The nine tracks on Horizon are roughly split between a piano trio and a quartet formation which adds tenor saxophone player Hideki Kawamura. The core trio itself, with Hori and bassist Tetsuyuki Kishi, is also of two forms, with drummers Manabu Hashimoto and Noboyuki Komatsu sharing rhythm duties on different songs. Each drummer’s distinct touch adds even more dynamic variety to the album as the trios and quartets switch up members.

From the starting gate of the first track “Spinning”, the quartet bursts out with a supreme John Coltrane energy, giving a first impression of unrelentingly hard-driving modern jazz music. From track two on, the energy is moderated somewhat, with Hori’s original compositions varying between mid-to-uptempo swing and ballads with contemporary jazz with a bright, positive, and most importantly fun feeling throughout. The “Giant Steps”-inspired final composition “Giant Stride” (Coltrane’s influence appearing again) bookends the high-energy first track with another exciting take, imprinting thrilling, attention-grabbing moments on the way out.

Despite being his first album, Hori is definitely in the zone on Horizon, comfortably and confidently launching his recording career on solid footing… not to mention his nimble fingers, jazz fluency, and unflagging spirit. It’s authentic, jazz-loving music that feels right in place as a great example of Japanese jazz releases from the last twenty years.

Liner Notes

(Translated from the original Japanese liner notes written by Hideaki Hori.)

1. Spinning

This was written for the Teganuma Jazz Festival held in 2002. While playing with Shinnosuke Takahashi (drums), this is a work that I explored and interpreted in my own way. It’s a complex piece in 15/4 time.

2. Three Pieces For Happiness

I remember spending such an enjoyable time with the members of a great trio who came from New York. This is the first song I wrote out of the nine songs on this album.

3. Pretty Eyes

A piece that shines with Nobuyuki Komatsu’s (drums) sensitive drumming. It’s a song that I wrote in about thirty minutes, and I think I was able to express the melody that came out of me honestly.

4. Full Moon

This title came about because the song was first played on the night of a full moon. Within the difficult 7/4 time signature, there is a sense of melancholy heard in the melody… it’s that kind of song. Hats off to Manabu Hashimoto (drums) and his large-scale time sensitivity.

5. The Words of Mr. Kenny K.

A song dedicated to Kenny Kirkland (piano) whom I greatly admire and respect. The title comes from the words he left alongside his autograph at one of my shows when he came to Japan. This also was written while I was studying his composition methods and usage of notes, so it also has the meaning of “Mr. Kenny K’s manner of speaking” as well. This is my favorite among all my pieces, and no matter how many times I play it, it still feels fresh as if I am playing it for the first time.

6. Scene One

When I wrote this song, it was often the first song I played at live shows, so that’s how this title came about. Hideki Kawamura’s (tenor sax) solid and mellow sound fits this song very well.

7. Sliding Doors

I wrote this piece because I wanted to try to create a mysterious song with sort of a bebop or free jazz feeling. The solo part is a normal blues progression, but when you peel it back, the theme continues to flow as a motif.

8. The Horizon, You Can See

This song was written for a friend who is currently battling against an illness. I wanted to express my friend’s pure heart in sound. This song, composed in rubato throughout, would not have been possible to express without the presence of Tetsuyuki Kishi (bass).

9. Giant Stride

I tried to interpret the famous tune “Giant Steps” (John Coltrane) in my own way. I used the original song’s melody as a bass line for this song and created a new chord progression, on top of which I played a modified version of the original melody as a motif. As expected, Hideki Kawamura (tenor sax) performed this challenging piece enthusiastically at first sight.

A few years ago at a year-end performance after party, alto saxophonist Shinobu Ishizaki (石崎忍) said “The goal next year is for each of us to write one original song!” I have a feeling that this was entirely the impetus for making this album. Although I have been involved somehow or other in writing music since I was a child, this was the moment that I consciously started to work seriously on composing.

Taking this opportunity, began to put my energy into composing music in parallel with performing. I gradually accumulated songs that I liked, songs popular with the group members, and songs for people who don’t know much about jazz. And now, with this music, I want to express my current sensibilities and preserve them in this recorded sound.

The group members who performed on this album are the youngest and the most active in Japan’s jazz scene. Above all, they understood my songs 120% and breathed life 200% into them. They are truly the best members. I want to thank these four from the bottom of my heart. Thank you!

The recording was made in one room with one take each. All nine songs were completed in a day.

This album was completed with the kindness and cooperation of many people. I’m grateful to those who have strengthened me, advised me, and inspired me. To these so many people, I can’t express my appreciation enough.

Please take your time and enjoy listening to the footprints of 23-year-old Hideaki Hori.

