Greg Abate - Magic Dance (The Music of Kenny Barron) April 2021 Whaling City Sound Records

Theres a beautiful marriage happening with Greg Abates Magic Dance."" Its the union between Abates multi-instrumental gift of bebop and Kenny Barrons varied and sublime compositions. Abate, with Barron, who handles keys on this recording session, are soulmates sharing this epic musical space. On their own, Barrons melodies are transcendent. In Abates skillful hands, thanks to his ability to shift between alto, tenor, baritone and soprano saxes and flute, the material takes on new tones, colors and patterns. One of the liberties Abate took with the material involved varying the choice and number of horns on these tracks. On two tracks, he even went so far as to arrange and overdub four additional sax parts, modeled on the reed section of the traditional big band, which give Barron's lush sounds even greater texture and intricacy.

Underneath it all is the hot-shot rhythm section of bass player Dezron Douglas and drummer Johnathan Blake, a New York City tandem born to support and elevate these arrangements. In fact, the ensemble work throughout this two-disc project is incredible, and reaffirms the health of 'real' bebop, a genre in which Abate has, through a five-decade career, been a dependable flame keeper. With this collaboration, Abate, with sidemen Barron, Douglas and Blake prove that the glory of straight-ahead jazz can still be purposeful, exhilarating, and, above all, like all great marriages, faithful and true.

1. Sunshower

2. Cook's Bay

3. Golden Lotus

4. Innocence

5. Water Lilly

6. Sonya Braga

7. Bud Like

8. Lemuria

9. Concentric Circles

10. Rain

11. Voyage

12. Magic Dance

13. Song for Abullah

14. And Then Again

Pre-order

Greg Murphy - Cool Water (2021 Whaling City Sound)

It is glad tidings indeed that Whaling City Sound announces the release of a new Greg Murphy recording. In fact, the news is almost as joyous as the sound of Murphy’s piano. Cool Water is both heartwarming and exhilarating. Greg’s fingers find delicate and exciting ways of expressing themselves across the keys

It is the sound of a blissful talent given a new lease in both life and career, as well as the opportunity to rediscover his true and glorious gift. The recording opens with the ebullient “Chim Chim Cher-ee,” segues into a chancy take on Steely Dan’s “Green Earrings,” careening through a battery of brisk melodies and beautiful playing, including the astonishing “Cuttin’ Trane’s Corners,” a dark, surprising cover of Wayne Shorter’s “Lost,” and the funk-filled closing celebration, “You Decide.” Featuring Murphy’s bandmates Jeff “Tain” Watts on drums, Eric Wheeler on bass, and a bevy of special guests, Cool Water is just that, long and fresh, a ride with the top down, rife with optimism and full of freedom and discovery.

Greg Murphy is clearly glad to be back and playing music again, and we should all be thankful for it.

1. Chim Chim Cher-ee

2. Green Earrings

3. My Life

4. Theme For Ronnie

5. Friendship

6. Free Fur Nina

7. Enkare Nairobi

Greg Murphy / piano, keyboards

Eric Wheeler / bass

Jeff "Tain" Watts / drums

Pre-order

Miles Donahue - Just Passing Thru (2021 Whaling City Sound)

It may or may not be a fact that jazz musicians age with grace and class. Perhaps someday we will understand this idea better. But in Miles Donahue’s case, the concept certainly bears out. His latest album, coming on the heels of The Bug (Whaling City Sound, 2017), Just Passing Thru is large in scope and beautiful in execution. From song to song, there are moments of tenderness, passages of grandeur, and fistfuls of exhilarating, technical wonder. He ventures out on a Celtic limb on “Ireland,” swings with verve on “Living Room Blues,” and demonstrates subtlety and passion on the opener, “A Man of Few Words.”

Donahue, who is fluent on trumpet as well as tenor and soprano saxes, chooses notes boldly, exploring the full length of tonal potential. It is a joy to follow his risky explorations, as he makes his way through a labyrinth of unexpected turns. It certainly helps that he has an amazing crew behind him. Joe Santerre provides power grooves on electric bass as does Larry Finn on drums. They are joined by percussionist Ricardo Monzon, keyboard player Alain Mallet, and a handful of tracks featuring guitarist Mike Stern. With a vision that includes Crusaders’ style R&B, Weather Report fusion and lovely, soulful turns, Donahue is masterly here. More than simply Just Passing Thru, he’s making his permanent mark on today’s jazz landscape.

