Friday, May 28, 2021

Out Friday New Release: Magro - Trippin (feat. TwizzMatic & Kurt Rosenwinkel and more)

MAGRO - Trippin

"(...) a power player with a fine sense (...)" - DLF National Public Radio Germany

"(...) breathtaking solos of speed and power(...)" - Südkurrier

"(...) If it sounds like Washington D.C. but comes from Berlin, Magro is probably behind it. (...)" - Detektor FM
With his debut album "Trippin", Berlin-based drummer and producer MAGRO shows his artistic and creative perspective on today's world. The sound of the album is characterized by abstract Hip Hop beats that mix fluidly with analog Jazz elements.

After working with numerous artists over the years as a drummer and producer (including Kenny Wesley, J Lamotta and Stimulus), he now releases his first album under his own name.

On the album, Magro features some of his favorite musicians and singers - including Jazz legend Kurt Rosenwinkel, rising Alternative RnB singer Leona Berlin and US rapper TwizzMatic.

Magro about his music: "I want to bridge the gap between catchy produced music and the deep-rooted elements of Jazz.“

In doing so, he is influenced by the creative complexity of the international Berlin music scene, in which he has been active for years.

Tours and international festival appearances (including Tremplin Jazz Avignon, Jazz Al Popolo Rome, Women in Music Festival Zambia) have already taken him around the world. Moreover, he co-produced the debut album of Leona Berlin, released in 2018 by Warner Music.
1. Trippin (feat. TwizzMatic, Kurt Rosenwinkel)
"Trippin" is the first single and also the title track of the album. The song features US-rapper TwizzMatic and Jazz legend Kurt Rosenwinkel.

TwizzMatic raps critically about the ambiguity and naive immaturity of today's society. Kurt Rosenwinkel then plays an apocalyptic guitar solo and makes the song fade out in a wide wave. I love it when an arc of tension is stretched out over an entire song.

2. Song 4 Def
"Song 4 Def" is inspired by the song "Quiet Dog" by Mos Def. When I first heard the song I couldn't get the beat out of my head and had to write my own song in that same feel right away. It starts with a Hip Hop lo-fi beat that develops into an epic explosion in the second half of the song.

3. Black On Black (feat. XHO)
During the months of the Black Lives Matter protests, I was working with "XHO" as a drummer. I asked her if she wanted to be on my album and sent her the instrumental. Without further ado, we recorded her part in her clothing store. The theme was so present at the time that it obviously couldn't be about anything else.

4. Conscious 1
Conscious 1 is the first of three instrumental interludes. To me the soundscapes express something mystical that is hard to put into words.

5. Running (feat. Leona Berlin)
"Running" is the second single and features Alternative Soul singer Leona Berlin. With Leona I have probably worked more than with anyone else. So it was clear that she would be on the album.

The song is about our restlessness as humans. We always want to improve and change things instead of just accepting the moment and the situation to be at peace.

6. Conscious 2

7. Crisis (feat. Sean Haefeli, Martin Lüdicke)
I wrote this song during the first lockdown. At that time I was busy finishing the album. I sent the track to Martin Lüdicke and Sean Haefeli and asked them if they could record something independently. I found it exciting to get the results back without having given any directions beforehand.

8. Conscious 3

9. Magic Flow
"Magic Flow" is a musical flow that develops into different parts. The track starts with a driving drum beat, intensifying and opening up more and more until it finally breaks open, leading to a heavy Hip Hop beat. The long wave and the slowly creeping new sounds are meant to pull the listener into the track's own world.

10. Silence (feat. Ronja)
"Silence" is a tribute to silence, which is often forgotten in the hustle of our everyday lives. The song is the third single and features Berlin-based singer/songwriter Ronja. The unobtrusive and powerful development of the song has a special character. I like the very slow tempo, the minimalistic development and Ronja's calm performance.

Jaubi - Nafs at Peace (May 28, 2021 Astigmatic Records)

Spiritual Journey from Pakistan

JAUBI continues the Nafs journey, which commenced with the well received single “Satanic
Nafs” (featuring the remix by legendary LA producers The Gaslamp Killer & Mophono) released
in March 2021. Now JAUBI draws on the elements of North Indian classical music, Hip-Hop and
modal/spiritual jazz in their debut LP entitled “Nafs At Peace”.
Nafs ( نَفْس ) is an Arabic word meaning “self”/“soul”. There are three levels of Nafs described in the Qur’an; (I) the soul inclined to evil, (II) the self-reproaching soul and (III) the tranquil soul.

