This is her twelfth album spanning those many years, but her prior album Solo was released in 2018 so it’s been several years between that and this 2024 work. In her online notes for this album, she explains how the unsteady times for musicians during the coronavirus period sparked a period of reflection on her Tokyo-based musical life and introspection about her next musical statement. For this project, she choose nine new songs she had written during that period, and settled on the musical partners she would bring this new record to life with. The process involved thinking back over those formative years spent with these and other co-musicians, and especially her hometown of Kobe where it all began.

The songs are all originals by maiko, with one song co-written with Aya Kurosawa. Tied to the album’s theme, there is a sense of reflection overall, with a depth of feeling that could even be called a gentle moodiness to much of the music. Moodiness is not the best description as it’s not of a gloomy quality, but of a deeply connected awareness to the changes that time and situation bring, with both longing and hope in the memories.

The first half of the album ranges through maiko’s violin arranged with different combinations of duos and trios to paint images of haziness (“Mirage”), wisps of breeze (“Windmill”), and peaceable jauntiness (“Migratory Bird”). Track #4 “Futo,” features the duo of maiko on violin and Aya Kurosawa on piano and vocals unwinding an emotional ballad, a piece followed by the spinning complexity of “Rotating Sphere” where the ten strings of violin and guitar conjure up something exciting and mysterious.

From here, the album’s emotional directions turns further inward with slow to medium songs that embody the images conveyed by their titles: “Remininscence”, “Toi Kioku (Distant Memories)”, “Far away”, and “kiteki” all breathe with the feeling of nostalgic remembering and reflecting. As a final piece performed bravely alone and with a huge presence, Maiko plays track #9 “kiteki” as a violin solo, a heartfelt tribute to memories of her hometown shared intimately with her listeners.

Album Notes

(Translated from maiko’s online liner notes for this album.)

01.Mirage

A song created out of the pattern in the introduction. Feeling the haziness of a mirage, I wrote this song with the desire to express that sense of temperature and texture. Recorded as a trio of violin, piano, and bass, with guitar layered in.

02.Windmill

A song to represent something ever-turning and the wind. In the end, the image is one of wind power generation more than a windmill. Recorded with violin, piano, and voice.

03.Migratory Bird

This is a song I wrote for the trio with Shikou (piano) and Yuki (bass). I was inspired by Shikou Ito’s song “啼く鳥を探して” (Search for Singing Birds). This song developed through live performances, so this take is filled with that sense of playing a live concert.

04.ふと、 (Suddenly,)

Aya (piano/voice/vocals) and I wrote this song together. Initially I wrote a rough sketch of the song, and after that, Aya added poetry to the music. Aya and I started in May and continued with the season, a backdrop that is depicted in the music.

05.Rotating Sphere

A song I wrote for the duo with Kazuma (guitar). I was inspired by Kazuma’s song “Particle Dance”. As two different phrases ring out simultaneously like turning circles.

06.Reminiscence

This is a song I wrote when 20 years had passed since I came to Tokyo. It reflects back on the events that occurred during all that time and is filled with hope for the future.

07.遠い記憶 (Distant Memories)

The impression of pulling in memories from long ago. The duo with Shikou is two parts of a whole, recorded with the same sense of the wavering of time.

08.Far away

While thinking fondly of someplace remote, something far away…

09.kiteki (Steam Whistle)

This is a song that was originally expanded from a motif that was born during a violin improvisation solo concert. There is the sound of a boat’s steam whistle somewhere in my memories. I recorded this song at the end of this album as I thought about my hometown.

Liner Notes

(Translated from Aya Kurosawa’s lyrics for track #4 “ふと、 (Suddenly,)” printed on the CD cover.)

Suddenly, (lyrics: Aya Kurosawa)

May’s chilly spring weather, suddenly, overlapping
As if guided by a single melody
Forward in time

Until these flowers bloom, let’s walk together
Until this pain is gone
Just like this
The color of tomorrow’s sky… no one knows
Blurred, dimmed, tied together

September’s swift winds, suddenly, hearts race
Like holding hands for the first time
Heartbeats resonate

Until the blue night is gone, I want to be together
Until this prayer comes to an end, just like this
The color of tomorrow’s sky is someone’s
Confirming our linked memories

February’s snow flurries, suddenly, burst forth

Obi Notes

Arriving somewhere warm
And the journey continues

maiko’s 25th anniversary album!

