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Yoshiaki Okayasu was born on July 12, 1962 in Tokyo, Japan.
Following his interest in the guitar, he became a student of jazz guitarist, Yoshiaki
Miyanoue. His apprenticeship began upon the completion of school and continued as
his professional career began.
The beginning of his recording career came at the age of thirty. In 1992, he was rewarded
for the his dedicated preparation with an opportunity to join Masahito Imatsu's recording,
"Sticky."
From this period his work began to be noticed by the recording industry, which resulted
in an opportunity from Paddle Wheel Records.
This debut album, "MIDNIGHT GROOVES," was released in 1993. Subsequent recordings
released by Paddle Wheel created the foundation for a growing popularity and critical
acclaim across Japan. Paddle Wheel, as a subsidiary of the famous jazz recording company,
King Records was instrumental in placing Okayasu's work before the ear of the Japanese
jazz fan. Thanks to his excellent performances through the following eight recordings,
Yoshiaki Okayasu’s future as a major artist in Japan is secure.
Okayasu is now working, performing for jazz fans in many venues whether it be an intimate
jazz club setting or one of the several major jazz festivals in Japan.
Okayasu, when asked about his influences and his personal taste, lists such guitar
greats as Grant Green and Charlle Christian, but a special place is reserved for Kenny
Burrell. "Kenny has been a source of inspiration from my earliest days in music!”
Speaking of Kenny Burrell with an obvious respect, Okayasu hopes to not only learn
from Kenny Burrell"s concept, but also to absorb it as a basis for creating his
own personal style. This motto of growth and development has been a consistent factor
in Okayasu's continuing success.
Yoshiaki Okayasu has already achieved attention by his fans for his personal style.
His audience is entranced by his quiet subtlety and grateful for his singing phrases,
playing for the music and not using virtuosity for showy demonstration. His love for
jazz guitar is readily apparent to all audiences. Consequently, an aesthetic of greater
dimension is realized when the audience can not only appreciate the music, but also
the character of the man making the music!
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