Jazz trumpeter Takuya Kuroda is a forward-thinking musician using a bent toward blending post-bop and adventurous soul-jazz. Blessed in Kobe, Japan, Kuroda implemented his old trombonist brother in to the regional music picture, playing in big rings. After learning music in Japan, Kuroda relocated to Boston to wait the Berklee University of Music. While at Berklee, Kuroda befriended upcoming jazz vocalist José Wayne, who asked Kuroda to record with him. Kuroda made an appearance on Wayne’ 2010 sophomore recording, Blackmagic, and down the road No Starting No End — that he also had written the horn preparations. Upon departing Berklee, Kuroda shifted to NEW YORK, where he enrolled at the brand new School’s Jazz and Modern Music system, graduating in 2006. After graduating, Kuroda quickly ensconced himself in the lively N.Con.C. jazz picture, carrying out with such performers as Junior Mance, Greg Tardy, Andy Ezrin, Jiro Yoshida, Akoya Afrobeat, Valery Ponomarev’s big music group, while others. In 2011, Kuroda released the individually produced recording Edge, accompanied by Bitter & Large and Six Aces in 2012. In 2013, Kuroda authorized with Blue Notice Records and documented his third single recording, the José James-produced Increasing Boy. Released in 2014, Increasing Son featured a solid soul-jazz and hip-hop impact exemplified by the current presence of many Roy Ayers compositions including “MANY PEOPLE REALLY LIKE sunlight,” which presented Wayne on vocals. In 2016, Kuroda came back with his 5th solo recording, and 1st for Concord, Zigzagger. Made by Kuroda, the recording discovered the trumpeter growing upon his funk, fusion, and hip-hop-influenced audio with another group of mainly unique compositions. Included on the recording was a cooperation with NY Afro-beat ensemble Antibalas.