Japanese jazz had frequently been criticized as derivative, or even as an unworthy imitation of U.S. jazz, both by American and Japanese commentators. In response to the belittling attitude of their audience, Japanese jazz artists began adding a "national flavor" to their work in the 1960s. [ Expatriate Toshiko Akiyoshi drew on Japanese culture in compositions for the big band she co-led with her husband and long-term collaborator Lew Tabackin . On Kogun (1974) they first utilized traditional instruments, such as the tsuzumi , and Long Yellow Road (1975) features an adaptation of a melody from the Japanese tradition of court music ("Children in the Temple Ground"). [18] Inspired by the analogies Akiyoshi presented to him between jazz music and Zen Buddhism , jazz writer William Minor has suggested that a Zen aesthetic can be perceived in the music of Masahiko Satoh and other Japanese jazz artists. Around the turn of the millennium,...