jueves, 21 de enero de 2016

Ademir Junior - Camaleão 2 Sensações (2015)


Label: Self Released
Source: Tratore


Sensações é o segundo CD da Série Camaleão e quinto CD do músico Ademir Junior que homenageia a música e cultura nordestina mesclando ritmos e melodias inéditas com grandes performances dos músicos que o acompanham. Apesar da origem nordestina, Ademir passeia com facilidade em diversos estilos e mostra em suas composições toda sua filosofia de vida, além de marcar sempre seus solos com estilo criativo, ousado e surpreendente a cada momento.



1. Nativos
2. Mexidão
3. Coisas de Lá
4. O Andarilho
5. Sensações
6. Madrugada
7. Saudades do Futuro
8. Xote Candango
9. Fastgroove
10.Tributo Mb
 

Ademir Junior: saxophone
Guitarra: Alexandre Carvalho
Percussão: Carlos Pial
Bateria: Guilherme Santana
Baixo elétrico: Hamilton Pinheiro
Teclados: Marcelo Corrêa
Trombone: Marcos Wander Vieira Araújo
Trumpete: Moises Alves
Trumpete: Mario Morejon El Indio
Sanfona: Junior Ferreira


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Oded Tzur - Like A Great River (2015)


Label: Enja
Source: Cdbaby


"A Discovery" - Radio France

"Themes of heightened melodic beauty, leading to a flowing river of narrative improvisations" - Jazz Thing (Germany)

"Oded Tzur enters the international jazz scene as a musical storyteller" - Concerto (Austria)

"If a curtain were to be drawn in front of him, no one could tell which instrument was being played" - Hariprasad Chaurasia

Oded Tzur is a New York City based saxophonist, composer and bandleader. His work draws on Indian classical music and Jazz, and explores fundamental connections between different musical traditions. Tzur is also responsible for the development of “Middle Path”, a saxophone technique that extends the instrument’s microtonal capacity.

Coming from the Tel Aviv jazz scene of the 2000’s and a protégé of the classical saxophone master Prof. Gersh Geller, Oded Tzur’s musical background consisted of rigorous training in a number of musical styles. His curiosity for improvised music led him to discover the ancient art of Indian classical music, which has become the main focus of his work.

In order to pursue the rare prospect of playing Indian music – a style heavily based on microtonality – on a western instrument such as the saxophone, Tzur dedicated about 10 years to the work of expanding the instrument’s microtonal scope. He describes the experience: “Indian instruments tend to feel very comfortable playing in between the notes. You just pull the string on a Sitar, for example, and a seamless slide will take place. In order to bring the saxophone to this condition we need to understand its inherent acoustic behaviors, and how we can purposefully change them to enable pitch fluidity”.

In 2007 Tzur was admitted to the Indian music program at the Rotterdam World Music Academy, where he was the first saxophonist to learn from the legendary Indian flutist – Pt. Hariprasad Chaurasia. Chaurasia’s elegant phrasing, spiritual depth and rhythmic mastery have had a profound influence on the saxophonist’s music. The work process consisted of countless sessions in which Chaurasia would play a melody on the Bansuri – the Indian flute – and Tzur would then have to translate it onto the saxophone. Following the flutist’s intricate style has refined Tzur’s technique to the point where it started attracting attention from the international saxophone community.

Saxophonists from Sydney to San Fransisco have been learning about Tzur’s technique and its possible implications. He was also invited to lecture on the subject at a number of key European institutions, such as Trinity College of Music, London, the Copenhagen Conservatory, the Royal Academy of Music in Aarhus and more. “For a subject that started as a solitary practice and was deemed impossible at first, it’s humbling to see the attention and interest the technique has received during the past few years”, says the saxophonist.

In 2011, Tzur moved to New York and joined forces with Shai Maestro, Petros Klampanis and Ziv Ravitz to create the Oded Tzur Quartet. This step marked a shift in the scope of his work as a composer: sliding not only between the notes of the saxophone, but also between the melodic universes of Indian classical music and jazz.

Since its creation the Oded Tzur Quartet has invoked the curiosity of the local and international jazz scenes. It has performed at many venues throughout New York City and created its own language of improvisation: committed to both the melodic architecture of Indian music and the spirit of a jazz quartet. In 2014 the Quartet recorded its much anticipated debut album: Like a Great River, which explores 4 compositions the ensemble has worked on for over 2 years. The album was released by Enja Records in April 2015.


