| Jazz |
Album of a Young Artist: A Sumptuous Production Showcasing the Talent of a Promising Trombonist
A debut album of remarkable opulence, conceived to highlight the artistry of a young Japanese-born trombonist now based in Michigan. The recording assembles a dream ensemble of musicians, beginning with her mentor, the esteemed trombonist Michael Dease (who also plays saxophone and baritone), alongside the brilliant pianist Xavier Davis. The lineup is further elevated by the extraordinary bassist Rodney Whitaker—who, as I mentioned just yesterday here, has just released the splendid album Mosaic—as well as the ever-impressive drummer Ulysses Owens Jr., a fixture in numerous recordings we frequently discuss. Rounding out the ensemble is guitarist Christe Minami, an artist we had yet to have the honor of discovering.
As is customary with this label, the recording and production are of exceptional quality. With a high-end sound system or a pair of top-tier headphones, the listener is transported to the very heart of the performance, immersed in an arresting musical dialogue from the outset. This is music that makes no concessions to mainstream sensibilities; rather, it is a pure expression of the trombonist’s artistry, as she engages in a veritable conversation with her instrument, conjuring sounds that, at times, verge on free jazz. As a debut album, it is nothing short of a revelation.
“Nanami possesses an ethereal lightness on the trombone that makes one forget just how unwieldy and demanding the instrument can be,” remarks Dease. “Her musical spirit blends the fiery intensity of Detroit native Curtis Fuller with the pastoral charm of Sapporo, her hometown in Japan. I see in her the potential to become the defining trombone voice of her generation, and I have no doubt that Nanami will play a role in shaping the future of jazz.” Personally, I would say: let time run its course, and she may yet shine as brightly and compellingly as a Wadada Leo Smith.
Upon deeper reflection, this album’s very configuration brings together multiple generations of musicians, all finding fertile ground here for their most daring artistic explorations—to our utmost delight. One cannot help but regret that no English-language website exists for this extraordinary trombonist, for after such an album, it is inevitable that many eyes will turn toward her. The trombone is an instrument with few truly captivating soloists. In my view, the greatest representative of the instrument remains Nils Landgren, followed by figures such as Michael Dease and, now, Nanami Haruta. To make an impression at this level is already an achievement in itself. But this is not the extent of her talents—her musical arrangements alone are enough to justify why a trombonist of Dease’s stature has chosen to be her mentor. Without a doubt, she represents the future, a force to be reckoned with.
To compare Nanami Haruta to Curtis Fuller is no small compliment, especially coming from Dease, who has long cited the legendary trombonist as one of his heroes—the very reason he abandoned the saxophone in favor of the trombone. Together, they pay direct homage to Fuller on The Vibe with his composition Algonquin, first recorded in 1957 for the album Bone & Bari alongside baritone saxophonist Tate Houston. Dease, now also pursuing a parallel career on bass saxophone, assumes Houston’s role, while Haruta embodies Fuller’s spirit with astonishing grace. As for Whitaker, his personal connection to this piece is deeply felt, given that both he and Fuller once lived on Algonquin Street in Detroit.
More than just the joy of discovering a new artist, the dazzling beauty of this album, its near-flawless execution, and its sheer artistic brilliance propel The Vibe into our collection of Indispensable Albums.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, February 13th 2025
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