The jazzy swing music is easy to get into being so likable, simple, and uncomplicated in the best way. It’s classic jazz piano trio music played by Ozawa on piano, Yusuke Yaginuma on drums, and the two bassists Koji Yasuda and Takumi Awaya, who share bass line duties on different tracks. One song, “I Wanna Be a Duck!”, also features vocalist Ema singing Ozawa’s wondrously imagined original lyrics.

Referencing the title of Cheers! again, the musical mood has that celebratory feel of kicking off a party together, the shared good-will of plans to make time together well spent. Also like a party, the colors of the different songs are various and vibrant while mostly staying true to the straight-ahead orthodoxy of swing, bop, and groove-based jazz.

The majority of the songs are original compositions from Ozaka. Track #1 “Introduction” starts strong and gets into a fun light swing that glows with positive energy. #2 “Poppin’” combines smooth and grit with an infectious rhythm and a nicely decorated arrangement. Next, “Stella By Starlight”, one of the two standards on the album, is a brief intermission-style piano solo, slow and ruminative. Track #4, “Serendipity”, glides through a waltz beat with beautiful, serious harmonies with graceful touches.

Track #5 is “Something Like That”, an upbeat and addictive highlight with a riff based on a Northeastern Brazilian Baião rhythm with syncopated melodic hits and harmonic whorls. #6 “My Old Grandad” is a tender ballad, soft and pretty. The sole vocal song is next, and “I Wanna Be a Duck!” rises as the liveliest voice in the cheering section that takes on a silly-seeming waltz with a pure sweetness at its core.

Another highlight is #8 “M’s Mark”, a song that leans toward the hard bop corner of piano trio jazz with nods towards the groovy Blue Note sounds of pianists like Sonny Clark and Horace Silver. The familiar jazz tune “Time After Time” follows with more light-fingered and crisp swing. Closing the set is Ozawa’s “Dear Gene”, full of the deep soul and jazzy blues of the with a style somewhere between Herbie Hancock and Oscar Peterson. This closer is dedicated to the highly regarded jazz pianist Gene Harris, who Ozawa draws inspiration from here as she digs in with bluesy power and obvious pleasure.

Online Liner Notes

(Translated from the original Japanese online introduction to this album.)

This is the debut album from a young pianist of the classic jazz tradition who regularly plays at Blue Note Place in Tokyo!

This recording centers around her original material, rich in variety, and delivered by her usual trio with complete and reliable trust.

In addition to two famous jazz standards, the songs include her blues number “Poppin’” with its second-line rhythm, her charming “I Wanna Be a Duck!” featuring vividly imaginative lyrics and singer Ema’s bright and cheerful voice, and “Dear Gene” which is dedicated to the beloved pianist Gene Harris. The tradition of classic jazz is respected through all ten songs while presenting an authentic portrait of Saki Ozawa.

Audio and Video

• “Introduction” (track #1):

• “Poppin’” (track #2):

• “M’s Mark” (track #8) - live performance from 2023:

• “Time After Time” (track #9) - live performance from 2023:

• Full playlist (YouTube)

• Excerpt from track #5: “Something Like That”

The jazz performance and original compositions on this album are focused on a few themes. One, perhaps most important and reflected in the title, is the sense of gratitude that Tanaka feels for others: her companions, musical partners, and no doubt her listeners and supporters as well.

Another goal for the pianist was to release an album full of her original songs. This includes one of her popular live show attractions, her tune “M.T.”, a fascinating uptempo swing number dedicated to and invoking certain comic book reptile heroes.

In addition, there are other perfectly swung tunes, respectful of tradition while pushing forward with new songs and talent. Highlights include the rolling rhythms and skipping frolic of #1 “Hydrangea Flower”, the solid and inventive title track #4 “Appreciation”, and the cool mellowness of #5 “Aries”, aiming to be unbound by genre limits to appeal to all.

