We take you 'Behind the Beats' to learn more about the artists that play on our airwaves. This week: Keiko Matsui.
We sat down with Keiko Matsui at the end of 2024 for our year-end BEATS magazine. You can check out the magazine article in our BEATS magazine here, but first keep scrolling for the extended version of our interview in text format.
Keiko Matsui has been one of the most iconic artists in smooth jazz since the early days. It has been a pleasure to play her music on the radio and we thought it a great time to sit down with her and reflect on her success, longevity and current projects.
AK: You take a very personal approach to composing music. Please tell our readers about that process.
KM: When it comes to composing, I dedicate a special time for each album. I always believe that there are melodies meant to be born specifically for that album, so I don’t include any pieces that were left unrecorded from previous works. Instead, I write entirely new music.
This process doesn’t happen while I’m on tour. It happens during the quiet days when I’m not traveling, sitting alone at the piano. I don’t even play—I just sit and wait for the music to come to me.
Inspiration often flows from the beauty of nature or the emotions I’m experiencing in the moment. There are even times when a melody visits me in a dream. When I hear these sounds, I write them down on manuscript paper. This way, I collect more than 100 musical motifs each album. From there, I narrow them down to the best 12 pieces. Sometimes, I hear only the motif, while at other times, an entire melody reveals itself to me. This is the process I go through for each album—it’s a mystic time, like a quest to find my inner self and receiving motifs from silence.
AK: Your latest album, “Euphoria” is a beautiful piece of artistry. Please tell us about your inspiration for this project.
KM: I began creating this album during a time of great trial for humanity—the pandemic. It was a period that made me reflect deeply on many things: what is happening on this planet, the mistakes we as humans continue to repeat, history, memories from my tours, as well as hope and determination.
From those reflections, the inspiration for these 12 tracks was born.
After two years of the pandemic, we were finally able to record in the studio, face-to-face, listening to and responding to each other’s notes in real time. Because of this, the album is filled with our joy and love.
The title track “EUPHORIA” reflects my heartfelt thoughts. I feel that we are now entering a new era. Moving forward, it’s important for each of us to focus on our own happiness while also remembering to be considerate and compassionate toward others. If we all move forward with love and courage, I truly believe that things will move in a positive direction. This track captures those emotions and aspirations.
It has been a great journey with this album, and I’m so grateful to be able to share my music at concerts. The Vinyl LP was released last November, and I’m thankful for the support of my fans. I also appreciate your support over the years, Allen!
AK: You have some amazing gust artists on Euphoria. Tell us about some of those collaborations.
KM: In the process of carefully selecting the 12 tracks for this album, my co-producer Bud Harner and I discussed and decided on the best guest artists for each song.
I had previously worked with Randy Brecker as a guest during live performances, but I had always wanted to feature him on the album. When the perfect track for him, “Neo,” came together, I invited him to be a part of it. He delivered an incredible performance and dialog with my piano during the overdub sessions in New York.
Then, there’s another track. After a series of instrumental albums, this was my first time in quite a while catching a vocal motif. As soon as I heard it, I immediately thought of her—Lalah Hathaway. With that image in mind, I completed the melody for “Love and Nothing Less” She delivered beautiful, deeply moving lyrics and an outstanding performance. Grégoire Maret’s harmonica added a beautifully soulful and melancholic touch, making it perfect for this track.
Kirk Whalum, a fellow artist and dear friend with whom I share a deep musical and spiritual connection, also joined me once again on this album for a song called “Luminescence.”
Additionally, Mike Stern, a guitarist with a unique style and sound, and Joel Ross, a vibraphonist, both delivered outstanding performances.
AK: Going back through the years, you have had the opportunity to work with some iconic artists.
KM: There have been so many memorable highlights throughout my career. Since releasing my first album in the U.S. in 1987, I’ve had the privilege of collaborating with incredible artists. In the early days, I wasn’t yet able to headline my own concert tours, but in 1988, I had the special opportunity to perform as an opening act for Miles Davis and George Benson. That was an unforgettable experience. Later, I also had the honor of performing on the same stage as Harry Belafonte and Al Jarreau.