1. Hear My Words

2. Living Room Blues

3. Killing Me Softly

4. Just Passing Thru

5. Donny’s Groove

6. A Man of Few Words

7. 7_9_65

8. Railroaded

9. Ireland

Miles Donahue / saxophone, trumpet, keyboard

Joe Santerre/ electric bass

Larry Finn / drums

Richardo Monzon / percussion

Alain Mallet / keyboards

Mike Stern / guitar

Pre-order

Danny Bacher - Still Happy (WHALING CITY SOUND RECORDS September 28, 2018) + Album Release Event

Danny Bacher and his All-Star Band: Album Release Event Still Happy

The Cutting Room

44 E. 32nd St. New York, NY

Sun, September 30, 2018

Doors: 6:00 pm / Show: 7:00 pm

$25.00 - $35.00

TICKETS

A new voice in jazz-steps out-and man, does he swing!

(Get ready to shake your tuchas!)

Still Happy

“The secret of serious fun is not to take it too seriously, especially if it involves playing jazz. 

That attitude is something that the easygoing singer and saxophonist Danny Bacher, knows in his bones.”

– The New York Times

Singer-Saxophonist, Danny Bacher is a fresh new face on the jazz landscape. His clean, crisp delivery is reminiscent of the true greats in entertainment. An engaging stage presence, a smooth-as-silk voice, and the gift of a storyteller all come together to complete his new recording, Still Happy.

This swinging album features a compelling marriage of uplifting tunes and performances, delivered with the style and polish of a seasoned pro. “The way I like to connect to my audience is through humor, lightness and a positive message” says Danny. “I like to convey a positive message.” Offered without irony, these sentiments serve as the baseline philosophy behind Still Happy.

The album features arrangements by Danny and Allen Farnham, crafted to energize Danny’s indefatigable spirit; a rhythm section plus horns plus percussion galvanized tight by purpose and desire; Danny’s own “In Spite of All This, I’m Still Happy,” and “Joie de Vivre,” each complementing perfectly the project’s theme and variations; and signature moments of musicality and wit.

There is a wry yet reverential send-up of “Hooray for Hollywood,” a peek behind the dream factory curtain, replete with Danny’s original, happy-making lyrics (“You’ll be splurgin’ to see a surgeon/He’ll make your tuchas look good…”) “Hollywood” proves to be a touchstone, a contrast to the album’s final track, “Cloudy/Nuages.” Together they reveal the yin and yang of Danny’s personality. The former is exuberant, bracing, filled with vivacity; the latter, ruminative, introspective, private.

Danny looks to the heart (and feet) by endowing these tracks – and all others – with sophisticated subtlety. One hears traces of calypso (“Get Happy”), and doo-wop (“Shaking The Blues Away”), and pure Billie Holiday (“Getting Some Fun Out of Life”).

With both words and deeds, Still Happy reflects Danny’s North Star mandate: he aims to please. He is a pure soul, a humanist at heart, whose creativity aligns perfectly with a desire to spread joy. This album is the latest installment in his vision of a sing-along, bouncing-ball world. It is a simple reminder: in the hands of a master storyteller, music is magic.

Danny Bacher Vocals, Soprano Saxophone

Allen Farnham Piano

Dean Johnson Bass

Alvester Garnett Drums

Harry Allen Tenor Saxophone

Charles Caranicas Trumpet, Flugelhorn

Rolando Morales-Matos Percussion

Co-arrangements by Danny Bacher and Allen Farnham

Produced by: Jeff Levenson

dannybachermusic.com

New CD Fred Farell "Distant Song" Fred Farell Sings the Music of Dave Liebman and Richie Beirach + Upcoming Live Appearance

Higher Power

Fred Farell brings the good word on Distant Song

What The Press Is Saying About
Fred Farell
"Distant Song"
Fred Farell Sings the Music of Dave Liebman and Richie Beirach

" Fred Farell's new CD is rewarding...adding to the Jazz Vocal Repertoire.
His singing is warm, quietly expressive, and really gets into the messages of the songs.
...Fans will find much to enjoy on this rewarding set." 
Scott Yanow, Jazz Journalist/Historian

"The mood of the Program is dark blue, solemn, and well matched to Fred's Baritone, and the accompanying Instrumentation...with Farell writing all the Lyrics."
D. Oscar Groomes: O's NOTES - O's Place Preview

