Wednesday, April 28, 2021

Steve Cole | "Smoke and Mirrors" | June 18 via Artistry Music (Mack Avenue Music Group)

Steve Cole Reflects on Turbulent Societal Themes
in Smoke and Mirrors

Album features David Mann, Bernd Schoenhart,
Trevor Neumann, Ricky Peterson, Mel Brown,
Mark Egan, Brian Dunne and Todd Sucherman

Smoke and mirrors” refer to the trickery used by magicians to fool an audience – but don’t we all indulge in a bit of hocus-pocus to represent ourselves to the world? On his new album, Smoke and Mirrors, Steve Cole offers up an intimately personal reflection of his own true self, free of trickery or sleight of hand.

Created entirely in pandemic-necessitated isolation, Smoke and Mirrors (due out June 18, 2021 via Artistry Music/Mack Avenue Music Group) brings together an all-star band with Cole’s longtime producer, co-writer and multi-instrumentalist David Mann. The far-flung ensemble includes guitarist Bernd Schoenhart (Cher, Marc Anthony); trumpet and flugelhorn player Trevor Neumann (The Eagles, Jeff Lorber); organist Ricky Peterson (David Sanborn, Prince); bassists Mel Brown (Stevie Wonder, The Temptations) and Mark Egan (Pat Metheny Group, Sting); drummers Brian Dunne (Hall and Oates, Ariana Grande) and Todd Sucherman (Styx, Brian Wilson).

While there were certainly challenges to corralling this stellar roster of musicians remotely from home recordings or socially distanced studio settings, quarantine did prove an equalizer in another sense. “Everybody’s stuck at home,” Cole points out with a laugh. “There are a lot of musicians that I would love to work with, but it’s impossible because they're always on the road. So there was a little silver lining in the fact that I could call old friends like Todd Sucherman and Brian Dunne, or amazing artists like Mark Egan, and they’re actually available.”

The unusual situation we’ve all found ourselves living in also changed the way that Cole and Mann composed the music for Smoke and Mirrors. In the past, the two collaborators would traditionally meet in a room and write together, trading ideas in the moment. The same creative back and forth happened this time, but long distance, with the two sending audio files between New York and Cole’s home studio in Minneapolis. The result offered the best of both worlds, allowing for a fruitful exchange of ideas with time for reflection.
“The energy of writing together can be really amazing and inspiring,” Cole says. “But you always tend to land on the first right answer and then move on. Having the time and space to contemplate and try things gives you the opportunity to discover a better right answer.”

The answers that Cole and Mann found throughout the writing of Smoke and Mirrors yield a wide spectrum of emotion, from quiet contemplation to funky celebration. The societal turbulence in which the album was crafted couldn’t help but pervade the music, Cole explains. “We're sitting with this stuff in our lives every single day: the pandemic, the political and social climate. How does that not find its way into your creative output, whether deliberately or subconsciously?”

On an even more personal note, Smoke and Mirrors marks Cole’s first outing since the untimely passing of his usual drummer, the great Khari Parker. “I didn't realize how much I thought about Khari when I was writing music,” Cole says. “I remember looking forward to what a tune would end up sounding like, knowing that Khari would be playing it. I have this idea of this groove in my mind that is so informed by how I’m expecting Khari to interpret it. Being cut off from that creativity and from that personality is really rough.”

In many ways, being “cut off” is a theme that weaves through the album. Another loss to the music is represented by “Wayman,” written for the late NBA player-turned bassist Wayman Tisdale, with whom Cole recorded on the bassist’s 2001 tune “Loveplay.” Tisdale was also an inspiration behind the album’s joyous opener, “Living Out Loud,” which took a convoluted route to its eventual shape, with Cole conceiving the melodies on bass a la Tisdale.

