Friday, August 20, 2021

OUT TODAY / Jim Yanda – A Silent Way: Exploratory Improvisations featuring Herb Robertson and Phil Haynes (August 20, 2021 via Cornerstone Jazz)

A Silent Way, due out August 20, 2021 via Corner Store Jazz, evokes the rich textures and absorbing atmospherics of the Miles Davis classic while striking out into startling new territory
"[Yanda] flaunts melodic imagination and a brisk feel for swing."
– Bob Doerschuk, DownBeat

“[Yanda] is a wonderful guitarist… He combines [Larry] Coryell’s looseness with [Jim] Hall’s precise tone in a unique burning style.”
– Jerome Wilson, Cadence

For even the most casual of jazz fans, the title of A Silent Way, the latest album by the exploratory guitarist Jim Yanda, will inevitably evoke the name of another album by one of the music’s most iconic figures. That’s no accident. Like Miles Davis’ In a Silent Way, Yanda’s trio excursion with trumpet player Herb Robertson and drummer Phil Haynes ventures into often stark, spacious, richly textured territories. 
Beyond that commonality, however, there’s very little chance that the two albums could be mistaken for one another – while each proposes a silent way, each carves its own distinctive path into the vast quietude. Due out August 20, 2021 via Corner Store Jazz, Yanda’s Silent Way is a constantly surprising and inventive conversation between three longtime collaborators determined to discover new possibilities with their respective instruments and the interaction between them.
“The connection is a little oblique,” admits Yanda. “But it's definitely there in the approach, the openness – the idea of letting the horn be out there playing ideas with the group responding. Something about that aesthetic allowed us to be audacious enough to call the project A Silent Way, which I think gives people a reference point to draw them into its world.”
Having some recognizable landmarks does help in navigating the mysterious, amorphous landscapes conjured by Yanda and his trio on A Silent Way. It can be equally effective, though, to simply allow oneself to get lost wandering its cavernous sonic spaces, delighting in the crunch and scrape of Haynes’ percussive arsenal, being lured along by Yanda’s wiry lines before getting startled by a sudden blast from Robertson’s trumpet. Sputtering horn bleats are shrouded in howling feedback, an insistent rattling is dissected by the skittering of fingers on strings, a nonsensical chorus of chattering voices erupts from Robertson’s synthesizer – it’s an array of sounds as seemingly limitless as it is fascinatingly abstract.
“Our sensibilities about space and texture are fostered by our common ethos,” Yanda explains. “There has to be a kind of deep listening and deep empathy there. From the first note, Herb opens an immediate portal into a subconscious space of pure creativity. Phil and I join him in that space and that fosters an incredible camaraderie.”
Despite the longevity of the relationships represented in the trio – Yanda and Haynes have been working together since their student days at Coe College in Cedar Rapids, nearly four decades ago, while both connected with Robertson through their Brooklyn rehearsal space, the Corner Store, in the 1990s – A Silent Way marks the first time that they’ve convened as a trio. 
Haynes and Yanda are typically found in more composed scenarios, such as Haynes’ “jazz-grass” string band Free Country, the genre-bending organ trio The Hammond Brothers with Steve Adams, and Yanda’s decades-long trio with bassist Drew Gress. Yanda and Robertson, meanwhile, share a long-running free improvisational duo, while Haynes and Robertson released a pair of improvised recordings on CIMP back in 2000, Ritual and Brooklyn-Berlin.
A Silent Way was recorded in Yanda’s New Jersey living room, the same space where it was born. The guitarist hosted a series of free improv sessions at his home, and invited Haynes and Robertson to join him one particularly fruitful day in early 2019, with engineer Jon Rosenberg expertly capturing the fragile atmosphere. “Right after the first session, it was universally agreed by all of us that there was something special here,” Yanda recalls. “We immediately said, ‘Let's do it again.’ So we had another couple of sessions throughout the spring, and eventually came to the realization that we should document this. We met over a weekend in June, rolled tape, and ended up with a tremendous amount of material.”
In another parallel to Miles’ In a Silent Way, Haynes took on the Teo Macero role, sifting through the hours of material to assemble the most captivating moments. That he found enough thrilling music to fill two full discs is testament to the scintillating chemistry shared by these three master improvisers. Despite the lack of strictures on the trio’s interactions, a definite architecture emerges from even the most sparse and ephemeral of pieces. 
“There's a tendency in free improvisation to make sound without listening deeply, because it’s so open and there are no rules,” Yanda says. “It's a much greater challenge to make what you're doing cohere with the overall context, to try to give things some form and structure.”
Yanda, Haynes and Robertson are all deeply attuned to that approach, each with his own long history of creating compelling music from the moment’s inspiration. A Silent Way is a particularly shining example of those tendencies, one that rewards the same close, focused listening and inspired discovery that the artists felt when creating it.

