for over twenty years, performing
most styles
of western music throughout the United States and Europe. He has
performed
and/or recorded with Sam Most, Lynn Johnson, Bruce Eisenbeil, Tony
Wren,
Wolfgang Fuchs, Marcello Blanco, Jeremy Drake, Ayal Moaz, Jason
Michaels
(AACM), Jack Wright, and many European Improvisers. Flinn has toured
throughout
the UK. He has 2 releases on the Nine Winds label.
Gerry
<shi...@excite.com> wrote:
> Your in luck! I just found this notice. These guys might be able to
> get you started. BTW, I was describing Tokyo & Yokohama. I haven't
> heard/seem many jazz guitarist myself--most combos are piano, bass,
> drums, & sax/trumpet. I think that teaching guitar requires some
> ability to instruct in Japanese.
I'm sure you're right. I am eager to acquire more skills in Japanese,
but am limited by time and location.
I apprecaite you're taking the time to post the blurb from Finn. I
live outside LA myself and he maybe able to provide some general info.
Thanks again.
Marc
"thegoons" <theg...@bigpond.com> wrote in message
news:NUokb.156914$bo1....@news-server.bigpond.net.au...
> Cross posting
>
> "Gerry" <222...@adelphia.net.invalid> wrote in message
> news:161020031753367133%222...@adelphia.net.invalid...
> > Crazy, huh? Well if Bush's economic recovery gets much better I may be
> > searching another career, or a pleasant low-income retirement.
> >
> > Assume I'm a more than capable Gaijin jazz player. I want to move to
> > Osaka or Hakata or Kobe and play jazz professionally. Make enough to
> > pay the bills.
that can be tough, as I am sure you know, most of these jobs are a few hours
a week.
I spent a little bit of time playing in jazz clubs with a bunch of college
students, no pay involved. It was fun, but kind of a strange scene. You are
supposed to cultivate your individual style in jazz, but mostly we had guys
who could do a perfect Bill Evans, or a perfect Miles Davis (down to the
same sunglasses), a perfect Chick Corea, etc. It was very Japanese.
There is a super glossy Jazz monthly ("Swing") that is the size of a small
telephone book. I don't know how they fill it with stuff each month. Like
many hobbies in Japan, jazz is pursued by a hard-core group of affeciandos
with an attention to detail that can sometimes be overwhelming.
Gerry
<box5...@spamtrap.net> wrote:
> I spent a little bit of time playing in jazz clubs with a bunch of
> college students, no pay involved. It was fun, but kind of a strange
> scene.
Can you mention any places; cities or clubs, where it might be more
accessible to sit in or find some players to jam with?
> You are supposed to cultivate your individual style in jazz, but
> mostly we had guys who could do a perfect Bill Evans, or a perfect
> Miles Davis (down to the same sunglasses), a perfect Chick Corea,
> etc. It was very Japanese.
That seems inherently obvious, though I hadn't considered
it. I read an essay by Alex Kerr in which he points out the Japanese
first buy the uniform and equipment. You needn't begin learning golf
without the appropriate clothing. Then we went to Takayama and found
all the Japanese male tourists wearing the same uniform: sleeveless
fishing vests and the fishing caps and chinos and everying. I kept
saying, hey, there's the guy from our minshuku, but it turned out to be
one of many other guys that were dressed just the same.
I can do imitations of the dominant jazz guitarists, but assiduously
avoid it as it is so unhip...
> There is a super glossy Jazz monthly ("Swing") that is the size of a
> small telephone book. I don't know how they fill it with stuff each
> month. Like many hobbies in Japan, jazz is pursued by a hard-core
> group of affeciandos with an attention to detail that can sometimes
> be overwhelming.
These afficianados; do you think these are predominantly listeners or
players? I assumed there was more market for jazz in Japan mostly
because every mid-level to upscale place I went, whether for coffee,
food or drinks, seemed to have jazz on their sound system. And usually
really excellent classic American jazz sides. I heard a fair amount of
Horace Silver, Wayne Shorter and curiosities of the the Bop era. I
really liked it.