How many dedicated Final Fantasy VII arranged albums have we seen from Square Enix? Arguably, too many. Among those, however, how many are recordings from live events? Certainly, not enough!
And this brings us to Square Enix Jazz -Final Fantasy VII- at Billboard Live Tokyo, recorded and published in 2020. This live concert is based almost entirely on the Square Enix Jazz -Final Fantasy VII- album, released earlier in 2020—and I urge the reader to check out the linked review for that album, as a primer for what you’ll find here.
While on the subject, I’ll note the two key differences between the studio album and this live recording. First, there are a handful of changes in the tracklist itself: “Cosmo Canyon” isn’t here, “Main Theme” (the Final Fantasy series theme, not “Main Theme of Final Fantasy VII”) is new to this album, and “Fanfare” is also new to this album!
Second, while the main structure of each arrangement (statement, reinterpretation, etc.) is nearly identical between the studio album and this live recording, the improvisation (instrumental solo) sections are entirely new. This is the staple feature of jazz arrangements, after all: improvised solos. Not only are they different, but they are generally longer (sometimes MUCH longer) in this live form compared to the studio album. A 16-measure solo is often extended to 32 measures, or instruments that didn’t have solos on the studio album now have them on the live album.
So you’re getting all the good stuff from the studio album, plus more of it with this live recording! I can’t imagine witnessing these solos live and in person. But thanks to this two-CD set, we can listen along and appreciate every note.
Before delving into those impressive solos, I also want to take note of the timing of this live album. It was recorded across two days in February 2020 at Billboard Live Tokyo. Looking back, there’s a noteworthy context here. This is some of the last VGM performed in Japan (or anywhere) for quite some time, given that COVID restrictions would go into effect the next month!
Alright now, let’s talk solos! “Bombing Mission” has this sick electric guitar solo against a walking bass and great piano comp work that runs for about two minutes before the band goes into that dark, powerful outro heard on the studio album version. “Shinra, Inc” offers up solos on flute, trombone, guitar, and piano. These are the same featured soloists as the studio version, but again, you’re getting more: about 90 seconds more, in comparing track times. I love the flute work on this track.
Speaking of track times, the largest difference between the studio and live versions is “Tifa’s Theme.” The studio version runs for about six minutes. The live version? Double it, partly thanks to a beautiful solo introduction by Ryu Kawamura on bass. The band doesn’t even join in until the two-minute mark. This is such a gorgeous slow build; when piano and drums come in, it’s like a sunrise. The rest of this extended arrangement comes courtesy of Eijiro Nakagawa on trombone (at about the halfway mark, after the melodic statement and elaboration), followed by Ryoji Ihara on sax. When Ihara and Nakagawa land on a unison melodic strain (also found in the studio recording), it’s pure magic.
I have to say that the double-time pickup on “Fight On!” somehow sounds more potent here than on the studio album. This could be the typical effect of the live experience, adrenaline leading the band to play slightly faster, unless they were working to a click track (which I honestly don’t know if they were or not). Either way, drummer Ken Higeshiro does a fantastic job setting the tempo and keeping the band moving at a lightning pace, especially on this track! The improvisation work here is every bit as good as the studio album, but the added drive of the tempo makes it all shine just a little brighter!
Finally, I will make note of those bonus tracks mentioned earlier in the review. The “Main Theme” is good, but not terribly impressive. “Fanfare,” on the other hand? If you can turn a minute-long battle victory jingle into a full-bodied five-minute piece of music, you’re doing something right.
The peculiarities of the Final Fantasy VII version of the “Fanfare” music include some noteworthy harmonies, especially major sevenths. Arranger Eijiro Nakagawa makes especially good use of this harmonic structure here, and also takes some liberties with reharmonization in specific moments that I never would have dared to try, myself. And, yes, the solos here are wonderful. Ryoji Ihara’s tenor sax solo is my favorite of the bunch. The pure volume coming out of that horn is so intense. He gave all he had left in this encore performance!
I’ll close this review by saying I really miss the Square Enix Jazz gang. Arrangers Eijiro Nakagawa and Ryu Kawamura produced five studio albums, as well as this live album, between 2017 and 2022. I would love to see this crew get back together for some new recordings. If nothing else, maybe once Final Fantasy VII Revelation is released, they could do a separate album with deep cuts from all of the Final Fantasy VII remake titles? I’d be interested!
