Thursday, April 22, 2021

April 30: GBH & JazzBoston celebrate International Jazz Day

GBH and JazzBoston Team Up to Celebrate
International Jazz Day on Friday, April 30
Free Live Virtual Performance, JazzNOW: No Borders,
Features the Boston-based Jazz World Trio

Boston public media producer GBH and JazzBoston are teaming up to celebrate International Jazz Day. GBH’s Eric Jackson will host JazzNOW: No Borders, a free live virtual performance on Friday, April 30 at 8 pm.  Live from the acoustically acclaimed GBH Fraser Performance Studio, the event will feature the Jazz World Trio, a group of three international artists each with a strong Boston tie. The video performance streams to the GBH website.
“There's a wealth of jazz talent and experience in Boston, and GBH is determined to help bring this music to audiences near and far,” said Anthony Rudel, general manager of GBH Music. “Streaming a live performance with these incredible artists gives Boston a major local presence on International Jazz Day. I expect this dynamic session is just the first of many more collaborations with JazzBoston.”
The Jazz World Trio will present a wide-ranging performance incorporating original works from leader Guillermo Nojechowicz's Argentina tango roots as well as pieces from the deep roots of jazz in Black American culture. The Jazz World Trio consists of Argentinean drummer, composer and educator Guillermo Nojechowicz, internationally-renowned Swedish bassist and composer Bruno Råberg and South African jazz pianist and composer Witness Matlou. All three musicians are affiliated with Berklee College of Music. Matlou, whose work is influenced by African traditional, folk music, classical and other genres, is currently a Fellow at the Harvard University Center for African Studies. 
"I'm thrilled that JazzBoston is partnering with GBH for this exciting live celebration of International Jazz Day, as we work together to strengthen the local jazz community,” says Ken Field, JazzBoston Board President. “This fantastic trio of internationally-born, Boston-based musicians showcases Boston's place as a top jazz city.”
Started in 2011 by the United Nations Educational, Scientific and Cultural Organization (UNESCO), International Jazz Day is a worldwide celebration of the artform and its diplomatic role in uniting people across the globe. The event is chaired by UNESCO Director General Audrey Azoulay and iconic jazz pianist and composer Herbie Hancock.
Eric Jackson, host of Eric in the Evening on GBH 89.7, is widely considered the dean of Boston Jazz radio, having been a fixture at GBH for more than 40 years. In addition to Eric in the Evening, GBH also offers Jazz 24/7, a streaming station featuring a fresh mix of new songs selected from an extensive library of jazz recordings by Jackson and Tessil Collins. GBH also collaborates with its sister organization NEPM to bring jazz to audiences across Massachusetts. NEPM’s signature jazz program is Jazz à la Mode. 
"This collaboration between GBH and JazzBoston is great news, especially for the Jazz community,” said Eric Jackson, host of GBH’s Eric in the Evening. “What a great way to celebrate International Jazz Day by having a performance of a trio from 3 different continents, Nojechowicz, from South America, Råberg from Europe, and Matlou from Africa. It will be an exciting night of music!"
Eric Jackson will host a conversation with the musicians following the 8 pm performance on Friday, April 30. The free tickets for JazzNOW: No Borders are provided through the generosity of GBH, with support from the Mass Cultural Council and BioMed Realty. Event pre-registration is required.

About GBH
GBH is the leading multiplatform creator for public media in America. As the largest producer of content for PBS and partner to NPR and PRX, GBH delivers compelling experiences, stories and information to audiences wherever they are.  GBH’s local television channels include GBH 2, GBH 44 and GBH Kids.  With a newsroom headquartered in Boston, GBH reaches across New England with GBH 89.7, Boston’s Local NPR; CRB Classical 99.5; a Jazz 24/7 stream; and CAI, the Cape and Islands NPR station. From Boston to the Berkshires, from Worcester to the Cape and Islands, GBH is dedicated to connecting the Commonwealth through news, programming, learning tools and events. GBH has been recognized with hundreds of the nation’s premier broadcast, digital and journalism awards. Find more information at

About Jazz Boston
JazzBoston connects, promotes, and advocates for the musicians, audiences, and venues of Greater Boston’s dynamic and diverse jazz community. The nonprofit organization spreads the music and message of jazz and celebrates Boston as one of the world’s great jazz cities.  Find more information at

Aaron Myers - The Pride Album (April 30, 2021)

Much has been said—indeed, much of it by this writer—of Aaron Myers’s outsize persona. Let no one doubt the singer and pianist’s surplus of personality and the charisma with which he plies it. Just know, too, that it can be deceiving. In a jazz tradition (particularly strong among singers) that stretches back to Louis Armstrong, Myers is a gregarious entertainer but also an artist of great nuance and profundity. And on Pride, he’s got something nuanced and profound to say.

