Joshua Redman Pre-Order | David Byrne, Brad Mehldau, Laurie Anderson, Kronos Quartet News

Joshua Redman, Ron Miles, Scott Colley, Brian Blade

Still Dreaming

Release date: May 25

Joshua Redman is joined by drummer Brian Blade, bassist Scott Colley, and trumpeter Ron Miles for Still Dreaming, an album inspired by his father Dewey Redman's band Old and New Dreams. That band had an all-star lineup of Ornette Coleman collaborators: Don Cherry, Charlie Haden, and Ed Blackwell. Still Dreaming features six new compositions by the new band plus one tune by Haden, one by Coleman. "Consistently riveting," says the Washington Post.

Pre-order to download the track "Unanimity" now.

Watch: David Byrne Performs on The Late Show with Stephen Colbert

David Byrne was on The Late Show with Stephen Colbert to discuss his new album, American Utopia, and give an immersive performance of "Everybody's Coming To My House," with a special assist from Colbert.

Watch the performance plus web exclusive ...

David Byrne Releases "Everybody's Coming To My House" Video Performed by Detroit Students

David Byrne has shared a video for "Everybody's Coming To My House" featuring a performance by Detroit School of Arts Vocal Jazz Ensemble students.

Watch the video ...

Brad Mehldau's After Bach on BBC Radio 2's Jamie Cullum

Brad Mehldau's new album, After Bach, was featured on BBC Radio 2's Jamie Cullum show. "Absolutely beautiful," says Cullum. "It's one of those records you listen to from beginning to end and it leaves something behind in your heart afterwards." 

Listen to the episode ...

Listen: Laurie Anderson and Kronos Quartet's Landfall on NPR's Fresh Air

Laurie Anderson and Kronos Quartet's first album together, Landfall, results "from years of practicing, performing, refining and tweaking the collaborations," says NPR's Fresh Air with Terry Gross. "You can hear how the time and care have paid off."

Hear the review ...

Joshua Redman

Still Dreaming

John Adams

Violin Concerto

Lake Street Dive

Free Yourself Up

David Byrne

American Utopia

Brad Mehldau

After Bach

Laurie Anderson &

Kronos Quartet

Landfall

Dave Soldier Appearing With William Hooker Thu, April 5th 8:00 PM @ Roulette + New CD Brainwave

Dave Soldier Appearing With William Hooker 
Thursday, April 5th 8:00-11:00 pm  
@ Roulette 
509 Atlantic Avenue Brooklyn, NY 11217

Tickets & Info

William Hooker: The Great Migration

Company:
Ras Moshe – Reeds, Flute
Eriq Robinson – Electronics, Images
Mark Hennen – Piano
Goussy Celestin – Narrator, Dance

Guests:
William Parker – Bass
David Soldier – Violin, Banjo
Ava Mendoza – Guitar

Alton Brooks and Nannie Lampkin – Primary Narratives

NEW CD

What's Going On Inside A Musicians Brain

Musican/Neuroscientist Dave Soldier and Composer/Computer-Musician Brad Garton

Have An Idea On Their New CD

Dave Soldier and Brad Garton at 

Red Bull Music Academy

talk about their Brainwave Music Project, and try our hand at making music with our brainwaves.

Click on image to listen

Artist: BRAD GARTON & DAVE SOLDER

Title: THE BRAINWAVE MUSIC PROJECT

Label: Mulatta 038

Release Date: JANUARY 5, 2018

UPC Code: 19192489586

Website Links

Brad Garton

Dave Soldier

mulatta.org

Featured Artists

Margaret Lancaster

Dan Trueman

Terry Pender

William Hooker

Tracks

1 Bible School Vacation (feat. Margaret Lancaster, flute & EEG)

2 Taco Tuesday (feat. Margaret Lancaster, flute & EEG)

3 Harajuku Hiccup (feat. Margaret Lancaster, flute & EEG)

4 Serotonin (feat. Dan Trueman, Hardanger fiddle & EEG

5 Adrenaline (feat. Dan Trueman, Hardanger fiddle & EEG)

6 Dopamine (feat. Dan Trueman, Hardanger fiddle & EEG)

7 Histamine (feat. Dan Trueman, Hardanger fiddle & EEG)

8 Amygdala (feat. Terry Pender, mandolin & EEG)

9 Insula (feat. Terry Pender, mandolin & EEG)

10 Cerebellum (feat. Terry Pender, mandolin & EEG)

11 The Wheels (feat. William Hooker, drums & EEG)

12 Initiates (feat. William Hooker, drums & EEG)

13 Rational Entities (feat. William Hooker, drums & EEG)

14 The Wild (feat. William Hooker, drums & EEG)

In 2008, musican/neuroscientist Dave Soldier approached composer/computer-musician Brad Garton with an idea.  Dave had become aware of fairly inexpensive EEG (electroencephalograph) sensors that could measure the electrical output of the brain ("brainwaves").  Working with these sensors over the past ten years, Brad and Dave developed a set of software tools that could generate music using this brainwave data. 