Travel has been an indirect casualty of the pandemic, which Cole references on the wistfully buoyant “Covent Garden.” The title is a reference to the area of London where the saxophonist and his wife stay during their yearly sojourns to England, a tradition sorely missed. 
The issues dominating the headlines this past year are more directly confronted on two pieces: “Justice,” which closes the album on a somber note, was written in reaction to the killing of George Floyd, mere miles from Cole’s home in Minneapolis, and the ensuing protest movement. “At a Distance” directly address life during Covid with both longing and optimism, while the soulful “Trust” – which Cole describes as a cross between Van Morrison and Babyface – conveys the composer’s gratitude for those closest to him, whether physically or spiritually.

Not every moment can be spent dwelling on such heavy themes even in such unprecedented times, and Cole does cut loose with some classic funk. “It’s a House Party” is a feel-food slab of Bootsy Collins-inspired funk, while “On the Money” reconnects the saxophonist with his Chicago roots with a song sure to thrill audiences once they can safely reconvene. 

Finally, the title track sums up the themes of the album and the notion of identity that prompted the name. Throughout Smoke and Mirrors, Cole reveals himself in both intimate, personal reflections and the extroverted thrill of his groove-loving spirit. No smoke, no mirrors – just heartfelt, inspiring music for the soul.

NEW RELEASE: Lauren Henderson's 'MUSA' - Due Out June 11th, 2021 via Brontosaurus Records

Award-winning singer, composer and bilingual lyricist Lauren Henderson honors her cultural and musical heritages with release of Musa, due out June 11th, 2021 via Brontosaurus Records

Acclaimed vocalist-composer and lyricist Lauren Henderson returns with her most  personal gesture to date. A multilingual rumination on themes of love and longing, Musa explores existing connections — and creates new relationships — among Henderson’s mingling lineages.  

Toward the beginning of the pandemic, the New York artist sought to record an album  braiding together traditions that influence her sound. “I wanted my next record to blend  jazz, flamenco and Afro-Latinx music” says Henderson, “kind of melding all that makes me me, culturally and musical identity-wise.”  

Due out on June 11th, 2021 via Henderson’s label Brontosaurus Records, Musa — her eighth release as a leader  — features eleven tracks of original compositions and vibrant interpretations of standard tunes, including “I Concentrate on You,” “Wild is the Wind” and Valerie Parks Brown’s, “Forget Me.” Layer by layer, the lattermost title — Musa’s first single release — reveals an undercurrent of intensity pervading Henderson’s expression. Through each satin-swaddled lyric, she intuits dynamic tension and release. Her unrelenting awareness serves every dimension of the music. “I love being a musician because we’re always learning and we’re always growing,” says Henderson, who assembled a deft and dextrous outfit to interpret Musa’s range of identity. “Some of these songs blend jazz, R&B and soul; others incorporate flamenco, so I had to ask, ‘Who would be perfect for this record?’” 

“This is jazz mastery” — DownBeat Magazine

Core personnel includes Sullivan Fortner on piano, Eric Wheeler on bass and Joe Dyson on drums. When Henderson felt ready to share her music, she went straight to Fortner, her longtime collaborator who has played on all her leader releases since 2011. “Sullivan is the first person I usually go to to share my original music,” she says, “just to get feedback from someone I trust, someone I know will give their honest opinion of what they think about the music.” Following a socially distant duo rehearsal, Henderson set the record dates.
Throughout the recording, Henderson engages a complexity of both musical and cultural identities, allowing them to influence the direction of the music in a head-on and  multidimensional way. The sound she sought for each track emerged as bold, textural and authentic. After laying down mixes at Flux Studios in Manhattan — under the direction of  studio engineer Daniel Sanint — Henderson sent tracks to extended ensemble members, trumpet player-composer Marquis Hill; electric guitarist Nick Tannura; stage, screen and studio performer Daniel J. Watts; Madrid-based flamenco guitarist Paco Soto; and legendary flamenco percussionist Sabu Porrina. “Paco is an amazing flamenco guitarist,” says Henderson, who met the Spanish artist when she spent a semester abroad in Spain. The two developed a friendship and creative partnership via Instagram, “Like a lot of other millennials [laughs].” 