"...FARELL is the real deal in terms of Sincerity, his voice speaks authority as does the tender Truth expressed in his Lyrics...and musical arrangements...A performance that regularly stops you...in your tracks..."
Stephen Graham/MARLBANK

"I give Fred, and his fellow master (musicians) an energy quotient rating of 4.99 for this CD.
...One of the strongest Jazz Vocal performances I've listened to yet in 2018."
Rotcod Zzaj (Dick Metcalf Associates/"Contemporary Fusion Reviews)

"Listening to Farell is like stepping back in Time, to mid-20th Century America, when Jazz and Romance were popular. His Sounscapes are like Odes to Love...Farell's "Distant Song" provides enough soothing sounds for listeners to ponder the Human condition...

He is joined by Dave Liebman on soprano & tenor Saxophones, and by Richie Beirach on acoustic Piano."  Dodie Miller-Gould, Lemon Wire

Fred Farell "Distant Song"
(Whaling City Sound WCS 103)
Street Date: January 26, 2018 
Fred Farell sings the music of Dave Liebman and Richie Beirach 

Fred Farell Voice
Dave Liebman Soprano & Tenor Saxophones, Wooden Recorder

Richie Beirach-Acoustic Piano

As a featured soloist and ensemble singer, Fred Farell has made a name for himself as a preeminent pro jazz voice. Across five decades and at venues as esteemed and diverse as Avery Fisher Hall, the Brooklyn Academy of Music, and the Museum of Modern Art, Farell has demonstrated inspired interpretive abilities to go with his heartfelt lyricism and sweet pipes. Distant Song, his debut for Whaling City Sound, a home for much quality jazz, is a profound experience, thanks partly due to his composers and loyal accompanists saxophonist Dave Liebman and piano/keys player Richie Beirach, both of whom have collaborated on the original music for this record.

Farell’s own wordsmithing is sublime, requiring deftness, patience and passion on the microphone. His compositions unfold gently, religiously. Infused with sacred messaging, Distant Song is an emotional project -part, jazz, part spiritual, part loving experiment- produced with happiness and love by a veteran talent clearly confident and at peace with himself and his abilities.

1. Broken Wing 5:55

2. Lonnie’s Song 4:53

3. Forgotten Fantasies (Instrumental) 6:16

4. Leaving 7:33

5.Tomorrow’s Expectations 6:58

6. Sunday Song 4:24

7. Mitsuku 7:56

8. Zal (Instrumental) 5:19

9. Places 4:22

10. Distant Song 5:34

Tracks 1,4,6,7

Richie Beirach,

Beirach Music, BMI

Fred Farell (lyrics),

FarellSongs Publishing, BMI

Tracks 2,5,9,10

Dave Liebman,

Liebstone Music, BMI

Fred Farell (lyrics),

FarellSongs Publishing, BMI

Track 3

Dave Liebman,

Liebstone Music, BMI

Track 8

Richie Beirach,

Beirach Music, BMI

FRED FARELL

Fred Farrell began singing professionally during his military service in the USA,

and Europe in 1967. His musical training includes: Jazz Vocal improvisation with

Pianist-composer and educator Richard Beirach; Private voice studies with

Cynthia Hoffman, Richard Dorr, and Larry Chelsi; and Music courses taken at

The City College of New York; at which time he enrolled in Jazz studies taught

by Jazz songstress and educator Sheila Jordan.

His first appearances as a solo artist and group leader in New York, were at

Loft galleries, and Jazz clubs during the 1970's and early 1980's; including

return engagements at Sweet Basil, and Greene Street; during which time he

was an artist-member of Cobi Narita's Universal Jazz Coalition.

As a featured soloist, as well as an ensemble singer, Mr. Farell has performed

at Avery Fisher Hall, The Brooklyn Academy of Music, The Kitchen, WBAI Radio,

The Musuem of Modern Art, and Symphony Space, with such Jazz Masters

and artists as the late saxaphonist Dexter Gordon; Pianists: Barry Harris,

the late Albert Dailey, and Kenny Barron; Bassists: the late Herman Wright,

Rufus Reid and Ratso Harris; Female Vocal Artist-educator Jay Clayton (The

Voice Group); and Natural Sound Composer-pianist Kirk Nurock.

