Sara Serpa 'Intimate Strangers' – Dec. 3 on Biophilia Records

Vocalist-composer Sara Serpa collaborates with Nigerian author Emmanuel Iduma on a stunning new album offering musical insight into the journeys and experiences of migrants, refugees, and displaced people

 

Intimate Strangers, due out December 3, 2021 via Biophilia Records, features vocalists Serpa, Aubrey Johnson and Sofía Rei with pianist Matt Mitchell and synth player Qasim Naqvi, creating vivid soundscapes for stories from Iduma’s book A Stranger’s Pose

"A fresh and riveting presence on the vocal-jazz landscape."

– Nate Chinen, JazzTimes

" Serpa possesses a preternatural cool, injecting weightless sophistication and melodic grace into everything she touches."

– Peter Margasak, Chicago Reader

 

Album release concert Tuesday, December 14 at National Jazz Museum, Harlem

There’s no better way to connect with the humanity of a stranger than to hear their stories and to share our own. On their poignant and striking new collaboration, Intimate Strangers, the extraordinary vocalist-composer Sara Serpa and the Nigerian writer Emmanuel Iduma traverse the African continent, sharing the author’s personal journey and collecting the tales of fellow travelers and migrants he meets along the way. Through Iduma’s insightful text and Serpa’s transcendent music, the lens widens to explore the struggles and emotions experienced by anyone who’s left their roots behind to seek the uncertain promise of a distant horizon.

 

Due out December 3, 2021 on Biophilia Records, Intimate Strangers draws from Iduma’s 2018 book A Stranger’s Pose, which recounts the writer’s travels through more than a dozen African cities, combining travelogue, memoir and meditations on migration and displacement. The album also continues a narrative that Serpa began with her 2020 release Recognition: Music For a Silent Film, which grappled with the legacy of Portuguese colonialism in Africa via her own family’s history. Intimate Strangers is, in a way, the mirror image of that project, gazing back at colonial powers from the vantage point of Africa itself.

“There were a lot of stories in Emmanuel’s book that really resonated with me,” Serpa explains. “While Recognition dealt with my country's past relationships with Africa, I felt like his book presents a much-needed perspective of what borders actually mean. Through his travels and encounters with so many people just trying to cross into Europe, Emmanuel raises all these questions about traveling, migrating and leaving your home behind.”

 

Commissioned by John Zorn, Intimate Strangers premiered at Brooklyn’s National Sawdust in November 2018 as a multi-media performance combining Serpa’s music, Iduma’s narration, and photographs  from the author’s book. In recorded form, Intimate Strangers remains evocative, conjuring mental images in the listener’s mind as vivid as that projected footage. It helps that Serpa gathered a stellar collection of musicians able to craft such bold imaginary landscapes: she is joined by fellow vocalists Sofía Rei and Aubrey Johnson (Rei is a bandmate from Zorn’s a cappella quartet Mycale; Johnson has been a collaborator since attending NEC with Serpa), along with pianist Matt Mitchell (Tim Berne, Dave Douglas) and modular synth player Qasim Naqvi (Dawn of Midi).

Iduma writes in the liner notes that, “My collaborative performance with Sara brought me closer to understanding how words worked in a pre-literate time, when writing was yet to be invented – when stories were passed from mouth to mouth, from memory to memory… Sara’s composition distills A Stranger’s Pose to its essential groove and vital ballad.”

 

“I am always inspired by Emmanuel’s insight and his writing,” adds Serpa. “We share a very deep mutual respect for each other's work. Of course, we come from different backgrounds, but we share the same concerns regarding humanity and hospitality. So we thought a lot about how to combine our art to convey this message and honor both our skillsets.”

photo by Da Pin Luo

The two were further bonded by shared grief, as both lost their fathers within a few months of each other. José Luis Serpa, who passed away just three days after the premiere of Intimate Strangers, provided the vibrant collage that graces the album’s cover art.

 

The album is itself a journey, beginning with Iduma’s self-reflections and continuing close to home with encounters in Nigeria. It soon ventures farther, over the Moroccan border and through the desert in Bamako, Mali. In the Senegalese town of Kidira the writer is reminded of his relatively privileged status when a passport means a world of difference between him and the unnamed stranger whose life briefly becomes linked to his own. The Morocco-based Cameroonian poet Onesiphore Nembe recites a piece in French, about things left behind – a mellifluous echo of past colonialism.