Tying it all up in a lovely bow is the final track (and the only cover song on the album), #9 “Konomichi”, played by Tanaka as a soulful piano solo that captures a sentimental fondness in lovely light colors like the so many purple, pink, and blue flowers surrounding her in the cover image.

Liner Notes

(Translated from Naoko Tanaka’s album liner notes originally in Japanese.)

Thank you for getting this album.

I’ve always wanted to fill an album with my original songs, and I’m greatly thankful to the many people who helped this project become a reality. It’s a treasure for me to be able to record this love-filled album with my favorite musicians.

The recording truly reflects my account. When I listen back to the recording, it’s as if I can grasp the feeling of every moment of that time with each song. Such a record of myself is somewhat embarrassing, but I hope that you enjoy it.

Hydrangea Flower

I created this song with the image of my favorite hydrangea flowers with vivid colors and sparkling, raindrop-touched flower petals. The hydrangea were especially beautiful on the day of the recording, and as such this song became even more memorable. It became a great take with dynamic brilliance from the two horns.

Monk’s Birthday

This is a song dedicated to Thelonious Monk, one of my favorites. On October 10th, without knowing it was his birthday, I had a sudden desire to listen to Monk’s music. It’s a celebratory song that I happily wrote from this episode.

M.T.

It’s a song I’ve been playing for many years, one which some may consider to be my masterpiece (haha). I depict the world of the American comic that I love, Teenage Mutant Ninja Turtles. It’s a song full of tricky ninja-like moves and a thrilling performance for the trio.

Appreciation

This is a song I wrote for a live performance that marked the anniversary of my 2015 album Memories. As the meaning suggests, I performed this piece to express my gratitude to all of the people I’ve met along the way. Saxophone player Mabumi Yamaguchi, whom I greatly respect, often plays this song with me at live shows, so I summoned the courage to invite him to record this song with me.

Aries

As someone active in various musical genres, I wanted to record a song that was not bound by genre, and I chose an old song that I had written in the past. An image of the starry sky came to me, so I chose the title of Aries. There are a number of times when songs I wrote in the past take on a new, fresh feeling. It will be great if the younger generation also thinks “Wow, jazz is cool!”

mine mine

I was able to get a relaxing song that felt like floating near the seashore. Please enjoy the comfortable and poetic alto sax performance of Takayuki Sato.

A New Day

Actually, this song uses almost the same chord progressions as the jazz standard “Day by Day”. It’s fun to make a new song using a different melody, and to sometimes quote the original song. In fact, this melody came to me on the day before the recording and I quickly wrote it down. I could relax and perform with my favorite trio members who love to play standards.

Strength

This is one of the songs I wrote during a period of two months when I couldn’t perform any live shows in these times. I filled the music with the feeling of the music I want to make and the paths I want to take, and how strongly I felt that in times like these. With courage, I continue to work hard to make the music I love.

Konomichi

I performed Kosaku Yamada’s “Konomichi” as a solo piece. This song has had an idyllic image for a long time. I feel that there is something in common in the jazz spirit, of being proud of your hometown and where you came from. It’s a song that my grandfather loves and one that I always feel close to.

Audio and Video

• Video for “Hydrangea Flower”, track #1 on this album:

• Video for “Aries”, track #5 on this album:

• A live version of “Appreciation”, track #4 on this album:

• Excerpt from track #3: “M.T”

With Fukutomi’s compositions and his guitar taking center stage, the quartet’s sound is definitely that of a jazz guitar leader’s band. The sound of the jazz guitar is varied, however, and his tone switches between mellow and fluid electric guitar sound to clear and articulate acoustic guitar, coloring the compositions with distinct personalities to suit the song style. Some guitar effects are also used tastefully to add textural layers while preserving the core sound of pure guitar expressiveness.

Adding to the sonic mix is Koichi Sato’s use of both acoustic piano and Fender Rhodes keyboard. While the songs with acoustic piano have more of an acoustic jazz combo feel (naturally), several album highlights (#2, “Minor King”, #8, “Memory Stones”) feature the Rhodes together with electric guitar, bass, and drums to create the cool and controlled sound of jazz bordering on fusion with a light rock beat pulse.

