Friday, January 21, 2022

VINYL AVAILABLE NOW: Oscar Peterson | “A Time For Love: The Oscar Peterson Quartet - Live In Helsinki, 1987” | Mack Avenue Records


Live Concert from Oscar Peterson Quartet:

Performance Recorded at Final Concert
of 14-City Tour Beginning in South America and
Ending in Europe, Captures Total Synergy
Between the Band and Boisterous Audience

Remarkable Quartet Features
Joe Pass, Dave Young and Martin Drew

“...the subtly swinging, jazz-classicist Canadian pianist was in full,
expressive flower toward the tail end of the ’80s with this live effort being the
proof of time spent in the studio and on the road…”
— FLOOD Magazine

"...the limited quantity on LP will go fast."
— Variety

"By ‘87, Peterson, guitarist Joe Pass, bassist Dave Young and
drummer Martin Drew had fine-tuned the OP4 into an unstoppable
swing machine, as heard on the forthcoming live release A Time For Love:
The Oscar Peterson Quartet
— Live in Helsinki, 1987.” — WBGO

"This is simply classic jazz at its finest – an over-the-top,
flawless performance."
— Glide Magazine

“...the music is the star here. The pianist is at the
height of his musical prowess.”
— DownBeat

"In short, it’s as good as you no doubt assumed it was
before you even started reading this review.”
— JazzTimes

"Oscar Peterson was one of the select few musicians,
one of the last of a breed, who was world renowned
simply for his talents.”
— Jazz Weekly

For nearly 80 years, legacy has been the spinal cord of the glorious jazz tradition – but maybe never more so to its fans than during these challenging days of the pandemic. Unable to hear music in person, all of us have only been able to access new music through technology, resulting in many looking back upon what may have been missed. But when one can look back on something that is at the same time entirely new, that is a most special situation. And when that something new is coming from jazz immortal Oscar Peterson – even more so. And that is exactly what is in hand with A Time for Love: The Oscar Peterson Quartet – Live in Helsinki, 1987 from Two Lions/Mack Avenue Records.
From this perspective alone, this is a momentous album – but it is far more than that. The final gig of a long international tour that began with 4 concerts in Brazil, this date was the 14th of a European tour that took the quartet all over mainland Europe and Scandinavia. Anyone with any knowledge of jazz knows that the magic of consistent performing only makes the synergy and empathy of an ensemble – both substances this quartet has in mind-blowing quantity – better and better. That always dwarfs the fatigue factor, and sometimes results in sheer magic on a different plane. That’s clearly what happened during this spectacular concert. As Kelly Peterson says: “Performing with joy and vivacity, they determined to make every concert better than the previous one. This night in Helsinki is a glorious example of that” – and a stunning addition to the continuing legacy of this beloved master of music.
With a remarkable quartet of Joe Pass on guitar and the bass/drums tandem of Dave Young and Martin Drew – all of whom at the time of this recording were about halfway through their thirty-year affiliations with Peterson – the wildly enthusiastic Helsinki audience was treated to a marvelous performance that spans gorgeously poignant lyricism to blistering intensity and every stroke in between with flawless artistry and an exuberant sense of adventurous creativity. The live performance, presented in its unedited entirety, offers the actual being there experience. It graces listeners with the sweeping breadth of Peterson’s majesty as presented in the immediacy of the live concert.
The first set consists exclusively of Peterson’s own compositions – an important focus in Kelly’s efforts to further enhance his immortal legacy. The scope of his exceptional vision as composer is on intriguing display through these five pieces, opening with the sauntering strut of the aptly titled “Cool Walk.” A pair of scorchers – “Sushi” and “Cakewalk” – vividly deliver the explosive power and consummate artistry that is so prominent in Peterson’s ensembles. Defining jazz as “instant composition,” he would occasionally compose a song during a performance. “Love Ballade” is one such piece, written spontaneously during an earlier concert. A mesmerizing extended solo piano opening of filigreed beauty. and an excellent guitar-like Young solo highlight this captivating offering.
A lifelong fascination with Johann Sebastian Bach inspired Peterson’s stunning 20-minute “A Salute to Bach.” This enchanting three-part excursion maintains full jazz integrity in its homage, allowing him to dig into his early classical training.
The second set features Peterson’s enthralling exploration of time-honored jazz and songbook classics, including two virtuosic solo performances: Pass’ exquisite rendition of the iconic Disney tune “When You Wish Upon a Star” and Peterson’s delightful take on Bill Evans’ “A Waltz for Debby.”
Also included are Johnny Mandel’s lovely ballad “A Time for Love,” the deeply grooved swing of Benny Goodman’s “Soft Winds” and “How High the Moon,” a blast-off point of departure in so many of the legendary Jazz at the Philharmonic jams of Peterson’s past, given a gentler, jaunty take.
The monumental climax – before the explosive encore of Peterson’s “Blues Etude” – is the “Duke Ellington Medley” featuring six Ellingtonia classics – “Take the ‘A’ Train,” “Don’t Get Around Much Anymore,” “Come Sunday,” “C-Jam Blues,” “Lush Life” and “Caravan.” A solo piano and ensemble tribute to the transcendence of what Duke represents to the legacy blending elements of swing, blues, barrelhouse, stride, boogie-woogie and every other color in Duke’s – and Peterson’s – endlessly creative palette. This incredible adventure is the perfect symbol for this entire album, touching upon the ultimate essence of jazz expression allowing Peterson to pay homage to his own fathers: Art Tatum, Teddy Wilson, James P. Johnson and Nat Cole by weaving them into a maelstrom of brilliance that is all Oscar Peterson. The perfect definition of the living and ever-expanding legacy of this profound art form.
For those not totally aware of Peterson’s importance within the jazz legacy – as unimaginable as that may be – the Canadian-born of West Indian heritage pianist held court as an ultimate master for nearly 60 years. A recipient of numerous honors and awards (including eight GRAMMY® Awards) and the subject of various documentaries, Oscar Peterson was the embodiment of the history of jazz piano. blended with a superb command of Western Classical knowledge – all of which contributed to Ellington bestowing upon him the title “the Maharajah of the keyboard.” With over 200 albums of his own, Peterson’s amazing ability to temper his own magnificence as a leader and soloist to be able to provide totally empathetic and subtle accompaniment to other musicians and vocalists – simply and eloquently explained by Dave Young as “he listened” – made him a contributor to hundreds of other outstanding recordings, most notably as the virtual “house pianist” for his longtime manager Norman Granz’s Verve and Pablo Records. A professional since the age of 14, Peterson passed away at the age of 82 in 2007, leaving an unparalleled legacy that is as timeless as jazz itself.
A Time for Love is available in both a double-CD format and as 180-gram vinyl in a 3-LP set. Both versions are beautifully packaged and include two sets of inside-view liner notes by quartet member Dave Young, Peterson protégé Benny Green and Oscar’s wife and producer of this album, Kelly Peterson. This is Mack Avenue Music Group’s second collaboration with the estate, following 2017’s re-release of Oscar, with Love. The release will also be available everywhere digitally.
The recording is ideally summed up by Green in his liner notes: This live concert recording of Oscar in his epic prime is a heaven-sent time capsule of beauty and serves a glorious addition to the Jazz pantheon itself, a stunning testament to the music for which he honestly, humbly and fearlessly dedicated his life as a peaceful warrior, a hero to us all for the ages. I’m thankful for the gift of this concert and that Oscar’s spiritual music will play on for us today and tomorrow, as we need it more than ever before.