“Somewhere between a comforting whisper and a cogent declaration” — The New York Times 

“As a composer, I really want to honor honesty and integrity,” says Henderson. “As a  vocalist, it’s my responsibility to deliver a story to the listener and share my interpretation of the story. I just try to be kind of simple with my compositions and let things breathe. It’s been such an honor — and a blessing — to work with the people I’ve been able to call because they add so much life and their own voice to the music.” 

Wheeler casts vivid shadows of tension and tenderness on “La Marejada” as Soto’s guitar radiates across Henderson’s melodies and interludes. Full of grace and syncopation, “Luz” features signature interplay between Henderson and Fortner buoyed by Dyson’s nuanced and reflexive touch. “Wild is the Wind” reveals the impact of intimacy — contemplative, purposeful and engaging a conflux of time feels. The album’s sole English-lyric original  “Leeward” presents a hymn to the enduring nature of love. Hill’s lustrous conversational melody and moments of self-talk call and response serve the mood’s surrender. Porrina joins the ensemble for the album’s title track, providing textural dimension and resonating authenticity.  

Composing for her own sound has taken Henderson on a journey of self-discovery. She found her shy disposition could become the focal point of her music — the most intimate aspect of her expression. “I’m not a belter,” says Henderson. “It’s more nuanced. While intensity is a powerful tool that we can use in a beautiful way and in a positive way, I can be more private at times, and I think I bring some of that to the stage. I’m so grateful for people who take the time to listen. I’m saying more with less and people have to listen to be able to receive it.” 

1. “I Concentrate On You” feat. Paco Soto, Sullivan Fortner, Eric Wheeler & Joe Dyson
2. “La Marejada” feat. Paco Soto, Sullivan Fortner, Eric Wheeler & Joe Dyson
3. “Forget Me” feat. Marquis Hill, Sullivan Fortner, Eric Wheeler & Joe Dyson
4. “Corazón, No Llores” feat. Nick Tannura, Sullivan Fortner, Eric Wheeler & Joe Dyson
5. “Wild Is The Wind” feat. Sullivan Fortner, Eric Wheeler & Joe Dyson
6. “Luz” feat. Sullivan Fortner, Eric Wheeler & Joe Dyson
7. “Leeward” feat. Marquis Hill, Sullivan Fortner, Eric Wheeler & Joe Dyson
8. “Ahora” feat. Sullivan Fortner, Eric Wheeler & Joe Dyson
9. “The Sweetest Sounds” feat. Paco Soto, Sullivan Fortner, Eric Wheeler & Joe Dyson
10. “Musa” feat. Paco Soto, Sullivan Fortner, Eric Wheeler, Joe Dyson & Sabú Porrina
11. BONUS TRACK: “Leeward (Love)” feat. Daniel J. Watts, Marquis Hill, Sullivan Fortner, Eric Wheeler & Joe Dyson

Lauren Henderson (voice)
Sullivan Fortner (piano)
Eric Wheeler (bass)
Joe Dyson (drums)
Daniel J. Watts (spoken word)
Marquis Hill (trumpet)
Paco Soto (guitar)

Arrangements: Lauren Henderson & Sullivan Fortner

Recorded at Flux Studios NYC (New York, NY Feb 11th & 12th of 2021)

Produced by Lauren Henderson
Brontosaurus Records

Recording and Mixing Engineer: Daniel Sanint
Mastering Engineer: Oscar Zambrano

Violinist/vocalist Yilian Cañizares releases "Yemayá" for UN World Oceans Day on June 8

Violinist/vocalist Yilian Cañizares announces the release of her new single "Yemayá"

The tribute to the West African Goddess of the Sea was specially conceived for United Nations World Oceans Day on June 8, 2021

Cuban violinist/vocalist Yilian Cañizares has been invited to perform during the United Nations World Oceans Day on June 8, 2021. For this very special occasion she will perform "Yemayá," her tribute to the West African Goddess of the Sea. She will also release a gorgeous video of the song on June 8.