This journey officially began back in April 2019 when London’s multi- instrumentalist and 22a Record label boss Ed “Tenderlonious” Cawthorne and Polish pianist/composer Marek “Latarnik” Pędziwiatr of EABS/Błoto, visited the group to record in Lahore, Pakistan.

Together they channelled their personal struggles at that time into the two recording sessions allowing the musicians to find a spiritual path to transcendence through this musical purge. The Vox Humana Oslo chamber choir provides beautiful choral harmony on the opening track.

Nothing whatsoever was written down during the recording sessions - no sheet music and no song titles, which allowed the six musicians to forget about their worldly issues. In many ways, the journey represents an expression of gratitude and an acknowledgement that the musician's inspiration comes from a higher power.

The album cover portrays the mother of JAUBI’s bandleader, tearfully praying to God to get her son through that dark period of his life. The album title ‘Nafs At Peace’ refers to the last purification step the self has been through. At this level, the Self no longer struggles because one has complete love of God, by becoming at peace and tranquil with God’s will. We hope all can achieve the stage of “Nafs At Peace” … Inshallah.

JAUBI’s album ‘Nafs at Peace’ is due to be released by Astigmatic Records on 28th of May, 2021. The album will be available on vinyl, CD and all streaming platforms.
1. Seek Refuge 02:18
2. Insia 05:15
3. Raga Gurji Todi 06:13
4. Straight Path 07:27
5. Mosty 07:40
6. Zari 05:51
7. Nafs at Peace 07:54

All songs composed by Ali Riaz Baqar except for 'Mosty' composed by Marek Pędziwiatr

Ali Riaz Baqar - Guitar
Zohaib Hassan Khan - Sarangi
Qammar 'Vicky' Abbas - Drums
Kashif Ali Dhani - Tabla, Vocals
Tenderlonious - Flute, Soprano Saxophone
Latarnik - Fender Rhodes Mark II, Grand Piano, Yamaha PSR-550,
Korg MS-20, Moog Voyager, Hohner Clavinet Pianet Duo
The Vox Humana Chamber Choir - Vocals on 'Seek Refuge'

Recorded at Riot Studios in Lahore, Pakistan in April 2019 (A2, A3, A4, B1, B2) and Newtone Studios in Oslo, Norway in August 2019 (A1, B3)

Session Engineers: André Viervoll (Newtone Studios) annd Farhad Humayun (Riot Studios)

Mix: Rhys Downing
Mastering: Paweł Bartnik
Executive Producer: Łukasz Wojciechowski
A&R: Łukasz Wojciechowski, Sebastian Jóźwiak & Oliver Reeves
Photography: Ali Riaz Baqar, Uzma Rao, Sebastian Jóźwiak
Graphic design: Animisiewasz
Calligraphy: İlkay Kanar

Richard X Bennett - RXB3 (May 28, 2021 Ubuntu Music)

Fresh out of New York City, Ubuntu Music is proud to release RXB3, the  new album from innovative pianist Richard X Bennett, bringing to the  world his unique brand of ‘Bounce Jazz’ and ‘Theme & Destruction’. 

Ubuntu Music is delighted to announce the signing of the Brooklyn-based pianist Richard X  Bennett for the worldwide release of his next album ‘RXB3’, on 28th May 2021. The  inspirations for Richard X Bennett’s lively work evolve from a wide range of unlikely  sources, from contemporary visual art to ancient metaphysics influenced by years  performing in India, where he recorded a series of critically acclaimed raga-jazz albums for  Times Music, India’s largest record label. At points on RXB3, Richard X Bennett might adopt  the triplet pattern of rhythm made popular by leading contemporary rap group Migos, or  channel the vibe of pre-LP era Duke Ellington, but ultimately he follows his own muse. His  pieces are short takes on the classical ‘theme and variation’, given an edge by deconstructing  said themes in a whirlwind of improv, transforming this long-standing technique into ‘theme  and destruction’!  

