Nestled on a quiet side street in Morishita’s nostalgic shopping district, parade stands out with its charming exterior and fresh approach. While classic jazz records fill the air, the café sheds the weighty ambiance of traditional jazz spots, offering something delightfully lighter.
Opened in 2024, parade redefines the jazz café experience—a theme unraveled by music critic Mitsutaka Nagira in the 11th chapter of “Places to Discover Good Music.”
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Newly Recommended: East Tokyo’s Latest Gem
As a music writer who mainly covers American and British artists, one of my closest collaborators is a translator. When I say “translator,” it can mean many things, but the ones we work with are specialists in music translation. With their deep knowledge of music and ability to grasp various contexts, they sometimes even lend us writers a helping hand. They are, without a doubt, among the most trusted people we work with.
Why start with that? Because it was one of these translators who recommended the café “parade.”
After an interview, she said, “Yanagaku-san, there’s a place I think you’d really like. You should check it out.” Though I appreciated the suggestion, I live in Tama, on the western side of Tokyo, and the idea of heading to Morishita—located between Kiyosumi-Shirakawa and Ryogoku in the east—felt like a hassle. And yet, I’ve already been there several times. That’s how much charm this place has—it’s worth transferring trains to get there.
Parade opened its doors in January 2024, and its simple interior feels fresh and brand new. The overall atmosphere is warm and welcoming, giving off the impression of an approachable space that anyone can easily step into, rather than a place with overly meticulous or niche features. What drew me to Parade more than anything else, however, was its exceptional music selection.
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Legendary Jazz, Easy and Unwinded
The first time I visited, the album playing was Pres & Sweets by Lester Young and Harry Edison. Lester Young was a tenor saxophonist known for his collaborations with Billie Holiday, while Harry Edison was a trumpet player famous for being a member of Count Basie’s big band. Both were exceptional players active before the bebop era. Released in 1956, this album is outstanding in content, yet it’s somewhat of a “mellow” piece. It’s not one of those landmark jazz albums, nor is it something that’s been re-evaluated due to some trend. It’s unlikely to be the kind of record that drives up prices in the second-hand market. For me, it has the vibe of an album an old jazz enthusiast might listen to, but I was amazed at how beautifully it resonated. It didn’t sound like a niche, obscure record but rather like incredibly beautiful music.
That day, The Great American Songbook by Carmen McRae was also playing. I had once bought it many years ago as part of my jazz studies, but I don’t recall listening to it intensely. However, here, it felt incredibly friendly, as if the weight of its status as a classic album had been lifted, and I was able to fully immerse myself in it.
Other albums by Red Garland and Kenny Burrell were playing as well, but strangely, they all felt fresh. Albums that would typically be found in jazz guidebooks felt lighter here than when heard at a jazz café, and I found myself enjoying them with an unexpected sense of ease. Sometimes, records I had never heard before were played, but it was interesting how there was no sense of a DJ or collector-like, obsessive atmosphere.
What stood out to me especially was how the café made albums—like those by famous artists, but not their well-known releases—sound incredibly appealing. For instance, I was deeply moved by an album by Oscar Peterson, a pianist known for releasing countless piano trio albums, that wasn’t one of his major works but was still a high-quality gem. It was also here that I discovered a cool, lesser-known collaboration between the famous pianist Vince Guaraldi (known for his Snoopy’s Christmas album) and Brazilian guitarist Bola Sete.