1. The Dance
2. The Song of the Silent Dragon (And the Courage of His Friends)
3. Tzurkauns
4. Warrior Elephants Flying in the Moonlight
5. Child's Dance

Oded Tzur - saxophone
Shai Maestro - piano
Petros Klampanis - double bass
Ziv Ravitz - drums


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Will Caviness - A walk (2015)


Label: Cellar Live
Source: Will Caviness


Born in Memphis, Tennessee in 1982, Will Caviness is a jazz trumpeter who has lived in New York for the three years since earning his masters at New England Conservatory in Boston. Will’s musical accomplishments are numerous and varied, thanks to his extensive, involved musical education and experience, including performances on stages around the world, including Carnegie Hall , Jordan Hall in Boston, and the Conservatorium Van Amsterdam in Holland, earning a spot as a finalist in the 2003 International Trumpet Guild Jazz competition, and fronting his own groups across the country, ranging stylistically from Art Blakey tribute bands to showcases of his original work. Throughout his musical career, Will has shared the stage with countless jazz greats, including Geri Allen, Danilo Perez, Scott Wendholt, Barry Harris, Eric Alexander, Steve Davis, Branford Marsalis, Mike LeDonne, Dave Stryker, Marcus Roberts, Ray Vega, Dave Douglas, and Dave Holland. True to the “Memphis Sound," Will possesses a bluesy tone that has been compared to the likes of Lee Morgan, Kenny Dorham, and even one of his early idols - Fats Navarro. In 2008, he earned a Masters of Music degree with merit scholarship at the New England Conservatory, where he studied with the great performers/educators John McNeil and Jerry Bergonzi.

Now a busy performer in New York City, Will’s latest efforts include appearances with Bill Mobley’s Smoke Big Band, Valery Ponomarev’s big band, the Howard Williams Orchestra, and numerous other productions throughout the city. He performs regularly at many of the city’s most prestigious jazz venues, including Smoke, the 55 Bar, Zinc Bar, and Brooklyn’ Tea Lounge. He is also a member of Big City Swing, one of NYC’s premier dance and entertainment bands. An active freelance trumpeter, Will can be heard playing with some of New York City’s finest active bands. Recently, he appeared with the Tim Janis Ensemble, Jackie Evancho, Cindy Crues and Sir James Galway in a Christmas production at Carnegie Hall.


1 Horace Sense
2 A Walk
3 My Shining Hour
4 Night Warrior
5 J's Way
6 Spleen
7 Trust In Me


Will Caviness - Trumpet and flugelhorn
Benjamin Drazen - alto saxophone
Sam Dillon - Tenor Saxophone
Jeb Patton - Piano
Will Slater - Bass
Pete Van Nostrand - Drums 


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Brian Fielding - An Appropriate Response, Vol. 1 (2015)


Label: Broken Symmetrys Music
Source: Cdbaby 


I met Andy McKee and Mike Lee shortly after moving to Montclair, NJ from NYC in 1995 and have played with them in different configurations over the years, mostly in duo gigs with Andy and memorable jam sessions at my house. I met Ali Jackson several years ago when he happened to be walking by my house early one evening on his way to visit my neighbor. He stopped to listen to the live solo piano music coming from my house and asked my young son playing in the front yard, who was playing those Monk tunes. Later, around midnight, Ali and his friends knocked on the front door and
we ended up hanging out and playing music ‘til the wee hours. We had never played as a unit before our one full band rehearsal a few days before the recording session, and the first time I’d played most of the compositions in a quartet setting. This freshness allowed us to collectively and organically
create the music. Ali was the first to arrive that morning and after setting up his drums we had some time until the others arrived so we talked about the project’s title and genesis. The Chinese Zen (Ch’an) master called Yunmen (d. 949 CE) when asked by a disciple what is the fundamental teaching of the Buddha, replied “an appropriate response”.
We live our lives on the edge of each moment, each breath precious. We can’t know how things will turn out from one moment to the next. We can’t know the “right thing” to do in every moment beforehand. It’s risky. So we seek to respond in a manner appropriate for each moment based on whatever wisdom, love and compassion we have to offer in the moment as it arises. We practice a situational task-based ethics, grounded in the dharma, and seek to live in a state of non-judgmental naked awareness, with a “strong back, open front” as they say in Zen Late in the day the last song we recorded was the ballad, Appamada. As we silently let things settle before playing, Ali quietly said, “let the song breathe, it almost plays itself.” Later, as he was breaking down his kit I asked Ali if he could talk further about his process of making music as a master musician and improviser. He thought for a moment, smiled and, referencing our morning conversation, simply said (I’m paraphrasing) “we listen and try to make an appropriate response to what everyone’s playing in each moment. It’s why we practice and why we play - to make an appropriate response.” 