In the creative expression of Jazz used to present the Gospel message, the

singer has been a featured soloist with the Don Hanson Ensemble, led by the

Saxaphonist-composer; has appeared on the Queens Public Cable TV Network;

and is currently co-leader of the Gospel Jazz group "JazzLite". In this group

setting, Mr. Farell ministers with his gospel lyrics for original compositions,

and Jazz standards, and features Pianists Jeff Kruh, and Joel Weiskopf in

varying instrumental formats, depending upon the venues entered.

Whaling City Sound News: Terry & Gerry Gibbs, Langone, Monteiro, Donahue, Micic, Porter-Scarff

Terry Gibbs, 93 in October, reaches an exalted place with his latest, and last, recording

After an 80-year career in jazz and about as many recordings to show for his time, vibist Terry Gibbs, now 92 years old, finds himself in the most unlikely of places: at the very top of the Jazz Charts, otherwise known as #1.

“It’s amazing isn’t it?” says Terry from his home in Los Angeles. “I guess that’s what you get when you put four great players together in a room and let everyone just have fun!” 92 Years Young, Jammin at the Gibbs House is, by most accounts, Terry’s swan song, his final recording. But what a way to go.

“I retired at 91,” he says, “but my son (acclaimed drummer Gerry Gibbs) convinced me to do a project with Neal Weiss (at Whaling City Sound).” A former boxer, Terry had confidence in his endurance. “I figured I have one punch left.” 

Though he admits that he was worried about losing energy, the band—including Mike Gurrola on bass, John Campbell on piano and son Gerry Gibbs on drums—recorded in Gibbs’ own living room for four days straight, ending up with a total of 31 completely improvised, unarranged, unrehearsed songs. “We lucked out,” says the spry bandleader, “and practically all of them were pretty good!” 

Gibbs, who spent a good part of his career with both Benny Goodman and Steve Allen, among others, knows a little about improvising. “We wrote our songs right then and there,” he says. “You’re writing music on the spot! That’s what jazz is. It was hard to figure out which ones would go on the record, but that was a good problem to have.” 

Terry’s son Gerry, who cajoled his dad into give it one last go, is, understandably, super proud of “Pops.” “This is such a great achievement for him,” he says. “I am so proud and happy for him, to come out of retirement like this and hit, #1 at 93 years of age!” 

Gibbs, the son, has had a pretty good string of successes himself, landing his last four discs on the top spot of the same jazz chart, and his last recording Weather or Not (with Thrasher People) is the most played disc in the country on jazz radio. 

Without a doubt, the 1-2 punch of the Gibbs boys has dominated jazz of late, thanks to huge talent, great music, and a passionate embrace for jazz. “It means a lot to me,” says Terry. “You don’t get to Number One very often, so you have to enjoy it when it happens.”

The Prodigal Horn 

After a few remarkable detours,  

Miles Donahue returns with The Bug

While intermittency may have prevented him from finding his way into your ears up until now, jazz fans far and wide can and should now rejoice in the re-emergence of versatile horn savant Miles Donahue. He was once described as “a jazz treasure and a best-kept secret, equally adept on trumpet and saxophones and a composer of grace and originality.” 

When you hear his work, you won’t disagree with that assessment. Donahue is a world-class player and an adept arranger, author and educator. He is also well-connected, as evidenced by the band he’s assembled here, which includes sax legend Jerry Bergonzi and renown guitarist Mike Stern as well as Ralph Peterson on drums. Other phenomenal talent on the record includes pianist Tim Ray, Tamir Shmerling on bass, and drummer Larry Finn. 

His curiously titled new album, The Bug, is an exploration of a spectrum of jazz vernacular and an eclectic musical celebration. From meticulously arranged funky fusion with Stern’s searing electric guitar, to more traditional, but still exciting jazz settings—from Weather Report and Miles to Mingus and Monk—Donahue blazes trails, leading the way with varied tones and tactics. The approach lends The Bug a surprising variety and a spectrum of harmonic sophistication, melody and intimate expression.

Miles Donahue's career in music has included several detours over the years. He did not begin his commitment to jazz in earnest until the late ’80s, although its early as the ’60’s he performed at many venues with his own group that featured Harvie S, Bergonzi, Charlie Banacos, Nick Goumas and Jack Diefendorf. When the time came to rejoin jazz later, he did so with gusto, encouraged by Bergonzi who knew his friend was the real deal. In the early ’90s, Donahue relocated to Europe to begin this second phase, understanding that the hunger for jazz on the continent outweighed that found in the United States. 

