When Square Enix ventured into the world of jazz arrangements with their first album, Square Enix Jazz -Final Fantasy-, fans of video game music were treated to beloved melodies reimagined through the lens of sophisticated jazz instrumentation. However, it was the follow-up release that truly showcased the breadth of the company’s remarkable musical catalog. Square Enix Jazz Vol.2, despite its rather unremarkable name, stands as perhaps the most ambitious and diverse entry in what would become a six-part series. Unlike its predecessor and subsequent releases, this album refused to limit itself to any single franchise, instead drawing from the rich tapestry of compositions spanning decades of iconic Japanese role-playing games.
The album’s straightforward naming convention might seem uninspired at first glance, humorously reminiscent of situations where creativity runs dry after an impressive first effort. Yet what Vol.2 lacks in nomenclature flair, it more than compensates for in musical excellence. By granting arrangers Eijiro Nakagawa and Ryu Kawamura complete access to the Square Enix music library, the production team unlocked possibilities that a single-franchise focus simply couldn’t achieve. The result is a collection featuring tracks from SaGa, Mana, Chrono Trigger, NieR, and naturally, Final Fantasy — including entries from XII and XV that were conspicuously absent from the first volume.
Opening Strong: From SaGa to Dancing Mad
The album wastes no time establishing its credentials, opening with a delicate piano interpretation of “The Legend Begins” from SaGa 2, known in Western markets as Final Fantasy Legend II. Originally released in 1990 for the Game Boy, this Kenji Ito composition receives a masterful jazz treatment that evolves from gentle beginnings into a powerful groove. The arrangement demonstrates remarkable restraint in tempo while dramatically shifting energy through syncopation and interplay between bass, drums, and the horn section trading melodic duties with guitar. This opening track serves as a perfect mission statement for what Vol.2 aims to accomplish — honoring classic melodies while transforming them into something fresh and exciting.
The second track elevates the album to extraordinary heights with an ambitious five-minute arrangement of Final Fantasy VI’s legendary boss theme, “Dancing Mad.” Composed originally by Nobuo Uematsu in 1994, this piece accompanied players during their climactic battle against the villainous Kefka. The jazz arrangement focuses specifically on the final movement of this multi-part composition, transforming the already complex original into something even more challenging. Drummer Ken Higeshiro channels the spirit of big band legends like Benny Goodman while navigating the treacherous waters of a 15/8 time signature — a far cry from standard 4/4 jazz conventions. The inclusion of jazz flute improvisations adds unexpected texture, and the ensemble brilliantly captures both the terror and mischievous playfulness that defined Kefka as a character. Naturally, the track concludes with the iconic Kefka laugh sound effect, a perfect touch of fan service.
Exploring the Full Square Enix Catalog
Not every track on Vol.2 reaches the same dizzying heights, and honest assessment requires acknowledging the occasional misstep. The arrangement of “Song of the Ancients” from NieR, originally featuring the hauntingly beautiful vocals of Emi Evans, struggles somewhat in its jazz translation. The swing syncopation feels somewhat at odds with the ethereal quality of the source material, and while brass instruments gamely attempt to carry the dual melody, they inevitably pale in comparison to Evans’ irreplaceable voice. That said, arranger Ryu Kawamura’s reharmonization choices in the latter half of the track demonstrate creative thinking that partially redeems the overall piece. NieR’s music, composed by Keiichi Okabe, has always walked a fine line between accessible and experimental, making it particularly challenging material for jazz interpretation.
The representation of Final Fantasy XII and XV on this album addresses notable gaps from the first volume. Hitoshi Sakimoto’s “Flash of Steel,” originally a brisk orchestral battle theme with clear John Williams influences, receives a treatment that surprisingly evokes the energetic spirit of Final Fantasy X-2. Eijiro Nakagawa’s arrangement showcases intricate guitar work that draws listeners in before the horn section takes command of the melody. Meanwhile, “Apocalypsis Noctis” from Final Fantasy XV undergoes a dramatic transformation from Yoko Shimomura’s massive orchestra-and-choir composition into something more intimate yet equally compelling. The original’s complex mixture of 3/4 and 6/8 time signatures gives way to a common-time swing, with flutist Ryoji Ihara emerging as the star performer and pianist Takana Miyamoto contributing sophisticated reharmonizations throughout.
Avant-Garde Experiments and Lasting Legacy
Perhaps the most daring track on the entire album is Ryu Kawamura’s arrangement of “Swivel” from Seiken Densetsu 3, released internationally as Trials of Mana. Originally composed by Hiroki Kikuta, this piece presented unique challenges due to its distinctly folksy character. Kawamura’s solution involves maintaining the whirling 12/8 tempo while incorporating Yu Manabe’s fiddle-like violin work to preserve that rustic atmosphere within a jazz framework. The arrangement builds toward deliberate cacophony before collapsing — a choice that perfectly captures the original’s spirited energy. The use of vibraphone tones, likely synthesized by Takana Miyamoto given the absence of mallet percussion credits, adds another layer of textural interest.
The remaining tracks on Vol.2 occupy the quality spectrum between the triumphant “Dancing Mad” and the more problematic “Song of the Ancients,” though most land considerably closer to excellence than mediocrity. The album serves as a testament to the arranging partnership between Nakagawa and Kawamura, two musicians who clearly understand both jazz conventions and video game music intimately. Their collaborative work demonstrates that game music deserves serious artistic consideration and can thrive when placed in capable hands. Following Vol.2’s release, Square Enix continued the jazz series with dedicated albums for Final Fantasy VII, the SaGa series, and Chrono Trigger, each offering focused exploration of beloved soundtracks.
For collectors and enthusiasts approaching the Square Enix Jazz series for the first time, Vol.2 represents the ideal entry point. Its buffet-style approach offers sampling from across the company’s legendary catalog, providing both breadth and quality in a single package. Video game music has increasingly gained recognition as a legitimate art form, with concerts featuring orchestral arrangements selling out prestigious venues worldwide. Jazz interpretations represent another fascinating avenue for this music to reach new audiences and demonstrate its versatility. Square Enix Jazz Vol.2 stands as compelling evidence that the melodies we associate with pixelated adventures can transcend their origins to become sophisticated musical statements in their own right.
Expert Opinion: The success of Square Enix Jazz Vol.2 reflects a broader trend in video game music appreciation that has been building for over two decades. As the first generation of gamers who grew up with these soundtracks now occupies positions of cultural influence, we can expect continued experimentation with jazz, orchestral, and other genre interpretations of classic game music. This album particularly demonstrates that variety and creative freedom often produce superior results compared to franchise-focused constraints, a lesson that future video game music projects would do well to learn.
