Saturday, October 20, 2018

Greg Ruggiero, Murray Wall & Steve Little - It's About Time (FRESH SOUND NEW TALENT RECORDS 2018)

"This recording is dedicated to my parents, Camille and Lenny Ruggiero, from whom I inherited my love of Standards and Swing. For the past twenty years they have asked me to record a Standards album. It's About Time!"
-Greg Ruggiero

Greg Ruggiero (guitar)
Murray Wall (bass)
Steve Little (drums)

01. Gone With The Wind (Wrubel-Magidson) 5:08
02. April In Paris (Duke-Harburg) 4:46
03. I'll See You In My Dreams (Jones-Kahn) 3:58
04. Polka Dots and Moonbeams (Burke-Van Heusen) 6:22
05. Where or When (Rodgers-Hart) 5:56
06. If Dreams Come True (Sampson-Goodman) 5:00
07. Things Ain't What They Used To Be (Ellington-persons) 6:02
08. Liza (Gershwin-Gershwin-Kahn) 3:15
09. Don't Blame Me (Mchugh-Fields) 5:41
10. Tangerine (Schertzinger-Mercer) 5:19

Mixed & mastered by Walter Fischbacher
Photos & design by Gabriele Donati & Bjoern-ante Roe

Produced by Greg Ruggiero
Executive producer: Jordi Pujol

Gordon Beeferman - OTHER LIFE FORMS (November 13, 2018)

OTHER LIFE FORMS is an innovative avant-jazz quartet led by composer Gordon Beeferman (piano & organ), with Stephanie Griffin (viola), Pascal Niggenkemper (bass) and Andrew Drury (drums). Virtuosic, intense, and quirky, Beeferman's compositions have a unique approach to integrating complex written charts with collective improvisation. The members of O.L.F. are among the forefront of the creative contemporary music scene, and bring a wide array of experience and sensibility to the music.

Stephanie Griffin: viola
Pascal Niggenkemper: bass
Andrew Drury: drums

All compositions by Gordon Beeferman

1. Get Got
2. Creep
3. Bad Strategy
4. Path
5. Hourglass Daydream
6. Puddle Jump
7. That's a Wrap

Recorded January 21 and September 21, 2015 at Peter Karl Studio, Brooklyn, NY
Edited by Gordon Beeferman
Mixed by Gordon Beeferman and Kato Hideki
Mastered by Kato Hideki
Photography: Reuben Radding
Design: Cheryl Richards
Producer: Gordon Beeferman
Executive Producer: Andrew Drury
© 2018 Gordon Beeferman. All rights reserved
All compositions BMI

Pedro Velasco: Pedro Velasco Trio - EP (2018)

Pedro Velasco has been composing music for as long as he’s been playing guitar. Small ideas, jotted down on scrap pieces of paper, sometimes turned into big ideas written across large scores. Yet it wasn’t until recently, when he began having ‘casual plays’ with two exceptional musicians, Greg Gottlieb (bass) and Gaspar Sena (drums), that the essence of these ideas, and his music, begun to take their true shape. 

Velasco writes for the sake of expression, meaning, and relating – especially to his musical kin – with the hope audiences also enjoy his music for those qualities. He writes to be honest, true and real. 

His music dodges definition. Rather than trying to fit into categories that define jazz, you could describe it as music that cares for silence and space; harmonically simple but directly expressive; loaded with interaction and trust. It’s dreamy, filmic, minimalistic, and it asks for plenty of role-blurring. Everyone’s taking care of time, taking care of harmony, taking care of melody, taking care of improvising. And, as a musician, it means the constructs that define one’s role can fade away, so you can simply play. 

It’s music for music lovers, people who enjoy seeing the care that goes into composing and performing, and who connect with originality.

