Jun Iida – Bellflower 

Bellflower is a snapshot.

In a world where everything can be documented with ease, curation with intention is not a given. There is a surplus of premature presentations of practice. Intimate gazes into the process of growth. I feel an important distinction should be made regarding the documentation and sharing of progress, which is something else entirely.

Trumpeter Jun Iida’s sophomore release, Bellflower, is a look into his musical world. A snapshot of a moment in time that is, rightfully, influenced by his past, but also grounded in the present. A sonic portrait of a life that even just five or six years ago was not necessarily in his plans. 

Having lived in New York for three years, it was clear that now was the time to document the compositions, playing, and development that only a city like New York can nurture. To capture the progress worth sharing.

Bellflower is both reflective and forward-facing. 

The title evokes the image of a delicate purple spring bloom, often symbolizing gratitude, humility, and friendship. Fittingly, Iida’s connection to the blossom and decision to name the album Bellflower is an homage to a street of the same name in Cleveland, Ohio. Here, he and his friends gathered during their final year of college. A physical space where young minds contemplated what was next, connected around the fear of the unknown, and perhaps most importantly, dreamed of what was possible. The choice to look to the future with hope, to plan despite any anxiety, is the forward-facing mindset that made this project possible and is embedded within its tracks. 

Having been awarded the South Arts-Jazz Road Tours Grant in 2025, Iida assembled a band for a weeklong tour across the West Coast. That tour was where the songs on this record came to life, where they were brought off the page and into fruition. Calling on collaborators who had never played together in this configuration before is a demonstration of Iida’s vision and trust. On this date, he is joined by Chris McCarthy (piano and Rhodes), Giulio Xavier Cetto (bass), Jongkuk Kim (drums), Masami Kuroki (guitar), Takafumi Nikaido (congas), and Zelda Harris (spoken word). While on the road, his bandmates offered their trusted insights, “I think everyone felt very comfortable speaking up if there was something we could do to better serve the music. Making suggestions that never came from a place of ego.” Each night, each tune was played differently, Iida remarked, noting that “what people will hear on this record is what has naturally developed.”

Bellflower understands the importance of the journey.

Iida is no stranger to changing landscapes, having lived in several US cities before settling in his newest home, New York. It is rare to see as much of the country as he has, and even more so to build a meaningful connection with these cities, all while staying firmly connected to his Japanese heritage, especially when so much of becoming “American” is being asked to leave those ties behind. Yet it is precisely these unique experiences that make Iida’s music so compelling. Iida’s sound is shaped by a wide range of musical and, importantly, cultural influences that at first glance may seem impossible to blend. Whether it be the resilience of a city like Pittsburgh, which is beautifully portrayed in the opening track “Rivers and Bridges,” or the throughline of his Japanese ancestry across the record with tracks like “Hotaru Nights” gaining the first half of its name from the Japanese word for lightning bug, but its groove from the Texas born sound of the late great trumpeter Roy Hargrove. Or “Marco the Phoenix” drawing inspiration from the beloved anime One Piece.Bellflower offers listeners an authentic collage of sounds that only Iida’s personal journey could yield. 

“The Final View” captures this patchwork in motion. The sole cover on the record, originally conceived by Japanese DJ Nujabes, is a layered example of just how Iida’s influences and creativity connect effortlessly. Nujabes’ 2003 release features a sample of the classic ballad “Love Theme From ‘Spartacus’” recorded by Yusef Lateef in 1961 and composed by Alex North. The beautiful ballad was also recorded by Iida on his debut record Evergreen (2024). Between the years, continents, and forms that distinguish these four records, there is a through line: the timeless resilience and global impact of Black American Music. Iida’s perspective, knowledge, and understanding of the evolution of this music is why he is able to blend the seemingly disconnected.

Throughout the record, there is a balancing of different identities, different influences, different cities, and yet everything remains authentic, natural, and what I think makes Iida’s contribution utterly unique. He is capturing many facets of sound, culture, and lifestyles. He doesn’t do it to try to seem well-rounded; he does it because he is. Because all these pieces are authentically a part of him. They inform how he composes, how he listens, and how he has decided to lead. 

Bellflower reckons with challenges.

No journey is without its adversities, and many of Iida’s reflections engage with the realities and questions hard times impose. Whether it is keeping up with the fast-paced hustle of New York, which is best sonically depicted through the hard-bop sensibility of “No Scuffs,” or the introspection of “Chasing Peace,” which asks why we pursue our passions and what we seek at the end of our journeys. He also interrogates a particularly difficult question with “Will They Remember?” This curiosity concerns the sacrifices mothers make for their families. The song, inspired by the strength of maternal figures in his life and the mothers across the world who are forced to make incomprehensible sacrifices as war persists, poses a haunting truth to consider. Zelda Harris’ accompanying spoken word gives dimension to the track, asserting not only the importance of the question, but also the act of remembrance itself. Remembrance asks us to honor those no longer with us. To reflect on their lives, which includes not only their sacrifices, but also the moments of beauty that reassure us to continue on.  

Bellflower is joyful. 

“I wanted to make something that was fun and enjoyable for the audience to listen to. While still honoring the heritage and the history of this idiom, where the music's coming from, and trying to move it forward in a direction that's authentic to me, in a responsible manner.”

There is joy in the ability to reflect, the ability to move forward, and the opportunity to capture a meaningful moment. The music on this record is fun. Fun to listen to, and surely fun to play. Iida’s tone is warm, bright, and inviting. His melodic phrasing and thoughtfully composed pieces are a sign to me of what he values musically: songs that move people and music meant to be enjoyed by all who engage with it. 

Emily Springer 

London, March 2026