The music on this album is straight-ahead jazz built on the familiar format of trumpet-sax-piano-bass-drums hard-bop quintets. The playing style has a modern jazz feel with a mix of swing beats and straight-eights that is rooted in an energetic, soulful style, the kind that fans of Jazz Messengers and similar classic Blue Note era albums will find immediately appealing.

Adding to the attraction is the group’s new material composed by the members of this band. This is solid contemporary jazz, modern with a base of expressive hard bop, exciting ad-libbing, and fun arrangements. Many songs are straightforward soloing showcases that swing with fun and energy, but there are also slower pieces and ballads where Ichihara’s mellow trumpet and flugelhorn lines especially shine. Despite having her name in the group, Ichihara is an equal partner, and above all, she is gracious about sharing the spotlight. Much of the time, she does not take the first solo slot, and even skips her turn on some tunes to let her partners take the lead, or uses her turn for trading interactions with saxophone or drums.

Ichihara’s six excellent compositions cover a great range from swinging good-feeling fun (#1 “Coati”, #2 “Dorje’s Life”, #6 “Brain Weather”, #9 “The Laughing Stock”) to delicately moody (#7 “SCHEMA”) and sinister (#4 “Doom”). Adding to the palette is a composition each from pianist Hideaki Hori (the beautifully atmospheric #3 “Oslo”), saxophonist Ryosuke Asai (the soaring #8 “Toki”), and bassist Kunpei Nakabaya, whose two-part suite #5 “Sink - Flow” is an evocative highlight on the album. The selection of these songs shows Ichihara’s range and her taste in shaping the mood and attitude of the project, all strengthened by the group’s well-put-together ensemble sound that was very attuned and responsive after touring together and honing their musical craft.

Liner Notes

(Translated from Hikari Ichihara’s original Japanese liner notes.)

1 Coati

Coati is another name for the animal called a “civet”. One night, there was a loud rumbling noise coming from the attic of the house where I live. I wondered if this was the “raccoon dog” civet that I’ve heard a lot about on talk shows recently, so I immediately called an extermination company to get a quote, which was a whopping 100,000 yen. Oh great, someone’s living in my house without permission and won’t leave unless I pay 100,000 yen… I was pretty dejected. I complained about this on the popular Twitter platform, and someone suggested the brilliant idea of writing a song called “Civet” in order to earn 10,000 yen in royalties. That’s why I wrote this song. Of course, “Civet” was too straightforward, so I chose a different title. In the end, the problem was revealed to be rats, and the bill was 40,000 yen… so that’s three more songs for me to write. For now, please check out “Coati”.

2 Dorje’s Life

I’m someone who pretty much reads one book every two days. I particularly like Kotaru Isaka and have read all of his published work. I tried to create a song to express how I view the world of Kotaru Isaka. Dorje is the name of a fantastic character that appears in the book Ahiru to Kamo no Koinrokka (The Foreign Duck, the Native Duck, and God in the Coin Locker).

3 Oslo

This is a number by a composer that I love, Hideaki Hori. It was written on February 2, 2010, the day before a duo gig that we had scheduled, and he seems to have had the sound of my flugelhorn in mind. I poured my heart and soul into this beautiful melody for the recording. I hope it can summon the scenery of Norway.

4 Doom

In these times, it feels as if our country Japan is facing difficulties in many areas. I strive to keep an awareness that our country is a responsibility of our generation, as we must try to make it better. I wrote this song from these feelings. Although this song was written before the great earthquake disaster, I would like to take this opportunity to honor the souls who perished in the calamity and to pray for a speedy recovery.

5 Sink - Flow

This is a number by bassist Kunpei Nakabayashi. It follows a suite form as two songs in one piece. Nakabayashi is a man of few words and does not explain much about his songs. It’s an honor for me to be able to include this very detailed and emotional piece of music on my album.

6 Brain Weather

Brain → 脳 (nou) / Weather → 天気 (tenki)/

It’s easy-going and carefree (能天気 noutenki). I attempted to write a song about my personality. Ahh, I hit upon a great title.