1. Valsa Destes Tempos 07:28
2. Filominor 06:36
3. Canção do Vidoeiro 07:13

Recorded live at Clonmell Studios by Freeze Productions 
Mixed and mastered by Freeze Productions 

All music by Pedro Velasco

Twin Talk - Weaver (Friday, February 8th 2019)

Since forming in 2012 Chicago’s Twin Talk has steadily drifted from the conventions of the saxophone trio. While reedist Dustin Laurenzi, bassist-singer Katie Ernst, and drummer Andrew Green are deeply rooted in jazz tradition, they’ve spent their time on the band stage together making their music more elastic, spontaneous, and open, embracing new inspirations without stifling the improvisational heart of their work. All three musicians are active members in the city’s bustling jazz community, each playing in numerous working bands, but they’ve found a true collective voice as Twin Talk. They’ve used live performances as opportunities to stretch—expanding on composed material and ditching set lists in favor of calling tunes on the fly—but on Weaver they’ve pushed themselves further than ever, using the recording studio as a place for experimentation, letting a new batch of compositions develop and take new shapes. As critic Howard Reich wrote recently in the Chicago Tribune, “These musicians listen keenly to one another, and with a sensitivity that only comes from familiarity and trust.”

Laurenzi spent much of 2016-17 on tour with Bon Iver, and when the group’s leader Justin Vernon caught a Twin Talk gig in Minneapolis he was knocked out and offered the trio a chance to record at his celebrated April Base studio. With five luxurious days at its disposal, Twin Talk recorded its new book of tunes as it had traditionally—live and unadorned. Then they spent the next three days reshaping the material with carefully plotted overdubs and edits, forging sleek arrangements with lush harmonies—the soulful, patiently accruing horn charts that limn the aching country-soul melody of “Folks,” or the ethereal wordless vocals of Ernst that float in deft unison with Laurenzi’s serene clarinet in the postlude of “Paxton,” the sole piece on the recording to splice two discrete sections to produce an intentionally jarring transition. 

Ernst is a genuine double threat, her muscular bass playing matched by a crystalline voice—an instrument of astonishing precision and clarity. Those talents have been recognized by many, including pianist and composer Jason Moran, who made her playing and singing an integral part of his monumental suite Looks of a Lot in 2015. Her vocals are featured on “Solace,” a ballad of disarming beauty, as a solemn delivery initially backed by sonorous double stops gradually opens up with Laurenzi’s sobbing commentary and Green’s increasingly forceful pulse. As the song reaches its conclusion the contained emotions seem to burst into tears, only for Ernst to deliver a serene coda streaked with hope. Most of the music on Weaver pushes through shifting terrain. “The Sky Never Ends” toggles between gossamer delicacy, pop-like splendor, and explosive exposition, while the gorgeously meditative “Five” offers an extended platform for Green’s melodic percussion before Laurenzi’s knotty tenor cries push toward a rewarding climax. Vernon’s enthusiasm for Twin Talk continues, as he ushers Weaver into the world through his eclectic PEOPLE platform on February 8, 2019.

1. Weaver
2. Five
3. Human Woman
4. Minature I
5. Folks
6. Blessing
7. The Sky Never Ends
8. Paxton
9. Solace
10. Miniature II

All songs by Dustin Laurenzi (BMI) except Human Woman, Solace, and Blessing by Katie Ernst (BMI)
Recorded July 31-August 4, 2017 at April Base Studios in Fall Creek, WI
Recorded and mixed by Zach Hanson
Mastered by Huntley Miller
Produced by Twin Talk and Zach Hanson

Sculpture and photos by Maren Celest

Layout by David Woodruff

Artist Facebook
Artist Website
Label Wesbsite

Tour Dates
10/22 - Hamtramck, MI - Trixie's
10/23 - Detroit, MI - Spread Art
10/24 - Cleveland, OH - The Bop Stop at the Music Settlement
10/25 - Pittsburgh, PA - Spirit Lodge
10/26 - Butler, PA - Butler Little Theatre
10/27 - South Bend, IN - Merriman's Playhouse

1/31/19 - Seattle, WA - The Royal Room
2/7/19 - Los Angeles, CA - Sam First
2/10/19 - Chicago, IL - The Hideout

John Blevins' MATTERHORN - Uzumati (EARS&EYES RECORDS 2018)

In pursuit of an expressive and lyrical musical voice that balances the intellectual and emotional and emphasizes the fleeting but compassionate nature of our human condition, Blevins created MATTERHORN. 

This album, Uzumati, recounts a journey through a remote mountain wilderness in the northern Sierra Nevada in 2008. 