This modern groove sound and the variation in instrumentation are well-suited to the structures and compositional extras that Fukutomi includes in certain songs. Several interludes, codas, and odd-meter time signatures increase the overall variety with the feeling of bonus surprises. Yet the charts do not get in the way of the soloists and the band is tightly coordinated, and each member gets their turn to make musical statements along with the leader.

The final two tracks close the album with friendly, down-to-earth elements to the already easily approachable music. On #9, “Mawaru Sekai”, Fukutomi adds his harmonica playing to the quartet, while the final song #10, “Trees & Branches”, features Fukutomi alone for a quiet guitar ballad played with emotion and soul, conjuring the bittersweet feeling of parting, for now.

Audio and Video

• Promotional video for this album:

• Live recording of “I Should Care” by the Hiroshi Fukutomi Trio:

• Audio for “Memory Stones”, track #8 on this album

• Audio for “Mawaru Sekai”, track #9 on this album

• Excerpt from track #2: “Minor King”

The overall sound and improvisation favor texture-building over flash. Rather than an overload of bebop feats, free jazz, or abstract outside playing, here attention is paid to structure and texture - the musical vibe, rhythm, and riffs. As in the forest for the trees, the focus seems to be on immersing the listening in the comfortably cool and mostly mid-tempo music. For example, “Denim” is a welcoming 3/4-meter with a strong hook and a warm sound. Other tracks such as “Refrain” and “Signal” roam over adventurous territory with a modern odd-beat structure, snazzy angular and compelling shapes with a drum-focused solo ending while the piano and bass vamp.

Favoring the slicker style popular in some modern jazz releases over the classic, “vintage feeling” of swing-based beats, the group excels at simple yet cohesively interlocked musical patterns. Drummer Sohnosuke Imaizumi and bassist Koji Yasuda in particular bring a lot to the music, crafting the strong and balanced bottom end and rhythms that frame Fukui’s compositions so well. In particular, Imaizumi’s special light touch and syncopated zest elevate the music even further, enhancing the music with unobtrusive yet cleverly-timed punctuations.

Liner Notes

(Translated from the original Japanese liner notes written by Ami Fukui.)

ORGANIC SHOWER

This song started when my younger brother asked me to create original music for a project as he was going to video school. To that, I added a chorus and it became this song. As the image related to the feeling of a flower extending and growing, the title was “Organic Growth”, but inside I felt as if waves were sparkling, so with that image I choose the title “Organic Shower”.

DENIM

This song was inspired by a type of incense with the brand name “Denim”. I made the song by consciously using the three elements of humming, a 3-beat meter, and gospel style.

REFRAIN

Similar to Morse code, I like when chords change as the same note continues to be played, and perhaps there are many of those songs in my originals. This is one of those songs. This time, it was a song I composed while addicted to the 7-beat meter, with the key being the last 32 measures in particular.

ZAI JIAN

It’s a song I wrote inspired by some influences after returning from last year’s trip to Shanghai… or so I thought, but somehow this was a song I did before then (laughs). I like this word for “let’s meet again” and made it the title.

MOJITO

I realized in this composition I was able to make a song in club style. I made a kick during a drum solo because I wanted to make something that would make So-chan (Sohnosuke Imaizumi) on drums groan, I made a feature with a drum solo in the middle. I wonder if that is the selling point (laughs).

RAIN

This was made in the image of the title. I like how the bass starts playing the motif and the piano continues it, and from there the shape gradually changes. From light rain to heavy rain… Then light rain again… I choose an image similar to how the scenery changes. Koji’s bass solo fits this image perfectly.

SIGNAL

When I went to New York, the ringing of sirens from morning through nighttime left quite an impression. This impression is reflected in the eighth measure of the theme. It sounded like this to me (haha)! This is a song where I started with the supposition that it would be nice to hear the guitar tone as a backdrop. Together with the 5-beat meter, I like the special feeling of floating.