7 SCHEMA

Schema (organization of long-term memory): A module of information stored in long-term memory. It’s a term in clinical psychology that can be understood to represent fixed beliefs or assumptions. When I’m composing music, I often find myself wondering if I should write the hook or chorus in a certain way to increase the excitement. This is a 10-bar ballad that I wrote after clearing away those preconceptions.

8 Toki

This is a number by saxophonist Ryosuke Asai. This group performed this song once in Niigata, when Asai, a lover of large wild birds, was very excited because the Japanese crested ibis (朱鷺 toki) was released on that day. He said to the people then, “I promise to write a song called Toki by the time I return to Niigata”, and he has wonderfully fulfilled that promise. None of the band members has ever seen a crested ibis in flight, but we imagine it in our own way as we perform this song. It’s a masterpiece with a rich sense of scenery.

9 The Laughing Stock

Although the meaning is “an object of ridicule”, I played this song with all my heart and hope that you enjoy this album all the way to the end.

Thanks to your support, we were able to release our second album under the name “Hikari Ichihara Group”, recorded after many tours together. I want to thank the amazing members who stuck by me, the clumsy Hikari Ichihara, and I am deeply appreciative of the many live houses and owners who graciously invited us to perform, and to all the audiences who warmly gave applause. I want to thank all the staff at Pony Canyon who allow us to share our music, engineer Saka-san who records our music so realistically, designer Kitagawa-san who makes the album even better, and photographer Yoneya-san. And above all, I would love to express my sincere gratitude to everyone who listens to this album. I wish the best for you, today, and tomorrow, and with Unity by your side, nothing would make me happier.

Ichihara Hikari

Audio and Video

• Audio for “Coati”, track #1 on this album:

• Audio playlist for all tracks on this album

• Excerpt from track #9: “The Laughing Stock”

This first Encounter album is bursting with energy, and it feels like the inspiration that each player gets from the others irresistibly drives them to reach for the stars. The four members of Encounter—Wataru Hamasaki on sax and flute, Hideaki Hori on piano, Hiroshi Takase on bass, and Junji Hirose on drums—are always busy touring and playing in this regular group lineup for their live shows. In addition, as a special guest on their first album, Satoshi Takino plays electric guitar on three tracks.

These players present modern jazz built on the foundations of the classic contemporary jazz quartet sound. The sound and inspiration of the music owes a lot to the co-leadership of Hori and Hamasaki. These are the two primary songwriters for the band and seem to be cut from the same cloth, offering novel compositions with challenging terrain that the skilled improvisers navigate in breathtaking ways. Yet, they intentionally do not stray too far from the solid bedrock of reliably swinging jazz they cherish.

On Encounter, the songwriting pair recorded a set of 11 originals, with authorship split nearly evenly between the two composers. It’s clear that they enjoy writing (and that the band enjoys playing and delivering) excitingly aggressive uptempo burners, such as with #1 “ASK”, #4 “Signal”, #7 “OOPARTS”, #10 “Jack-O’-Lantern”.

The roots of their in-the-pocket swing also reach deep, perfected by the sense and time of bassist Takase and drummer Hirose. Much of the music provides a classic midtempo walking pulse, with the cheerful #2 “Breath of Life”, the crafty #3 “Puzzle Ring” (in 7/4 time), the confident #5 “Quarter man” (calling Dexter Gordon?), and the wonderful #9 “Wayne”.

Balancing out the near non-stop excitement and never-ending energy, there are a few slower ballads in the ephemeral #6 “Hanauta”, the romantic #8 “My Heart” (still calling LTD?), and the beautiful album closer #11 “Sound of Ocean”.

While this article focuses on Hori and Hamasaki’s 2008 Encounter, it would be serendipitous to mention some recent news here. At seventeen years and running, Encounter just released two new albums entitled Best Vol. 1 and /Best Vol. 2 /recently. These two compilations (of a sort) don’t indicate the twilight of Encounter. Instead, they are intended to meet a consistent demand for old albums, like this one, that are out of print or hard to find. At the same time, the two songwriters took this opportunity to revive, rearrange, and re-record popular songs from their live shows and early albums.

