It’s an exciting big band sound where the instrumental arrangements are a natural forefront highlight of Nakabayashi’s music written for alto sax, tenor sax, clarinet, flute (x2), baritone saxophone, trumpet (x2), trombone (x2), piano, bass, and drums. All of the players are well-known, hard-working musicians working in and outside Japan in various forms. Special mention is made for trumpeter Takuya Kuroda, the most famous name in this group who is known for major label releases, international jazz festival activity, and collaborations with international musicians in jazz, fusion, and other genres.

The rhythms on Circles are energetic, many with modern jazz straight-eights and Latin-beat propulsion. The exciting individual horn soloists interlock grandly with written-out front-line horn section statements. This results in a live jazz sound that grabs listeners’ attention and illuminates different parts of the orchestra as the music unfolds.

As a long-experienced bassist, Nakabayashi knows how to expertly deliver the essential rhythmic and melodic roots when playing jazz to communicate intimately with listeners. As the leader on this album, he makes sure to keep driving an exciting groove throughout most of the songs, making several moments on the album equal candidates for highlights.

#1 “Circulo” introduces the exciting modern jazz sound overflowing with energy. #2 “Passing” shifts to a solid 3/4 time walk that is somehow both weighty and light. #3 “Choro for Charlie” (for Charlie Haden? Mingus? Parker?) is sleek with cool George Russellian quirks to it that keep the interest high. #4 “Partagas” is a brave adventure with a surprise piano montuno and drum solo embedded in its fusion/Latin groove.

#5 “My Ship” (tracks #5 and 6 are switched on the CD jacket), the sole jazz standard, is a laidback cool-down interval. #6 “Evenfall” is a magnificently suspenseful journey guided by an extended flute solo. #7 “Nocturne” has an emotional, graceful Ellingtonian sound, and together with track #5 offers a restful period on a disc otherwise filled with engaging whirlwinds. Finally, #8 “R.B.” is a fun, loud jazz blues that builds with popping swing-dance energy. Here the humble leader, not one to hog the mic, at last takes his only bass solo on the album (likely invoking “R.B.”, or Ray Brown, the famous long-time bassist in the Oscar Peterson trio). Nakabayashi plays a great four choruses on four strings before the ensemble locks into a lively orchestrated fanfare, a perfect way to close this Circle.

Audio and Video

• Promotional video for this album with brief excerpts:

• Promotional video for “Circulo”, track #1 on this album:

• Live performance of “Choro for Charlie”, track #3 on this album:

• Promotional video for “Pargatas”, track #4 on this album:

• Streaming/digital version of “Circles” (Bandcamp)

• Excerpt from track #6: “Evenfall”

This album follows his previous release J-Straight Ahead after five years. The pianist and composer Kumagai regularly records as a trio on his albums, but his main motivation this time was to change to a quartet setting for all songs. Similarly, the overall sound changes very slightly as well, towards Latin-inspired modern jazz — not straight Latin jazz, but modern-day straight-ahead jazz with a variety of spicy influences. Like the playing and concepts that listeners loved on his previous releases, it’s still Kumagai’s music, combining his lively playing with hummable melodies and gripping beats, infused with hues of hip-hop music and personality. Particularly, Kumagai’s command of groove, gospel, and Glasper-inspired music is strongly felt as he pulls from his deep well of authentic and modern jazz, and the album is satisfyingly full of smart music, cool improvisation, and groovy bass lines and drum textures.

Kumagai’s originals are always interesting, balancing simple, catchy melodies with more complex rhythms and structures, often in those odd-time meters like 7/4 or 12/8 that invigorate musicians and listeners alike. Last Resort includes six of his new original tunes, with two additional cover songs wrapping up the set, literally: The entire album was recorded over one day with the songs played in order of the track listing. Capturing the day’s progression gives the album the feel of a live performance, and as the tracks progress, the momentum builds and the energy changes, much like a live band playing a setlist on stage. Even the final tune, “Caravan”, has the feel of an impromptu, high-energy encore as the song emerges out of an adrenalin-surging drum solo that had started on the previous song, recording both tracks in one continuous take and capping the album (and the recording session) on an intense high note.

Recording all together, in set list order, with a limited time window is challenging, but the quartet had performed together over the previous two nights at live shows, which worked like an extended warm-up and captured the feeling of a mid-tour performance in the recording.

Album highlights include the modern jazz beat of “Pirarucu”, the soca-inspired, dramatic “Conflict Areas”, and the adventurous abandon on the uptempo “Caravan”, an excitingly rearranged version of this familiar jazz standard. The other cover song on the album, “Quizás Quizás Quizás”, is the most clearly Latin-inspired choice and may be well-known to Latin genre fans (incidentally, the song may also sound vaguely familiar to those who remember 90’s alternative rock band Cake’s version of “Perhaps, Perhaps, Perhaps”.)

Liner Notes

(Translated from the original Japanese liner notes written by Yasumasa Kumagai.)