Synthesizing elements of jazz, rock, funk, and the avant-garde, ​Uzumati ​fuses electronic sounds and effects with acoustic instruments into a natural and captivating whole. 

Based on the enigmatic history of the Yosemite region and its inhabitants, these compositions question what can be lost in translation over time. ​Uzumati roughly translates to “grizzly bear” in the Miwok language, but it is often incorrectly attributed to the name ​Yosemite​--a​ ​corrupted phrase meaning “they are killers.” 

Told through the blurred lens of a decade now past, it is a story of resilience and gratitude--a sonic depiction of expansive beauty and wonder filled with fearful reverence. While relating memories and impressions of mountain trails, passes, peaks, meadows, and lakes, this music also shares the challenges inherent in any worthwhile journey. 

As the band's name tells you, ​MATTERHORN​ has a passion for climbing heights – both musically, with an alternately soaring and stargazing sound, and literally, drawing inspiration from trumpeter-leader John Blevins' backpacking exploits in Yosemite National Park's Matterhorn Canyon. 

Matterhorn's new album ​Uzumati​, a follow-up to its acclaimed, Shane Endsley-produced debut, will be released on October 12, 2018, on ​ears&eyes Records​. With their exuberant jazz harmonies, indie rock touches, Balkan feels and reggae grooves, Blevins and company create an intriguing aural landscape to reflect on mighty Yosemite. 

"Our lives are so fleeting--there's a timeline in the mountains of which we really have no conception," said Blevins. "On ​Uzumati​ [a Native American term for grizzly bear], we tried to capture some of that feeling." 

Matterhorn boasts an imposing lineup of New York-based players including Blevins label mate ​Drew Williams​ on bass clarinet and tenor saxophone; his college pal ​Jeff McLaughlin​ on guitar, ​Jesse Bielenberg​ on bass, ​Nathan Ellman-Bell​ on drums, and ​John Doing​ on percussion. 

Most of the members also contribute synthesizer and other electronic effects that give the music a cinematic feel – sometimes suggesting the dramatic soundtracks of the late Icelandic ​composer Johann Johannsson. There's an American heartland sensibility in the songs as well.

John Blevins - trumpet, effects, synthesizers
Drew Williams - bass clarinet, tenor saxophone, effects, Microbrute
Jeff McLaughlin - guitar, effects
Jesse Bielenberg - bass, effects
Nathan Ellman-Bell - drums, cymbals, percussion, Roland SPD
John Doing - percussion, glockenspiel

1. Peeler 09:15
2. Fearsome Creatures 06:09
3. Coda 09:11
4. Uzumati 03:26
5. Sawtooth 06:02
6. Kerrick 03:07
7. Paiute 03:35
8. Ember Dance 08:08
9. Mono 05:01
10. Deacon's Son 04:19

Recorded at Indaba Music in Queens, NY by Matt Dickey
Edited by Matt Dickey, John Blevins, and Drew Williams
Mixed by Matt Dickey and John Blevins
Mastered by Joseph Branciforte at Greyfade Studios
Produced by John Blevins with Drew Williams, Jeff McLaughlin, Jesse Bielenberg, and Nathan Ellman-Bell
Executive Production by John Blevins and Jon Lijoi
Art/design by Federico Maksimiuk and Rocio Galarza

All compositions by John Blevins © and ℗ 2018 John Blevins Music (ASCAP), except "Fearsome Creatures" by Drew Williams © 2018 (ASCAP), “Mono” by Jesse Bielenberg and John Blevins © 2018 (ASCAP), and "Deacon's Son" by Philip Bradford Barr and Andrew Gilmore Barr with permission from Secret City Records © 2011.

Matthew Golombisky's Cuentos - Volume 3 (EARS&EYES RECORDS November 16, 2018)

Matthew Golombisky’s Cuentos represent the compositional culmination of his experiences living in cities throughout the world. His experiences of the musical and cultural environments of each city awaken different directions for inspiration to be opened and explored as short stories in the form of simplistic soundscapes. These Cuentos (the Spanish word for ‘short stories’) are an ongoing project in which Golombisky works with close musical cohorts from each city to convey the stories of a unique musical geography. The first release (September 2017) showcased in-depth explorations of musical friendships developed in both Oakland (Volume 1), where he lived for one year, and Chicago (Volume 2) where he lived for more than three years. 