It’s also noteworthy that Encounter’s new album Best Vol. 1 also contains new versions of three songs from this album: “Sound of Ocean”, “My Heart”, and “Hanauta”.

Liner Notes

(Translated from Hideaki Hori’s and Wataru Hamasaki’s original Japanese liner notes.)

Song introductions by their composers:

1. ASK (Hideaki Hori)

This is a song that is often played to open our live performances. The energetic rhythm with a buoyant melody and chord progressions seem to stir up the front line of the band, urge them on, and put things in gear. This hints at the original hidden meaning of the title “ASK”… [/The three-letter title in uppercase is an abbreviation for something mildly naughty enough to be avoided being printed on a jazz CD release at the time…/]

2. Breath of life (Hideaki Hori)

This is a song dedicated to all living creatures. To the strength, joy, and vivaciousness of life. The beat that Hiroshi Takase and Junji Hirose spin expresses that vitality so wonderfully that, upon hearing, it, the heart naturally seems to start to dance.

3. Puzzle Ring (Wataru Hamasaki)

In Japanese translation, it’s 知恵の輪 (chie no wa). Depending on how you solve them, puzzle rings can be easy or difficult. This song has the feeling of playing with a puzzle ring. Also, Hideaki Hori’s base, the jazz club Nardis in Kashiwa, has a bunch of puzzle rings lined up on the counter, and he’s always playing with them. So this title was also chosen as a tribute to Nardis. I think we got a really well-coordinated take.

4. Signal (Wataru Hamasaki)

This song is actually a remake of a song that I wrote a long time ago. It turned into an up-tempo, aggressive performance. Inspired by guest guitarist Satoshi Takino, everyone is bursting with energy.

5. Quarter man (Hideaki Hori)

I wrote a song about my admiration of the coolness and the melancholy that can be ascribed to a man who has grown up to be an adult. Wataru Hamasaki’s calm tone has a great feel and fits this song perfectly.

6. 花唄 -Hanauta- (Hideaki Hori)

This is a Japanese-style song where the flute almost sounds like a shakuhachi(!?). In fact, Hamasaki seems to have played this with a shakuhachi-like sound in mind. This melody came to me while I was out walking on a nice day in early spring. [/The Japanese kanji for this song, 花唄 is read as “hanauta” here to mean “flower song”, and is a play on the similar-sounding word 鼻歌 “hanauta”, which means “humming”./]

7. OOPARTS (Wataru Hamasaki)

This title is an abbreviation of Out of Place Artifacts. This refers to those historical objects that were created by technology that’s hard to imagine existing when they were made—the moai statues of Easter Island, for example. I happened to be reading a book about OOPARTS at the time I wrote this song, which is where I got the title. Junji Hirose’s drumming during the theme section is quite invigorating.

8. My Heart (Wataru Hamasaki)

It’s been a long time since I wrote a ballad. I think I was able to include a lot of emotions in this song. This performance also captures a beautiful piano solo, wonderfully executed by Hideaki Hori.

9. Wayne (Hideaki Hori)

This is a song written for the beloved musician Wayne Shorter. You could also call it a hymn to hard bop with its truly jazzy feel, and listening to the theme transports musicians and listeners back to the 60s.

10. Jack-O’-Lantern (Hideaki Hori)

The theme is just one motif repeating over and over, with the energy increasing steadily, rising up, and heading towards the peak… I think this is that kind of song. Instead of traditional in-order soloing, it was Wataru Hamasaki’s idea to incorporate a dialogue between sax and piano. Satoshi Takino’s great guitar solo is also remarkable.

