Nanami Haruta: The Vibe

Unlike other members of the family of western instruments, the ranks of the trombone are a bit exclusive—perhaps even more exclusive in the art of the improvisers, the jazz landscape. Which is yet more reason to celebrate the arrival of a new trombone voice in jazz music. Her name is Nanami Haruta and she arrives at this debut recording moment from Sapporo in the Hokkaido prefecture, the northernmost of Japan's main islands. Hokkaido is known for its volcanoes—perhaps explaining Nanami's attraction to the often-controlled volcanic tonalities of the trombone—at least when entrusted to the right practitioner. Even at this early juncture in her journey she arrives with a rich, full sound on her instrument. On the strength of The Vibe Ms. Haruta is well on her way to expressing her chosen instrument in all its charming brass nuances—from tender whispers to robust expression. Nanami arrives at this pivotal moment fresh from the mentorship of one of jazz's most exemplary 'bone practitioners, Michael Dease.

"I started playing trombone at school when I was eight years old," Nanami informs, "in a band of elementary school students playing jazz, which is rare in Japan." From that tender starting point she's been a professional since the age of 15 exploring the jazz environs of the great capital Tokyo. Dease caught up with her through the Seiko Summer Jazz Camp in Tokyo, where she copped the most outstanding student award in 2019.

Despite her already promising professional career, Nanami presciently recognized the wisdom of an advanced education, enrolling in the Michigan State University jazz program seeking a Performance Diploma, under the direction of the marvelous bassist Rodney Whitaker, and the trombone teachings of Prof. Dease. Along her way she's been recognized for her prowess by such intense competitive trombone-centered environments as the Kai Winding and Carl Fontana competitions, the Yamaha Young Performing Artist Award program, and The Michigan Jazz Festival Award. Among Nanami's professional affiliations thus far have been the Rodney Whitaker Sextet, and the Ulysses Owens, Jr. Big Band. On The Vibe those two leaders return the favor.

So how many students do you suppose possess such facility that their professors and bandleaders eagerly enlist for their debut recordings? For her leadership launch Ms. Haruta has not only engaged Rodney Whitaker on bass, but also fellow MSU professor Xavier Davis on piano, and Ulysses Owens Jr. on drums. Her trombone mentor Michael Dease was so excited by the prospect that he whipped out his trombone and baritone sax to join the proceedings as well! "They are all jazz musicians whom I respect the most, and it was a great pleasure to have them perform on the album. Their playing has made the music several levels better," Nanami enthuses.

Personnel-wise, it should be noted that two of these eleven selections—namely "The Vibe" and "Easy Money"—come from the composing pen of pianist and co-producer Gregg Hill. The title track bears a certain urgency in its twin trombone thematic statement, Nanami stepping up to the plate first in an attractive assertive posture, her robust tone immediately compelling, engaging attractive multi-phonics in her solo statement. The other piece including Hill's piano, his tune "Easy Money," further elicits a feeling of 2-trombone urgency between student Nanami & Professor Dease. "Those two songs are unique and added more freedom to our music," Haruta declares, "they're songs with a free aspect and we enjoyed the fun of jazz, which is making music for the moment."

In addition to her obviously adroit trombone playing, Ms. Haruta also exhibits her composing prowess on her three originals here, "all of which I wrote in the past year since coming to Michigan," she informs. Her first original is "Toshi," a graceful piece which harmoniously evolves with Dease's complimentary accompaniment. Nanami's considerable tone unfolds beautifully in her solo passage.

In addition to the Dease composition "How It Goes," two other very familiar musician-composers on the contemporary scene contribute selections, including pianist Renee Rosnes' "Girlie's World" and Christian McBride's "Sister Rosa." "These are all compositions by some of the best musicians alive today," Nanami asserts. "They are not only great players, but also excellent composers! Their tunes have unique melodies, but are also very catchy and memorable. These are fascinating tunes that we should preserve for future generations," she asserts. Rosnes' tune builds from a lovely Xavier Davis piano intro into some nice thematic counterpoint between Nanami and Prof. Dease's baritone sax.

Befitting the trombonely attitude of this release, Haruta cannily draws "Algonquin" from the book of one of the great masters of the instrument, Detroit's own Curtis Fuller, who Nanami certainly does proud. "There was some interesting connection between this tune and Professor Whitaker since he and Curtis Fuller lived on Algonquin Street in Detroit. This song is from Curtis Fuller's record Bone and Bari, compelling Dease to his bari sax. One suspects a similar declaration of Motor City pride of intent in Whitaker's original "Jamerson's Lullaby," perhaps a tender homage to Motown bass guitar monument James Jamerson. This is another moment that elicits some finely-crafted trombone counterpoint between student and Prof. Dease.

"How It Goes" is another of Professor Dease's contributions, replete with more of their attractive two 'bones thematic pairings. Befitting its title (with Woody in mind?) "Woodpecker" is a puck-ish two trombone line that encourages a witty duet passage between Haruta and Whitaker's typically robust bass.

The closer, a unique turn on the familiar Alex North/Hy Zaret composition "Unchained Melody," elicits a sumptuous duo theme statement with guitarist Chris Minami's cameo appearance on the date. Nanami informs, "Professor Dease suggested, 'Why don't you record a duo or trio with Professor Whitaker?' When I thought about it, ! immediately came up with 'Unchained Melody.' I've loved this song since I was a child and wanted to record it someday. I was convinced that the atmosphere of the low end acoustics of both the bass and trombone would perfectly match this song," our leader informs. The performance's charm comes from the 'bone/guitar pairing, which brings renewed feeling to this familiar theme. The duo grows to welcome Whitaker's mellifluous bass effectively delivering the proceedings to a thoughtful close via Nanami's considerable range and facility, leaving the listener with a warm smile of appreciation and thirsting for future chapters in the impressive young Nanami Haruta's development.