As they worked out the system, they have played concerts at rock festivals (Red Bull Festival), radio stations (WFMU), the New York City Opera, colleges (City College, Cornell University), museums (the Guggenheim and Rubin Museums) and even an hour long PBS TV special produced by WHYY. In addition to concerts at City College and Cornell University, they are probably the only avant garde music act to be invited to perform at the National Institutes of Health, where they were invited by the graduate students.

In shows, typically Dave gives a lecture with slides on the brain’s cortical activity and how it senses and produces rhythm, and Brad explains how the waves recorded from the cortex are translated to music. Then they use their own brainwaves or those of guest musicians to “compose” in real time, generally with the musicians improvising on their instruments. An interesting question is if the music is “composed” if it is not done intentionally: the brain always controls music making, but in this case it can create music even when asleep or unconcious.

The latest version of these tools were used to produce this CD and the software used will soon be freely avaialable. This uses a process of "data sonification”, or the translation of a stream of numbers into musical production and control.  The raw data is used to trigger and modify synthetic digital musical instruments.  

The EEG signal is made by the neural activity detected by the sensors, but does not reveal any high-level concepts or ideas that are being *thought* (although the brain activity responds to sensory inputs like the touch of the drumhead and sound and activates movements, and is modulated by mental states).  Dave and Brad decided to exploit this feature by creating a feedback loop of sorts, with musicians being invited to play along 'with themselves', generating music with brainwaves resulting from the process of generating that music.

For this first complete recording of “The Brainwave Music Project”, four soloists were invited to take part in the sessions. Each plays a solo instrument, and the instruments themselves each come laden with a rich musical tradition.  The hardanger fiddle (Dan Trueman), the solo flute (Margaret Lancaster), the mandolin (Terry Pender) and the trap drums (William Hooker) all represent long social and cultural histories.  This awareness, as well as the awareness of what and how the musicians are playing, is certainly a part of the brainwave data used to build the synthetic accompaniment for each piece.

Available from:

mulatta.org • Amazon • CDBaby • iTunes

Listen on Spotify

Contact

Jim Eigo

Jazz Promo Services

272 State Route 94 South #1

Warwick, NY 10990-3363

Ph: 845-986-1677 

Cell / text: 917-755-8960

Skype: jazzpromo

jim@jazzpromoservices.com

www.jazzpromoservices.com

"Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

Hiro Honshuku's Racha Fora - Happy Fire (New Kind Of Jazz) JAZZ TOKYO 2018

New release from Racha Fora led by Hiro Honshuku. Stylish and thrilling arrangements of carefully selected standard jazz tunes. Racha Fora s hybrid sound of jazz improvisation and native Brazilian grooves has moved to a new phase.

After 2 years, Hiro Honshuku, a flutist and a composer who lives in Boston, released Racha Fora s 3rd album. Except Rika Ikeda, the featured violinist and the original member since the beginning of Racha Fora, new members has joined. Andre Vasconcelos on guitar and Sebastian Cbass Chiroboga on cajon.

Honshuku gave a very unique and refreshing arrangements to well known jazz standards such as All The Things You Are , In A Sentimental Mood , Summertime , Someday My Prince Will Come , Blues In The Closet and A Foggy Day .

From 1987, Honshuku worked with composer and orchestra leader, George Russell, the creator of the Lydian Chromatic Concept, assisting and performing in Russell s Living Time Orchestra.

In 2010, Honshuku formed Racha Fora with Rika Ikeda (violin), Mauricio Andrade (guitar), Rafael Russi (bass) and Fernando Saci (pandeiro), a Japanese-Brazilian mixed band. The following year, they recorded their debut CD, Racha Fora . Most of the material was written by Honshuku with a taste of Brazilian rhythms. Their 2nd album, Racha S Miles was a tribute to Miles Davis and showcased Honshuku s unique arranging skills. It featured guest artist Dave Liebman on sax, while Benhur Oliviera (pandeiro) replaced Saci.

