Japanese-born, Los Angeles based pianist / composer Yuko Mabuchi is back in the musical spotlight with her 2025 album Quantum. On the 8-track, 50-minute album, the central focus is on Yuko’s smartly performed jazz-fusion instrumentals with her one vocal track on this album being a cover of Jobim’s 1960 classic “The Girl From Ipanema”, reworked here with some new lyrics and retitled “The Boy From Ipanema”. Quantum features an impressive number of supporting musicians including Peter Buck (drums), Del Atkins (electric bass), Munyungo Jackson (perc), Hussain Jiffry (bass), Lucio Vieira (drums) and Troy Dexter (guitar).

Teaming again with music producer Billy Mitchell and string arrangers John Beasley and Melvin Lightford, Quantum is filled with smartly produced instrumental jazz-fusion sounds. The album kicks off with a track entitled “Batucada”, written by Brazilian bossa-nova pioneer Marcos Valle, while a Yuko original “Ikumi’s Lullaby” cools things down with what she describes as a traditional sounding lullaby. Sumptuous strings adorn her carefully picked chords and notes.

One of the signature sounds on Quantum is its focus on real strings and true to form, the album features a sonorous string section appearing throughout. Track 3 is a tribute to classical composer Mozart, called “Little Mo’”, a reimagination of Mozart’s “Piano Sonata #11” (3^rd Movement). Spotlighting Mozart’s melody, long revered by classical mavens and pop fans alike, the track is reworked as a snazzy and jazzy arrangement topped off by the soaring strings.

Other tracks follow, including the string-laced “The Lion And The Lamb” with its religious connotations, followed by a unique reimagination of Jobim long-standing classic, here retitled “The Boy From Ipanema”. Although Quantum is mostly all-instrumental, Yuko takes the vocal spotlight here and the strings echo Jobim’s classic CTI albums from the late 1960s. Clocking in over 7 minutes, “The Boy From Ipanema” also allows Yuko plenty of room to show off her piano improv skills.

Evoking a sense of calm and peace without a cloud in the sky, “Sky With No Tears” is yet another blissful piano opus that evokes the vibes of McCoy Tyner’s 1977 classic “Fly With The Wind”. Yuko expresses the love of her native Japan with “Tribute To My Homeland”. This track is able to express the love of country and true to form, there are some trademark Japanese melodies blended in, including the traditional “Sakura, Sakura” and the international 1961 pop hit “Sukiyaki” yet it turns on a dime and offers a welcoming neo-classical sound with lots of musical moves.

Quantum closes out with “Evolution Of The One”, depicting in instrumental music form the six periods of Earth’s evolution, from the origin of the stars and galaxies through to the arrival of human beings. An adventurous musical idea, perhaps but Yuko delivers on the challenge with style and grace.

Quantum works on a number of levels and holds up nicely with repeated listens. Music fans looking for an exceptional, rising piano virtuoso well-versed in the finest elements of contemporary jazz fusion instrumentals are strongly recommended to give a listen to Yuko Mabuchi’s Quantum.

 

RMR speaks with YUKO MABUCHI                      

RMR: Why do you call your new album Quantum? The title implies something major and/or dramatic. Is there a story behind how you chose the title and how do the tracks reflect the album title? How many albums have you released so far?

Yuko Mabuchi:  This is my seventh album. I called the album Quantum because I believe all music is connected—just like everything in the universe. Every sound, every influence is part of something bigger. This album is about those connections and the energy that flows through all of it.

 

RMR: Did you have a specific musical mission on Quantum and can you compare the Quantum album with your earlier releases such as Yuko (from 2021) and The Caribbean Canvas (from 2022). Also, is Quantum your first album of new material since 2022 and what else have you been up to musically these past few years?

Yuko Mabuchi: Each album marks a step in my growth. I started with original tunes, then moved into live recordings from club performances. Caribbean was my first themed project, exploring Latin and Caribbean styles I was learning at the time. Quantum is about blending genres—mainly jazz and classical—and reflecting how different musical worlds connect. Quantum follows a smooth jazz project released earlier this year on SRG Jazz, which has been getting a lot of airplay—it’s a single entitled, “Ethereal”, and was written by Jeff Lorber. I’m hoping to release another single with SRG by the end of the year. I was also featured on a Samba Jazz album by Brazilian artist Santoz, which just came out on Vista Records.

 

RMR: I think they’re newly recorded but are some of the tracks on Quantum also newly written? What was it like working with producer Billy Mitchell and arranger John Beasley on the Quantum album?

Yuko Mabuchi: Some of the originals on this album were written years ago. “Evolution Of The One” was originally a commission from Yarlung Records for piano and violin, which I later rearranged for this recording with top-tier string players. It was an honor collaborating with John Beasley, and I brought in Melvin 'Maestro' Lightford from Nashville for string arrangements on three tracks. Bill Meyers, a consummate professional, arranged the strings for “Tribute To My Homeland.” Billy Mitchell has been part of my journey from the start—he’s my inspiration!

 

RMR: You’ve worked with the musicians appearing on Quantum before. Do you bring in new musicians from album to album or do you tend to work with the same musicians and what do you like more; recording or playing live or perhaps writing and arranging?

