Thursday, April 8, 2021

July 17 on Resonance – Roy Hargrove / Mulgrew Miller "In Harmony" – 2-LP Record Store Day exclusive


Previously unreleased live recordings from 2006 and 2007, available July 17th as a limited-edition 180-gram 2-LP Record Store Day exclusive and July 23th as a deluxe
2-CD and digital edition issued in coordination with the Hargrove and Miller Estates

Elaborate booklet with rare photos, informative essay by Ted Panken, interviews and statements from Sonny Rollins, Christian McBride, Common, Ron Carter, Jon Batiste, Karriem Riggins, Keyon Harold, Ambrose Akinmusire, Chris Botti, Robert Glasper and others

Resonance Records, the award-winning label home of acclaimed archival releases by Nat King Cole, Bob James, Charles Lloyd, Sonny Rollins, Bill Evans, Wes Montgomery and more, is thrilled to announce the release of In Harmony, a stunning set of live performances by Roy Hargrove on trumpet and Mulgrew Miller on piano, available on July 17, 2021 for Record Store Day. In Harmony provides a rare glimpse of these two now departed and dearly missed greats, united in song and improvisational mastery in front of audiences at Merkin Hall in New York City (January 15, 2006) and Lafayette College in Easton, Pennsylvania (November 9, 2007).
Co-produced by Zev Feldman and Larry Clothier with executive producer George Klabin, In Harmony is the first posthumous Hargrove release since the trumpeter’s untimely passing on November 2, 2018 at age 49. Aida Brandes-Hargrove, President of Roy Hargrove Legacy, said: “Roy’s daughter Kamala and I are excited to collaborate with Resonance and to get this great new album out to Roy’s many fans.”
Miller passed away on May 29, 2013 at age 57. With In Harmony, we are back in the musical company of these two greats for a short but precious time. And though the settings heard here were ticketed concerts, the vibe unfolds exactly as it might have back in the day at Bradley’s, when Hargrove was first coming up in the late ’80s and Miller loomed large from his associations with Art Blakey, Tony Williams and others. Acclaimed jazz journalist Ted Panken, in his extensive booklet essay for In Harmony, evokes that scene, and its central importance to Hargrove’s development, in vivid detail.
Hargrove told Panken, “Bradley’s was like going to school. It was like your masters. You go in there, and you’re playing, and there’s Freddie Hubbard at the bar! What do you do? Everything I’m playing right now I owe to that whole scene.”
Hargrove hailed from Texas, Miller from Mississippi. Each of them drank deep from the Black music traditions of their respective regions, absorbing lessons from family, the church, and blues and soul artists long before they became immersed in the language of their jazz forebears. In Harmony finds the two alluding to those great jazz legacies in many ways, from song choices to improvisational flourishes to off-the-cuff yet impeccably placed arranging details.
We hear Hargrove calling out to Clifford Brown, Dizzy Gillespie, Blue Mitchell, and more. Yet he plays from the perspective of a prescient bandleader who burst through genre boundaries collaborating with leading lights of hip-hop, neo-soul and Afro-Cuban music, laying the groundwork for such next-generation trumpeters as Keyon Harrold and Theo Croker (both of whom are quoted in the booklet as well).
Miller, as Panken observes, had his own “fluid personal argot,” even as he drew on influences from Bill Evans, McCoy Tyner, Herbie Hancock, Chick Corea and Keith Jarrett to Woody Shaw. “His concept drew on piano-as-orchestra signposts like Art Tatum, Oscar Peterson, Ahmad Jamal and Erroll Garner, the ‘blowing piano’ of Bud Powell, the disjunctive syncopations and voicings of Thelonious Monk, and the melodic ingenuity of gurus like Hank Jones, Tommy Flanagan and Cedar Walton,” Panken adds.
It’s all there, in the bright tempos of “What Is This Thing Called Love” and “Invitation,” the majestic balladry of “I Remember Clifford” and “Never Let Me Go,” or the funk of “Fungii Mama,” where one can practically hear Al Foster’s signature drum groove from the Blue Mitchell original. Which brings us to another key Panken observation: In Harmony is the only recording in Hargrove’s entire discography not to feature a drummer. Miller, for his part, has one solo album and a scant few duos in his catalog, making In Harmony an even more significant addition to the historical record.
“From the very first time I heard these recordings, I was immediately taken by the sheer virtuosity of these two masters’ ability to mesh with each other,” says Resonance Records Co-President and Co-Producer of In Harmony Zev Feldman. “They’re playing their hearts out. I personally find these to be some of the most daring and beautiful interpretations of classic jazz repertoire I’ve heard. It’s an honor for Resonance to be able to collaborate with the families of Roy Hargrove and Mulgrew Miller to bring this music to their many fans, and we thank them for the opportunity.”
Resonance Records is a multi-GRAMMY® Award-winning label (most recently for John Coltrane’s Offering: Live at Temple University for “Best Album Notes”) that prides itself in creating beautifully designed, informative packaging to accompany previously unreleased recordings by the jazz icons who grace Resonance’s catalog. Headquartered in Beverly Hills, CA, Resonance Records is a division of Rising Jazz Stars, Inc. a California 501(c) (3) non-profit corporation created to discover the next jazz stars and advance the cause of jazz. Current Resonance Artists include Aubrey Logan, Polly Gibbons, Eddie Daniels, Christian Howes, and Donald Vega.