In this third volume, he has returned to Chicago to work with a longtime collaborator, drummer Quin Kirchner, which marks the first volume with drum set. Quin and Matthew have been working together in various groups, ranging from rock/pop to straight-ahead, chamber, electro and free jazz formats since meeting in New Orleans 17 years ago. After working together for several years in New Orleans and after the devastating Hurricane Katrina, they were able to continue their work together in Chicago until Golombisky moved to Buenos Aires after stints in Rochester NY and Oakland CA. They continue their music with free jazz trio Pedway (with Caroline Davis) and the occasionally re-emergence of Golombisky’s Tomorrow Music Orchestra. 

Each of the Cuentos is concise, intentional aural plots utilizing a group of trusted musicians. The compositional structures are meant to be simple, and showcase the improvisational precision (not virtuosity) of each performer, conveying a modest concept with fluidity, clarity, and focus. (Usually,) even the lengths of the pieces represent a conceptual modesty. Most pieces range from three to six minutes in length; single ideas presented, explored, and left to the listener for reflection. The Cuentos are here and gone before a single musician is able to explore every possibility of the story. The mood of each piece can vary, but usually remains with one singular musical gesture, goal, or feel. In this way, they humbly encourage that the music stays within the realm of a short story format, and doesn't develop into a full novel (so to speak). 

James Davis - trumpet
Dustin Laurenzi - tenor sax
Naomi Moon Siegel - trombone
Matthew Golombisky - bass
Quin Kirchner - drums

1.Cuento #13
2.Cuento #14
3.Cuento #15
4.Cuento #16
5.Cuento #17
6.Cuento #18
7.Cuento #1 (V3 bonus)
8.Cuento #5 (V3 bonus)

Recorded by Nick Broste at Constellation in Chicago IL, USA
Mixed and mastered by Florencio Justo at Estudio Doctor F. in Buenos Aires, Argentina
Album concept/design by Matthew Golombisky
Original art by Isabella Golombisky

Phil Schurger - The Waters Above (EARS&EYES RECORDS 2018)

On his second ears&eyes Records release, “The Waters Above”, guitarist and composer Phil Schurger continues down the path of monumental storytelling through symbols referencing the cosmos, and a curiosity for world cultures. As with his first release, “Echoes of the Ancestors”, each composition is multi-dimensional and episodic. The opening melodic statement sets the scene, which is followed by solo sections and interludes, crafted to continue the development of the ebbs and flows of the broader story. The band is dynamic in its ability to sculpt the music, whether propelled by Greg Ward and Phil Schurger as the soloists, or Clif Wallace and Jeff Greene’s dynamic rhythm section playing. 

"The Water's Above" as an album title, is a reference to the connection between the higher self and the lower self. The linking of these two parts of the being is a common aspect of many meditation paths. On the Tree of Life, this idea is reflected in several ways as one deepens in their understanding of the relationship between the Sephiroth. In Eastern iconography, often you will see a picture of a yogi seated in lotus pose with the image of a guru hovering above their head. Part of the practice of meditation is to create a continuous, conscious link between the upper and lower aspects of the being. In this manner, the normal, everyday mind can become awakened to these higher waters, and tap into the pools of wisdom through the intuition. For it is in the abstract mind that the root of innovation dwells. 

1. Scorpio 11:42
2. Anikulapo 10:04
3. Motion 09:02
4. Yoruba 12:40
5. Inclusion 09:55
6. Nogah 11:36

Recorded at I.V. Labs by Manny Sanchez in Chicago IL USA 
Mixed and mastered by Miles Fulwider in Ft. Wayne IN USA 
Album layout/design by Rebekah Frey in Ft. Wayne IN USA 

Hood Smoke - Live at Sleeping Village (EARS&EYES RECORDS 2018)

In the midst of an eleven show run from Colorado to Ohio in the spring of 2018, Hood Smoke performed in their hometown of Chicago at Sleeping Village. Opening with a cover of a Randy Newman song, the band continued its performance with a list of originals bursting with an energy only found outside the studio. 

