Guide / SELECTED VINTAGE GUITARS
Jazz Bass from Japan: Fender and Tokai as an alternative to a new bass
Two pickups, a slim neck and many useful tones. We explain why, in our opinion, a serviced Japanese Fender Jazz Bass or Tokai Jazz Sound is an excellent choice instead of a new mid-range instrument.
Jazz Bass: one instrument, several musical personalities
The Jazz Bass is an excellent starting point for a bassist who wants to play different things on one instrument. It can deliver soft accompaniment, a well-defined line played near the bridge and a springy attack for slap. Much of this variety comes simply from the pickup balance and right-hand technique.
In our view, a well-prepared Japanese Fender or Tokai Jazz Sound is often a better purchase than a new mid-range bass. You get a proven design, the character of a specific instrument and lutherie work that has already been done. It is a combination worth assessing at rehearsal and in a recording before committing your budget to a new instrument.
From the 1960 model to Japanese interpretations
Fender introduced the Jazz Bass in 1960. Its distinguishing features were an offset body, a tapered neck and two single-coil pickups. Although the name points to jazz, the design quickly found its way into a wide variety of musical genres. Its enduring strength has been the ability to shape the tone without elaborate electronics.
Japan’s bass-building tradition includes both its own interpretations of the classics and production for Fender. Fujigen records the start of its manufacturing collaboration with CBS Fender in April 1982. The Tokai Jazz Sound in our collection dates from 1981, while both Fenders described below come from the first decade of the 21st century. These are different periods of Japanese craftsmanship, well worth getting to know under your fingers.
How to use two pickups
The classic passive Jazz Bass circuit has separate volume controls for each pickup and a shared tone control. Start with both pickups fully up, then gradually reduce one. The neck position usually gives a fuller, rounder sound; the bridge emphasises focused mids and articulation. A small change in the balance can make a big difference in a band.
It is worth listening separately to how the electronics behave. Classic single coils can pick up hum, particularly when only one pickup is on. In a typical reverse-wound, reverse-polarity pair, running both together helps reduce it. Shielding the cavities is an additional part of preparing the circuit; we assess its effect together with the condition of the connections and the listening conditions.
1981 Tokai Jazz Sound JB45
Our black Tokai JB45 has an alder body, maple neck, rosewood fingerboard and a 38 mm nut. Two Tokai Japan pickups run through a passive volume-volume-tone circuit. A tortoiseshell pickguard and an aftermarket bridge with threaded saddles have been fitted.
At Guitar Lab we levelled and polished the frets, copper-shielded the electronics cavities, performed maintenance and adjusted intonation. Signs of use remain on the black finish. For us, it is a very attractive combination: a classic early-1980s Jazz Sound prepared for regular playing, with clearly documented hardware changes.
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Fender JB62-75US: Japanese construction, American pickups
The 2004 Fender Jazz Bass JB62-75US in 3-Tone Sunburst has an alder body and two Fender USA Vintage Jazz pickups. Its rosewood fingerboard has a 7.25-inch radius and the nut is 38 mm wide. It suits players who enjoy traditional dimensions and looks inspired by the 1962 model.
Preparation included fret polishing, fingerboard conditioning, and setting the action and intonation. The instrument weighs 4.23 kg and shows signs of use, with patina on the hardware. When trying it, check it on your own strap: comfort over a longer session matters as much as the first impression of its sound.
JB62 Daphne Blue: the same direction, a different instrument
The second Japanese Fender JB62, dated 2006–2008, has a basswood body and Fender Japan Vintage pickups. It retains graphics hand-applied by the previous owner on the Daphne Blue finish. We polished the frets, copper-shielded the cavities, cleaned the pots and output jack and carried out a full setup.
Compare the two JB62s directly. They share a similar starting point but have different equipment and their own histories of use. This helps you choose a bass for your articulation rather than assuming the model name alone determines the result.
What to check before choosing a Jazz Bass
Play a simple groove with both pickups, then each separately, matching listening volume. Check sustained notes across the neck, smooth control operation and clarity of the E string. Also try your usual right-hand position — the string behaves differently near the neck and near the bridge.
Finally, settle on your target strings, tuning and action height. A new bass is also worth setting up to your own preferences. In our opinion, a carefully prepared Japanese Jazz Bass is an outstanding alternative: it offers classic functionality and real practical value on which you can build your everyday musical work.
Compare it with a Precision Bass ↗
Explore the history of Fender Japan ↗
Further reading
If you want to dig deeper, Fender’s materials cover the history of the Jazz Bass and how its construction differs from the Precision. Fujigen’s chronology describes the development of Japanese production, and Seymour Duncan’s overview helps explain the different types of pickups. The setup guide goes further into adjusting the neck, bridge and electronics. You will also find the specific work carried out on our instruments in their service records.
Fender — the origins and construction of the Jazz Bass ↗
Fender — the differences between the Jazz Bass and the Precision Bass ↗
Fujigen — chronology, collaboration with CBS Fender from 1982 ↗
Seymour Duncan — Jazz Bass pickup designs and characteristics ↗