On this 3rd album. Andre Vasconcelos replaced Andrade on guitar, pandeiro has been replaced with cajon now played by Harvey Wirht and Sebastian C-bass Chiliboga, and is focused on jazz standards.

Takashi Tannaka: intoxicate Magazine

Led by Hiro Honshuku who is a resident of Boston, a NYC based band “Racha Fora” released their 3rd album, which is a second Japanese release preceded by “Racha S’Miles”. It opens with Miles Davis’ “Nardis”, an aggressive arrangement and A powerful performance. It is followed by Jazz standards such as “All The Things You Are” and “In A Sentimental Mood”. Honshuku’s original, the title song, “Happy Fire” showcases his unique music style.

Racha Fora is a unique 2+2 format, 2 front lines are formed by Honshuku on flute/EWI and Rika Ikeda on violin, and the second line , the rhythm section is formed by Andre Vasconcelos on guitar and Sebastian “Cbass” Chiriboga or Harvey Wirht on cajon and percussion. There is no bass player nor drummer. The continuously driving cajon and percussion produce varieties of Brazilian rhythms. When the guitar that suggests Miles’ Agharta era faces Honshuku’s and Ikeda’s front line, a surreal sound image is produced and gives a totally new sound to the familiar standard songs. A beautiful sound of “Nem Um Talvez” composed by Hermeto Pascoal on track 9 seems to be the key to this album. Hermeto joined Miles’ “Live-Evil” (1970) and wrote this piece as well as “Little Church” for Miles. A box set of this session was released later and 4 more tracks by Hermeto were released. Honshuku has published an insightful analysis of this piece (jazztokyo.org). It shows Honshuku’s, as a performer as well as a scholar, deep understanding of and love for the genius Hermeto who does not belong to any genre. The article is well beyond an ordinal jazz study article.

When Honshuku was enrolled to New England Conservatory of Music, he became an assistant to George Russell. Later he became an assistant director as well as a member of Russell’s Living Time Orchestra. Honshuku is probably the one and only Japanese artist who practices Russell’s Lydian Chromatic Concept in the real world. Racha Fora successfully blends abstract elements of Brazilian rhythms and Russell, Miles, Hermeto and Dave Liebman.

This album is a full of excitement and discovery of new sound. Racha Fora gave an amazing show on Tokyo Jazz Festival in 2015. We all look for their 2017 tour with the recording members this October.

Midwest Record

Still showing his love for Miles, still showing his love for finding creativity where you d least expect it and still going for broke on multi faceted mash ups, Honshuku s third outing with this ensemble gives you the jolt you had when discovering the world sides of McLaughlin and Zappa, among others, but the jolt you feel is all his own. A skilled writer, player and interpreter, his music knows no walls and almost knows no bounds. A tasty, wild and restless release that totally has it all on the ball, as you would expect from a one time George Russell sidekick.

rachafora.com

Azar Lawrence - Elementals (HighNote Records 2018)

It will come as no surprise to fans of Azar Lawrence that his life's work is to bridge the gap between his listeners and the Elementals (the spiritual essences of the four elements earth, air, fire and water). For over four decades he has unstintingly explored music as a healing force, and the mystical connections between past and future, myth and fact, the physical world and that which is beyond. . Lawrence hopes that in a holistic sense, Elementals encourages a spiritual awakening. "All of this music is healing music; that's our whole concept is to heal and uplift," he explains. "If it's delivered and received on the right level, it will raise our own vibrations and bring us in touch with those higher spirits that respond when the music is pure with love and joy." It also happens to be an intensely powerful and swinging recording.

La Bossa

Eye of the Needle

Elementals

Brazilian Girls

Solar Winds

Koko

African Chant

Sing to the World

It's Easy to Remember

Karma Sutra

Azar Lawrence, soprano & tenor saxophones

Benito Gonzales, keyboards

Jeff Littleton, bass

Marvin "Smitty" Smith, drums

Munyungo Jackson, percussion

with

Oren Waters

John Barnes

Greg Poree

Mayuto Correa & Joe Blocker

Hey! This Weekend's Phenomenal $5 Album isn't actually $5.... !!