Influenced by improvised music, and detailed songwriting respectively, Hood Smoke––Bryan Doherty, Jim Tashjian, Matt Gold, Michael Caskey, and Rob Clearfield––unleashed a unique sense of structure, as well as an appetite for musical adventure, that resonated within the walls of the recently opened and sonically sophisticated Sleeping Village on April 28, 2018.

Bryan Doherty - bass and vocals
Michael Caskey - drums
Rob Clearfield - organ
Jim Tashjian - guitar and vocals
Matt Gold - guitar

1. Little Criminals 03:55
2. Keeps Me Around 05:32
3. Porcelain Flowers 05:25
4. Blue Janie 04:24
5. Seneca Lake 07:01
6. Anything But The Answer 04:38
7. Regular Neurotic 07:00
8. Lone Lorraine 05:33

Recorded live at Sleeping Village in Chicago, IL on April 28, 2018 
Mixed and mastered at The Drake in Chicago, IL 
Recording Engineer - Greg Obis Chicago, IL 
Front of House Engineer - Hunter Korgel Chicago, IL

Juan Bayon - Vidas Simples (EARS&EYES RECORDS 2018)

Fernando Rios, ArgentJazz says of ‘Vidas Simples’, “Juan is one of the most important jazz musicians of our generation...” 

In 'Vidas Simples', "Juan's writing fluctuates between waves of inputs and outputs; They make it clear that experience as a composer of all subjects is the dominant force that prevails as the central axis in the final result," says Impronta de Jazz. 

Juan Bayon is one of the hardest working and creative contrabassists in Buenos Aires, Argentina where a strong influential ‘modern’ jazz scene has been flourishing for years and presents incredibly fresh sounds and ideas. Juan is one of the leaders of this movement having played and/or recorded with locals like Paula Shocron, Eleonora Eubel, Adrián Iaies, Ernesto Jodos, Eloy Michelini, Bernardo Baraj, Damián Bolotín, Francisco Rivero, Mariano Loiacono, Ricardo Cavalli and with internationals such as Tony Malaby, Ches Smith, Cecilia Todd, Andrew D'Angelo, Jakob Bro, Matija Dedic (another ears&eyes recording artist), Tommy Smith, Danny Grissett, William Winant, Eva Klesse, Judy Niemack, Paolo Di Sabatino y Darmon Meader. He’s also a part of one of the most supportive local indie labels, KUAI Music, where he along with others part of this “collective” release an array of what the Buenos Aires avant-jazz scene has to offer. 

ears&eyes Records feels incredibly lucky to help share Juan’s newest and third as-leader release, Vidas Simples, where he’s joined by a fine set of musicians including one of my favorite alto saxophonist in Buenos Aires, 26-year old Lucas Goicoechea, Chilean vibraphonist Diego Urbano who attended the Monk Institute alongside Josh Johnson and who is a member of Wayne Shorter-produced group Holophonor, Argentine-born NYC-based pianist Santiago Leibson who has recently recorded with Billy Drummond and Drew Gress, and hard-working drummer Sergio Verdinelli who’s performed with Argentine-famed rock bassist Spinetta, among 100s of other prominent names through Argentina. This is not only a record documenting the explosiveness that exists here in Buenos Aires at the moment, but also takes on a more international legacy. 

I won’t deny as someone who now lives in Buenos Aires that I’m biased but I’ve been following Juan’s playing ever since he played with (another ears&eyes artist) Croatia's pianist Matija Dedic. Matija was in town playing at the International Jazz Fest in 2016 and needed a bassist that could fit in perfectly with his new bop and virtuosic chops with a looseness that would be needed to make the set feel nature, relaxed but with an intensity Matija often utilizes. Juan was just that and ever since I’ve been wanting to release something of his. He presented this recorded set of tunes, and I jumped at the chance. -Matthew Golombisky 

Lucas Goicoechea - alto sax
Diego Urbano - vibraphone
Santiago Leibson - piano
Juan Bayon - double bass
Sergio Verdinelli - drums

