His technical ability and classical music influences are what sets him apart from simply becoming a pop star that can’t be taken seriously by classical music fans. His talent and ability to play a classic repertoire also makes Nakamura a very unique musical creature similar to the romantic composers from the 19th and early 20th century Nakamura admires them and they influence his modern pieces. “His music can get pretty complex,” said Yedidia. Nakamura’s music feeds into the Western tradition of Lizt and Chopin he has been trained in during his time at music school. “Some of his pieces can sound like Hungarian Rhapsodies. You can also hear the Japanese sound from Buddhist temples and things like that. There is a sense of natural beauty and stillness. It’s very evocative especially visually.” Haim Cotton, who taught Nakamura jazz theory at the New York Piano Academy and describes Nakamura as dignified, noble, and a pleasure to know and mentor. Cotton compares Nakamura’s ability to crossover with the likes of Leonard Bernstein and George Gershwin whose ability to compose classical, jazz, and Broadway songs made them a part of mainstream popular culture. “He takes the popular music of the time and brings it to the concert hall,” said Cotton who had received Nakamura’s music in the mail and was stunned by the beauty of his compositions as well as his ability as a pianist. “His music could be a soundtrack to a movie or a song but it is compositionally structured as concert pieces for the classical concert hall. At the same time, he masters all the fundamentals of great music throughout time. He is well ingrained and grounded in classical principles.” Knowing Tempei as a friend, Cotton says that Nakamura is appreciative and humble while being such a capable virtuoso. “He’s skilled but knows that he can always learn more and appreciates good teaching. That is the mark of a good musician. In that sense he has incredible qualities.”

Despite Nakamura’s success in Japan, there are also barriers as a Japanese musician trying to break into the music industry in the United States. The only Japanese pianist who has been able to become famous in jazz is Toshiko Akiyoshi. However, friends and teachers alike agree that Nakamura has the talent and ability to pave his own path whether he wants to ultimately be branded as a jazz or classical musician. Nakamura hopes to someday release an album with EMI in the United Kingdom and the United States and is thinking about hiring a manager in the United States who will help him get music gigs in New York. But these plans have not been acted on and are not at the forefront of Nakamura’s short-term plans. Most of his energy this year is focused on creating music and producing a critically-acclaimed sophomore album he believes will ultimately help his career more than getting a few gigs at music clubs in New York. Cotton and Yedidia believe that Nakamura knows exactly what he wants to do and can succeed in the music industry through nontraditional means. “The music industry in the United States is in limbo,” says Cotton. “The traditional record deal doesn’t exist anymore. If Tempei wants to make it in the business, he should market himself online and build his fan base.”

Nakamura has never taken the traditional route and it has benefited him thus far in his career. As the sun set behind the backdrop of Harlem, Nakamura said his plans for the rest of the afternoon were to practice and mentally compose music inside of his head. His humility and respect was palpable in the several hours spent in his apartment. It was a quality that was rare in a musician of his caliber and in a profession filled with large egos. “He’s just delightful in that sense,” said Cotton. “It’s almost like he approaches the piano like a ritual, from a deep place, like a servant of the music. It’s uncommon and something you don’t see a lot of. A very, very nice and modest person.” So what is Nakamura proud of the most? “My parents are very happy. I was bad growing up but they are very proud which makes me happy.”