Adlib Tasting Session

I thought improvisation was only for special people. Two years ago I opened the door with fear and a little hope. On that first day I tasted the “A” of ad-lib, high-fived another first-timer, and stopped minding that I play imperfectly.

I dreamed of improvising freely, then gave up because I never knew what or where to play. Joining the session, even a simple phrase felt like “I’m playing notes that belong.” A new world opened.

Before joining, I didn’t know where to start. Even when we each play just two notes, personality and a story come through. Fewer notes, and the space between them, matter as much as playing a lot.

I had given up, thinking it was too late. Here no one scolds a mistake. We play like a game under the same limits. Beginners and experienced players share the room and become companions.

At first I only thought about playing cool jazz phrases. Then I saw what matters is a sound that persuades as music. Not only guitarists come—every session brings a new discovery, and it’s fun.

I joined half-skeptical, hoping it wasn’t a cult. The two notes they assigned were the skeleton of the sound I wanted. I still remember the shock of trusting the instruction: play these two notes, and it becomes jazz.

In short, the session is packed with the fun of live music. It’s enjoyable, and joining once a month is enough to feel yourself grow.

Right away the nerves became “I can do this—this is fun—what’s next?” Stripping the notes down wasn’t about playing well. A new door opened.

The biggest surprise was ad-lib with almost no notes—and it still sounded emotional. It was this easy to play a cool ad-lib.

The note rows Okamoto-san chooses are wonderful, and easy to enter, so from the start it was fun (or desperate—ha). Once the notes are set, go for rhythm and sound cool. This rock guy got in the mood.

When it was time to play, we started with two notes. Later it became four. Even with four, Okamoto-san’s demo was vividly jazz. It was wonderful.

The tasting session is the same. Learn jazz the way a baby learns to speak. It starts with two notes. Have the courage to open the door.

Every session I am nervous: what will happen today? When it ends I think—playing music is this much fun.

At the tasting session you can ad-lib with two notes. I thought, really? It was true. A new discovery. Not unlimited—you start by making a constraint.

Start by enjoying ad-lib as a “game.” Come lightly, and try it.

The tasting session is a strange time when you feel: something changes, even if you don’t know why. Music is fun.

“Is this ad-lib? And yet it is already music. Are these two notes the heart of it?” The scales fell from my eyes.

We never say “now improvise freely.” We start with fewer notes and actually make sound. People ask, “Is this note really enough?” Then, surprisingly, it becomes music.

What matters is not avoiding mistakes, but receiving the sound that appeared and connecting it to the next. By the end, faces soften and the room says “that was fun.” Music doesn’t have to be lonely.

The heart of the session is catching the flavor and timing of the previous sound, chewing it as your own, and passing it to the next person. Music is not a one-way display. It is a conversation—a baton.

Not theory first, then ad-lib. First, play. I think that is one of a kind.

Okamoto-san never gets angry. He finds what is good in the player and praises it. That makes me glad. I think everyone should try it.