Nanami Haruta, The Vibe Review

Nanami Haruta: Amplifying The Vibe in Today’s Jazz Scene

By Ferell Aubre

With her debut album, The Vibe, trombonist Nanami Haruta confidently steps onto the jazz scene, marking herself as an exhilarating player on the jazz scene. Released February 28, 2025, on Origin Records, the album circles Haruta’s exceptional talent. Mentor and producer Michael Dease presence on trombone and baritone saxophone imbues the project with energy.

The album opens invitingly with Renee Rosnes’ “Girlie’s World,” arranged by Chris Glassman, the jazz waltz sets an engaging, cool jazz tone. Haruta’ solo reflects her strong sense of melody and her ability to develop ideas to meaningful conclusions. Dease, on baritone saxophone, and pianist Xavier Davis deliver musical solos. The spirited swing of Gregg Hill’s title track, “The Vibe,” spotlights Haruta’s fluent, expressive playing, further establishing her natural affinity for modern jazz grounded in classic bop traditions. Hill is one of the most creative composers around today, and his compositions, along with Haruta, Dease, and Whitaker, can be heard on Deases’ Found in Space: The Music of Gregg Hill.

Curtis Fuller’s “Algonquin” elegantly reconnects Haruta to Detroit’s storied jazz heritage, with Dease adeptly echoing the role of baritone saxophonist Tate Houston from the original 1957 recording. Haruta’s powerful swing resonates deeply in the hard-bop tradition, underlined by bassist Rodney Whitaker and drummer Ulysses Owens Jr. Whitaker’s solo is robust with swing and melodic direction. The ensemble trade fours with Owens, his buoyant swing is the driving force of the selection.

Haruta’s original compositions provide a compelling window into her musical identity. “Toshi,” dedicated to her first mentor, pianist Toshiaki Yamada, captures a Miles Davis-infused tranquility with nuanced lyrical playing, while “Heartstrings” offers an intimate serenade showcasing her remarkable emotive depth. “Woodpecker,” a playful bop-inspired piece, demonstrates Haruta’s adeptness at blending rhythmic agility with melodic charm.

A surprise moment on The Vibe is a beautifully performance of Alex North’s classic “Unchained Melody,” presented in an intimate trio setting with guitarist Chris Minami and bassist Whitaker. Haruta’s control of tone and expressive warmth on the trombone leave a lasting impression, highlighting her unique voice and the album’s diverse stylistic exploration.

While the album’s sequencing generally ensures a compelling listening experience by thoughtfully shifting moods and tempos, most selections hover around medium to medium-slow tempos. “Toshi” offers a gently swinging waltz feel, nicely contrasted by the shuffle-infused groove of “Sister Rosa.” The spirited “Easy Money” ramps up the energy with catchy brass figures and tight ensemble hits at a medium-up tempo. However, the overall pacing might have benefited from the inclusion of an up-tempo swing burner to round out the dynamic spectrum fully.

The strengths of The Vibe overwhelmingly shine on Nanami Haruta’ talent. Supported by a stellar ensemble and guest artists, Haruta delivers a debut rich in technical brilliance, emotional resonance, and imaginative arrangements and compositions. This promising first release firmly establishes her as an artist to watch and listen closely to as she participates in jazz’s unfolding future.