Nanami Haruta: The Vibe

The news of a trombonist fronting a small jazz ensemble brings the name J.J. Johnson (1924-2001) to mind. He pioneered that form of jazz expression. Before he stepped onto the scene the big brass horn stayed mainly in the background, eclipsed by trumpets and saxophones.

Many have followed in Johnson's footsteps: Curtis Fuller, Steve Turre, Michael Dease. The door opened, and a slew of talent stepped across the threshold.

This brings us to Nanami Haruta, who began as a classical player (piano) in Japan, only to be lured into the world of jazz at an early age by the freedom offered there, switching to trombone as her vehicle of expression. Her debut album as a leader, The Vibe, is as auspicious as it gets.

The set's opener "Girlie's World" was penned, fittingly, by pianist Renee Rosnes, who was the last pianist to serve in Johnson's small group jazz efforts, including playing on Heroes (Verve, 1998), Johnson's last album. Dease, Nanami's fellow trombonist, and her mentor, sits in, playing a gruff baritone sax instead of his more familiar primary instrument.

The trombone is an assertive instrument and Haruta is an assertive player. Her sound exudes a joy of creation vibe, issuing rich tones and eloquent articulation. The title tune opens with her muscular bluster. It is an up-tempo romp. The concept of touch is often mentioned when speaking of the piano. Haruta has a supple trombone touch, combined with a bold heft of expression. The tune, arranged by Dease, features pianist Xavier Davis rolling out a beautiful free-roaming solo

"Algonquin" was penned by Fuller (1932 -2001). Dease sits in on baritone saxophone again, recalling Fuller's 1958 Blue Note Records album Bone and Bari. The sound does indeed channel the late-'50s Blue Note motif, with lots of loose energy channeled into a mainstream groove.

Haruta also offers up three of her own well-crafted compositions. "Toshi" is a tender, perhaps wistful statement, while "Heartstrings" sounds sad—is there a heart partially broken influencing the sound? And her "Woodpecker" brings the 1960 J.J. Johnson / Kai Winding collaboration to mind.

Following in big footsteps, off on the right foot and involved here in an enriching mentorship with Michael Dease, Nanami Haruta proves she belongs in the club of top-level jazz players. And the closer, "Unchained Melody," Haruta playing out front, backed by an understated and spacious accompaniment—the music welling up from her heart—is gorgeous. Just gorgeous.

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