Byreputation, Ling Wei (凌威) doesn’t come across as a jazz fan. But the 56-year-old self-professed “rock ’n’ roller” and owner of the Roxy chain of rock-themed bars and nightclubs says, “I’ve always loved jazz music.”
Roxy Jazz, which opens tonight, is Ling’s second attempt at a jazz club. His first venture, Feel More Jazz, located on Roosevelt Road (羅斯福路), quickly folded after opening in 1991 when construction for the MRT’s Danshui-Xindian line began.
Ling seemed at ease and in a good mood earlier
this week when showing the Taipei Times around
this latest addition to the Roxy brand, located near
the corner of Jianguo South (建國南) and Heping East
(和平東) roads.
He says the club is designed so jazz lovers can have a comfortable place “to share the music.” The space, which holds around 65 persons, feels intimate and homey. The room is filled with plush Ikea sofas and lounge chairs. The stage, equipped with a drum kit, upright piano, double bass and a few amplifiers, is low to the ground and close to the audience. A bar at the back will serve food.
Listening to records is pure pleasure for Ling, a former radio DJ, and he brings that sensibility to the venue. Audiophiles will drool over the room’s boutique stereo speakers made by the German company Duevel, which cost a cool NT$1 million. Ling says, half-jokingly, that another reason for starting the club was to find a home for the speakers.
Live music from local musicians, however, will be the main attraction. Roxy Jazz currently has performers scheduled on average for three nights a week.
Tonight’s grand opening party features a special performance by a one-off modern jazz quartet organized by pianist Andrew Page, the music director of the American Club in Taipei. The lineup includes Taichung-based French bassist Cyrille Briegel, Italian drummer Pietro Valente, and saxophonist and composer Miguel Fernandez of Barcelona.
Tomorrow the venue hosts Taiwanese pianist Amanda Wu (吳苡嫣), who plays modern jazz standards as well as originals sung in Mandarin. She shares the stage with saxophonist Alejandro Chiabrando of Argentina.
When the musicians break, house DJs will spin “classic jazz vinyl,” reflecting Ling’s tastes, which he describes as anything from Blue Note Records.
Ling says he’s optimistic that Roxy Jazz will stand the test of time, unlike The Other Side, a dance club he opened in the East District (東區) in July that folded because of high rent and a lack of a “clear goal.”
Roxy Jazz is open every day from 9pm to 4am and charges a NT$300 food or drink minimum on nights with musical performances.
In 2020, a labor attache from the Philippines in Taipei sent a letter to the Ministry of Foreign Affairs demanding that a Filipina worker accused of “cyber-libel” against then-president Rodrigo Duterte be deported. A press release from the Philippines office from the attache accused the woman of “using several social media accounts” to “discredit and malign the President and destabilize the government.” The attache also claimed that the woman had broken Taiwan’s laws. The government responded that she had broken no laws, and that all foreign workers were treated the same as Taiwan citizens and that “their rights are protected,
A white horse stark against a black beach. A family pushes a car through floodwaters in Chiayi County. People play on a beach in Pingtung County, as a nuclear power plant looms in the background. These are just some of the powerful images on display as part of Shen Chao-liang’s (沈昭良) Drifting (Overture) exhibition, currently on display at AKI Gallery in Taipei. For the first time in Shen’s decorated career, his photography seeks to speak to broader, multi-layered issues within the fabric of Taiwanese society. The photographs look towards history, national identity, ecological changes and more to create a collection of images
March 16 to March 22 In just a year, Liu Ching-hsiang (劉清香) went from Taiwanese opera performer to arguably Taiwan’s first pop superstar, pumping out hits that captivated the Japanese colony under the moniker Chun-chun (純純). Last week’s Taiwan in Time explored how the Hoklo (commonly known as Taiwanese) theme song for the Chinese silent movie The Peach Girl (桃花泣血記) unexpectedly became the first smash hit after the film’s Taipei premiere in March 1932, in part due to aggressive promotion on the streets. Seeing an opportunity, Columbia Records’ (affiliated with the US entity) Taiwan director Shojiro Kashino asked Liu, who had
At a funeral in rural Changhua County, musicians wearing pleated mini-skirts and go-go boots march around a coffin to the beat of the 1980s hit I Hate Myself for Loving You. The performance in a rural farming community is a modern mash-up of ancient Chinese funeral rites and folk traditions, with saxophones, rock music and daring outfits. Da Zhong (大眾) women’s group is part of a long tradition of funeral marching bands performing in mostly rural areas of Taiwan for families wanting to give their loved ones an upbeat send-off. The band was composed mainly of men when it started 50