At journey’s end we cast our eyes back to its beginning. “For You I Must Become a Tree” poetically conveys the reflection of the migrant on the loves and home from which they’ve embarked, now far away but always heart-achingly close. “In the mind of the traveler, those who love you don't want you to go. So that person has to become a tree, which means having your roots in one place [with branches reaching far away].”

 

Serpa weaves a mesmerizing sonic tapestry from the sparse instrumentation and especially the stunning vocal harmonies, which serve at times as gorgeous atmosphere, at others as ethereal storytellers, still others as a lush Greek chorus. “The main character is always Emmanuel,” Serpa describes. “The singing voices are sometimes spirits, sometimes ghosts, sometimes witnesses and sometimes joining him as narrators.”

 

While Intimate Strangers tells Iduma’s story, and those he gathered along the road, it is no less personal a piece for Serpa. “As a migrant myself,” she says, “albeit a privileged migrant, I recognize the feeling of being a foreigner and a bit of an outsider. As a European and someone who has been following the news of the world’s various refugee crises, I feel that the book offers a human, crucial and urgent side to the stories that continuously happen at every border. That's what attracted me to it.”

1. First Song

2. Lokoja- Okenne

3. How Do You Know Where To Go?

4. Bamako

5. Lejam

6. The Poet (feat. Onesiphore Nembe)

7. God’s Time

8. Kidira

9. Le Bout Du Monde

10. Note to Nephew

11. In Due Course

12. Night

13. For You I Must Become a Tree

Sara Serpa – voice, composition

Emmanuel Iduma – text, spoken word

Sofía Rei - voice

Aubrey Johnson – voice

Matt Mitchell -piano

Qasim Naqvi – modular synth

PREORDER

Matt Gold - Imagined Sky (Whirlwind Recordings)

'Imagined Sky'​ is the first solo record from Chicago-based guitarist and songwriter ​Matt Gold.​ Gold’s open, creative approach to music making has flourished in his adopted home - “I value the cross-pollination and intermingling of the scenes; it’s a beautifully collaborative city” - and his talents have been called upon by a diversity of boundary-crossing artists such as ​Makaya McCraven, Greg Ward, Sara Serpa,​ and J​amila Woods.​

Melody is at the center of Gold’s music, whether he’s edging towards post-rock power-trio antics with electric bassist ​Bryan Doherty​ and drummer ​Jeremy Cunningham, ​or exploring an abstracted Americana with acoustic guitar and whispering electronic textures. Imagined Sky also uses these elements to frame the direct, folk-tinged vocals of collaborators ​Sara Serpa​ and ​Macie Stewart,​ as well as Gold himself. “I’ve tried to stitch together the more improvisatory electric trio material with something more song-focused and concise, balancing these energies.”

‘Augusta Fairgrounds’​ opens the album with the trio, whose driving yet empathetic approach creates the backbone of the record. “We played free-improvised gigs around Chicago for a few years before I brought any of my own material in, so my trio music sits on several years of trust, collaboration and exploration with Bryan and Jeremy.” Like much of the record, the track evokes a wide open, sometimes-turbulent landscape. “I think a lot about space in my writing, whether it’s external, as in a physical space, or internal - the spaces of our imagination, our uncertainties, our own particular ways of seeing the world...this record leans into both interpretations.” ​‘Queen Anne’ ​features vocalist Macie Stewart and lyrically builds on these themes, blending her clear, unadorned articulation with the trio’s insistent interlocking groove.

Propelled by a trance-inducing drum pattern, ‘Crimes’ ​emerges with a sparse, desert landscape of guitar chords and synthesizer textures that build in energy and intensity, hinting at the sounds of a Morricone film score. ​’Between The Four Seas’​ is a measured, stately composition for solo acoustic guitar whose careful poise is subverted by aggressive tape manipulation to create an undercurrent of disquiet. ​‘Truehearted’ ​features lush strings surrounding an affectingly unadorned vocal from Gold on a piece based on an excerpt of a Dvorak composition.

Playing viola throughout his childhood, Gold recalls performing the orchestral piece and being haunted by one of its melodies for years to come. “I don’t think anyone really looks to the ​Slavonic Dances​ as a heavy, emotional cornerstone of his writing, but one melody that’s doubled by the flute and oboe just never seemed to leave my consciousness. It made so much sense reframed as an acoustic guitar piece, adding lyrics...which makes sense, since those pieces were originally written to evoke a folk music sensibility in the first place.”