This album might be alternatively titled The Meeting. We’re not talking about a stuffy boardroom affair here, or even a sit-down at one of DC’s steakhouses. This is a meeting in the sense that the Black church uses the term, the meeting of King Oliver’s “Camp Meeting Blues” or Mingus’s “Wednesday Night Prayer Meeting.” A blend of worship service, community forum, and social gathering. The presence of this tradition in Myers’s music can be no surprise to anyone who’s heard the southern-soul grit of his voice or his preacherly cadence.

That said, Myers doesn’t take an on-the-nose approach. This recording is not about such a meeting, per se; it (abstractly) re-creates the feeling and flow of those meetings. The meeting becomes a conduit for all of life’s experience—although in a sense that’s exactly what it’s been all along.

“Make Them Hear You,” for example, is not a literal summons to a gathering. It is, however, a call to action. Myers thinks of it as something like a church or school bell, and indeed it builds up from a fragile piano and soft voice to a real clarion call. Written by Stephen Flaherty, the song is from the musical Ragtime, where it serves as the climax; here it is the introduction, letting you know that important things are at hand.

The closest we come to addressing the meeting head-on is in “Down by the Riverside,” the Negro spiritual. It’s the processional music, arranged with a second line rhythm that adds an instrument with each new stanza. (The congregation is arriving.) It also acts as an evocation of the ancestors, who, in the African tradition, are asked for permission to speak as the meeting begins. Myers takes it on with a combination of joy and earnestness.

Myers’s original composition “The New Jim Crow” takes its title from Michelle Alexander’s book The New Jim Crow: Mass Incarceration in the Age of Colorblindness. Knowing that, the title almost speaks for itself. The lyrics, too, cut right to the point. Yet it’s the musicians that create the song’s sharp urgency, both in Myers’s vocal delivery and in the chaotic but moving free-improvisation section at the track’s center.

The pressing issue has been raised; now, “How Can I?” offers testimony. It’s another Myers original, and it takes the shape of a powerful soliloquy. The lyrics seek cosmic (perhaps) answers. It swells into a magnificent catharsis, with Myers and his partner-in-crime, alto saxophonist Herb Scott, breaking into a soulful call and response at its climax.

On “Moanin’,” cathartic release comes at the beginning, with a roiling introduction by Myers, Scott, Funn, pianist Sam Prather, and drummer Dana Hawkins. The Bobby Timmons classic, often a centerpiece of Myers’s live performances, is a hard-hitting performance that is drenched in the blues and the church. Think of it as a group response to the “How Can I?” testimony, an outpouring of anger and grief and worry that, in its closing moments, lists its troubles (and its victims) by name. Those of us in Myers’s home of Washington, DC, in 2021 know that his mention of the Proud Boys is not some distant abstract.
“Don’t Ask Me to Smile” really is self-explanatory. “Don’t ask me to smile when you oppress me,” Myers sings, with his heart on his sleeve. “Don’t ask me to smile, just set me free….I cannot smile, I am not at peace.” Scott follows with a heart-rending solo. If the bridge of the song reminds you of “Somewhere Over the Rainbow,” that’s no coincidence. It’s meant as something of a rejoinder to the classic standard: There is no faraway paradise where troubles melt like lemon drops, there is only the here and now and all the weight it bears.

That weight compounds itself on “Lonely,” a stunning composition cowritten by Myers and Funn. It takes us momentarily out of the meeting, by way of a moment of silent prayer: Even in the midst of a gathering, we are left alone with our thoughts and whatever spirit we might be communing with. Yet loneliness is also a pandemic of its own, touching all of us in this era of COVID-19 (and many of us before and afterward, where circumstances make it so). And all of us will experience a relapse somewhere down the line.

Yet it’s always darkest before the dawn, as they say, and with “Return to Spain,” light begins to break through. Certainly “bright” is a good word for the Myers instrumental. It’s inspired by the late Chick Corea’s theme song but also packed with the rhythms and harmonic accents of the Afro-Caribbean diaspora—what Jelly Roll Morton called jazz’s “Spanish tinge.” Then there’s the rhythms of Dana Hawkins, whose drum solo fires on all cylinders.