Jim Yanda – A Silent Way
Corner Store Jazz – CSJ 0126 0127 – Recorded June 29-30, 2019
Release date August 20, 2021

Komos Jazz - Power Of Soul / The Music of CTI (August 20, 2021)

When his mother brought Stanley Turrentine’s Salt Song LP back from a trip to Canada, Julien Lourau, then a teenager, was impressed by the scope of the sound and the groove of the saxophone. He was also charmed by the lush arrangements and funky sound of the record, typical of releases on the CTI label. Created by producer Creed Taylor, CTI left an imprint in the minds of 70s jazz fans much like Blue Note did in the 60s, and it even ended up releasing work by artists who started out on this mythical label such as Stanley Turrentine and Freddie Hubbard. The two even shared the same sound engineer, the great Rudy van Gelder.

Yet CTI, though highly prolific during its 15 years of activity, has not benefitted from the same aura as its predecessor.

“To breathe life into this album, I listened to a wealth of CTI releases and discovered some I had never heard before. I noticed, oddly, that many of today’s musicians know very little about CTI - a label unfairly considered as minor.”

The choice of tracks was determined by Julien’s personal tastes, always keeping in mind a desire to help people discover them yet focusing on the joy of actually playing them too.

“The album is made up of 9 pieces. Mathieu Débordes got everything down to the nearest note before we even attempted to play them. CTI didn’t hold back in fuelling their compositions with brass and violins, but I erased this aspect and pared things down to a bass, drums and two keyboards.”

English drummer Jim Hart, someone Julien worked with during his London years, propels the group - from hard-bop polyrhythms with “drum & bass” inflections to a reworking of classic Red Clay.

Sylvain Daniel on the bass and Arnaud Roulin on the analogue keys are two musicians close to the saxophonist, and that he met when they were students in 1999 while organising a master class at the Conservatoire de Nantes. Since then, they have become his esteemed companions.

The collaboration with young pianist Léo Jassef began on this recording, where he also plays the Prophet 5. The dynamic and overlap of the many keyboards played by Arnaud and Léo bring the record a richness of timbre and harmony that the strings and brass provided on the CTI recordings.

For the final track on the record, Julien called upon his friend of 30 years, guitarist Bojan Z, for a fresh, Gospel take on Love and Peace, a track recorded by Quincy Jones in 1969, which here, is dedicated to Bojan’s recently departed brother.

“When it comes down to it, this album really is as I had imagined it, with, luckily, a few unexpected turns. I created a playlist I then claimed as my own. But in the end, I must admit that I would have loved to have composed some of these tracks.” 

1. People Make The World Go Round
2. Psalm 150
3. Westchester Lady
4. Piece Of Mind
5. Power Of Soul
6. Don't Mess With Mr. T
7. Red Clay
8. Firebirds - Birds of Fire
9. In The Beginning
10. Love and Peace

Julien Lourau : tenor and soprano saxophones
Arnaud Roulin : analog synthesizers
Léo Jassef : piano & prophet 5
Sylvain Daniel : bass
Jim Hart : drums, percussions, vibes, marimba

Arrangements by Mathieu Débordes and Julien Lourau

'Love and Peace' in memory of Nebojsa 'Keba' Sulfikarpasic featuring Bojan Zulfikarpasic on guitar, Mathieu Débordes on trombone and Sylvain Daniel on fluegelhorn

A&R : Antoine Rajon

Recorded by Félix Rémy at Studio Pigalle, Paris, January 2021
Mastering by Frank Merritt at The Carvery, London

Cover artwork by Brüno

Why Kai - Deep Fishing (August 20, 2021 Jazzland recordings Norway)

Why Kai is pianist and electronic musician Kai von der Lippe. With an upbringing and education in improv and jazz, and journeyman years in both electronic and acoustic music, he combines two musical worlds in "Deep Fishing" his first release for Jazzland Recordings. Rather than simply create standard dance music with repetitive elements as an accompaniment to improvised solos, he instead creates carefully composed and evolving pieces where sounds from the jazz and improv scenes are seamlessly blended with danceable rhythms and heavy bass, as well as incorporating field recordings.

