On this 67-minute album, Satomi leads a jazz quartet featuring Masaaki Imaizumi on piano, Kunio Oinuma on bass, and Masahiko Osaka on drums. This ambitious violinist released Project-N /in 2017, following up this debut with future releases /A Love Supreme (2019) and Duke String Quartet (2023), two excellent releases that focus her debut’s wide jazz spectrum into clear concept albums.

The music on Project-N consists of twelve tracks, split evenly between jazz covers and originals. Six original compositions from Satomi and six covers span a range of moods. Satomi’s track #1 “Norinori” kicks off in a stimulating gear on this first track, bursting with barely-contained energy. Next, the band sets an elegant, sophisticated mood on #2 “Dinner For One Please, James” — a mood revisited on #8 “Isfahan” and #12 “Yakusoku”.

On “Isfahan”, Satomi and Oinuma perform as a violin-and-bass duo inspired by Joe Henderson/Christian McBride’s duo performance of the lyrical Ellington/Strayhorn classic, delivering an immediate and precious presence from the two related string instruments.

In the same manner, Satomi’s sweet-and-lovely violin sound reaches a peak on the album closer, #12 “Yakusoku”. Satomi’s “Yakusoku” (meaning promise) in particular is a highlight among her originals, featuring her pristine violin tone full of romantic vibrato and sentimental sweetness, perhaps hinting at the importance and vibrancy of the personal commitment she conveys through this composition.

Between the bookend moods, other album tracks include some pleasant swing on #3 “One Note Samba”, #4 “Mr. K.B.”, and #7 “Circulation”, and relaxing modern-vintage feel on #5 “Un Homme Et Una Femme” and #6 “Repetition”. Additionally, the suspenseful #10 “Hexenhaus” and the funky #11 “Red Light, Green Light” are ear-catching and memorable high points on the album.

With twelve tracks and a variety of moods, Project-N may show slight characteristics of a first-timer’s debut album, moving from song to song with none overstaying their welcome. As the album’s bandleader, Satomi and her violin are well-featured in every song through melody and improvisations, marvelously showcasing the versatile player’s musical personality and skill. No doubt, Satomi intended to exhibit plenty on her first album and gets a lot in by granting the listener a number of originals and textures. In addition to her sweet and refined tone, she can also produce a liquid mercury articulation or a bluesy rawness with her violin when it suits the moment.

Naturally, the spotlight focuses on Satomi as the main lead performer, and while there are violin solos on every track, there are also plenty from pianist and arranger Imaizumi, who receives almost an equal number of opportunities to shine. In addition, his song arrangements enhance the music and include novel surprises like breaks for drum fills on #3 “One Note Samba” and a modern 7/4 arrangement of #9 “Night and Day”.

Liner Notes

(Translated from Noriko Satomi’s original Japanese liner notes.)

To my parents who allowed me to learn the violin

To have encountered jazz

To all the musicians who have taught me so many things

To the people who have come to my live performances

To jazz house owners and the staff

To the musicians who accompanied me through the harsh process of recording

To everyone who endeavored to help me release this CD

And to you who were gracious to buy this CD of mine

I am filled with gratitude.

I hope you enjoy this album that is packed with everything that is the person that I am at this moment.

1. Norinori

This is a song that I wrote for my first live performance as a leader, about three years after I started to play jazz. I was dejectedly thinking about how there are so many songs written for sax, so I decided to write a cool song that’s easy to play on violin but hard to play on sax. Eventually, this song ended up being difficult for violin as well, so I chose this title filled with hopes of playing this song with a lively spirit.

2. Dinner For One Please, James

This is a song from the album Eternal by one of my favorite tenor saxophone players Branford Marsalis, and when I first heard it, I felt like I definitely wanted to record it. Branford fell in love with this song after hearing Ben Webster play it. This must be how great songs are passed down…

3. One Note Samba

Imaizumi-san arranged this song for me for my first special performance featuring the music of Antônio Carlos Jobim. It’s a difficult arrangement no matter how many times you play it, with the musicians jumping out in succession. It’s different from the original in that it is played with a light swing beat. The drum fills from Osaka-san really shine.

4. Mr. K.B.

It’s a song that I wrote for Kenny Barron, with whom I was delighted to perform with in 2011. Doesn’t this song describe the personality of a gentleman with a great sense of humor?

5. Un Homme Et Una Femme

This is a song I’ve liked for a long time, but the time signature change in the middle makes it hard to improvise over. I asked Imaizumi-san if it was possible somehow to arrange it all in 3/4 time, and he came up with this wonderful arrangement. Personally speaking, I’m quite fond of the ending.

6. Repetition

I fell in love with this song after hearing it on trumpeter Roy Hardgrove’s album Parker’s Mood. It’s a song with a cool, matte-like beauty. The composer is Neal Hefti who wrong songs like “Cute”, “Li’l Darlin’”, and “Girl Talk”. Violin is great for the long tones in the melody.

7. Circulation

This is also a song that I wrote for my first live performance as a leader. I tried to write a short but crisp swing song in the style of Miles Davis.

