Wednesday, August 18, 2021

La Disidencia de las Máquinas - Imago (August 2021 Ears & Eyes Records)

Federico Isasti is a drummer, composer, improviser, and audiovisual software developer based in Buenos Aires. Having participated as a drummer and co-leader in more than 15 albums of creative music groups (Alan Plachta, Pía Hernández, Elias Stemeseder, Julián Mekler, NUDO, among others) and is internationally recognized by his musical work (Sales de Baño - Frist Price for Unreleased Jazz Music 2019 (Primer Premio a Música Inédita Jazz 2019) FNA, The Best Experimental Music on Bandcamp: May 2019), Federico doesn’t remain in just one isolated discipline. In the field of movement and audiovisual arts he composed electronic music for a dance piece (Simetrías, winner of PIME grant, UNSAM, premiered in Barcelona, 2019), created audiovisual performances (El Retorno de una Hormiga, audio looping and live video processing, 2019), art installations (IRS - Imagen por Resonancia Sonora, to be premiered in April 2022) and works as a web programmer/interactive platforms developer (El Próximo Paso - WebDoc, 2021). After being awarded the Beca a la Creación grant in 2019 to compose an album for piano trio and digital media, Federico developed a group of electronic devices that interact with the musicians in real-time (Max/MSP). He currently leads La Disidencias de las Máquinas, NUDO (duet with Mariano Sarra on piano) and Bruxante (drums & electronics solo set).
Federico Isasti

Imago is the first album for piano trio composed by its leader and for this specific group. Federico’s idea was to create a new band playing his compositions with musicians he admired and with whom he hadn’t worked in the past. Shortly after, in November 2018 La Disidencia de las Máquinas began playing different music venues in Buenos Aires until December 2019, when the studio album was recorded.

La Disidencia de las Máquinas is a research project on the piano trio setup taking the jazz tradition as a foundation and merging that language with the gestures, timbers, and specific techniques from contemporary music. The title of the album, Imago, refers to the homonymous term in zoology that designates the mature stage of the metamorphosis of an insect. On the other hand, in the psychology field (with variations in each author), imago designates an unconscious idealized, fixed, and univocal image. Therefore, the band has a starting point of attaining musical maturity with members that are aware of the unconscious dimension of both the human mind and the artistic experience, both it’s limitations (idealizations) and its virtues (imagination).

The album (Imago) consists of eight pieces never recorded before: three of them were arranged for the trio and the remaining five were specifically composed for this group. The inspiration that brought these pieces together comes from very diverse sources: an artistic residence in Italy (Tren a Formia), the psychoanalytic experience (Psicoanálisis), the state of infatuation (Julieta), the plastic arts (Colorritmo, a Alejandro Otero), and the discovery of new musicians (For Petter). Although the formal structure of the pieces is simple, the sections depict a subtle and complex work on orchestration, treatment of the rhythmic field, and timber. On the other hand, improvisation takes a central role as these pieces are written for improvisers and the album reaches a balance point between written and improvised material, leaving the right amount of freedom for the musicians to bring their own creative and musical skills into the music. 

1. Cierre de oficio 06:30
2. Una día volvimos 07:12
3. Julieta 05:53
4. Tren a formia 06:02
5. Colorritmo (a Alejandro Otero) 04:37
6. Psicoanálisis 04:16
7. For Petter 05:48
8. Feliz con Caries 04:47

Ernesto Jodos - piano
Juan Bayon - bass
Federico Isasti - drums/compositions

Matthew Golombisky's Cuentos Volume 4 (August 2021 Ears & Eyes Records)

Matthew Golombisky's Cuentos is an ongoing project of composing, recording, and releasing music with trusted bandmates from around the globe and become inspired by and with close music cohorts. With Cuentos, Golombisky composes simple aural "plots" with a couple or few "characters" for each story. The cuentos are meant to humbly encourage that the music that comes forth stays within the realm of a short story format and doesn't develop into a full novel, so to speak; they aren't meant to convey visual or physical plots, characters, or scenes. Preferring not to interfere with the listener’s own experience of the music, Golombisky did not name the pieces; they are simply numbered in the order composed (six cuentos per volume).