Multiple moods appear throughout "Deep Fishing", from the impatient shuffle of "Water Dance", the stumbling melodic ambience of "Pling", the upbeat cognitive disco of "Wherever", the mellow, yet somehow slightly tense "Crab", to the retrofuturism of "Futuma". Each composition bears the fingerprint of its composer.

Throughout 2020 Why Kai has developed a live performance based around a four-piece band. This has evolved into a multimedia journey where retro films, animations and MIDI-triggerered robots are an integral part of the concert experience. They debuted at Victoria Nasjonal Jazzscene in Oslo in October 2020.

1. Water Dance 05:41
2. Pling 03:58
3. Wherever 05:01
4. Crab 01:39
5. Futuma 04:21

Walter Balaszczuk Trio - Everytime We Say Goodbye (August 20, 2021 BBaudio)

1. Upper Manhattan Medical Group 04:28
2. Just Friends 04:49
3. Pfracing (No blues) 05:37
4. Yarbird Suite 04:13
5. Darn That Dream 05:26
6. How Deep Is The Ocean? 04:13
7. I'll Remember April 05:06
8. Hot House 04:58
9. Everytime We Say Goodbye 05:49

Walter Balaszczuk - Piano
Leonel Cejas - Double Bass
Lerenzo Curik - Drums

Recording, mixing & mastering by Elio Vicent at Bebop Studio.
Cover photo & design - Octavio Gomez

Jared Hall - Seen on the Scene (August 20, 2021 Origin Records)

Seattle trumpeter Jared Hall presents his second recording as a leader and debut on Origin Records - an exciting program featuring original compositions & classics by Tadd Dameron. Along with alto saxophonist Vincent Herring, and his Seattle-based rhythm section of pianist John Hansen, bassist Michael Glynn, and drummer Matt Jorgensen, Hall explores a variety of moods and topics. "Thinker" is full of jovial curiosity in honor of the birth of his son, "Seen on the Scene" is urgent & urban, and Francis Lai's "Theme from Love Story" is rich with romantic poignancy. On Dameron's compositions, Jorgensen's drums propel Vincent Herring's soaring solo on "Mating Call," while Hall pairs with pianist John Hansen for an intimate reading of "If You Could See Me Now." Since moving to Seattle in 2015 after receiving his DMA from Miami's Frost School of Music, Hall has been a dynamic addition to the scene while expanding his international reach through education and performances.

1 Seen on the Scene 6:17
2 Mating Call 5:44
3 Theme from Love Story 8:31
4 Thinker 5:51
5 Coral Way 5:42
6 If You Could See Me Now 2:41
7 Force for Good 4:34
8 Farewell 2:16
9 If You Could See Me Now 6:49

Jared Hall - trumpet
Vincent Herring - alto saxophone
John Hansen - piano
Michael Glynn - bass
Matt Jorgensen - drums

All music by Jared Hall (Jared Hall Music), except: (2) Tadd Dameron (Carbaby Music Co); (3) Francis Lai/arr. Jared Hall (Sony/ATV Harmony); (6,9) Tadd Dameron/Carl Sigman (Music Sales Co./EMI Robbins Catalog Inc.)

Produced by Jared Hall / Executive Producer: Phil and Starla Petersen
Recorded by Reed Ruddy at Studio X, Seattle, WA May 12, 2018
Mixed by Dave Darlington / Floyd Reitsma / Brian Lynch
Bass Hit Studio, New York, NY / Studio Litho, Seattle, WA / Hollistic MusicWorks Studio, Miami, FL
Mastered by Dave Darlington at Bass Hit Studio, New York, NY

Jesse Harris & Vinicius Cantuaria - Surpresa (August 20, 2021 Sunnyside Records)

The past year found the whole world waiting. The COVID-19 pandemic paused life for most people and found everybody looking ahead to when life would return to normalcy. Singer/songwriters Jesse Harris and Vinicius Cantuaria took the time provided by the lull to record a project that had been evolving over the previous few years. Surpresa is the enchanting culmination of their efforts and it shows that some things are well worth the wait.