8. Isfahan

When I heard this song on tenor saxophonist Joe Henderson’s album Lush Life, full of songs written by Duke Ellingson’s right-hand man Billy Strayhorn, I was struck by the greatness of the duo performance of Joe Henderson and Christian McBride. I selected this song because I definitely wanted to record it with Oinuma-san.

9. Night and Day

I wanted to include an odd-meter song so I asked Imaizumi-san to arrange it in 5/4 or 7/4 time, and he came up with this transformed arrangement. I was surprised, and I’m sure Cole Porter would be too (haha)!

10. Hexenhouse

Hexenhouse is the German word for the witch’s house in Hansen and Gretel, meaning a house made of sweets. Doesn’t it appear to be a song where a witch appears? It’s a song I wrote a long time ago and rearranged for this album.

11. Red Light, Green Light

I love “second line” (the rhythm played in New Orleans funerals when returning from funerals and celebrating the ascent of the soul), and I kept thinking that I wanted to write a song that fits this rhythm… I finally completed this about one week before the recording day. The snappy-dressed stop-and-go rhythm is reminiscent of Darumasan ga Koronda, so I chose a title based on an American game similar to Darumasan ga Koronda.

12. Yakusoku

This is the first ballad that I’ve ever written, and I rearranged it for this recording. Every time I play this, people ask me “Who is this a promise for?”, but I chose this title based on a promise that I made to myself.

*PROFILE: *NORIKO SATOMI, Violin 里見紀子

From Kanazawa, Yokohama.

Graduate of Tokyo University of the Arts, Instrumental Music Department, Violin Major.

Active in orchestras, studio work, and the orchestra pit of the Shiki Theater Company during and since university.

“Will I end up having only played other people’s music before I die? That would be sad… There must be some music that is personal to me and that only I can create”. Around the time she was thinking this, she encountered jazz.

She set foot into the jazz world in 1998 as a member of groups including “Shigeharu Mukai (trombone) With Jazz Strings”, “Tatsuji Yokoyama (percussion) Band”, and Denbei Itachiyama’s (vocal, guitar) band “Itachiyama Strings Group”.

In addition, she’s attracted attention in the live scene as a leader of her own unit “Project-N” with musicians including Gene Jackson (drums), Masahiko Osaka (drums), Shuichi “Ponta” Murakami (drums), Toshihiro Nakanishi (violin), and Masahiro Sayama (piano).

In New York in 2011, she recorded an album with Hiromi Shimizu (vocals) and Kenny Barron (piano) which was released on June 25 of the same year.

As one of the few jazz violin teachers in Japan, she also focuses her energy on nurturing the next generation.

As a commercial composer, she’s received the ACC Award for works including “Nippon-Ham”, “Lotte Choco Pie”, “Yomeishu”, and others.

As an arranger for strings, she’s worked on songs by m-flo, TOKU, and others, receiving favorable reviews.

Audio and Video

• Excerpt from “Norinori”, track #1 on this album:

• Excerpt from “One Note Samba”, track #3 on this album:

• Excerpt from “Night and Day”, track #9 on this album:

• Noriko Satomi with pianist Seiji Endo performing “Mr. K.B.” live, track #4 on this album:

• Promotional video for Noriko Satomi’s 2021 album “Duke String Quartet”:

• Excerpt from track #12: “Yakusoku-Yakusoku-”

Presenting Taguchi’s sweetly mellow voice in an exquisite frame, Pianist Seiji Endo arranged all the songs on this album, and his vision combined with the front line of saxophone, violin, and guitar creates a lush, big band-style sound from the six instruments.

From thrilling and upbeat to smooth and slow, the musicians play together tightly, forming a solid foundation and spotlight for the singer. Listeners can easily imagine Taguchi elegantly standing on stage with a tall mic stand next to her and the Special Sextet decked out stylishly behind her. Taguchi’s delivery is direct but soft, rounded and sincere, verging on husky but always in balance. In particular, the positive attitude of her voice shines like a smile throughout the album.

Like the previous Special Sextet album, The Gift II is straightforward, cheerful, and classic jazz with big band sensibilities. The music emphasizes swing with a fullness of energy and brightness. Perhaps like other albums created during the gloom of the pandemic years, the musicians may have felt added motivation to create and spread joy through their music.

The Gift II abounds in swing and grace with jazz standards including “A Foggy Day”, “Cheek to Cheek”, and “Night and Day”. Other tracks like a dreamy “Misty” and an adventurous “Caravan” build up tension with dynamic changes and a slight sense of mystery. Closing the album, Chick Corea’s always-welcome composition “Spain” is slightly rearranged by Endo with tasteful finesse and performed exuberantly, supplying another exotic and sparkling gem in Rie Taguchi’s bejeweled offering.

Liner Notes

(Translated from the original Japanese liner notes written by Rie Taguchi.)

After five years, a jewel box of spun notes…

Five years since the previous work “The Gift”!