Jeremy Pelt - Noir en Rouge (Live in Paris) HighNote Records 2018

Recorded live in Paris at the famed Sunside / Sunset Jazz Club, Jeremy and his colleagues deliver a set of searing intensity and unparalleled musicianship. Pelt's group is that rarest of all things in jazz, a working band, and the communication that comes from extensive time spent playing together is evident. All the players are among the foremost 30-something neo-bop players in jazz today giving the group an all-star-type reputation with a well-rehearsed sound that comes only with familiarity and countless gigs. Pelt's own playing has earned accolades for his staggering virtuosity, which has elicited comparisons to trumpet icons like Clifford Brown, Lee Morgan and Freddie Hubbard, as well as for his studious, cerebral approach to the music. On this particular night in Paris, Pelt focused all his attention on creating the perfect phrase to fit each musical moment, sculpting long lines that let the music breathe and while building spontaneous ideas into finely-crafted miniatures.

1 Make Noise! (Live in Paris) 5:30

2 Re-invention (Live in Paris) 8:07

3 Sir Carter (Live in Paris) 9:38

4 Black Love Stories (Live in Paris) 7:02

5 Evolution (Live in Paris) 10:34

6 I Will Wait for You (Live in Paris) 11:48

7 Melody for V (Live in Paris) 5:30

8 Château d’eau (Live in Paris) 7:50

Jeremy Pelt, trumpet

Victor Gould, piano

Vicente Archer, bass

Jonathan Barber, drums

Jacquelene Acevedo, percussion

Marilyn Crispell & Gunhild Seim David Rothenberg - Grenseland (Drollehålå Records 2018)

1 Calls 3:44

2 Tundra 11:20

3 Fog Song 7:43

4 Flame 6:09

5 Onyx 12:18

6 Grenseland 10:34

7 Lines And Angles 5:56

8 Diamond Snow 3:48

Piano, Voice, Percussion – Marilyn Crispell

Clarinet [Clarinets], Electronics – David Rothenberg

Trumpet, Electronics – Gunhild Seim

Mastered By – David Rothenberg

Mixed By – Chris Anderson (10), David Rothenberg, Marilyn Crispell

Music By – David Rothenberg, Gunhild Seim, Marilyn Crispell

Producer [Produced By] – Gunhild Seim

Recorded By – Chris Anderson

Frode Haltli - Avant Folk (HUBRO MUSIC April 2018)

The opening track of ‘Avant Folk’ is like a dream of what contemporary experimental folk-meets-jazz-meets-chamber-music might be. Composed by Frode Haltli, ‘Hug’ begins with a galumphing off-centre rhythm that could be an accompaniment to elephants waltzing before the wheezing bellows-breath of Haltli’s accordion creates delightfully airy whispers of noise that drift across the other instruments like wisps of cloud across the sky.

Then we get the entry of the theme, a compulsive Nordic ear-worm folk melody led by Hardanger fiddle and violin that’s half woozy sea-shanty and half universal pan-African groove, backed up by shuffle-beat drumming like Ed Blackwell with Ornette Coleman. As if that wasn’t enough for one tune already, the music continues to evolve, with a beautifully poised improvised solo on trumpet by Hildegunn Øiseth that sounds so perfect it should really win some kind of award on its own. The groove slows down, the elephant waltz returns to form a satisfyingly symmetrical conclusion and the music gradually resolves into silence, bringing to an end what has been seven and a half minutes of continuous invention. It’s quite a performance, and quite a band, the dectet of expert players covering enough instruments between them to simulate the tonal breadth of a full orchestra while retaining the humble, home-made aesthetic of a traditional folk ensemble, matching compositional sophistication and individual virtuosity with collective empathy and hard-won grace.

Elsewhere, as the album develops, the folk references expand to include echoes of west African desert blues, east European gypsy swing, Armenian double-reed laments and lugubrious Nordic village knees-ups on a range of material partly adapted from traditional hymn-tunes and songs from Norway and the Faroe islands to form a kind of north Atlantic gumbo. But ‘Avant Folk’ never feels like a slapdash fusion of different elements mashed together without regard for the integrity of the whole. Importantly, the band always sounds like a proper band, as fleet-footed as any improvisational jazz ensemble, and able to hurdle with ease the normal generic divides separating one type of music from another. By the time the listener reaches the end of the album’s final track, ’Neid’ – another Frode Haltli composition, like the opening ‘Hug’ – ‘Avant Folk’ has effectively created its own genre, a pleasingly congruent collection of stylistic traits that sounds like nothing so much as itself. All the music, whether composed by Frode Haltli or adapted from antique sources, is arranged jointly by Haltli and the band members.