The trio returns on ​‘Dollarama,’​ a blistering extrapolation on a unison theme, followed by ​‘Always Starting Over,’​ which returns the melodic voice to the acoustic guitar alongside the rhythm section’s nuanced pulse. The song’s subtle production and detailed textures open the melodies into more ambient, meditative zones and showcase the trio’s wide dynamic palette. ​‘Petrichor,’​ written with and featuring Sara Serpa on vocals, finds Gold and Serpa in duet as dreamlike synthesizer lines wash over the mix.

“I first worked with Sara on a ​Sun Speak​ record a few years ago and was looking for an opportunity to play with her again - she brings such a vulnerable, personal sound to the music.” ‘Bottom Of The Barrel’​ leans into an earthy, familiar feeling, bursting with raucous, blues-tinged energy to create the perfect end-of-the-set nightcap.

'Imagined Sky​' finds Gold exploring the connections between the external and internal - the vast landscapes that erode and change, and one’s inner world that evolves and adapts. Richly melodic, atmospheric yet accessible, unconstrained by genre but sure of its own identity, ​Imagined Sky feels less like a debut and more like a culmination - an arrival point for an artist who has already quietly woven his voice into the fabric of Chicago’s many musical communities.

1. Augusta Fairgrounds 04:22

2. Queen Anne (feat. Macie Stewart) 05:41

3. Crimes 06:01

4. Between the Four Seas 01:36

5. Truehearted 02:49

6. Dollarama 03:52

7. Always Starting Over 07:14

8. Petrichor (feat. Sara Serpa) 04:59

9. Bottom of the Barrel 05:19

10. Once Upon a Time (Single) 03:24

Matt Gold - electric and acoustic guitars, voice (5), analog synthesizer (2, 8), wurlitzer electric piano (2, 7), mellotron (5)

Bryan Doherty - electric bass

Jeremy Cunningham - drums

Macie Stewart - voice (2)

Sara Serpa - voice (8)

Dan Pierson - analog synthesizer (1, 3)

Myra Hinrichs - violin (5)

Matt Ulery - double bass (5)

Pre-order

Sara Serpa's new trio CD "Close Up," feat. Ingrid Laubrock & Erik Friedlander (CLEAN FEED RECORDS March 16, 2018)

Singer/composer Sara Serpa releases Close Up, a conceptual album inspired by experimentation and changing identities

Close Up, out March 16, 2018 via Clean Feed, presents Serpa's new trio with saxophonist Ingrid Laubrock and cellist Erik Friedlander exploring an exposed and hyper detailed soundscape of original compositions.

"Serpa is a fresh and riveting presence on the vocal-jazz landscape." – Nate Chinen, JazzTimes

"Serpa possesses a preternatural cool, injecting weightless sophistication and melodic grace into everything she touches." – Peter Margasak, Chicago Reader

"Serpa moves easily between traditional jazz vocalism, improvisation, and new music, and has one of the most elegant and beautiful voices on the scene." – George Grella, The Brooklyn Rail

Through a series of critically acclaimed releases over the past ten years, Lisbon, Portugal native, singer and composer Sara Serpa has continually defied the limitations of genre, implementing a singular instrumental approach to her vocal style. Her new album, Close Up, presents the compelling configuration of voice, saxophone and cello, exploring Serpa's own compositions. Accompanied by a stellar new trio, Serpa finds her partners in two innovative improvisers with distinct musical personalities: saxophonist Ingrid Laubrock, one of the most significant voices in contemporary jazz and improvised music, and Downtown veteran cellist Erik Friedlander.

"The configuration of voice, saxophone and cello exposes each instrument with a precise vulnerability" says Serpa. "From within this exposure, we look for cohesion and collective sound. I write the material, but the music takes shape in the process of our rehearsals and the time we spend together, through discussion and collective experimentation."

The result is an album that resembles a high resolution photograph, a mesmerizing play on the idea of close-ups: the compositions, the musicians and their roles within the trio, and the recording process.

"The compositions also reveal close-ups of different episodes in my life," Serpa explains. Take the example of the poignant song "Woman," using the French philosopher Luce Irigaray's text. "It exposes the invisibility of motherhood. Because that experience is recent to me, the text resonated with my thoughts and feelings," Serpa offers. "Writing this song was part of a healing process, as I dealt with the realizations of the lack of support women artists receive as mothers, and of the paradoxical loneliness one can feel in one of life's most beautiful events."