Both artists are well-known for their superior songwriting abilities. Harris came to the attention of the music world as a member of Once Blue and, later, writing hit songs for Norah Jones, Melody Gardot, Solomon Burke, and more. Beginning his professional work as a member of Caetano Veloso’s band, the multi-instrumentalist and composer Cantuaria has made a name for himself with his unique approach to the music of his native Brazil and his intriguing collaborations with artists as diverse as Ryuichi Sakamoto and Laurie Anderson.

Harris and Cantuaria initially met in 2011 when their mutual friend Dadi Carvalho introduced them, allowing Harris to stay at Cantuaria’s Rio de Janeiro home while Harris was in Brazil. Once he returned to New York, Harris visited Cantuaria and his wife Claire in Brooklyn. They struck up an immediate friendship and began hanging out and writing music. The writing eventually led to Harris inviting Cantuaria to play on gigs where they would incorporate each other’s songs and those of Tom Jobim into a working repertoire. Harris would go on to write “This Time” for Cantuaria’s 2012 recording, Indio De Apartamento.

It was about the time that they had decided to record together that the pandemic hit. Rather than becoming disillusioned, Harris began to ramp up his creative efforts. His home studio, Secret Sun West, allowed him to create any time he felt inspired to. When Cantuaria was able to finally return to the States, the two friends jumped immediately into recording Surpresa.

The majority of the tunes were written collectively, or separately by Harris or Cantuaria, with the exception of Gilberto Gil’s “Ó, Maria.” They recorded most of the instruments themselves, bringing in a handful of special guests to add to their work. Having worked with Melody Gardot for years, it was only natural that Harris invited her to add her vocals and a little piano. Guitar wizard Bill Frisell was also brought in to wonderful effect on a couple of tunes. Other guests included vocalist Gabi Hatmann, horn arranger CJ “CARM” Camerieri, percussionist Jeremy Gustin, and Will Graefe.

The recording begins with Harris’s folky “Waiting,” a wistful piece written about waiting for things to get better. Cantuaria wrote “Rio Negro” years back with the legendary Caetano Veloso and revisits it here in a cool, bittersweet style. Harris wrote “Far Away” as he watched planes flying over Gardot’s Paris apartment, missing places and people he’d love to visit. The first song the duo of Cantuaria and Harris wrote together, “How Long?” came together when the two friends were still in isolation, Cantuaria providing the music and Harris the lyrics, which ask the question that was on everybody’s mind during the Summer of 2020. The breezy yet resonant title tune follows on a positive note, the duo’s tune expressing the beautiful feeling of people coming together again, amplified by their collective voices and Gardot’s sonorous piano.

Taking inspiration from a photography book by Roe Ethridge, the duo’s jaunty “Broken Umbrellas” is about summer ending and its unfulfilled dreams. Gilberto Gil’s “Ó, Maria” finds Harris singing in touching Portuguese and Frisell adding his tasteful plectrum of strings. Frisell is also featured on Cantuaria and Argentinean composer Alejandro Corvalan’s “Colibri,” adding his typical haunting, bluesy touch alongside Cantuaria’s penitent vocals. Harris’s moving instrumental “Little Star” is revisited with the aid of Jeremy Gustin on percussion. Though it began as a Cantuaria instrumental, the bouncy “West Broadway Shuffle” finds additional charm with Harris’s guitar-doubling melody and lyrics. Harris’s “You, The Queen” is a song that Cantuaria loves to perform and it is a fitting end to their quietly poignant program.

It seems all too appropriate that Jesse Harris and Vinicius Cantuaria’s collaborative album, Surpresa, would have that uniquely Brazilian feeling of saudade. Their music and words could easily express the thoughts and feelings of the population as it sat and waited longingly for the world to start spinning again. 