The structures are meant to be simple and showcase the improvisational precision of each performer on conveying a ​modest concept with fluidity, clarity, and focus. What the listener is left with is an​ introspection​ into​ a single objective that comfortably emerges​ over the course of the piece, leaving them with a comprehensible aural encounter. Even the lengths of the pieces represent a briefness, here and gone before a single musician is able to explore every possibility of the story; Golombisky’s intention. Most pieces range in three minutes length--single ideas presented, explored, and left to the listener for reflection. 
Matthew Golombisky

1. Cuento #19 03:27
2. Cuento #20 04:10
3. Cuento #21 02:50
4. Cuento #22 03:23
5. Cuento #23 02:50
6. Cuento #24 (take 1) 02:26
7. Cuento #24 (take 2) 02:16

Doug Stone - tenor saxophone
Nick Finzer - trombone
Matthew Golombisky - electric bass & compositions
Chris Teal - drums

Recorded by Matthew Golombisky at The Bunker in Fayetteville AR USA
Mixed and mastered by Florencio Justo at Estudio Doctor F. in Buenos Aires, Argentina
Original art by Isabella Golombisky
Design by Matthew Golombisky

Strange Winds - Socially Distanced (August 2021 Ears & Eyes Records)

Currently based out of Chicago and originally 'from' the Black Hills of South Dakota, trumpeter/composer/bandleader Alex Massa has resided in New Orleans, Winnipeg, South Texas, and the high seas. His influences range from the simple to the obscure, and he does his best to participate in and create a sense of community wherever he is.
Alexander Massa

1. Ghosts Of Our Gigs 05:59
2. Pandemic Unemployment Assistance 08:40
3. Mask Faces Pt.1 05:41
4. Mask Faces Pt.2 06:51
5. Mask Faces Pt.3 03:59
6. Mask Faces Pt.4 03:20
7. Mask Faces Pt.5 06:00
8. Mask Faces Pt.6 02:19

Mai Sugimoto - alto sax, flute, percussion, toys
Hunter Diamond - tenor sax, clarinet, percussion, toys, vocals
Artie Black - tenor sax, percussion, toys
Alexander Massa - trumpet, percussion, toys, vocals

Recorded in a Chicago Courtyard during the COVID-19 pandemic in September of 2020, Socially Distanced explores the social and philosophical stressors of isolation and quarantine.

This record was responsibly recorded with only the artists and a photographer in attendance.

Recorded by Alexander Massa

Mixed/Mastered by Dan Pierson

Album Artwork by Hunter Diamond

Sebastián de Urquiza - Unity Vol. 1 (2021 Ears & Eyes Records)

Sebastián de Urquiza Unity is a project inspired by the experience of having lived and shared the stage with some of the greatest jazz influences. Being from Argentina, it is a record inspired by the different cultures he had been in touch with during his time living in Switzerland. Counting on musicians from different parts of the world, the main goal was to explore different aspects of music, thus providing a space for each artist to express themselves in a colorful and climatic environment, at times very energetic, and others very intimate. With vol. 1 and 2, Urquiza has divided the bigger picture into a "bright side" and a "dark side".

The first is cheerful, although it has moments of reflection, it tends to go towards the light. On the other hand, the second is more reflective, with more intimate climates. If there is something that unites the two, it is that they are very colorful, with singing melodies that go through intense harmonic movements, and are always full of rich interaction. Each piece has a particular job, and the names of them are what they evoke.

It can be implied by the music that de Urquiza is a musician in constant growth, and that he is very open about music. It can be appreciated that, although jazz and improvisation are what unite the group, they can do it in different musical environments and still achieve that unity that Urquiza proposes with the title of the album. Meticulous writing, standard forms, songs, moments of well academic music, stories, lyrics of different themes are just some of the things that the composer shows with this work.
1. Pasar de Los Días 08:24
2. Gris 07:19
3. Sentimientos 08:44
4. Tu Nombre 07:07
5. Entre Planetas 02:57
6. Sommer 07:17

Oscar Latorre - trumpet (Spain)
Sam Barnett - alto sax (England)
Charley Rose - tenor sax (France)
Yossi Itskovich - trombone (Isarel)
Iannis Obiols - piano (Spain)
Silvan Joray - guitar (Switzerland)
Jordi Pallares - drums (Spain)
Sebastián de Urquiza - contrabass, vocals & compositions (Argentina)

Special guests:
Clara Díaz - vocals (Argentina)
Ezequiel Brizuela - flute (Argentina)

Recorded by Daniel Somaroo at JazzCampus Studio in Basel, Switzerland
Mixed and mastered by Sam Barnett in Basel, Switzerland
Original art and design by Sebastian de Urquiza

El Devenir del Río - Invocación (2021 Ears & Eyes Records)

El devenir del Río is a group of women improvisers, composers, and artist friends. It was formed in 2017 and after several presentations in different spaces in Buenos Aires and festivals. Released their first album AMLA in 2018.

