As foreshadowed by the album’s opening with a stage-setting deep bass solo, this album is quietly tenacious, and the music initially settles in subtly but quickly sinks its hooks in. The compositional variation, the exciting instrumental solos and tradeoffs, and some brief moments of dual improvisation and free chaos, all contribute to the high repeatability of this package, tempting you back to play it again.

Through fifty minutes and seven tracks on II, the modern swing rhythms, melodic lines, and structural elements briefly give hints of 1950s and 60s Blue Note sounds, with its dynamically-charged drum palettes and bass grounding, cutting-edge piano framing, and captivating horn lines, recalling the hard bop albums from Lee Morgan, Kenny Dorham, and other jazz messengers.

As a trombone leader’s debut album, it’s probably no surprise that the influence of the great jazz trombonist J. J. Johnson is also evident, particularly on Johnson’s beautiful tune “Lament”, a pensive ballad played with genuine feeling by Haruta and the quintet. This ballad, along with Strayhorn’s “Day Dream”, provides lovely slower moments that are set against the other higher-energy tracks. These five tracks are invigorating and memorable, with a hard bop swinger, a cheerfully funky groover, a mysteriously see-sawing tune, a punchy uptempo ride, and a wild boiler. Through it all, each musician gets ample space to improvise and show their stuff.

Of course, as the group leader, Haruta is featured, as is her solid composition “1965” which opens the album (saxophonist Akihiro Yoshimoto also contributes three excellent originals). But Haruta’s spotlight is not at the expense of sidelining the other amazing players in the quintet. Mayuko Kamakura on piano, Yoshimoto on sax, Takumi Awaya on bass, and Shun Ishikawa on drums are given plenty of time to shine as well. This all pays off with a front-to-back jazz album that fits together wonderfully with satisfying dynamics.

As for the potentially confusing title of II, this may be a bit of a head-scratcher for a debut album. If this stands for “2” in Roman numerals, it would be an unexpected title for a first release. Or, is this a reference to the second-decade milestone mentioned in the liner notes? Could II signify something else, maybe not a numeral meaning at all? An uppercased romaji translation of the Japanese word ii (いい) meaning good, all right, and such? Or, internet slang for “I’m Impressed”? Or maybe, when represented as extended index and middle fingers counting “two”, indicating the peace sign often seen in selfies and group photos? Or maybe it’s an inside joke, or someone’s favorite number. Maybe we’re not meant to know, and that’s all right. Either way, I’m definitely impressed.

Liner Notes

(Translated from the original Japanese liner notes written by Kouichi Nishimatsu, executive producer.)

Thoughts on II by Nanami Haruta.

I first met Nanami Haruta on November 20, 2020, at Shinjuku Pit Inn when she was a guest member in the horn section for Yoshiaki Masuo (増尾好秋) MAGATAMA “Cheer for Art! Stage Setup” photography shoot.

My first impression was of someone cute who didn’t look like a real trombone player. But when I heard her playing, it was truly powerful, a delicate and wonderful performance. Because I was busy with work on that day, I wasn’t able to speak to her for very long, but ended up going to her concerts several times after that.

Around that time, Yoshiaki Masuo’s individual project “ONE WORD” was selected for the same “Cheer for Art!”, and we spent days at my studio recording and mixing. Originally, the company’s studio was used exclusively for English healing teaching materials, radio commercial narration, and the like. However, this project led me to start recording music as well.

Which led me to ask Nanami, “Why don’t you make an album?” At first, she didn’t seem interested, but at some later performance Nanami said to me “Well, I think I’d like to make an album!” Nanami was only nineteen years old at the time, and I had always wanted to try producing an album from start to finish. So when she asked me “Can I leave everything up to you?”, I said “Yes”, and that was how the project started.

And, Yoshiaki Masuo. It goes without saying that Masuo is a world-class jazz guitarist. He even owns a studio in New York and has been involved in producing jazz music for twenty years. Having listened to Masuo’s guitar countless times and assisting him with performance activities in Japan, I thought I would love to play a part in his music production as well. I asked him to help, but Masuo’s stay in Japan was short and he was busy with live events at the time, so he had to firmly decline…at first. But after repeated requests, he agreed to help. And this was the moment that this project took on even more depth and substance.