VELOCITY OF THE LIGHT

I wrote this song thinking that it would be great if it would change tempos freely, becoming faster and slower throughout the song.

NOVELLA

As a challenge, I thought to myself why don’t I try to make something majestic and classical-like, different from my previous compositions? I made this while thinking of the Church of Santa Maria Novella in Italy, where I would like to visit someday.

URBAN CLUTTER

This is a song I wrote about 4 years ago which I rearranged for this recording. I really wanted to include this song as it could be said to be my starting point. But of course, my tastes have changed between then and now, so I tried to use the original version and see if I somehow could incorporate my current feelings. In that sense, with the passage of time, I think that who I am now somehow came out most. I hope you can feel the darkness if only a little.

Audio and Video

• Promotional video for the song “Urban Clutter”, the last song on this album:

• Excerpt from track #4: “再見-ZAI JIAN (Rewatch-ZAI JIAN)”

The nine-track listing includes seven originals by Tanaka, along with the Gershwin standard “But Not For Me” and a concluding piano-bass classical song. Most tracks feature piano trio with the young pianist firmly in command, releasing quick whirls of bluesy notes and graceful glides connected with flourishes of a technique rooted in classical training yet now dedicated to the jazz language with pomp and flair. On two tracks, the trio becomes a quartet with veteran jazz trumpeter Yoshiro Okazaki adding additional color and exceptional solos.

From the first track “Sailing” a bracing, uplifting mood is established, expanding into dreamy elegance on “Sign of Spring” and the groovy bossa bluesiness of “Cato-cha”. Other tracks range from the lovely ballad “Soramoyou”, good-natured midtempo swing on “But Not For Me” and “For…”. Slightly darker tracks like “NY No Omoide” and “Wall Street Blues” round out the presentation with moody and vibrant flashes of energy, while the final telling of a Chopin’s “Nocturne op.48-1” show pianist Tanaka and bassist Daikiu Yasukagawa in an expressive mood, calmly winding down the trip through Memories with a graceful maturity.

Audio and Video

• Naoko Tanaka Trio performing live in 2018:

• Excerpt from track #1: “Sailing”

The first track on Grown-up Christmas Gift is the main show, a thirteen-minute “Christmas Medley” featuring Ishikawa’s resonant voice gracing seven classic holiday tunes and popular songs. Stops on the musical tour include “All I Want For Christmas Is You”, “Let It Snow! Let It Snow! Let it Snow!”, “Silent Night”, “Jingle Bells”, “Winter Wonderland”, “The Christmas Song”, and “Happy Xmas”. As the singer moves from song to song, the mood, rhythm, and instrumentation change as well, where jazz piano, organ, guitar, and choirs result in a charming holiday medley.

Track two features Ishikawa with “Soft Voice”, a four-part vocal group singing “Sutekina Holiday” in Japanese, and the final track presents her intimate duo of vocal and guitar performing the Billboard pop hit “Grown-up Christmas List”.

Audio and Video

• Promotional video for Sanae Ishikawa’s “Everything”:

• Excerpt from track #1: “クリスマス・メドレー (Christmas Medley)”

Fun and catchy but with a serious musical depth, the music covers both cool and bittersweet moods, at times evoking influences from Robert Glasper’s style of gospel-inspired hip-hop jazz. Kumagai’s songwriting skill and precision playing make for a high-quality J Jazz album, full of soul and passion rooted in authentic jazz with ultra-modern sharpness.

Kumagai’s original songs fill the album, along with a cover of the R&B song “I Wanna Know” and a reworked version of Sonny Rollins’s “St. Thomas”, built on an extended tease vamp breaking into high-intensity jazz changes. Most of the songs feature the piano trio, with guest players including alto sax on two tracks, trumpet on one, and a duo track featuring piano with a talented beatbox vocalist as well.

Liner Notes

(A translation of Tabu Zombie’s original Japanese liner notes.)