1. Waiting
2. Rio Negro
3. Far Away
4. How Long (feat. Melody Gardot)
5. Surpresa (feat. Melody Gardot)
6. Broken Umbrellas
7. Ó, Maria (feat. Bill Frisell and Gabi Hartmann)
8. Colibri (feat. Bill Frisell)
9. Little Star
10. West Broadway Shuffle
11. You, The Quee

Vinicius Cantuaria - guitar, vocals, drums, and percussion
Jesse Harris - guitar, vocals, and drums
Melody Gardot - harmony vocals (1, 2, 4, 5) and piano (5)
Bill Frisell - electric guitar (7, 8)
Gabi Hartmann - harmony vocals (6, 7)
CJ Camerieri - horns and horn arrangement (1, 3)
Tony Scherr - upright bass (1, 3, 10)
Jeremy Gustin - percussion (1, 5, 6, 7, 9, 11)
Will Graefe - piano (4)

Sarah Buechi Contradiction of Happiness & Jena Philharmonic - The Paintress (August 20, 2021 INTAKT RECORDS)

They’ve taken to the skies – the chamber orchestra and the septet of Sarah Buechi – masterfully beyond all categorisation. The singer’s septet Contradiction of Happiness with piano, bass, drums and three string players is in itself already something of a polyphonic and liberated orchestra. Sarah Buechi has expanded this ensemble with the chamber orchestra of the Jena Philharmonic. The success of the first performance was overwhelming and the recordings on this album, which also took place in Jena, enable one to experience and relive the playful ease with which this ambitious project was accomplished. Classical intonation, Jazz vocalisations, chanting, microtones reminiscent of Indian music and Konnakol, rhythmic vocalisation – all these elements exist companionably in the compositions. "A music full of the joy of understanding," writes German jazz journalist Bert Noglik in the liner notes, "of the flapping of the wings of the poetic in the joint flight of the septet and the orchestra."

1. Creation
2. Lullaby (for Conan)
3. C-Void 91
4. Lion Heart
5. Precious Stone
6. Stets i Truure
7. Hungry Crocodiles
8. T.A.S. Mani
9. Nobody Knows (the future I`ve seen)

Sarah Buechi: Voice, Composition
Vincent Membrez: Piano
Wolfgang Zwiauer: E-Bass
Lionel Friedli: Drums
Estelle Beiner: Violin
Isabelle Gottraux: Viola
Sara Oswald: Cello


JENA PHILHARMONIC: Simon Gaudenz, Conductor

Lyrics and compositions by Sarah Buechi (except “Stets i Truure”, trad./arr. S. Buechi). Recorded September 28 – 30, 2020 at Volkshaus Jena, Germany. Recording engineer: Moritz Wetter. Mixed by Moritz Wetter at Hardstudios Winterthur 2021. Mastered by Michael Brändli at Hardstudios Winterthur 2021. Cover art: Conor Flynn O’Donnell. Graphic design: Jonas Schoder. Liner notes: Bert Noglik. Produced by Sarah Buechi and Intakt Records, Patrik Landolt, Anja Illmaier, Florian Keller. Published by Intakt Records.

Angelika Niesicer & Alexander Hawkins - Soul in Plain Sight (August 20, 2021 INTAKT RECORDS)

When Alexander Hawkins played at the Jazzfest Berlin in a duo with the american trumpeter Wadada Leo Smith, he met the saxophonist Angelika Niescier. Niescier was playing at the festival with her New York Trio with bassist Christopher Tordini and drummer Tyshawn Sorey ("The Berlin Concert", Intakt CD 305). Niescier has also been honored in Berlin with the Albert Mangelsdorff Prize, Germany's most prestigious jazz award. Hawkins is fascinated by Niescier's saxophone playing, and Niescier in turn is ardent about Hawkins' music. They stand on the same ground – both have their roots in jazz, and both love the jazz avant-garde of Ornette Coleman and Cecil Taylor. Two technically skilled instrumentalists with sparkling temperament, drive and joy in experimentation.

After several duo concerts, the studio album by Niescier and Hawkins, recorded at the loft in Cologne, is now available. The american jazz critic Stephanie Jones writes in the liner notes: “Soul in Plain Sight reveals layers of mutual navigation. Angelika Niescier and Alexander Hawkins court similarities and delight in differences …Buoying and challenging each other’s inclinations, the artists navigate shared sound with compassion and nuance.”