Yemayá symbolizes Mother Earth and is represented by the colors blue and white: blue for placid waters of the sea and white for the tips of the waves that can bring the force of the ocean. Ylilian has projected the image of the Yoruba Goddess of the Sea as a healing force that will unite humanity.

A deep relationship with sound, music and the sea have been central in Yilian's life since her early years in Cuba. The strong symbolism and the sacred dimension of water are part of the daily life of any Cuban. That is why she has naturally felt inspired to be the "voice of the ocean" asking herself this question: if the sea could send a message to humanity, what would it be? Through "Yemayá," Yilian hopes to contribute in raising awareness about the challenges faced by the oceans, as well as the cultural heritages of all cultures on the planet which rely on healthy and prosperous oceans.

Yilian Cañizares composed this song combining Afro-Cuban futurist rhythms to draw awareness of the danger that the world's oceans are facing and to celebrate the spiritual dimension of the work to preserve the world's oceans. The song and the dance evoke the movement of the waves and the fundamental role that our positive interaction with the environment has for the survival of humanity. She calls on Yemayá to help humanity heal the pollution of the oceans and to respect Mother Earth.

More than just a musician, Cañizares is a global Cuban artist with a social conscience. She forms part of the diaspora of talented Cuban artists who have spread across the world sharing their music, social conscience and spiritual sensibilities through their work. Her Afro-Cuban futurist style blends her classical virtuosity and jazz sensibilities with her Havana life experience. She toured with Cuban jazz legends Chucho Valdes and Omar Sosa and played in many classical concert halls and conservatories as well. As a soloist, she embraces a women's perspective of Afro-Cuban music, absorbing the strength and rhythms of the sea and the nurturing warmth of Mother Earth.

Join the @yemayachallenge: a dance challenge to Yilian's song to heal the planet's oceans

"Yilian is one of the most incredible talents of the new generation of Cuban musicians. She is a virtuoso, she is expressive, spontaneous and with a grace that makes her the favorite of all of us." - Chucho Valdés

Yilian Cañizares is one of the most intriguing contemporary violinists, singers and composers. Always staying true to her origins, she skillfully blends jazz, classical and Afro- Cuban rhythms with her otherworldly voice. Whether on stage or in a recording studio, there are few talented artists like Yilian – who was born in Havana and settled in Switzerland – with such great respect for the past and sensitivity towards the future, accompanied by a smile to die for.

Two acclaimed albums, the self-produced “Ochumare” released in 2013 and its 2015 follow-up “Invocación,” under the guidance of Alê Siqueira (Roberto Fonseca, Omara Portuondo), have strengthened her reputation as an innovative artist who is capable of transcending musical boundaries. French weekly Le Nouvel Observateur called her the “revelation of the year” due to her charisma, influences and the ease with which Yilian sings and plays the violin.

When she was just 14 years old, Yilian Cañizares was offered a scholarship to study in Caracas. In 2000, she moved to Switzerland to study at a conservatory. After a few years, major orchestras began to request her and, after moving to Lausanne, she collaborated with several ensembles for six years. During this period, the artist created a quartet of musicians from Germany, Venezuela and Switzerland (and later Cuba) and named it “Ochumare”. Six months later, in 2008, she won the Montreux Jazz Festival Competition with this group. Since then, her career has crescendoed. In recent years, she has shared a stage with Ibrahim Maalouf, Omar Sosa, Youn Sun Nah, Richard Bona, Chucho Valdés, Roberto Fonseca, Dhafer Youssef, the Chamber Orchestra of Lausanne and El Comité. “My sound reflects the richness and mixture of cultures that I carry with me today. It reflects what I am: a woman, Cuban, musician and citizen of the world", explains the artist.“Invocación”, her second album, topped last year’s Qobuz world music ranking and has been reissued in a deluxe edition.

“Aguas”, the album produced in collaboration with Omar Sosa, was released on 5th October 2018. Together with their compatriot Inor Sotolongo on percussion, the duo created an intimate, personal record that reflects the perspectives of two generations of Cuban artists who live a long way from their homeland. The album is a mix of moving songs and energetic ballads, a symbol of the incomparable musical chemistry between the two artists. A unique fusion between Afro-Cuban music, classical music and jazz.

