Beyond Final Fantasy: Why ‘Square Enix Jazz Vol. 2’ Remains the Gold Standard of the Series

When Square Enix first dipped its toes into the world of professional jazz arrangements with Square Enix Jazz -Final Fantasy-, the result was a polished, focused tribute to their flagship franchise. However, it was the follow-up project—unassuming in its nomenclature and bold in its scope—that truly defined the potential of the series. Square Enix Jazz Vol. 2 stands as a singular entry in the company’s six-part discography, distinguished by its decision to abandon franchise exclusivity in favor of a "musical buffet" approach.

For fans of video game music, this album serves as a masterclass in cross-genre adaptation, proving that the DNA of Square Enix’s catalog is inherently compatible with the improvisational freedom of jazz.

The Chronology of a Musical Experiment

The Square Enix Jazz series began as a high-concept tribute to the Final Fantasy legacy, but the release of Vol. 2 marked a pivotal shift in the publisher’s creative strategy. By allowing arrangers Eijiro Nakagawa and Ryu Kawamura full access to the entire Square Enix intellectual property vault, the team moved away from the narrative-focused constraints of a single series.

Following the release of Vol. 2, Square Enix pivoted again, shifting to dedicated, franchise-specific volumes covering Final Fantasy VII, the SaGa series, and Chrono Trigger. While those subsequent albums provided deep dives into specific lore, Vol. 2 remains the only entry in the six-part series to function as a curated anthology. This decision to "break the seal" on the catalog allowed for a more eclectic listening experience, bridging the gap between high-fantasy orchestral scores and the gritty, syncopated rhythms of a jazz club.

Analyzing the Arrangements: From SaGa to NieR

The brilliance of Square Enix Jazz Vol. 2 lies in its diversity. The album opens with "The Legend Begins" from SaGa 2 (Final Fantasy Legend II), setting a sophisticated tone immediately. The arrangement is a triumph of rhythmic consistency; it maintains a steady tempo while layering complex bass syncopation and guitar-horn interplay that breathes new life into the classic melody. It is a testament to the arrangers’ ability to modernize 8-bit foundations without losing the "soul" of the original composition.

Perhaps the most ambitious undertaking on the record is the arrangement of "Dancing Mad" from Final Fantasy VI. Attempting to jazz-ify the chaotic, multi-movement boss theme of Kefka Palazzo is a daunting task, yet the ensemble delivers. By focusing on the final encounter’s high-energy sections, the track clocks in at a brisk five minutes. The standout element here is drummer Ken Higeshiro, whose floor-tom heavy percussion echoes the golden era of big band jazz. The shift from 4/4 to a 15/8 time signature adds an element of calculated instability that perfectly reflects the villain’s madness. The inclusion of a tongue-in-cheek "Kefka laugh" at the track’s conclusion serves as a delightful nod to the source material.

However, the album is not without its controversies. The arrangement of NieR’s iconic "Song of the Ancients" presents a point of contention. The decision to employ a swing-heavy syncopation clashes slightly with the ethereal, haunting quality of Emi Evans’ original vocal work. While the brass sections—specifically the sax and trombone—are technically proficient, they struggle to capture the delicate, otherworldly nuance that the track requires. Despite this, the second half of the arrangement features impressive reharmonization choices by Ryu Kawamura, showcasing a level of technical depth that almost justifies the unorthodox instrumentation.

Supporting Data: Filling the Gaps

One of the primary benefits of the "buffet" format is the opportunity to address glaring omissions from the first volume. The first Final Fantasy jazz album famously ignored the later entries in the series, such as Final Fantasy XII and XV.

• Final Fantasy XII ("Flash of Steel"): Arranger Eijiro Nakagawa transforms Hitoshi Sakimoto’s brisk, orchestral battle theme into something reminiscent of the high-energy Final Fantasy X-2 soundscape. The track thrives on the interplay between intricate guitar work and a commanding horn section. Ken Higeshiro’s drumming again proves vital, providing the propulsive force needed to elevate the track from a background score to a centerpiece performance.
• Final Fantasy XV ("Apocalypsis Noctis"): Perhaps the most surprising transformation on the album, this piece takes Yoko Shimomura’s massive, choir-heavy orchestral epic and strips it down to a 4/4 swing. The focus shifts to Ryoji Ihara’s flute work and Takana Miyamoto’s complex piano reharmonizations. While purists might find the departure from the original’s grandiosity jarring, as a jazz composition, it succeeds by treating the source material as a foundation for danceable, rhythmic improvisation.
• Trials of Mana ("Swivel"): The most avant-garde inclusion, this track leans into the folksy roots of the Mana series. Using violin work to mimic a fiddle, the arrangement builds toward a deliberate, controlled cacophony before collapsing—a bold artistic choice that highlights the creative freedom granted to the arrangers.

Implications of the "Buffet" Approach

The release of Square Enix Jazz Vol. 2 carries significant implications for the future of video game music (VGM) adaptations. It demonstrated that listeners are not exclusively loyal to a single franchise; rather, they are loyal to the quality of the arrangement and the "vibe" of the performance.

By refusing to be constrained by a single game’s aesthetic, Square Enix proved that their catalog is a cohesive musical universe. The success of this volume suggests that the most compelling arrangements are those that dare to reinterpret the source material through a radically different lens. When the shackles of "faithfulness" to the original game’s instrumentation are removed, the music is allowed to breathe, transform, and exist as a legitimate jazz performance rather than a mere cover.

Official Stance and Reception

While Square Enix has not issued a formal "manifesto" on their jazz strategy, the shift in their release schedule suggests a calculated move. The subsequent pivot to franchise-specific albums indicates that while the "buffet" style was a critical success, the company recognized a market demand for deep, exhaustive dives into their biggest properties.

Critics and fans alike have noted that Vol. 2 holds a special place in the collection because it feels like a genuine jam session. It lacks the corporate rigidity that can sometimes plague major-label arrangements. Instead, it feels like a group of highly talented musicians who were given a box of favorite tunes and allowed to play them in whatever style they saw fit.

Conclusion: Why It Remains the Starting Point

If a newcomer to the Square Enix Jazz series were to ask for a single point of entry, Vol. 2 is the undeniable choice. It covers the widest breadth of the company’s history, showcasing the evolution of its sound from the early SaGa days to the modern Final Fantasy era.

While individual albums like Chrono Trigger or Final Fantasy VII offer a more focused, consistent experience, they lack the variety and the spirit of discovery found in the second volume. Square Enix Jazz Vol. 2 is a testament to the idea that video game music is not a static object to be preserved in amber, but a living, breathing art form capable of surviving and thriving in any musical context. Despite its "Group Two" naming convention, it is, in every meaningful way, the first among equals.