NEW Live Concerts | Exclusive Release from Irma Thomas

New Album and Concert Series

Irma Thomas – Love Is The Foundation

While supplies last, get an individual copy of this timeless release from the beloved Soul Queen of New Orleans – her first studio recording in over a decade.

"Thomas sounds like a precious jewel placed in an exquisite setting." – John Swenson, OffBeat

(limited availability)
Support Live Music This April

Coming this Friday April 9th at 8pm ET: John Patitucci, Yotam Silberstein, and Rogério Boccato!

With live performances all but eliminated due to the pandemic, we created Newvelle Live for fans who want to support artists and institutions who are continuing the legacy of improvised music for a new generation. Anyone can join. All we ask is that you consider making a contribution to support the musicians performing every Friday in April. Contributions will be divided equally among the 12 artists performing throughout the series.

This series is designed as a radical experiment: one that explores the relationship between musician and fan, and an attempt to strengthen our communities and support musicians at this critical time.

Rale Micic - Only Love Will Stay (May 7, 2021 Whaling City Sound)

A World of Talent
Rale Micic's heartwarming fusion of heritage, taste, and jazz guitar sophistication shines on
Only Love Will Stay

It goes without saying, though we’ll say it once, right from the top here, that Rale Micic is a unique voice in jazz guitar. He combines an absurdly melodic approach and an intricate insight into harmonies, with a sort of deep personal story from his native Serbia. His life experience and heritage exert a soft and loving influence on his artistic approach: the rhythm, tone, and feel of the music of his life. This approach, in the works for a while now, culminates on his new recording, Only Love Will Stay.

Micic has played with such artists as Tom Harrell, Don Friedman, Peter Bernstein, Eric Alexander, and Greg Hutchinson, but it’s the striking originality with which he plays his own music that really distinguishes him from other jazz guitar talents. The session, with Jared Gold on keys and Geoff Clapp and Johnathan Blake on drums, is both relaxed and substantial, joyful and chill, starring the filigreed sounds of Micic’s Sadowsky archtop and the tasty choices of empathic accompanists. “I first played with Johnathan Blake when we were in Tom Harrell’s group,” says Micic. “We have been playing together for over 10 years and he was also on my previous album, Night Music. Geoff is another great drummer and we have toured and played quite a bit in the last four, five years. It’s great how both of them brought something special to the music. This is the first time I worked with Jared Gold, but it felt so nice and easy. I think the musical chemistry is pretty apparent.”
Only Love Will Stay features Micic and the band creating layers of original sounds, featuring a backbone in acoustic jazz ala John Abercrombie, the intricate textures of his internal conversations, and continuing through the loving melodic rhythms of his native Serbia. “Early on,” he says, “I loved listening to the very different way that John Abercrombie was using organ with his groups and keeping it very open and cool sounding. So, I guess this record is a nod to John. He was a big influence on me. I was fortunate to play and record with him before he passed away. That’s one of the reasons I included his song ‘Even Steven’ on the album.”

