The seven songs included on this album are modern sounding with straight-beat and brushed swing feels. Most songs are in the 9- to 12-minute range, and there is plenty of space for the soloists to explore their improvisations and raise the thrill levels (or deepen the mistique, as the case may be) while the trio propels forward as a group. Most of the solos here feature Yanagihara on piano and Ito on bass, but drummer Kimura also gets a few spots where he trades measures with the pianist or plays dynamic drum solos over rhythmic vamps. This trio is well-suited to one another, tightly-locked and exciting, and the energy of performing live is a visceral force present in their playing.

Wrapping up the live set is track #7, Ito’s “Hinageshi” with a beautiful melody that also appears on some of her other albums: Retattanni no Mori (for solo bass), and Shiro o Matoeba (“Koto Ha, To” vocal/piano/bass).

Semendo Sementes was recorded live in 2021 at the Tokyo jazz club Plus Eleven in Ageo. Included below are videos of the making of this album and the trio’s concerts at Plus Eleven.

Audio and Video

• Promotional video for Semendo Sementes from Yuki Ito Trio:

• “Snow Goose” - track #5:

• “ひなげし (Hinageshi)” - track #7:

• Full playlist (YouTube)

• Excerpt from track #1: “Aderante”

Just recently released in January 2025, Enyana has ten tracks and runs at forty-two minutes of music. Nine of the songs are from Latin America, from Brazil, Argentina, Mexico, and Cuba, all filtered through the gentle but meticulous lens of these two Japanese musicians. The love and seriousness for the music that the two accomplished musicians bring into focus here is clear through their genuine passion for the songs and the talent to pull it off. The solid rhythms and deep emotions created through just voice and piano increase the intimacy and the impressiveness of their feats as a duo, delivering strong feelings of drama through authenticity.

Adding Japan to the list of countries covered by the music, there is one original song by Emiko and Yanagihara. Throughout, the music grooves with the authentic rhythms and lyrics of the different countries’ rhythms and atmospheres. Lyrics are sung in mainly Portuguese with some Spanish, English, and a bit of Japanese.

Along with her lyrics-based vocals, Emiko’s voice talents include scat singing and percussion. On Enyana she and Yanagihara include two instrumental songs through voice and piano, and a bit of triangle (Emiko’s excellent sense of time and independence also coming through here) at one point for a subtle but effective extra layer of sound and rhythm. Yanagihara loves percussion as well, saying that if she weren’t a pianist she would have been a drummer, and their common bond on this point, together with their impeccable sense of time, is another connection for Enyana in their musical performance and outlook.

The overall feelings generated by the songs sway from cheery, light, fun, and danceable to bittersweet scenes and melancholic storytelling. That is to say, passion. Between the poles of this heartbreak and soul-reviving uptempo pep, Enyana also offers a sweet love song with their first original “Hidamari” and a fantastic “Poinciana”, that catchy classic jazz tune that is rearranged and brightened with colors of Enyana.

Liner Notes

(Translated from Emiko Voice and Yuka Yanagihara’s original Japanese liner notes.)

We’ve finally completed Enyana’s first album! This work is filled with the life of the South American rhythms and melodies that EMiKO VOiCE and Yuka Yanagihara love so dearly.

The two of us share a connection we have as graduates of the Berklee College of Music, and we first performed together in Kobe in November 2011.

Since then, focusing on the music of South America, we’ve been continuing to assemble the type of thrilling yet intimate performances that a duo can deliver.

This recording of this album included a rich variation of South American music, from the passion and pathos of the Argentine classics “The Swallow in the Mirror” and “Alfonsina and the Sea” to the vibrant rhythms of Brazil in the songs “Forró Brasil” and “Sai Dessa”.

We’re also happy to present our first original song as a duo for the first time on this album.

The stripped-down format of just voice and piano is given depth and breadth through these encounters with famous songs, resulting in an album that almost seems to invite the listener to the lands and the forest of South America.

We hope that this can be a release that can be enjoyed for a long time by lovers of South American music, as well as those who are just beginning to discover its charms for the first time.