January 10, 2023, Hideaki Hori

Audio and Video

• Live trio performance of “Stop & Go” from 2011:

• Excerpt from track #7: “Sliding Doors”

Guiding the music is the full voice of the vocalist Ueda, singing in Portuguese and booming with honey richness and strength, swirling around and through the music with a gravitational pull on the dynamics. The music sizzles with kinetic energy and sheer pleasure, and Ueda’s confidence and control fits the bill grandly.

As with her debut album Agora, the singer is supported by her familiar guitar and piano mates Shinji Hashimoto and Junichiro Ohkuchi. For Dois, she adds bassist Ryoji Orihara and drummer Nobuyuki Komatsu to the rhythm section for extra vigor and irresistible samba beats, experts at creating the rhythmic currents that soothe, pulse, and energize. Guest Jo Da Babylonia also joins on cavaquinho on three tracks, adding a classical guitar/ukelele sound which enhances the Brazilian sound with keen, invigorating vibrations.

Audio and Video

• Yuka Ueda performing live in 2015:

• Yuka Ueda performing live in 2018:

• Excerpt from track #1: “Meu Escudo”

With eight original songs penned by Yamaguchi, the music is solid, confident, dramatic, and melodically entrancing. From the gripping opening track “Sequel To A Dream”, the songs flow with a fantastic balance of stimulation and control, offering various styles from peppy bossa rhythms, loose, modern swing, sweet ballads, and brightly positive tunes mixed with stimulating dark tinges.

Liner Notes

(Translation of an excerpt from Yo Nakagawa’s original Japanese liner notes.)

***

This is an album that was recorded two months after Mabumi decided to do it. He said something like “I just suddenly felt like doing it”. All of the recorded songs are Mabumi’s originals, and I would like to describe them using his own words.

“Sequel to a Dream”

With its beautiful melody, Mabumi’s soprano sax, and the opportunity to hear each member playing, it’s the perfect opening number. “It’s a song I wrote at the end of 2016 and made minor changes by performing it live. When I compose, the ideas come to me through music I’ve been listening to as well as being delivered through particles in the air, but when finishing I sit at the piano and I wring it out by the process of “not this, not that”. (In conversation with Mabumi Yamaguchi)

“Little Sorrow”

“In general I think samba has a strong image of being bright and cheerful, but this spring I composed a samba with a bit of sadness in it.”

“Let Your Mind Alone”

The album title track is both beautiful and heartrending. “I’ve also played this with Masahiko Sato and Mayuko Katakura. This song, written three years ago, is best suited when played as a duo with piano than with a band, I think.”

“Incantation”

“This title has the meaning of a spell. The melody almost sounds like a spell, so I chose this title.” It’s clear that Mabumi Yamaguchi is also part of the current jazz trend that has followed Mark Turner.

“Aerial Passage”

“I wrote about half of this in 2015 and finished it up for this. It’s the path of airflow, and while there’s a rhythm, I imagined a feeling like the soft weightlessness of air.”

“The Plot II”

“The Plot” is a song composed about thirty years ago for the SQUAD led by Motohiko Hino and Yoshio Suzuki. This number is the second part of that, and the dialogue between the rhythm section and Mabumi Yamaguchi is so enjoyable.

“Carmen”

“This is a song I wrote about 14-15 years ago when I had a session with some rock musicians at Shinjuku Pit Inn. I changed the keyboard part to piano as well as experimented with changing the pattern.” It’s a really interesting result where a modern beat can be felt.

“Arm of the Sea”

“I composed this song for the doctor and famous pianist Hiroshi Irie (1955-2014). He was a genius talent, particularly when it came to rhythms.” The improvisation is filled with tears and touches the heart.

***

While many of the musicians are young and may not be generally well-known, they are without exception talented musicians who are definitely polishing their skills. Good performances are heard throughout the entire album. Mabumi Yamaguchi introduces the members:

Yoshitaka Shoji (guitarist, 1960, from Kanagawa Prefecture). In a word, “authentic” definitely comes to mind.

Misato Okumura (pianist, 1981, from Osaka Prefecture). When I’m playing a solo and I hear her comping, I feel like we’re dancing a tango (of course, I’ve never actually danced a tango).

Ryohei Komaki (bassist, 1981, from Kagoshima Prefecture). The type of bassist I’ve been waiting for a long time has appeared. I think that he has tremendous potential.

Nobuyuki Komatsu (drummer, 1977, from Niigata Prefecture). A drummer supporting the Japanese jazz scene. We’ve been working together for about twenty years and I’m looking forward to even more leaps and bounds.

After finishing this album, Mabumi Yamaguchi said his appetite for composing was spurred on and that he wants to write more music after this. May that rising immersive happiness continue on from here.

Audio and Video

• Mabumi Yamaguchi quartet performing live in 2010:

• Excerpt from track #1: “Sequel to a Dream”