In 2018 they developed a new project that consisted of summoning other women to compose music especially for the group and its particular training (voice, tenor saxophone, piano, cello, and double bass). Thus, Invocación is the result of collective work between El Devenir del Río and other composers and improvisers, all of the owners of a vast and substantial journey in both disciplines: Paula Shocron and Jazmín Prodan from Argentina, Amanda Irrazabal (Chile), and Marilyn Crispell (US). The group experimented with different forms of approach with each one of the works, always opening the space to improvisation, allowing themselves to be traversed by the particularities of each music, and also allowing the personality of the group to be captured in each of the pieces.

It should be noted that this album won the second prize for Unpublished Popular Music in the jazz category of the National Fund for the Arts 2020. (Argentina)

The works of the composers invited to the project are: For Gareth poem by the American pianist Marilyn Crispell, La emancipación de la Rosa by the Argentine pianist Paula Shocron, Círculo Secreto by the Argentine singer Jazmín Prodan, Sin Coartar by the Chilean double bass player Amanda Irrazabal and The pieces that belong to the members of the group are: Caza de Brujas written by the Argentine pianist Pía Hernández, Jardín Incierto written by the Argentine saxophonist Camila Nebbia, Dilatar La Horas by the Argentine cellist Violeta García and Costurera written by the Colombian double bass player Diana Arias . 

1. Resonancias 01:20
2. Para Marilyn 03:02
3. Caza de Brujas 05:47
4. Costurera 05:25
5. Dilatar las horas 05:01
6. Jardín incierto 09:40
7. Sin coartar 06:24
8. Circulo secreto 05:47

Catu Hardoy - vocals
Camila Nebbia - tenor sax
Violeta García - cello
Pia Hernandez - piano
Diana Arias - double bass

Ernesto Jodos - Confluence (2021 Ears & Eyes Records)

The album is based on the 15-year relationship between Jodos and Altschul. They met in Buenos Aires through a mutual friend and did several concerts together in 2005. Altschul returned several times to Argentina, and on each trip, there were more concerts, tours, and even a quintet recording (still unreleased). In 2017, after a series of concerts in Buenos Aires, they decided that it would be very good to do a piano trio recording. The bass player had to be found, to which Altschul responds: "We can have any bass player we want." A year later, a series of concerts with Mark Helias, triggered an email: "Dear B: I found the bass player." Almost as a joke, since Altschul and Helias have a musical relationship that exceeds 40 years….

So this is the story of a collaborative album, made by three musicians who have known each other for years, who have shared music, food, wine, travel, and other things. Even the engineer Michael Brorby, himself a drummer, had taken lessons with Altschul in 1979!

The session was full of anecdotes, jokes, the occasional tense moment, and a lot of enjoyment, and resulted in this original music album in which you can feel good energy and desire to play together.
1. Waltz for Thursday Face 04:32
2. LL#4 03:57
3. You Can't Name Your Own Tune 04:45
4. 24 Module 04:29
5. LL#2 05:00
6. Be Out S'Cool 05:36
7. Diorama 06:30
8. On The QT 06:04
9. Come Again 07:49

Ernesto Jodos - piano/composition
Mark Helias - acoustic bass/composition
Barry Altschul - drums/composition

Noa Fort - Everyday Actions (2021 Ears & Eyes Records)

Israeli-born vocalist, pianist, composer, and music therapist Noa Fort is blurring the lines between written and composed, group and individual, inner and outer soundscape, giving and receiving; all on the path to healing, with music.

In 2018 Fort released her debut album as a bandleader and composer, ‘No World Between Us’. Critically acclaimed, its release led to bookings at the DC Jazz Festival and BRIC Jazz Festival. All About Jazz called it “an album of comforting originality on all fronts… lyrics brimming with timeless themes”.

In this new release, Everyday Actions, her second album as a leader and composer, Fort is using her voice and piano to draw abstract musical pictures. Abandoning lyrics almost completely, it is the timbre, tone, and emotion in her voice that bring about the lyrical depth of the songs. Borrowing from her work as a therapist, Fort is giving space to the listener to bring his or her own meaning and interpretation to each piece.