Richard X Bennett recorded RXB3 during the lockdown period with long-term collaborator  Adam Armstrong on bass and new drummer Julian Edmond on drums, who originally comes  from a gospel background. The synergy between the trio is more than apparent on the  album. On RXB3, Richard reimagines the trio as a vehicle for his tuneful songs and weighty,  poly-rhythmic, groove-centric piano explorations. He explains: “Each song begins as a bespoke  piano pattern. The melodies evolve from these patterns, resulting in a multitude of ideas that exist  together. I create modern music with a melodic and funky fabric and then tear it apart. My  expectation is that you can listen, dance or vibe to this music at your leisure and pleasure. Listen  closer and you will hear jazz, contemporary classical and Indian raga elements threaded throughout.  The rhythm section has that bounce I like. I met drummer Julian Edmond during the middle of the  pandemic and immediately knew that he could raise the music to a new level. He plays a stripped  down drum set so there’s more air. Adam Armstrong (bass) has that big jazz sound that roots us in  the tradition.” 
The songs are all by Bennett with the exception of Tum Hi Ho , which is a Bollywood  standard written by Mithoon for the movie, Aashiqui 2. Richard elaborates: “In 2019, I played  Tum Hi Ho as a lighter encore for my raga concerts in India. Ballads should be all about the feel. If  you’re noticing my technique, then I’ve done something wrong.” Richard X Bennett has adopted a  multimedia approach to his art, by creating a series of music video’s (partly inspired by  Beyonce’s ‘Lemonade’!) that conjure up a range of moods from the comic to the abstract  that perfectly compliment his musical endeavours.  

Richard X Bennett has released music on Ropeadope, Times Music and now Ubuntu, fast  growing in both repertoire and reputation as one of the hottest jazz labels of recent times. Martin Hummel, Director of Ubuntu Music, gives his perspective on the Label’s latest  signing: “Richard’s is, undisputedly, a unique and eclectic breed of the modern piano trio. His  compositions are an intoxicating mixture of inviting, seductive melodies which are underpinned by a  take-no-prisoners collision of funk-meets-raga-meets-jazz. It’s an addictive musical cocktail for the  head, the heart and the feet. We’re only too happy to have Richard join the Ubuntu Music Family.”

sneaky jesus - For Joseph Riddle (May 28, 2021 Shapes of Rhythm)

Early feedback:
"Always excited to hear new jazz from Poland. The bar has been set incredibly high over recent years by the like of EABS, Wojtek Mazolewski, Piotr Damasiewicz, Bloto and now Sneaky Jesus who have maintained that level. “For Joseph Riddle” stays true to the traditions of polish jazz (You can feel the spirit of Polish greats such as Wroblewski, Komeda and Stanko) whilst combining some of that fresh energy associated with the current UK sound. Nice tight arrangements, with deep melancholic lines, backed up by fierce determined solos - stellar release for Shapes Of Rhythm!" – Oli Reeves, 22a Music

“The freshest new jazz to make it to my ears from Poland. Just the right amount of skronk and funk to make repeat listens a must.” Oli Brunetti, Olindo/Colectivo Futuro/Soho Radio

“One of my favourite forward-thinking bands on the Polish map” Łukasz Wojciechowski, Astigmatic Records

Shapes of Rhythm is thrilled to present a brand new signing with a 50-minute debut LP from young, exciting Jazz quartet sneaky jesus, based in Poland. For Joseph Riddle merges concepts of contemporary Polish Jazz and breakbeat oriented styles of UK and US Jazz with ideas derived from punk and funk.

Matylda Gerber on Tenor and Baritone Sax and Maciej Forreiter on Guitar flow seamlessly between melancholic lines and free jazz expression. Beniamin Łasiewicki on Bass with Filip Baczyński on Drums anchor the improvisations and take unexpected dynamic turns. The quartet was joined in the studio by wonderful musicians and friends Michał Szczepaniec on Percussion, Wiktor Maternik on Trumpet and Mariano De Ona Martinez, who supports the harmony on Electric Piano and Synths and helped with the final arrangements.
The sound spectrum is vast. The opener Bugs relies heavily on steady breakbeat rhythms and hard bop-ish horn lines and features a Spanish-sounding Trumpet solo from guest Wiktor Maternik. Józek Zagadka is spacious, melancholic and minor despite frenetic and mutating drumming from Baczyński and Forreiter’s vamping distorted guitar textures. Battledance is confrontational and features Gerber’s primal Baritone rallying cries, whilst Łasiewicki’s bassline works nimbly around the elements. You can just picture the stand-off.