The new album, “Erzulie”, named after the Haitian goddess of love and freedom, was released on 15th November 2019 with her new format Yilian & The Maroons. Recorded in New Orleans, the album features the participation of several guests including Christian Scott (trumpet), Michael League (double bass), Bill Laurance (piano), Bobby Sparks (organ) and Justin Stanton (keyboards).

Miguel de Armas Quartet - Continuous (May 21, 2021 on Three Pines Records)

Internationally renowned Cuban pianist Miguel de Armas moved to Canada in 2011, bringing with him a rich and sophisticated musical heritage gleaned over many years of study, performance and composition. As a co-founder of N.G. La Banda — one of Cuba’s most legendary timba bands — de Armas packed concert halls around the world.

Under the leadership of de Armas - and featuring Marc Decho on bass, Michel Medrano on drums and Diomer González on congas - The Miguel de Armas Quartet was created in 2013. Since then, they have rocked the National Capital Region with their astounding musicianship and thrilling fusion of Jazz and Afro Cuban music.

With Continuous, de Armas reveals his heart and soul. It is an eclectic, inventive, and truly global album that demonstrates de Armas’ versatility not only as a player, but as a composer as well. These boundary defying songs defy categorization, with the rich melodic and rhythmic feel of songo, the fusion of Afro Cuban music with pop, Latin jazz, calypso, and classical influences.

Continuous represents the continuation of de Armas’ musical journey that began almost a decade ago when he moved to Canada. This album is a compelling collection of songs about love, immigration, long winters, and how to stay happy throughout. De Armas is a story-teller, and his medium is his music.


1. Continuous 6:10
2. Couscous 5:14
3. Angelique 4:29
4. Welcome Back from Varadero 6:31
5. Muñuñi 4:54
6. Eva Luna 3:01
7. Song for Bebo 5:32
8. It Meant Something Else 5:03
9. Gone Too Soon 5:35

All songs by Miguel de Armas, except 7 by Marc Decho

Miguel de Armas - Piano, Keyboards, Compositions
Marc Decho - Bass
Michel Medrano Brindis - Drums
Diomer González - Congas

Featuring:
Yasmina Proveyer - Voice (1); Roberto Riverón - Bass (1, 3);
Elmer Ferrer - Guitar (3); Petr Cancura - Tenor Saxophone (5);
Elizabeth Rodriguez - Violin (6); Gabriela Ruiz - Cello (6);
René Lavoie - Flute (7); Tyler Harris - Alto Sax (8);
José Alberto Alvarez Batista - Güiro (1);
Yaima Caballero - Güiro (7)

With Special Guests:
Samuel Formell (Los Van Van) - Drums, Timbales (1);
Joel Cuesta (Los Van Van) - Congas (1); Eliel Lazo - Congas (4)

Joe Ascione / Brian Ogilvie / Billy Mitchell - The Return (April 2021 nagel heyer records)

"...a nice, relaxed, swing style blowing session." Jazz Improv

Drummer Joe Ascione's love for drummer Buddy Rich is no secret as he goes to town with the 12 tracks on this CD. He fronts an octet through these standards like a hot knife through butter, and the group could not be more en fuego. Veterans Randy Sandke, trumpet, Dan Barrett, trombone, the legendary tenor saxophonist Billy Mitchell, Bob Haggart, bass (since passed on) join multi-instrumentalist Brian Ogilvie, pianist Mark Shane, and guitarist James Chirillo for a hard driving, soulfully swinging tribute to Rich. 