Elsewhere, tunes like the dark and dramatic title track which opens the record, right through to the lush, atmospheric closer “Lipe Cvatu,” in 7/8, are enrapturing without going too far astray, too deep into the margins. They are intoxicating without over-exerting. Micic’s Only Love Will Stay is a joyful experience and a stunning excursion into the mind of a truly original artist.

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

Masabumi Kikuchi - Hanamichi (April 16, 2021 via Red Hook Records)

The final studio recording from the late Japanese pianist Masabumi Kikuchi,

Hanamichi is the culmination of a lifetime of musical exploration and discovery

Debut release by Red Hook Records features masterful, definitive performances 

“[Kikuchi] was continually searching for his ‘voice’ that he couldn’t articulate with words. It wasn’t until a few years before he died that his ‘voice’ found him!” – Gary Peacock

Six revelatory tracks by the late Japanese pianist Masabumi Kikuchi are featured on Hanamichi, the debut release by Red Hook Records, due out April 16, 2021, in digital, LP, and CD formats. Recorded over a two-day New York session on a magnificent Steinway, the music marks a divergence from the mostly free improvising Poo (Kikuchi’s nickname), who died at age 75 in 2015, practiced during his final years. Kikuchi’s radiant playing sparkles with melodic exploration and expression in renditions of lesser-known tunes and popular standards.

As Kevin Whitehead writes in these excerpts from the album’s liner notes:

“I don’t have any technique,” Kikuchi protested to the New York Times’ Ben Ratliff, a year and a half before recording Hanamichi. More accurate to say he’d developed his own. He played with fingers curved, hands moving crablike or poised banana-bunched. Sometimes his palms drooped below the keyboard, and sometimes he played with hands crossed or overlapping. You can hear the resultant sonic knots on “Improvisation” and the first “My Favorite Things”: churnings from which instant melodies suddenly arise.
For Hanamichi, producer Sun Chung nudged him toward playing tunes, in addition to his free improvisations. That proved to be a good idea. Poo didn’t bring music or a setlist, calling selections in the moment. One is a personal standard, a staple of  his sets since 1970, the ballad for his daughter “Little Abi.”

You can measure how radically Kikuchi transforms Mabel Wayne’s brisk Spanish waltz “Ramona” by the seven-second gap between the first and second notes of the melody once he finally gets around to it. Languid tempo lets him build, and the final melody statement in a new key is freighted with accumulated feeling. That tempo lets us hear Kikuchi’s command of pedaling and of overtones at the margins: the high thin sheen of ringing harmonics that persists through changing chords.

While some pianists who ride sustain pedal overplay, Kikuchi pares back, choosing notes with extra care for clarity. Humming piano harp is a shifting backdrop to present action, not a heavy curtain descending on it. Kikuchi’s “Summertime” announces the melody with playfully ambiguous barroom tremolos and distorts the graceful timing of Gershwin’s internal cadences. All those dynamics he minds are on display: piano rings in many ways, across the registers — another zone of dynamic variation. In the performance’s back half, an overflight of chattering birds/dissolving high chords unhatches Poo’s eerie buzzard voice. Other pianists sing along with their right hands; Kikuchi’s keening would beam in from beyond, an independent voice. On Hanamichi, his utterances are few and surprisingly on point, intensifying musical effect.

Two radically different “My Favorite Things” confirm Hanamichi’s improvisatory spontaneity: two days, two perspectives. Taking his time on the longer take, Kikuchi finds implications in the melody and harmony that skirling modal versions gloss over. As on “Abi” he strikes hammered-anvil chords, dynamic alloys of timbre, harmony and attack. They signify, and remind us, that Masabumi Kikuchi’s piano music is not about rippling over the keys but making the instrument sound.