                                                                                                                                 BRIAN FIELDING 






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B.D. Lenz - Manifesto (2016)


Label: Self Released
Source: Cdbaby


Mix the styles of Pat Metheny, Mike Stern, and Stevie Ray Vaughn and you have the recipe for contempo-jazz guitarist B.D. Lenz. This New Jersey native has released nine CDs as a leader featuring such greats as Randy Brecker, Will Lee, Mark Egan, & Joel Rosenblatt among others. His music has been featured on hundreds of TV shows globally for MTV, VH1, A&E, Comedy Central, USA, Spike, HGTV, etc., and his band has played thousands of gigs internationally.

"...Part of the reason for his accessibility is that he not only fuses jazz and rock, he complements it with warm chords of funk, soul, and rhythm and blues..." – New York Times

"Bottom Line: Lenz is a real embodiment of a guitar hero...But just like jaguars are born to run, Lenz is born to play...leaving the listener breathless in their musical journey with him. He is a big sound, a big talent..." – Jazz Inside Magazine 


1. Around the World
2. Karmalectro
3. Left, Right, & Wrong
4. True North
5. Slo' Yer Roll
6. The Distance Between Us
7. Zodiac
8. Seeing It Through
9. Natural Wonders
10. Tales from a Stranger
11. Manifesto
   

B.D. Lenz - guitar
Geoff Mattoon - sax & wind controller
Dan Paul- piano & keys
James Rosocha - electric bass
Ken Pendergast - acoustic bass
Abe Fogle - drums
Kevin Soffera - percussion,cymbals on "Tales from a Stranger"
Doug Hawk - vocals on "The Distance Between Us"  


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Brenton Foster - Two Cities (2016)


Label: Self Released
Source: Cdbaby


Two Cities is about “home”; that ineffable influence which shapes us but doesn’t impose its limitations. We all seek bigger, more vibrant landscapes and dream of that which is beyond our horizon. This record is a meeting point, where individuals share their city to discover new perspectives of the places we call home.

Two Cities celebrates an ever-shrinking world; from a suburban backyard in Adelaide, travelling through the Colorado Rockies and landing in a recording studio in the East Village, the city in which this music finds its home.

The songs herein capture places in time, coloured and enriched through the cultures and traditions of each musician on this record. Sharing their stories is what takes this art form to a higher place and makes its pursuit so worthy.


1. Heller va Feller 07:53
2. Schulz 05:50
3. Hostelity 07:51
4. San Cristobal 02:24
5. Hudson Fysh 05:45
6. Stevens Street 05:05
7. Rainy Nights In The East Village 01:03
8. Insomniac 04:21
9. Disappearing 08:26
    

Piano: Brenton Foster
Trumpet: Tom Jovanovic
Sax: Gideon Brazil
Trombone: Nick Pietsch
Bass: Matt Clohesy
Drums: Kenneth Salters 


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Carlos Vega - Bird's Ticket (2016)


Source & Label: Origin Records


“Saxophonist Carlos Vega's band crackles...crafty arrangements, spirited group interplay, and ear-grabbing freshness and spontaneity in their soloing.” All About Jazz

Dynamic saxophonist and composer Carlos Vega pursued his passion for jazz in school during the day while deeply entrenched in Miami’s Latin music scene at night. The eclectic and electric musical experiences from that period helped form his unique approach that carried him through later work with Arturo Sandoval, Ira Sullivan, & Tito Puente. Moving to Chicago in 2005, his time spent there inspired his return from his present home in Tallahassee for the making of Bird’s Ticket, a set of ten Vega originals featuring four of Chicago’s finest, with Victor Garcia on trumpet, Stu Mindeman on piano, Josh Ramos on bass, and drummer Xavier Breaker. Carlos is on the faculty of Florida A&M University and is a current member of the Chicago Afro Latin Jazz Ensemble and trumpet legend Doc Severinsen’s Big Band.