In the early ’00s, he would later form his own label, Amerigo Records. His first few outings during that period would co-star an array of great players, including Fred Hersch, Bergonzi, Jamey Haddad, Kurt Rosenwinkle and Jay Anderson. You can certainly be judged accurately, especially in this case, by the company you keep. 

"Very few musicians today have the diversity of hidden talents Miles Donahue possesses,” said a prominent jazz critic. “The harmonic sophistication he plays with and his ability to swing with incredible beauty all lead to a master musician.” 

We agree, and you’ll find that Donahue’s Whaling City Sound debut is prima facie evidence.

Great Acoustics

Drummer Steve Langone steps into the spotlight with the magical Breathe

In most cases, jazz is regional. Most musicians have to begin somewhere, they spend their time refining their art and preparing to introduce their work to ever-bigger regions. And so reads the next chapter in Steve Langone’s unfolding jazz history. To the wider world of jazz, the drummer’s name is still rather unfamiliar. But that’s because he is still refining. The Boston jazz audience certainly knows Steve’s work. They know he has accompanied a healthy clutch of luminaries—a list that includes Claudio Roditi, Howard Alden, Anat Cohen and dozens more. They also know that they are about to bequeath their beloved drummer to the wider jazz world, thanks in part to Breathe, his new recording and his second on Whaling City Sound.

His fourth set as a bandleader, Breathe could be titled thusly because Langone is subliminally nudging himself forward; he’s telling himself to hit the “pause” button between his numerous sessions and stay put long enough to draw a little attention to his own work, which as it happens, is truly stellar.

Joined by Kevin Harris on piano and Dave Zinno on bass, Langone’s trio is absolutely lovely, really tasty. The tunes on Breathe tackle a repertoire spanning both super early folk songs and spirituals and a few originals. The recording as a whole is beautifully arranged and played with panache, especially on heartwarming renditions of Rogers’ “It Never Entered My Mind,” the quietly funky “Sometimes I Feel (Like a Motherless Child)” and the quiet epic “Shenandoah,” which is guided by Zinno’s melancholy bass and closes the session.

For the originals, Zinno has two tracks here, and Harris and Langone contribute one apiece. The bandleader’s “Glow,” moody, complex even as it’s restrained, is a standout. In fact, there’s a hushed beauty, all across this album, thanks to the masterful acoustic performances, which really gives the recording a stoic sort of elegance.

For those who have been listening to great jazz in the Boston environs for the past decade, the gorgeous results on Breathe will not be surprising. Langone is the kind of musician whose talent is noticed when heard in any of the numerous ensembles with which he has performed, and whose range is obvious. But for those outside that area, who might just be hearing Langone’s work in earnest for the very first time, welcome to the club! We’re sure you’ll find something to love. Close your eyes and Breathe. 

Escape Artist

Marcus Monteiro brilliantly defies definition yet again on

Another Part of Me

The music inside Marcus Monteiro is an unstoppable force, a drive that won’t quit. The sounds that come from him are many, as if he can’t decide what to play, so he plays everything. He plays and plays and works and works until he can’t. He practices and practices something/anything until he’s mastered it. He is powered by nature and he is a vessel from which sounds emerge. It sounds crazy. But the guy is born to make music.

Once he corrals that energy and focuses that ambition, he stops just long enough to craft it into a new recording. Another Part of Me, the perfectly titled new Marcus Monteiro Quartet collection comes as good news indeed. The alto saxophonist plays with the ebullience and energy of Maceo Parker and the enthusiasm of a beggar at his first banquet. The recording, Another Part of Me, is a dramatic raising of the bar for the tireless lion, a hyper link to the next level in terms of tunes, in terms of notes, in terms of all around alchemy.

Joined by John Harrison III on piano, Fernando Huergo on bass, and Steve Langone on drums, Monteiro is in excellent form, surrounded by equally energetic band-mates, all of whom are driving in the same direction. Engineered, mixed and mastered by Peter Kontrimas, Another Part of Me covers a wide palette of material from such far-ranging sources as Horace Silver (“Sister Sadie”), Don Byas (“Slammin Around”), Stevie Wonder (“For Once in My Life”) and, yes, Soundgarden (“Fell on Black Days”). 

