ENCRES SONORES // New album // Pre-listening! (September 10, 2021 ZEi & Cie)

ENCRE(S) SONORE(S)

 

-  N E W   A L B U M  - 

 

CD & DIGITAL - OUT 10/09/2021 

VINYL - OUT 22/10/2021

 

ZEi / INOUÏE DISTRIBUTION

One year, a few months and two lockdowns later, here we are !

We are very excited to share with you, in preview, 

the new ENCRES SONORES album, fourth ZEi & Cie production

Concert drawn as a trio on stage, you will hear a duo on this record.

Very strongly influenced, inspired and linked by Christophe FORGET's drawing on the screen, Julien BEHAR and Stéphane DECOLLY have built and deconstructed the soundtrack of this imaginary journey through a maze of soundscapes, drones,

improvised music and compositions.

Lie down and dream !

Julien BEHAR alto saxophone, fx, electronics

Stéphane DECOLLY electric bass, fx

Christophe FORGET ink & paintbrushes, live projected drawing

Sound recording • Julien BEHAR

Mixing • Mathieu PION, Studio Csolfa

Mastering • Pierre-Emmanuel MERIAUD, Screening Room

Artwork / Graphic design • Christophe FORGET

Screen printing • Association Octopus

 

Recorded live, with and without an audience, on 6 and 7 March 2020 at 

Espace Henry de Messay, La Jaille-Yvon (Fr) and at Salle Champeau, Brissarthe (Fr)

With the support of the Centre de Ressources Artistiques de l'Anjou Bleu

 

Music • Julien Behar / Julien Behar & Stéphane Decolly

- CD - (OUT 10/09/2021)

 8-track CD**

Comes in a printed kraft sleeve, still based on an artwork by Christophe FORGET

Limited edition of 300 copies

- VINYL - (OUT 22/10/2021)

 7-track 33 rpm vinyl*

Comes in a screen-printed kraft sleeve, based on an artwork by Christophe FORGET

Limited edition of 100 copies

ALBUM PRE ORDER

Cahill / Costello - Offworld (September 10, 2021 Gearbox Records)

Cahill//Costello present their debut album, Offworld, out September 10th on Vinyl LP and digital.

Recorded during August 2020 on location in Sanna, Ardnamurchan, in the Scottish Highlands, the album captures the spontaneity and improvised nature of the immersive Scottish landscape. By fusing together minimalist music and improvisation in a "live session", Cahill Costello chronicle their own contemporary bardic and ethnographic interpretation of modern day Scotland.

1. The Visitant

2. Pavan I

3. Pavan II

4. We Rebuild Them

5. Offworld

6. And It Was Not Meant That We Should Voyage Far

7. Pylons I

8. Pylons II

9. Avhin Saune

Kevin Cahill: electric guitar, effects, tape loops

Graham Costello: drums

All tracks composed by Kevin Cahill and Graham Costello

Recorded and mixed by Luigi Pasquini

Mastered and cut by Caspar Sutton-Jones at Gearbox Records

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Joachim Caffonnette - Bittersweet Times (September 10, 2021)

On his third album as a leader, Belgian pianist Joachim Caffonnette deepens and refines his textural approach, carefully balancing between the impressionist influences and the bebop legacy that are distinctive of his very personal signature. « Extended » is meant as a projection of his writing and his ideals through various instrumental ensembles that stimulate meetings and spontaneity between the musicians. On this opus, Caffonnette gathers some of the most promising cats of their generation: double bass player from New Orleans Jasen Weaver, New York-based Israeli drummer Noam Israeli and, as a special guest, Kansas City’s virtuous trumpet player Hermon Mehari.

On three tracks, the band is joined by Édouard Wallyn on trombone and Quentin Manfroy on alto and bass flutes, unveiling an almost orchestral sound. This album expresses itself through its intensity, constant interplay and shared joy. Caffonnette’s writing is as melodic as it is contrasted, oscillating between burning swing and aerial harmonies. 

1. Bittersweet Times

2. Nostalgie du futur

3. Presidential Blues

4. Any Where Out Of The World

5. Endless Dreams (intro)

6. Endless Dreams

7. Big Questions, Brief Answers

8. The 6 A.M Crosspath

9. On Green Dolphin Street

10. A Savvy Child

Joachim Caffonnette – piano and compositions 

Jasen Weaver – double bass 

Noam Israeli – drums 

Hermon Mehari – trumpet (on 1, 2, 4, 6)

Édouard Wallyn – trombone (on 1, 4, 6) 

Quentin Manfroy – alto and bass flutes (on 1, 4, 6)

Rec, mix and Mastering : Vincent DeBast

Pic : Anty D

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Edward Blankman - Cape Cod Cottage (September 10, 2021)

Welcome to the world of Edward Blankman, a retired dentist who wrote elegant, minimalist jazz in obscurity circa 1970.

At least that’s the story. In truth, Edward Blankman’s Cape Cod Cottage is the 2021 concept album from Echo Park composer Brendan Eder.

A tender, wistful follow up to 2020’s To Mix With Time, the Cape Cod Cottage sound evokes the spirit of Erik Satie, Miles Davis with Gil Evans, and Stevie Wonder, balanced with the accessibility of 1960s lounge-exotica.

Eder created Blankman’s story to channel his own grief, with bittersweet tenderness. Read the liner notes (or watch the mini-doc), and you’ll be transported to the quiet shores of Cape Cod, where a lonely retiree mourns his late wife, Natalie, with walks in nature and evenings at his Wurlitzer.

The story is brought to life with a meticulously crafted package sporting classic liner notes, faux 1970s photographs documenting Edward with the musicians (taken during the actual session), a make-believe jazz label, and a commissioned oil painting of Edward’s cottage.

Eder brought together a dream line up with a ton of chemistry for the project; drummer Christian Euman (Jacob Collier), saxophonist Josh Johnson (Jeff Parker, Leon Bridges), and bassist Alex Boneham (Billy Childs), who all studied together at the Hancock Institute of Jazz. Rounding out the group is flutist Sarah Robinson, a recurring player in Eder’s ensemble, and Edward Blankman (Brendan) on the Wurlitzer.

The cast was booked for a single date with coveted engineer Michael Harris (Kamasi Washington, Angel Olsen) at famed Electro-Vox Recording Studios. To create realism for Edward’s story, the charts were purposefully withheld from the musicians until they arrived at the studio. The result is an authentic and natural performance delivered by players at the top of their game, captured on lauded vintage equipment including the legendary Neve-8028 console.