1. Corrida de Jangada

Music and Lyrics: Jose Carlos Capinan, Edu Lobo

“Sailboat Race” is a song that depicts the traditional Brazilian boat races. Voice and piano portray the racer’s movements as the phrase “Vamos embora” piles up and expresses the spirit of a boat racing across the sea. I hope this dynamic energy comes through. (EMiKO)

2. Alfonsina y el Mar

Music: Ariel Ramírez Lyrics: Félix Luna

This is a song that was dedicated to Argentine poet Alfonsina Storni. It’s a piece that touches my heart deeply. Its heartbreaking but beautiful melody thoroughly expresses the sadness that Alfonsina carried, and her determination as she set out to the sea. (EMiKO)

3. Sai Dessa

Music and Lyrics: Nathan Marques, Ana Terra

At first, the song has a cheerful samba rhythm, but there is a hidden message criticizing Brazil’s military regime. It’s a considerable challenge to create a samba groove with only voice and piano, but I think we delivered a solid groove in our own way. I hope you enjoy the rhythm. (EMiKO)

4. Los Pájaros Perdidos

Music: Astor Piazzolla Lyrics: Mario Trejo

This song, Piazzolla’s “The Swallow and the Mirror”, is one that I’m truly happy to have come across. In particular, when I hear the piano play the jumba rhythm in the middle, I love it so much that, while singing, I am secretly thinking “Listen to the piano!” (laughs). The contrast between the dynamic development and the quieter ballad section gives this song a dramatic mood, one filled with bittersweet thoughts of lost love and time. (EMiKO)

5. Forró Brasil

Music: Hermeto Pascoal

This is a forró masterpiece by the genius musician Hermeto Pascoal of Brazil. The intertwining of my scat singing, triangle playing, and Yuka’s steady rhythm, creates a fun atmosphere. (EMiKO)

6. Hidamari / A Sunny Spot

Music: Yuka Yanagihara Lyrics: EMIKO VOICE

This is our first song written together. For just that reason alone, it’s precious.

We’ve talked about writing together for some time, but it never really took shape. Now that the plans for this album were moving ahead in a detailed way, Yanagihara took the lead in writing a song. We tried to write a song in the image of the Enyana group. Building on Enyana’s colorful worldview and catchy parts, we wrote a song that seems to have a gentle melody and chord progression that you may have heard before, and that seems to sing in your heart. I also really like EMiKO’s Japanese lyrics which are simple, straight to the heart, and soothing. The South American theme of our group also fits the ebb and flow of waves that you can almost hear in the setting (but now I’m self-praising). (Yanagihara)

7. En la Orilla del Mundo

Music: Martín Rojas Lyrics: Pablo Milanés

This is a piece written by Martín Rojas, the talented blind guitarist who was based in Mexico. This song became widely known among jazz fans after being included on Gonzalo Rubalcaba & Charlie Haden’s album Nocturne. It’s often performed as an instrumental song, but after discovering that there are lyrics, EMiKO found them to sing here, and it has now completely become a standard Enyana song. (Yanagihara)

8. Poinciana

Music: Nat Simon Lyrics: Buddy Bernier

EMiKO requested to try out this song for Enyana, and I made an arrangement for this album. Originally based on a traditional Cuban folk song whose title refers to the vivid Poinciana flowers that blow in the warm Cuban winds, basing this arrangement around a 7-beat rhythm makes for a really thrilling musical development (stressful!). It has the taste of Enyana and I really like it. The original song has been a jazz standard played by many musicians. I hope that you like this version with the flavor of Enyana. (Yanagihara)

9. Quiet Little Lady

Music: Debora Gurgel

This is a piece by Brazilian pianist, composer, and arranger Debora Gurgel. It’s an instrumental song that was inspired by the words of Chick Corea. I think it’s fair to say that one of Enyana’s distinctive characteristics is to take up songs without lyrics. You can also say that taking up an already fast-paced samba feel with dizzying melodies and movements is also reckless for just two people (laughs). However, once you try this kind of thrilling performance, you may find that it’s also quite addictive (laughs). I hope that you can enjoy with along with me. (Yanagihara)

10. Beatriz

Music: Edu Lobo Lyrics: Chico Buarque

When I first heard this, I thought it was such a beautiful song. As EMiKO explained the meaning of the lyrics to me, I could also appreciate the very Brazilian choice of words and expressions. This is a masterpiece by the maestros Edu Lobo & Chico Buarque. I’m so grateful to have encountered this song, as it’s such a delicate and wonderful piece of music, and one that would crumble and fall away from my hands that were so carefully nurturing it, if I were to let my guard down. (Yanagihara)

Audio and Video

• Promotional video for this album with excerpts from all tracks:

• Live version of “Corrida de Jangada” (tr. 1) from 2022:

• Live version of “Alfonsina y el Mar” (tr. 2) from 2021:

• Live version of “Sai Dessa” (tr. 3) from 2020:

• Enyana performing Chick Corea’s “Spain” from 2021:

• Archive video of a live-streamed Enyana performance from 2020, with “Rabo de Nube”, “Águas de Março”, “Alfonsina y el Mar” (tr. 2), “Sai Dessa” (tr. 3), “Los Pajaros Perdidos” (tr. 4), and “Forró Brasil” (tr. 5)

• Excerpt from track #8: “Poinciana”

The compositions start from a base of jazz and improvisation but are filled with many other various elements. There is a sense of a deep connection to ethnic rhythms and sounds, such as some Spanish elements as with the titles of the first track and the album itself. Some of the writing and the piano parts recall Chick Corea’s “Spanish heart” as a component, and there could be some Return to Forever-type jazz/rock/Latin fusion characteristics that subtly power the music as well.

Not to say that this is Latin music or Latin jazz, but that anything could be an influence. This includes Japanese musical training, American jazz education (both Yamamoto and Yanagihara studied at Berklee College of Music), and classical and jazz study, with Japanese soul also brought in via the backgrounds of the three musicians.

Similarly, there are rhythms and music that are not only based on jazz, pop, or Latin fusion, but seem to be infused with some cultural and historical influences. For example, medieval, roots, or tribal sounds that conjure up visions of early Celtic or even Viking music. The fascinating compositions deliver a full sound from the three players, a large part due to their great arrangements and detailed touches that are irresistibly moving and likable, and pull you in like gravity. The players’ technical skills are flawless, of course, and bring the musical structures, themes, improvisations, and interplay right into focus.

The sounds of the piano and vibraphone work so well together in playing the radiant and emotional lines that Magnolia delivers. As Yamamoto and Yanagihara develop their evocative melodies over shimmering harmonic structures, percussionist Aikawa forms the frames of the music through a myriad of patterns and textures through her wide-ranging percussion.

Technically (pedantically), the piano and vibraphone are also considered to be percussion instruments, and this may be another reason why the three musicians are perfectly aligned with a cohesive single-mindedness. This shared ability reinforces the exciting rhythm, meter, and tempo changes sprinkled throughout their songs.

There are plenty of fresh approaches written into the music scores themselves that are interesting and fun, and the percussion beats delivered through Aikawa’s cajón, cymbals, shakers, bells, drums, sticks, shells, and other instruments, make it all the more stimulating as the rhythm sounds alternate and transform.

This spirit of freshness is clearly linked to their choice of band name. The refined and graceful magnolia flower is one of the first flowers to bloom in spring and has a fleeting blossoming period. The symbol of these strikingly beautiful flowers can be compared to sakura, or cherry blossoms, as both can symbolize Japanese mono no aware: the awareness and appreciation of impermanence, and that bittersweet transience that evokes beauty and sadness.

A quick tour through the album tracks starts with an instantly engaging track #1 “La vos del viento”, colorfully Spanish and exciting. #2 “Haru, Aozora” is a cheery and bright piece with breathtaking views. #3 “Short Stories No. 6” is a distinctive march-like story with ancient medieval folk aspects (as with Yamamoto’s other compositions, Reiko’s love of role-playing video games greatly influences how she tells stories through her music, and this is one chapter from her “Short Stories” series of songs).

Track #4 “Foggy Forest” is atmospherically prismatic and filled with curiosity. #5 “Fune” is another catchily ancient-sounding piece that paints a pre-modern tableau. #6 “Blue Mallet” is rousing and groovy, drenched with cinematic drama. #7 “Pause is peaceful and slightly blue, similarly powerful as soundtrack material. #8 “Hanakage” is another otherworldly, absorbing journey with a deep aura, undefinably Old English or Gaelic, perhaps. #9 “Furosato” is an affecting ballad, carrying the same heartwarming, nostalgic power as songs like “Danny Boy”. Finally, #10 “Swaying Willows” with its soft pop shuffle is all farewell hugs, fresh and positive with the promise of a warm welcome in the future.

