Ikue Mori / Brian Marsellav / Sae Hashimoto - Archipelago X (2021 Tzadik)

Laptop wizard Ikue Mori, master keyboardist Brian Marsella and classical percussion virtuoso Sae Hashimoto are Archipelago X, a dynamic new trio born during the 2020 pandemic. Recording at their home studios and exchanging tracks back and forth for months, the music is detailed, evocative and dramatically mysterious, blending electronica, classical, ambient, film soundtrack, pop and jazz into a remarkably original aggregate. Inspiring and engaging music by this fabulous trio of Downtown musical masters spanning three generations!

1. Turning Back

2. Warped Passage

3. Satellites are Spinning

4. Challenger Deep

5. Wicked

6. Lapis Lazuli

7. Pale Blue Dot

8. Through the Mist

Brian Marsella: Steinway B Piano, Fender Rhodes, Mellotron M4000d, Sequential Circuits Ob-6, Korg Bx-3, Zither, Hohner E7 Clavinet, Hohner String Ensemble, Arturia Analog Lab

Ikue Mori: Laptop Electronics

Sae Hashimoto: Vibraphone, Marimba, Ratchet, Udu, Cajon, Cymbals, Waterphone, Snare Drum, Finger Cymbals, Gongs, Straw Brush, Crotales, Bass Drum, Frame Drum, Opera Gongs, Caxixi, Pod Shaker, Pitched Gongs, Wind Gong, Balafon, Ankle Bells, Woodblock, Maracas, Concert Toms, Bamboo Chimes, Bongos, Bells, Bullet Chimes, Sleigh Bells, Glass Chimes, Tambourine, Zither, Bottle Cap Shaker

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Fred Frith / Ikue Mori - A Mountain Doesn't Know It's Tall (Intakt Records 2021)

A Mountain Doesn't Know It's Tall. The title reflects the mood of this duo record of Fred Frith and Ikue Mori – playful, poetic, mysterious and open. The guitarist and the sound-artist have been working together for forty years. Live excerpts from their work are documented on Fred Frith's 3 CD box set Live at the Stone (Intakt CD 320). In January 2015, Frith and Mori met in Germany to record the music for a radio play for Werner Penzel, the filmmaker and longtime friend of Fred Frith, for his film Zen for Nothing. After finishing their work, they used the free studio day to record their first duo album together. Influenced by the film music and inspired by the long friendship 15 pieces were created that are both wonderful sound sculptures and fascinating dialogues.

Fred Frith writes: “Air moving through ears and hair and lungs and pores, through songs,and scrapes, and scraps of this, that and the other.” And Ikue Mori writes: “… it was about playing with the everyday noises that arise when cooking, playing ping-pong, and especially when laughing. There is a lot of joy in working with these recordings, interacting with them and making music.”

1. Bodaishin 01:07

2. The Biggest Lie 00:57

3. Stirred by Wind and Waves 01:23

4. Nothing to It 05:11

5. Fushiryō 01:42

6. The Biggest Idiots 02:11

7. Nothing at All 03:16

8. Shōdōka 03:02

9. Good for What? 02:39

10. The Same Moon Sometimes Seems to Smile 02:12

11. Things as They Are 01:56

12. Hishiryō 03:50

13. A Thief Breaks into an Empty House 02:17

14. Now Here 05:17

15. Samadhi 05:27

Fred Frith: Home-made instruments, various toys and objects, electric guitar (on “Nothing to It” and “Now Here”)

Ikue Mori: Laptop electronics

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Satoko Fujii - Mahobin (Live at Big Apple in Kobe) LIBRA RECORDS

Satoko Fujii Turns 60!

International supergroup Mahobin delivers one sonic surprise after another on debut release Live at Big Apple in Kobe

Quartet features pianist-composer Satoko Fujii, trumpeter Natsuki Tamura, saxophonist Lotte Anker, and electronics from Ikue Mori

“Fujii’s sound world is a kaleidoscope, and those familiar with her work have come to expect the unexpected. If any artist can be said to meet expectations by upsetting them, she’s one.” 

― Mike Chamberlain, Coda

Live at Big Apple in Kobe (Libra Records, release date: August 24, 2018) captures a riveting, wildly unpredictable live performance by Mahobin, a formidable quartet of improvisers gathered together for the first time by pianist-composer Satoko Fujii. The recording is the eighth of Fujii’s yearlong birthday celebration which has her releasing a new CD every month. Joining her on this recording are trumpeter Natsuki Tamura, Danish saxophonist Lotte Anker, and laptop musician Ikue Mori. Performing without any compositions or pre-arranged plan, the quartet improvises a thrilling album of music laced with brilliant colors, compelling rhythms, and melodic beauty balanced with otherworldly abstraction.