Cape Cod Cottage will be released on September 10th including a gatefold vinyl.

1. Tuesday at the Pond

2. Cape Cod Cottage

3. Sunlight Through the Leaves

4. Where Else

5. New Dreams

6. Up

7. Discovery at the Beach

8. Three

9. Theme

10. Snowing

11. Retirement

12. Your Bliss

13. Overgrown Garden

14. Heat

15. Natalie

16. Greeting Visual

17. Miss Her

18. Lullaby

19. West Coast

20. Memories

21. Waltz

22. Four

Edward Blankman - Wurlitzer, Percussion

Josh Johnson - Alto Sax

Sarah Robinson - Alto Flute

Alex Boneham - Upright Bass

Christian Euman - Drums

Written and Produced by Brendan Eder

Recorded at Electro-Vox Studios, Hollywood, CA

Engineered by Michael Harris

Mixed by Brendan Eder

Mastered by Mark Chalecki

Photography by Steven Poster

Album Art by Cody Lee Berry

Album Design by DAY Creative

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Frank Kimbrough - Ancestors (September 10, 2021 Sunnyside Records)

It is hard to listen to a posthumous released recording without reflecting on what the world has lost in their absence. Pianist and composer Frank Kimbrough was an individual who was beloved by all who knew him. A true musician’s musician and mentor to many, Kimbrough’s legacy lives on in his work and the lives that he touched. His passing in 2020 has left a hole in the heart of the jazz world.

Kimbrough’s Ancestors is a recording that encompasses much of the leader’s personality, depth, and approach to music making. Assembling a drummer-less trio with cornetist Kirk Knuffke and bassist Masa Kamaguchi, Kimbrough brought his spontaneity and introspection to the fore on a collection of original compositions and improvisations.

The trio had been a favorite ensemble for Kimbrough over the years, the format being able to balance form and freedom of expression. The leader’s appreciation for the free-wheeling, drummer-less trio of woodwind iconoclast Jimmy Giuffre is apparent in Kimbrough’s choice to eschew the restrictive pulse of a drummer in favor of horn, piano, and bass. Kimbrough’s choice of trio mates was sublime.

Pianist and cornetist were introduced by their mutual friend and collaborator, drummer Matt Wilson. A rapport was quickly established with regular gigs with Wilson, Ben Allison, and Jay Anderson. Kimbrough and Knuffke’s friendship blossomed as they began to hang more and more at Kimbrough and partner Maryanne de Prophetis’s Queens home. When Kimbrough proposed recording this trio album, Knuffke had never played with Kamaguchi. The bassist’s flexible, physical style was perfect for the interplay that Kimbrough was after for the recording.

True to form, Kimbrough strayed from rehearsing the ensemble in an effort to maintain a freshness in their interplay. The group came together without playing a prior note at the Samurai Hotel Recording Studio in Astoria on June 3, 2017. Kimbrough brought a number of original tunes for the session and provided space for improvised duos between the three members.

The recording begins with Kimbrough’s rhapsodic blues, “Waiting in Santander,” a piece he wrote while waiting, with great frustration, for a piano for a gig in the Spanish city. The three voices of the instrumentalists seem to float by on “Air,” while the trio plays Kimbrough’s sedate “November” in cool retrospection. The title tune is a warm and humble rumination on Kimbrough’s southern roots, while “Eyes” is an expressive improvisation between the stuttering cornet of Knuffke and Kimbrough’s piano percussion.

The melancholy “Jimmy G” is a tribute to Giuffre, one of the true innovators in small group improvisation, with an off kilter but familiar piano harmony with a freely played cornet and wandering bass. “Beginning” is a noir tinted piece with an optimistic feel provided by Kimbrough’s bright chords, Kamaguchi’s spry bass, and Knuffke’s lilting cornet. Beginning as a subtle back and forth, “Union Square” is a resonant duo between the bassist and cornetist.

Kamaguchi’s insistent strumming introduces Kimbrough’s “Over,” a playful tune in the melodic realm of Monk and Paul Motian. Otherworldly piano overtones are met with Knuffke’s strained call on the duo improv, “Solid.” The program concludes with Maryanne de Prophetis’s “All These Years,” a tune she wrote in memory of her father who passed in 2003. Kimbrough loved her father and the tune, playing it frequently in his programs. It now makes a beautiful finale to this haunting recording.

Kimbrough and de Prophetis spent a lot of time with the recording after it was done. They both loved it very much but had not honed it into a manageable recording. Kimbrough had given pieces of Ancestors to Knuffke and Kamaguchi, praising their performances and hoping for eventual release. After Kimbrough’s passing, de Prophetis and Knuffke listened back and discussed how best to release, deciding to keep most everything they laid down that day, and mainly first takes, at that.

The world is just beginning to miss Frank Kimbrough and his gifts, both personal and musical. It is a consolation that he left listeners with so much and that now he has joined the ancestors. 

1. Waiting In Santander

2. Air

3. November

4. Ancestors

5. Eyes

6. Jimmy G

7. Beginning

8. Union Square

9. Over

10. Solid

11. All These Years

Frank Kimbrough - piano

Masa Kamaguchi - bass

Kirk Knuffke - cornet

Pre-order

Le GGRIL - Sommes (September 10th on Tour de Bras)

GGRIL celebrates its 15th anniversary. For the occasion, the most extravagant orchestra from Rimouski’s cultural scene offers you a new album that perfectly portrays its nature: gargantuan. Three discs, 12 commissioned pieces by as many composers, 21 musicians, 211 minutes of music. On this seventh opus under the label Tour de Bras, the group revisites compositions by canadian and international creators, written specifically for him between 2012 and 2020. Produced and mixed by Michel F. Côté, under the musical direction of Guido Del Fabbro and recorded by Bernard Grenon at the Coopérative de Solidarité Paradis during pandemic september 2020, Sommes represents what GGRIL does best: a new music thoroughly spontaneous by an unlikely and disconcerting ensemble.

The first disc draws the audience to the heart of the work of concentration and integration of the GGRIL. It is composed of long and intense pieces, starting with a piece by composer Frédéric Blondy, Îlots Turgescents. A solo follows, called Le Chat de Chesshire, taken from one of the performances of the piece Alice by composer Robert Marcel Lepage. Alice will follow and the disc will end with a composition by Lisa Cay Miller, too love that well.