Monteiro’s purposeful variety, indeed his entire MO as an artist, defiantly resists characterization. He regularly escapes definition and consistently crosses boundaries, with wide-ranging tastes, great material and equally great accompanists. In fact, he’s played with artists as diverse as George Clinton, Esperanza Spaulding and Charlie Hunter, in addition to a variety of other musical genres.

Monteiro’s ability to bridge the classic and the contemporary is one of his signatures and a huge reason why he and his quartet, especially on Another Part of Me, his latest and best Whaling City Sound album, need to be heard here and now.

On the Horizon

August 25 Releases

All About Jazz calls her “first rate, no doubt about it.” Now the sultry, uber-talented Alma Micic has arrived with the sublime new That Old Feeling, her fourth recording and the definitive emergence of an important new voice.  Born and raised in Serbia, she began singing jazz and big band as a teen before attending the prestigious Berklee College of Music in the late ’90s. Since then she’s polished her ample abilities as a singer in New York City, all of which are remarkably evident on her new album. Her vocal skill is effortless and understated. Her timing and melodicism are spot-on and her performances on songs like the searing “Cry Me a River” and the coy “Honeysuckle Rose” are bewitching. At times she sounds young and playful, at others she sings with the wiles of someone who has seen it all. Whichever persona she chooses, whatever song she sings, and however she sings it, Alma comes through. Don’t hesitate to give her your time.

Music has taken saxophonist and composer Phil Scarff and pianist Lewis Porter to many places. They have performed and recorded around the world, as have their colleagues bassist John Funkhouser and drummer Bertram Lehmann. In return, and as an immense favor to all of those who hear it, they’ve created music that takes listeners to almost as many unique destinations. The Lewis Porter-Phil Scarff Group’s new Three Minutes to Four is contemporary, east-meets-west jazz, where Indian raga merges with western classical, where Ghanaian traditional fuses with improvisational, and where organic meets studied. Three Minutes to Four is where stunning performance creates pure jazz excitement. The four musicians here have all been to the crossroads of world music and jazz, which is why this project really sings. Scarff regularly tours India and performs Indian classical concerts at major venues there. Porter, a prolific author and Ph.D., devised the only master’s program in Jazz History and has toured across the US and Europe with names like Liebman, Bartz and Ribot. Both Funkhouser and Lehmann are Berklee profs with a dizzying array of worldwide playing. Three Minutes to Four is at once deeply felt and eminently accessible, a glorious celebration of musical multiculturalism filtered through a prism of real jazz.

John Stein - Color Tones (WHALING CITY SOUND RECORDS 2017)

Acclaimed guitarist John Stein expands his already impressive sonic palette on this new recording, Color Tones. The album, created with his ever-intriguing core rhythm section—masterful drummer Zé Eduardo Nazario and renowned bassist John Lockwood—also adds the voices of two mature and unique soloists, Fernando  Brandão  on  flutes and Phil Grenadier on trumpets and mutes. Songs like the concise “Neck Road” provide an example of how this collective functions, featuring all five instrumentalists intertwining in spontaneous interplay: the musical conversation is respectful, energetic, and bristling. All of Stein’s accompanists here expertly carve out their territory. Stein is a generous bandleader. Every musician is featured extensively, and they complement each other tastily, adding their personal expression to the overall fabric.

Stein’s compositions provide the necessary structure without inhibiting the musicians’ ability to add their individual voices to the group effort, allowing all parties to color in the details of those structures artfully. In addition to the arranging ideas contributed by the composer and the players, three of the songs are arranged by Adi Yeshaya, which adds immeasurably to the sonic variety of this recording. Though the acoustic format feels traditional on the surface, there are surprises hiding underneath. This is music of depth and subtlety. In fact, Color Tones is a true delight and a Triple Threat: excellent compositions, sublime arrangements, and enthralling musicianship. Isn’t that all we hope to receive when we listen to a jazz recording?

01. The Commons

02. Angel Eyes

03. New Shoes

04. Five Weeks

05. Jo Ann

06. Neck Road

07. Labor Of Love

08. Ebb and Flow

09. Four Corners

10. Salt Marsh Down

11. Wall Stones

John Stein - guitar

Phil Grenadier - trumpet, flugelhorn, bass flute

Fernando Brandão - flute,alto flute, bass flute

John Lockwood - acoustic bass

Zé Eduardo Nazario - drums