Although they had never before performed as a group, the members of Mahobin have worked together in other formats. Mori and Fujii collaborated for the first time in 2013 during Fujii’s residency at The Stone. Then in 2016, Fujii and Anker joined Mori at her Stone residency. Anker later joined Fujii and Tamura for a 2017 tour of Japan. This year, Fujii decided the time was right for them to converge in one group to see what might emerge.

Mori came up with the band’s unusual name. “Mahobin” is a Japanese word for “thermos,” but it literally means “magic bottle.” They all loved the name. “It’s nice to have a band name with the word ‘magic’ in it,” Fujii says, “and I like it because a thermos keeps everything in it hot for a long time.”

And the music does stay hot for long stretches during the two improvisations that comprise the CD. “Rainbow Elephant” slowly wends its way through passage after passage of astonishing sounds, following a slowly evolving path. There’s a continuous weave of sound—sparkling electronics; saxophone clicks and cries; textured, breathy drones on the trumpet; and subtle prepared piano timbres. The sound expands and contracts, dense one moment, open and airy the next. Fujii plays a long melodic arc with scintillating sounds dancing underneath. Later, Anker starts her own extended melody, supported and embellished by the others. “Yellow Sky” grows more directly from soft electronic flutters and breathy tones on saxophone and trumpet to become progressively darker and more agitated with hot raspy trumpet, rumbling piano, clattering electronics, and wailing saxophone. The album is one of the most sustained abstract performances in the Fujii discography.

The quartet is truly a meeting of equals, and everyone’s familiarity and friendship with one another allows a natural give and take between players. “We all are about the same age,” Fujii says. “We are good friends. Before the show, everyone came to our place to have tea and cookies. We talked and talked, but not about music. We knew the music would be good and we let it flow without talking about it.”

Fujii’s unprecedented birthday bash continues in August with Mizu a duet CD with Joe Fonda followed in September with a duet CD with Australian keyboardist Alister Spence. In the final months of the year, there will be a new recording by Orchestra Tokyo, a CD/DVD package featuring Fujii’s collaboration with percussive dancer Mizuki Wildenhahn, and a double CD of selections from Fujii’s “diary project” of compositions written each day before she practices, accompanied by the scores. The unforgettable outpouring of musical riches continues. 

Critics and fans alike hail pianist and composer Satoko Fujii as one of the most original voices in jazz today. She’s “a virtuoso piano improviser, an original composer and a bandleader who gets the best collaborators to deliver," says John Fordham in The Guardian. In concert and on more than 80 albums as a leader or co-leader, she synthesizes jazz, contemporary classical, avant-rock, and Japanese folk music into an innovative music instantly recognizable as hers alone. Over the years, Fujii has led some of the most consistently creative ensembles in modern improvised music, including her trio with bassist Mark Dresser and drummer Jim Black, the Min-Yoh Ensemble, and an electrifying avant-rock quartet featuring drummer Tatsuya Yoshida of The Ruins. Her ongoing duet project with husband Natsuki Tamura released their sixth recording, Kisaragi, in 2017.

“The duo's commitment to producing new sounds based on fresh ideas is second only to their musicianship,” says Karl Ackermann in All About Jazz. Aspiration, a CD by an ad hoc band featuring Wadada Leo Smith, Tamura, and Ikue Mori, was released in 2017 to wide acclaim. “Four musicians who regularly aspire for greater heights with each venture reach the summit together on Aspiration,” writes S. Victor Aaron in Something Else. She records infrequently as an unaccompanied soloist, but Solo (Libra), the first of her projected 12 birthday-year albums, led Dan McClenaghan to enthuse in All About Jazz, that the album “more so than her other solo affairs—or any of her numerous ensembles for that matter—deals in beauty, delicacy of touch, graceful melodicism.” As the leader of no less than five orchestras in the U.S., Germany, and Japan, Fujii has also established herself as one of the world’s leading composers for large jazz ensembles, leading Cadence magazine to call her, “the Ellington of free jazz.”