The second disc brings together pieces where attention is paid to micro-movement, to the internal structure of each sound and its place in the whole. It takes you along more meditative landscapes with soft and complex reliefs like an embroidery. First, with the piece rivers and mountains by Malcolm Goldstein, which pays particular attention to strings. Then, Caroline Kraabel's piece Une note n’écoutant qu’elle même, explores the multiple choices of intentions possible before the musical gesture. Two solos will follow, two more Chat de Cheshire, before going with Alison Cameron and the more contemplative piece In Memoriam (Robert Ashley). The disc ends with Eistphéist, a piece recorded live with the Bozzini Quartet and the composer, Martin Arnold.

The third disc highlights the power, versatility and theatricality of GGRIL, in addition to providing a window into the god humor and community spirit of its musicians. It begins with a piece by Lori Freedman, Chances are, to move towards Hantises d'os noués by Michel F. Côté (based on excerpts from rehearsals and improvisations by GGRIL), a Chat..., The curve of the moment by Jean Derome , a last Chat..., another version of A note listening only to itself and the composition of Gus Garside Cumuli.

Disc 1

1. Alice (Robert Marcel Lepage)13:54

2. Chat (Luke) 2:27

3. Îlots Turgescents (Frédéric Blondy) 26:25

4. To Love That Well (Lisa Cay Miller)17:06

Disc 2

1. Chat (Pascal) 2:37

2. Chat (Gabriel) 2:53

3. Éistphéist feat. Quatuor Bozzini (Martin Arnold) 25:25*

4. In Memoriam Robert Ashley (Allison Cameron) 12:07

5. Rivers and Mountains Remain (Malcolm Goldstein) 19:43

6. Une note n’écoutant qu’elle même (Caroline Kraabel) 6:01

Disc 3

1. Chances Are (Lori Freedman) 14:24

2. Chat (Rémy) 2:32

3. Chat (Éric) 2:35

4. CUMULI (Gus Garside) 10:43

5. Hantises d’os noués 15:05

6. La courbe du moment (Jean Derome) 6:48

7. Une note n’écoutant qu’elle même (25 sept.) (Kraabel) 4:44

LE GGRIL

Violin: Patricia Ho-yi Wang, Catherine S. Massicotte

Cello: Rémy Bélanger de Beauport, Alexis Gagnier- Michel

Trumpet: Alexandre Robichaud

Trombone: Gabriel Rochette-Bériault

Oboe: Clarisse Bériault

Bass Clarinet: Sébastien Côrriveau

Baritone Saxophone: Mathieu Gosselin

Accordion: Robin Servant

Electric Harp: Isabelle Clermont

Synthesizers: Antoine Létourneau-Berger

Classical Guitar: Pascal Bérubé

Electric Guitar: Robert Bastien, Olivier D’Amours

Electric Baritone Guitar: Marc-Antoine Mackin-Guay

Double Bass: Luke Dawson

Electric Basses: Thomas G. Asselin, Éric Normand

Percussion: Tom Jacques, Antoine Létourneau-Berger, Jonathan Huard

Quatuor Bozzini*: Alissa Cheung, Clemens Merkel (Violin);

Stéphanie Bozzini (Viola); Isabelle Bozzini (cello)

Banjo: Martin Arnold*

Sommes will be released worldwide on Friday, September 10th on Tour de Bras

James Gilmore - Decorating Time (September 10, 2021 Ears & Eyes Records)

"I have a basic mechanical knowledge of the operation of the instrument, and I got an imagination, and when the time comes up in the song to play... it's me against the laws of nature...it's a game, where you have a piece of time and you get to decorate it."

- Frank Zappa

Decorating Time is a product of North Carolina's fertile musical environment, reflecting the players’ roots in NC’s #BAM and free improvised music scenes. The group has a dark, rich sound with fantastic communication and togetherness. Indeed the ethos seems to be to prioritize the group sound throughout. Because of this, there is an abandon, an edge, and raw energy to the music. There is also, at times, a sweetness, and some surprising ear worms (‘The Drip’). There are ‘out’ sounds and some free-ish time (e.g. on the wave-like ‘Theme for Kassem’), but the rhythmic language is funk and post bop: Listeners should come away with the feeling of having gone through a few unexpected doors in the twisting passages of the jazz tradition. In Gilmore’s playing you can hear the work and effort to absorb the sounds that shaped his generation of guitarists, but the result has edges and always more than a tinge of the blues.

Gilmore’s use of effects, when he does use them, has a compositional dimension (e.g. on ‘The Soul Is A Lattice’ and ‘Theme for Kassem’), but for the most part, his tone is spare, natural, and clean, giving the music room to breath and allowing the compositions to speak for themselves. In navigating his own songs, Gilmore often seems to go out of his way to find angles in the music: He’s on his toes and he wants you to be as well. Amidst this stretching, his reach sometimes exceeds his grasp, but the result always compels.

Williams and Knowles equally shine. Williams’ nuanced, rich vocabulary is especially potent in the context of the tunes, bringing crispness and a sure grasp of the jazz language to Gilmore’s by turns eerie and sweet compositions. However, it’s on the free(er) tunes that Williams really shines. On the group’s reimagining of Willie Nelson’s ‘Crazy’ Williams swings completely free of Knowles’ and Gilmore’s together-but-not-together pulse with a glittering patter of cymbals and snare that one associates with Milford Graves or Andrew Cyrille.

Knowles, for his part, is possessed of a massive sound and never seems to run out of ideas, which makes his playing perfect for a trio album. Like Gilmore and Williams, Knowles is shaped by the central North Carolina musical ecosystem: To work, one must have ‘the goods’. But (as with Gilmore) listeners will recognize the unmistakable stamp of the 60’s avant-garde in Knowles’ playing, especially Richard Davis and Charles Mingus.

In both Knowles’ and Williams’ playing there is palpable seriousness and engagement, and a commitment to the music, qualities one often finds lacking in younger players with lots of technique. 

1. Decorating Time

2. Ding, Dong

3. Mammal Female Mother Laws

4. The Drip

5. Stairs I

6. The Soul Is A Lattice

7. Stairs II

8. Vulture and Cockroach

9. Theme For Kassem

10. Crazy (Willie Nelson)

James Gilmore - guitar & compositions

Butler Knowles - bass

Kassem Williams - drums

All the songs are original compositions except for Gilmore and co’s re-imagining of Willie Nelson’s ‘Crazy’.