Oscar Peterson · A Time For Love:
Two Lions/Mack Avenue Records
Release Date: November 26, 2021 (CD & Digital) · January 21, 2022 (Vinyl)

AVAILABLE NOW: The Jazz All Stars Vol. 2 | Le Coq Records

Le Coq Records Kicks Off its
Second Star-studded Year with an
Amazing Ensemble of Virtuoso Musicians on
Le Coq Records Presents
The Jazz All Stars Vol. 2
The Follow-up to the Imprint’s
Inaugural Release Features a Roster of
Revered Modern Jazz Musicians Including
John Patitucci, Bill Cunliffe, Chris Potter,
Vinnie Colaiuta, Alex Acuña, John Beasley,
Jon Cowherd, Andy James, Marvin “Smitty” Smith,
Bob Sheppard, Marcus Gilmore, Russell Malone,
Terell Stafford and Others

Few jazz labels are able to launch with as impressive a roster already in place as Le Coq Records did when it released The Jazz All Stars Vol. 1 last January. A year later the imprint has more than lived up to the audaciously high bar set by that inaugural release, having built a stunning catalogue of releases by such greats as bassist John Patitucci, pianist Bill Cunliffe, saxophonist Rick Margitza, and vocalists Andy James and Tommy Ward.

To kick off what promises to be an equally remarkable year two, the label will release a second volume of its trademark “honest jazz” featuring its ever-growing family of brilliant musicians. Le Coq Records presents The Jazz All Stars Vol. 2, showcases not only the virtuoso musicianship of many of contemporary jazz’s most in-demand players, but this time out shines a brighter spotlight on the compositional gifts of Le Coq contributors like Cunliffe and keyboardist/arranger John Beasley, alongside aptly-chosen standards and jazz classics.

“The Jazz All Stars Vol. 2 shows a little of everything Le Coq is about, from its compositional temperament to the high sonic quality,” says label founder Piero Pata. “, “There’s quite a mix of sounds and styles, and I feel that the album really shows off the talents of our wonderful artists. John Patitucci holds everything together magnificently so that Andy James’ gorgeous vocals and the dazzling solos of Chris Potter, Rick Margitza and Terell Stafford – just to name a few – can shine.”

Much of the roster on the new release has returned from Volume 1, including Cunliffe and Beasley; bassists Patitucci and Chris Colangelo; drummers Vinnie Colaiuta and Marvin “Smitty” Smith; percussionist Alex Acuña; trumpeter Terell Stafford; saxophonist Margitza; guitarist Jake Langley and vocalist James, among others.

Volume 2 bolsters the line-up with such heavy hitters as saxophonists Chris Potter and Bob Sheppard; bassist Ben Williams; drummers Marcus Gilmore and Terreon Gully; trombonist Michael Dease; keyboardist Jon Cowherd; guitarists Russell Malone and Paul Jackson Jr.; and trumpeter Rashawn Ross.

This staggering stable of in-demand artists harkens back to the music’s golden age, a time when (jazz) giants walked the earth and crossed paths in myriad combinations under the auspices of their shared labels. Pata conceived of that model when he dreamed of gathering the greatest modern musicians to record for Le Coq.

“We wanted to get back to the old adage of having a pool of artists that could achieve anything the label required for its next goal,” Pata explains. “There are obviously many wonderful players we at Le Coq would love to record with. That will come, I hope!”

Like its predecessor, The Jazz All Stars Vol. 2 features the label’s unique take on some classic favorites, both arranged by the Grammy-winning Bill Cunliffe and featuring the entrancing vocals of Andy James. The Jerome Kern/Otto Harbach standard “Yesterdays” is given a bold treatment perfect for James’ unsentimental nostalgia, highlighted by an eloquent Chris Potter solo. Horace Silver’s “Doodlin’” is propelled by the robust swing of bassist Chris Colangelo and drummer Marvin “Smitty” Smith, wonderfully matched by James’ sassy playfulness.

In addition to his striking arrangements, Cunliffe contributed most of the original compositions for the album and has been a key contributor to Le Coq since its early days. “Bill Cunliffe has been the backbone of the label’s writing talent since its inception,” Pata says. “He has been essential to the label’s vision of ‘honest jazz.’ His value has been enormous, especially on the big arrangements. He is wonderful at this style of writing. Maybe he has a foot in the past – but with a modern twist.”

Marcus Gilmore’s rollicking drums kick off the album on Cunliffe’s original piece “Whatever You Say,” soon joined by the sparring of Chris Potter’s tenor and Terell Stafford’s on trumpet. The composer’s arrangement summons the vigor and brio of a big band from the ensemble, setting the stage for the dancing agility of Cunliffe’s piano solo. Margitza’s breathy tenor conjures the mysterious atmosphere of “Witches,” a mood picked up and carried forward by Colangelo’s probing bassline. Cunliffe comps delightfully for Margitza’s sinuous solo.

The pianist makes direct reference to the pre-pandemic era on his wistful “The Before Times,” with its aching melody expressed beautifully by Terell Stafford. Grammy winner John Beasley contributes the funky, sauntering “Freddie’s Blues,” featuring incisive solos by guitarists Russell Malone and Paul Jackson Jr., a blistering turn by Dave Matthews Band trumpeter Rashawn Ross, and a bass solo by Ben Williams that digs deep.

