Seoul’s All That Jazz keeps the groove alive, decades on

Jin Nak-won, owner of All That Jazz, poses during an interview with The Korea Times at All That Jazz in Itaewon, Seoul, June 18. Korea Times photo by Choi Won-suk

For a lonely traveler in search of a lively night in a foreign city, Smalls Jazz Club might be the spot in New York. In Tokyo, there’s Blue Note Tokyo. And in Seoul, it’s All That Jazz, which as set the tempo for the city’s jazz scene since 1976.

Tucked away in Itaewon — perhaps Seoul’s most international neighborhood — Korea’s first jazz bar, with its signature blackwood interior, has long served as a haven for music lovers and performers alike.

Jin Nak-won, who has run the club for nearly 40 years, told The Korea Times in an interview that it all started with the Dave Brubeck Quartet’s “Take Five.”

“That saxophone drove me crazy,” said Jin, 68, a nostalgic smile spreading across his face. “I was in fourth grade, and music was always playing in my cousin’s house, usually from an old record player in the master bedroom. One day, I happened to hear the song — it was just unbelievably good. I loved it so much that I played it on repeat all day until their family came home.”

Jin didn’t even know what the song was at the time. It wasn’t until a few years later, while listening to a hit song compilation album, that he realized it was “Take Five” from the Dave Brubeck Quartet’s “Time Out” album.

That’s when it clicked: The tune that had captivated him years earlier was jazz — and he’d been drawn to something deeper all along.

Jin Nak-won, owner of All That Jazz, poses during an interview with The Korea Times at All That Jazz in Itaewon, Seoul, June 18. Korea Times photo by Choi Won-suk

Even in high school, Jin was obsessed with jazz. One day, an older friend who ran an LP shop near Gwanghwamun Square in central Seoul told him, “A jazz bar is opening in Korea.”

It was 1976, a time when the concept of a jazz bar didn’t even exist in the country.

Jin began as a regular at All That Jazz, but soon found himself working as the DJ — and eventually as the manager, a role he held for nearly a decade.

“Back then, the bar was right next to what’s now the Hamilton Hotel in Itaewon,” Jin said. “These days, there’s a shoe store on the first floor of that building. We used the second floor at first, then later moved up to the third. The vibe and layout were almost identical to today’s All That Jazz — red and black interiors, dark wood everywhere. The space was just a bit smaller.”

All That Jazz was founded by Ma Myung-deok, a Chinese American entrepreneur who also ran a casino called Safari Post in Oksu-dong, on the northern bank of the Han River. The club took its name from the signature number in the musical “Chicago.”

In 1986, Ma asked Jin to take over the club. That year, Ma’s father-in-law — who had worked in weapons sales for the U.S. defense contractor Northrop — became embroiled in a political scandal. Ma was forced to leave Korea, shutting down the casino he operated. But he couldn’t bring himself to close All That Jazz.

A view of All That Jazz as it looked when it first opened in 1976. The club has relocated twice since then. Courtesy of Jin Nak-won

“Ma told me, ‘You’ve been here for over 10 years. If you don’t take over the place, no one will,’” Jin recalled. “I told him I didn’t have the money, and he said I could pay him 40 million won (roughly $111,000 today) over two years, in installments. It was a good deal.”

At the time, Jin was also running a small jazz wine bar in Apgujeong, an affluent neighborhood in southern Seoul. After taking over All That Jazz, he would finish his shifts there before heading straight to his other bar. Eventually, Jin sold that venture to focus entirely on managing All That Jazz.

When asked whether he had ever considered expanding his original venue instead, his expression stiffened.

“Nothing can compare to All That Jazz,” he said.

“Back then, there were only two places that truly represented jazz in Korea — All That Jazz and Diva Janus. And to me, All That Jazz always came first. If the club falls, Korean jazz falls with it.”

Running All That Jazz was something Jin had never imagined. Just 29 years old at the time, it felt surreal and exciting, but also daunting, given the precarious fate of most jazz bars.

At the time, Seoul had relatively few local jazz musicians. Many performers came from the nearby U.S. 8th Army base in Yongsan District, where American soldiers played in official music units. Among the Korean artists were first-generation jazz pioneers like drummer Ryu Bok-sung and saxophonist Jung Sung-jo. Most jazz musicians in Seoul at the time made their living as orchestra members for broadcasters such as the Korean Broadcasting System.