Recorded and Mixed by Kris Hilbert at Legitimate Business, Greensboro, NC

Mastered by Mell Dettmer at Studio Soli, Seattle WA

CD Jacket Design by Andrew Duke

Album design concept by James Gilmore and Andrew Duke

CD cover art: ‘Out to Pasture’ by Jenna Schwartz (beadwork)

Cover photo by Harrison Haynes

Interior Photos by Daniel White

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Edrix Puzzle - Rise To Eris EP (September 10, 2021 On the Corner)

Having debuted on last year’s sold out Triple Vinyl ‘Door To The Cosmos’ LP with the kicking Jonny Buck Buck, Edrix Puzzle are back with a thrilling debut EP ‘Rise To Eris’.

With this offering Edrix Puzzle explore cosmic themes and energies in the territory of noir instrumental jazz with cinematic energy being unpinned with driving breaks and meanderings in psyche fusion. Extra Terrestrial landscapes akin to ‘Mwandishi’ era Herbie Hancock are explored and mapped. The band's core of Drums, Sax, Double Bass and Percussion are augmented with spoken word, guitar and synths. Project founder and lead, Nathan ‘Tugg’ Curran (Drums & Synths) is joined by long time collaborators Oli Savill (Percussion) and Martin Slattery (Bass Clairnet & Sax) (who are also members of Tugg’s Planet Battagon project), as well as Tom Mason (Double Bass) and Josh Barry (Spoken Word) for this more acoustic, analog expression and surveying of extra terrestrial forms with sparse synth manipulation and a sweet seasoning of electronic affectations.

1. The Rise To Eris

2. Lapetus

3. Eris Fall

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Nery Kim - Purple Reflection (September 10, 2021)

1. Love Poem (戀歌) 05:45

2. Luna 06:47

3. Purple Reflection 07:28

4. BD 07:39

5. Merveille 06:47

6. Mikyren 06:02

7. Falling Blossoms (落花) 02:26

8. Aster 06:20

Trumpet Alex Sipiagin

Tenor Saxophone Dayna Stephens

Trombone Alan Ferber

Piano/Keys Nery Kim

Bass John Patitucci

Drums Jonathan Pinson

Violin Chia-Yung Daniel Chin

Violin Seoyeon Im

Viola Li-Jung Chien

Cello Hyelim Kwon

All Compositions written by Nery Kim

Recorded by Jason Rostkowski at GSI Studio, New York, NY

Mixed & Mastered by Dave Darlington at Bass Hit Recording Studio, New York, NY

Produced by Nery Ki

Photo by Hannah Jeon

Artworks by Sewon Kim

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Scopes - Age of Reason (September 10, 2021 Whirlwind Recordings)

Following their critically acclaimed eponymous debut in 2018, international jazz quartet SCOPES bring their blend of accessibility and adventure to Whirlwind Recordings for their second album, Age of Reason. Led by Austrian drummer Mathias Ruppnig, German bassist Tom Berkmann and French pianist Tony Tixier, American altoist Matt Chalk makes his debut with the quartet on this their second full-length release.

The group’s name SCOPES describes “the frame we all work within”, says Berkmann. “SCOPES is a creative space that we share, without boundaries.” The group’s second release, Age of Reason, is a personal and philosophical reflection on the pressing matters of a time, when all generations need to come closer together and become more aware of their surroundings. That feeling of maturity emerges on Age of Reason too – it’s the first SCOPES recording to feature the compositional skills of each member, delivering some thrilling results.

Age of Reason opens with ‘Deep Water’, a Tixier composition that carefully balances drive and expansion in a “dive into the depths of our biggest unacknowledged dreams.” For Ruppnig, the album’s aims are encapsulated by this tune– “the songs have an easy feel, and they’re not too specific – every musician has the space to have his own voice speak.” ‘More Hope’ came to Ruppnig when faced with relentless negativity during the Coronavirus period, with characteristically tumbling solo contributions from Tixier and space for Berkmann’s introspective soloing. The angular, bop-ish feel of ‘Continuity’ (also from the pen of Ruppnig) follows a similar theme, on the need to keep a creative drive no matter what life throws at you.

‘Vice’ begins on a completely different tack – Berkmann’s relaxed bossa slowly spirals out of control, aided by Chalk’s frenetic solo contributions. “We call ourselves a modern jazz band, but maybe this symbolises the urge to not always feel so hip,” says Ruppnig. Chalk contributes ‘Riotous Silence’ to the album, borrowing the title from a self-penned poem written in 2019. The freest track on the album, here we find SCOPES at their most focused, on Chalk’s quest to find “new ways to more fully express atemporality.” The title track follows with its combination of melodic ease and structural space, before ‘Gift of Time’, a tune born from the idea of how precious time is. Unable to tour or perform, SCOPES used that time constructively to create and explore the new sounds heard on Age of Reason. ‘Chocolate Travels Slowly’ is a band favourite featuring Tixier on blistering form, before the album closes with ‘Here’s My Prayer’, written for Tixier by Chalk with the aim of “finding melodies and chords that we could all really sink our teeth into.”

Summarising, Ruppnig describes Age of Reason as a “transportation of feelings. “It's a very emotional album, and I hope listeners will find their own stories when listening to it.” SCOPES make that task a pleasant one for audiences of all dispositions.

1. Deep Water

2. More Hope

3. Continuity

4. Vice

5. Riotous Silence

6. Age of Reason

7. Gift of Time

8. Chocolate Travels Slowly

9. Here's My Prayer

Scopes

Matt Chalk - alto saxophone

Tony Tixier - piano/synth

Tom Berkmann - bass

Mathias Ruppnig - drums

Pre-order

Flukten - Velkommen Håp (September 10, 2021 ODIN Records)

What happens when you put four of the most creative musicians from the Norwegian jazz scene in lockdown? They create.

In march 2020, when the corona pandemic forced Norway into lockdown, Flukten found their oasis. Flukten springs out of one thing – the will to create music.

Flukten consists of musicians from some of the most critically acclaimed jazz groups in Norway: Hanna Paulsberg Concept, Atomic, Moskus, GURLS, Wako, Espen Berg Trio, Hullyboo, Skadedyr and Trondheim Jazz Orchestra.

After Flukten´s debut concert last year one music critic wrote: «if there is one band debut that really has left their mark in soul and heart, it is this».