Trumpeter and composer Natsuki Tamura is internationally recognized for his unique musical vocabulary blending extended techniques with jazz lyricism. This unpredictable virtuoso “has some of the stark, melancholy lyricism of Miles, the bristling rage of late ’60s Freddie Hubbard and a dollop of the extended techniques of Wadada Leo Smith and Lester Bowie,” observes Mark Keresman of JazzReview.com.

Throughout his career, Tamura has led bands with radically different approaches. On one hand, there are avant rock jazz fusion bands like his quartet, whose album Hada Hada Peter Marsh of the BBC described this way: “Imagine Don Cherry woke up one morning, found he'd joined an avant goth-rock band and was booked to score an Italian horror movie.” In contrast, Tamura has focused on the intersection of folk music and sound abstraction with Gato Libre since 2003.

The band’s poetic, quietly surreal performances have been praised for their “surprisingly soft and lyrical beauty that at times borders on flat-out impressionism,” by Rick Anderson in CD Hotlist. In addition, Tamura has recorded five CDs in his ongoing duo with pianist (and wife) Satoko Fujii. Tamura also collaborates on many of Fujii’s projects, from quartets and trios to big bands.

As an unaccompanied soloist, he’s released three CDs, including Dragon Nat (2014). He and Fujii are also members of Kaze, a collaborative quartet with French musicians, trumpeter Christian Pruvost and drummer Peter Orins. “As unconventional as he may be,” notes Marc Chenard in Coda magazine, “Natsuki Tamura is unquestionably one of the most adventurous trumpet players on the scene today.” 

Laptop musician, composer, and percussionist Ikue Mori first gained attention in the late ’70s as the drummer in the seminal No Wave band DNA, with fellow noise pioneers Arto Lindsay and Tim Wright. In the mid ’80s she started in employ drum machines in the context of improvised music. While limited to the standard technology provided by the drum machine, she nevertheless forged her own highly sensitive signature style. In 2000 she started using the laptop computer to expand on her already signature sound, thus broadening her scope of musical expression. Mori has released more than 20 albums as a leader or co-leader with innovative bands such as Mephista with pianist Sylvie Courvoisier and drummer Susie Ibarra; and Phantom Orchard with harpist Zeena Parkins. She is a frequent member of ensembles led by John Zorn, and was a featured soloist with Ensemble Modern on guitarist-composer Fred Frith’s Traffic Continues (Winter & Winter). Her most recent releases are Obelisk with Courvoisier, Okkyng Lee, and Jim Black; and Highsmith, a duo with pianist Craig Taborn, both on Tzadik.

Lotte Anker is a Copenhagen-based saxophone player and composer working in the field between experimental jazz/improvisation and contemporary music. Her music includes both melodic (often twisted or fragmented) elements and more abstract textural material and covers a wide territory from minimal, transparency to dense and dark expressionism. Her recent bands include a trio with pianist Craig Taborn and drummer Gerald Cleaver and a trio with pianist Sylvie Courvoisier and Ikue Mori.

She also leads the 8-piece What River Ensemble and the septet Electric Habitat.  She performs in duo with Fred Frith and Sten Sandell and was a member of a cooperative quartet with the late trombonist Johannes Bauer, bassist John Edwards, and drummer Paul Lovens. In addition, Anker has performed at major festivals and concert spaces around the world and has also played and toured with Marilyn Crispell, Tim Berne, Okkyung Lee, Paal Nilssen-Love, Joelle Leandre, Raymond Strid, Sten Sandell, Andrew Cyrille, Phil Minton, Axel Dörner, Fred Lonberg-Holm, and many others. John Fordham writes in The Guardian, “Anker’s rich saxophone palette takes in skimming falsetto sounds like Evan Parker’s, but she also has a soulfully desolate quaver that recalls Albert Ayler, and a sense of narrative drama that keeps her in compelling motion between ghostly impressionistic effects and brusquely percussive exclamations.” 

