Takuya Kuroda was found in his hotel, enjoying a four-day break with his band in Turkey, appearing completely relaxed. He shared, “As a trumpet player, we can’t really have five days off,” but the band still managed to secure a gig at a local club and spent time playing basketball together.
“They love basketball,” Kuroda explained, “and they found a court. We play with the locals.” When cautioned about the risks of basketball for a trumpet player, Kuroda laughed off the concern, saying, “Miles Davis used to do boxing, so you know.”
Although he acknowledged that Miles Davis engaged in many activities that may not be advisable, Kuroda’s major influence came from the legendary swing jazz bandleader Count Basie. He reflected on how Basie shaped his musical journey, noting, “That was my introduction to jazz.” Growing up in Kobe, Japan, Kuroda followed his older brother into the school jazz band. “I was kind of lucky with the junior high school I went to. Usually in Japan, there are not so many jazz bands in schools, but the one my brother and I attended had a jazz big band. So as a typical younger brother, it was natural for me to follow him. He played trombone, so I kind of automatically picked up the trumpet.”
Basie’s big band jazz had a lasting impact on Kuroda when he arrived at The New School in New York to study jazz and contemporary music. He reflected, “I think being able to play the melody on the trumpet, that traditional American jazz way, learning how to do it at an earlier age as a teenager was crucial and important. Just knowing how to play that kind of melody, blues, and rhythm changes—the basic stuff—really helped me. I realized later in my life how important it was.”
This shared understanding with other musicians formed the foundation for musical shorthand and connection points. “It’s just how I hear music and how I take a solo, how I take melodies, especially based on Count Basie’s,” he described. “Just very simple, strong melody, laid back. We recognize each other in the musician’s world.”
Early in his career, Kuroda encountered a genre that initially pushed him out of his comfort zone: Afrobeat. He was introduced to this style after joining Brooklyn’s Akoya Afrobeat ensemble as a fresh graduate. “To be a musician in New York, especially at the earlier stage, you have to take all the gigs,” he advised. “It’s just survival. I used to do a church gig in the morning, a salsa gig in the afternoon, a jazz gig at night, and maybe one more after that. And Akoya Afrobeat was just one of them. I got a gig offer: ‘Let’s take it – 50 bucks a show.'”
Kuroda admitted, “I didn’t know the music at all, but after joining the band, I became so attracted to it and kind of fell in love with it. It’s so different from the jazz I had been playing at the time, especially when performing with them. The audience goes crazy, and playing one song that is like 30 minutes long, I thought, ‘Woah, what is this!’ It’s more complicated than it sounds.”
After self-releasing a couple of albums early last decade, Kuroda’s profile skyrocketed with the release of his Rising Sons album on Blue Note in 2014, making him the first Japanese artist to sign with the iconic label. The album’s fusion of funk, Afrobeat, and contemporary sounds earned him critical acclaim and propelled him to the top of Japan’s jazz charts. “It was crazy,” he recalled. “I was on the back cover of the biggest jazz magazines in Amsterdam. Not only that, people recognized me on the subway in New York—’Yo, I’m listening to your stuff right now,’ and showing me their iPhones. That was an unbelievable feeling and experience.”
However, Kuroda recognized that this fame was fleeting. “But it didn’t last long. Honestly, even though I made my debut on Blue Note, it doesn’t mean you’re good for the rest of your life. I got humbled. I didn’t really take it as I’m a star or something, but I remember all the gigs didn’t last as long as I expected. I realized I had to keep going.”
Since then, Kuroda has found a home with London indie label First Word, releasing two albums with them: Fly Moon Die Soon in 2020 and Midnight Crisp in 2022. He appreciates their quick turnaround. “Sometimes when you deal with a bigger organization, one little move takes days, weeks, and months. For me, as an artist, seeing their enthusiasm for my music really helps me.”
This marks Kuroda’s first visit to Ireland as a bandleader, although he had previously visited Dublin as part of José James’ band. “I remember I went to a bar for Guinness,” he exclaimed. “I liked it. The drummer from José James is obsessed with Guinness.”
When discussing the qualities he seeks in his band members, apart from their basketball skills, Kuroda emphasized the importance of the drums. “To be able to play real pocket, like R&B funk, understanding old school and new school. And knowing Afrobeat.”
As for horn players, he noted, “I just need a strong voice next to me supporting my melodies. I want them to take a solo and step up. I almost want them to steal the show. I want the audience to feel like, ‘Oh, wow! Takuya’s band is incredible.’ Of course, as a leader, I want credit too—’Takuya is great.’ I just understand that this kind of music can’t be done by one person.”
He paused to reflect on this thought before smiling. “I guess it’s the same as basketball.”
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