Raymond McMorrin, affectionately known as Ray Mack, hails from Connecticut which is steeped in a rich history of jazz. He began studying the tenor saxophone at the age of eleven and never looked back. He has played with the likes of pianists Horace Silver and Hank Jones, trumpeter Roy Hargrove, trombonist Steve Davis, and drummers Gene Jackson and Curtis Torian just to name a few. In 2005 he decided to choose love over his personal career aspirations and relocated to Japan to be with his then-fiancée Kumiko and start a family. Since then he has established himself as one of, if not THE tenor player in Japan and I had the privilege to speak with him about his incredible journey.
You’ve been a mainstay on the Tokyo scene for over fifteen years now and are a well-respected name in the world of jazz in Japan. Can you tell us a bit about your beginnings of starting your career in Tokyo, what were some of the challenges you faced, and how did you overcome them to become a household name all over Japan?
Before I came to Japan I began making a name for myself in the Hartford, CT jazz scene. The late great Bassist Paul Brown(known to everyone as PB) was very influential in building the Hartford Jazz scene and founder of the Monday night Jazz series at Bushnell Park. I told him of my plans to come to Japan way back in 2004. He regularly came to Japan on tour and gave me some contacts before I arrived. I came here with only two contact names and my horn, started going to jam sessions and meeting people. It was slow at first, but eventually, people began to call me for gigs.
That’s how I started out. As far as challenges, I still face them especially now that gigs have slowed down due to the Coronavirus pandemic. Probably the biggest challenge I faced was having to adapt my style to fit in the scene here. Japan has a very systematic culture and in general, you are categorized by your style. Common terms used here to categorize style are traditional, orthodox, swing, straight ahead, bebop, modern, avant-garde and free. I’m pretty much a mixture of all of these styles, and depending on who I was playing with or which venue I was playing at I would have to adapt. For instance, the more traditional or straight ahead cats would categorize me as freer and the free players would categorize me as more orthodox. I have learned to find my true voice and just play like I play no matter where I go. If you listen carefully you can hear the tradition and the search for a new sound at the same time.
What are some of the cultural differences between America and Japan that you notice are reflected in the music? What aspects do you like and dislike about each country in regards to the music?
As we know, Jazz is an American art form. With that being said, when you are in a non-American culture trying to perform an American music form, the music will sound and feel different than its origin. This has been a challenge as a sideman and a leader. I am careful not to use like or dislike when referring to cultural differences as it is a sensitive topic, but I will say what is different. In general Jazz music is more aggressive and competitive in the states. In Japan, it tends to be more passive and happy. I like it somewhere right in the middle.
You speak fluent Japanese which no doubt helps with living day to day life but also communicating with your bandmates and/or students. Can you describe your process of learning the language?
I have been here for 15 years now, but I feel I should be a lot more fluent than I am. Japanese has many levels. For example Reading: Hiragana(standard alphabet), Katakana(alphabet generally used for foreign or “borrowed” words) and Kanji(Chinese characters which are the most difficult). Just this alone will keep you busy studying. Then there is Speaking: Tamego (familiar form) with family and friends) then Keigo (polite form) and Keigo can be broken down even further. Also depending on what area of Japan you live the language dialect is completely different.
As for my process of learning the language, I started off hanging out with Japanese friends at University. I had a notebook and I just asked questions. I asked how to say different words and wrote them down in my Japanese notebook. Then I started listening to Japanese conversation CDs which I do not recommend doing while you drive. I missed a few exits at times (laughs).
Then I progressed to Anime and Japanese dramas. I watched and kept a notebook handy for writing down words I didn’t know so I could research them later. I would pretend to have a conversation in Japanese when I was alone in the shower or anywhere. I just wanted to be fluent, so I kept speaking all the time. After moving here it became easier to emerge myself in it. 15 years ago the English speaking level was a lot lower so I found myself in situations where I was the only English speaker so this definitely helped me to shed my Japanese chops. That’s the best way to learn, just put yourself in a situation where you have to use it to survive.
You have a truly unique voice on the instrument that sets you apart from other players, not only in Japan but all over the world. Do you feel this has been to your
advantage, disadvantage, or maybe a bit of both in establishing your career in Tokyo?
It has been and still is both an advantage and a disadvantage. There are many different playing circuits in Japan, from Pop, Rock, Metal, Club, Blues, Latin, Reggae, Jazz, Free, Big band, Swing, Modern and the hotel scene, which is known as BGM (background music). I have a lot of experience in the hotel circuit, but you would never know it if you’ve only heard me in a club setting. In a hotel, you have to be able to play softly enough for people sitting only a few feet from you to have a conversation. Let’s just say that’s how I learned to play a ballad (jokingly laughs).
Anyway, people tend to categorize you after hearing you once. I can pretty much play in many different style settings but if the people who do the hiring don’t know that it can be difficult to transcend the scenes. People are influenced by rumors, so it is very important to be heard in many different settings. Doing this has helped me to establish my career here. You have to be willing to be stylistically flexible like a chameleon.