Jin Nak-won, owner of All That Jazz, poses during an interview with The Korea Times at All That Jazz in Itaewon, Seoul, June 18. Korea Times photo by Choi Won-suk

In the days before the internet, word of mouth was the only way people discovered All That Jazz. Most patrons were foreigners, with Korean visitors a rarity. Among the regulars were notable film figures, including director Bae Chang-ho and actor Ahn Sung-ki.

“If you were spending time at a jazz bar in those days, it meant you genuinely cared about the music,” Jin said.

A unique feature of Seoul’s jazz bars at the time was a strict curfew, enforced from midnight to 4 a.m. between 1945 and 1982. Performances had to conclude by about 11 p.m., a rule that, while limiting, also gave rise to some memorable moments.

In the early 1980s, the bar hosted exchanges with prominent Japanese musicians. Jazz promoter Morimoto Norimasa brought legends like drummer George Kawaguchi and trumpeter Terumasa Hino to the club.

“One night, they were in the middle of a set when the curfew kicked in,” Jin recalled. “Since no one could leave, the Korean and Japanese musicians shut the doors and kept playing — jamming together until the curfew lifted at 4 a.m. I still remember Hino playing all night long.”

Even today, All That Jazz continues to create magical moments.

In October last year, American R&B singer and nine-time Grammy winner Anderson .Paak took the stage during a visit to Korea at the invitation of Prada, the Italian luxury fashion house.

Jin didn’t recognize him at first, but the younger staff quickly began buzzing with excitement. Paak got up on stage with Grammy Award-winning jazz trumpeter Maurice Brown for an impromptu set. After the show, Jin went out drinking in Hongdae with the two musicians.

“There was definitely something special in his playing. In jazz, we call it swing — the music would be flowing, and when Paak jumped in on drums, the groove would suddenly come alive. The way he rode the rhythm was on a whole different level.”

But not just anyone can walk in and perform at All That Jazz like the Grammy winners did. Most musicians face stiff competition, starting with weekday gigs and, if they prove themselves, working their way up to coveted weekend slots on Friday, Saturday and Sunday, when the club draws its biggest crowds and top talent.

Audience members take in a live performance at All That Jazz, a longtime music venue in Itaewon, Seoul, Dec. 24, 2024. Courtesy of Jin Nak-won

In the early days, musicians would send in recordings of their performances, and Jin personally reviewed each one to decide who to invite. As more artists performed at All That Jazz, the network grew — and so did the pool of talent.

“Jazz musicians often rotate members and form different groups, but they only play with those at a similar skill level,” Jin said. “No matter how close they are personally, if someone’s playing isn’t up to par, they won’t share the stage. It’s a kind of self-vetting process.”

It’s still Jin’s job to manage and coordinate the professional musicians. While most are seasoned performers, there are times when one player overpowers the rest of the group. In those moments, Jin steps in between sets to remind them of the importance of balance and ensemble playing.

“The most important thing is making sure our customers, who are paying good money to be here, get to experience great music at its very best.”

In jazz — a genre often centered on duos, trios or quartets — even casual listeners can usually pick out the standout musician of the night, whether it’s the pianist, drummer or saxophonist.

For Jin, that spark is enough to stop him in his tracks.

“When the playing is really good, I’ll come out of the kitchen even if I’m in the middle of something,” Jin said. “Great music always finds its way to your ears. Your body just reacts on its own.”

He noted that Korea’s jazz scene has flourished, with notable growth in both musicians and audiences.

“There are so many musicians now, and their skills have really improved. A lot of them studied abroad, and some are now recognized and active in the global jazz scene.”

The audience listens to a live performance at All That Jazz in Itaewon, Seoul, Nov. 17, 2024. Courtesy of Jin Nak-won

With all the memories he has collected through jazz, what single track would Jin choose if he could listen to just one?

After a long pause, he cued up “Wise One” by John Coltrane. The deep, resonant tone of Coltrane’s saxophone filled the club, casting a sentimental hush over the space.

Deep affection for an art form often inspires people to pursue it themselves. When asked whether he had ever wanted to become a jazz musician, Jin answered without hesitation.

“In my early 20s, I did. But once I tried, I realized I wasn’t cut out to be a musician. My role was to support them from behind the scenes,” he said, as Coltrane’s saxophone echoed through the bar.

“I didn’t have the talent for it, and I was lazy, too. I used to play the drums, but I preferred listening over playing,” he added.

“When you’re always surrounded by music like I am, what is there to miss?”