Makoto Ozone enrolled at Berklee College of Music the same year I did, 1980. By the time I had transferred to Washington University and graudated at the end of 1983, Ozone had signed with CBS records and recorded his first album featuring all his own compositions. In the same year he joined Gary Burton's quartet and began to tour extensively, also garnering his first appearance at Carnegie Hall in a solo piano recital. All this despite the fact that, as of 1984, Ozone had never owned his own piano. Nonetheless, he continued to record and pack audiences in at clubs and at festivals such as Montreux.

He returned to Japan in 1989 and signed a new contract with Victor Music Entertainment. He changed pace by exploring the synthesizer on his next three recordings (recordings that remain unavailable in the U.S.). He also hosted a TV show in Japan, but soon he was again restless and ready to return to the world of acoustic jazz that had fascinated him since he first heard Oscar Peterson play at the age of twelve. Returning to the U.S., he was quickly signed by Verve Polydor records and embarked on a major round of live performances culminating in hte release of his solo piano album Breakout. In 1995 he recorded the collaborative Face to Face with Gary Burton and also performed Mozart's Double Piano Concerto in E-Flat with jazz pianist Chick Corea.

In 1997 he formed the Makoto Ozone Trio, a group whose recordings have met with great acclaim and won several major awards. The recent addition of bassist James Genus, formerly a performer with Branford Marsalis, David Sanborn, Nat Adderley, and others, has given the trio a new dimension that is readily apparent on the new recording Pandora.

As with many of Ozone's recordings, most of the compositions here (with the exception of three contributions from long-time Ozone trio drummer Clarence Penn and one collaboration) are by Ozone himself. He demonstrates a great ability to write material that is both buoyant and slightly darker, more angular compositions, such as the title track. Makoto's touch is light, his technique clean and extraordinary. At times he is reminiscent of Bill Evans, constructing phrases of unbelievable conciseness and beauty. At other times, such as on "Around the Corner" he recalls his idol, Oscar Peterson. His playing is always tasteful and original, at no time do you feel that you're hearing a rote performance.

Branford Marsalis contributes saxophone on two tracks--tenor on the sprightly "Reunion" and soprano on "Pandora". Though the trio maintains interest throughout, I would love to hear more work with Marsalis and the trio. Perhaps some inter-label deal can be worked out to allow these musicians to work together again. James Genus is a welcome addition to the trio, his melodic playing standing out particularly on "If I had Known..." , a gorgeous workout where piano and bass intertwine as though played by one musician.

Ozone has many ideas about music, and clearly doesn't intend to restrict himself to one format or style. He has already composed a Piano Concerto for the trio to perform with a 70-piece orchestra and added violin to the group to form a quartet for the performance of a suite. For Makoto Ozone,each day is an opportunity to begin anew, and he takes full advantage of it.