Jake Langley’s shimmering guitar, Alex Acuña’s multi-hued percussion and Vinnie Colaiuta’s rock solid drumming lay the foundation for “Balinda,” with Margitza weaving the mesmerizing melody before spinning inventive variations in his solo. Patitucci and Marcus Gilmore take Cunliffe’s “Around the Corner” for a laid-back but robust stroll, with interlaced horn lines over top. The album closes with the lovely, swaying “Danse,” evoking lyrical solos from Colangelo, Cunliffe and Langley.

With a core of amazing talent now joined by a host of incredible new voices, Le Coq Records presents The Jazz All Stars Vol. 2 offers a vibrant calling card for a label quickly taking its place at the vanguard of modern jazz. Best of all, there’s plenty more to come in 2022.

The Jazz All Stars Vol. 2
Le Coq Records · Release Date: January 21, 2022

For more information on Le Coq Records, please visit:

Boris Kozlov - First Things First (January 21, 2022 Posi-Tone Records)

Bassist and bandleader Boris Kozlov defies expectations and redefines what it means to put "First Things First.” Producer Marc Free sends Kozlov out along an ambitious course for his 2022 Posi-Tone debut, and with a steady hand, bassist Kozlov confidently directs a mighty quintet of top notch musicians. Saxophonist Donnie McCaslin, vibraphonist Behn Gillece, keyboardist Art Hirahara and drummer Rudy Royston keep moving freely over the solid harmonic foundation provided by Kozlov’s playing and leadership. While many jazz fans have yet to become acquainted with the music of Kozlov, the time has come to travel together beyond the simply straight ahead and to color outside the lines. We are confident that the music on this album will bring delight to the ears of serious listeners, navigating steadily away from the known and familiar and move swiftly out into the uncharted depths of modern collective improvisation to uncover a new sound in time and space.

1. Page One 06:18
2. Flow 04:01
3. The More Things Change 05:35
4. I.S. Adventure 06:51
5. Aftermath 07:53
6. Second Line Sally 05:49
7. Viscous 05:45
8. Mind Palace 07:13
9. Warm Sand 06:49
10. Once A Fog In Babylon 07:39
11. Eclipse 02:32

Boris Kozlov: acoustic bass; electric bass 2, 6, 8, 10; piccolo bass 6
Donny McCaslin: tenor saxophone; alto flute 2, 8, 10
Art Hirahara: piano; Rhodes 8; B3 6, 10
Behn Gillece: vibraphone (not on 6)
Rudy Royston: drums; percussion 2, 6, 11

Marc Free - producer
Michael Brorby - recording engineer
Nick O’Toole - mixing and mastering engineer
recorded November 14-15, 2020 at Acoustic Recording, Brooklyn, NY
mixed & mastered at Woodland Studio, Lake Oswego, OR
photography by Anna Yatskevich
package design by Alex Koehler

Out Today: Jimi Jules Calls for Equality on 'Burning' (Innervisions)

“Jules combines a deeply rooted musical sensibility with a knack for creating anthemic atmospheres” 
“An immediate and engaging return”

Following the release of his ‘Ham The Monkey’ EP last April, Jimi Jules recently dropped razor-sharp new single 'My City's On Fire.' The pulsating, synth-led track offered a tantalising taster of his upcoming second album, titled ‘+.’ Executively produced by label-boss Dixon, it is set for release on March 25th via Berlin-based Innervisions. The artwork has been designed by iconic graphic designer Trevor Jackson, whose multi-disciplinary work has helped form the identities of musical icons Soulwax and Japanese fashion label Comme des Garcons.
Out today, new single ‘Burning' is a personal life-story about communication, equality and compassion, paying homage to a free, spiritual soul. The album’s final track, it’s a fitting end to a record based around its central mantra - better together forever.  
Descending from a family of Swiss musicians, Jules has soulful vibrations running through his blood. Early explorations on the trumpet and tuba highlighted his talents and underlined his knack for colourful melody. Eventually switching to vocals, he completed his masters at the Zurich University of the Arts, where he specialised in mixing and producing. After honing his skills as a live performer with his electro-band Le Dompteur and building a reputation as a DJ at Zakunft and Hive Club, he fulfilled a childhood dream of moving to Berlin back in 2013. A regular on the main floor of Watergate Club, he established himself as a unique character in the electronic music scene, with much more to offer than the standard four to floor sound. After returning to Zurich, Jules produced his debut full-length ‘Equinox in 2016 and was awarded a silver disk for sales (200,000) of his track 'Pushin On.’

As the new era is underway for Innervisions, Jimi Jules “+” takes centre stage of the label’s fundamental core - artist first, label second. An innovative space for collaborations and symbiosis of mixed media, this album represents the beginning of a whole new chapter.

OUT FRIDAY: Scott Burns, John Wojciechowski and Geof Bradfield's TENOR TIME (AFAR Music)

Tenor Time brings together Chicago’s tenor titans for a collaborative montage of creative and expressive brilliance

Scott Burns, John Wojciechowski and Geof Bradfield are Tenor Time, presented by AFAR Music, to be released January 21, 2022

Jazz as a creative music and art form holds a heavy tradition of collaboration. From Charlie Parker and Coleman Hawkins, to Count Basie and Oscar Peterson, to Ray Brown’s “Some of My Best Friends Are…” series, jazz history is riddled with innumerable brilliant meetings of musical minds coming together to make something wondrous. In true continuation of this tradition, AFAR Music has brought together three of Chicago’s finest – tenor saxophonists John Wojciechowski, Geof Bradfield, and Scott Burns – to capture a moment of creative brilliance with their new release, Tenor Time, due out January 21, 2022

Tenor Time follows on the success of Altoizm, the previous collaborative project spearheaded by AFAR Music. The label’s founder and album’s pianist, Richard D. Johnson, remarked that such collaborations are often spurred on by the “what if?” conversations of music fans calling for their favorite artists to share not just the bandstand, but the studio. “Over the years at different festivals and concerts this conversation often leads to the statement ‘I sure would love to see and hear these 2-3 musicians play together,’” Johnson tells. “One of our goals is to make this happen and the response has been overwhelmingly great from the musicians to the listeners.”