Ramona (L. Wolfe Gilbert and Mabel Wayne) 06:40
Summertime (George Gershwin and Ira Gershwin) 11:23
My Favorite Things I (Oscar Hammerstein and Richard Rodgers) 05:08
My Favorite Things II (Oscar Hammerstein and Richard Rodgers) 06:30
Improvisation (Masabumi Kikuchi) 05:36
Little Abi (Masabumi Kikuchi) 05:52

Masabumi Kikuchi - piano

Fredrik Nordström - Dolores: One (April 23, 2021)

There is undoubtedly a very special atmosphere when Swedish saxplayer Fredrik Nordström pulls the threads in the debut album of his new band, Dolores. The personal expression and creativity of the bandmembers contribute to place the music in an original strain of contemporary jazz - beautiful and melancholic. The starting point for the many things happening in the music is in Fredrik’s compositions, complemented in the release by a freely improvised track and an interpretation of John Coltrane’s “Central Park West”.

Fredrik Nordström says:
"I composed the material for Dolores with the purpose of creating music that was bare and dynamic. At the same time, perhaps due to the band's drumless setting, I wanted it to maintain a rhythmic dimension and movement that brought it forward. I have been inspired by folk music, perhaps mainly from Scandinavia and from North America. The different musical and cultural backgrounds of the musicians in this band influenced me in the writing process and contributed greatly to the final result."
1. Algorithm Changes 05:40
2. Signpost
3. Way up North
4. Rise
5. 19 Southbound
6. Turns
7. The Big Question
8. Central Park West

Fredrik Nordström - tenor & baritone saxophones, clarinet
Staffan Svensson - trumpet
Andreas Hourdakis - guitar
Ilaria Capalbo - double bass

All compositions by Fredrik Nordström except Rise by Capalbo/Hourdakis/Nordström/Svensson and Central Park West by John Coltrane (Jowcol Music/Universal Music Publishing)

Recorded on November 23-24 2020 at BAS in Bandhagen, Sweden by Mats Äleklint
Mixed and mastered by Fredrik Nordström at Bluenord Studio
Produced by Fredrik Nordström

Illustrations by Jenny Svenberg Bunnel
Design by LOUP Studio

TrioTrio - TrioTrio Live (April 20, 2021)

1. Lullaby Of Birdland
2. Let's Cool One
3. All Blues
4. All The Things You Are
5. Down By The Riverside
6. Someone To Watch Over Me
7. Almost Like Being In Love

Harry Mitchell: Piano
Karl Florisson: Double Bass
Ben Vanderwal: Drums

Recorded Live on August 10 at All Saints College Perth 2020 by Christian Peterson

Mixed and Mastered by Brodie Stewart

Steen Vig - Blue Boat (Remastered 2021) April 16, 2021 Storyville Records

In 1993, Steen Vig was one of the danish musicians to receive the Jazzpar Award which consisted of appearances on the Jazzpar concert tour with the opportunity of inviting one or two international musicians of the recipients’ own choice followed up by a recording. Steen Vig decided to invite Gene “Mighty Flea” Conners and Cornell Dupree to record with him and his “Bluesicians”. The result was Blue Boat: An eclectic album spanning from Dixieland and swing to blues and funky soul jazz tunes. Unfortunately, Steen didn’t live to see the album released. He died of a heart attack in his home on January 1., 1994. He was 49.

Originally released in 1994, Blue Boat is now reissued as part of the Jazzpar Remastered series, including albums by Roy Haynes, Geri Allen, Lee Konitz and more. The Jazzpar Prize was initiated by the Danish Jazz Center in 1990. Back then, musicians spoke unofficially of the “big” and the “small” Jazzpar. The “big” Jazzpar being a statuette and a cash award of DKR. 200.000, given to a musician of international acclaim, while the “small” Jazzpar was given to two Danish artists; in 1993, those two were Steen Vig and Kim Kristensen.

The guest stars on Blue Boat gives a good indication of the stylistic range: Gene ‘Mighty Flea’ Conners, with a career covering everything from blues and early RnB to dixieland and swing jazz, joins Ole ‘Fessor’ Lindgreen on the trombone, while guitarist Cornell Dupree, who has worked with artists like Aretha Franklin, Joe Cocker and Bill Withers, brings a funky guitar and some great blues solos to the album. With energetic performances from both international stars and danish top musicians like Ole ‘Fessor’ Lindgreen and Hugo Rasmussen, this album displays Steen Vig playing at the top of his game. And he always did that:

“He was one of those musicians who gave everything he had in him each time he performed, and if necessary, he would find an extra ten percent deep down in some recess of hidden resources. He was also one of the funniest men I’ve ever met. (Listen to this album’s closing track with the Dadaistic title Hotel Blækregning – roughly translated from Danish: Hotel Arithmetic Homework,)” Paul Banks recalls.