Audio and Video

• Live version of track #1 “La vos del viento” from Magnolia’s 2022 album release tour:

• Live version of #6 “Blue Mallet”:

• Live version of #8 “Hanakage”:

• Live version of #2 “Haru, Aozora”:

• Live version of #7 “Pause”:

• Magnolia chatting about their 2023 tour (Japanese):

• Short compilation of excerpts from a 2022 live performance in Kyoto:

• Excerpt from track #3: “Short Stories No.6”

Links

• JazzTokyo review, interview, and photos (Japanese)

From the previous album to this one, the imagery shifts from close (raindrops on a window) to far, with natural scenery in theme for both. A second link to her previous album is found in a track on the Beloved Ones, “Rainy Song #3 In Winter”. This song continues the story started in the opening two tracks on Inner Views, “Rainy Song 1: At Midnight” and “Rainy Song 2: In the Forest”. Comparing the two album covers and the pieces’ progression, the rain has stopped and the eye’s focus has extended further into the world, onto meadows, trees, and mountains.

Within the calm music like some tracks on Beloved Ones, understated music can say so much. It speaks quietly and does not rouse in overly obvious ways, but seeps in like unstoppable truths, extending like liquid flowing and pooling on a smooth flat surface.

Between one standard swing tune and one free ambient exploration (relatively moderate on both counts), the rest of the tracks occupy the space in between. Mostly there is a subtle, straight-eight feel throughout. Yanagihara’s music is richly colored by drummer Ryo Noritake, and he provides not just background time pulse but a lot of expertly applied shading and dynamics.

The album starts liltingly with a softly falling “Snowflake” before moving into more Jarrett-y country folk with “Landscape”. Next is the swinging jazz standard “All the Things You Are” (video below) which includes a mesmerizing drum solo from Noritake that spreads out in masterful sonic construction.

“Rainy Song #3 In Winter” continues the story started on Inner Views, and is a demonstration of the wilder, busier side of the trio. Things seem to happen simultaneously with a controlled chaos effect which becomes an exciting highlight on the album.

“Move On” (also in a video below) is impressionistic and poetic, warm like a welcoming embrace. “Loved One” emerges from the title as a bluesy, hymn-like space for a slowed-down break. “Ripple” is a floating, freeish song with simultaneous improvisation where the theme unveils itself slowly and majestically in the trio’s painting. “Surreal Sunset” returns with another Jarrett-like light rockish rollick, almost “Prism”-esque with interesting angles (as does a sunset through a prism becomes surreal, perhaps). The album closes with the dramatic storytelling of “Spring, Blue Sky” with more creative changes and structures.

With Beloved Ones, serenity is balanced with the stimulations of jazz playing and concepts. There is a feeling of loving-kindness radiating from the title and through the music. Enhancing the calm are the images of nature and natural settings. Peace is brought to life by Yuka Yanagihara’s trio, her music, and song titles, surpassing the limits of language but lifting off from these words: “Snowflake”, “Landscape”, “All the Things You Are”, “Rainy Song”, “Move On”, “Loved One”, “Ripple”, “Surreal Sunset”, “Spring, Blue Sky”. Beloved Ones.

Audio and Video

• Promotional video for “All the Things You Are”, track #3 on this album:

• Promotional video for “Move on”, track #5 on this album:

• Excerpt from track #1: “Snowflake”

Over nine tracks (one song is repeated on solo piano as a bonus track), the synergetic trio creates image-like moods through Yanagihara’s original compositions. The music here focused on setting up a comfortable place with each tune, emphasizing atmosphere over flash, with waves of enveloping grooves pinned to lightly rocking rhythms.

The musical ambience is set up from the two-track opener “Rainy Song 1: At Midnight” and “Rainy Song 2: In the Forest”, where understated melodies shift and transform over subtly mesmerizing harmonies and rhythms. Similar mood-setting styles continue through the album on tracks like “Melancholia” with its strong backbeat and the lovely and thoughtful “After Tours”.

On Inner Views, the trio’s musical influences seem to draw from ECM ambient jazz and the stylistic modern jazz of E.S.T. or Bob James, with tiny hints of contemporary pop songwriters like Sting and James Taylor also in the mix. The mood is mostly consistent throughout, with the dynamics mostly staying between the sole bouncy swing jazz track “Traffic Jam” and the tranquil ballad “Silence”.

The final song, a solo piano rendition of “Moon Dance” (also played with the trio on track five), gives the listener an intimate ten minutes with the pianist as she builds up, deconstructs, and rebuilds to a dramatic close.

Audio and Video

• Promotional video for this album:

• Audio for “Moon Dance”, track #5 on this album:

• Excerpt from track #8: “After Tours”