With a musical reference library filled with the likes of John Scofield, Joe Lovano, Per «Texas» Johansson, Salif Keita and Paul Motian, they take detours through hip hop, soul and folk music from all over the world. Here, all spontaneous whims can be cultivated and explored. Flukten gives you dirty jazz that makes you move, and soft, fine tuned jazz that makes you think. This is music that celebrates life and embraces the unbelievable.

In February 2021, the four musicians entered the recording studio with the same open attitude as when they first jammed together. On Flukten`s debut album you hear saxophonist Hanna Paulsberg´s eternal vocabulary and multifaceted tone unfold completely without compromises. You hear guitarist Marius Klovning somewhere in the middle of John Scofield, sharp soul, western and Norwegian folk music. Hans Hulbækmo´s drumming is tempting to compare with the playing of a solo pianist in his melodic repertoire. Bassist Bárður Reinert Poulsen drives everything with his punchy, hard swinging hand, but also provides us with emotional solos.

Together, Flukten are an explosion of joyful playing from some of Norways most talented musicians.

The songs of Flukten´s debut album span from playful melodies to dissonant harmonies. Sometimes it´s a composition based on a voice memo of someone humming. Other times we hear snapshots from improvisations in the vivid studio atmosphere. The music dances, other times it is like a soft caress. Suddenly they fly into ecstasy. This album is the sonic equivalent to jumping from a hot sauna and into cold water. The music wakes you up.

This is music that could only appear this exact moment from these exact musicians.

Maybe you spend hours lying on the floor, lost in a book. Maybe you get drunk, or you run into the woods? We all need to escape now and then. 

1. Velkommen håp

2. Budeie boogie

3. Framsyning

4. Barneblues

5. Mellomspill

6. Jonas og hvalen

7. Tennis med Torstein

8. Bleik myrk legg

9. Pave Toten Totten

10. Blomstrene

Flukten:

Hanna Paulsberg - saxophone

Marius Hirth Klovning - guitar

Bárður Reinert Poulsen - double bass

Hans Hulbækmo - drums

Produced by Flukten

Recorded by Mike Hartung and Andrea Louise Horstad at Propeller Music Division, Oslo, February 5th and 6th 2021

Mixed by Mike Hartung at Propeller Music Division

Mastered by Morgan Nicolaysen at Propeller Mastering

PREORDER

UNLV Jazz 2021 - Looking Up (September 2021 Vegas Records)

Looking Up, a 2021 Vegas Records CD release, celebrates student achievements of our 2020-2021 UNLV School of Music, Division of Jazz and Commercial Music. Jazz Ensemble I, co-winner of the prestigious 2021 DownBeat Magazine Graduate College Large Ensemble Student Music Award (SMA) and directed by professors Dave Loeb and Nathan Tanouye, launches disc one with the fast-paced Quick Deet, composed by Carlos Mata-Alvarez, jazz faculty and former DownBeat SMA winner during his undergraduate studies at UNLV. It includes spirited solos from saxophonists F J Rodriguez and Joe Schaben, pianist Patrick Hogan and drummer Michael Hoffman. This ensemble won the Monterey Next Generation College Big Band Division and is invited for a command performance in the acclaimed Monterey Jazz Festival. Tones For Joan’s Bones, arranged by Duke Pearson, features jazz trumpet artist Kenny Rampton, UNLV alumni and member of the Jazz at Lincoln Center Jazz Orchestra (JALC), directed by Wynton Marsalis, and pianist Hogan, in a tribute to the great jazz pianist and composer, Chick Corea who created this jazz standard.

We dedicate this CD to Corea and the legendary arranger and composer, Sammy Nestico, who both passed away in 2021, and with deep appreciation for the medical workers and first responders around the world who tirelessly fought the COVID-19 battle. Nestico’s gorgeous treatment of the beautiful ballad, Ill Wind, written by Harold Arlen and Ted Koehler, highlights long-time UNLV supporter and jazz vocalist, Laura Taylor. The Jazz Calling, a powerful composition by brilliant jazz bassist, John Clayton, is a springboard for fantastic solos by Ricardo Arana on trumpet, Micah Smith on piano, and Hoffman on drums. The Hustle, an energetic excursion composed by Tanouye, spotlights tenor saxophonist Edward Sarabia and drummer Amy Crosley. 

UNLV hosts a Western Regional Essentially Ellington High School Jazz Band Festival annually, in collaboration with the Jazz Outreach Initiative and JALC, but had to postpone this event in 2021 due to the pandemic. Alternately, we produced a virtual performance for the JALC Band Directors Academy with a medley of Duke’s compositions, Such Sweet Thunder, including an authentic plunger trumpet solo by Mr. Rampton and a bass improvisation by Keegan Carter, and Chinoiserie, with marvelous improvisations from pianist Hogan and graduate assistant and associate producer of this project, Brian Lawrence, on tenor sax. Hogan’s swinging version of Adolfu Ultrera and Nilo Menendez’s classic, Green Eyes, provides exciting solos from Hogan on piano, Harrison Collard on trumpet and Schaben on tenor saxophone. Mr. Hogan also shares his original burner, Powerout, giving us passionate improvisations from trombonist Kirby Galbriath and Collard, on trumpet. Lawrence’s innovative orchestration of Joshua Redman’s Herbs and Roots includes captivating solos by the arranger and Sarabia, on tenor saxes, pianist Hogan, and drummer Hoffman.

Claymont, an exceptional composition by Lawrence, offers stellar improvisations from Tanouye, on trombone, and saxophonist Rodriguez. Michael Petrucciani’s upbeat samba, Looking Up, closes disc one with an optimistic musical theme and delightful solos from Smith on piano, Lawrence on flute, and who arranged this ebullient title track, and Collard, on flugelhorn.

Disc two opens with two contrasting selections arranged by Hogan, in the style of the popular Sergio Mendez and Brazil ’66, for Vegas ’22, 2021 DownBeat Magazine Student Music Award-winning Graduate College Latin Jazz Group, that was mentored by faculty advisor Jo Belle Yonely. The Lamp is Low, penned by Peter DePose and Bert Shefter and adapted from a melody by Maurice Ravel , and If Love Is Good to Me, written by Fred Spielman and Redd Evans, provide outstanding vocals by Amanda Ketterer, Kailyn Richards and the ensemble with sparkling piano improvisations by Hogan and display the absolute authenticity of this combo. 