One of my most cherished moments was at the Hollywood Bowl for a jazz festival where I shared the stage with Fourplay and Grover Washington Jr. It was also the first time I met Bob James in person. When I visited his backstage, the first thing he said was, “I love your music.” That was such a happy and unexpected moment for me because Bob had been one of my heroes during my student days.
Shortly after, when I returned to Japan, I found a FedEx package waiting for me. Inside were sheet music for a four-hand piano original composition and a demo CD. Bob was inviting me to collaborate on his album! ( Another guest on that album was Joe Sample,I admire also.) We later recorded together in New York and embarked on a special acoustic piano tour in Japan, with a few performances in the U.S. as well. During that time, Joe gave me invaluable encouragement. He told me, “You are like having bulletproof strength because, instead of relying on common jazz phrases, you compose every moment. That’s why you are so strong! Anything is possible!” His words gave me so much courage and helped me discover my own individuality as an artist.
In the early 1990s, I had the chance to take part in an all-star tour alongside Chaka Khan, Philip Bailey, Gerald Albright, Hugh Masekela, and Dan Siegel. We performed each other’s songs and built unforgettable memories. Later, I invited Hugh to join me for a tour in Japan, which was another wonderful experience.
Another highlight was being invited to perform at International Jazz Day in Istanbul, a special event led by the UN and Herbie Hancock. That night, I had the honor of sharing the stage with legends like George Duke and Hugh Masekela, who are dearly missed, Vinnie Colaiuta, Marcus Miller, James Genus, and many more legendary artists under the music direction of John Beasley.
One of my first major orchestral experiences was at Constitution Hall in Washington, D.C., performing with the U.S. Air Force Band. That concert marked the beginning of a journey where orchestral collaborations became a significant part of my repertoire, including tours in Europe.
I’ve also been fortunate to collaborate with dear friends and fellow artists like Dave Koz. He invited me to join his Christmas tour, which covered over 20 cities, as well as his cruise with 2,000 fans! It was always amazing and full of fun experiences. Another special collaboration was with Kirk Whalum, which brought so many inspiring moments.
AK: It was such fun hanging with you on the Dave Koz Cruise this past year.
KM: Yes, it was wonderful to see you on last year’s cruise. Dave Koz cruise always feature incredible itineraries and offer a special experience on board. It’s a week where both music-loving guests and artists/musicians come together as one big family, creating unforgettable memories.
I also enjoy performing on stage with artists I don’t often have the opportunity to collaborate with. Choosing the highlights is difficult, but if I had to pick, here are two: Kirk Whalum presents “Uplifted” Gospel at Sea - The music and prayers fill the venue, bringing everyone together in a moving and spiritual experience. Also - The All-Star tribute– A Night at The Movies - Carefully selected songs, paired with costumes that match the theme, are such a treat to watch! The sense of unity in creating a single, spectacular stage together is truly the essence of the experience. And we enjoyed a lot on the stage too! We truly enjoyed ourselves on stage, not just the audience! These are just a few examples of what make the cruise so special. We are truly inspired by Captain Dave’s outstanding productions.
AK: The first song we played on the radio from you was “Mediterranean Sand” back in 1987 (I think). The tune stands up so well today as one of the tunes that helped to shape the ‘smooth jazz’ or contemporary jazz sound. Reflecting on that tune, how does it feel to you today, so many years later….?
My first album, A Drop of Water, was released in 1987, and the song “Mediterranean Sand” was on it. I’ll never forget the moment I first heard my music on the radio—it was a fantastic experience. I’m also grateful to know that many songs from my older albums still get airplay.
For me, melody is very important when creating music. In addition to the acoustic piano, the saxophone and acoustic guitar have always been my favorite instruments to express my melodies. Over time, somehow, this instrumentation and melodious instrumental music became popular as smooth jazz. I’m amazed to see so many saxophonists and guitarists thriving in this genre, especially in recent years.