11. Sound of Ocean (Wataru Hamasaki)

This is a gospel-style song dedicated to the inspiration for the title of this song, kaikyou, which means Mother Ocean. Perhaps it’s because I was raised in a town where you could see the ocean, but every time I come to the sea I can forget all my worries and relax. We always play this song last at live performances, and Hideaki Hori and I agreed that we should also end the album with this song. I’m barely holding it together at the end (laughs), and since we were originally planning a fade out here, I was having some fun with it. Hideaki Hori really liked it, though, so we left it in as it was recorded. I’d love it if hearing this cheers you up a little bit.

Audio and Video

• Live performance of #1 “ASK” from 2023:

• New recording of #5 “Quarter man” from 2020:

• Live performance of #10 “Jack-O’-Lantern” from 2022:

• New recording of #11 “Sound of Ocean” from 2024:

• Excerpt from track #6: “Hanauta”

Releasing twenty albums as a leader and many more as a sideman (with groups like Paris Match, M-Swift, and Dreams Come True, and musicians like saxophonist Wataru Hamasaki, trumpeter Hikari Ichihara, vocalist Maki Fujimura, and many others) is certainly prolific. In fact, since Melodies for Night & Day, Hori’s also released a new duo album with bassist Yosuke Inoue several months ago, and there are rumors of a new trio album in the works for next year.

This milestone album is also his first solo piano album. It is a two-disc release with a “day side” and a “night side” featuring twenty songs (that magic number again), ten each of original compositions and covers. Hori combines swing, bebop, ballads, and some pop tunes on these originals and covers, with virtuosic skill incorporating familiar, perfectly interpreted melodies, unendingly fluent improvisation with naturally-timed chord layers and bass line figures adding fullness and variety.

For this album, Hori selected always-pleasing jazz standards like “How High the Moon”, “Taking a Chance on Love”, “Moon River”, and “Just One Of Those Things”. These familiar tunes provide a comfortable, relaxing setting for Hori’s extremely tuneful and musically pleasing piano playing, always honoring the music while seeming to inhabit the ears of the listeners to know what to play and when for maximum enjoyment. Sting’s “Englishman in New York” even gets the Hori solo piano treatment, played here with a wistful, light pop touch that carries you along effortlessly.

Nestled among these covers are Hori’s original compositions including his uplifting “A Song for U_U”, a nostalgic “Seascape From the Nossapu”, a heartful “Prayer for Peace”, and a frisky “Rough Sketch”, all album highlights each with their own distinct personalities. He even incorporates the sound of his Encounter quartet on solo piano with his band’s energetic live favorite “Traveler”.

The pianist’s reflective liner notes, translated below, go into greater storytelling detail about his personal history, how this album came about, and what it means to him.

Liner Notes

(Translated from Hideaki Hori’s original Japanese liner notes.)

Twenty years have passed since I released my first leader album in 2003. This album is my twentieth album released since then. Considering the important milestone of twenty years, I decided to face the music and the piano directly and alone for this solo piano album.

If I recall correctly, I first encountered jazz when I was fifteen years old. I was playing on the Yamaha Electone and synthesizers during my junior high school days, and I was fascinated by the cool interludes and instrumental solos in J-pop and other music. I started to gradually listen to instrumental music, immersing myself in T-Square, and from there the fusion music from the Western world as my interests expanded, captivated as I was by the beautiful complexity of the Yellowjackets. As I traced back the roots of that music, I arrived at the straight-ahead jazz of Bud Powell and others. I was amazed by the cool rhythms of swing, and thought “I shouldn’t be playing electronic instruments now… I have to play acoustic piano!”. I decided to change and become a pianist.

However, the house where I lived at the time not only didn’t have a piano, there was not even space to put a piano, so I was practicing on electric piano and headphones every day. For someone like me without classical piano training, the keyboard looked the same as a piano, but the piano itself was still an unknown instrument. “What are these three pedals at my feet!?” To solve the mystery of the piano, I would go to the high school music room, sit next to classmates who were practicing classical piano, and I would study their playing methods.