Recording began on March 16, 2020, moments before NYC went into months-long lockdown. The uncertainty and wariness were in the air as the quartet recorded their takes. Later in the pandemic, Fort decided to continue the project with solo pieces, expressing in sound the solitude that was the characteristic of the past year. Eventually, these became the bulk of the album.
The music celebrates the mundane and the historical, the big and the small. Nature’s evokes the walks in urban nature that kept her sane during months of lockdown; Rovno is a piece inspired by the historic Jewish town of Rovno, now in Ukraine, her ancestor’s hometown and the site of a horrific WWII massacre of Jewish families. Tunnels and Everyday Actions explore the ways repetition with tiny variations can bring about big change. Endless Tea Party starts with a single melodic phrase, sung time and time again into the piano’s soundboard and strings; within the soundscape that is created the tune evolves. Deeping is an epic twist and turn over a mysterious pedal point. Home Scratch, written originally for a group of improvisers, evokes the need to move around while being bound at home. The Stories We Tell captures the frustration and anger experienced in an unbalanced relationship. Song For a New Year, written while Fort was a composer-in-residence at a small town in Minnesota as the Jewish New Year was celebrated, captures the optimism of a fresh start in sound.

The wide experience Fort has with the human experience informs her work as a composer/performer; the minute shifts in mood, attention, and color are all taken in as important information. This is her work as a composer and improviser; listening to her bandmates, tuned into the soundscape of the other person, of herself. It is in everyday actions that healing can take place, not in the big resolutions that are made and forgotten; changes of pattern, slow attention to daily actions, tiny moments of clarity.

1. Endless Tea Party 04:48
2. The Stories We Tell 04:13
3. Tunnels 07:00
4. Home Scratch 02:36
5. Everyday Actions 03:55
6. Rovno 04:50
7. Song for a New Year 03:02
8. Deeping 06:07
9. Nature´s 03:01

Noa Fort - voice, piano, compositions
Josh Deutsch - trumpet
Dan Loomis - bass
Ronen Itzik - drums

Recorded, mixed, and mastered by Michael Perez-Cisneros at Big Orange Sheep in Brooklyn NY USA
Album design by Elizabeth Lauren West
Art by Lara Lewison
Photography by Erika Kapin

Andrés Elstein - Familia (2021 Ears & Eyes Records)

1. Aplausos 06:18
2. Nomade 09:14
3. Shuffle 11:05
4. Celebracíon 07:13
5. Busca Misterio 09:50
6. Vueltas 06:58
7. Pájaro Canibal 06:25

Lucas Goicoechea: alto saxophone
Nataniel Edelman: piano
Juan Bayón: contrabass/bajo
Andrés Elstein: drums/bateria & compositions

Recorded, mixed and mastered by Florencio Justo at Estudio Doctor F. in Buenos Aires, Argentina
Album design by Matthew Golombisky

Joaquin Muro - Oximoron (2021 Ears & Eyes Records)

Soon after a career of intense activity as a sideman in projects such as Richard Nant's Big Nant, Juan Izkierdo Grupo, and Juan Pablo Arredondo's octet, among others, and after finishing the Superior Technicature in Jazz at the Conservatorio Superior de Música Manuel de Falla, the young trumpet player, and composer Joaquín Muro release his first album as a leader: Oxímoron. For the recording of the same one, he summons the pianist and composer Pía Hernandez, the double-bassist Diana Arias, and the drummer Martín Freiberg. In addition, the album has the guest participation of saxophonist and composer Camila Nebbia, the multi-instrumentalist woodwind musician Patricio Bottcher, in this case playing Bass Clarinet and Soprano Sax, and the also multi-instrumentalist Pablo Quiñones, on the bass drum and percussion accessories.

Oxímoron's music has two clear lines of influences: on the one hand, from the compositional and arranging side, the influence of Guillermo Klein and Richard Nant is evident. The latter was Joaquín's teacher for more than 4 years, both in the instrument and in composition, and also director of the project he has been part of for more than 7 years: La big nant. On the other hand, from the timbral search with the instrument and the language of improvisation, in addition to the obvious influence of Nant, Joaquín's listening and following of the work of trumpet players and composers Jorge Vistel (Cuba) and Ambrose Akinmusire (USA) is evident.

The soundscapes of Oxímoron show the wide range of music that Joaquin has been listening to, studying, and playing over the years: modern jazz in irregular metrics, combined with Argentine folklore, free improvisation, and even the most classical jazz.