Minneapolis - Police Game highlights the group’s musical standpoint on widespread police brutality and is For Joseph Riddle’s standout. At around 25 minutes long, it’s so long it had to be split across the LP vinyl edition. A story in three parts and featuring by Baczyński’s frenetic drum solo, the composition started as a reaction to protests happening in USA after the murder of George Floyd, but in time gained new meaning to became a reflection of women’s marches still happening in Poland.

With today’s young Jazz landscape dominated by spiritual, soul and fusion, sneaky jesus don’t take the obvious turn or jump on the bandwagon. They bring the skronk and go for themselves. For Joseph Riddle is raw, discordant in parts and the group aren’t afraid to hit a wrong note every once in a while. A brave LP for such a young group. Michał Szczepaniec who guests on the LP and is one half of electronic group Gaijin Blues remarks ‘sneaky jesus are the next EABS.’ 

1. Bugs 07:02
2. Józek Zagadka 08:21
3. Battledance 03:34
4. Minneapolis – Police Game 27:03

Portico Quartet - Terrain (May 28, 2021 Gondwana Records)

Portico Quartet announce Terrain, a three-part suite drawing on American minimalism and ambient music alongside their own rich heritage as they explore new musical vistas

When Duncan Bellamy and Jack Wyllie – the driving force behind Portico Quartet got together in their East London studio in May 2020 and started work on the music that would become their new album, the world, or most of it, was in the midst of the first lockdown. The unique impact of the events of 2020 became the backdrop to their time composing and recording; causing them to take stock, re-think, and plot a new musical path.

Indian novelist Arundhati Roy expressed the sense of grief and rupture from the pandemic as "a portal, a gateway between one world and the next", and as they created the music that would become Terrain they were drawn towards longer, slowly unfolding pieces, which are perhaps the most artistically free and also the most beautiful they have ever made.

These are compositions more in the lineage of Line and Shed Song (Isla/2009), Rubidium (Portico Quartet/2012) and Immediately Visible (Memory Streams/2019). Wyllie expands: "We've always had this side of the band in some form. The core of it is having a repeated pattern, around which other parts move in and out, and start to form a narrative. We used to do longer improvisations not dissimilar to this around the time of our second record Isla.
On Terrain we've really dug into it and explored that form. I suppose there are obvious influences such as American minimalism, but I was particularly inspired by the work of Japanese composer Midori Takada. Her approach, particularly on 'Through the Looking Glass', where she moves through different worlds incorporating elements of minimalism with non-Western instruments and melodies were at the front of my mind when writing this music".

Terrain I, II & III are all subtly different, but a short rhythmic motif that repeats is the starting point in all three movements. There is a sense of a shared journey to all these pieces, they move through different worlds, with a sense of horizontal movement that lends the music real momentum. Terrain I was the first piece they worked on and it started with a hang drum pattern, improvised by Bellamy, who added cymbals and synthesiser. From there on it grew, Wyllie adding saxophone, another synthesiser section, strings. For Bellamy "It felt more like filmmaking than music making, a bricolage of conflicting, shifting signs, subtle tension and multiple narratives.

Andrei Tarkovsky's 'Mirror' and British artist John Akomfrah's incredible 'Handsworth Songs' were pivotal points of reference for me." Wyllie expands the point. "There is a sense of conversation between us both, in that someone presents a musical idea, the other person responds to it with something else, which would then be responded to again... until it feels finished. These responses are often consonant with each other but there is also a dissonance to some of this work. The music slowly evolves through these shared conversations."

It is this sense of dialogue, both between the composers, and between tranquillity and a subtly unsettling melancholy, that makes Terrain such a powerful statement. One that speaks to both our interior and exterior worlds, to our own personal landscape, to our Terrain. 



Composed, performed and produced by Duncan Bellamy and Jack Wyllie. Strings composed and arranged by Jack Wyllie. Recorded at PQHQ, London and Fish Factory, London in 2020 by Greg Freeman. Mixed by Greg Freeman, Duncan Bellamy and Jack Wyllie in Berlin, 2020. Mastering and vinyl cut by John Davis at Metropolis, London. Design and photography by Veil Projects.

Strings by FRANCESCA TER-BERG Cello (I, II)  SIMMY SINGH Violin (I)  PETE BENNIE Double Bass (I)

Lukas Akintaya - Hues (May 28, 2021 Skirl Records)

Hues is a project reflecting on the experience of moving to a new place. Arriving in New York, going through the process of re-orientating, absorbing and recalibrating, searching for a connecting line between the dots. It illuminates the journey of growing deeper roots and taking in new perspectives; a stream of thoughts at a given moment in time.