As I practiced on that same piano, a member of the student group for popular music overheard my playing and invited me to join the band. Of course, there wasn’t even one band playing jazz, so naturally, I ended up playing in rock bands as well. But I wanted to play solos freely like in jazz, and when I played an organ solo with my own ad-libbed melody line in the middle of a Deep Purple song, the band members told me “That’s not right, just play the Jon Lord phrase exactly as is”, so…

I realized that it would be difficult to play jazz in a popular music student group, so I searched the “musicians wanted” pages in a jazz magazine, made some contacts, and decided to begin a jazz band of high school students outside of school. (By the way, the people who gathered at the time were Mamoru Ishida/piano, Satoshi Izumi/guitar, Shinnosuke Takahashi/drums, and Yuji Kawamoto/bass. These musicians have all become indispensable in the current Japanese music scene.)

Every day, returning home from school, I would go to a music store in front of the station and have a session with the clerk and piano instructor Shintaro Ohashi. Then at home, I would do nothing but practice. This was probably the period in my life up to now that I practiced the most.

In this way I spent my early 20s practicing acoustic piano, becoming able to play jazz to a certain extent, and got a fair amount of performance work in front of audiences.

One day, a senior musician gave me some great advice. “Your piano, well, it sounds like the way you’d play a keyboard. What if you studied more of a pianistic way of playing the piano?”

Those words completely opened my eyes.

From that day on, I started to consciously focus on tonal control of the piano.

I would transcribe (write down the score) of the piano solos of jazz legends, and when I could play them, I would make simple recordings myself. I would study the piano touch, dynamics, and use of space in my recordings and the legends’ recordings, trying to match their sound to the fine details. I would sit next to pianists who played beautifully and watch them, trying to imitate their hand formations. I struggled in a lot of unclear ways, trying to practice anything I could think of.

Around my late 20s, I was performing at a concert hall and went offstage after the first half. That day’s piano tuner spoke to me with a calm voice, saying “There are several piano players I support because I like their piano tone and their manner of playing. Hori, today, you entered that group.”

Ever since then, that person has become an essential part of my recording and performances: the piano tuner Hideo Tsuji.

It was an honor to receive such a sentiment from Mr. Tsuji on that day, and it really gave me confidence. The days that followed were interesting. I wasn’t sure if I could play the piano tuned by Mr. Tsuji to the best of my ability. How can I play this piano to bring out its best tone? From there, I learned the answer from the instrument, the piano itself. As I became able to understand how to play the inherent range of tones in the piano, I realized further how wonderful Mr. Tsuji’s tuning was.

In this way, for me, a person who never received classical piano training, my real teacher became the piano. What made me realize this was my superb piano tuner.

A few years ago, Mr. Tsuji said to me, “Hori, the time to record a solo piano album has arrived.” When I asked him what piano I should use, he answered “Steinway, right?”.

For this solo piano album, I used a special piano owned by tuner Takagi, a model called “Newburg”. It was given that name due to being a Hamburg Steinway with portions of a New York Steinway inside. This piano has a different feel from any other piano I’ve played, requiring quite a delicate touch with a corresponding range of tonal expression to a surprising degree. I completely fell in love with it.

We recorded 20 songs in about half a day. It seems like the number 20 is linked by fate everywhere this time (laughs). It’s a two-disc set including standards, newly-written original songs, and rearranged compositions, played at will as the moment took me. I hope that this music can gently accompany you for a long time in your precious moments.

(Hideaki Hori)

Audio and Video

• Promotional video for this album:

• Hideaki Hori with Encounter on “Traveler” in 2021:

• Hideaki Hori with Encounter on “Traveler” in 2011:

• Excerpt from track #5: “A song for U_U”

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”

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”

Hori leads a bright, swinging trio on this jazz record, full of high-energy peaks and steady grooves. Extremely nimble in his playing, Hori’s clearly executed phrases fill his improvisation with exciting patterns and curlicues, urged on by the propulsive anchor of rhythm section members Daiki Yasukagawa on bass and Gene Jackson on drums.