So where did ‘Avant Folk’ come from and why does it sound so good? For a start, Frode Haltli (born 1975, Norway) is, like many of the ensemble’s star players, a classically-trained virtuoso who from an early age (he began the accordion at seven) has been well used to working between different forms of music, from traditional folk to the avant-garde, and to collaborating with players from all sorts of backgrounds. Haltli also composes, both on his own and with Maja S.K.Ratkje (his co-producer on ‘Avant Folk’, who is responsible for the album’s editing and mixing), and has developed very strong links with fellow musicians and composers both within Norway and internationally, once again working across the normal boundaries demarcating one musical form from another, recording the complete accordion works of Arne Nordheim, for example, but also appearing with the various groups of jazz saxophonist Trygve Seim. His debut recording for ECM, ‘Looking On Darkness’ was released in 2002, followed by ‘Passing Images’ from 2007, (with trumpeter Arve Henriksen, violist Garth Knox and Maja S.K. Ratkje on vocals), and ‘Air’ (2016), a recording of music for accordion and strings by Hans Abrahamsen and Bent Sorensen with the Arditti Quartet and the Trondheim Soloists. His debut release for Hubro, ‘Vagabonde Blu’ (2014), is a live solo recording featuring works by Salvatore Sciarrino, Aldo Clementi and Arne Nordheim. As if any further exemplars of Frode Haltli’s customary melding of the classical repertoire with folk, jazz and beyond were needed, we can also note his current duo with the Norwegian violinist Gjermund Larsen; The Snowflake Trio (with Irish flautist Nulala Kennedy and Norwegian fiddler Vegar Vardal); and a trio with another fiddler, Ragnhild Furebotten, and the Swedish nyckelharpist Emilia Amper.

The breadth of Frode Haltli’s interests is not unusual in Norwegian music and this is paralleled by a number of his collaborators on ‘Avant Folk’, many of whom – like the inspirational fiddler Erlend Apneseth (a regular Hubro artist in a number of settings) or the keyboardist Stale Storlokken (of Supersilent and Motorpsycho, among others) enjoy similarly wide-ranging careers that weave in and out of numerous musical styles and settings. But the last word on ‘Avant Folk’ has to be the music. The album ends on the suitably epic note of Haltli’s ‘Neid’, an original composition that sounds absolutely timeless, matching a maelstrom of squeaky-gate post-serialist glissandi with an ancient-sounding dirge-like refrain. Haltli’s own stunningly adept accordion solo, its intensely emotional voicings heard against a splashy biscuit tin-lid style percussive backdrop, then gives way to the stately pairing of gently-stepping double-bass and country-roots electric guitar that in turn heads eastwards towards the Balkans before ending up back home in the northlands again, the thirteen minute performance superbly resolving itself in a final sequence of transcendent hymn-like solemnity. Wow.

Frode Haltli – accordion

Erlend Apneseth – Hardanger fiddles

Hans P. Kjorstad – violin

Rolf-Erik Nystrøm – saxophones

Hildegunn Øiseth – trumpet, goat horn and vocals

Ståle Storløkken – harmonium and synthesizers

Juhani Silvola – guitars and electronics

Oddrun Lilja Jonsdottir – guitar and vocals

Fredrik Luhr Dietrichson – double bass

Siv Øyunn Kjenstad – drums and vocals

A

Kingo

Trio

Hug

B

Gråtar'n

Neid

Splashgirl - Sixth Sense (HUBRO MUSIC 2018)

Immersive electro-acoustic trio Splashgirl (Andreas Stensland Lowe, keyboards; Jo Berger Myhre, bass/guitar/electronics; Andreas Lonmo Knudsrod, drums/percussion) was the first act to sign to the Hubro label, with the group’s second album as a unit, ‘Arbor’, marking the label’s debut in 2009. Since then, each subsequent release has deepened and strengthened the developing Splashgirl sound, from ‘Pressure’ (2011) and ‘’Field Day Rituals’ (2013) to ‘Hibernation’ (2015).

With the arrival of a sixth album, which continues the band’s relationship with the inspirational Seattle-based engineer/musician Randall Dunn, famed for his work with Earth and Sunn O))), it’s evident that Splashgirl has reached the end of one span of creativity and begun to enter another, ascending to a whole new level. For ’Sixth Sense’ is a breakthrough project characterised by a radical freedom of approach to composition and performance. At times, the results can seem closer to the sculptural manipulation of pure sound than to the workaday norms of more conventional music-making. The wonderfully immanent, in-your-face sonic density of the album’s mile-wide dynamic range also represents a remarkably successful attempt to capture the extremes of the audio spectrum. In short, ‘Sixth Sense’ sounds immense.