Finally, the title of the album is rooted in the incredible irony of launching the first album as a leader, a new group, and a solo career in the middle of a pandemic year, with all that this implies: the impossibility for musicians to get together, to play live, to see their possibilities of expressing and developing their art reduced to practically nothing, to achieve a project of this magnitude, with all the difficulties that this entails. This made that for Joaquín 2020 was the most difficult and at the same time, the best and most prolific year in his musical career (and surely for many other musicians as well): from seeing his career reduced to nothing to the formation of his first band with the recording of an album included make the timeline of this project a true oxymoron in his very own right.

1. Perro Siberiano 07:22
2. Venus en Escorpio 06:55
3. Raíces 06:44
4. La Tierra Colorada y las manos 07:47
5. La Septima 06:14
6. Yagua 06:31
7. Vidala para el velorio de angelito 11:44

Joaquin Muro - trumpet / compositions
Pía Hernandez - piano
Diana Arias - double bass
Martín Freiberg - drums

Guest musicians:
Camila Nebbia - tenor saxophone on “Venus en Escorpio”
Patricio Bottcher - bass clarinet & soprano saxophone on “La Tierra Colorada y Las Manos”
Pablo Quiñones - bombo leguero on “La Tierra Colorada y Las Manos” Y “La Séptima”

Recorded, mixed, and mastered by Agustin Silberleib at Estudio Doctor F. in Buenos Aires, Argentina
Produced by Joaquin Muro
Original art by Juana Sallies
Album cover photo by Florencia Finnegan

Matt Booth & Palindromes - Mythomania (2021 Ears & Eyes Records)

Mythomania” is the second release from New Orleans-based quartet Matt Booth & Palindromes. A premier ensemble in the city’s fruitful scene of creative improvised music, the band presents original music and a unique ensemble sound that pushes at the boundaries of what is generally accepted as “New Orleans music”. Helmed by bassist Matt Booth, Palindromes also features top sidemen from the city: saxophonist Brad Walker, guitarist Chris Alford, and drummer Doug Garrison. “Mythomania” features four of Booth’s own compositions and three unlikely covers (Egberto Gismonti, Melvin Gibbs, Dirty Projectors), offering an alternative take on contemporary jazz in the 21st century.

Recorded in late 2019 in the state-of-the-art concert hall at the New Orleans Jazz Museum, “Mythomania” finds the ensemble assured and interconnected, with three years of growth following their debut self-titled recording (Breakfast for Dinner Records, 2016). The earliest iteration of Palindromes was begun by Booth in Pittsburgh, PA in the early 2010s as a way to explore both his burgeoning compositional voice and his interest in underexplored repertoire (e.g. Ornette Coleman, Paul Motian, Carla Bley). Upon moving to New Orleans in 2015, his initial assemblage of personnel became its permanent lineup.

The music on “Mythomania'' conveys a desire of Booth’s to cover a wide scope of ground, both emotionally and stylistically. There are pockets of brooding, intense free improvisation, spacious and expansive aural meditations, earnest ballad lyricism, and an overall embrace of feels familiar to jazz and rock at large. Of the four original pieces penned by the bandleader, two feature the free-time experimentalism found in the writing of Motian or Coleman, and two, considerably more mellow in tone, follow more conventional jazz forms. The cover material is culled from three artists of very differing backgrounds yet tent towards more traditional songwriting, featuring intoxicating melodies at once beautiful and morose.

The breadth of each musician’s individual playing careers leads the band to navigate the repertoire of the record with stylistic ease and deep empathy. Booth is a co-leader of the modern jazz piano trio Extended, performs nationally as a member of the celebrated New Orleans organist/pianist John “Papa” Gros band, and has backed up an array of artists such as Aurora Nealand and Michael Glabicki. Brad Walker, who has toured the world with country star Sturgill Simpson, blues guitarist Ana Popvich, and can be seen with such New Orleans mainstays as Anders Osborne and George Porter, Jr, brings intense and thoughtful energy on the saxophone. Chris Alford, one of the most creative guitarists on the Gulf Coast, is a member of soul-jazz organist Robert Walter’s 20th Congress and has accompanied a variety of jazz artists including Cassandra Wilson and Mike Dillon. As the eldest member of the band, Doug Garrison brings wisdom, experience, and a connection to an earlier generation, deepening the music Palindromes makes together. He has played with such piano legends as Mose Allison and Phineas Newborn, Jr., is a member of roots-rock favorites The Iguanas and had a long-term association with rock icon Alex Chilton.