1. From Far
2. Terrace Place
3. Unicorn on Carroll Street
4. Interlude
5. Certain Uncertainties
6. Todah
7. Todah II
8. Patience, Growth

Jeremy Viner – tenor saxophone
Keisuke Matsuno – electric guitar
Simon Jermyn – electric bass
Elias Stemeseder – synthesizer, electronics (1,2,3,5,8)
Billy Drewes – soprano saxophone (2,8)
Lukas Akintaya – drums, percussions, keys & compositions

All compositions by Lukas Akintaya
Recorded by Joseph Branciforte at Dolan Studio, NYC in May 2019
Edited and mixed by Joseph Branciforte at Greyfade Studio, Brooklyn
Additional synthesizer recording by Bertram Burkert, Berlin
Digital & vinyl mastering by Philip Gosselin at LeLab Studios, Montréal, Canada
Photos, artwork & design by Odelia Toder
LC by Gartenmusik
Produced by Lukas Akintaya

Devin Drobka Trio - Resorts (May 28, 2021 Shifting Paradigm Records)

1. Rims 04:58
2. Box Invention No. 2
3. Box Invention No. 3
4. Teeter
5. Bounce
6. Box Invention No. 1
7. Soon
8. 1000

Matt Blair - Piano
Aaron Darrell - Acoustic Bass
Devin Drobka - Drums

Recorded November 13th 2019 at Wire and Vice
Release May 27th 2021 on Shifting Paradigm Records

Daniel Holter - Engineer and Mixing
Ian Olvera - Assistant Engineer
Justin Perkins - Mastering at Mystery Room Mastering

Shamek Farrah & Folks - La Dee La La (May 28, 2021 Jazz Room Records)

Another top notch Funky Spiritual Jazz release from Paul Murphy's Jazz Room Records. Featuring Strata-East stalwart Shamek Farrah on Saxes and an all star cast including Trumpet Legend Malachi Thompson.

The music is a Funky Spiritual Afro-Latin Soul mix with the Miriam Makeba influenced Cape Township Party title track and the Jazz Soul grooves of "Waiting For Marvin" both highlights..

Get down to the Worldwide Sound with the Latin Jazz grooves of "The White Lady" featuring Sonelius Smith on Piano and "Along Came Ron Rahsaan" with Vivian Chandler singing a wordless Spiritual Jazz Headspace Lullaby.

Totally obscure and his recordings fetching exhorbitant prices (a re-issue Japanese CD is 3 figures) Shamek Farrah ranks with the great unrecorded. Two releases on Strata East in the '70s, a couple for RA, a release in '95. The reissue of this 1978 recording for RA by Jazz Room Records reintroduces a roomful of rarely heard musicians, along with a young Malachi Thompson soon to become an Internationally renowned Jazz Heavyweight.

1. La Dee La La Song
2. Waiting For Marvin
3. The White Lady
4. Along Came Ron Rahsaan

Ojoyo Plays Safrojazz (Street Date: 05/28/2021)

The OJOYO sound (Safrojazz) is a fusion of Capetown born Morris Goldberg's South African music heritage, with the American music he learned to love from listening to records. Morris has performed with many American artists, notably Paul Simon, Harry Belafonte and Herbie Hancock; and South African artists including Hugh Masekela, and Jonathan Butler. Several other OJOYO musicians have recorded and toured with Paul Simon, Lori Anderson, and Edie Brickell, while Capetown native Anton Fig appears nightly on the David Letterman show.

Julien Daïan Quintet / Cut Up (May 28 2021 French Paradox)





Le troisième, ça a toujours été le plus difficile. Pour tout le monde. C’est le disque qui élève les bricolages en carrière mais dont l’absence transforme le génie en promesse non-tenue. Le voici :

CUT UP est le troisième album studio du JDQ.

Le premier, à la fois précoce et longtemps retenu, Julien Daïan nous l’a vomi. Des amitiés à consumer, des influences à hurler, comme le font les jeunes du monde entier depuis que l’arrière des bus existe, trop d’expériences à partager pour éviter de les digérer. Le deuxième, c’était celui du cahier neuf, appliqué et labellisé chez Bonsai music.
Et puis sans prévenir, l’heure du suivant est arrivée.

