On Frames, prolific jazz composer and conductor Miho Hazama stuns with engrossing, beautifully crafted suites brought to life by the masterful players of the Danish Radio Big Band.
Release date: April 24, 2026 | Edition Records | Instagram | Facebook | Bandcamp
From its very first notes, Miho Hazama‘s album Frames leaves an indelible mark on your brain. Now wait a second, Brandon – human cypher of all things musical, whimsical, and jellicle – how can that be? Well since you were so polite to ask, I’ll just say that in my years of music listening, writing, and performing, there’s some stuff out there that possesses such undeniable charisma and confidence that it instantly becomes impossible to ignore. It commands your attention and doesn’t let go. Those opening brass and woodwinds on first track “And the Door Unsealed” truly feel like just that: stepping through a doorway into a world quite unlike any other jazz or big band you’ve experienced yet. The ever-evolving melody introduced at the beginning subtly shapeshifts and morphs numerous times by the time of its ecstatic conclusion, with the middle section featuring tasty guitar leads, saxophone solos, and an overflow of ideas from the orchestra. It has heart, power, and an abundance of spirit.
Let’s back up a bit: Miho Hazama, the Japan-born, New York-based composer and conductor of Frames, studied piano from the age of three (!!!) and, after winning numerous awards for her writing and performances in her home country, relocated to New York City in 2010 to study at the Manhattan School of Music, earning a master’s degree in jazz composition in 2012. Since 2013, she has consistently put out stellar work in the scene, been crowned a permanent guest conductor for The Metropole Orkest, and given the title of chief conductor for the Danish Radio Big Band, with whom she collaborates here (their previous joint effort, 2021’s Imaginary Visions, is essential listening for jazz/big band/prog fans). Not a bad CV for a jazz professional, much less someone who still hasn’t hit 40 yet.
Of course, anyone considered a “genius” in their field – especially a creative one – runs the risk of being overhyped (Jacob Collier, anyone?) or simply bottoming out in embarrassing fashion (Kanye West, anyone??). However, what one hears on Frames is not solely the impenetrable noise of free jazz nor the straight-ahead grooves of jazz-funk or smooth, both easy routes for someone with talent and live experience to spare. Instead, Hazuma utilizes every member of the 18-piece ensemble at her disposal to devise an always-interesting musical menagerie all her own. The soft piano break in the middle of “Aura II” – followed by a clarinet solo that is, in a word, elegant – gives way to a sonorous 12/8 rhythm that’s infectious and gets the head bobbing. The eerie math rock-ish guitar line that appears throughout the song’s 10+ minute runtime amps up the tension considerably, mixing in a 5/4 time signature that’s both easily followable and memorable. Music like this wraps you up in all its details, paints a gorgeous tapestry, and then excuses itself, eager to serve you the next course.
The other 10-minute monster of the album, “LuLu”, explores its gentle composure in surprising ways: the peak it reaches at its midpoint is dramatic and loud but not overbearing, still sensitive and with shades of grey. As opposed to an in-your-face showstopper, this one creeps up and bowls the listener over with love and tenderness. The driving pulse that appears midway through “Rondo” carries it to a swanky, swaggering ending that’s sure to put you in the mind of a hard-bitten detective looking for his next clue, and the quirky, proggy opening of “The First Notes” transitions effortlessly into a classy big band arrangement that could make one jump for joy (although you’ll probably just pour yourself another glass of scotch). Even more remarkable is that the opening rhythm, initially presented in 7/4, is woven back into standard time just in time for a sublime trumpet solo. It happens so fluidly, I immediately rewound the song to see if that had, in fact, happened – the music snob side of my psyche sat on my shoulder like the Devil, grinning and nodding.
By the time “The Pioneer’s Quest” takes its final bow amidst its swinging ride cymbals and low-key horn noodling, Miho Hazama and the Danish Radio Big Band have provided what will be, for jazz and orchestral fans alike, one of the most satisfactory listening experiences they’ll have this year. After so many years of collaborations, they sound completely at home with each other and are just such a treasure to hear do their thing under one roof. Every song has an emotional center, and every player extrapolates from it in well-chosen, exciting ways. Not only are albums with as wide a scope as Frames tough to make at all, they’re almost impossible to make this well. You’re in for something special here.