01. A Confluence In Chi-Town ( 8:57)
02. Bird's Ticket ( 7:06)
03. Taurus On The Run (10:08)
04. Taurus And Virgo ( 7:23)
05. Dragon Rose ( 6:39)
06. Chicago Eight ( 6:41)
07. Elements ( 6:39)
08. The Wizard ( 8:54)
09. In Other Words ( 7:54)
10. Reflecting Pools ( 6:41)


Carlos Vega - Saxophone, Composer
Victor Garcia - Trumpet
Stu Mindeman - Piano, Rhodes
Josh Ramos - Acoustic Bass
Xavier Breaker - Drum set





Time is of the essence - Half moon switch (2015)


Label: 33 Jazz
Source: Proper Music


An album of contemporary saxophone and organ jazz performed by a group of experienced UK based musicians. The group features guitarist Pete Oxley, saxophonist Ollie Weston, organist Martin Pickett and drummer Mark Doffman. The album features a a compelling mix of driving originals and soul jazz standards.


01.  Finsbury Park  08:07 
02.  Airegin  04:56 
03.  Being Here  06:52 
04.  Ask Me Now  07:14 
05.  The Unusual Suspect  05:47 
06.  Freedom Jazz Dance  05:27 
07.  Man In The Dark  05:22 
08.  The Lesson Learned  06:48 
09.  In And Out  06:11 
10.  Still Life  06:38   


Ollie Weston (saxophone)
Pete Oxley (guitar)
Martin Pickett (organ)
Mark Doffman (drums)


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Alex Drakos Trio - Tora (2016)


Label: Puzzlemusik


Alex Drakos Ktistakis has Master's Degree in jazz performing, studied at the Ionian University of Greece.
He has also studied jazz drums performance in Athens. He has participated in the International Association of Schools of Jazz (I.A.S.J.) at Berklee College of music. Studied (private lessons) next to Ron Savage, Ralph Peterson, Lee Pierson, Antonio Sanchez.
As an artist he has performed with a variety of great musicians worldwide in jazz, latin-jazz, funk, fusion-Jazz and Greek music, such as Anthony Jackson, Eric Marienthal, Bireli Lagrene, Tony Lakatos, Bob Francheschini, Brett Garsed, Mark Murphy, Frank Gambale, Lu Solof, Mitchel Forman, Alex Foster, Dave Friedman, Bobby Few, Mike Miller, Abram Wilson, Miles Griffith, Greg Beily, Amik Guerra, Soweto Kinch, Denys Baptiste, Jason Yarde, Rex Richardson, Paul Clarvis, Tony Remy, Reiner Witzel, Igor Lumpert, Joel Soto, Takis Paterelis, George Kontrafouris, Dimitris Vasilakis, YFG, Eleftheria Arvanitaki and other.
He is an active recording artist in a variety of music projects and on different kinds of music.(ECM recording artist, VERVE recording artist).

He had been teacher at the Ionian University- Music Departement (faculty of jazz) for six years. He had been a drums instructor at conservatory "Filipos Nakas” of Athens for several years.
He is the education Manager in Modern Music School of Athens-Greece, having under his supervision the modification, the development and the proper conduct of the curriculum and syllabus. At the same time he teaches drums.
He has taken part in the training clinics of didactics-pedagogic of music (contemporary teaching methods) at the educational department of Modern Music School International Matthias Webel, Hans-Peter Becker, Sebastian Quirmbach).
He is the executive director of the Modern Music School in Heraklion, and he is visitor Teacher at the Drums Professional Program of Modern Music School International (Idar Oberstein, Germany).