The lineup of personnel and recording process was brought to life by Johnson. After recruiting the three tenor saxophonists, they created an action plan for the music that would become Tenor Time. Harkening back to the spirit of historic sessions, the band decided they would each bring a handful of original compositions that could swiftly and immediately be put together with a focus on providing a creative vehicle for improvisation that allowed them each to demonstrate their unique voices as soloists and masters of musical dialogue. When they met to record at Johnson’s studio, they discussed a few details and then immediately began recording. This bandstand-like approach to the session allowed the group to maintain the freshness and energy of a live performance with the clarity of a studio session without ever losing the energy and excitement of every spontaneous twist and turn. The vivacious spirit was not left unrewarded as the ensemble successfully recorded the entire album in a single day, with almost every track recorded in two takes at most.
Musically, this album has the unique advantage of featuring the compositional styles of multiple band members, showcasing a variance and spectrum that keeps a listener’s mind and emotions thoroughly engaged. Valkyrie, the album’s opening track, was composed by Geof Bradfield to simultaneously highlight a memorable melody and unpredictable twists. The title is derived from a coincidence of date: the piece was composed on June 26th, the day that Wagner premiered the iconic Ride of the Valkyrie. “Valkyrie seemed a suitable title,” explains Bradfield. “It’s a tenor battle, after all, and in Norse mythology the Valkyrie choose the most valiant of those slain in battle to fight in Ragnarok.” Force Majeure, composed by Scott Burns, is a song whose title comes from the legal clause of the same name. Literally translating to “superior force,” a force majeure clause allows parties to be relieved of their contractual obligations under extreme circumstances. “Many musicians learned about force majeure in 2020 when their performance contracts were canceled due to the pandemic,” Burns says. “It seemed a fitting title both for the times and for the music: an assertive up-tempo melody line played by the three tenors with energetic underpinning by the rhythm section, and a solo form that lends itself to some vigorous blowing.” Jazz Folk Song, an original composition by John Wojciechowski, provides a tasteful contrast and shift of mood from the rest of the album. “The idea was to write a melody that had a folkloric quality to it with shifting harmony underneath,” says Wojciechowski. “I thought it would be a great vehicle for this project since it’s got a pretty wide-open harmonic landscape for the improvisation section.” Originally composed for his album “Lexicon,” the take of Jazz Folk Song on Tenor Time provides a newness to the piece that gives even familiar listeners a different perspective. Corea, the closing song on the album, is a piece composed by Richard D. Johnson in memory of the title’s namesake. Chick Corea was one of Johnson’s mentors and friends, and in the wake of his passing, Johnson began writing this piece. “I can only imagine what he would he have played on this song,” says Johnson, “but the great thing about him is he would always say ‘Let me hear what you have to say about it.’”
Scott Burns, John Wojciechowski, Geof Bradfield

The collaboration process on this album was not profound only in the lineup of musicians but in the context in which it was recorded. Recorded shortly after the height of the 2020 COVID-19 pandemic, for some, this album marked the first major in-person creative project for over a year.  “I really, really, really missed playing music with people,” Burns says. “It was hard to navigate on a personal and emotional level. So I was thrilled to have something like this project coming out of it: to make the record, and have some sort of tangible creative output that is coming on the heels of what has been very difficult on a lot of levels.” For Wojciechowski, the hiatus during the pandemic provided an opportunity for reflection and an alignment of focus. “I think I have come to the realization that what I want to do is make music with the people who I want to make music with that’s musical and creative, and I want to spend my time and energy doing that.” Bradfield realized during the slowdown of the pandemic that he was approaching a point of musical burnout and saturation from overworking on things that he didn’t necessarily believe in. The past year and a half created a forced pause that ended with a triumphant celebration found in this recording. “Now one of my goals… is to channel my energies into the things that matter the most to me, musically and otherwise.”

In addition to the three headlining tenors, the band on Tenor Time is comprised of Clark Sommers on bass, Greg Artry on drum set, and Richard D. Johnson on piano and keyboards.  

With Tenor Time, listeners find that two heads are better than one, and three is simply superb. Providing a glimpse into the possibilities of what can happen when apex musicians come together in joy with mutual respect for each other’s distinct perspectives and craftsmanship, Tenor Time leaves audiences enthralled and deeply curious as to what AFAR Music has in store next.

Oz Noy, Ray Marchica & Ugonna Okegwo's 'RIVERSIDE' (January 21, 2022 Outside in Music)

Oz Noy, Ray Marchica and Ugonna Okegwo present Riverside, a new trio recording out January 21, 2022 via Outside in Music

Oz Noy, Ray Marchica and Ugonna Okegwo are pleased to present Riverside, out on January 21, 2022 via Outside in Music. Their first release as a trio, Riverside is a fresh, life-affirming collection of standards that stems from the group’s spontaneously assembled outdoor jams held in Riverside Park, New York City during lockdown.

As individuals, this dynamic trio has a wide range of performing credits – Okegwo as a celebrated sideman with Jacky Terrasson and Tom Harrell, Marchica as a Broadway and session player (plus two albums as a leader) and Noy as one of fusion’s most sought after individual voices. All three have worked on the New York scene for the past two decades, so when the COVID-19 lockdown hit, it was a huge blow to both their livelihoods and their creative spirits. Then, summer came around, and the chance presented itself for housebound musicians to meet up and play outdoors. Oz called upon his neighbors Ugonna and Ray and invited them down to the park for a jam session – Ugonna on upright, Marchica with a small drum set, and Noy on electric guitar, with a battery-powered amp. 

Their spot was pretty picturesque. “We set up perfectly: you could look down to the Hudson River, and then across to New Jersey – it was a lovely environment being there,” reflects Okegwo. It helped the group find a sound too. “It was almost like a little venue,” says Noy, and they weren’t the only ones taking advantage of the accidental bandstand-like coves the park is blessed with. “There were multiple little stages, some people playing bluegrass, some classical. When we started playing, there was nobody in the park, but by October time, people were thinking ‘oh, maybe we can do this too’. We were pioneers,” says Marchica.

The sessions went on through the summer months until the weather turned in October. But instead of packing up entirely, the group went into the studio, satisfied that they had created  a sound, and a feeling amongst the group. “It saved me, it saved all of us – musically and mentally,” says Marchica.

The beauty shines throughout the trio’s creative, yet hands-off, arrangements. “All The Things You Are” opens with a Monk-ish kilter, Noy breezily sweeping over the changes and into some mysterious territories, particularly in the vamped ending, which stretches time effortlessly. “Anthropology” nimbly tiptoes through Charlie Parker’s choppy lines, and “Have You Met Miss Jones” continues the rhythmic trickery, skidding along as Noy veers between lithe straight playing and relaxed swing.
Billie’s Bounce” is given a makeover by Noy, who ‘figured out a way to play it as a ballad, a slow blues harmonized in a different way’. “Riverside Blues” adds another dimension to the record, a shuffling 12/8 blues-rock written at one of the jams in the park. 