Throughout the date, Ascione, 35 at the time of this recording, acquits himself well. He's not as brash as Rich (who could be?) but pushes the band without being pushy. Everyone in the combo contributes arrangements, most noticeable is Barrett's bouncy, sprightly "Limehouse Blues," ultra cool "Soft Winds," and Ogilvie's uppity chart on "I Want to Be Happy" where he takes an extroverted alto sax lead. Sandke's duet with Ascione on "Nica's Dream" is quite stripped down and daring, and the 14:19 "Blues #5 (Blues for Kurtchen)" is a downtrodden finale where everyone in the band gets blue for Rich. Mitchell's feature on "J & B's Bag" is the CD's highlight, and it's great to hear this icon still very much in the game, his original, bluesy legato sound intact and vibrant. Rich was short and snappy, and so are these tunes for the most part.

At times you think their lamps are trimmed and burning, as if there's a prescribed cut-off point. There's a variance in tempo from up to down and back up, an interesting contrast in a tribute to a person who was generally pretty fiery. Kudos to Ascione and crew for a fine offering of pure, authentic, professional, mainstream jazz. Highly recommended for lovers of traditional, classic sounds. AllMusic Review by Michael G. Nastos

1. Cottontail 05:59
2. My Buddy 05:34
3. J & B's Bag 04:57
4. Here's That Rainy Day 05:06
5. Sing That 04:52
6. Limehouse Blues 04:58
7. Hi Fly 06:28
8. Nica's Dream 04:11
9. Funny How 05:24
10. Goodbye Yesterday (Blues #5) 14:20
11. Straight No Chaser 05:01
12. Soft Winds 05:53
13. I Want to Be Happy 04:16
14. The Return 05:21
15. Love for Sale 07:19

Remastered & Extended Version of NHCD 036

Joe Ascione - drums
Randy Sandke - trumpet
Dan Barrett - trombone
Brian Ogilvie – clarinet, saxes
Billy Mitchell – tenor sax
Mark Shane - piano
James Chirillo - guitar
Bob Haggart - bass

plus
Frank Vignola - guitar (#5, 9, 14)

Recorded on November 3, 1996 at Blue Noise Studio, Hamburg, Germany.
Track #5, 9 and 14 recorded at Nola Studios, New York City.

Francisco Mora Catlett - Mora! I&II (April 2021 Far Out Recordings)

Far Out Recordings is delighted to present Mora, and for the first time ever on vinyl Mora II. Mexican-American percussionist and former member of the Sun Ra Arkestra, Francisco Mora Catlett originally recorded and released his debut solo LP as a private press in 1987, but the sequel he recorded over the course of the next few years with an expanded Detroit jazz brass section was shelved for decades to follow. A pan-American melting pot of hypnotic afro-cuban rhythms, frenetic batucadas and fiery sambas, Mora I & II are holy grails of latin jazz, masterminded by an unsung hero of the genre.

Born in Washington DC, 1947, Francisco Mora Jr is the eldest child of two highly prominent Mexican artists, Francisco Mora Sr and Elizabeth Catlett, to whom this project was dedicated. Being born into a mixed heritage bohemian family provided Mora Jr with what he called a “creative, progressive, and healthy arts environment”, building the foundations for a fascinating career journey ahead. Mora grew up in Mexico City where he began working as a session musician for Capitol Records in 1968, before moving to study at Berklee Music College in Boston, MA in 1970.

Once he’d completed his studies in 1973, he very briefly returned to Mexico City with the best intentions of cultivating an avant-garde movement in the city, but when the Sun Ra Arkestra came to perform, Mora ended up leaving with the band to tour the world for the next seven years, a decent innings within a group famous for its constantly evolving line up.

Settling in Detroit after his years with the Arkestra, Francisco set to work on his self-titled debut, gathering an ensemble of musicians that included keyboardist Kenny Cox, founder of the legendary Strata Records, esteemed bassist Rodney Whitaker of the Roy Hargrove Quintet and percussionists Jerome Le Duff, Alberto Nacif, and Emile Borde. The album openly embraces and unites the broad spectrum of improvisation, rhythm, and jazz that has thrived throughout the American continents for centuries. In Mora’s own words the album intended to “manifest the African heritage presence in the American continent.” Epitomising this outlook, album opener ‘Afra Jum’ deploys a melody based on Haitian, African and Native American motifs, which is expanded upon by the soulful excellence of the Detroit veterans Cox and Whitaker, amidst a backdrop of afro-cuban inspired percussion.