In the ’80s and early ’90s, there was no category called “smooth jazz.” My album charted on the Billboard Contemporary Jazz chart, alongside artists like Sting, Sade, Patti Austin, Earth, Wind & Fire, Chaka Khan, Miles Davis, Santana, Kenny G etc. Looking back, I truly feel it was an extraordinary time, showing that music has no borders.
During that era, when I performed at jazz festivals, there was a variety of artists from different music genres. For example, when I performed at the Pori Jazz Festival in Finland in the 1990s, I shared the stage with Boz Scaggs and Jamiroquai in front of an audience of over 20,000. That was quite a special experience.
AK: Also, your tune “Safari” featuring Paul Taylor is another staple in our genre’s history. Tell us about your journey with this tune. Have you gotten together with Paul to play it live over the years?
KM: The song Safari is part of my seventh album, released in 1995. I believe it was the year before, while I was performing at the Catalina Island Jazz Trax Festival, that I heard Paul Taylor playing on a different day. His performance caught my attention, and asked him to join my tour.
He became a member of my touring band shortly after that, likely the same year. When this song came to life, I felt his unique tone and playing style were the perfect fit, and he delivered an incredible performance. Safari became one of the major hits of my career.
Afterward, he started his career as a recording artist, but even so, when I have a concert in Las Vegas, where he lives, he occasionally joins me on stage as a surprise guest if he’s not out on tour himself. Also, we’ve collaborated on this song at other festivals. It is always a joy to perform this song together. It’s a classic in my musical history.
AK: I have read about your many humanitarian efforts. Can you please share some highlights and the importance of this work in your life?
KM: Throughout my career, I have been honored to engage in several meaningful charity projects. The first one I participated in was a campaign for breast cancer awareness.
I created a mini-album that included information about the importance of early detection and resources on where to go. I dedicated my tour to supporting this cause.
Another significant project was with the Bone Marrow Donor Program. As a minority myself, I was approached because there was an urgent need for more minority donors. I held press conferences and raised awareness during my concerts about the importance of bone marrow donation. I also registered as a donor, and to my amazement, one of my fans from Japan registered as well, found a match, and has since donated bone marrow twice to save lives. I am deeply moved and grateful for their courage and selflessness.
Additionally, I was approached by the United Nations for the African Relief Project with WFP. I dedicated the title track from one of my albums to this cause, with the proceeds going toward African relief efforts.
More recently, I have begun focusing on charity work for children. In 2014, I visited Peru for the first time as part of this initiative. The organizer who facilitated my visit believed my music carried a message of hope and light. They felt that bringing such hope to underprivileged children and communities through music could help prevent them from turning to negative paths and inspire positive change. With support from the Japanese Embassy and others, I held charity concerts, collaborated with local music groups, and spent time with mothers and children in community spaces, sharing music and conversations.
The second phase of this project took place last year in Paraguay, where I performed with an orchestra. I also visited a music school that creates instruments from recycled materials for children living in poverty, and I spent time learning about the challenges faced by these communities.
I hope to continue this work for children and plan to visit Brazil in 2025. I believe this is important because I am a woman, a mother, and someone fortunate enough to travel the world through my music. I feel a deep sense of gratitude and a responsibility to give back. When I think about how I can contribute, I always return to music as my way to make a difference. Whenever I am invited to participate in such causes, I carefully consider the purpose and impact. If I can directly connect through music to make a meaningful difference, I commit myself to the work wholeheartedly.
AK: What advice would you have for young people who would like to pursue a career in music?
KM: From my experience, music truly connects us beyond differences—nationality, religion, culture, language. I believe musicians have an important role in creating more harmony on this planet. I hope new artists can focus on this purpose, beyond just the entertainment business.
Also, in this era of advancing technology, where anyone can create music at home and even AI can compose, it’s more important than ever for creators to express their individuality, human emotions, and soul—something that resonates deeply with people’s hearts.
Learn more about Keiko Matsui here.