1. Brawls And Squabbles
2. Arhythm Songy
3. Why Didn’t You
4. Un_Tamed
5. Shipwrecked Words
6. Scops
7. Weft
8. Nexus
9. Metamorphose einer Karelle
10. Loom
11. As Hemispheres at Home
12. Limnetic Zone
13. Tar’ai
14. Scope

Angelika Niesicer: Alto Saxophone
Alexander Hawkins: Piano

All music by Hawkins/Niescier except “Arhythm Songy” by Muhal
Richard Abrams,“Un:Tamed”, “Nexus” and “Tar’ai” by Angelika Niescier , “Scops” and “as Hemispheres at Home” by Alexander Hawkins. Recorded in September 2020 at loft köln by Christian Heck. Mixed in March 2021 at Tonart Studio by Christian Heck. Mastered in April 2021 at Hardstudios Winterthur by Michael Brändli. Cover photo: Anja Illmaier. Graphic design: Paul Bieri. Liner notes: Stephanie Jones. Photo: Viktoria Sophie Conzelmann. Produced by Angelika Niescier, Alexander Hawkins and Intakt Records, Patrik Landolt, Anja Illmaier, Florian Keller. Published by Intakt Records

Stan Sulzmann & Vein with The Mon Ami Ensemble - Mon Ami (August 20, 2021)

* All proceeds to Médecins Sans Frontières *

Early in 2020 like many colleagues, I found myself left high and dry for creative output as the pandemic took a hold. I took a leap of faith into recording virtually as the only foreseeable option, which was a daunting prospect. “No previous experience” but up for learning.

Having played some great UK concerts as a guest with the Swiss trio Vein over a previous couple of years I was so disappointed at the inevitable cancellation of our short tour in UK and Ireland at the end of 2020.

For quite some time a couple of the young members of my Neon Orchestra , particularly Tom Walsh had broached the idea of a virtual recording of some of my big band music. As always young musicians were already finding a way to experiment with this option. So I thought ok maybe I could combine Vein with an ensemble of players from here, and Jim Hart in the Alsace recording virtually. Vein had already issued such a recording ‘ The Chamber Music Effect’ which sounded lovely.

This collection is the result. Great! A Lockdown Project to work on which involved writing some new compositions and arrangements whilst learning a little about recording virtually without the live interaction we all so love. I'd already heard some excellent large ensemble recordings as in Billy Marrows ‘Genmaicha’ with the Patchwork Orchestra which inspired me to want to get involved in the possibilities and not be beaten by the demoralising circumstances that we all faced. No live Music-making!

I set out to make an albums worth of music, culminating in 6 varied pieces.

'Chu Chu' (originating from my trio NEON), 'Between Moons' (a commission from composer John Taylor from my 65th Birthday tour), and 'Shadow Painting' from my 70th tour in 2019 plus three new pieces; 'Love for Sale' (the Cole Porter classic) blended with 'Resolution' ( John Coltrane) into one long arrangement that was premiered on a Royal Academy socially distanced Big Band online concert, itself another new experience in a great new theatre but with no audience. Then an arrangement of 'One Day I'll Fly Away' ( Joe Sample & Will Jennings from The Crusaders) I just always liked this tune sung by Randy Crawford.

Finally a brand new composition 'Mon Ami' which reflects this project at a time when we were all thinking about our friends and personal and musical relationships, not to mention what does the future hold in store for us all!

Stan Sulzmann

1. Love For Sale/Resolution
2. Chu Chu
3. Mon Ami
4. Shadow Painting
5. Between Moons
6. One Day I'll Fly Away

Stan Sulzmann - tenor sax

Michael Arbenz - piano
Florian Arbenz - drums
Thomas Laehns - bass

Trumpets - Tom Walsh, James Copus, George Hogg, Nick Smart
Trombones - Mark Nightingale, Olli Martin, Harry Maund
Saxes - Matt Sulzmann, Sam Glaser, Tom Barford, James Allsopp
Alex Munk - guitar
Jim Hart - vibraphone
Phil Todd - flute (5)

Produced by Jim Hart
Mixed and Mastered by Alex Bonney
Executive Producer - Stan Sulzmann
Project Consultant - Elaine Crouch

Tectonic Triplet - Absturz im DingDong (August 20, 2021)

Like three tectonic plates that move against each other by subducsive movements, Tectonic Triplet creates an energy with its impulsive music that puts the listener in an earthquake-like state of ecstasy. The young Leipzig artists Markus Rethberg on saxophone, Lukas Heckers on drums and Vincent Meißner on piano do not use clichés or pre-made statements in their work. 

1. Konstante Subduktionsüberladung 02:53
2. Atheistische Danksagung 02:45
3. Hämmern statt Nageln 02:16
4. Schlafe sanft mein Bärchen 02:42
5. Aporie 03:17

Markus Rethberg - sax
Lukas Heckers - drums
Vincent Meissner - piano

music and concepts by the band