A phenomenon formerly unique to Japan, which in recent years has been emulated in cities around the world, is the jazz café (known as jazz kissa in Japan), where salarymen can find respite from their hectic lives, loosen their ties, and enjoy hi-fi jazz over coffee or a drink. Jazz kissaten are typically charming, smaller shops, traditionally furnished and paneled in beautiful wood, which serve superb artisan coffee in artful ceramic cups.

Such respect for artistry, craftsmanship, and attention to detail—the Japanese word is shokunin—is reflected in many aspects of Japanese life. This is where you find double handrails to accommodate people of different heights, intricate, ornately designed manhole covers, and bento lunch boxes with hand-carved vegetable figurines. While upholding strict conformity to societal norms, the Japanese highly value creative individualism. This shokunin mindset underlies their reverence for artisanal expression—and their love for jazz.

Japanese audio, much like jazz kissaten, reflects the shokunin mindset: craftsmanship pursued with both pride and humility.

It takes a while for audio-related technologies to mature. Tubed amplifiers were invented by Lee de Forest in the nineteen-teens, but while there are still some adherents of early high-distortion triode designs, the age of mainstream high-fidelity amplification dawned with higher-power/lower-distortion amplifiers developed by Williamson and McIntosh followed by the Ultralinear take on the Williamson concept. That was 30+ years down the technology-evolution timeline after de Forest.

And when it comes to solid state amplifiers—the usual kind—does anyone prefer the state of the (germanium) art circa early 1960s to modern silicon class-AB designs? I doubt it.

Now, decades into its own development, class-D amplification seems to have sea legs, even in the audiophile world.