But if Splashgirl’s journey from piano, bass and drums post-jazz trio to out-there experimentalists might seem all but complete, the delicate interplay of acoustic instruments continues to perform a vital role. It’s an interplay that opens and closes ’Sixth Sense’, whose circular structure departs from, and returns to, a predominantly acoustic sound-world. Minimalistic plinky-plonk piano, thrumming double bass and splashy drums and cymbals become the jumping-off points for further sonic adventures to be explored through both live improvisation and post-production treatments, with any musical statement remaining essentially provisional until finally fixed – caught in the net – by the editing process. These signature sounds and their electronic manipulations are also to be heard alongside a myriad of musical influences, from musique concrete and leftfield post-rock to cinematic echoes of all sorts of things: ‘Blade Runner’-like retro-futurism, say; the pre-digital electric-fusion of ‘Black Market’-era Weather Report; synth-driven Tangerine Dream-style Krautrock. The result is a thrilling suite of seven separate pieces that can be listened to either incrementally or as one long-form work where the sheer density of sound and gradual accretion of meaning seems to deepen the longer it goes on, achieving by the end a kind of hard-won epic grandeur that is very impressive, moving even. The range of Splashgirl’s influences and reference points, and the tastefulness with which they have been chosen and employed, also serve to reinforce the sense that there’s a real creative intelligence at work here, and that the listener can relax with confidence into whatever new journey they are being taken on. There might be no clear destination in view. But it will definitely be interesting.

‘Sixth Sense’ was partly recorded in Iceland by Randall Dunn, at the same 2015 sessions that produced ‘Hibernation’, and partly by Splashgirl at the trio’s self-built studio in Oslo, in March, 2017. The album was mixed by Johnny Skalleberg at Amper Tone, Oslo, and mastered by Espen Høydalsvik at Tinnitus Mastering, Oslo.

Chip Wickham - Shamal Wind (LOVEMONK May 25, 2018)

Recorded in Madrid in July 2017, Shamal Wind combines Chip Wickham’s globetrotting, spiritual jazz expeditions with hard-won schoolings in the funk. Following his critically acclaimed 2017 debut, La Sombra, the record draws on spiritual jazz influences like Yusef Lateef and Sahib Shihab, and rests on Chip’s many-sided experience as a musician, spanning left-field beat experiments to hard-hitting funk heavyweights. 

After the Latin and flamenco whispers on La Sombra, Shamal Wind adds some Arab-influence percussion to the mix, most notably on the title track. Elsewhere, ‘Barrio 71’ sees him nodding to Shihab: high energy, lyrical and absorbing, with sax and the vibraphone taking the lead. ‘Snake Eyes’ taps into the meditative exaltations of modal jazz, while ‘Soho Strut’ nods to the jazz fusion, funk-influenced side of Chip’s playing. 

Like the Persian Gulf winds referenced in the album title, which often mark the shift to a new season, this album signals a new chapter for Chip, opening up a newfound energy and inclusiveness in his music, and further expanding on what he achieved in the past year. “Shamal Wind” is a heavy record, built on strong foundations. 

Over the past 3 decades Chip Wickham has worked, written, recorded, and toured with the likes of Rae & Christian, Fingathing, The Pharcyde, Jimpster, Nightmares On Wax, Graham Massey, Roy Ayers, Nat Birchall, The New Mastersounds, Lack Of Afro, Craig Charles Fantasy Funk Band, Matthew Halsall, and Dwight Trible.

1. Shamal Wind

2. Snake Eyes

3. Soho Strut

4. The Mirage (Feat. Matthew Halsall)

5. Barrio 71

6. Rebel No.23

Chip Wickham: flute, alto flute & baritone saxophone

Ton Risco: vibraphone

Phil Wilkinson: piano

David Salvador: double bass

Antonio Alvarez Pax: drums

David el Indio: congas, bongos, bell and percussion

* Matthew Halsall: trumpet on The Mirage

* Gabri Casanova: Wurlitzer piano on Rebel No.23

All tracks written by Chip Wickham

Produced and mixed by Chip Wickham

Recorded to analogue tape by Javier Ortiz at Estudio Brazil (Madrid)

Assisted by Marcos Bandera

Rebel No.23 recorded at Red Led Studios Madrid

Mastered by Damian Schwartz