When Square Enix released their inaugural jazz album focusing exclusively on Final Fantasy music, few could have predicted what would come next. Rather than continuing down the path of franchise-specific releases, the creative team made a bold decision for their sophomore effort: open the entire Square Enix music catalog to their talented arrangers. The result is Square Enix Jazz Vol.2, an album that stands alone in the six-part series as the only collection to draw from multiple game franchises simultaneously. Despite its unremarkable name—which humorously recalls the old comedy bit about elementary school math groups where the advanced students called themselves “The Blue Angels” while the second group simply named themselves “Group Two”—this album delivers an extraordinary musical experience that many consider the finest entry in the entire series.
The genius of Vol.2 lies in its eclectic approach to source material. By granting arrangers Eijiro Nakagawa and Ryu Kawamura unrestricted access to decades of beloved video game compositions, the album transcends the limitations that bound its predecessor. Listeners are treated to jazz interpretations spanning SaGa, the Mana series, Chrono Trigger, and even NieR, alongside Final Fantasy selections that were conspicuously absent from the first volume. The inclusion of music from Final Fantasy XII and XV proves particularly satisfying for fans who felt those entries deserved representation in the jazz format. This diversity of source material allows the arrangers to demonstrate remarkable versatility while creating unexpected musical connections between disparate gaming worlds.
Opening Tracks Set an Exceptional Standard
The album opens with “The Legend Begins” from SaGa 2 (known as Final Fantasy Legend II in Western markets), establishing the collection’s sophisticated approach immediately. A gentle piano introduction states the melody before the arrangement evolves into a heavy groove, with drums and bass providing the foundation while guitar trades melodic phrases with the horn section. What makes this arrangement particularly impressive is how the tempo remains consistent throughout, yet the energy transforms completely through clever bass syncopation. This technique creates the sensation of acceleration without actually changing speed—a hallmark of sophisticated jazz arrangement that pays homage to the classic SaGa melody while reinventing it entirely.
The second track elevates the album to legendary status. “Dancing Mad,” the iconic multi-part boss theme from Final Fantasy VI, receives a five-minute treatment focusing on the composition’s climactic Kefka encounter. Originally composed by the legendary Nobuo Uematsu, this piece challenged players during one of gaming’s most memorable final boss battles against the nihilistic clown-turned-god. Drummer Ken Higeshiro channels the spirit of Benny Goodman’s big band era while navigating the challenging 15/8 time signature—a dramatic departure from standard 4/4 jazz conventions. The arrangement moves fluidly between moments of genuine terror and playful mischief, featuring impressive jazz flute improvisations that would make any traditional jazz purist smile. Naturally, the track concludes with Kefka’s signature laugh sound effect, a perfect acknowledgment of the source material’s theatrical nature.
Navigating the Highs and Lows of Cross-Franchise Arrangements
No album achieves perfection, and Vol.2 is no exception. The arrangement of NieR’s “Song of the Ancients” presents a divisive interpretation that may not satisfy all listeners. The original composition, featuring the ethereal vocals of Emi Evans singing in a fictional language, created an atmosphere of profound melancholy and ancient mystery that defined the NieR experience. The jazz arrangement’s swing syncopation feels somewhat incongruous with the source material’s emotional weight, and the horn-driven melody struggles to capture what made Evans’ vocals so transcendent. Alternative instrumentation choices—perhaps piano and flute rather than saxophone and trombone—might have better served this particular piece. However, arranger Ryu Kawamura’s reharmonization choices in the arrangement’s second half demonstrate genuine creativity, working more effectively than initial impressions might suggest.
The Final Fantasy XII representation comes through Hitoshi Sakimoto’s “Flash of Steel,” a brisk battle theme that originally evoked John Williams’ orchestral grandeur. Nakagawa’s arrangement transforms this piece into something reminiscent of Final Fantasy X-2’s more playful musical style, with intricate guitar work drawing listeners into the opening minute before the horn section assumes melodic dominance. This instrumental switch creates a satisfying dynamic shift that showcases the ensemble’s collective talent. Similarly, the treatment of “Apocalypsis Noctis” from Final Fantasy XV takes Yoko Shimomura’s monumental orchestra-plus-choir composition—originally featuring a complex 3/4 and 6/8 time signature mixture for battles against the game’s godlike Astrals—and reimagines it as an accessible swing number. Flutist Ryoji Ihara shines as the arrangement’s star, while pianist Takana Miyamoto contributes complex reharmonizations throughout.
Experimental Arrangements and Lasting Legacy
Perhaps the most adventurous track on the album is Kawamura’s interpretation of “Swivel” from Seiken Densetsu 3, known internationally as Trials of Mana. This arrangement maintains the folksy character of Hiroki Kikuta’s original composition through a whirling 12/8 tempo and Yu Manabe’s fiddle-like violin work. Kawamura’s decision to build toward cacophony before a dramatic collapse perfectly captures the spirit of the source material. The vibraphone textures—likely achieved through Miyamoto’s synthesizer work rather than actual mallet percussion, based on album credits—add another layer of sonic interest to this already complex piece.
Square Enix Jazz Vol.2 occupies a unique position in the company’s musical legacy. Following its release, Square Enix continued the jazz series with dedicated albums for Final Fantasy VII, the SaGa franchise, and Chrono Trigger—each excellent in their own right. However, the buffet-style approach of Vol.2 offers something those focused collections cannot: the thrill of unexpected juxtapositions and the demonstration of just how well these diverse gaming soundtracks translate to jazz idioms. The Nakagawa and Kawamura arranging partnership proves itself capable of handling virtually any source material, from the theatrical bombast of “Dancing Mad” to the folk-influenced melodies of the Mana series. For collectors considering entry into the Square Enix Jazz catalog, this album represents the ideal starting point—a comprehensive showcase of what happens when world-class jazz musicians meet some of gaming’s most beloved compositions.
Expert Opinion: Square Enix Jazz Vol.2 represents a pivotal moment in video game music appreciation, demonstrating that cross-franchise compilation albums can offer superior artistic value compared to single-game focuses. The success of this experimental approach suggests future video game jazz projects might benefit from similar catalog-wide freedom, potentially inspiring other publishers to explore their musical libraries with equal ambition. As video game soundtracks continue gaining recognition as legitimate compositional art, albums like Vol.2 serve as essential bridges connecting gaming culture with broader musical traditions.