Yuko Mabuchi: I’ve been lucky to work with many of the same musicians over the years, which made recording a lot less stressful. Violinist Megan Shung contracted the sessions, and we had a consistent group of fantastic string players—that was really cool. I definitely prefer performing to recording; it’s more fun and less pressure. Writing can be tough because I’m never quite sure how the music will sound, but I enjoy arranging much more since I’m starting with solid material.

 

RMR: What are your favorite pianos? Steinway I think is the most famous piano that you play. What pianos did you record Quantum with and do you play other types of keyboards? What do you look for most in a piano sound and construction?

Yuko Mabuchi: I don’t really have a favorite piano. I recorded this project on a Yamaha. I grew up in Japan with two Yamaha pianos at home, but I’m comfortable with whatever’s in front of me—as long as it’s in tune and has a good, solid touch. I do prefer acoustic pianos over electric keyboards, but if a keyboard is what’s available, I’ll make it work!

 

RMR: There is a cover on Quantum of the Antonio Carlos Jobim classic, with new lyrics, here titled “The Boy From Ipanema”. What inspired you to change the lyrics? Have you recorded or performed other Jobim classics?

Yuko Mabuchi: I’ve always loved Bossa Nova—ever since I was a child, listening to it in my father’s car. Later, performing Brazilian music in L.A. and traveling to Rio deepened that connection even more. I wanted to do something special with the classics, especially the ones every musician knows. I’ve performed many Jobim tunes over the years, and two of my favorites to sing are “Só Tinha de Ser com Você” and “Só Danço Samba.”

 

RMR: Is Quantum your first album to prominently feature a larger string section? The strings add a great sound to your track “Ikumi’s Lullabye”. Is that an original track that you wrote? Is there a cultural history behind this track?

Yuko Mabuchi: This is my first project using live strings instead of synths, and it’s been a powerful experience. There’s so much more energy and emotion when real musicians are playing. It takes real commitment, but I’m hoping it opens the door to performing with chamber groups—or even full symphonies one day. “Ikumi’s Lullaby” is like a prayer for my niece and her generation—to carry on the rich musical traditions we’ve inherited, to stay connected to the past, speak to the present, and help shape the future.

 

RMR: One of the best tracks on Quantum and the longest is “Tribute To My Homeland”. Are the songs “Sakura, Sakura” and “Sukiyaki” two of your favorite Japanese style songs? What gave you the idea to combine “Sukiyaki” with “Sakura, Sakura”?

Yuko Mabuchi: I arranged this medley as a tribute to the country that shaped me. Growing up here gave me a deep appreciation for its rich culture, diverse traditions, and natural beauty—all of which continue to inspire and ground me. And the more I travel the world, the more gratitude I feel for my homeland.

 

RMR: Your cover of the Mozart “Sonata” is great too. It’s amazing how well the song adapts into the jazz format. What gave you the ideas for the arrangements with the strings? Was it a challenge for you to play and record this as it’s one of the fastest classical pieces for piano yet it’s also among the most well-known of all of Mozart’s compositions. What is it about Mozart that fascinates you the most and what other classical composers do you consider among the most melodic?

Yuko Mabuchi: "Little Mo’" came from my love of the classics. It’s a tribute to Mozart and a way to explore how naturally jazz and classical music can come together. I always say that if Mozart were alive today, he’d be a jazz musician—and I hope that everyone feels that in my version of Piano Sonata No. 11, Third Movement. I’ve also always been drawn to composers like Chopin, Kabalevsky, and Bartók. A few years ago, I had the chance to perform a piece by Lucas Richman at Disney Concert Hall with ICYOLA—that moment really stuck with me. It made me want to bring that same kind of symphonic energy to the music I’ve been creating.

 

RMR: What inspired the album closing track “Evolution Of The One”? Was the song inspired by the Earth’s planetary evolution and do you believe in life on other worlds or other planets? 

Yuko Mabuchi: I wrote “Evolution Of The One” after being commissioned by Yarlung Records to create a piece for violin and piano for Finnish artists Pekka Kuusisto and Joonas Ahonen. They asked me to explore a creation myth, so I imagined a journey starting from the singularity—through the birth of stars, the forming of Earth, the rise of life, the age of dinosaurs, and eventually the arrival of humans. The last two sections focus on the rise of civilization and then our leap into the age of science, the Internet, and space exploration. And yes—I absolutely believe there’s life out there in the universe. How could there not be?

 

RMR: What are your other plans for 2025 and beyond when it comes to composing new music, recording, playing with other musicians and live concerts? Would you consider performing in other states in the US or countries in the future and do you have any ideas for your next album?

Yuko Mabuchi: My goal is to share my music with as many people as I can. I’m excited about the way genres are blending more these days, and I want to be part of that—writing for and performing with classical ensembles, Latin bands, smooth jazz groups—any setting where my music can uplift people and spread a positive message. There’s so much amazing music out there now that, honestly, it feels even harder to be heard than when I first started recording. I haven’t mapped out my next project yet, but I trust it’ll reveal itself when the time is right.

For more information:  https://billymitchellproductions.com/new-release/