Current proprietor Louis Nakadaira reflects on the closure, Japan unique jazz cafe culture, and what comes next

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During the 1960s and early 1970s, Tokyo Shinjuku district was home to numerous jazz-focused coffee houses known as jazz kissa. At these establishments, the music was not mere background ambience but the main event.

These cafes gave birth to a distinctly Japanese tradition: patrons would spend hours in dedicated listening rooms, sipping coffee or cocktails while absorbing classic albums in respectful silence. As home audio equipment became more affordable, however, these venues began to vanish one by one.

A handful of beloved names from that golden era managed to survive thanks to loyal devotees, among them DUG (originally called Dig). Now even this stalwart has reached its final chapter, closing its doors on June 27 after an extraordinary 65-year run. Since the announcement hit social media on April 1, jazz lovers have been making daily pilgrimages to pay their last respects.

DUG traces its lineage to Dig, which opened in 1961 in a different part of Shinjuku near what was then the Alta building. Founded by jazz photographer Hozumi Nakadaira, the brick-walled basement interior is adorned with Nakadaira photographs of legendary figures including Miles Davis and John Coltrane.

The cafe attracted a remarkable cast of intellectuals: avant-garde playwright Shuji Terayama, novelist Kenji Nakagami, and television personality Tamori, who was a regular during his early days in Tokyo. DUG even makes a cameo in Haruki Murakami Norwegian Wood, turning it into a pilgrimage destination for the author most devoted fans.

We sat down with Louis Nakadaira, the current owner and son of the founder, to hear his thoughts as the final days approach.

After more than half a century in the beating heart of Shinjuku, how are you feeling about DUG closing?

To be completely honest, the demolition notice caught us entirely off guard, and we have been scrambling ever since. It breaks my heart that this space, designed by architect Katsuki Iwabuchi and built together with our customers over decades, will soon be gone. This was a magical place where renowned musicians from Japan and abroad would drop by unannounced.

With Japan tourism boom in recent years, have you noticed changes in your clientele?

We have definitely seen more young people coming through our doors. Japan listening-centred jazz cafe culture is one of the country most distinctive musical traditions. While American jazz evolved as music for dancing and socialising, Japan created spaces devoted to quiet, focused listening.

Massive speakers, vast record collections, conversation strictly forbidden. People would sit for hours with a single coffee, absorbed in classic albums. This approach to experiencing music was seen as rather peculiar overseas.

Things have come full circle now. The atmosphere is lighter and freer. Young people today are naturally embracing jazz as a kind of spice that adds a touch of luxury to everyday life, much like the aroma of good coffee. The free spirit at jazz core has always stirred restless hearts and that essence has not changed at all.

Are there any musicians or memories that stand out from your years here?

It is always an honour when celebrated musicians, Japanese or international, stop by. My good friend, trumpeter Terumasa Hino, has this wonderful tradition of signing and drawing an illustration on the back of my white button-down shirt every time he visits. Those shirts are among my most treasured possessions.

Looking back, it all started in 1968 when Stan Getz and Chick Corea, who happened to be visiting Japan, made a surprise appearance during a live performance at DUG featuring Terumasa Hino and his brother Motohiko.

There were other remarkable moments too: avant-garde trombonist Albert Mangelsdorff quartet recorded Diggin - Live at Dug, Tokyo here in 1971, and the venue hosted sessions that became classic live albums by Mal Waldron, Carmen McRae, and the Barry Harris Trio. We were privileged to welcome so many giants of jazz, including Sadao Watanabe, Keiko Lee, and Yasuko Agawa.

Illustrator Makoto Wada, who designed our logo, was also a regular from his student days and became close friends with the previous owner.

After several moves over the decades, you have always kept going. Any plans for a new location?

The building is scheduled for demolition on July 1. We had no say in the matter. It is simply part of the changing times.

This marks the end of DUG as created by the first-generation master, Hozumi Nakadaira. We are still seriously exploring what comes next, but whatever follows will be a new chapter, something distinctly my own. Let us just say: to be continued.