Lotte Anker, sax

Natsuki Tamura, trumpet

Satoko Fujii, piano

Ikue Mori, electronics

1 Rainbow Elephant 42:22

2 Yellow Sky 7:10

www.satokofujii.com

Satoko Fujii w/ Wadada Leo Smith, Natsuki Tamura, Ikue Mori – Aspiration (LIBRA RECORDS September 8, 2017)

Dazzling group rapport sparks brilliant performance on Aspiration

featuring Satoko Fujii, Wadada Leo Smith, Natsuki Tamura and Ikue Mori

"Under Satoko Fujii's leadership, every member of an ensemble is empowered to thrive and when musicians of this caliber thrive, otherworldly improvised music results. Four musicians who regularly aspire for greater heights with each venture reach the summit together on Aspiration." - S. Victor Aaron, Something Else Reviews

The group chemistry is magical on pianist-composer Satoko Fujii's Aspiration, featuring an all-star quartet with trumpeters Wadada Leo Smith and Natsuki Tamura, and laptop player Ikue Mori. The nearly telepathic link among them takes the music into places where it grows ever deeper and more intuitive. Each track on the album is so vividly alive in the moment and with a character so distinct that it seems to become an animate thing independent of its creators. The artists are almost subservient to the music rather than the other way around. The album will be released September 8, 2017, via Fujii's Libra Records.

It's little wonder the album is so subtle and intimate, given the artists involved. Although this is the first time they have worked together as a group, there are ties among them that contribute to the music's beauty and coherence. Smith and Mori displayed an uncommonly close rapport during their duets on Smith's Luminous Axis (Tzadik). "I knew Wadada and Ikue had worked together before," Fujii says, "but that's not why I asked Ikue to join us. Natsuki and I had played with Ikue before on several occasions and we had a great time. When I started composing for the project with Wadada, I heard Ikue's sound in my ears." Of course, Fujii and Tamura share an intimate bond developed over several decades of working together and especially in their duo music, which they've recorded five times since 1997.

Once they came together in the studio, creating the music was easy, Fujii says. "I could feel a kind of calm confidence when we were together. I knew that we were going to make good music."

Fujii's intuition about the quality of the music proved correct. They venture into the mysteries and potentials - and the risks - of the quartet with fearless openness and discipline. On each track, every aspect of sound production is in spontaneous flux-rhythm, melody, dynamics, texture, density, silence. There is no telling where the music may lead. On "Intent," the unfixed quality keeps the listener on edge in anticipation of where the music will flow next. As the members of the band move in and out of the music, each sonic event blossoms with vibrant immediacy, and fades away as the music evolves. "Floating" opens with extraordinarily graceful piano from Fujii while Mori orchestrates textures and rhythms in parallel to her.

About five minutes in, Smith makes a dramatic entrance and a three-way conversation ensues before Tamura brings the piece to a quiet ending. It's one of the most elusive and obliquely lyrical tracks on the disc, and there isn't a note out of place. Tamura's "Stillness" is a piece of complementary contrasts with a contemplative start that suddenly erupts into roiling energy and subsides. Again, there's a sense of inevitability that feels organic. Even the unaccompanied solos that crop up throughout the performances-for instance, Tamura's sculptural opening to "Evolution," or Fujii's solo later in that same piece-are shaped to function within the context of the composition.

Fujii, Smith, Tamura, and Mori gathered without preconceived notions about what must happen as they play. Instead they discovered together what the music could do, and nurtured it to its fullest expression. In the end, Aspiration is about more than music-it is about sharing and working together, about finding something beautiful and making it more so, and about the spiritual bonds that unite us all. 

Critics and fans alike hail pianist and composer Satoko Fujii as one of the most original voices in jazz today. She's "a virtuoso piano improviser, an original composer and a bandleader who gets the best collaborators to deliver," says John Fordham in The Guardian. In concert and on more than 80 albums as a leader or co-leader, she synthesizes jazz, contemporary classical, avant-rock and Japanese folk music into an innovative music instantly recognizable as hers alone. Over the years, Fujii has led some of the most consistently creative ensembles in modern improvised music, including the ma-do quartet, the Min-Yoh Ensemble, and an electrifying avant-rock quartet featuring drummer Tatsuya Yoshida of The Ruins. She has also established herself as one of the world's leading composers for large jazz ensembles, leading Cadence magazine to call her, "the Ellington of free jazz." Her ultimate goal: "I would love to make music that no one has heard before."

Trumpeter and composer Natsuki Tamura is internationally recognized for his unique musical vocabulary blending extended techniques with jazz lyricism. This unpredictable virtuoso "has some of the stark, melancholy lyricism of Miles, the bristling rage of late '60s Freddie Hubbard and a dollop of the extended techniques of Wadada Leo Smith and Lester Bowie," observes Mark Keresman of JazzReview.com. Throughout his career, Tamura has led bands with radically different approaches. On one hand, there are avant rock jazz fusion bands like his quartet, whose album Hada Hada Peter Marsh of the BBC described this way: "Imagine Don Cherry woke up one morning, found he'd joined an avant goth-rock band and was booked to score an Italian horror movie."