First of all, the album concept. It was to be “The milestone of 20 years of age, with gratitude to the mentors who supported me in my hometown of Sapporo.” We started out focusing on slow ballad standards. After several meetings, we decided to focus on original songs. [For her ballad-centered album, see For My Lady from 2023.] Nanami Haruta’s “1965” became the first song on the album, and Akihiro Yoshimoto (tenor sax) graciously supplied three songs.

Next, the members. Nanami assembled some of the best young players in the world of young jazz today: Akihiro Yoshimoto (tenor sax), Mayuko Katakura (piano), Takumi Awaya (bass), and Shun Ishiwaka (drums). And in search of the best sound quality, we visited several Tokyo recording studios equipped with pianos. In the end, through introductions from Masami (Sam) Toyoshima (豊島政美), who designed the Beatles’ famous Abbey Road Studios and Victor Studios, we ended up recording at Victor’s Aoyama Studio.

On the day of the recording, November 29, 2021, we completed seven songs in a single day under the supervision of New York-trained Yoshiaki Masuo. Mixing at the company studio would start the following week. We spent many full days carefully mixing each song over three months. Mastering was completed using an analog open tape recorder.

This album was brought about through Nanami Haruta’s gathering of the best musicians, the best music, and the best creators, resulting in an amazing product. It’s not just for listening in one place, and whether on mobile devices, audio systems, or in different environments, you are sure to discover something new each time you listen. She is now twenty-one years old, as it took over a year of careful work to complete this album. Please, thoroughly enjoy Nanami Haruta’s first album II.

Koiuichi Nishimatsu (Music Stylist) September 23, 2022

Audio and Video

• Promotional video for this album:

• Live trio version of “Lament”, track #5 on this album:

• Excerpt from track #1: “1965”

With a laid-back and reigned-in sound, the album is easy to listen to, suitable for relaxation or a comfortable backdrop to day or night. The music fills the room with a calm background texture, with most songs played at slow tempos or as freely-interpreted ballads. The dark-tinged wistful sound of Haruta’s trombone supported by Matsumoto’s wide piano dynamics creates a melancholy feeling with undercurrents of swing, unobtrusive, quietly persuasive, and suggestive of mellow musical stories being told.

/For My Lady /contains eight standards with one original composition from Haruta entitled “Midnight Sun”, a beautifully melancholy ballad. The jazz song chosen for this album honor greats like George Gershwin, Antonio Carlos Jobim, and Hoagy Carmichael.

Shining moments include Haruta’s emotional playing opening Gerry Mulligan’s “The Real Thing” alone before Matsumoto’s piano joins with gossamer sophistication. Next, the bluesy “Please Send Me Someone to Love” is filled with admiration for Phineas Newborn Jr., one of Matsumoto’s favorite pianists, and shines with the album’s most soulful grooves for the players to dig into. Closing the album, a dreamy rendition of the ever-popular tune “Stardust” is a beautiful take.

Finally, the lightly bouncing tune “For My Lady”, written by the grand harmonicist Toots Thielemans, takes on a special meaning here with Matsumoto’s love for her princess puppy, who makes surprise guest appearances in the videos for “Angela” and “Kemono Change”.

Liner Notes

(Translated from the original Japanese liner notes written by Akane Matsumoto and Nanami Haruta.)

FOR MY LADY

Akane Matsumoto Nanami Haruta

1.I’ve Got A Crush On You

Being largely self-taught in orchestration and achieving success with his masterpiece “Rhapsody in Blue”, George Gershwin extended his knowledge and tackled the merging of jazz and classical music, dipping into the live performance elements of ragtime. Through his short lifespan of 38 years and his lifestyle which left many works transcending the boundaries of genre, he left us with a way to study the importance of finding one’s own path daily, keeping the spirit of endless pursuit and burning passion. Through this famous George Gershwin tune we hope you can feel our direct affection through our music. (Akane Matsumoto)

2.Angela

Antonio Carlos Jobim left this world with a huge number of songs, quiet and beautiful music like drifting slowly on the ocean. Finding a favorite among his works is almost like a treasure hunt. (Akane Matsumoto)

3.For My Lady

A long-time dream came true and a small, female mixed-breed dog finally arrived at home. Although I was excited about the calm, gentle time I would spend together with a dog, she surpassed expectations as a queen of destruction. Tears… Even so, her sleeping figure is like a pure and innocent princess, so lovely that it makes me want to cry. With this song, I tried to depict that happy feeling and always perform it tenderly. (Akane Matsumoto)

4.Byakuya (Midnight Sun)

Among these famous gems, I’ve mixed in only one original composition. When composing, the concept or title can spring to mind first, or sometimes the melody is first to arise. This song was the latter case and I played it live for several months as-is without a title.