The Vinnie Falcone Organ Quartet, winner of the 2021 DownBeat Magazine Graduate College Asynchronous Small Group SMA and named in honor of the late jazz pianist, Las Vegas resident and former musical director for Frank Sinatra, performs Tippin’ Home From Sunday School, by Oliver Jones, with terrific solos by saxophonist Schaben, guitarist Nick Lee and Lawrence, on organ, who is also the leader of this group. The quartet, mentored by professor Adam Schroeder, also plays Antonio Carlos Jobim’s familiar bossa nova, Triste, arranged by drummer Zach Guzman Mejia, with sensitive improvisations by organist Lawrence, guitarist Lee and Schaben, on sax. The Latin Jazz Ensemble, directed by faculty member Uli Geissendoefer, received the 2021 DownBeat Undergraduate College Latin Group Outstanding Performance SMA and please refer to Uli’s comments in this booklet for further information about this group.

The Contemporary Jazz Ensemble, directed by faculty member Julian Tanaka, received the 2021 DownBeat Graduate College Blues/Pop/Rock Group Asynchronous Outstanding Performance SMA, and performs Sing To The Moon, by Laura Mvula and Michelle Willis, with excellent solos by Sarabia, on sax, Arana on trumpet, violinist Goomroyan, trombonist Kirby Galbraith, violinist Aolani Aguirre, bassist Ruben Van-Gundy, Rodriguez, on clarinet who also arranged this tune, Jeymar Perez, on alto sax, and drummer Amy Crosley. The UNLV Jazz Vocal Ensemble, directed by faculty member Kimberly Snavely, that received the DownBeat 2021 Graduate College Asynchronous Small Jazz Vocal Group Outstanding Performance SMA, sings Centerpiece, a masterful composition by Harry Edison and Jon Hendricks and arranged by Kerry Marsh, with an amazing vocal improvisation by graduate student Gary Fowler, who was recognized for an Outstanding Vocal Soloist DownBeat SMA. 

DMA student and bassist, Molly Redfield, led the all-female Geri Allen Tribute Combo, mentored by faculty advisor Yonely, with her interesting arrangement of Moonglow, written by Will Hudson, Irving Mills and Eddie DeLange, that received a DownBeat Graduate College Vocal Arrangement Outstanding Performance SMA, and includes heartfelt solos by Lara Vivian Smith on keyboard and vocals, guitarist Jesse Rosenberg, Crosley on drums, and vocalist Patricia Thomas. Our Honors Trio, Hogan on piano, bassist Van-Gundy and drummer Hoffman is a two time winner in the Monterey Next Generation Jazz Festival College Combo Division, made a guest appearance at the 2021 Jazz Education Conference Experience and is invited for a repeat performance in the Monterey Jazz Festival. The trio performs Hogan's, You Are The Only Girl, with a lovely vocal and piano solo by the composer, and Speak Low, written by Kurt Weil, with sizzling improvisations from pianist Hogan, bassist Van-Gundy and Hoffman, on drums.

We close disc two with a poignant duet by Hogan, on piano, and vocalist Fowler, in a tribute to the late Joe Williams, one of the most revered vocalists in jazz history, with Here’s To Life, written by Artie Butler and Phyllis Molinary, and thank the Joe Williams Every Day Foundation for their generosity in awarding significant annual scholarships to our deserving students.

UNLV Division of Jazz and Commercial students garnered a remarkable nine 2021 DownBeat Student Music Awards, considered among the highest recognitions in jazz education worldwide, with a total of 33 since 2010! Dorian Dream, our 2020 CD release, received an outstanding review from JazzTimes magazine and our UNLV jazz program has enjoyed wonderful acknowledgements from this widely respected jazz publication for 12 consecutive years. We applaud our students’ efforts in creating inspiring asynchronous virtual performances and recordings this year, considering the immense challenges presented during the pandemic quarantine.

In addition, we extend sincere gratitude to our faculty, Chuck Foley and our recording studio staff and dedicated students for their resilience in utilizing available audio and video technology, contributing to a meaningful musical experience during this difficult time, and also thank Louis Kavouras, Chair of the UNLV Department of Dance, for his cover art work. David Weiller, who chaired the UNLV Choral Department for 37 years and led the Las Vegas Master Singers in a memorable collaboration with our Jazz Division for a performance of Ellington’s Sacred Concert, is retiring this year and we also dedicate this project to him in recognition of his distinguished service to UNLV.

We also wish to thank our many donors and benefactors, through Friends of UNLV Jazz, who have helped generate additional funding to assist in further educational activities for our students. Our students continue to teach at prominent universities internationally, perform in established venues in Las Vegas and around the world and inspire us with their incessant creative passion to reach our highest artistic potential. We are incredibly proud of their commitment and spectacular accomplishments!

Dave Loeb

Director of the Division of Jazz and Commercial Music

UNLV School of Music

1. Quick Deet 04:30

2. Tones for Joan's Bones 05:41

3. Ill Wind 04:16

4. The Lamp is Low 08:39

5. THe Hustle 05:18

6. Such Sweet Thunder 03:08

7. Chinosiorie 05:35

8. Green Eyes 03:18

9. Powerout 05:23

10. Herbs and Roots 07:55

11. Claymont 06:45

12. Looking Up 08:15

13. The Lamp is Low 02:19

14. If Love is Good to Me 02:50

15. Tippin' Home form School 04:33

16. Triste 08:07

17. Madiba 05:16

18. Vera Cruz 04:57

19. Sing to the Moon 07:02

20. Centerpiece 05:25

21. Moonglow 04:18

22. You Are the Only Girl 04:54

23. Speak Low 08:08

24. Here's to Life 04:47

2021 UNLV CD Looking Up Personnel List

Jazz Ensemble I

● Directors:

○ Dave Loeb

○ Nathan Tanouye

● Saxophones:

○ F J Rodriguez

○ Jeymar Perez-Mendoza-fall 2019 or spring 2020

○ Joe Schaben

○ Brian Lawrence

○ Eddy Sarabia

○ Robert Mitchell

○ Max Marquis-fall 2019 or spring 2020

● Trombones:

○ Giovanni Lacala

○ Zach Guzman Mejia

○ Nathan Russell

○ Kirby Galbraith

○ Scott Odou

● French Horns:

○ Casey Davis

○ Hannah Johnson

● Violin:

○ Lauren Cordell

● Trumpets:

○ Dan Foster

○ Kurt Tumbagahan

○ Casey Bibiano-fall 2020

○ Harrison Collard

○ Ricardo Arana

○ Aries Harper

● Rhythm Section:

○ Keegan Carter

○ Marshall Peterson

○ Ruben Van-Gundy

○ Patrick Hogan

○ Micah Smith

○ Nick Bentz fall 2019 or spring 2020

○ Amy Crosley

○ Zach Guzman Mejia

○ Michael Hoffman-fall 2020

○ Jesse Rosenberg

○ Nick Lee-fall 2020

Vegas ‘22

● Amanda Ketterer - Vocal

● Kailyn Richards - Vocal

● Patrick Hogan - Piano

● Ruben Van-Gundy - Bass

● Amy Crosley - Drums

● Zach Guzman Mejia - Percussion

Vinnie Falcone Organ Quartet

● Joe Schaben - Tenor Saxophone

● Nick Lee - Guitar

● Brian Lawrence - Organ

● Zach Guzman Mejia - Drums

Latin Jazz Ensemble

● Uli Geissendoerfer - Director

● Jose Pepe Jimenez - Director Spring 21

● Kailyn Richards - Vocals

● Peter Goomroyan - Violin Fall 20

● Lauren Cordell - Violin Spring 21

● Aries Harper - Trumpet

● Nathan Russell - Trombone

● Jeymar Perez-Mendoza - Alto Saxophone

● Eddy Sarabia - Tenor Saxophone

● Micah Smith - Piano

● Andrew Garcia - Guitar

● Ondrej Suska - Guitar Spring 21

● Marshall Peterson - Bass

● Michael Hoffman - Drums Fall 20

● Amy Crosley - Drums, Vibraphone & Percussion

● Zach Guzman Mejia - Percussion

Contemporary Jazz Ensemble

● Julian Tanaka - Director

● Amanda Ketterer - Vocals

● Peter Goomroyan - Violin

● Aolani Aguirre - Violin

● F J Rodriguez - Clarinet

● Jeymar Perez-Mendoza - Alto Saxophone

● Eddy Sarabia - Tenor Saxophone

● Ricardo Arana - Flugelhorn, Trumpet

● Kirby Galbraith - Trombone

● Caleb Clark - Piano

● Ruben Van-Gundy - Bass

● Amy Crosley - Drum Set

Jazz Vocal Ensemble

● Kimberly Snavely - Director

● Lara Vivian Smith - Soprano

● Shaddai Johnson - Soprano

● Patricia Thomas - Alto

● Rachel Gamberg - Alto

● Gary Fowler - Tenor

● Gibson Eckstine-Green - Bass

● Caleb Clark - Piano

● Ruben Van-Gundy - Bass

● Robert Shipley - Drums

Geri Allen Ensemble

● Molly Redfield - Bass

● Jesse Rosenberg - Guitar

● Amy Crosley - Drum Set

● Lara Vivian Smith - Vocals, Piano

● Patricia Thomas - Vocals

Honors Trio

● Patrick Hogan - Piano/Vocals

● Ruben Van-Gundy - Bass

● Michael Hoffman - Drums

Joe Williams Ensemble

● Gary Fowler - Vocals

● Patrick Hogan - Piano

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Paul Edis - The Still Point Of The Turning World (September 10, 2021 Lateralize Records)

We are delighted to announce the release of The Still Point Of The Turning World, the mesmerizing new album by British jazz pianist, Paul Edis.

Written over the course of the last year and recorded in a day at Masterchord Studios in London, The Still Point Of The Turning World is the work of a virtuoso musician meticulously constructing his very own transcendent universe, one that sits apart from everything else going on in the world.

“There’s a certain meditative quality to The Still Point Of The Turning World,” Edis explains. “Compositions like Start Over, Dig Deep and The Way You Make Me Feel are a mixture of reflection, sadness and love. There’s been so much sadness and loss around whilst working on this record, it’s hardly surprising that it sounds so reflective.

“I’ve really tried to tap into the emotional resonance of each composition. It can take a certain amount of time for emotions to filter through before you process them and eventually turn them into music. When I write, the process often starts with a kind of mood that’s almost a meditation in itself.”

Nobody sounds quite like him or transports you to the places he travels to with his music. Simultaneously soothing and stirring, rapturous yet relaxed, at times the melodies almost appear to become subservient to the mood on this dreamlike album. With an unmistakable style that sounds like the missing link between Bill Evans, Brad Mehldau and Claude Debussy, he plays without a trace of bombast or affectation.

“The more accomplished you are as a musician, the more you realise that chops and technical demonstrations don’t necessarily say that much. I’m always trying to find the most elegant, simple message in the music. Simple is not the same as simplistic. Picasso could paint incredible things, but he didn’t need to use his technical ability to articulate his emotions.

“This is the first album where I have really been in control of myself, both technically and creatively. I’ve always tried to get to the emotional essence of the music, but it feels like something new and exciting has happened with this record.”

The Still Point Of The Turning World is an achingly beautiful, impressionistic album that washes over you like a wave of emotion and wells up from places Wordsworth deemed ‘too deep for tears.’

The Still Point Of The Turning World will be released on CD and limited-edition heavyweight vinyl through Lateralize Records on 10th September 2021.

1. Dig Deep 05:18

2. Nobody Else But Me 03:52

3. Muddle Through 04:37

4. Detour Behind 04:07

5. Cluster Fluster 04:57

6. Start Over 04:01

7. Will O'The Wisp 03:46

8. Hypnotized 04:28

9. Plaisir d'amour 05:59

Paul Edis, piano

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Jessica Ackerley & Daniel Carter - Friendship: Lucid Shared Dreams and Time Travel (September 10, 2021 577 Records)

Friendship: Lucid Shared Dreams and Time Travel documents a fresh collaboration between multi-instrumentalist, Daniel Carter, and guitarist, Jessica Ackerley. Both musicians are active improvisers on the New York free jazz scene, but rather than collaborating on a formal stage, their musical relationship developed over a few casual outdoor sessions during the summer of 2020. This release captures the joyful ease of their collaboration, as each musical interaction creates a warm transcendence, inspired by the dream-like, meditative effect improvised music is known for. Rippling guitar strums cascade under the sustained swells of various horns and reeds, allowing passages of space and minimalist tendencies in the music to ebb and flow like breathing.