In contrast, Tamura has focused on the intersection of folk music and sound abstraction with Gato Libre since 2003. The band's poetic, quietly surreal performances have been praised for their "surprisingly soft and lyrical beauty that at times borders on flat-out impressionism," by Rick Anderson in CD Hotlist. In addition, Tamura has recorded five CDs in his ongoing duo with pianist (and wife) Satoko Fujii. Tamura also collaborates on many of Fujii's projects, from quartets and trios to big bands. As an unaccompanied soloist, he's released three CDs, including Dragon Nat (2014). He and Fujii are also members of Kaze, a collaborative quartet with French musicians, trumpeter Christian Pruvost and drummer Peter Orins. "As unconventional as he may be," notes Marc Chenard in Coda magazine, "Natsuki Tamura is unquestionably one of the most adventurous trumpet players on the scene today."

A finalist for the Pulitzer Prize in Music, trumpeter, multi-instrumentalist, composer, and improviser Wadada Leo Smith is one of the most boldly original and influential artists of our time. Transcending the bounds of genre or idiom, he distinctly defines his music, tirelessly inventive in both sound and approach, as "Creative Music." For the last five decades, Smith has been a member of the legendary AACM collective, pivotal in its wide-open perspectives on music and art in general. He has carried those all-embracing concepts into his own work, expanding upon them in myriad ways. Smith received the 2016 Doris Duke Artist Award and earned an honorary doctorate from CalArts, where he was also celebrated as Faculty Emeritus.

In addition, he received the Hammer Museum's 2016 Mohn Award for Career Achievement "honoring brilliance and resilience." In 2017 Smith topped three categories in DownBeat Magazine's 65th Annual Critics Poll: Jazz Artist, Trumpet and Jazz Album (for America's National Parks on Cuneiform.)  Smith was also honored by the Jazz Journalists Association as their 2017 Musician of the Year as well as the 2017 Duo of the Year for his work with Vijay Iyer.  Born December 18, 1941 in Leland, Mississippi, Smith's early musical life began at age thirteen when he became involved with the Delta blues and jazz traditions performing with his stepfather, bluesman Alex Wallace. He received his formal musical education from the U.S. Military band program (1963), the Sherwood School of Music (1967-69), and Wesleyan University (1975-76).

Smith has released more than 50 albums as a leader. His 2016 recording, America's National Parks, a six-movement suite inspired by the scenic splendor, historic legacy, and political controversies of the country's public landscapes, earned a place on numerous best of the year lists including the New York Times, NPR Music and many others. Smith's landmark 2012 civil rights opus Ten Freedom Summers was called "A staggering achievement [that] merits comparison to Coltrane's A Love Supreme in sobriety and reach."

Laptop musician, composer, and percussionist Ikue Mori first gained attention in the late '70s as the drummer in the seminal No Wave band DNA, with fellow noise pioneers Arto Lindsay and Tim Wright. In the mid '80s she started in employ drum machines in the context of improvised music. While limited to the standard technology provided by the drum machine, she nevertheless forged her own highly sensitive signature style. In 2000 she started using the laptop computer to expand on her already signature sound, thus broadening her scope of musical expression.

Mori has released more than 20 albums as a leader or co-leader with innovative bands such as Mephista with pianist Sylvie Courvoisier and drummer Susie Ibarra; and Phantom Orchard with harpist Zeena Parkins. She is a frequent member of ensembles led by John Zorn, and was a featured soloist with Ensemble Modern on guitarist-composer Fred Frith's Traffic Continues (Winter & Winter). Her most recent releases are Obelisk with Courvoisier, Okkyng Lee, and Jim Black; and Highsmith, a duo with pianist Craig Taborn, both on Tzadik.

www.satokofujii.com

Craig Taborn & Ikue Mori - Highsmith (TZADIK 2017)

Two of the most creative, elusive and modest musicians in the Downtown scene in an intimate and free wheeling duo session. Mutual admirers for well over a decade, Ikue and Craig first performed as a duo at the Village Vanguard in December 2016 and now step into the recording studio for an astonishing session of duo improvisations. Inspiring and dynamic music for piano and electronics that explode every expectation. Essential listening for all interested in music that defies ALL categorization.