Our meeting turns its discussion from tragedy to love, although there’s plenty of tragedy to be found there too. “If It Only Took Love” gives us both the dizzying highs and the devastating lows, the bitter and the sweet. It’s also a beautiful example of Myers’s dynamic performance style, a counterpoint to the fierce belting of “Moanin’” that’s all about subtlety, delicacy, and a painter’s attention to detail.

Those attributes—as well as a real emotional crescendo—become even more acute on “Let’s Fall in Love.” Love’s agony is offset by its ecstasy, when not overwhelmed by it. Missing from the title is the word “again,” which might be the key—even with the pain of “If It Only Took Love,” we are ready, even desperate, to dive into those waters again. Maybe we’re even ready to fall in love again with the person for whom we know love was not enough.

“Please Take Care of You for Me” has the feel of the ‘70s singer/songwriters, particularly the African American exponents like Roberta Flack and Bill Withers. (The acoustic guitar—courtesy of Steve Arnold—Fender Rhodes, and mellow groove have something to do with that feel.) It’s also got a remarkable tenderness to it. These are words spoken by and to people who are fond of each other, who care. Again it evokes the pandemic: Who among us hasn’t said this lately to our loved ones?

They are also sentiments of farewell. The meeting is breaking up, but not before reminding its participants of what’s important. “Pride” refers both to the dignity and self-assurance that can be renewed through gathering together, but to the gathering itself: “pride” is the word for a lion’s family, its community. When Myers sings “I’ve got my pride” with such assurance, he means the word in every sense of the term. Appropriately, his pride expands here with a vocal chorus that includes Akua Allrich, Deborah Bond, Cash J, and Earl Lloyd.

As of this writing, many of the events described in Myers’s songs are recent, even ongoing. Yet their effects and the emotions that accompany them are universal ones, for better and for worse. If you’re listening to Pride in 2021, 2071, or 3021, something in it will still speak to you. That’s the kind of artist that Aaron Myers is.

Michael J. West is a jazz journalist in Washington, DC.

1. Make Them Hear You
2. Down By The Riverside
3. New Jim Crow
4. How Can I
5. Moanin'
6. Don't Ask
7. Lonely
8. Return To Spain (ode to Chick Corea)
9. If It Only Took Love
10. Let's Fall in Love
11. Please Take Care Of You For Me

Instrumentation: Vocals/Piano Aaron Myers - Piano Samuel Prather - Saxophone Herb Scott - Bass Kris Funn - Guitar Stephen Arnold - Drums Dana Hawkins
Additional Vocals: Akua Allrich, Deborah Bond, Cash J, Earl Lloyd

Production: Intake Engineer Charlie Pilzer - Mixing Engineer Jake Grotticelli - Mastering Engineer Emily Lazar - Mastering Engineer “Lonely” Greg Lukens - Asst Engineer Aaron Myers
Final Album Liner Notes Michael J. West - Album/Single Art Kris Funn - Website Support Jennifer Hawkins
Management/Contributor Matt Singer
Arrangers: Aaron Myers, Stephen Arnold, Samuel Prather
Contributing Producers: Samuel Prather, Stephen Arnold, Jake Grotticelli
Executive Producer: Aaron Myers

Steve Tintweiss and The Purple Why - Markstown (2021 Inky Dot Media)

Steve Tintweiss, who is still active today, is perhaps best-known for his contributions to the avant-garde jazz scene of the late 1960s/early ’70s when he was considered a very valuable sideman and a stimulating improviser. As a leader, he enjoyed writing strong themes that led logically to free-form solos and exhilarating ensembles.

In 1967 he formed The Purple Why, a septet that also included trumpeter James DuBoise, Mark Whitecage on tenor and flute, baritonist Trevor Koehler, drummer Laurence Cook, and both Judy Stuart and Amy Sheffer on vocals. Although the group, which lasted until the mid-1970s, made an impact at the time, MarksTown is the first documentation of the band to be released. It consists of a pair of concert performances from 1968.