Yasumasa Kumagai. I first heard his name about one year ago.

It was a name that I had often heard spoken around. After about a year passed, I heard him for the first time, playing live at a jazz club that I happened to drop by. I suddenly understood at that time what people had been talking about. His sensitive style and tuneful melodies flowed naturally to my ears.

After a while, I heard that a friend of mine was going to release Kumagai’s CD on his own label, so I begged him to let me be involved in some way. This was how I came to fill the role of producer for this project.

When creating this work and reaching the stage where I listened to the demo, his vision was complete, and he knew clearly the best direction to go at any point. What surprised me most was his good taste in the songs that he wrote. There’s a melodious delicacy that may be hard to imagine from appearances. In this day and age, players who are blessed with a balance of good playing ability and musical sense are extremely valuable.

The type of jazz that evolved in Japan’s mixture culture has again been subdivided, segmented, and continues to change. Kumagai skillfully absorbs and accumulates various genres of music and expresses them in a wonderful way. With this recording as an impetus, definitely keep an eye on Yasumasa Kumagai.

Tabu Zombie (SOIL & “PIMP” SESSIONS)

Audio and Video

• Yasumasa Kumagai Trio playing “Bolivia” live in 2017:

• Excerpt from track #2: “iI Need achange,too”

Starting assertively with a modern jazz/rock feel, electric guitar and acoustic piano lay out high opening stakes for an album filled with dramatic creativity. The songs explore moments of musical sensitivity, relaxed swing, Monkish joy and freedom, and bluesy contemplation, with full sounds of crystal piano tones, warm electric guitar, bright drum work and deep, dark bass anchoring the group sound.

For added variety, a wonderfully plaintive trumpet is present on several tracks and provides a sweet organic mellowness. Adding to the mix, some of the more magical parts of the album feature the lush instrumentation of ethereal tabla drums, interlude-like sections with a deep and exotic meditative tinge.

Audio and Video

• Promotional video with excerpts from several songs on the album:

• Video of “Starting Over” from the album release live show in 2013 with event photos:

• Excerpt from track #1: “ランドスケープ (Landscape)”

This 2011 recording features eight tracks: six original songs from Omura in his detailed, catchy style, unfolding story-like with depth and groovy accuracy. The music brims with fiery energy, passionate yet also containing also a smoldering, somber melancholy. Two of the tracks are group-created free jazz collaborations, splashes of color adding mystery and adventure. The recorded audio is also done beautifully, with separation of drums and cymbals gracefully captured with a lush live sound.

A creative aspect used on this recording is the collaboration of three pianists Hakuei Kim, Koichi Sato, and Mamoru Ishida, playing separately as well as together on some songs, stretching the limits of the standard piano trio format. On several songs two or three of the pianists play simultaneously on acoustic and electric piano in distinct audio channels: center, right, or left separate and identify the pianists on three songs. On other songs, the standard piano trio format is used with pianists alternating on a song or two each, while the rhythm of bassist Koji Yasuda and drummer Ko Omura laying out the pulse and foundation of the music.

Audio and Video

• Excerpt of Ko Omura’s song “Slow Highway”, recorded live:

• Excerpt from track #5: “Slow Highway”

The talented musicians play sensitively and at times sound like a Brad Mehldau-inspired modern jazz piano trio, creating a lush background for Suda’s masterful voice.

The album starts strongly with four catchy and elaborate originals penned by Suda and pianist Yuichi Narita, then moves into jazz and pop territory. Novel versions of “Waters of March”, “Doralice”, Chick Corea’s “Crystal Silence”, and the jazz standards “How About You” and “What a Wonderful World” fill out the middle of the tracklist. The album closes sweetly with two pop songs, Paul McCartney’s “Blackbird” and Randy Newman’s “I Think It’s Going To Rain Today”, a pairing perfectly matched with the band’s modern, affectionate mood.

Audio and Video

• Promotional video for this album:

• Excerpt from track #1: “Flowers On The Hill”