30 April, 2012


James Moody - Wail Moody, Wail (1955)

James Moody - Wail Moody, Wail (1955)
jazz | 1cd | eac-flac-cue-log-cover | 205MB
OJC limited edition
 James Moody's mid-'50s band was a septet featuring four horns including the leader's tenor and alto. The bop-based group had plenty of spirit (as best shown here on the 14-minute title cut) if not necessarily a strong personality of its own. This CD (a straight reissue of the original LP plus two additional titles from the same session) is accessible, melodic and swinging; trumpeter Dave Burns is the best soloist among the sidemen.

-1. "The Golden Touch" - Jones - 4:09
-2. "The Nearness of You" - Carmichael, Washington - 4:53
-3. "The Donkey Serenade" - Forrest, Friml, Stothart, Wright - 3:45
-4. "Moody's Blue Again" - Jones - 4:34
-5. "Wail Moody, Wail" - Burns, Moody - 13:56
-6. "The Strut" - Golson - 4:02
-7. "A Sinner Kissed an Angel" - David - 4:02

* James Moody - tenor, alto sax
* Numa "Pee Wee" Moore - baritone sax
* Jimmy Boyd - piano
* John Lathan - bass
* Dave Burns - trumpet
* William Shepherd - trombone
* Clarence Johnson - drums



Morton Feldman - The Viola In My Life (2008)

Morton Feldman - The Viola In My Life (2008)
contemorary | 1cd | eac-flac-cue-log-cover | 245MB
Composer Morton Feldman (1926-1987) is most often remembered for his spare, often slow and lengthy compositions, where space is a key component. Kronos Quartet's version of Piano and String Quartet (Elektra/Nonesuch, 1991) is a prime example of the richness and depth Feldman achieved through use of space and gradual, almost imperceptible evolution. While scored, Feldman's Indeterministic or Aleatoric music—where one or more aspect of the composition is left for the artist to define (Terry Riley's "In C" is another fine example), creating an unpredictability that was an inherent component of the music—has driven the vast majority of his work, especially in his later years. It's no surprise then, that among his students have been improvising musicians including drummer Bobby Previte, cellist Fred Lonberg-Holm and bassist Joëlle Léandre.
The Viola in My Life is ECM's first disc devoted solely to Feldman, and it's a strong choice. The four-movement, 39-minute suite places Polish-born, Norwegian-resident violist Marek Konstantynowicz front and center throughout, but in differing contexts ranging from the piano duet of "The Viola in My Life III" to the full orchestral conclusion, "The Viola in My Life IV." Konstantynowicz, while a member of Oslo's Cikada Ensemble and no stranger to ECM fans familiar with albums including The Source's The Source and Different Cikadas (ECM, 2002) and Mats Edén's sadly underappreciated Milvus (ECM, 1999), was active on Warsaw's free jazz scene before relocating to Norway; capable, then, of meeting the challenges of Feldman's musical proclivities.
Even when there's a full orchestra at his disposal, Feldman rarely resorts to bold, dramatic statements, barring the occasional punctuation. Instead, the Norwegian Radio Orchestra, conducted by Christian Eggen, creates textural and harmonic contexts for Konstantynowicz's reprisal of various themes introduced in earlier pieces, although sometimes considerably filtered Equally, Feldman's themes are often so oblique that completely recognizable definition can easily be missed.
The overall tone of these four movements is subdued, with little indication of time or harmonic movement (though there are passages with very dense, dissonant harmonies). Still, Feldman's genius has always been—to contrast one of the vocal lines to composer Steve Reich's You Are (Variations) (Nonesuch, 2005), "say little and do much,"—to "do little and say much." The first two parts of The Viola in My Life are for small, similar instrumental configurations. "The Viola in My Life I" features flute, violin, violoncello, piano and percussion, while "The Viola in My Life II" substitutes celesta for piano and adds clarinet, but these relatively slight changes create palpable transformations in texture.
The effect of Feldman's music, without proper attention paid can appear static and, at best, soothing on a subliminal level. But closer investigation into the starkly compelling The Viola in My Life reveals both an undeniable sense of purpose and an appreciation for the power inherent in the subtlest orchestration, the sparest melodic fragment and the true rewards of delayed gratification.

-1 The Viola in My Life I (August 24, 1970: for viola (solo), flute, violin, violoncello, piano and percussion;
-2 The Viola in My Life II (October, 1970): for viola (solo), flute, clarinet, celesta, percussion, violin and violoncello;
-3 The Viola in My Life III (October 12, 1970): for viola and piano;
-4 The Viola in My Life IV (Mark 8, 1971): for viola and orchestra

* Marek Konstantynowicz: viola;
* Cikada Ensemble; Norwegian Radio Orchestra, Christian Eggen, conductor.