Steve Tintweiss wanted Purple Why to be socially conscious and part of the late 1960s political movement like many of the rock groups and folk singers. The first half of MarksTown is taken from a performance at St. Mark’s Church that was part of a marathon weeklong benefit for the victims of the Nigerian-Biafran conflict. The Purple Why was the only performing jazz group in a lineup that also included Joan Baez, Joni Mitchell, Pete Seeger, Country Joe McDonald, Jimi Hendrix and many others. The band only had 20 minutes so they performed a medley of some of their pieces. Most memorable are the somber melody of “Ramona, I Love You,” Tintweiss’ bowed bass on “Contrapuntal,” and the fiery trumpet on “N.E.S.W. up/down.”
The second half of MarksTown features The Purple Why at their Town Hall concert of Sept. 14, 1968 where they had more of an opportunity to stretch out. Trumpeter DuBoise creates a particularly strong solo on “Just Be Mine,” the singers and Whitecage are in the spotlight on “Monogamy Is Out,” and the dramatic “Space Rocks” concludes with a memorable outer space ending. Throughout this release, The Purple Why displays a musical personality of its own.

Steve Tintweiss, who graduated from Queens College, worked and recorded with singer Patty Waters (including the monumental “Black Is The Color Of My True Love’s Hair”), Burton Greene, Frank Wright, Marzette Watts, and Albert Ayler, touring France in 1970 with Ayler. He also performed in a variety of settings including with Sam Rivers, Gato Barbieri and Perry Robinson. In addition to Purple Why, Tintweiss has led his Spacelight Band since 1976. He has remained active as a bassist, bandleader, organizer, concert producer, entrepreneur, and archivist in the years since.

Many more releases of Steve Tintweiss’ music by Inky Dot Media will be taking place in the future. MarksTown (preceded by the release of a ‘45’ by his Spacelight Band) is a strong start.

Track listing:

St. Mark’s Church-in-the-Bowery [August 21, 1968]
1. bells intro 0:20
2. Ramona, I Love You 4:52
3. How Sweet? 3:55
4. Contrapuntal 4:17
5. N.E.S.W. up/down 5:22
6. The Purple Why theme 1:15
7. closing announcement 0:25

The Town Hall New York City [September 14, 1968]
8. Universal Heroes 1:49
9. Just Be Mine 8:24
10. Monogamy Is Out 10:17
11. Space Rocks 9:33
12. “We Are All The Universal Heroes” 0:25

Two 1968 concerts at St. Mark’s Church and Town Hall on one CD


James DuBoise - trumpet
Mark Whitecage - tenor saxophone and flute
Trevor Koehler - baritone saxophone
Judy Stuart and Amy Sheffer - vocals
Steve Tintweiss - double bass, melodica, vocals, composer, leader
Laurence Cook - drums celebrates 10 years!

Perry Smith - Peace (April 23, 2021)

For guitarist/composer/bandleader/educator Perry Smith, standards are an integral part of his life as a musician, accompanying him on the ups and downs of life, providing a landscape for him to explore, and improvise on, from his heart. Smith elaborates, “I had been interested in recording a trio album of standards to really draw the listener in through classic melodies, dynamics and the natural sound of my Gibson ES-175.

Using a traditional archtop hollow body, my style of jazz guitar can really work with a sensitive and swinging rhythm section like Schnelle and Minaie. I chose to record a variety of standards that have meant a lot to me over the years, and what I discovered is that as my own life experiences have unfolded, my connection to these songs, and what I have to offer musically has only gotten deeper. It leaves me with an immense amount of gratitude for these standards.”

The genesis of Peace (available April 23, 2021 on Smith Tone Records) materialized in November of 2019 when Smith found himself on the road with two old friends and great musicians, Los Angeles drummer Dan Schnelle and NYC bassist Sam Minaie. Musically, and personally, this trio is thick as thieves, having all coming up together in Southern California about two decades ago, and creating music together for many years. The trio recorded the album on a day off in LA. After the initial trio recording Smith returned to LA in February, 2020 to mix the album and record three solo guitar tracks (“A Child Is Born”, “I Remember You” and “Alone Together”). “I wanted to close out the album in a more intimate way and provide some contrast to the trio.