All the compositions present striking atmospheres, glimmering with melodic and dissonant sounds, unified and transformed by the trio. Serpa, Laubrock and Friedlander play with their roles, alternating in creating backgrounds, to holding down bass lines, or to playing extremely long tones that become textures. "To find our place without a harmonic instrument was an interesting challenge and I enjoyed learning how to be independent, to be featured as soloist, or to act in ensemble, whatever each song was calling for." Laubrock and Friedlander are valuable partners in these roles; shifting with their unpredictable phrasing, extreme versatility, and attentive ears.

Iranian film director Kiarostami's film Close Up is cited as an influence in the album's liner notes. "The movie (a masterpiece itself) plays with the idea of actors who are in fact not actors but become actors of a fictitious film, providing a common thread between the film and the music I was creating at the same time I was watching it."

The quality of being still, of observing as nature unfolds, comes across in the song "Storm Coming," highlighted by Ingrid Laubrock's masterful solo improvisation. In the dark and ambient section, each instrument blends into the other, rendering the piece an impressionistic sonic experience, an image of dark clouds slowly gathering before a storm.

Serpa, whose natural instinct is to sing wordlessly -"When I lack words, I sing sounds, and emotions are conveyed through those sounds" - uses literature as inspiration in several of this album's pieces: Luce Irigaray for "Woman," and Virginia Woolf in "The Future." Portuguese poet Ruy Bello's "Pássaros," Birds, is the backbone for an eccentric and energetic piece. "The poem is about how birds are tree's fruits, and how birds make the trees sing. Imagining the trees singing is an inspiring image," the singer explains.

"Object," "Quiet Riot," and "Sol Enganador," exploratory and complex in their compositional nature, are all instrumental pieces, in which the voice functions as an equal to the cello and the saxophone.

Close Up reveals Serpa's voice as never before - her sound is full, consistent, and expressive. "Cantar Ao Fim," at the end of the album's journey, starts with a vocal improvisation that makes one wonder whether Serpa is singing right next to your ear, intimate and quotidian. "This song came out of an improvisation I recorded on my phone when I was out in the mountains, at night. That moment stayed with me, looking at the mountains and singing without thinking or judging what was coming out. There is something very powerful in singing alone in the nature."

Sara Serpa

Lisbon, Portugal native, Sara Serpa is a singer, composer, improviser who implements a unique instrumental approach to her vocal style. Recognized for her distinctive wordless singing, Serpa has been immersed in the field of jazz, improvised and experimental music since first arriving in New York in 2008. Described by JazzTimes magazine as "a master of wordless landscapes" and by the New York Times as "a singer of silvery poise and cosmopolitan outlook," Serpa started her recording and performing career with jazz luminaries such as Grammy-nominated pianist Danilo Perez, and Guggenheim and MacArthur Fellow pianist Ran Blake. Her ethereal music draws from a broad variety of inspirations including literature, film, visual arts as well as history and nature. As a leader, she has produced and released seven albums; the latest being "All The Dreams" in collaboration with guitarist André Matos. Serpa has collaborated with an extensive array musicians including John Zorn, Mycale Vocal 4tet, Guillermo Klein, Mark Turner, Zeena Parkins, Andreia Pinto-Correia, Derek Bermel, Aya Nishina, Tyshawn Sorey, Nicole Mitchell, among many others.

John Zorn - The Garden of Earthly Delights (TZADIK 2017)

The sixth CD by Zorn’s heaviest 21st century ensemble Simulacrum celebrates the 500th anniversary of the passing of one of the greatest painters the world has ever known—Hieronymus Bosch. A visionary of unparalleled power whose imagination and fantastical creations re- main uniquely his own, Bosch is one of the most enigmatic figures in world art. Inspired by his surreal visions of Heaven and Hell, “The Garden of Earthly Delights” blends heavy metal, blues, funk, jazz and modern classical music together into one of the strangest amalgams you’ve ever heard. Tighter than ever and joined by bassist Trevor Dunn, Medeski, Hollenberg and Grohowski are at their manic best in this jaw-dropping visit to a wild musical world where absolutely anything is possible!