1. Cumbia de Gambartes 08:31
2. Pausa 01:23
3. Aural 06:01
4. Rupturas 05:27
5. Ego 01:57
6. La Vida Simple 06:55
7. Fortaleza 06:44

Compositions by Juan Bayon
Todos los temas pertenecen a Juan Bayon

Recorded, mixed and mastered by Florencio Justo in Doctor F Studio, Buenos Aires
Art/design by Nicolas Gaggero Brajcich

Ingeniero de grabación, mezclado y masterizado por Florencio Justo en Doctor F, Buenos Aires
Arte de tapa: Nicolas Gaggero Brajcich

Jesse Peterson Quartet - Man of the Earth (EARS&EYES RECORDS 2018)

In its debut album, Man of the Earth, the Jesse Peterson Quartet springs into jazz, pounces on it. Drums, bass, sax, and piano arrive fully conscious from the first minute, ready to tussle and muse through these eight evocative compositions by Jesse Peterson. The performances are energetic and smart, and the recordings capture a group of musicians caught up in the euphoria of invention, precision, and play. Peterson’s unique brand of midwestern-grown melodic indie jazz does not tread with a light, sophisticate’s step. Despite their subtlety and wit, these songs feel sturdy, hearty, corn-fed. This jazz leaves tracks in the mud. 

The title track, ‘Man of the Earth,’ shows off a tonal and rhythmic diversity that characterizes the album. Raw pentatonic patterns provide a foundation for a colorful, complex melody that ascends and swirls above. An easy swing parries with driving subdivisions. Restraint and subtlety give way to kinetic crashes and splashes. Amid all this movement, the band shifts confidently, unified in improvisational freedom and in written lines. 

The name of the album and title track refer to Peterson’s father, whose capacity for earnest work and play inspired some of the songs and shaped his son’s approach to music. He owned and operated a trucking and landscaping company for most of his life, and left an imprint that can be felt in the hulking joie de vivre of these songs. This rootedness in earth and family tethers the complexity and experimentation of the album to something narrative, grounded. 

Peterson, as a composer and drummer, takes us places. He puts on jazz as a lens and sees America. These songs describe the America he grew up in, rural Minnesota, a realm of space, humble earthbound hymns and motor oil. They also show us his home in New York City, a brusque, impatient world, clogged with humans and clamoring with ambition. Throughout the album, these two locales sometimes appear with distinction, clarity, but at other times they meet, they comment on each other, they clash and step on each other’s toes. 

Songs like ‘Hibbing BMX Life Experience’ and ‘Bucko is Relocating’ also show Peterson’s range of musical influence. He doesn’t shy away from the fun of up-tempo rock, brassy Broadway grandeur, or the gleeful quarter-note drive of mashing keys. These pronounced styles become the object of the band’s commentary, as the players alternately lose themselves in the spirit of each moment, and then turn the themes into opportunities for variation, deconstruction. 

Thus Man of the Earth becomes a series of arrivals and departures, at times landing in a place of familiarity, nostalgia, and warmth, only to lift off in the next moment, soaring into abstraction. ‘The Factors’ begins with a minimalist cycle of bass and drums. Sax and piano sing along, sometimes gracing the established key, at other times resisting, pulling up into an airy bitonality. This opening gives way to a second movement, a rousing Afro-Cuban groove with a cascading melody floating over it. In this section, the sax shifts in and out of structured melody, accenting the formal strength of the song with bursts of improvisation. The song grows and matures and leaves home, but finds its way back in the end. Conceptually and musically, Peterson follows this cycle throughout the album, a cycle that loops and spirals and soars, yet always begins and ends in the same elements, the same clay. 

The album displays the quartet’s stellar musicianship in ‘Have a Winnebago Winter,’ which opens with a shimmering riot of drums. Listeners can delight in Peterson’s technical command of the set, noting the rapid, confident interplay of patterns, tempi, and traditions. But he employs his craft with purpose. Peterson positions his drumming in different roles throughout the album, sometimes playing the rowdy and talkative star, sometimes a supportive role, but in every instance, Peterson’s mind, heart, and hands work together to turn the set into a voice, an expressive tool. A minute into ‘Winnebago Winter,’ the bass steps in from the drum break with a sly, probing line, the piano tumbles in from on high, lands on the bass line to parallel it, fatten it. As soon as the group settles into a groove, Peterson enlivens it, finding rhythmic pockets that are somehow mathematical and soulful, making for a sound that is at once versatile and coherent. This quartet maneuvers boldly, decisively, bringing character to each articulate song. 