Ketil Bjornstad - Floating (2005)

Ketil Bjornstad - Floating (2005)
jazz | 1cd | eac-flac-cue-log-cover | 370MB
If you already enjoy Bjornstad's work, simply go ahead and buy this. It has Palle Danielsson generating his usual warm,earthy bass, and Marilyn Mazur on some varied and sympathetic percussion. If all this is new to you, ask yourself what you're looking for. Is it a piano trio where nothing is rushed or frantic, where the notes are used sparingly, even lovingly, to enhance beguilingly simple melodies, which appear to float gently past you; where bass and percussion provide a burnished golden shimmer, like sunlight on a lazy river, while the piano provides sleepy drifts of melody, mixed with some icily crystal notes. This is not music to dance to, and preferably not to use as wallpaper, but as your own special personal treat, to sink into it alone and undisturbed, and feel it massage away your tensions and anxiety. Go on: spoil yourself.

-01. "Floating" - 6:46
-02. "The Sorrow in Her Eyes" - 5:03
-03. "Memory" - 3:06
-04. "Ray of Light" - 6:55
-05. "Looking Back" - 2:29
-06. "Caravan Moving" - 2:59
-07. "Thought" - 2:26
-08. "The Woman on the Pier" - 5:09
-09. "Undercurrent" - 3:58
-10. "The Rainbow" - 4:10
-11. "The Course" - 6:44
-12. "Her Singing" - 3:46
-13. "The Face" - 5:17
-14. "As You Always Said [Tol Rolf]" - 4:03
-15. "The Waiting Room" - 3:08
-16. "Floating (Epilogue)" - 2:43

* Double Bass – Palle Danielsson
* Drums, Percussion – Marilyn Mazur
* Piano, Composed By, Liner Notes, Producer – Ketil Bjørnstad


24 April, 2012


Sarah Vaughan - Sings George Gershwin (1957)

Sarah Vaughan - Sings George Gershwin (1957)
jazz | 2cd | eac-flac-cue-log-cover | 920MB
Verve Master Edition
As historic as is this summit meeting, Sarah Vaughan resisted being called a Gershwin interpreter -- she loathed being restricted to "straight" interpretation. Essayist Peter Keepnews says in the liner notes that Vaughan's refusal to sing just what was written yielded "textbook examples" of how the right interpretation can make a good piece of music even better.
The entirety of the original two Vaughan Sings Gershwin volumes are presented first, followed by, on disc two, a portion of one recording session as it went down -- all the takes, from the original tapes, which demonstrate Vaughan's uncanny variations in improvisation. With two previously unissued complete takes and more than forty minutes of bonus material in all.

-01. "Isn't It a Pity?" – 3:53
-02. "Of Thee I Sing" – 3:10
-03. "I'll Build a Stairway to Paradise" (Buddy De Sylva, George Gershwin, Ira Gershwin) – 2:39
-04. "Someone to Watch over Me" – 3:58
-05. "Bidin' My Time" – 3:01
-06. "The Man I Love" – 3:34
-07. "How Long Has This Been Going On?" – 3:58
-08. "My One and Only (What Am I Gonna Do?)" – 3:13
-09. "Lorelei" – 2:32
-10. "I've Got a Crush on You" – 4:00
-11. "Summertime" (G. Gershwin, I. Gershwin, DuBose Heyward) – 2:51
-12. "Aren't You Kind Of Glad We Did?" – 3:27
-13. "They All Laughed" – 2:23
-14. "Looking For a Boy" – 3:38
-15. "He Loves and She Loves" – 3:24

-01. "I Won't Say I Will" (DeSylva, G. Gershwin, I. Gershwin) – 3:24
-02. "A Foggy Day" – 3:24
-03. "Let's Call the Whole Thing Off" – 2:22
-04. "Things Are Looking Up" – 3:33
-05. "Do It Again" (DeSylva, I. Gershwin) – 3:13
-06. "Love Walked In" – 3:06
-07. "Of Thee I Sing" – 3:23
-08. "Summertime"
-09. "Things Are Looking Up" – 3:21
-10. "I Won't Say I Will" (Buddy DeSylva, G. Gershwin, I. Gershwin) – 0:18
-11. "I Won't Say I Will" – 3:21
-12. "I Won't Say I Will" – 1:21
-13. "I Won't Say I Will" – 2:50
-14. "I Won't Say I Will" – 7:49
-15. "Of Thee I Sing" – 1:35
-16. "Of Thee I Sing" – 2:25
-17. "Of Thee I Sing" – 2:16
-18. "Of Thee I Sing" – 4:02
-19. "My One and Only (What Am I Gonna Do?)" – 1:47
-20. "My One and Only (What Am I Gonna Do?)" – 3:11
-21. "My One and Only (What Am I Gonna Do?)" – 4:34



Biota - Object Holder (1995)

