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 the release of Square Enix Jazz -Final Fantasy-, the project was received as a delightful, if niche, experiment. It was a curated, thematic love letter to the publisher’s most iconic franchise. However, when the time came for the follow-up, the production team made a pivotal decision: they would abandon the safety of a single franchise entirely. The result was the unceremoniously, perhaps even bluntly, titled Square Enix Jazz Vol. 2.

While the name—which evokes the dry, clinical naming conventions of elementary school group assignments—might lack the flair of a grand marketing campaign, the content within represents the absolute pinnacle of the six-part series. By granting arrangers Eijiro Nakagawa and Ryu Kawamura a "blank check" to the Square Enix archives, the label produced a masterpiece of variety, audacity, and technical brilliance.

The Chronology of the Series: A Departure from the Norm

To understand the significance of Vol. 2, one must look at the trajectory of the series. The first volume was a localized celebration, exclusively exploring the sonic landscape of Final Fantasy. It was comfortable, predictable, and successful. Following Vol. 2, the team reverted to a more focused approach, releasing individual jazz records dedicated specifically to Final Fantasy VII, the SaGa series, and Chrono Trigger.

Square Enix Jazz Vol. 2 sits as the lone outlier in this timeline—a "buffet" album in a sea of focused, single-course meals. It stands as the only entry in the six-part series that dared to cross franchise borders, pulling from SaGa, Mana, Chrono Trigger, and the haunting soundscapes of NieR. This structural choice proved to be the album’s greatest asset, allowing the arrangements to feel dynamic and unpredictable rather than a retread of familiar motifs.

Musical Analysis: Where Tradition Meets Improvisation

The magic of this album lies in the chemistry between arrangers Eijiro Nakagawa and Ryu Kawamura. Their approach to these beloved tracks is rarely about simple covers; it is about transformation.

The Opening Statement: "The Legend Begins"

The album opens with a masterclass in reinterpretation. Taking "The Legend Begins" from Final Fantasy Legend II (the SaGa series), the team avoids the trap of a generic tempo shift. Instead, they maintain the original’s brisk pace while layering it with thick, syncopated bass lines and a guitar-horn dialogue that makes the track feel fresh. It is an exercise in restraint; the melody remains recognizable, but the surrounding rhythmic texture suggests an entirely different musical lineage.

The Monster Arrangement: "Dancing Mad"

Perhaps the most ambitious undertaking on the record is the five-minute arrangement of Final Fantasy VI’s "Dancing Mad." Focusing specifically on the final encounter with the villainous Kefka, the track is a chaotic, exhilarating blend of big-band energy and prog-jazz fusion. Drummer Ken Higeshiro brings a Benny Goodman-esque intensity to the floor tom, yet the ensemble shifts the time signature from a standard 4/4 to an unsettling, driving 15/8. The inclusion of a flute solo and the iconic, chilling laugh of the antagonist at the track’s conclusion provides the perfect blend of musical sophistication and nostalgic fan service.

The Avant-Garde Edge: "Swivel"

Ryu Kawamura’s take on "Swivel" from Trials of Mana (formerly Seiken Densetsu 3) is arguably the album’s most experimental moment. By leaning into the folk-inspired roots of the original, utilizing a violin that mimics a frantic fiddle, and building the composition toward a controlled cacophony before an abrupt collapse, Kawamura captured the essence of the game’s erratic energy. The subtle, likely synth-driven, vibraphone textures add a layer of depth that keeps the listener engaged even as the track descends into beautiful chaos.

The Hits and Misses: A Critical Assessment

No jazz album of this scale is without its detractors or questionable choices. Perfection is a rare bird, and Vol. 2 is not immune to the occasional misfire.

The primary point of contention for many long-time fans remains the arrangement of NieR’s "Song of the Ancients." The track is a titan of video game music, largely due to Emi Evans’ ethereal vocal performances. In the jazz arrangement, the choice to replace those haunting vocals with sax and trombone feels, to some, like a dilution of the song’s emotional gravity. While the reharmonization efforts in the second half of the track demonstrate impressive technical skill, the heavy-handed swing syncopation feels at odds with the source material’s sorrowful tone. It is a bold attempt that proves that even the best arrangers can occasionally miss the emotional target.

Conversely, the inclusion of tracks missing from the first volume—specifically from Final Fantasy XII and XV—was a stroke of genius. The arrangement of Final Fantasy XII’s "Flash of Steel" effectively bridges the gap between orchestral grandeur and jazz-fusion, with the horn section taking the lead in a way that feels surprisingly organic. Similarly, "Apocalypsis Noctis" from Final Fantasy XV—originally a choir-heavy, operatic piece by Yoko Shimomura—is stripped down to a cool, swinging 4/4 groove. It transforms a dramatic, world-ending battle theme into a surprisingly danceable, flute-led improvisation.

Implications for the Future of VGM Jazz

The lasting legacy of Square Enix Jazz Vol. 2 is its proof of concept. Before this album, the industry was hesitant to mix and match intellectual properties within a single high-fidelity jazz record. The success of this volume demonstrated that audiences were not just loyal to specific franchises, but to the curatorial quality of the music itself.

By diversifying the selection, Square Enix effectively cross-pollinated its fanbases. A player who picked up the album for Final Fantasy music was suddenly exposed to the intricate compositions of the SaGa series or the folk-fusion of Mana. This served as a potent marketing tool, subtly driving listeners toward titles they might have otherwise ignored.

Furthermore, the album solidified the reputations of Nakagawa and Kawamura as the premier arrangers for the company. Their ability to respect the source material while aggressively restructuring it to fit the jazz idiom set a new standard for the genre. Subsequent albums, while technically proficient, have struggled to recapture the sheer, lightning-in-a-bottle energy found in these sessions.

Final Verdict: A Collection for the Connoisseur

If one were to build a library of video game jazz, Square Enix Jazz Vol. 2 is the essential cornerstone. While later entries in the series are fantastic additions, they lack the scope and the "anything goes" spirit of this volume.

The album functions as a time capsule of a period where the creative team was emboldened to experiment. It is a record that rewards attentive listening—from the subtle reharmonizations in the NieR track to the explosive percussion work on the Final Fantasy VI boss theme. It is not merely a collection of covers; it is a serious, sophisticated, and often brilliant re-imagining of some of the most influential melodies in gaming history.

For the listener looking to understand the breadth and depth of the Square Enix catalog, or for the jazz aficionado looking for a modern take on fusion, Vol. 2 remains the best place to start. It is, despite its unremarkable name, the most remarkable entry in the series.