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It wasn’t one colonist, it was the French, the British, the Japanese.For whatever reason, this beautiful Shanghai jazz came as a result of it.” Liang first encountered Shanghai’s Jazz Age in the late 1990s when he was traveling there.“If you grew up with a classical background, that stuff is completely foreign.All of a sudden, I’m going through puberty, I’m hit with this sound, it was like….” He began branching out, essentially teaching himself how this new musical language worked.He spends about a fifth of the year on the road, whether it’s producing for Japanese singers or collaborating with Chinese electronic artists.In many ways, is the album Liang has been trying to make his entire career.Like many of their generation, they thought it important that their child learn an instrument.

His childhood fascination with the piano had taken an unexpected turn in high school, when a friend played Miles Davis’ “So What” for him.It’s a lane that would have been unimaginable before the digital age.Jazz flourished in Shanghai during the interwar years, thanks largely to the presence of Western powers that had carved up the city’s waterfront.We often think about assimilation as a set of performed gestures: The outsider memorizes creeds or learns when to put his hand over his heart until the language, the whole of American behavior, the mainstream and its norms, all begin to feel natural. Dave Liang’s career begins with a classic set piece of middle-class Asian immigrant life: piano lessons.His parents emigrated from Taiwan in the mid ’70s and eventually settled in upstate New York.

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He convinced Lyor Cohen, his boss at Warner, to invest a little seed money.

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