When the book “Introduction to Modern Jazz at Jazz Kissa Eagle” by the owner Masahiro Goto was published in Yotsuya, music critic Mitsutaka Nagira commented on its uniqueness.
He said, “In texts attempting to convey the fascination of modern jazz, the focus often lies on ‘how it is new and different from traditional jazz.’ However, Goto writes about ‘how the new music is connected to past jazz,’ which is truly remarkable.”
Goto’s stance is strongly reflected in Eagle’s selection.
While dealing with a wide range of jazz, from classic albums to the latest releases, one can hear the continuity of jazz history—Nagira and I visited this renowned establishment that has been transmitting the joy of jazz for 57 years.
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Rooted in History: Transitioning from a Rock Kissa Predecessor
In early spring of this year, Alejandro Ayala from Chicago, USA, was visiting Japan. He is a member of the team at the Chicago-based label International Anthem, serving as the label’s marketing specialist. Beyond his duties at the label, he also DJs and produces audio, deeply immersed in music in various capacities. By chance, my friend and DJ, Mayu Amano, invited me to have tea with Alejandro. I suggested, “How about visiting a jazz kissa in Japan?” and recommended Eagle. I recommended Eagle because I believed it would be a perfect fit for music enthusiasts like the staff of cutting-edge jazz labels such as International Anthem.
Jazz Kissa Eagle was founded in 1967 by Masahiro Goto, a well-known jazz writer. 2024 marks its 57th anniversary, making it one of the oldest jazz kissas in Japan. However, although it is an old shop, even Eagle is not yet a long-established business, which is a testament to the depth of the history of jazz kissa in Japan.
I don’t remember which book it was written in, but I recall that Yasukuni Terajima, the former owner of MEG, a renowned jazz kissa in Kichijoji (established in 1970, retired in 2018), once wrote something along the lines of, “MEG has its own history, but it’s not exactly an old establishment. Being able to play Bill Evans’ ‘At The Montreux Jazz Festival’ album (released in 1968) as a new release suggests that the cafe was at a mid-level position. So, I guess we were also at a mid-level position.” According to Terajima’s argument, if a place like Eagle, established a year before the release of the castle album, is considered mid-level, it falls into the same category as well.
Before Eagle moved to its current location, Mr. Goto ran a rock cafe called “Disk Chart” here for a short time. Eagle was a rock kissa that turned into a jazz kissa (see the Japanese article “The Story of Eagle Jazz Kissa in Yotsuya, Tokyo, Part 2” on the website “Jazz Kissa Guide” for more details).
The latecomer, Eagle, did not have the same rare record collection as the old shop. Even so, it has survived for more than 50 years by establishing its own unique style through various innovations. Even when rock music was overtaking jazz, when fusion music was gaining momentum and modern jazz was retreating, and when jazz kissas were closing in increasing numbers as if they were relics of the past, Goto kept his store open and continues to play jazz music today.
