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Occasionally, Hong Kong gets treated to first-class jazz talent. When it does happen, it’s usually held in big venues, such as City Hall, and it also leans towards the popular, easy-listening fare suitable for the mainstream masses (Ornette Coleman at the Arts Festival was a notable exception). So to get Japanese trumpeter Shunzo Ohno playing three gigs at the Fringe (Thu 12-Sat 14) is very special indeed.

The New York-based jazz man – who’s also a composer and arranger – has reached true musical heights, having toured with Art Blakey in the 1970s, and composed a hit single, Bubbles, which featured on Norman Connors’ mega-selling record You Are My Starship. He’s also worked and toured with life-long mentors Gil Evans and Herbie Hancock, and collaborated on a number of Grammy-winning recordings. Ohno even guested on records by David Byrne (Rei Momo) and Dave Matthews (Digital Love).

Having survived a serious car accident – in which his teeth and lips were permanently damaged – and throat cancer, to say he’s a living legend is an understatement. His life is the subject of a biography (Trumpet of Hope) and a documentary (Trumpet of Glory). If you miss this show, you should kick yourself. Hard.

Ahead of his show, Time Out Hong Kong’s resident jazz man Henry Chung gets a few words with the man.

Are you more of a fusion or straight trumpet player?

I never thought of categorising myself. I’m just playing the kind of music that fits me.

What are your inspirations for original compositions?

When I’m overjoyed with something in my daily life; when I hear very sad news around me or somewhere in the world; when I get extremely upset; or when I see a beautiful plant or a beautiful view. You never know when.

You have played with some world-class drummers, such as Roy Haynes, Clarence Penn, Billy Kilson, and Billy Drummond. Tell me about the different styles of drumming, and how each pushes you to a different end.

Playing music, especially in the field of improvisation, is like having a conversation with the musicians I’m playing with at that particular moment. You don’t speak the same way with everyone – it’s different depending on who you are talking with. Playing music is the same.

At the Fringe, you'll be working with Eugene Pao, Ted Lo, and Tamaya Honda. Are you excited about the gig?

I’m very happy and excited to go back to the Fringe Club. Eugene Pao is a great musician. I like the way he expresses his emotions and makes various colours in music. Ted Lo and I had some gigs together in New York some time ago. He is also a very dedicated musician. Not only in jazz, but in different forms of music as well. I like to play with musicians who have flexible, open minds in various directions. Tamaya Honda and I met a while ago in Japan, and he came with me on my very first visit in Hong Kong.  He is a very sensitive person and has great dynamic musicality on the drums. He is able to paint many different colours in the sound of drums. He is one of my favourite musicians.

As a Japanese musician, how are you received in New York City? Did you face challenges?

First of all, if you want to establish yourself as a musician in New York, you have to be a very capable player. That is the thing that you can depend on, and nothing else. When I first went to New York, it was 1974. The reason why I went was that Art Blakey told me that I should come to New York after I had a chance to play with him in Japan on a TV show in 1973. If I did not meet Blakey, I would never have thought of going. After I arrived, I just continued to do my best every time I had the chance to play. New York was a very serious place during that time, when I was an incapable trumpet player. It was that time when I was in a car accident. I can talk on this subject for much longer – but let’s save it for next time.

I can say this now: life is not only music; music is just a part of our daily lives. I think everyone wants to live a happy life. So, I’m trying to be a decent individual. I’m a father, husband, neighbour and, of course, a musician.

Henry Chung