A gift of sounds from the magnificent Special Sextet. After five years of accumulating live concerts and adding wonderful arrangements with each performance, we’ve arrived at repertoire of 40 songs. The universe of arrangements by Seiji Endo tells a story, song by song, each performed by the Special Sextet’s musicians with craftsman-like mastery. The world of the arrangements has expanded even further, unfolding on stage with thrilling excitement. I was thinking that I wanted to release this world on a CD!

Yet with the hurdles in moving forward and the unprecedented events of the coronavirus, the situation prevented us from easily creating music together as musicians on stage… I hit upon the thought that it was the right time to make a CD. After asking for support through crowdfunding, I received a whopping 250 people who graciously supported my idea.

Truly, truly thank you so much! Thank you from the bottom of my heart. I truly appreciate everyone who participated in crowdfunding, and to each and every person who supported us in other ways throughout. Please accept this present, this gift of notes and sound.

Rie Taguchi

Audio and Video

• Promotional video for this album:

• Excerpt from track #1: “A Foggy Day”

The album is a relaxed tour through 11 varied tracks, all arranged by pianist Seiji Endo who backs up the vocalist throughout the disc. Six songs feature Kawamura singing as a duo with the pianist, and more color is added with violinist Noriko Satomi joining on three tracks and guitarist Akira Sekine joining on two others.

Much of the music has a romantic and nostalgic feeling, yet a modern sensibility is included on such tunes as Stevie Wonder’s “Overjoyed” and a surprising rendition of Lady Gaga’s “Born This Way”, expressing Kawamura’s poppier side. In addition, the charming Irish folk song “Down By The Salley Gardens” is a sweet highlight, and two Japanese ballads (sung in Japanese) provide extra variety that boosts the album’s charm.

Starting quietly, Endo and Kawamura perform a heartwarming version of “The Rainbow Connection”, the uplifting Oscar-winning classic from The Muppet Movie. The duo is then joined by Noriko Satomi on violin for the next track “Nuovo Cinema Paradiso”, sung in Italian and a definite highlight for its lovesick achiness. Guitarist Akira Sekine then joins on Lady Gaga’s “Born This Way” done as a slow rock ballad. The rest of the album continues in this eclectic, wistful manner, with jazz standards including “Route 66”, “Tennessee Waltz”, and “Summertime”, and a lovely version of the Beatles’ “In My Life”.

Audio and Video

• A live version of Ruriko Kawamura singing “Down By The Salley Gardens” in 2011:

• Ruriko Kawamura singing “The Waltz” live in 2011:

• Excerpt from track #2: “Nuovo Cinema Paradiso”

No doubt familiar to most jazz fans, John Coltrane’s 1965 masterpiece sets a high bar for any jazz group, with both rote recitation and musical reinvention being risky propositions. At the same time, re-experiencing the classic performance at live concerts or on newly recorded albums can provide a thrilling way for fellow fans and the performing musicians themselves to appreciate the music together.

“A Love Supreme” is revered partly based on its concept, ambition, and the passionate playing of the original four members, and Satomi’s quartet mirrors the original recording with piano, bass, drums, and violin in place of tenor saxophone. Although sax and violin may share an edgy, breathy soulfulness, the two instruments produce quite different sounds, and the wood and strings of the violin bring a new dimension to Coltrane’s music. Warmly evocative, Satomi’s violin is swiftly acrobatic and fiery in the up-tempo sections, while also adding distinctive violin characteristics like seductive whispering, percussive plucking, and playing two strings simultaneously for a multi-toned, haunting effect.

Moving through the four parts of the suite, “Acknowledgement”, “Resolution”, “Pursuance”, and “Psalm”, the quartet faithfully follows the map laid out by the classic Coltrane recording. Satomi’s violin performs the sax themes and, rather than reciting Coltrane’s solos, improvises freely while channeling Coltrane’s spirit and energy. Similarly, the piano, bass, and drum members each take impressive turns in the spotlight as arranged by the original composition. The high-resolution MQA-CD captures the four musicians with full, clear sound as they spare no efforts to reach supreme heights.

A bonus track performance of “Danny Boy” is included after the jazz suite as a calming ballad encore.

Awarded the Jazz Japan Award 2019 Album Of The Year for High-Quality Media (January 2020 issue #114).

Audio and Video

• The official promotional video for Noriko Satomi’s “A Love Supreme”:

• Excerpt from track #1: “至上の愛 パート1-承認 (A Love Supreme Part 1- Approval)”

Her sultry voice seems to crack smiles and reminisce on old times as she dips and sways through the music. Popular standards such as “I Wish You Love” and “I’ve Got You Under My Skin” convey her cheerful energy, hearkening back at times to a type of Las Vegas showroom jazz. Her bright charm describes a sparkling smile, perhaps even a tipsy grin as she gracefully sings the notes.

The album features delightful arrangements by Seiji Endo along with Taguchi’s pop-oriented originals. The music starts in full swing with a riveting “The Lady is a Tramp”, and finishes up the set with a warm “Close to You” followed by the vocalist quietly playing piano and singing her song “Voices”.

Audio and Video

• Television broadcast of Rie Taguchi singing in Tokyo:

• Excerpt from track #1: “The Lady Is A Tramp”