Jazz has always been “retro.” Outstanding jazz players develop their sound through an immersion in past innovations. The important thing, of course, is not to get stuck in them. All too many players end up as archivists, or technicians. Not trumpeter Tomonao Hara.

Hara’s tone, swing and approach sound newly minted, precious metal in shiny form. He moves from soft-spoken, cool ballads to flowing, liquid be-bop but never makes you feel as if you’re back in the ’50s; his deft flow of ideas transcends mere reclamation. His tone is vibrant, with an unwavering attention to technique, making him astonishing in the same way as Wynton Marsalis and other young traditionalists.

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