When Square Enix released their inaugural jazz album focused exclusively on Final Fantasy, fans wondered what direction the acclaimed video game publisher would take next. The answer came in the form of Square Enix Jazz Vol.2, an ambitious compilation that broke free from franchise constraints to explore the company’s entire musical catalog. Unlike its predecessor and the four albums that would follow, this second volume stands alone as the only entry in the six-part series to embrace such an eclectic approach, drawing from beloved titles spanning decades of gaming history.
The album’s understated name belies the treasure trove of musical arrangements contained within. While the title might seem unremarkable compared to franchise-specific releases, this creative freedom allowed arrangers Eijiro Nakagawa and Ryu Kawamura unprecedented access to Square Enix’s vast library of iconic compositions. The result is a collection that features not only Final Fantasy tracks but also beloved pieces from SaGa, the Mana series, Chrono Trigger, and even NieR. For longtime fans who felt the first volume’s Final Fantasy focus overlooked certain beloved entries, Vol.2 delivers sweet redemption by including arrangements from Final Fantasy XII and Final Fantasy XV.
Opening with Classic SaGa and the Legendary Dancing Mad
The album opens with a gentle piano introduction to “The Legend Begins” from SaGa 2 (known as Final Fantasy Legend II in Western markets). This Game Boy classic, originally released in 1990, featured compositions by Nobuo Uematsu and Kenji Ito that pushed the handheld’s limited sound hardware to its limits. The jazz arrangement honors this legacy while transforming it into something entirely new. The evolution from soft opening to heavy groove showcases the ensemble’s technical prowess, with drums and bass establishing a solid foundation while guitar trades melodic phrases with the horn section. The arrangement maintains a consistent tempo throughout, yet clever syncopation from the bass creates an illusion of dynamic energy shifts that keeps listeners engaged.
Following this strong opener, the album delivers what many consider its crown jewel: a stunning five-minute arrangement of Final Fantasy VI’s “Dancing Mad.” This iconic piece, composed by Nobuo Uematsu for the 1994 Super Nintendo masterpiece, accompanies the final confrontation with the villainous Kefka Palazzo. The original composition is celebrated for its unprecedented length and complexity in the 16-bit era, incorporating multiple movements that reflect the multi-tiered final battle. Nakagawa’s arrangement focuses specifically on the climactic Kefka encounter portion, transforming it into a jazz tour de force. Drummer Ken Higeshiro channels the spirit of swing-era legends like Benny Goodman while navigating the challenging 15/8 time signature. The inclusion of jazz flute improvisations and Kefka’s signature maniacal laugh at the conclusion demonstrates the arrangers’ deep respect for source material.
Mixed Results with NieR and Unexpected Discoveries
Not every track achieves the same heights, however. The arrangement of “Song of the Ancients” from NieR presents a challenging proposition from the start. The original composition, featuring the hauntingly beautiful vocals of Emi Evans performing in a fictional language, represents one of gaming’s most emotionally powerful musical moments. Translating this vocal-driven piece to instrumental jazz proves problematic, with the swing syncopation feeling somewhat at odds with the melancholic source material. The brass section, while technically proficient, struggles to capture the ethereal quality of Evans’ voice. That said, arranger Ryu Kawamura’s creative reharmonization choices in the latter half demonstrate genuine musical innovation, partially redeeming the track despite its conceptual challenges.
The album’s treatment of Final Fantasy XII material deserves particular attention. Hitoshi Sakimoto’s orchestral score for the 2006 PlayStation 2 epic drew heavy inspiration from the works of film composer John Williams, featuring sweeping themes that complemented the game’s mature political narrative. The battle theme “Flash of Steel” receives a transformation that evokes the playful energy of Final Fantasy X-2, with intricate guitar work drawing listeners in before the horn section assumes melodic dominance. Drummer Ken Higeshiro’s performance throughout this track exemplifies the tight ensemble work that characterizes the album’s finest moments.
Final Fantasy XV and the Mana Series Shine
Yoko Shimomura’s contribution to Final Fantasy XV included “Apocalypsis Noctis,” an orchestral and choral powerhouse originally accompanying battles against the game’s divine Astrals. Shimomura, whose career spans iconic works from Street Fighter II to Kingdom Hearts, composed the piece utilizing complex time signature interplay between 3/4 and 6/8. Nakagawa’s jazz interpretation strips away the grandiose elements in favor of an intimate approach, with bassist and pianist establishing a contemplative mood in standard 4/4 swing. Flautist Ryoji Ihara emerges as the star performer, while pianist Takana Miyamoto demonstrates sophisticated harmonic sensibilities throughout extended improvisation sections. The result transforms what was originally an epic confrontation theme into something resembling an elegant dance.
Perhaps the most adventurous arrangement on the album comes from Ryu Kawamura’s interpretation of “Swivel” from Seiken Densetsu 3, known internationally as Trials of Mana. The Mana series, which began as a Final Fantasy spinoff before establishing its own identity, has long featured distinctive folk-influenced soundtracks. Kawamura preserves this character through whirling 12/8 rhythms and Yu Manabe’s fiddle-inspired violin work. The arrangement builds toward controlled chaos before collapsing dramatically, a choice that perfectly captures the original’s spirited energy. The use of vibraphone tones, likely achieved through synthesizer given the album credits, adds additional textural interest to this standout track.
A Definitive Entry Point for Video Game Jazz
Square Enix’s subsequent jazz releases would return to franchise-specific focuses, with dedicated albums for Final Fantasy VII, the SaGa series, and Chrono Trigger following Vol.2’s release. Each of these later entries offers its own merits, allowing for deeper exploration of individual game soundtracks. However, the variety-show approach of Vol.2 provides something unique within the series. The collaboration between arrangers Nakagawa and Kawamura demonstrates remarkable versatility, successfully adapting compositions originally written for vastly different contexts and hardware limitations.
For newcomers to video game jazz arrangements or the Square Enix Jazz series specifically, Vol.2 represents an ideal starting point. The album functions as a greatest-hits compilation of sorts, showcasing the breadth of Square Enix’s musical heritage while demonstrating how jazz interpretation can breathe new life into familiar melodies. From the 8-bit origins of SaGa 2 to the orchestral grandeur of Final Fantasy XV, this collection bridges generations of gaming music while maintaining consistent artistic quality. The few missteps, such as the challenging NieR arrangement, only highlight how successfully the album navigates its ambitious scope elsewhere. In an era when video game music increasingly receives recognition as a legitimate art form worthy of concert halls and critical analysis, Square Enix Jazz Vol.2 stands as compelling evidence of these compositions’ enduring power and adaptability.
Expert Opinion: The success of Square Enix Jazz Vol.2 reflects a broader industry trend toward treating video game soundtracks as serious musical works deserving reinterpretation and academic study. As gaming continues maturing as a medium, we can expect more publishers to explore jazz, orchestral, and other genre adaptations of their iconic scores. This album’s catalog-spanning approach may well inspire future compilation releases that celebrate the full breadth of a publisher’s musical legacy rather than focusing narrowly on individual franchises.