De quoi nous est-il rempli ce petit troisième ? Il est plein de son auteur et de ses aspirations, un brassage d’influences et de styles, l’invocation des albums de jeunesse qui l’ont poussé à s’engager dans ses propres productions : Buckshot le Fonque, Julien Lourau... L’époque des projets libérés du style, des albums aux antipodes de “l’album concept”. Le temps où le jazz flirtait dur avec toutes les musiques qui lui traînaient autour, peu importe qui prenait le pas sur l’autre. Pas de la fusion ni de crossover, juste un truc ancré dans son époque, riche de toutes les musiques qui foisonnent et composent notre quotidien.

La porosité des “styles”, Daïan la prêche désormais, car il est cette somme. Il la prône en reggae, c’est l’ado qui achetait les 45 tours de Luciano et Mikey General chez Patate Records pour les retrouver 20 ans plus tard chanter sur son propre disque (Bring some love). Il la célèbre avec Gainsbourg, à contre-pied, en composant sur une accapela reggae du grand Serge. Ecce homo et caetera (Gainsbourg in Dub) une version si gainsbarienne qu’on la penserait un originale d’aujourd’hui (Trop c’est trop). Il la rassemble, sur du hip-hop, Spike Leenien aux accents new-yorkais lorsqu’il s’associe au rappeur de Caroline du Nord Biship Chasten.

Et puis il y a les “jazzs”. Le jazz des Maîtres qu’il salue au passage d’une joie avec September Nine, titre au thème ravageur qui nous rappele une certaine effervescence new-yorkaise. Ou bien d’une peine, avec Sometimes At Night I Think Of You, titre dédicacé à son père disparu où l’on peut entendre une fragilité Shortenienne enregistrée tard dans la nuit en une prise.
Puis il y a la pop culture japonaise (Shinjuku Nemura Naï) inspirée d’une balade à Tokyo aux côtés de son ami photographe Kiyoshi Tsuzuki durant laquelle promesse fut prise d’écrire un morceau en souvenir du moment. Il y a la culture jazz pop tout court (End Working) et l’envie d’écrire la mélodie la plus simple et souriante possible.

Un “coucou” aux surréalistes (Storm At The Beat Hotel) inspiré de l’hôtel du 9 rue Git-le-coeur si cher à la beat generation où séjourneront Allen Ginsberg qui y écrira son plus fameux poème Kaddish ou encore William Burroughs qui y rencontrera son amant et “manager” Ian Sommerville avec qui il expérimente sa technique du Cut-up... Un clin d’oeil au trompettiste Roy Hargrove avec ce versus Bugle (Alex Tassel) / trompette (Sylvain Gontard) sur June Dance introduit de “main de maître » par June et Antonin les enfants du truculent ingé son de l’album, Julien Birot. Enfin, une reprise nineties du cultissime Woman in chains de Tear for fears où l’on retrouve un Guillaume Perret inspiré sur cette arrangement qui par moments nous rappelle Moondog.

On retrouve les fidèles Octave Ducasse (drum) et Tommaso Montagnani (Basse) membres emblématiques du quintet et on voit l’arrivée toute en fraicheur du pianiste Edouard Monnin, du flûtiste Cyril Benhamou et du bugliste Alex Tassel, le tout enregistré au studio Peninsula.

Et voilà, ce son, ce disque numéro 3, Julien Daïan nous le raconte comme il raconte la vie, comme il se raconte la musique : en une suite de récits mélodiques dont le style narratif n’appartient qu’à lui, visuel, itératif, référentiel et dont le verbe syncopé découpe puis compile en un patchwork (un cut up?) unique les histoires qui lui tiennent à coeur, des histoires de coeur.
1 End Working de Julien Daïan Quintet 4:28
2 Bring Some Love de Julien Daïan Quintet feat. Luciano, Mikey General 5:55
3 September Nine de Julien Daïan Quintet feat. Alex Tassel 5:21
4 Trop c'est trop de Julien Daïan Quintet 2:46
5 Storm at the Beat Hotel de Julien Daïan Quintet 5:24
6 Everybody Love Me de Julien Daïan Quintet feat. Biship 2:33
7 Shinjuku Nemura Naï de Julien Daïan Quintet 4:01
8 Sometimes at Night I Think of You de Julien Daïan Quintet 4:04
9 June Dance de Julien Daïan Quintet feat. Sylvain Gontard 3:57
10 Woman in Chains de Julien Daïan Quintet feat. Guillaume Perret 4:03