Hey there, Yasumasa Kumagai here. Thanks for buying my CD. It’s actually been five years since my last album as a leader, the second album on my JAZZY BEAR label. The title of the album this time is Last Resort, 最終手段 (saishū shudan: last resort) in Japanese, and if you ask what I mean by that, it’s like this: There’s been a lot of talk recently about CDs not selling these days, so… okay then, I’d better create a crazy design for the cover, right? So I tried to make a jacket that looks like something from a rapper from the southern US. That’s all it means (laughs). For anyone who bought this based on the jacket, this may be like a time when you thought you were buying a cola but, upon tasting it, it turned out to be barley tea.

You can’t do something like this without having your own independent label, right?

By the way, the actual concept of this album is to include trumpet on all the songs. Since I’ve never made an album having a horn player on all the songs, this is a new attempt for me. So I compiled songs with the idea that Miki Hirose would be playing with me. I’ve known him since my New York days, and was often invited to play with his large ensemble over the past several years. His compositions and arrangements are so great that I thought I’d also like to write something similar someday. But suddenly composing for a large ensemble seemed impossible, so I resolved to start by writing with just one horn in mind, the trumpet. That was five or six years ago. Finally, I was able to make this one-horn album. So, on that schedule, I should be releasing a quintet album after another five years, and a large ensemble album in about fifty years.

Also, this time there are more Latin songs. I like contemporary Latin jazz, and Hirose often played in that style while in New York. I always looked forward to seeing him every time he returned to Japan with the authentic feel of that kind of music. And, after all this and that, I was finally able to release something with Hirose.

As for the two rhythm section members, I’ve been working with them for about eight years. Bassist Furuki may appear to be a cyber-terrorist on the album cover, but that’s not the case at all. He is a serious musician who deeply pursues music. When I first performed with him, he was about twenty-two years old and I thought “Wow, this is a great bassist.” I immediately asked him to join my trio. Plus, he’s also a great pianist to the point where he can play live shows as a piano trio, so if you think about it, it should make me pretty uncomfortable to play with him, right?

Drummer Yamada may appear to some as a delinquent or anti-social, but in fact, he’s not that at all. When I first met him, he was about twenty-one years old and so baby-faced that I thought “Is today’s drummer a child?” Steadily gaining more experience through the years, he’s become an excellent mainstay drummer leading a very busy life.

I like to include elements from a wide variety of genres in my compositions, and these two always are quick to grasp the music and make the songs evolve.

Recording with such great friends like these was perfect and over before we knew it, much like the rehearsals. It was so fun… I wish I could do it every month.

1. Pirarucu

This is a song with a Brazilian feel. Brazil brings to mind the Amazon River, and the Amazon River brings to mind the pirarucu (one of the world’s largest freshwater fish), which I chose as the title for this song. Although the chord progression is a little complicated, I hope that you can sense the Amazon somewhat.

2. Happy New Year

I finished this song at home right before a New Year’s Eve event, so gave it this title. Starting with a Cm7-5 intro, there’s a dark sound that contradicts the title. I wrote this with Hirose precisely in mind. Try listening to this in a set with Coltrane’s “Countdown” on New Year’s Eve, yeah?

3. Conflict Areas

I wrote this with the image of Africa in mind and recalling a soca groove from Trinidad and Tobago. There are so many areas around the world called conflict zones where people are forced to live in conditions unimaginable in Japan. However it doesn’t necessarily mean that I am somehow involved in these activities myself, but by starting to know about these things, I ended up choosing the title based on the meaning of conflict zone.

4. La Camiseta Hermosa

A song in 12/8 time with a Latin flavor. Hirose’s band often plays songs with a 6/8 or 12/8 feel, so I thought I would try to write one myself. Luckily, I’ve gotten quite a bit used to it. This song went untitled for a long time, but on the day of the recording, Furuki was wearing a t-shirt with the word “Hermosa” on it. Everyone thought that this word (meaning “beautiful” in Spanish) would be good, so that turned into the title. It means “beautiful shirt”.

5. Apologetic Blues

Blues of apology. One time, I had completely forgotten about a student’s lesson and missed the appointment. I wrote this song in the middle of that forgetfulness. It’s a minor blues sort of like Wayne Shorter in the Blue Note era.

6. Dough

In Japanese, it’s 現生 (gen nama: hard cash). It’s been said that Japan is lagging as the rest of the world moves towards cashless payments. There are still jazz clubs where cash is king and credit card and smartphone payments are not accepted. I tried to capture that 切なさ (setsunasa: bittersweet, wistful, sadness, pain) feeling in a ballad.

7. Quizás Quizás Quizás

I like Gonzalo Rubalcaba’s arrangement of this Latin standard number that I listened to in middle school, and I tried to arrange it for my style. The ending is the highlight, with such a changed atmosphere that makes you wonder what has been happening up until then.

8. Caravan

And, continuing from the drum solo of the previous song at the same tempo, it’s this familiar jazz standard number. I also tried to arrange this one with a vivid Latin color. The final two songs were recorded in succession, in one shot. The schedule is complete!