Can you discuss some of your main musical influences both past and present? And since living in Japan have you been influenced by some of the artists over there jazz and non-jazz….or anything pertaining to the country that has had a profound influence on you?
I think if I listed all of my influences it would take up the whole paper (laughs!), so I will try to stick to my main influences. First and foremost, I put God as my number one influence. It was God who gave me this musical gift, so I can’t list any musicians before giving him the honor. My parents are the next big influences because they supported my dream to be a musician. They stood behind me as long as I was willing to put in the work it took. As far as musicians; Judson Watts(my first private teacher in 6th grade), Herbert Wilson (my private teacher in high school). Judson taught me how to use my ear and Herb taught me how to analyze what I was hearing. At the University of the Arts in Philadelphia, Rob Kerber (A Philadelphia native and my private teacher freshmen and sophomore year of college). He taught me how to play the saxophone. By this I mean he showed me how to break down rudimentary things and be meticulous about how I practiced. He kicked my butt with all those jury practices (laughs).
I transferred to The Hartt School of music for my Junior and senior year of college. At that time I was blessed with the privilege to study with the late great Jackie McLean, more famously known as J-Mac. J-Mac transcended styles and could play anywhere and with anyone. He brought me back to tradition and always stressed the importance of not forgetting the tradition. His stories of him going to Monk’s house with BudPowell and other intriguing stories are unforgettable. Other influences include Lester Young, Bird (Charlie Parker), Dexter Gordon, Joe Henderson, Hank Mobley, Miles Davis, Thelonious Monk, Trane (John Coltrane) who is my biggest influence at the moment… Antoine Roney, Abraham Burton, Eric Dolphy, Dewey Redman, Hirosawa Torazo(Japanese Rokyoku storyteller). Rokyoku sounds very much to me like blues. Other Japanese traditional music and instruments such as Shakuhachi, Koto, and Wadaiko(which I have had the privilege of collaborating with) have also influenced me. Bob Marley and Reggae in general. I grew up listening to Reggae as it is the music of my Jamaican roots.
How does the business side of things differ between the states and Japan as far as putting out your albums, negotiating gigs, gig etiquette, etc
I have spent more time on the Japanese Jazz scene than the scene in the states, so it’s difficult to answer that. I believe there is a common denominator, where having connections, being a good negotiator, and being a good player is beneficial in being successful. Although, I must say living in Japan and being able to speak Japanese has given me certain opportunities I probably wouldn’t have gotten if I wasn’t able to speak the language.
Living and playing in Tokyo for so long, is it a constant struggle to keep off the label of “a local guy?” Can you talk about how you avoid this?
There is no real way to “avoid” being local unless you really stay off the radar and only show up once in a while. There are foreign musicians living in Japan that I know who are world-renowned who go back and forth between Japan and the states. Staying busy globally is the best way to “avoid” this. The only downside is that it is tiring on the body.
You seem very happy raising a family over there, and while it’s our loss here in the states, we are happy for you! Are there times you wish you still lived in the states, and why? I know you do some traveling back and forth between the two countries for playing so maybe you can talk about how you go about creating an international career for yourself.
I think about playing in the states all the time, or I should say I used to think about it. There is a sound and a feel that you can only get playing in the states, especially New York. I have only had a few opportunities to play in New York, but every time I do, there is something special that happens. I still desire to go back to the states to do a tour with my old friends. We had a groove that couldn’t be duplicated anywhere else. Presently I have a quartet that has been together for 5 years now which included Gene Jackson on drums, Mayuko Katakura on piano and Takumi Awaya on bass. These guys have kept me inspired and motivated to keep going in this scene. They are all incredibly talented musicians who I highly respect.
For other musicians who might make the leap and decide to live in Japan playing music, what advice would you give them?
The first thing I would say is to remember that this is NOT the USA or where you happen to come from. Things will be done differently here. The music will sound different and feel different. The “That’s not how we do it back home” mentality won’t get you far and you will be frustrated and bitter. Come over with an open mind and willing to be flexible stylistically. That is not to say you won’t come here and fall into your niche right away, because some people do. I personally still have not (laughs). But I have done many gigs from solo saxophone in a jewelry shop to lip-sync playing as a horn section backing up a J-pop(Japanese Pop) artist for a commercial, so the sky’s the limit for what you can do. I would have never had the opportunity to meet, perform live and record with the late great Hank Jones if I didn’t come to Japan, so you never know where destiny will lead you.
You have two great albums recorded as a leader that received great critical acclaim, and allowed you to play many engagements all over Japan, as well as the U.S., Do you currently have any plans to go back in the studio to complete the trilogy or are you in the process of writing some more music?
At the moment there are no set plans to go into the studio, but I have some new compositions brewing in the lab at the moment, which are different from
anything I have done up to now. I’m looking forward to sharing them with the world
For more information on Raymond please visit www.raymondmcmorrin.com
Photo credits: JC Photo Graphics- Featured image courtesy of Raymond McMorrin
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