Banks continues: “He was a long-term member of Fessor’s Big City Band, but most Mondays he played at the Copenhagen jazz club Vognporten with the Steen Vig Swingsters. Their eclectic mixture of blues, traditional jazz, swing, funky New Orleans, Beatles tunes – you name it - drew huge crowds. The band was great, but what we really came for were Steen’s saxophones. His Bechet-inspired soprano was touching and powerful, and the growling sound of his tenor was huge, warm and swinging. Sometimes when he felt the need to shift to an even higher gear, he would play both at the same time.“

Steen was one of those musicians you wanted to hear on stage for the full experience, but this recording does a good job at capturing that experience. Backed by a group of some his favorite Danish musicians and augmented with Gene ‘Mighty Flea’ Conners on trombone (and vocal) and Cornell Dupree on guitar, this album will give you a taste of why those packed evenings in Vognporten were so special.

1. Blue Boat
2. Memphis Blues
3. Soul Country
4. The Flea Is Jumping
5. Blue Turning Grey Over You
6. Taps Miller
7. We Sure Do Need Him Now
8. Tee
9. Kansas City Man Blues
10. Copenhagen Hip Hop
11. Foo Foo Blues
12. Hotel Blækregning

Gene ‘Mighty Flea’ Conners - Trombone
Ole ‘Fessor’ Lindgreen - Trombone
Cornell Dupree - Guitar
Hugo Rasmussen - Double Bass
Thorkild Møller - Drums
Søren Kristiansen - Piano
Steen Vig - Saxophone

Gabriel Evan Orchestra - Global Entry (April 30, 2021)

New York saxophonist Gabriel Evan’s sophomore album Global Entry is a playful, skillful exploration of pre-war jazz, early chamber jazz, and bug music. Inspired by the classical-tinged sound of the John Kirby Sextet - one of the most celebrated bands on 52nd St. in the 1930’s - the Gabriel Evan Orchestra takes you on musical trip around the world. While bringing a fresh spin on traditional jazz classics, incorporating 1930s Cuban music and even mid-century exotica, Global Entry maintains the Kirby tradition of arranging classical music for jazz band.

A carefully constructed arrangement of Tchaikovsky’s Waltz of the Flowers opens the record, paying homage to the arranging style of trumpeter Charlie Shavers, reimagining the languid waltz into a fun, hot swing number, suitable for a Looney Tunes Nutcracker tribute. As a matter of fact, most of this record is suitable cartoon accompaniment - so much so, that GEO’s first two singles, Rumba Azul and Arabian Nightmare are released as cartoon music videos (Waikiki Wabbit [1943] & Chicken a la King [1937] respectively). Both Rumba Azul and album closer  Rumba Tambah are timeless classics from the Lecuona Cuban Boys, one of the most famous early Caribbean ensembles.
Arabian Nightmare - one of three Charlie Shavers arrangements on the record - is a brilliant take on Rimsky-Korsakov’s Scheherazade, echoing the haunting Dorian theme of the classic work before springing into swing. Drink to Me Only with Thine Eyes is a hip pre-bop arrangement of a 1616 classic by English playwright Ben Jonson. Effervescent Blues, a Shavers original, is a slow swinger with standout solos from Joe Goldberg (clar.), John Zarsky (tmp.) and “Big” Joe Kennedy (p), before a horn soli brings it on home.

The jazz capitol New York City is well represented by Duke Ellington’s red hot Jubilee Stomp, as well as two NYC inspired Evan originals: Negotiations of South Williamsburg, a klezmer rollercoaster featuring clarinetist Joe Goldberg shredding and wailing; and South 5th Street, written while Evan lived in South Williamsburg - a high-energy, pseudo-Broadway show tune, with a stomping 2 & 4 heartbeat. Global Entry is a brilliant tribute to the “biggest little band in the land,” as Kirby’s band was often called.