1. Angels and Devils

2. The Infernal Machine

3. The Dragon Tree

4. Paean to the Prince of Hell

5. Music of the Flesh

6. Eve and Adam

7. Mirror Image

8. The Garden of Earthly Delights

9. The Circuit

10.Out of the Eternal Sphere

Trevor Dunn: Bass

John Medeski: Keyboards 

Kenny Grohowski: Drums

Matt Hollenberg: Guitar

Sara Serpa: Voice

Sara Serpa & André Matos - All the Dreams (September 16, 2016) SUNNYSIDE RECORDS

Vocalist Sara Serpa and Guitarist André Matos Release All the Dreams, an Album Rich in Melody and Luminous Atmosphere

All the Dreams - to be released on September 16, 2016, via Sunnyside Records - presents the Serpa/Matos duo exploring a poetic soundscape of original compositions,

with guest performances by drummer Billy Mintz and synthesist Pete Rende

CD Release Concerts  

* September 15, 2016 9:30 p.m. at Joe's Pub, NYC 

* November 18 at Constellation in Chicago

"Sara Serpa is cool all over, from concept to execution." - Ben Ratliff, The New York Times

 "André Matos is a free thinker." - Phil DiPietro, All About Jazz

"The duo excels at combining pure sounds - vowels, strings, words, horn, keys, breath - to

create inspiring musical sketches." - Suzanne Lorge, New York City Jazz Record

The reception for Primavera - the first album by the duo of vocalist Sara Serpa and guitarist André Matos - was rapturous, with reviews for the 2014 release using such apt descriptors as "enchanting" (The New Yorker), "breathtaking" (JazzTimes) and "spellbinding" (All About Jazz). The New York Times praised Primavera at length, calling the album "calmly stunning" while adding that the pair's music "capitalizes on their many affinities: as limber improvisers, as thoughtful composers, as selfless ensemble players, and as internationalists hailing originally from Portugal (by way of Boston and New York)Š Primavera is gemlike in its beauty and precision." Now, Serpa & Matos present their second duo album, the gorgeous All the Dreams, to be released September 16, 2016, via Sunnyside Records.

As with Primavera - which All About Jazz lauded for being "sonically lustrous," with an "intricate melodic sense" - the new All the Dreams glimmers with luminous melodicism and magical atmosphere, the music again casting a spell. The sound of All the Dreams mixes the organic and the electronic seamlessly, with Serpa and Matos playing multiple acoustic and electric instruments along with using the studio as an instrument; several tracks also feature Billy Mintz on drums and Pete Rende on ambient, Eno/Budd-like synthesizers. Along with Serpa's signature wordless vocalese and the duo's own lyrics, there are songs that draw on words of great poets, both Portuguese and English. Atmosphere and image, poetry and melody - this is the stuff of which All the Dreams is made.

The title of the album comes from its lovely song "Nada," which features universalist lines by the Portuguese poet Fernando Pessoa (via his heteronym Álvaro de Campos): "I am nothing, I shall never be anything / I cannot even wish to be anything. / Despite all that, I have within me all the dreams of the world." The title phrase also appears in the poetry of Walt Whitman, a key influence on Pessoa: "I dream in my dream all the dreams of the other dreamers / And I become the other dreamers." These words mirror the feelings of creative reverie Serpa and Matos had while composing the music for the album. The singer says: "We felt that this music was making us dream and disconnect somehow from the reality of the outside world - and that seemed to be a positive feeling. For us, to be able to work in this dreamlike state of mind is fundamental to staying creative and happy."  

About the leap from Primavera to the even more accomplished All the Dreams, Matos says: "Primavera planted a seed for us. Our duo identity developed throughout the making of that first album, and with the new one, we knew more about how to use the studio to our advantage. We wanted to pay even more attention to detail - sound, texture, words. We didn't hesitate to depart from a 'duo sound' and do whatever it took to get the right feel for each song, whether through sonically multiplying ourselves or developing the sounds we produced. The mixing and post-production process was more intensive this time, and we did things like reverse the vocals on 'amlaC.' Pete Rende played such an important role in this, not only adding synthesizers to a few tracks but mixing the album, too. It's hard to imagine the album without his contribution."

As for the contribution of veteran drummer Billy Mintz, Matos adds: "We met Billy a few years ago, and he has become an important musician for me. He was super-meticulous in the studio, and the results are amazing, like pure gold. His dedication to music is inspiring, and his playing gives the record a nice contour. With Billy, there's a search for a primal beat, playing almost like a child in the sense of being free. But at the same, he has all this knowledge and experience to apply. He is a master."