This was my first time to try something new, to record all the songs sequentially in order of the album listing. As for the reason why, I thought it would be interesting to capture the flow of the full day, from beginning to end, in the recording.

That’s all for now. We appreciate your support as we continue to release new albums in the future.

Audio and Video

• Live version of “Pirarucu”, track #1 from this album:

• Live version of “Conflict Areas”, track #3 from this album:

• Excerpt from track #5: “Apologetic Blues”

Folds is a live recording of Kimura’s quintet playing in Kobe in 2022. Drummer Kimura leads the group featuring special guest Kazuhiko Takeda, whose melodic, soulful jazz guitar is exquisitely framed by the relatively younger musicians. Regardless of age, the unit displays talent, harmonious energy, and reverence for the music they create together.

The album contains eight tracks, seven jazz standards and covers plus one original composition from Kimura. Starting with the slow ballad “My Ideal”, the music is straight-ahead, satisfying jazz with a few members each soloing on specific songs.

Takeda’s guitar shines throughout with a warm tone and superb improvisation, a mellow sound that is well-balanced against Hirose’s excellent trumpet notes full of real jazz spirit. The piano sound may seem understated at first, but Naoko Tanaka exhibits a high level of skill with her impressive, jazzy lines and confident comping.

Bassist Yuji Ito and leader Kimura hold down the impeccable bass lines and rhythms throughout the album, and each takes the spotlight on later tracks. Kimura especially, as the leader and rhythmic director, adds ear-catching dynamic variations, rumbling textures, and splashes of sound throughout to support and respond to the musicians as they ad-lib in the moment.

Besides the slow ballad “My Ideal” and the bossa nova “Triste”, most of the songs are mid- to up-tempo numbers that swing with real live vitality, music created in the moment before a rapt audience with fun interplay and imaginative improvisation. Highlights like “Summertime”, “Someday My Prince Will Come”, and “Our Delight” invoke the live spirit and sounds of combos like Art Blakey and the Jazz Messengers. Similarly, the drummer’s original song “Face to Face” has a distinctive Cedar Walton hard-bop style and is a standout with its catchy structure and thrilling solos.

This straight-ahead music combines respect for the art form with modern influences, and it doesn’t disappoint.

Liner Notes

(Translated from Hiro Kimura’s original Japanese liner notes.)

1.My Ideal

This is a ballad with a cute melody. This song was played as an encore for that day’s second set. Listen to the warm sound of the band.

2.Face to Face

This is the only “Kimura original”, played here by the quartet without Takeda. It’s a song I wrote during a self-restrained lifestyle imposed by the corona pandemic while thinking about the enjoyment of playing with people. This song was the first song of the first set.

3.Summertime

This is George Gershwin’s well-known melancholic song. We played it simply with a medium swing feel.

4.Triste

Antonio Carlos Jobim’s refreshing song. You can feel the early summer atmosphere present on the day of the recording.

5.Povo

A funky song by trumpeter Freddie Hubbard. Hirose explodes! And definitely check out Takeda’s musical interjections near the end of the last melody statement… it’s so cool.

6.Someday My Prince Will Come

The very famous Disney song. I wonder if it’s rare to be playing this song in this way in the 2020s. We play the song vigorously and at a faster tempo compared to Miles Davis’ famous take.

7.Willow Weep For Me

This is a bluesy song that’s a favorite of Takeda. As for me, when I think of this song I think of Takeda. It’s a beautiful ensemble with him. Please check out the only bass solo on this album.

8.Our Delight

This is a 1964 song from pianist Tadd Dameron. Takeda often played this song in the past, but on this day it seems that it had been several years since he played it. During the rehearsal, we confirmed the melody bit by bit, and we were all moved by the wonderful performance.

Miscellaneous Notes:

I’d love to record with Kazuhiko Takeda.

This has been my [Kimura’s] secret dream for the past several years.

The performance of Kansai’s world-renowned guitar master Kazuhiko Takeda is one of a kind, with frightening sharpness and speed and an original sense of melody that is deeply rooted in jazz.

After meeting Takeda in 2014 we played together many times, but the 2020 corona pandemic made me unable to meet him for over a year.

In the fall of 2021, we finally performed together again. I was astonished by that performance and decided to make a live recording.

The venue was 100Ban Hall in the Takasago Building, a historic building in my hometown of Kobe. This is the spot where my father had an office when I was a child and where I used to come to play, so I feel a strange connection to this venue.

The members for my first album include the ever-reliable pianist Naoko Tanaka and bassist Yuji Ito who I’ve played with the most. In front is the strong trumpeter Miki Hirose, who makes that day’s music the best whenever he is there.

Tanaka and Ito met Takeda for the first time the day before the recording. It’s truly a once-in-a-lifetime recording.

As for the results… let your ears be the judge.

Hiro Kimura

Audio and Video

• The Hiro Kimura Quintet playing “Triste” from this album:

• Excerpt from track #2: “Face To Face”

Audio and Video

• Promotional video for this album:

• Excerpt from track #1: “スクラッチ (Scratch)”