1. Drum suffering
2. Stuttgart
3. Solitude
4. Tora
5. SubLove
6. Nagual
7. Esbjorn
8. Piano fear
9. Paint it balck
10. Elegie


Alex Drakos: Drums
Ntinos Manos: Bass
Yiannis Papadopoulos: Piano


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Malstrom - Enter The Malstrom (2016)


Label: Self Released
Source: Malstrom


"The music of this trio is a perfectly played combination of progressive rock by bands like "Dream Theatre" or "Tool" and guitar-virtuosi like Yngwie Malmsteen and tricky Jazz by Steve Coleman or the expressivness from John Zorn. Moreover there is a juvenile simplemindedness and crispness that's fun to see. Everyone who expected Swing or Hardbop met with disappointment. But the ones who took time to listen and experience this music were having a stunning concert. Every break have sunk in, there's nothing crunchy, the countless rhythms change into even more intricate ones. [ . . . ] Maybe it's a brave decision to start the jazz week with such an edged contribution, but definitely an excellent one."
- BR-Blog, Ulrich Habersetzer, 19. March 2015

[…] What Malstrom is doing here is far away from stilistic classification: it is a heavy-metal-hardrock-freejazz-experiment under high voltage, a sudorific sensory-rush and an excessive playing with the musical elemental force.
- Passauer Neue Presse, Dorothea Walchshäusl, 19. March 2015

„ Axel Zajac, Salim Javaid and Jo Beyer are creating more colors and room for association than you might think by seeing the lineup with guitar, saxophone and drums. Their joy with destruction transforms their music into a humourous commentary on the possibilities of contemporary Jazz. Reason enough to award them with the 7. Europäischer Burhauser Nachwuchs-Jazzpreis ", the jury illustrates.
- Redaktion JazzZeitung, 18. March 2015

"[...] One of the performing bands was "Malstrom", a trio with an exceptional lineup. A saxophonist, a guitarist and a drummer interpreted their own original compositions like "Colorful flowers in the greenfield". With his unconventional 8-string-guitar, Axel Zajac engaged in an equally unconventional exchange of blows with saxophonist Salim Javaid. Beatiful, melodic passages were counteracted with experimentally associative ones, entrenched listening habits were vaporized."
- Tom Bullmann , NOZ, July 2014


1. Intro 02:08
2. Ich Hatte Mal Ein Kissen Auf Dem Stand: "Es Gibt Nur Einen Gott - Belafarinrod" 06:09
3. Mercutio 03:17
4. Malstrom 05:54
5. Ein Monchichi Geht Nie Zum Frisör (Part I) 04:07
6. Wart Ihr Schonmal Auf Einer Bobbahn 06:45
7. Every You Every Me 05:01
8. Ein Monchichi Geht Nie Zum Frisör (Part II) 06:13

Salim Javaid - Saxophone
Axel Zajac - Guitar
Jo Beyer - Drums


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Roxy Coss - Restless Idealism (2016)


Source & Label: Origin Records


Best known for her work with trumpeter Jeremy Pelt's group, New York saxophonist / composer Roxy Coss developed the compositions and group concept for her second recording during a three-year residency of her Quintet at New York's famed Smoke Jazz Club. With Pelt on trumpet, long-time band members guitarist Alex Wintz and pianist Chris Pattishall, and the dynamic duo of bassist Dezron Douglas and drummer Willie Jones III, Roxy's created a thoughtful, highly emotive and undeniably fearless recording. Inspired by the Jazz Messengers, Wayne Shorter, and Kurt Rosenwinkel's group with Mark Turner, Coss further defines her own unique voice through these ten original compositions. "Just like Coltrane, Coss achieves a perfect balance of lyricism and intensity in her improvisations through a superb sense of timing, and her rhythmic and harmonic structures." - All About Jazz 


01. Don't Cross The Coss (4:10)
02. Waiting (6:31)
03. Push (5:09)
04. Persperctive (5:28)
05. Breaking Point (7:53)
06. Happiness Is A Choice (5:15)
07. Tricky (6:38)
08. The Story Of Fiona (5:39)
09. Almost My Own (6:41)
10. Recurring Dream (5:16)


Roxy Coss - Tenor and Soprano Saxophones
Jeremy Pelt - Trumpet
Alex Wintz - Guitar
Chris Pattishall - Piano
Dezron Douglas - Bass
Willie Jones III - Drum

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Loosebites (feat. Giovanni Falzone) - Electribute (2015)



Loosebites è una band del Nord est italiano formatasi a Trieste nel 2013 che si colloca in maniera trasversale rispetto a generi e linguaggi musicali. Grazie alla componente elettronica e alla strumentazione di un classico quartetto jazz (sax alto, piano, basso e batteria) la band riesce a scavalcare le barriere di genere invertendo il ruolo convenzionale delle singole voci, valorizzando i punti di forza e le influenze di ciascun componente. Il sound che emerge dagli originali trova la propria matrice nel jazz ed allo stesso tempo ammicca al rock, hip hop e alla musica elettronica.