While this is Hori’s third album as leader, In My Words is his first exclusively piano trio album, a great opportunity to honor one of his idols, the pianist Kenny Kirkland. Similar to the album title, the last tune “Another ‘Words’” references an earlier song of Hori’s called “The Words of Mr. Kenny K.”, a tribute to Kenny Kirkland, who is obviously a huge influence in his personal style and a jazz giant whom he appreciates greatly. The listener may recognize the impact in Hori’s amazing playing as well. Highly talented yet not overly flashy, Hori, ever gracious, also leaves plenty of room for his sidemen to shine, with rousing bass solos and drum features, such as the heavy groove riff and drum improvisation on “Form”.

Hori’s songwriting is also on display, with six originals (the crowd favorite “Winter Waltz” being a highlight) and three rearranged covers: “This Is New”, “Take The A Train”, and “So Near, So Far”.

Audio and Video

• Audio for track #7, “Winter Waltz”:

• Excerpt from track #1: “This is New”

The quintet consists of strong, like-minded players who play with a polished yet intimate feeling, creating a solid framework for the improvisers to gracefully leap and flow over. Ichihara’s trumpet solos consistently capture attention, full of impressive decorative swoops and turns, loaded with dramatic soul and a beautifully fluid and organic sound.

Closing brilliantly with pianist Hideaki Hori’s upbeat composition “Inspiration”, this album’s positive energy and satisfying sound will surely have listeners inspired to listen again, and to move on to explore more of Hikari Ichihara’s music as well.

Audio and Video

• Video of Hikari Ichihara playing “Can You Repeat the Past” from the 2014 album “Dear Gatsby”:

• Excerpt from track #1: “やみくろ (Dark Black)”

Going by “The Duo!” together with the amazing pianist Hideaki Hori, the two musicians expertly create music with pulse, Fujimura building upon and playing with Hori’s rhythmic timing and impeccable pianistic touch, with her soft yet strong vocals gliding around the piano’s notes in perfect interplay.

Fujimura uses her voice as a musician’s instrument, moving from soft ballads to high-energy sprints, singing as a true musician in charge of her instrument with deep musical knowledge. The singer evokes moods from romantic love and positive energy to moments of moody solitude, while pianist Hori provides the perfect musical partnership gained through their years of playing together on innumerable live dates.

Recorded as-is and direct over two nights at the jazz bar, the duo performs both originals and standard jazz tunes. Two of Fujimura’s sparkling crowd-favorites are included: “Ray”, a cheery tune pledging eternal love and support, and “A Thousand Kisses”, where Fujimura’s voice floats gracefully over the piano in pretty melodic arcs as she positively fills the room with romance.

In addition, the duo thrills with arrangements of standards such as “Summertime”, “Caravan”, and a sincerely moving version of “The Rose”.

Audio and Video

• Maki Fujimura and Hideaki Hori performing “Caravan” live in 2017:

• Excerpt from track #1: “Ray”

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)”

Unconditional Love features songs recorded live over three consecutive nights at Nardis. Presented on the two discs as “1st set” and “2nd set”, this arrangement gives the listener the feel of being a part of the in-house audience from the first song to the encore. The long-established trio’s playing is impeccable with high levels of musicianship and solidarity, eliciting joy and affinity from the audience.

The twelve songs include four originals by Hori (the funky “The Shell” and high-energy “Stop & Go” thrill the audience), some classic standards (“Up Jumped Spring”, “I Thought About You”, “My Favorite Things”) and choice modern picks from the likes of Cedar Walton, Keith Jarrett, and John Ellis (his “Bonus Round” is a special treat). Through these carefully chosen pieces, dynamics range from comfortable, mid-tempo swing, to fiery and up-tempo bop. For balance and breathing space, a few pretty ballads are included, including a fascinating version of Keith Jarrett’s “Blossom” which enraptures the club with a musical spell.

Audio and Video

• A track from this album, the jazz standard “Up Jumped Spring”:

• Excerpt from track #3: “Our Love Is Here To Stay”