This album was created upon a foundation of the many encounters that have shaped her musical perspective, and maiko’s own now-established personal style. It’s a gem-filled collection packed with maiko’s musical life itself.

Audio and Video

• Excerpts from “Mirage” (track #1), “Windmill” (track #2), and “Rotating Sphere” (track #5):

• “Reminiscence” (track #6) - excerpt:

• “Mirage” - live performance (track #1):

• “Windmill” - live performance (track #2):

• “Migratory Bird” - live performance (track #3):

• ふと、(Futo,) - live performance (track #4):

• “Rotating Sphere” - live performance (track #5):

• “Reminiscence” - live performance (track #6):

• “遠い記憶” (Toui Kioku) - live performance (track #7):

• “Far Away” - live performance (track #8):

• Behind the scenes: Recording “Far away” (track #8):

• Excerpt from track #1: “Mirage”

As suggested by the bright album photos, the music inspires verdant images from nature: gentle, green, flowing, water… and of course, swinging. Not bebop or a conventional big band swing feeling, but almost a classical, fantastic beauty and pulse.

With eleven songs over an hour, most songs run for five to six minutes, ample time to establish a mood and rhythmic patterns to develop over. Chiba’s music often sets up a repeated riff on which the harmonized horns and vocals soar in graceful crescents. On top of this, the music is detailed like corners adorned with decorations and interesting pathways running to and fro. Some moments almost bring to mind the British contemporary jazz trio Azimuth’s music, with cell-like patterns phasing in and out while wordless vocal improvisation floats around and joins with the music and rhythms.

As the music is consistently interesting and the songs are varied, it’s hard to pick excerpts from this packed album, but some current highlights include the breezily modern opening track “Asayake No Uta”, the stylish and delicate “Invisible Colors”, the inspiring reverie of “Kite”, and the beautifully crystalline “Water Drops”.

Most songs feature the full group, with songs for two piano trio and one solo piano piece. As with Chiba’s other albums, Beautiful Days concludes with the pianist alone, playing a moving solo piano feature with full notes and heartfelt passages.

Audio and Video

• Promotional video for this album release:

• Excerpts from a 2019 live performance of the Fumie Chiba Trio:

• Excerpt from track #8: “Water Drops”

The graceful players combine the dimensions of Hori’s precise, finessed notes and Baba’s snazzy, bluesy lines at relaxed mid-tempo jaunts, rapid and fluid modern pieces, Latin grooves, and gentle ballads. The music is joyful and emotive, and the two converse with a comfortable flow built solidly on their years performing in various settings. The duo clearly enjoys playing together and it comes through in their playful, professional music.

Two of the songs also feature guest percussionist Saori Sendo, and add rich rhythms and dynamics on Bob Berg’s “Friday Night at the Cadillac Club” and Baba’s “J.M.”. The final track “Pedra Bonita” adds another successful layer, where the two musicians are joined by singer Aya Kurosawa on the grooving Brazilian celebration with a rousing vocal ending.

Audio and Video

• A live performance of Friday Night at the Cadillac Club:

• Jazz Street performance:

• Excerpt from track #2: “Choro de Tremolo”

This album’s printed title feat.手 (“Featuring Hands”) fittingly describes the pianist’s concept, to create a fun jazz album showcasing original compositions for piano (and hands) with jazz, pop, and classical influences. As the songs play out, one gets the feeling of dipping into Kishi’s deep store of originals, ranging from upbeat energy to comfortable dreaminess with several musical genres melded together. Along with her compositions, the album closes with a graceful rendition of the traditional ballad “Danny Boy”.

Although this is mostly a solo piano album spotlighting Kishi and her music, two additional musicians join in on several tracks. Cellist Mayumi Sano performs with Kishi on three songs, presenting an early version of the piano-cello duo Arco who will go on to release Asymmetry in 2017 - track 3 “Hanaga Sakumade” (“Until the Flowers Bloom”) is a definite album highlight which features the pair. Vocalist Aya Kurosawa also adds her lovely, resonant vocals on one track. Overall, the 13 songs on this album offer a fun and creative exploration of the mind of a Japanese pianist and her compositions.

Audio and Video

• A solo performance of track #3, “Inori Featuring Te”:

• Track #9, “Hanaga Sakumade” featuring Sakaka Kishi and Mayumi Sano (Arco):

• Excerpt from track #1: “up to you”