6/8 Lunch Break” is a chance for Marchica to strut his stuff on an extended solo interlude. Then comes an intriguingly free-form take on “Out Of Nowhere” that embraces the opaque, before a barnstorming take on “Donna Lee”, where Noy shows serious chops. It’s arranged sparsely, letting solo contributions from Noy and Marchica unfurl naturally before an abrupt full stop brings the trio to a halt.

This Could Be a Start of Something Big” is apt for the group; in what was Okegwo’s first encounter with the standard, the group’s arrangement grew organically week-by-week, in tandem with the rapidly developing bonds tying the trio together. The album ends on a different note – “Sunny” injects Bobby Hebb’s classic track with a healthy dose of musical serotonin, in a rocking, soul-fueled cover that transports the group right back to where they started – the sun-soaked surroundings of Riverside Park.

1. All The Things You Are
2. Anthropology
3. Have You Met Miss Jones
4. Billie's Bounce
5. Riverside Blues
6. 6/8 Lunch Break
7. Out Of Nowhere
8. Donna Lee
9. This Could Be The Start Of Something Big
10. Sunny

Alexander Hawkins Mirror Canon - Break A Vase (January 21, 2022 Intakt Records)

After the album "Togetherness Music", british pianist and composer Alexander Hawkins presents another musical panorama: An ensemble in which his trio with bassist Neil Charles and drummer Stephen Davis meets saxophonist and clarinetist Shabaka Hutchings, guitarist Otto Fischer, and drummer Richard Olátúndé baker. For anybody who has followed Hawkins' work since his emergence on the british improvised music scene in the mid 2000’s this is a fresh band full of familiar musicians with whom Hawkins has played in a wide variety of formations. The new pieces that "break a vase" presents emerge from Hawkins' own imagination, but they also capture the thrust of energy in collaborating with these outstanding musicians.

“Hawkins gives one of his most complete performances to date,” writes kevin Le Gendre in the liner notes. “Nothing is perhaps more majestic than the title track, which comes from Derek walcott’s acceptance speech for the Nobel Prize. ‘Break a vase, and the love that re - assembles the fragments is stronger than that love which took its symmetry for granted when it was whole.’ Enjoy then all these wily bits and pieces that come together in the kind of daring, courageous construction that is made to last.”

1. The Perfect Sound Would Like to Be Unique
2. Stamped Down, or Shovelled
3. Sun Rugged Billions
4. Generous Souls
5. Faint Making Stones
6. Break a Vase
7. Chaplin in Slow Motion
8. Domingada Open Air
9. Stride Rhyme Gospel
10. Even the Birds Stop to Listen

Richard Olátúndé Baker: Adamo (Talking Drum), Percussion
Neil Charles: Acoustic Bass Guitar, Double Bass
Stephen Davis: Drums
Otto Fischer: Electric Guitar
Alexander Hawkins: Grand Piano, Upright Piano, Sampler
Shabaka Hutchings: Tenor Saxophone, Soprano Saxophone, Flute

All compositions by Alexander Hawkins (PRS). Recorded July 27/28, 2021, at Challow Park Studios, Oxfordshire, UK, by Will Biggs. Mixed and mastered August/September 2021, London, UK, by Alex Bonney. Intakt Records, P. O. Box, 8024 Zürich, Switzerland.

Cover art and graphic design: Jonas Schoder
Inspired by Karl Gerstner (1930 – 2017)
Liner notes: Kevin Le Gendre
Photo: Onur Pinar
Disc and packaging by Adon Production AG

Tim Berne / Gregg Belisle-Chi - Mars (January 21, 2022 Intakt Records)

With his extensive artistic biography, Tim Berne is one of the most outstanding figures in American jazz. Rising star Gregg Belisle-Chi, a connoisseur of Berne's music, has this year released the acclaimed album Koi, featuring interpretations of Tim Berne's compositions on solo acoustic guitar.

With his extensive skills and immense sonic potential, he is earning a central place in the landscape of contemporary acoustic guitar. With Mars, these two exceptional musicians present their first duo album. All songs are penned by Tim Berne and enchant the listener with an intense interplay that is playful, poetic and sonically stunning.

David Torn, who is responsible for the grandiose sound, writes in the liner notes: "Space Music? no, nope: Earth Music? well, yeah. Folk Music? well… i dunno, could be, but these songs on Mars are written by Tim & reimagined in-real-time by he & Gregg: them 2 being edified by, appreciative & respectful of those who’ve come before, & especially those ones who stayed lit and busted their own asses & spirits in order to continue initiating the kinds of flames that push us all to strive to express & to feel things of life & lives that may otherwise be functionally inexplicable, and may even be ineffable, somehow."

1. Rose Bowl Charade
2. Purdy
3. Gastrophobia
4. Microtuna
5. Frosty
6. Big Belly
7. Rabbit Girl
8. Palm Sweat
9. Dark Shadows
10. Not What You Think They Are
11. Middle Seat Blues
12. Giant Squids

Tim Berne: Alto Saxophone
Gregg Belisle-Chi: Guitar

All songs by Tim Berne (Party Music BMI). Arranged by Tim Berne and Gregg Belisle-Chi. Recorded May 15 by Chris Bittner at Applehead Studio in Woodstock. Mixed and mastered by David Torn. Intakt Records, P.O. Box, 8024 Zürich, Switzerland.

Cover art and design: Stephen Byram
Liner notes: David Torn
Photos: Tim Berne
Booklet design: Fiona Ryan
Disc and packaging by Adon Production AG

The OGJB Quartet – Ode to O (January 21, 2022 TUM Records)

Ode To O is the second release by the OGJB Quartet that features four leaders in their own right, saxophonist Oliver Lake, cornetist Graham Haynes, bassist Joe Fonda and drummer Barry Altschul. As with their first release, Bamako, each member has contributed compositions to the new recording which also features two collective improvisations.

Ever since its first performance at the Winter Jazz Festival in 2016, the OGJB Quartet has been highly acclaimed as one of the most creative collaborative groups working today. Two of its members, Lake and Altschul, are pioneers of modern improvised music going back to its origins in the 1960s, while each of the other two, Haynes and Fonda, have been a strong presence on the improvised music scene since the late 1970s.

The group’s name, an acronym of each musician’s first name, reflects its status as a true collaborative unit. Each member of the OGJB Quartet is also a composer in his own right and a master on his chosen instrument. Accordingly, their second recording together, which follows the highly acclaimed Bamako released in 2019, again features original compositions by all four of its members and two collective improvisations.
The album is named after Barry Altschul’s composition dedicated to the late Ornette Coleman. According to Altschul, “Ode to O” is a melody that came to him in a dream after hearing of the passing of Ornette Coleman in 2015. The recording also features “Da Bang,” a composition originally dedicated by Altschul to the violin great Billy Bang and designed to stimulate improvising.

