Her storied journey includes forays in the bands of renowned Brazilian bass player Luizão Maia (partnered with Jobim, Milton Nascimento, Elis Regina, and others—coincidentally, Nobie’s even been described as “the Japanese Elis Regina”), Soil & Pimp Sessions pianist Josei’s Alma+ band, famous Brazilian guitarist Toninho Horta, influential Beninese guitarist Lionel Loueke, and the popular Japanese jazz/samba/fusion of Shinichi Kato’s B-Hot Creations.

For years, she has been primarily known for her beautiful singing voice among her wealth of talents, appearing on stage as a vocalist with various bands and collaborations. She has been more prominent as a leader in her own right since making her name with her 2011 debut album Primary. Since this release, she has continued to be active with live shows and recorded music, and her latest album Owari to Hajimari, a primarily guitar/vocal duo album, was just released last year.

Primary knits together Nobie’s rich musical background, influences, and musical loves through eleven selections made up of six of her originals and five cover songs. Being described as “stylish jazz and bossa nova” would be easy but definitely too simple, as Nobie’s palette, controlled articulation, and intentions are much more colorful and vivid. In fact, only three of the songs on this album delve into obvious Latin territory at the very start, middle, and end of the album.

When not jamming it up and getting down with Brazilian guitars and rhythms, the sound of the music varies as the musicians combine in different forms. With acoustic and electric blends, the propulsive group sound is based on acoustic piano and guitars, electric keyboards and guitars, drums and percussion, and subtle effects. Through it all, her clear voice, deceptively light and airy, infuses the music with gentle elegance and soaring grace with pinpoint accuracy, leading the band and the music effortlessly through its moods.

Here is a brief map of the album’s tracks with forgivably brief descriptions: Brazilian guitars and voices with infectious riffs and rhythms (#1 “Shinkansen”, #5 “Arigatou”, #11 “Wind From Minas”), layered ethereal trips floating on fusion jazz (#4, “Loop”, #7 “Black Narcissus”, #10 “Minami e”), smooth jazz (#6 “Letter”, #9 “Oceano”), unforgettable pop (#2 “Blackbird”, #3 “Human Nature”), and a heart-heavy love song (#8 “Tarde”).

The cover songs include Lennon/McCartney’s ever-popular “Blackbird”, Michael Jackson’s hit “Human Nature”, and Joe Henderson’s mesmerizing “Black Narcissus”. Perhaps most importantly, her influences for /Primary /also include Toninho Horta (specifically mentioned on the obi sleeve), the Brazilian guitarist/singer who, along with friend and musical partner Milton Nascimento, is a giant in the Música Popular Brasileira (MPB) genre. Horta joins Nobie on the first and last tracks (Horta’s “Shinkansen” and Nobie’s “Wind From Minas”), lending his expert Brazilian guitar and voice to two of the album highlights.

No stranger to juggling genres, Nobie’s live shows are dynamic and unpredictable with the mixing of familiar favorites with unexpected gifts, from Brazilian and pop to the deep jazz catalog, from Sting and Jimi Hendrix to McCoy Tyner, Thelonious Monk, Charles Mingus, and Airto Moreira.

In live settings when playing rearranged covers or her originals, her skills include playing with complex rhythms and time signatures with an innately accurate musical sense. On Primary, beats and time signatures are relatively straightforward, pinned down with easily absorbed grooves. Still, even when reigned in, the sense of strong time control from Nobie and her band is penetrating.

Also, in addition to her singing of song lyrics, her voice often transcends words into free-form scatting, nimble improvisations, and rhythmic vocalizations with pops, clicks, trills, chirps, hoots, growls, and whispers.

These ear-catching sounds are further extended through her impressive skills with simultaneous percussion playing of caxixi (shaker), hand drums, and similar physical instruments, and even remarkably simulating percussion sounds and rhythms with her voice between phrases and lyrics. When bringing the mood down, however, her gentle voice exudes exquisite calmness, guiding listeners into a meditative peace and stillness similar to “Loop” on this album.

At live shows, Nobie switches between singing in Portuguese, Japanese, English, or voice-as-an-instrument wordless vocalizations, as suits the material or her spontaneous mood.

Similarly, on Primary, Nobie sings in Japanese for five tracks, English for three (fitting the finely-rearranged Beatles and Michael Jackson songs and Nobie’s storytelling love song “Letter”), Portuguese on one, and with instrumental voice on “Black Narcissus” (appropriately sax-like), “Shinkansen” (with train station names appearing near the end, naturally), and “Wind From Minas”, closing the album just like it begins, with irresistible rhythms and addictively lovable singing.

Audio and Video

• Nobie performing #1 “Shinkansen” live with Toninho Horta:

• Nobie performing #1 “Shinkansen” live with Shikou Ito and Kohzo Komori:

• Nobie performing #5 “Arigatou” live with Shikou Ito and Kohzo Komori:

• Excerpt from track #4: “Loop”

On Pray, Kumagai’s trio opens with “Brotherhood”, setting up an atmospherically moody yet light and relaxed vibe. Other album highlights include his live-show favorite “Yellow Tail”, a well-developed modern jazz exciter, and “Choir’s Got Fired”, a laid-back groove with irresistibly catchy riffs and an album highlight. The music is influenced by modern jazz players like Robert Glasper as well as hip hop concepts and includes enough dashes of unexpected changes, odd meters and beats, honest sensitivity, and spicy dissonance to keep the album in regular rotation for a great J Jazz piano trio playlist.

Audio and Video

• A live performance of “Yellow Tail”, the seventh track on the album:

• Excerpt from track #5: “CHOIR’S GOT FIRED”

Inspiring an easy-go-lucky party mood, the short songs are all of a piece, several even with unassuming titles such as “Sound Check”, “Track”, “Jam 1”, “Jam 2”, and “Jam 3”. It’s easy to put on the album, kick back, and let the music flow and invigorate the mood without any worries.

While session leader and bassist Koizimi states that the recording was not originally intended to be an official release but perhaps a demo tape or similar, the album was released as a memento of the spontaneity of the date. Many of the tracks are improvisational jams will all but basic structures undetermined, yet the spirit of fun with slick rhythms and exuberant grooves smoothly pours from the tracks.

Audio and Video

• Video featuring Yoshihito “P” Koizumi from 2008:

• Excerpt from track #1: “JB’s Poem”