Peterson writes and plays with feeling. These melody-driven songs each speak of something human. ‘Fer da Kids’ gives us a grown-up looking back at the pure frivolity of childhood, a rousing revisitation tinged with longing. ‘You Remember Mort’ delivers a poignant eulogy, a gray interior, and a progression that paces back and forth between solace and tension. And in ‘Blessing in Between,’ a wistful passage sets the stage for an epic climb, and we hear quiet introspections become strivings, strainings, a crescendo of earnest emotion. No matter what the feeling, Peterson engages it directly, writing from the gut, never washing off the grit of memory, grief, or glory. 

The Jesse Peterson Quartet makes jazz feel fresh and knowing, fierce and good-natured. Man of the Earth invites audiences to move, to imagine, to listen in on stories and impressions and meditations from an inspired composer and four compelling musical voices worth the airtime. 

Jesse Peterson - drums/compositions
Adam Schneit - sax
Jorn Swart - piano
Andrew Schiller - bass

1. Man of the Earth 03:59
2. The Factors 05:16
3. Bucko is Relocating 08:18
4. Have a Winnebago Winter 06:31
5. Hibbing BMX Life Experience 05:57
6. Fer da Kids 07:32
7. You Remember Mort (He Died Today) 05:41
8. Blessing in Between 05:30

Recorded by Joseph Branciforte and Nolan Thies at The Bunker Studio in New York City 
Mixed by Jesse Peterson 
Mastered by Alan Douches 
Artwork/design by Michael Sallit 
Photos provided by the Petersons

Rodrigo Domínguez - Igual (KUAI MUSIC 2018)

Rodrigo Domínguez: tenor sax, alto sax, soprano sax
Ernesto Jodos: piano
Jerónimo Carmona: bass
Carto Brandán: drums

1. Igual 03:52
2. Persona 08:01
3. Panadero 06:14
4. Dos líneas 09:17
5. Miyazaki 06:15
6. Madrigal 07:24
7. Metejón 02:56
8. Veremos 07:35
9. Conoce el procedimiento 08:04
10. Me miró 05:44

All compositions by Rodrigo Domínguez
Produced by Rodrigo Domínguez

Recorded on June 30th and July 1st 2018 at Fort Music, Buenos Aires
Recording Engineer: Juan Pablo Alcaro
Mixed and mastered at Apis Studio, Buenos Aires
Cover design and photography: Juan Grippaldi

Andrés Elstein - Las Formas Cambian (KUAI MUSIC 2018)

Emmanuel Famin: alto sax, clarinet
Lucas Goicoechea: alto sax
Violeta García: cello
Juan Manuel Bayón: bass
Maximiliano Kirszner: bass
Andrés Elstein: drums

1. Eje 06:53
2. Las formas cambian 06:25
3. Patitos en hilera 11:22
4. Lago 06:52
5. En el espacio 08:10
6. Ciervo 08:38

All compositions by Andrés Elstein
Produced by Andrés Elstein

Recorded on August 9th 2017 at Doctor F, Buenos Aires
Recording Engineer: Florencio Justo
Mixed and mastered by Florencio Justo at Doctor F, Buenos Aires
Cover art: Nicolás Gaggero
Photography: Román Fleischen

Guillermo Harriague - Fotomental (KUAI MUSIC 2018)

Inti Saveb: clarinet
Nataniel Edelman: piano
Sebastián De Urquiza: bass
Guillermo Harriague: drums

1. Poró 06:05
2. Caos Control 08:30
3. Estado Actual 05:29
4. Días Ocupados 05:21
5. Tei 04:59
6. Otra Data 07:27
7. Ultimero 06:40

Recorded on August 12th 2017 at Doctor F, Buenos Aires
Recording Engineer: Florencio Justo
Mixed and mastered by Florencio Justo at Doctor F, Buenos Aires
Cover art: Victoria Harriague

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