Whereas Bamako was fully acoustic, Ode To O introduces a new element with Graham Haynes incorporating the use of live electronics on one of his two compositions on the new recording, “The Other Side,” and on one of the collective improvisations, “OGJB #4.” “Graham’s use of electronics took the quartet into a totally new zone,” says Fonda. “It opened up the music to new and fresh possibilities.”

Oliver Lake contributed two compositions, “Justice” and “Bass Bottom.” “Each of them is unique and quite different from the other,” says Fonda. “Whenever anyone gets the opportunity to play Oliver’s music, they are transported into the Lake universe of sound. That is where the OGJB Quartet again went when we recorded his two pieces.”

“This second recording by the OGJB Quartet draws from a wide range of musical influences that exist inside the quartet,” say Fonda. “On this recording, we pulled out all the stops.”

“Ode To O represents the huge data set that is the collective experiences of Oliver Lake, Graham Haynes, Joe Fonda and Barry Altschul, representing a wide swath of what remains vital in jazz,” says Bill Shoemaker in his liner notes. “Each performance spools out like a quintuple helix, each strand containing the humanity of music that cries, hollers and sings.”
TUM Records is a Finnish record label that began operations in May 2003. TUM produces high-quality music recordings and selectively organizes concerts and events, such as the TUMfest in Helsinki. The focus of TUM is on improvised, jazz-based music, placing particular emphasis on free expression and the performing artists’ own music. In addition to providing younger musicians with exposure and a musical platform, TUM promotes more experienced musicians whose work is not favored by the commercial trends of our time. TUM covers feature works by leading Finnish artists.         

Oliver Lake (b. 1942) is an accomplished saxophonist, flutist, composer, poet and visual artist. Lake was born in Marianna, Arkansas, but grew up in St. Louis, Missouri. He began drawing at the age of 13 and started playing the drums soon after, but only picked up the saxophone in high school at the age of 18. In his hometown of St. Louis, Lake first worked in R&B and soul bands with the likes of trumpeter Lester Bowie, then formed, in 1967, his first group as a leader, the Oliver Lake Art Quartet. During the 1960s, Lake was also one of the founders of the Black Artists Group (BAG) in St. Louis. After living briefly in Paris in the early 1970s, Lake settled in New York City and has led his own groups ever since. In 1977, he co-founded the World Saxophone Quartet with David Murray, Julius Hemphill and Hamiet Bluiett. It quickly became one of the most highly acclaimed groups in modern creative music and held that position for three decades, recording a total of 20 albums He is also a co-founder, with bassist Reggie Workman and drummer Andrew Cyrille, of Trio 3, a cooperative group that has over time become one of the main performing vehicles for all three of its members, recording more than 10 albums with several of the later ones also featuring a visiting pianist. Lake is known as a broadminded musician who is comfortable moving across musical genres. In the early 1980s, he led the reggae-influenced Jump Up, a group that attained considerable popular success with its two albums. Currently, Lake continues to lead his own groups, including the Oliver Lake Organ Quartet, as well as perform with Trio 3 and the OGJB Quartet, among others.   

Graham Haynes (b. 1960) grew up in Queens, New York. He first became known as an experimental musician and composer looking for new directions in nu jazz, fusing jazz with elements of hip-hop and electronic music. With aspirations to push jazz beyond its traditional boundaries, Graham Haynes’ first foray into electronic music came in 1979 upon meeting alto saxophonist Steve Coleman. Together, they formed a band called Five Elements, which launched an influential group of improvisers called M-Base Collective in the 1980s. Soon, Haynes was also leading and recording with his own groups. Haynes has studied a wide range of African, Arabic and South Asian music and, after a move to Paris in 1990, incorporated these far-flung influences into his next releases. Haynes returned to New York City in 1993 to take advantage of the flourishing hip-hop scene and, a bit later, the emerging drum ‘n’ bass. Since 2013, Haynes has been a member of the Vijay Iyer Sextet and was featured on its debut recording in 2017. Haynes also performed over a period of several years with the late American cornetist, composer and conductor Lawrence D. “Butch” Morris (1947- 2013), originator of the Conduction method, and has begun working with various ensembles utilizing Conduction. Haynes has also composed works for classical ensembles and has worked on several critically acclaimed multimedia projects and composed music for films. 
OGJB / photos by ©Enid Farber

Joe Fonda (b. 1954) was born in Amsterdam, upstate New York, and played guitar and bass guitar in his youth. At Berklee College of Music in Boston, Massachusetts (1973-75), he studied composition and arranging while also focusing on the double bass as his main instrument. After Berklee, he settled in New Haven playing and recording with trumpeter Wadada Leo Smith, among others. Soon after moving to New York City in the early 1980s, Fonda participated in the collaborative group Mosaic Sextet that both increased his prominence on the New York scene and served as a basis for some key relationships that continue today. In 1992, Fonda and Michael Jefry Stevens co-founded the Fonda/Stevens Group that became the longest lasting and perhaps the hardest working of all the collaborative groups in which Fonda has participated. Between 1993 and 2003, Fonda became particularly well known for his collaboration with Anthony Braxton and was Braxton’s bassist of choice during that period. In 1996, Braxton appeared on Fonda’s From The Source recording that served as a blueprint for the group From The Source, which Fonda continued to lead. Since that time, Fonda has toured and recorded with the FAB Trio, the 3dom Factor, The NU Band, Bottoms Out, Conference Call, Off Road Quartet, Trio Generations, Eastern Boundary Quartet, Dreamstruck and The J. & F. Band, among many others.  

Barry Altschul (b. 1943), was born and raised in New York City. He began playing the drums at the age of 11 after having earlier played the piano and the clarinet. In the late 1950s and the early 1960s, Altschul was involved in the local hard bop scene playing in jam sessions in the Bronx and in other New York City boroughs with his contemporaries. However, his first “proper” gig was with the Paul Bley Trio in 1964 resulting in Altschul working regularly with pianist Paul Bley for the remainder of the 1960s and sporadically during the next three decades. Altschul’s work with Paul Bley drew the attention of others active on New York’s free jazz scene of the 1960s and resulted in tours and/or recording sessions with many of the genre’s notables, while his familiarity with the tradition also led to performances with many mainstream musicians. Soon, Altschul was performing and recording with some of the most influential groups of the period, including those led by pianist Chick Corea and saxophonists Anthony Braxton, and Sam Rivers in the 1960s and the 1970s. Altschul has also led several groups of his own, particularly in the 1970s and the 1980s, recording some of the finest “freebop” albums of the period. After living in Europe for a decade and then focusing mostly on teaching following his return to New York City in 1993, Altschul returned to active playing in the new millennium establishing the FAB Trio (History Of Jazz in Reverse, TUM CD 028) with violinist Billy Bang and Joe Fonda in 2003. Since 2013, Altschul has led the 3dom Factor with saxophonist Jon Irabagon and Joe Fonda (The 3dom Factor, TUM CD 032, and Tales of the Unforeseen, TUM CD 044).  