Solo jazz guitar has always been a big part of my artistic path. I view the guitar as an orchestra and each string a separate voice. Playing solo gives me an opportunity to shape the song exactly as I’m hearing it in the moment. Solo guitar is kind of like walking on a tight rope, if you’re centered and in the zone, it feels so natural,” says Smith.
The standards of the jazz tradition are a very rich and valued trove of music that can accompany you through joy, lamentation, celebration and sorrow. Whether it’s a song by Jimmy Van Heusen or Sam Rivers, these compositions have stood the test of time, and have provided countless generations of listeners and musicians with a foundation on which to build, on which to express oneself; a vast source of solace, entertainment delight, triggering/making memories, serving as the “cornerstone of the jazz repertoire” (Ted Gioia, The Jazz Standards), and providing the soundtrack to many of our lives.

“In these trying times where all our lives and careers have been upended by a pandemic, I offer this album as a soothing escape from the daily headlines. We could all use a little more Peace in our lives and I hope this album provides listeners some comfort through these turbulent times,” says Smith. 

1 - This Nearly Was Mine (5:38) by Richard Rodgers
2 - Cyclic Episode (5:57) by Sam Rivers
3 - Darn That Dream (6:57) by Jimmy Van Heusen
4 - Upper Manhattan Medical Group (3:58) by Billy Strayhorn
5 - Like Someone in Love (5:32) by Jimmy Van Heusen
6 - Peace (4:28) by Horace Silver
7 - A Child is Born (3:00) by Thad Jones
8 - I Remember You (3:41) by Victor Schertzinger
9 - Alone Together (4:24) by Arthur Schwartz

Perry Smith - Guitar
Sam Minaie - Bass
Dan Schnelle - Drums

Recorded and mixed by Justin Stanley in Los Angeles, CA Mastered by Fred Kevorkian in Brooklyn, NY *tracks 7,8,9 are solo guitar performances

Daniel Green / Jason Dan - Vertigo (greetings from the third) April 22, 2021

Recorded on a zoom in our living room, this EP is a reflection on the various stages of this pandemic and our own experiences within them as this wild year has progressed.

It is also a celebration of these past months that the two of us have spent living and playing together.

1. First Wave 12:52
2. Second Wave 11:32

Jason Dan - cello
Daniel Green - alto sax

Biggi Vinkeloe / Barre Phillips / Ken Filiano / Peeter Uuskyla - The Forgotten Song (April 2021)

"What I can recall is that the extra double bass did not distract from Biggi’s usual tasteful use of space. There was also a buoyancy that is also present in this quartet that took the music into different realms." - Russell Summers, who was at the concert.

When Bill Dixon said each person is their own orchestra, it took me a bit to get my head around what he meant.

The access to so many timbres and registers the contemporary improviser has can be used to make space in the music without the use of silence. An improviser can re-orchestrate themselves in the moment thereby leaving an open space where they were before. The traditional concept of the drum set always had this extreme register change in it, which is why drummers like Peeter Uuskyla can access this idea with no problem.

It also explains why the addition of Ken Filiano opens up the trio futher rather than adding density. Both bassists work on each side of an imaginary "bass part", Alan Silva once talked about the bass being able to cover the full range of the string family, it always seemed to be that in a small "jazz group" format, we bassists role was actually the string section and not just the low end. Of course, each of these traditional ideas has all the abstractions of the various movements within improvised music piled on and around them.

Anyone interested in this will know the history of Barre and Ken and their vital importance to the instrument, so I won't recount it all here. While I have played with Ken and taken lessons from both bassists, Biggi has been an important comrade in the music for me for years. If I had to pick one insight in her playing, it would be the ability to find pitch and melodic material in the most complex timbre combinations. She might be working with pitch, but it is not imposed or expected that her fellow improvisers do the same, it is similar to the way diverse pianists like Cecil Taylor, Georg Graewe, Fred Van Hove & John Tilbury are able to work in harmonic material from the keyboard into similarly texturally complex situations without having to get under the hood of the piano.

I think this gets back to an interesting concept in improvised music guitarist Sandy Ewen calls real vs. imagined sounds: The improviser tends to play "real" sounds based on exactly what they are as opposed to an imagined ideal. Pitch comes into play as well, a pitch played by one of the basses might be a harmony with a non-tempered pitch from drum set. You end up with a multidimensional tuning system that ultimately bridges the overtone series to western tempered tuning with many stops along the way! Damon Smith, St. Louis, MO

1. I Ere 12:40
2. II Saphéne 05:10
3. III Ode 25:29
4. IV Hoca 11:11
5. V Ithos 07:17

Live board recording (2-track DAT-cassette) by Simon Garber at Vancouver International Jazz Festival, Canada on July 1, 1999
Edit, transfer and mastering made in May, 2020 at Studio Fabriken, Gothenburg, Sweden.