Serpa and Matos make for a kindred-spirit duo, even beyond being husband and wife. Her fresh, subtly virtuosic singing blends beautifully with his gleaming, flowing guitar playing. "We do complement each other as performers easily, with most of the songs being reducible to just voice and guitar," Matos says. "In the studio, we're able to guide each other to the best performances possible, with sometimes even the best arrangements coming after the first take. Our tunes tend to have slightly different vibes, with Sara's a bit more intricate and mine less dense, simpler. It creates a nice balance, we hope."

In addition to those of Pessoa/Campos, the songs of All the Dreams include words by his fellow Portuguese writer Luis Amaro, Brazilian poet Clarice Lispector and the great Englishman William Blake, as well as lyrics by Serpa and Matos. There are songs about night, dreams and the imagination, about accepting sadness and offering forgiveness, about identity and empathy, about love and memory. Even the songs without words impart a sense of mystery and romance, with Serpa singing vocalese on such gems as the opening "Calma." One of the album's other, lyrical highlights is "Lisboa," Serpa's tune-rich paean to the ancient capital of Portugal. "The words stem from something a taxi driver once told me about Lisbon having 14,000 streets, alleys and staircases - and all those reflecting so many memories, for me, for everyone who has lived there," Serpa says. "Because I live in America now, the city is distant from me, but somehow it remains so close to my heart. Every time I return to Lisbon, the memories come flooding back, the sense of place and time so strong. And music can evoke feelings of time and place - of memory - like little else in art."

Sara Serpa & André Matos

JazzTimes has called Serpa "a rising star," while All About Jazz has said: "Her unique style of vocalese allows her to utilize the full range of her exquisite and clear voice with the agility of an instrumentalist, standing out of the crowd as a sublime interpreter and a bold improviser." The New York Times has described Matos as a guitarist who "advances a pointedly contemporary air." Both born and bred in Portugal but based in New York City for nearly a decade, Serpa and Matos met through music in Boston, where they both studied at the Berklee College of Music and New England Conservatory.

Serpa and Matos each have long associations with some of the most important musicians in jazz. Serpa studied with iconic pianist Ran Blake, with whom she has recorded two albums, Camera Obscura (2010) and Kitano Noir (2015). Serpa joined saxophonist Greg Osby's band right out of school in 2008, performing with the group at such hallowed venues as the Village Vanguard and contributing to his album 9 Levels. Osby's Inner Circle Music label also released Serpa's debut album as a leader, Praia (2008), and her quintet album Mobile (2011), along with Camera Obscura. Inner Circle released Matos's third album, Quare (2010), and Osby also contributed sax to their duo debut, Primavera. Individually and together, Serpa and Matos have performed with such prominent musicians as John Zorn, Danilo Perez, Guillermo Klein, Tyshawn Sorey, Dan Weiss, Leo Genovese and Thomas Morgan, among others. Beyond their duo together, Serpa leads such projects as her vocal group City Fragments, while Matos leads a trio featuring saxophonist Tony Malaby and drummer Billy Mintz.

Sara Serpa & André Matos: All the Dreams

1. "Calma" (Matos)

2. "A La Montagne" (Serpa)

3. "Estado De Graça" (Matos)

4. "Story Of A Horse" (Matos)

5. "Programa" (Serpa/Amaro)

6. "Água" (Matos)

7. "Nada" (Matos/Campos)

8. "Night" (Matos/Blake)

9. "Hino" (Matos)

10. "Lisboa" (Serpa)

11. "Espelho" (Matos)

12. "Os Outros" (Serpa/Lispector)

13. "Postlude" (Matos)

14. "amlaC" (Matos/Rende)

Sara Serpa: voice, piano (5, 9, 10), Fender Rhodes (4, 7)

André Matos: guitar, electric bass (1, 3, 4, 6, 8, 10, 11), percussion (11)

Pete Rende: synthesizer (1, 4, 14)

Billy Mintz: drums and percussion (1, 3, 6, 10)

Produced by Sara Serpa & André Matos

Recorded at The Bunker Studio (Todd and Andy), Estúdios Valentim de Carvalho (by Nélson Carvalho) and Eastside Sound (Marc Urselli); mixed by Pete Rende; mastered by Nate Wood

www.serpamatos.com

www.sunnysiderecords.com

Postlude

Sara Serpa - All the Dreams (September 16, 2016) SUNNYSIDE RECORDS

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