01 Ode to O (Barry Altschul) 06:52
02 Justice (Oliver Lake) 05:22
03 Me without Bela (Joe Fonda) 12:24
04 Da Bang (Barry Altschul) 09:06
05 The Other Side (Graham Hyanes) 06:55
06 Caring (Barry Altschul) 04:56
07 OGJB #3 (Lake, Haynes, Fonda & Altschul) 03:53
08 Bass Bottom (Oliver Lake) 02:37
09 OGJB #4 (Lake, Haynes, Fonda & Altschul) 05:10
10 Apaixonado (Graham Hyanes) 05:10

Oliver Lake alto saxophone
Graham Hyanes cornet, electronics
Joe Fonda double bass
Barry Altschul drums, percussion

Andrew Cyrille / William Parker / Enrico Rava - 2 Blues for Cecil (January 21, 2022 TUM Records)

2 Blues For Cecil brings together three legends of modern improvised music, drummer Andrew Cyrille, bassist William Parker and flugelhornist Enrico Rava, in a tribute to the late, great pianist and bandleader Cecil Taylor (1929-2018). Although the three played together for the first time as members of this trio, they share a common bond through their separate time spent performing and recording with Taylor.

Enrico Rava and Andrew Cyrille are among the elders of improvised music with their careers going back to the 1960s. William Parker rose to prominence during New York’s loft jazz era of the 1970s. The three musicians share one major link in their respective careers. Namely, they all have at different times been members of Cecil Taylor Unit or other ensembles of the legendary late pianist and bandleader Cecil Taylor.

Rava, Parker and Cyrille first performed together as a trio in a tribute to Cecil Taylor, with Taylor himself present, at the Whitney Museum in April 2016 as part of an exhibit/program under the heading “Open Plan: Cecil Taylor.” 2 Blues For Cecil was recorded on February 1 and 2 at Studio Ferber in Paris following the trio’s concert on December 31, 2020 under the heading “Tribute to Cecil Taylor” as part of the Sons d’hiver festival in Paris.

While 2 Blues For Cecil features compositions by all three of its members and even a standard, the emphasis is on improvisation. Four of the ten tracks are extended collective improvisations, including two versions of “Blues for Cecil.” The trio does not seek to emulate Cecil Taylor’s approach to creating music but rather draws on all the experiences, separate and shared, of its members.
“Cecil was a spokesman for individuality, a musical warrior always operating on a high level,” says Parker. “He was not avant-garde, he was a human being who loves life as music. He would not be boxed in by the music world’s value system that asks artists to conform to their standards.”

Although Andrew Cyrille was already an accomplished young musician at the time, his international breakthrough came with his membership in the Cecil Taylor Unit, which lasted for over a decade (1964-75), during which he established his position as one of the leading drummers in freely improvised music and participated in some of Taylor’s most legendary recordings. More than five decades later, Cyrille is still considered to be one of the most creative and versatile percussionists in modern jazz, equally at home in a modern mainstream setting as with more avant-garde music.

Similarly, William Parker first recorded with Frank Lowe, Billy Bang and many others in the 1970s but became internationally recognized when performing with the Cecil Taylor Unit in 1980-91 and participating in more than ten recordings led by Taylor. Parker is now best known for the many groups he has led or co-led over the past four decades. As well as being an improviser, writer and poet, Parker is a prolific composer and has composed everything from operas, oratorios, ballets and film scores to soliloquies for solo instruments. To date, he has participated in approximately 500 recordings with well over 50 albums under his own leadership.

Enrico Rava began his career in his native Italy in the mid-1960s but his work with saxophonists Gato Barbieri and Steve Lacy led to years spent living in New York City in the late 1960s and early 1970s and working with many of the musicians then active on the New York improvised music scene. Soon, Rava began recording under his own name. With more than 50 recordings as a leader or coleader, he is one of the most internationally known Italian jazz musicians and one of the best known in all of Europe. Although Rava met Cecil Taylor in the late 1960s in New York City, the two performed together for the first time almost two decades later, first in Taylor’s Orchestra Of Two Continents in 1984 and then in the Cecil Taylor European Orchestra in 1988.
Andrew Cyrille (b. 1939) was born in Brooklyn, New York, into a family with Haitian parents. He was mentored in the art of drumming by the great Philly Joe Jones circa 1958 and began recording and performing with the likes of Walt Dickerson, Coleman Hawkins, Roland Kirk and Mary Lou Williams when barely 20 years of age. However, Cyrille truly made his mark through his membership in the Cecil Taylor Unit, which lasted for over a decade (1964-75), during which time he established his position as one of the leading percussionists in the then emerging freely improvised music. Cyrille soon became one of the most respected drummers in modern jazz through both of his own recordings as a leader and through his collaborations with virtually every important name on the contemporary scene. Since the 1970s, Cyrille has led or co-led a number of ensembles, including Maono, The Group, the percussion quartet Pieces Of Time and Haitian Fascination that pays homage to his Haitian roots. In 1992, Oliver Lake, Reggie Workman and Cyrille founded Trio 3, a cooperative group that has over time become one of the main performing vehicles for all three of its members, recording more than 10 albums with several of the later ones also featuring a visiting pianist. Altogether, Cyrille has released more than 30 recordings as a leader or co-leader and countless others as a sideman. His most recent recordings as a leader are The Declaration Of Musical Independence (with Richard Teitelbaum, guitarist Bill Frisell and bassist Ben Street) in 2014, Lebroba (with trumpeter Wadada Leo Smith and Bill Frisell) in 2017 and The News (with pianist David Virelles, Bill Frisell and Ben Street) in 2019. In 2020, Cyrille received the Doris Duke Artist Award.
Photos ©Luciano_Rossetti