The sequel Mora II was recorded shortly after with an expanded line up that included trumpet legend Marcus Belgrave, famed for his work with Ray Charles, Charles Mingus, Hank Crawford, Eddie Russ and Wendell Harrison. Continuing the concept of the first album, the follow up moves deeper into South America with the samba jazz dance belter ‘Amazona’, led by the rich vocals of Francisco’s wife Teresa Mora. The ‘Afra Jum’ concept is further explored, with the original motifs beefed up by the additional horns, and interspersions of Sun Ra inspired rumbling free improvisations. This follow up album remained shelved until 2005, when Mora put it out as a now obscure CD titled River Drum, but only now has it been given the high quality vinyl treatment it so deserves, presented as the sequel to Mora! as originally intended.

Through the 90s and into the the 21st century Mora would continue his Pan-American explorations, moving toward a more electronic afro-futurist direction as part of Detroit techno pioneer Carl Craig’s Innerzone Orchestra. Mora also worked with Carl Craig, moog synth wizard Craig Taborn, and his former Arkestra colleague, the legendary Marshall Allen, to form the Innerzone Orchestra spin-off Outerzone, released in 2007 on Premier Cru Records.


CD / Digital

MORA I
1 Prelude Welcome
2 Afra Jum
3 Rumba Morena
4 Five Am
5 Samba De Amor
6 Cultural Warrior
7 Epilogue Conga Hasta La Vista

MORA II
8 Afra Jum
9 Amazona Prelude / Dawn
10 Amazona
11 Samba / Conga Do Amor
12 El Moro
13 Old Man Joe
14 Por Que Paro
15 Afra Jum

Vinyl LP - Mora! I

Side A
1 Prelude “Welcome”
2 Afra Jum
3 Rumba Morena
4 Five A.M.

Side B
1 Samba De Amor
2 Cultural Warrior
3 Epilogue - Conga “Hasta La Vista”

Vinyl LP - Mora! II

Side A
1 Afra Jum
2 Amazona
3 Amazona Prelude / Dawn
4 Samba Conga Do Amor

Side B
1 Por Que Paro
2 Afra Jum
3 Old Man Joe
4 El Morro

All tunes composed and arranged by: Francisco Mora, Jr.

1. Prelude "Welcome" 01:33
2. Afra Jum 11:54
3. Rumba Morena 04:51
4. Five AM 05:34
5. Samba De Amor 07:04
6. Cultural Warrior 09:28
7. Epilogue-Conga "Hasta La Vista" 01:35
8. Afra Jum Pt. 2 06:27
9. Amazona Prelude "Dawn" 06:52
10. Amazona 04:01
11. Samba "Conga Do Amor" 05:19
12. El Moro 05:53
13. Old Man Joe 04:49
14. Por Que Paro 00:46
15. Afra Jum Pt. 3 02:30

Francisco Mora: Drums and Percussion
Emile Borde: Steel Drums and Percussion
Vincent Bowens: Soprano/Tenor Saxophones & Flute
Ken Cox: Piano
Jerome Le Duff: Berimbau and Percussion
Teresa Mora: Vocal and Percussion
Alberto Nacif: Quinto, Congas and Percussion
Rodney Whitaker: Contrabass

Additional Musicians on Mora II:
Sherman Mitchell: Trombone
Marcus Belgrave - Trumpet
John Douglass - Trumpet and Flugel Horn
Alex Harding - Baritone Sax and Bass Clarinet

‘Amazona Prelude’ String Quartet:
Michele May - 1st Violin
Pat Moore - 2nd Violin
Nina White - Viola
Tanya Bennett - Cello

Produced by: Francisco Mora
Recorded at: Studio A, Dearborn Heights, Michigan
Engineer: John Jaszcz
Mixed: John Jaszcz and Francisco Mora