However when I visited Lake Akan in November of last year, the cloudless sky, the faintly dyed red color of the setting sun on the snow-covered peak of Mount Oakan, and the scent characteristic of winter in eastern Hokkaido… It’s difficult to put into words, but I wanted to adopt the association of how that scenery moved me.

(When I try to come up with titles, it can be tough…) Someday I want to try to see the real midnight sun. (Nanami Haruta)

5.This Is All I Ask

A work filled with the wonderful message that simple joys enrich life.

There is a mountain called Oyama in my hometown which celebrated its 1300th founding anniversary several years ago. The locals say “With gratitude to Mount Oyama” and live their lives with the blessings of the four seasons. And this richness is quietly conveyed. I learn through the figures of the folks living in my hometown that true happiness lies in being humble towards others and nature. (Akane Matsumoto)

6.The Real Things

A work by Gerry Mulligan that brought about a sort of feeling of nostalgia. I thought about that for a while and realized that it is like a lullaby that my mother used to sing to me when I was a child. I recalled the happiness of that time, the good feeling of being wrapped up in a blanket with Mom’s singing voice and warmth. (Akane Matsumoto)

7.Please Send Me Someone To Love

There are several Phineas Newborn Jr. songs in Nanami’s and my repertoire. This time, we recorded this favorite song, which is also the title of a Phineas Newborn Jr. album. Bluesy and funky, it’s exactly what I love. It’s a number that always creates a fun feeling. (Akane Matsumoto)

8.A Flower Is A Lovesome Thing

I fell in love with Billy Strayhorn’s music, and I can say that encountering this song is what made it happen. I think that Strayhorn’s music is always beautiful, vibrant, soft, and somewhat dark. I tend to like many things with these characteristics by nature. For example, authors such as Saneatsu Mushanokoji, plants like the Rindo Flower, and instruments like the trombone. When I encountered this song, it was love at first sound. No matter how you slice it, it is a charming song that I love. (Nanami Haruta)

9.Stardust

There was a time in high school when I was addicted to looking up the lyrics to jazz standards and copying them, along with translations, into notebooks. I remember being moved by how pure and beautiful the lyrics were that so matched the melody. Ever since, it’s been one of my favorite jazz standards.

By the way, when I happen to hum this song, I’m struck and transformed by the twinkling dreamlike melody and often start to feel uncomfortable or suffering. I wonder if there’s something like light and shadow at work here. (Nanami Haruta)

Audio and Video

• Video for “I’ve Got A Crush On You”, track #1 on this album:

• Video for “Angela”, track #2:

• Video for “For My Lady”, track #3:

• Video for “Byakuya”, track #4:

• Video for “Kemono Charge”:

• Excerpt from track #7: “Please Send Me Someone To Love”

On 64 Charlesgate, there are elements of free Ornette Coleman-style jazz, moments of simultaneous improvisation, and melodic cycles and horn loops similar to Dave Holland’s Quintet or even approaching John Zorn territory. Yet the music is not chaotically explosive, but more like playful abandon in the structured framework that Yoshimoto lays out for each track.

Kicking off the album, Yoshimoto’s “Funny Book” gets to the heart of the matter with quirky riffs parading vibrantly before introducing open sections for free improvisation. This song is played twice, included as both the album opener and closer in an alternate version. The choice to repeat this particular composition was perhaps made to emphasize the balance of cooperative unity and the individual passions of improvisation, combined also with a sense of humor and fun.

Picking album highlights is difficult as the whole album hangs well together with special characteristic moments in each song. As far as first impressions, fresh ears may perk up on track #2 “Trash Box”, the origami-like multifold form and rock groove, the slow buildup of #6 “Mud Drawing” and its well-developed outro section, and the exciting chase-scene energy and dramatic time shifts on #7 “Silly Rabbit” and #9 “Mr. R”.

The album also includes two shorter songs inserted like brief asides: Tracks #3 “Interlude” and #8 “Ocean add a suite or concept feeling to the entire album and calm the ears in less than two minutes each, like muted buffer zones of repose and curiosity.

Audio and Video

• The Akihiro Yoshimoto Quartet playing live in 2020 in support of his album “Moving Color”:

• Excerpt from track #1: “Funny Book”