1. Waltz of the Flowers (Tchaikovsky) 4:14
2. Rumba Azul (Ernesto Vasquez) 3:15
3. Arabian Nightmare (Rimsky-Korsoakov) 1:59
4. South 5th Street (G. Evan) 3:30
5. Diane (Tropical Moon) (Traditional) 2:57
6. Singin’ the Blues (Original Dixieland Jazz Band) 3:05
7. Jubilee Stomp (Duke Ellington) 2:58
8. Negotiations of South Williamsburg (G. Evan) 5:25
9. Drink to Me Only with Thine Eyes (Ben Jonson) 2:58
10. Lujon (Henry Mancini) 2:30
11. Effervescent Blues (Charlie Shavers) 3:12
12. Rumba Tambah (Leo Blanc & Rafael Hernandez) 3:29

All songs arranged by Gabriel Evan except 3, 9, & 11, arranged by
Charlie Shavers, and 6, arranged by Frankie Trumbauer

Gabriel Evan - Alto & Soprano Saxophones
Joe Goldberg - Clarinet, Tenor Saxophone
John Zarsky - Trumpet
Joe Kennedy - Piano
Ben Fox - Upright Bass
Michael Voelker - Drums, Percussion

Umbra Arts Collective - Voodoo Blues Poetry Opera (2021)

The Voodoo of Hell’s Half-Acre” is a multimedia theatrical presentation that chronicles the journey of Richard Wright from his migration from Mississippi to Chicago. This live presentation is comprised of a nonet (nine-piece ensemble) and features spoken word poetry, singing, saxophone, piano, upright bass and drums. This soundscape features bonus tracks, outtakes, and a 21-page color booklet. This presentation was recorded live at The Cabaret (Indianapolis, IN).

1. Movement 1: The Traveler Speaks 02:53
2. Wigwag Whistle Post 06:59
3. Movement 2: The Traveler Speaks 02:03
4. A City Speaks 06:04
5. Movement 3: The Traveler Speaks 02:03
6. Same Ol Blues 10:40
7. Movement 4: The Traveler Speaks 01:36
8. Freedom Summer 06:18
9. Movement 5: The Traveler Speaks 01:41
10. Corpus Delecti 10:45
11. Movement 6: The Traveler Speaks 01:45
12. Chicago 11:36
13. A City Speaks alternate take 07:40
14. Freedom Summer outtake 1 02:14
15. Freedom Summer outtake 2 03:05
16. Freedom Summer outtake 3 02:30
17. Freedom Summer outtake 4 02:22
18. Freedom Summer original 06:50

Lasana D. Kazembe (spoken word, librettist)
Rob Dixon (musical director, saxophone)
Kenny Phelps (drums, percussion)
Steven Jones (piano)
Brandon Meeks (bass)
Okara Imani (vocals)
Allison Victoria (vocals)
Keesha Dixon (narration, vocals)

Varun Das - Solitude EP (April 2021)

The compositions of this EP portray both the positive and negative connotations behind the word, “solitude,” with relevance to the COVID pandemic. But for me personally, the pandemic has proven to be a journey of solitude and emotional silence. I initially feared this would stimulate feelings of loneliness, isolation, depression, and longing because we are secluded from one another. It’s been quite the contrary. Being in solitude has helped free up my mind from many distractions of everyday life, allowing me to realize what really matters to me; it has made me reach out to unexplored creative domains to express myself in ways I have never done before. I consider myself very fortunate.

1. Inner Demons 01:37
2. Roots Embraced 03:03
3. Neptune 03:06
4. Until We Resume 02:00
5. Out of the Void 03:22

Composer / Producer: Varun Das (BMI)
Vibraphone: Juan Diego Villalobos
Piano: Esteban Castro

Recording Engineer: Felipe Fournier, Joystick Cafe Studio, New York, USA
Piano Recording: Parade Sound Studios, Delaware Water Gap, Pennsylvania, USA
Mixing Engineer: Joel Hamilton, Studio G, Brooklyn, New York, USA