The use of acoustical instruments lends itself to the stylings of primitive guitar music and nods to baroque cadences without compromising each musicians’ free jazz and experimentalist foundations. The 8-track album documents a precious encounter between two friends, inviting the listener to glimpse into their tranquil inner world. This marks Jessica Ackerley’s debut on 577 Records, anticipating future releases scheduled on the 577 catalog later in 2022. Friendship: Lucid Shared Dreams and Time Travel will be available in September 2021 on CD/digital editions.

1. Welcome, Our Friends

2. Converging

3. A Glimpse Into

4. Dream State

5. Lucid Dreamer

6. Hidden Truths

7. Foreknowledge

8. Awakening

Daniel Carter - Saxophones, Flute, Trumpet, Clarinet

Jessica Ackerley - Acoustic Guitar

Recorded September 7, 2020 by René Pierre Allain at Scholes Street Studio, Brooklyn

Mixed and mastered by Lucas Brode

Music by Jessica Ackerley (BMI), Daniel Carter (Five Seven Seven Records Music, ASCAP)

Cover photo by No Land

Graphic design by Sergio Vezzali

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Chris Abrahams / Clayton Thomas / Miles Thomas - Words Fail (September 10, 2021 Hospital Hill)

The debut release from the trio of Chris Abrahams (piano), Clayton Thomas (bass & preparations), & Miles Thomas (drums & percussion), Words Fail is an intergenerational meeting of the minds.

Despite the quintessential trio format, the sound world subverts the instrumentation across four expansive improvisations. Beginning with a lone piano note, repeating like droplets of water on a glassy lake, the interwoven textures of Clayton Thomas’ prepared double-bass & Miles Thomas’ foley-like percussion - sounding on occasion like something out of Xenakis’ Pithoprakta - soon attempt to pull things into deeper, darker waters.

1. the other & that therefore 16:01

2. insisting on the by now 14:55

3. between the world of words & the world of 15:35

4. water & fire, nothing else 14:33

Recorded by Richard Belkner at Free Energy Device, Sydney

Mixed by Miles Thomas

Mastered & cut by Helmut Erler D&M, Berlin

Painting by Amanda Tsioutis

Design & layout by WBYK

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Ted Curson - Pop Wine (September 10, 2021 souffle continu records)

Originally from Philadelphia, invited to New York by Miles Davis, playing at Antibes in 1960 with Charles Mingus and Eric Dolphy, here is trumpeter Ted Curson in 1971… in Paris. With him, a legendary trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums). A new transatlantic alliance in the service of jazz of all kinds: classic, modal, fusion and even free… Pop Wine is – between Coltrane and Miles with a nod to roots in the club the Caveau de la Huchette – an explosive cocktail but which leaves no stains!

In 1960, trumpeter Ted Curson played with Charles Mingus and Eric Dolphy on stage at the Antibes jazz festival. Eleven years later he was in Paris to record one of the gems of his discography, with a hard-hitting French trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums).

Arvanitas was also someone who had travelled widely. Originally from Marseille, he had accompanied visiting American musicians in Paris before moving to the States. It was when he came back that the charismatic trio was created with Samson and Saudrais and who recorded, in 1970 on Futura, the unforgettable In Concert and then, the following year, Pop Wine with Ted Curson.

Pop Wine: don’t be fooled into thinking you are going to hear jazz musicians trying to play pop after uncorking too many bottles. For, although the album occasionally tends toward fusion, it is first and foremost a wonderful jazz recording; and a recording with enough fizz to make your head spin!

There are five tracks in total: Quartier Latin reminds us a little of Olé Coltrane (Curson, like the saxophonist, is originally from Philadelphia), Flip Top where the trumpet and piano play out a chase scene through the streets of Paris, Pop Wine where funk and cool jazz meet on the barricades of black and white, L.S.D. Takes A Holiday which breaks out in a style close to free jazz, and finally Lonely One, with the impression that ends this unclassifiable album. Unclassifiable, unless we decide to elevate Pop Wine to the rank of a great vintage. 

1. Pop Wine 05:06

2. L.S.D. Takes A Holiday 12:37

3. Lonely One 05:44

4. Quartier Latin 13:12

5. Flip Top 06:31

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Michel Portal - Alors !​!​! (September 10, 2021 souffle continu records)

Could the missing link between Eric Dolphy and Albert Ayler be the Michel Portal of 1970? After having worked alongside François Tusques defending a free jazz “made in France”, we find him here, heading up an international quintet of which each member is on fire: John Surman, Barre Phillips, Stu Martin and Jean-Pierre Drouet. The quintet had full leeway to break out the free-form in long ambient tracks to compose this Alors!!! which leaves listeners with just one word to say: More!

Do we still need to present Michel Portal?... Clarinetist destined for the classical and contemporary world after his passage in the Paris Conservatory, he decided to try his hand at jazz, with an incendiary flamboyance! After his first experience with André Hodeir and Pierre Michelot, he would break all the codes with François Tusques (Free Jazz, in 1965) before starting the emblematic Michel Portal Unit. It is the Portal of those years that Alors!!! offers us the chance to listen to again.

“There are periods of insolence”, the musician declared and the year 1970 was one all on its own. Heading up an impetuous international troupe, a quintet consisting of John Surman (saxophones, bass clarinet), Barre Phillips (double-bass), Stu Martin (drums) and Jean-Pierre Drouet (percussion), Portal moves from alto sax to clarinet in the compositions shared with his partners.

From the off, the group sparks an explosion with the sound of “OO Bam Ba Deep” battered by the horns and percussion. Next up is the fabulous free jazz of “Yes, Oh Yes, You Wonderous Sun Kissed Maiden!” and the fantastic disjointed march of “Ça Boom?” which shakes up the musicians every which way. The quintet imagined that listeners would need to catch their breath, and thoughtfully added: “Billie the Kid” and “Undercurrent”, marvelous moments of ambient mystery.

Audacious from beginning to end, including the sleeve – the bird-man and his quintet brain designed by Avoine, –, the album is a fabulous object, to which the label Futura gave wings at the time. And as it is being reissued today there is just one word to use: the French translation of the title, So!!! 

1. Oo Bam Ba Deep 05:18

2. Billie The Kid 01:57

3. Yes, Oh Yes, You Wonderous Sun-Kissed Maiden 14:04

4. Ça Boom? 00:56

5. Y En A Marre 05:40

6. Undercurrent 05:36

7. New Peace 02:02

8. Ça Boom ! 07:52

PREORDER