In the world of video game music, few publishers have cultivated as rich and diverse a musical legacy as Square Enix. When the company launched its jazz album series with Square Enix Jazz -Final Fantasy-, fans were treated to smooth, sophisticated reimaginings of beloved melodies. However, the second installment in this six-part series took an unexpectedly bold approach that set it apart from every other release in the collection. Simply titled Square Enix Jazz Vol.2, this album abandoned the single-franchise focus entirely, instead drawing from the publisher’s entire musical catalog to create something truly special.
The album’s unassuming name might not win any awards for creativity—one might be reminded of the classic comedy bit about elementary school math groups where the advanced students were “The Blue Angels” while the second group simply called themselves “Group Two.” Yet beneath this humble exterior lies what many consider the crown jewel of the entire Square Enix Jazz series. By granting arrangers Eijiro Nakagawa and Ryu Kawamura unrestricted access to decades of gaming music history, the creative team unlocked possibilities that a single-franchise album simply couldn’t achieve.
A Diverse Musical Palette Spanning Legendary Franchises
What makes Vol.2 particularly compelling is its remarkable breadth. Rather than limiting themselves to Final Fantasy—a franchise that, while beloved, had already received extensive coverage in the first volume—the arrangers pulled from SaGa, Mana, Chrono Trigger, and even NieR. This diversity isn’t merely cosmetic; it represents fundamentally different compositional styles, time periods, and emotional palettes being unified through the common language of jazz. The inclusion of Final Fantasy XII and XV tracks is especially noteworthy, as these entries were conspicuously absent from the first album, leaving fans of Hitoshi Sakimoto’s cinematic orchestrations and Yoko Shimomura’s dramatic compositions eager for jazz interpretations.
The album opens with “The Legend Begins” from SaGa 2 (known as Final Fantasy Legend II in Western markets), a choice that immediately signals the collection’s intent to honor Square Enix’s broader musical heritage. The arrangement begins with a gentle piano statement of the melody before evolving into a heavy groove supported by drum and bass, with guitar trading phrases with the horn section. What’s particularly impressive about this opener is how the tempo remains consistent while the energy transforms completely through added syncopation from the bass, creating the sensation of an entirely new musical experience while honoring the original composition.
Standout Arrangements and Bold Reinterpretations
Perhaps the album’s most ambitious track is the arrangement of Final Fantasy VI’s iconic boss theme “Dancing Mad.” In its original form, composed by the legendary Nobuo Uematsu, this piece accompanies the final confrontation with the villainous Kefka and stands as one of gaming’s most complex and memorable boss themes. The jazz arrangement focuses on the song’s climactic final portion, running a solid five minutes despite its brisk tempo thanks to fantastic improvisation sections featuring jazz flute. Drummer Ken Higeshiro brings a legendary big band sound reminiscent of Benny Goodman’s era, except translated into an unusual 15/8 time signature rather than standard 4/4. The arrangement masterfully shifts between moments of genuine terror and playful mischief, capped off with the classic Kefka laugh sound effect—a touch that delights longtime fans.
The album’s treatment of Final Fantasy XII’s “Flash of Steel” demonstrates arranger Eijiro Nakagawa’s versatility. Hitoshi Sakimoto’s original composition carries clear John Williams influences with its brisk orchestral energy, but Nakagawa transforms it into something more reminiscent of Final Fantasy X-2’s lighter musical aesthetic. The intricate guitar work commands attention during the opening minute before the horn section transitions from supporting filler to dominant melody carrier. Similarly, “Apocalypsis Noctis” from Final Fantasy XV—originally a massive orchestra-and-choir piece by Yoko Shimomura utilizing a sophisticated 3/4 and 6/8 time signature mix—becomes a soft, brooding piece in 4/4 swing, with Ryoji Ihara’s flute work taking center stage.
The Challenges of Jazz Translation
Not every track achieves perfection, and honest criticism reveals the inherent challenges of translating video game music to jazz. The arrangement of NieR’s “Song of the Ancients” proves somewhat divisive. The swing syncopation feels somewhat forced, and brass instruments struggle to capture the ethereal quality of Emi Evans’ iconic vocals from the original. While nothing could truly substitute for those haunting vocals, alternative instrumentation choices—perhaps piano and flute rather than saxophone and trombone for the dual melody—might have served the piece better. That said, Ryu Kawamura’s reharmonization choices in the arrangement’s second half work surprisingly well, demonstrating the arranger’s creative problem-solving abilities.
The most avant-garde moment arrives with Kawamura’s arrangement of “Swivel” from Seiken Densetsu 3 (Trials of Mana). This track maintains the folksy character of the original through its whirling 12/8 tempo and Yu Manabe’s fiddle-inspired violin work. The decision to let the ending build to cacophony before collapsing fits the source material’s spirit perfectly. The use of vibraphone-like sounds—likely synthesized by Takana Miyamoto rather than actual mallet percussion, based on album credits—adds an unexpected textural dimension.
Legacy and Recommendations for Collectors
Following Vol.2’s release, Square Enix continued expanding its jazz catalog with dedicated albums for Final Fantasy VII, the SaGa series, and Chrono Trigger. Each of these releases offers its own pleasures, diving deep into specific franchises with focused attention. However, there’s something irreplaceable about the buffet-style approach of Vol.2. The album serves as both an introduction to Square Enix’s musical breadth and a showcase for the exceptional arranging talents of Nakagawa and Kawamura working at their most unrestricted.
For collectors considering where to begin their Square Enix Jazz journey, Vol.2 represents the ideal entry point. Its variety ensures that listeners encounter multiple compositional styles and eras, from 8-bit era SaGa melodies to modern orchestral NieR compositions. The album demonstrates that video game music, often dismissed as mere background accompaniment, contains melodic and harmonic sophistication worthy of jazz treatment. In an era where gaming music increasingly receives recognition as legitimate artistic expression—with concerts, symphonic recordings, and critical analysis becoming commonplace—Square Enix Jazz Vol.2 stands as a testament to the enduring power of these compositions when filtered through skilled arrangers’ creative visions.
Expert Opinion: Square Enix Jazz Vol.2 represents a watershed moment in video game music appreciation, demonstrating that cross-franchise compilation albums can succeed artistically when arrangers are granted creative freedom. The album’s willingness to experiment with unconventional time signatures and bold reharmonizations suggests that future video game jazz projects should similarly embrace risk-taking rather than safe, predictable arrangements. As gaming music continues gaining cultural legitimacy, this album will likely be remembered as a pioneering example of how to honor source material while creating genuinely new artistic statements.