Alto saxophone and flute: Biggi Vinkeloe
Double bass: Barre Phillips
Double bass: Ken Filiano
Drums: Peeter Uuskyla

Transfer, edit and mastering: Peeter Uuskyla and Michael Thorén

Biggi Vinkeloe / Georg Wolf / Peeter Uuskyla - Mr Nefertiti (April 2021)

Recorded April 12, 1991 at Canastero Studio, Cologne and originally released January 1992 by Canastero Records

BIGGI VINKELOE är en ung fransk tjej som spelar altsax. GEORG WOLF en tysk basist och PEETER UUSKYLA en trumslagare från Kungälv som annars spelar med Bengt "Frippe" Nordström eller Cecil Taylor och nu flyttat till kontinenten, där nyfikenheten är större än här på ospelad musik. Ändå visar det sig nästan alltid att otänkbar musik blir en kick när den väl får möta folk. Trion saknar ackordinstrument, varför vi själva får skapa harmoni. Inte heller finns en melodi att nynna eller en jämn rytm att stampa.

Däremot ett överflöd av ovanliga ingredienser som oro, ängslighet och upptäckt. BIGGI VINKELOE blåser en pipande, slirande och ömtålig saxofon även när hon spelar starkt. Hennes tradition är amerikanerna Ornette Coleman och Jimmy Lyons, och det hörs att hon tvekar och letar sig långt bort från den vanliga machojazzen. Det blir en sned skönhet, där osäkra människor känner igen sig. Tyske GEORG WOLF spelar en nervös bas och svenske PEETER UUSKYLA ständigt oregelbunden rytm mest på de hårda trummorna, sällan på försonande cymbaler. Han bromsar och skjuter fart i korta vågor. Melodierna klagar och skaver, och man vet aldrig. Ibland driver bas och trummor rytmrn hårt och snabbt, samtidigt som VINKELOE blåser en långsam, nästan majestätisk melodi likt en psalm. I ena änden är musiken anspråkslös, i den andra storslagen. Det är en lättnad att få sin ängslighet gestaltad. INGMAR GLANZELIUS 1991

1. Mr Nefertiti 07:15
2. Psalm I 05:40
3. Singing Softly 06:47
4. Soft Rain 09:34
5. Le Petit Prince 05:22
6. Psalm II 03:07
7. Berliner Luft 05:10
8. Spaceway Messenger 06:42
9. Wee Sneezawee 05:05
10. Jump Up 02:34
11. Shakin Back 04:15

Alto saxophone and flute: Biggi Vinkeloe
Double bass: Georg Wolf
Drums and bells: Peeter Uuskyla
Compositions by Biggi Vinkeloe (1-7),
Peeter Uuskyla (8), Jimmy Lyons (9-11)
Recording engineer: Wolfgang Gerhard

Biggi Vinkeloe / Barre Phillips / Peeter Uuskyla Trio - MBAT (April 2021)

1. Schnee Hat´s 08:48
2. Mbat 09:49
3. Fita 05:00
4. Nuit d´ êtê 08:49
5. Fenska 03:22
6. Fragments 11:35
7. Sri Lanka 08:58
8. Blue Wind 09:43

Recorded April 21, 1993 at Swedish Broadcasting Corporation Music Production Umeå, Sweden. LJ Records originally relesased the album 1994.

Alto sax, flute: Biggi Vinkeloe
Double bass: Barre Phillips
Drums, percussion and original cover design: Peeter Uuskyla
Recording engineer: Bo Andersin

Peter Brötzmann / Peter Friis Nielsen / Peeter Uuskyla - Medicina (2021)

1. Rocket Tango 06:58
2. One, Two, Three, Free 09:44
3. Artemisia 09:55
4. Justicia 08:53
5. Some Ghosts Step Out 14:49
6. Here And Now 06:03
7. Bones And Beans 06:23
8. Hard Times Blues 13:22

Recorded March 16, 2003 at Bohus Sound Recording, Kungälv, Sweden. Edit, mix and mastering by Dragan Tanascovic and Peeter Uuskyla. Album originally released 2004 by Atavistic

Alto, tenor-sax, tarogato, alto-clarinet, cover-design: Peter Brötzmann
Bass: Peter Friis Nielsen
Drums: Peeter Uuskyla
Sound engineer: Dragan Tanaskovic