When Square Enix released their first jazz album focused entirely on Final Fantasy music, fans wondered what direction the company would take next. The answer came in the form of Square Enix Jazz Vol.2, an album that broke from the mold by refusing to focus on any single game or franchise. This unique approach makes it the only album in the six-part Square Enix Jazz series to cast such a wide net across the company’s legendary musical catalog. While the name might seem uninspired—reminiscent of being the second choice rather than the star—the album itself proves to be anything but ordinary. Under the skilled direction of arrangers Eijiro Nakagawa and Ryu Kawamura, this collection transforms beloved video game melodies into sophisticated jazz compositions that stand on their own artistic merit.
The decision to draw from multiple franchises opened creative doors that a single-game focus simply couldn’t provide. By granting the arrangers full access to Square Enix’s extensive music library, Vol.2 features tracks from SaGa, Mana, Chrono Trigger, and even NieR—properties that span decades of gaming history and represent some of the most innovative musical compositions in the industry. Additionally, the album rectifies notable omissions from the first volume by including music from Final Fantasy XII and XV, two entries whose soundtracks deserved the jazz treatment from the start. This eclectic approach demonstrates how versatile the jazz format can be when applied to video game music, a genre that has evolved dramatically since the 8-bit era.
Opening Strong: From SaGa Classics to Dancing Mad
The album opens with a gentle piano introduction that gradually reveals the melody of “The Legend Begins” from SaGa 2, known in the West as Final Fantasy Legend II. This 1990 Game Boy title featured music by Nobuo Uematsu and Kenji Ito that pushed the handheld’s sound capabilities to their limits. The jazz arrangement evolves from its delicate opening into a heavy groove where drums and bass provide a solid foundation while guitar trades melodic lines with the horn section. What makes this arrangement particularly impressive is how it maintains a consistent tempo throughout while the added syncopation from the bass creates an entirely fresh listening experience. It’s a masterclass in how arrangement can transform familiar melodies without altering their fundamental character.
The second track delivers what many consider the album’s crown jewel: an ambitious arrangement of Final Fantasy VI’s legendary boss theme “Dancing Mad.” Originally composed by Nobuo Uematsu in 1994, this piece accompanied the multi-phase final battle against the villainous Kefka and has been regarded as one of gaming’s greatest musical achievements. The jazz arrangement focuses on the song’s climactic final portion, yet still runs an impressive five minutes thanks to inspired improvisation sections featuring stellar jazz flute work. Drummer Ken Higeshiro brings a legendary big band sound reminiscent of Benny Goodman, except the ensemble performs in the challenging 15/8 time signature rather than standard 4/4. The arrangement captures both the terror and playful mischief that defined Kefka as a villain, culminating appropriately with his iconic laugh sound effect.
Navigating the Album’s Diverse Soundscape
Not every track reaches the same heights, which is inevitable for any ambitious compilation album. The arrangement of NieR’s haunting “Song of the Ancients” represents a rare misstep, with its swing syncopation feeling somewhat mismatched to the original’s ethereal quality. The horns, while competently performed, struggle to substitute for Emi Evans’ iconic vocals that defined the original recording. However, arranger Ryu Kawamura partially redeems the track through clever reharmonization choices in the second half that work better than expected. This illustrates the inherent challenge of adapting video game music to jazz formats—some pieces naturally lend themselves to the genre while others require more creative problem-solving.
The Final Fantasy XII representation comes through Hitoshi Sakimoto’s orchestral battle theme “Flash of Steel,” transformed here into something closer to Final Fantasy X-2’s lighter musical sensibilities. Sakimoto, known for his work on games like Vagrant Story and Final Fantasy Tactics, originally composed this piece with John Williams-style orchestral grandeur. The jazz arrangement features intricate guitar work that draws listeners in before the horn section takes command of the melody. Similarly, “Apocalypsis Noctis” from Final Fantasy XV receives a thoughtful adaptation. Originally a massive orchestra-and-choir piece by the legendary Yoko Shimomura, who also composed for Kingdom Hearts and Street Fighter II, the jazz version strips away the bombast for a more intimate interpretation. Flutist Ryoji Ihara emerges as the star while pianist Takana Miyamoto demonstrates complex reharmonization techniques throughout.
Avant-Garde Experiments and Lasting Legacy
Perhaps the most experimental track on the album is Ryu Kawamura’s arrangement of “Swivel” from Seiken Densetsu 3, released internationally as Trials of Mana. Originally composed by Hiroki Kikuta, whose work on the Mana series established him as a master of atmospheric game music, this piece receives a treatment that maintains its folksy character through a whirling 12/8 tempo and Yu Manabe’s fiddle-esque violin work. Kawamura’s decision to let the ending build toward cacophony before collapsing fits the adventurous spirit of the original perfectly. The use of vibraphone tones—likely synthesized by Takana Miyamoto given the absence of mallet percussion in the album credits—adds another layer of textural interest.
The success of Square Enix Jazz Vol.2 helped establish a template for subsequent releases in the series, which went on to include dedicated albums for Final Fantasy VII, the SaGa series, and Chrono Trigger. Each of these later releases benefited from the groundwork laid by this eclectic second volume. The album demonstrates the remarkable versatility of video game music when interpreted through different musical lenses—a trend that has grown significantly since the days when game soundtracks were dismissed as mere bleeps and bloops. Today, video game music concerts sell out prestigious venues worldwide, and composers like Nobuo Uematsu, Yoko Shimomura, and Yasunori Mitsuda are recognized as legitimate musical artists whose work stands alongside traditional classical and contemporary compositions.
For collectors and newcomers alike, Square Enix Jazz Vol.2 represents the ideal entry point into this musical series. Its buffet-style approach offers sampling from across the company’s rich history, providing listeners with a comprehensive introduction to how jazz interpretation can breathe new life into familiar melodies. The Nakagawa and Kawamura arranging partnership proves its strength throughout, balancing accessibility with artistic ambition. While later albums in the series offer deeper dives into specific franchises, none match the sheer variety and adventurous spirit of this sophomore effort that dared to be different.
Expert Opinion: Square Enix Jazz Vol.2 represents a pivotal moment in the evolution of video game music appreciation, demonstrating that these compositions possess the harmonic and melodic complexity necessary for sophisticated jazz reinterpretation. The album’s success likely influenced the broader industry trend toward treating game soundtracks as legitimate artistic works worthy of concert performances and premium releases. As video game music continues gaining recognition in mainstream musical culture, this collection will be remembered as an important stepping stone that proved gaming’s greatest melodies could thrive in entirely new musical contexts.