About the compositions:
“Ripped to Shreds” is the first of four original compositions of Booth’s to be featured on the album. The composition features distinctly different A and B sections which are separated by an open improvisation. The A section is a rubato sing-songy melody, reminiscent of Ornette Coleman’s writing, especially in the blues language of its last two measures. A cosmically moody guitar feature begins the improvisational section, which gradually leads to a saxophone solo. The steady build in tension leads to the B section, based on a repetitive bass groove in 7/4 and a floating melody over top in an unrelated free tempo. This final four-bar melody is played first by the saxophone, and twice more doubled by the guitar in a loose unison.

“Diminutive Stature” is comprised of two sections of composed material, with space for improvisation written in. The first three minutes of the recording is an open improvisation and highlights the patience and space with which the band can inhabit while improvising. The bass and saxophone then join to play a written background figure while the drums and guitar continue their dialogue, concluding with a written guitar cadenza. This culminates in a Black Sabbath-inspired B section that features a frenetic sax solo. The piece abruptly concludes in this section with a new melody over a variation on the heavy metal riff.

Booth wrote “High Point” in August 2019 during a break in a tour, with three days off in High Point, NC. The chord progression is a reharmonization of a 12 bar blues tune, the melody evokes the mood of never-ending lazy summer days stuck in a house with no plans, and the groove is indicative of “Harvest”-era Neil Young. The form of this tune is relatively straightforward, until the band loops the final four measures of the piece for a saxophone solo.

“Structure,” written by Booth in 2009 while finishing his undergraduate degree at Duquesne University in Pittsburgh, was revived for this record after sitting dormant for nearly a decade. The song is a jazz waltz and is the only piece on the album with a swinging 8th-note feel. Similar to “High Point,” the interpretation of the tune is relatively straightforward until the final melody, when a loop is created from the penultimate two bars, functioning as the climax to the song, and the album.

“Agua e Vinho,” composed by the Brazilian guitarist and pianist Egberto Gismonti, has a hauntingly beautiful minor-key melody song that has stuck with Booth since he first performed it in 2012. The subdued and evocative nature of the song allows the quartet to expressively tell a story with an uncommon subtlety. The bass solos first over the chord changes to the melody, which is followed by a sax statement over a much different texture: a new out-of-time, static harmony section. Also notable is Alford’s guitar work, which he overdubbed at various points to create a rich bed of sound during the intro, sax solo, and outro.

This interpretation of Dirty Projectors’ “Keep Your Name” stays very true to the original, resisting any urge for some clever jazz arrangement. The song follows a standard pop form, with the only improvising happening over the bridge section. With the lyrical content about a romantic break-up removed, the song becomes a soulful ballad feature for Brad Walker’s alto saxophone and Doug Garrison’s understated, yet insistent, groove.

The last of the three cover songs, “Howard Beach Memoirs,” was written by bassist Melvin Gibbs and was featured on the one-off 1987 album “Strange Meeting” by trio Power Tools, which featured Gibbs, Bill Frisell, and Ronald Shannon Jackson. The piece was written in memory of Michael Griffith, a 23 year old black man killed in a racially motivated hate crime in Queens, NY in 1986. Palindromes’ interpretation aims to capture the forcefulness and urgency of the piece’s original intention, which remains vital over thirty years later. Following the initial statement of the melody is an open improvisation, led by guitar then sax, maintaining the turbulent atmosphere throughout. 
1. Agua e Vinho 07:52
2. Ripped to Shreds 08:18
3. Keep Your Name 06:15
4. Howard Beach Memoirs 05:56
5. Diminutive Stature 08:23
6. High Point 05:11
7. Structure 06:56

Matt Booth: bass
Brad Walker: saxophones
Chris Alford: guitar
Doug Garrison: drums

Recorded by Joe Stolarick at The New Orleans Jazz Museum on November 25 and December 10, 2019
Mixed by Rick Nelson at Marigny Studios in New Orleans, LA
Mastered by Jeff Albert in New Orleans, LA
Artwork and Design by Tyler Tadlock in Jackson, MS

Tracks 2, 5, 6 and 7 written by Matt Booth
Track 1 written by Egberto Gismonti
Track 3 written by David Longstreth/Tyondai Braxton
Track 4 written by Melvin Gibbs