William Parker (b. 1952) is a composer, improviser, multi-instrumentalist, writer and poet born in the Bronx in New York City. He entered the music scene during New York´s loft jazz era in the early 1970s and quickly became a much sought-after bassist playing primarily with fellow improvisers, such as Billy Bang, Don Cherry, Milford Graves, Khan Jamal, Frank Lowe, Jemeel Moondoc, Charles Tyler and Frank Wright, among many others. Parker became internationally recognized when playing in the Cecil Taylor Unit from 1980 through 1991. Parker´s key collaborators have also included his spouse, dancer Patricia Nicholson, as well as Roy Brown, Peter Brötzmann, Rob Campbell, Cooper-Moore, Hamid Drake, Charles Gayle, Peter Kowald, Joe Morris, Matthew Shipp and David S. Ware. Since the early 1990s, Parker has increasingly led his own ensembles, including In Order To Survive, The Little Huey Creative Music Orchestra and the William Parker Quartet. Parker’s special projects have featured the music of Duke Ellington, Curtis Mayfield and Fats Waller, among others, and he has released several solo bass recordings as well as several duo recordings with fellow bass players. To date, Parker has participated in approximately 500 recordings, including well over 50 albums under his own leadership. Parker is a prolific composer and has composed everything from operas, oratorios, ballets and film scores to oliloquies for solo instruments. He is also a theorist and the author of several books as well as volumes of poetry.

Enrico Rava (b. 1939) was born in Trieste, Italy. Rava began playing the trombone in Dixieland bands when he was 15 but switched to the trumpet at 18 after hearing Miles Davis perform in Turin. Soon Rava was participating in local jam sessions and, in 1963, the Argentine saxophonist Gato Barbieri, who was then living in Rome, convinced Rava to join him there. Rava’s first recordings were in the mid-1960s with Gato Barbieri, Giorgio Gaslini and Steve Lacy. After Barbieri moved to Paris, Rava joined Steve Lacy's quartet, which led to extended stays in London, South America and eventually New York City. After moving to New York City in 1967, Rava soon played with many of the local musicians then active on the improvised music scene, such as Carla Bley, Lee Konitz, Jeanne Lee, Paul Motian and Roswell Rudd. Rava traveled back and forth between the United States and Europe and began making records both in New York City and in Europe with increasing frequency.

Rava’s first albums as a leader were with the Enrico Rava Quartet in 1972 and 1973. His first album for ECM Records was The Pilgrim And The Stars in 1975 and thus began a relationship that still continues today and has resulted in a total of 15 albums with the most recent being Edizione Speciale in 2021. Rava has also continued to work with many other European improvisers, including concerts and recordings with a number of large ensembles, such as ICP Orchestra, Globe Unity Orchestra and Italian Instabile Orchestra. Altogether, Rava has participated in more than 200 recordings with more than 50 of those as a leader or co-leader.Although Rava met Cecil Taylor in the late 1960s in New York City, the two did not perform together until almost two decades later. Rava participated in the recording of Winged Serpent (Sliding Quadrants) in Milan in 1984 by Taylor’s Orchestra Of Two Continents as well as the European tour that followed. In 1988, Rava was a member of Cecil Taylor’s European Orchestra.

01 Improvisation No. 1 (Cyrille, Parker and Rava)
02 Ballerina (Enrico Rava)
03 Blues For Cecil No. 1 (Cyrille, Parker and Rava)
04 Improvisation No.2 (Cyrille, Parker and Rava)
05 Top, Bottom and What’s in the Middle (Andrew Cyrille)
06 Blues For Cecil No. 2 (Cyrille, Parker and Rava)
07 Enrava Melody (Andrew Cyrille)
08 Overboard (Enrico Rava)
09 Machu Picchu (William Parker)
10 My Funny Valentine (Richard Rodgers and Lorenz Hart)

Enrico Rava flugelhorn
William Parker double bass
Andrew Cyrille drums

Little North - Familiar Places (January 21, 2022 April Records)

With their captivating cinematic sound and a warm and intense presence, Little North bonds with their audience from the very first note. The sound of the band is way bigger than their classic piano trio constellation suggests. In a melting pot of modern minimalism and Nordic jazz tradition and with an intensity that draws threads to the jazz scene of New York, Little North has what it takes to add the next exciting chapter to the history of Scandinavian jazz.

Their third album ‘Finding Seagulls’ has been warmly received by critics at home and abroad and has been ‘album of the week’ on Danish National Radio P8 Jazz. The album has received international airplay on UK Radio Jazz FM and Berlin Radio Flux FM, among others.

On the upcoming album ‘Familiar Places’ the trio expands on their already well defined sound. The energy and warmth of the guitar and raw expressive intention from the trumpet, adds new depths to their musical universe, while the strong sound of the trio makes a continuum. ‘Familiar Places’ present a wide range of emotions and sonic landscapes while continuously diving into the essence of Little North.

‘Familiar Places’ features Kasper Tranberg (DK) on trumpet and Viktor Spasov (SE) on guitar. Tranberg has been a strong voice on the European music scene for more than two decades. Lately he is, beside his own work, known for his collaborations with a.o. Marc Ducret, Steve Swallow, Tim Berne, Django Bates, Tyshawn Sorey, Gianluigi Trovesi and Yusef Lateef.

Swedish/Bosnian guitar jedi Viktor Spasov is a rising star hailing from Stockholm, Sweden. His easily recognizable and expressive sound on the guitar is beautifully integrated on ‘Familiar Places’. Spasov recently released the second EP in his own name, presenting story driven indie music in the form of a singer/songwriter. 
1. Running Down the Park 05:32
2. It’s Beginning to Rain Again 04:47
3. Calystegia 04:40
4. Push 07:17
5. Spotting Salamanders 04:52
6. Einar 04:22
7. Tide 04:08
8. Huntress 05:25
9. Ind i det azurblå 04:18

Recorded at ‘Stable Sound’ Copenhagen, Denmark from December 15 to 18, 2020.

Benjamin Nørholm Jacobsen - Piano
Martin Brunbjerg Rasmussen - Bass
Lasse Jacobsen – Drums

Kasper Tranberg – Trumpet on “Calystegia”
Viktor Spasov – Guitar on “Running Down the Park”, “Push” & “Ind i det blå azurblå”

Recorded and Mixed by Rasmus Juncker
Mastered by John Fomsgaard
Photos by Alex Ventling
Cover Artwork by Morten Overgaard
Cover Design by Enrico Andreis
Liner Notes by - Michael Tucker, Jazz Journal

All compositions by Little North
Published by April Publishing ApS