01. The Still Point of the Turning World

02. Music to Die By

03. Two Disagreeable Pigeons

04. Nothing That Meets the Eye

05. Variations on a Game

06. Quiet Night

07. A Bird in Hand

08. Dangerous Hobby

09. Things Had Gone Badly

10. Mermaids on the Golf Course

11. Trouble with the World

Craig Taborn: Piano

Ikue Mori: Electronics

Sylvie Courvoisier / Mark Feldman / Evan Parker / Ikue Mori - Miller's Tale (2016) INTAKT RECORDS

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Sylvie Courvoisier / Mark Feldman / Evan Parker / Ikue Mori - Miller's Tale (2016)

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Sylvie Courvoisier on Intakt Records

Mark Feldman on Intakt Records

Evan Parker on Intakt Records

Ikue Mori on Intakt Records

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Sylvie Courvoisier / Mark Feldman / Ikue Mori / Evan Parker - Miller's Tale (2016) INTAKT RECORDS

INTAKT RECORDS

present

Sylvie Courvoisier / Mark Feldman / Ikue Mori / Evan Parker - Miller's Tale (2016)

Intakt CD 270 / 2016

Miller's Tale is the high point of the collaboration of the distinctive musicians Sylvie Courvoisier, Mark Feldmann, Evan Parker and Ikue Mori. In September 2015, they recorded the fully improvised pieces for this album. The album's track sequencing of first four whole group pieces followed by five duo pieces offer multifaced aural impressions and a rich listening experience. Henning Bolte writes in the liner notes: "Our ears usually first adhere to the known, the familiar.

But they 'squint' to something thrilling, to beautifully disturbing things, something extra to enjoy as listeners. Its attractiveness is strongly related to the quality of the known/unknown interweaving in the music. The sensible pleasure of the four musicians in Miller's Tale offers numerous arousing moments to personally connect with the music."

Miller's Tale ist die Krönung einer im Jahre 2014 anlässlich einer einwöchigen New Yorker Residenz von Evan Parker in The Stone begonnenen Kollaboration der vier MusikerInnen Sylvie Courvoisier, Mark Feldmann, Evan Parker und Ikue Mori. Im September 2015 begaben sich die vier begnadeten Improvisatoren ins Studio und spielten die in Jetztzeit geschaffenen Stücke des vorliegenden Albums ein, dessen Anordnung mit vier Stücken im Quartett, gefolgt von fünf Duos facettenreiche Höreindrücke ermöglicht. 

Henning Bolte schreibt in den Liner Notes: " Unser Ohr hält sich in der Regel zuerst ans Bekannte, Vertraute. Es 'schielt' aber immer auch auf Spannungsmomente, auf schön Verstörendes etc. – das gewisse Extra zur Ergötzung des Zuhörers. Dessen Reiz steigt mit der Qualität und Rafinesse des Wechsels und Verflechtung von Bekannt/Unbekannt im Spiel der Musiker. Das merkbar lustvolle Spiel der vier MusikInnen in Miller's Tale bietet ZuhörerInnen herrliche Reizmomente."

Sylvie Courvoisier: Piano

Mark Feldman: Violin

Evan Parker: Soprano & Tenor Saxophone

Ikue Mori: Electronics

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1. Death of a Salesman (Courvoisier-Feldman-Mori-Parker) 7:57

2. A View from the Bridge (Courvoisier-Feldman-Mori-Parker) 6:30

3. The American Dream (Courvoisier-Feldman-Mori-Parker) 13:30

4. Up from Paradise (Courvoisier-Feldman-Mori-Parker) 8:03

5. Riding on a Smile and a Shoeshine (Feldman-Mori) 6:13

6. Playing for Time (Courvoisier-Parker) 4:47

7. The Reason Why (Feldman-Parker) 5:01

8. Nothing's Planted (Mori-Parker) 3:41

9. A Fountain Pen (Courvoisier-Mori) 3:46 

Total Time 59:36

Music by Sylvie Courvoisier (SUISA), Mark Feldman (SUISA), Ikue Morie (BMI), Evan Parker (PRS/MCPS). 

Recorded at Oktaven Audio in Yonkers, New York, September 21, 2015. Recorded and mixed by Ryan Streber. 

Mastered at Total Sonic Media, Texas, 2016. Engineer: Steve Berson.

Cover art: Mario Del Curto. Graphic design: Jonas Schoder. Band photo: Caroline Mardok. Liner notes: Henning Bolte.

Produced by Sylvie Courvoisier, Mark Feldman and Intakt Records, Patrik Landolt. Published by Intakt Records. 

Intakt CD 270 / 2016

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