Nel 2014 hanno registrato il loro primo album assieme a Giovanni Falzone, uno dei più noti trombettisti del panorama jazz italiano. Il loro nuovo album uscirà in febbraio 2015 con l’etichetta Birdland Sounds.


Giovanni Cigui – alto sax and electronics
Anselmo Luisi – drums
Francesco Deluisa – electric piano, keyboards and synthesisers
Simone Serafini – bass
Giovanni Falzone – trumpet (tracks: 1, 4, 5, 6, 8)

1. Reunion
2. We Do Try (Composed By – Filip Gavranovic)
3. 2 Notes
4. Electribute
5. Dark Passenger
6. Forbidden Questions
7. The Love Thing
8. Blind Date (Composed By – Loosebites)


JAVI

Brian Landrus Trio - The Deep Below (2015)




Brian Landrus is hardly the first jazz saxophonist to specialize in the low reeds, but he’s part of such a rare breed, you’d be forgiven if you thought he was. Maybe our long-held fascination with the high-timbred horns have conditioned us to ignore a reed any huskier than a tenor sax, but the baritone and bass saxes along with the somewhat more popular bass clarinet and the nearly unknown bass flute all possess a deep, rich sound that’s harder to attain on the popular alto and soprano saxophones.

Landrus has been able to exploit those advantages in everything he plays, and is unafraid to explore new vistas for doing it. He’s made a string of electro-acoustic records with his Kaleidoscope quintet that would have been forward-thinking even if he had chosen to lead them with a kazoo, the last such release even adding a small string section.

For his latest album The Deep Below (BlueLand/Palmetto Records” target=”_blank”>Palmetto Records), Landrus pulls the plug, so to speak, scaling down to your basic acoustic trio. In choosing a star-studded rhythm section of Lonnie Plaxico (standup bass) and Billy Hart (drums), Landrus aligned himself with musicians who shared with him a history of performing on edgy, electrified jazz records but are just as comfortable in a relaxed, straight-ahead setting, the very setting of this record.


These fourteen, concise statements explore both the richness of Landrus’ own composing abilities as well as his interpretation prowess on a handful of familiar classics. “Fly,” which he co-wrote with Plaxico, is firmly fastened by Hart’s driving rhythm and Plaxico’s supple bass, making Landrus’ job of sketching out the melody on his bari sax much easier.

Landrus’ bass sax throws off such a sultry sound for “The Beginning,” and when he solos so sweetly on it, Hart is improvising right alongside him while holding the swing steady. The multi-reedist conveys hushed sentiments on bass clarinet for “Fields Of Zava” and on the bass flute for “Will She Ever Know,” while on “Ancient” he explores the low, muted end of that flute.

Landrus’ baritone caresses Duke Ellington’s “Sophisticated Lady” like an old vet, taking his cues from baritone master Harry Carney. The Sinatra ballad “Im A Fool To Want You” begins with a woody bass figure announcing the memorable melody, and Landrus plays it like Billie would sing it. When Plaxico returns to perform a high-end bass solo, he all but mimics that of a graceful, fingerpicked acoustic guitar.

John Coltrane’s “Giant Steps” is one of those ‘acid test’ tunes for sax players, and Landrus takes it on a cappella with his baritone. Until the end he refers to the melody only coyly, hiding it between his own sheets of notes.

After taking so many steps forward, Brian Landrus took a step back into tradition for The Deep Below — albeit on his own terms — and made a reconnect with the roots that had always anchored his playing.


Fly
Sophisticated Lady
The Beginning
Fields Of Zava
Giant Steps
Will She Ever Know
It Comes Together At The End
Just A Fading Memory
I'm A Fool To Want You
Orebro Treatment
Ancient
Open Water
The Age
Once Again

Brian Landrus, baritone saxophone, bass clarinet, bass saxophone, bass flute
Lonnie Plaxico, acoustic bass
Billy Hart, drums


JAVI