Biota - Object Holder (1995)
rock, electronic, avangarde | 1cd | eac-flac-cue-log-cover | 470MB
“Object Holder” is Biota’s 12th release and as we celebrate the origins of Biota with the re-release of the Mnemonists “Horde” (see AAJ April 99’ review) it seems appropriate to shed some light on Biota’s latest release. Analogous to the music and era depicted on “Horde” which was recorded 20 years ago, “Object Holder” is a fascinating endeavor that illustrates the impetus and cutting edge strides this band has made since the early 1980’s.
Released in 1995 and recorded between 1992 and 1994, “Object Holder” contains 23 tracks that interweave, ultimately representing a series of dreamlike pieces as the musicians incorporate a vast array of acoustic, electronic and exotic instruments. Forever Einstein’s C.W. Vrtacek lends a helping hand on piano along with percussionist-composer Chris Cutler who handles percussion and electronics duties.
The press kit alludes to the music being that of “a half remembered dream”. Prior to reviewing this CD and reading the press release, this writer immediately conjured thoughts or impressions that parallel that notion. Vocalist Susanne Lewis of the fine band “Thinking Plague” makes her debut with Biota on this release and supplies an angelic and multi-colored balance that rides on top of the textured yet highly abstract thematic developments and unusual rhythmic patterns. Unusual instrumentation such as Steve Scholbe’s use of a marxophone and rubab compliment the guitars, electronics, horns, accordion’s and pump organs. A hodgepodge of diverse instrumentation all add to the uniqueness of these pieces yet the blending, coloration and skillful implementation is what makes it all work. The music is dense yet prone to delve into ephemeral passages that catch the listener off guard.
Biota explore different diatonic and chromatic regions by fusing or meshing sounds of instruments that emit unorthodox voicings as the outcomes are frequently compelling and quite interesting. Overall, Biota provides enchanting dreamscapes supplanted by odd thematic developments that contain elements of elasticity and musical shaping which adhere to a formula that is unique to this band. Comparisons are tough. Biota has created a deeply personalized style that has evolved over many years and needless to say; the music is enticing and picturesque which coincides with the colorful CD artwork by the Mnemonists.

-01. "Bumpreader - 7:52
-02. "Spillway - 4:15
-03. "Eavesdrop - 1:46
-04. "Blind Corner - 2:21
-05. "Under the Hat - 1:33
-06. "Flatwheel - 2:08
-07. "Reckoning Falls - 2:40
-08. "Swallow - 0:39
-09. "Move - 1:14
-10. "Steam Trader - 2:49
-11. "Understander - 2:43
-12. "Private Wire - 3:03
-13. "Cinder - 1:25
-14. "Distraction - 5:41
-15. "Signal - 3:33
-16. "This Ridge - 0:44
-17. "Idea for a Wagon - 3:21
-18. "More Silence - 4:02
-19. "Coat - 1:58
-20. "Gate Climbing - 5:31
-21. "Protector - 3:03
-22. "Visible Gap - 1:38
-23. "The Trunk - 4:03
-24. "[Untitled Track] - 2:08

Susanne Lewis (vocals); Steve Scholbe (guitar, hurdy-gurdy, clarinet, reeds, saxophone); Gordon Whitlow (guitar, mandolin, whistle, accordion, Fender Rhodes piano, organ, xylophone); Tom Katsimpalis (guitar, keyboards); Andy Kredt (guitar); James Gardner (flugelhorn, piano); C.W. Vrtacek (piano); Randy Yeates (keyboards, kalimba); Larry Wilson (drums, congas, bongos, percussion); Chris Cutler (percussion, electronics); William Sharpe (tapes).



Ray Draper - Ray Draper Quintet Featuring John Coltrane (1957)

Ray Draper - Ray Draper  Quintet Featuring John Coltrane (1957)
jazz | 1cd | eac-flac-cue-log-cover | 280MB
Ray Draper was only 17 when he led this date (all four of his sessions as a leader were made before he turned 20) and was brave (or foolhardy) enough to team up with tenor saxophonist John Coltrane (who was 14 years older and already a major name) in a quintet also including pianist Gil Coggins, bassist Spanky DeBrest, and drummer Larry Ritchie. Draper had ambitious dreams of making the tuba a major jazz solo instrument; the tuba/tenor front line is an unusual and generally successful sound, although Draper's solos on this reissue -- on three of his originals: Sonny Rollins' "Paul's Pal," the show tune "Under Paris Skies," and a tuba feature without Coltrane, "I Hadn't Anyone Till You" -- are clearly not on the same level as those of Coltrane or Coggin. One does admire Draper's courage, and it is a pity that he hardly recorded at all after 1960 because he had strong potential.

-1. "Clifford's Kappa" - 9:16
-2. "Filidia" - 7:16
-3. "Two Sons" - 5:24
-4. "Paul's Pal" - 7:14
-5. "Under Paris Skies" - 7:47
-6. "I Hadn't Anyone till You" - 3:05  

* Ray Draper (tuba)
* John Coltrane (tenor saxophone)
* Gil Coggins (piano)
* Larry Ritchie (drums)


06 April, 2012


Donald Byrd & Doug Watkins - The Transition Sessions (1955-56)

Donald Byrd & Doug Watkins - The Transition Sessions (1955-56)
jazz | 2cd | eac-flac-cue-log-cover | 700MB
Blue Note | connoisseur edition 24-bit SBM
This CD compilation collects three separate sessions recorded by Donald Byrd and Doug Watkins for Transition with various small groups. The 1955 recordings (first issued under the title Byrd's Eye View) were made shortly after Byrd replaced Kenny Dorham in the Jazz Messengers, all of whom (Horace Silver, Art Blakey, and Hank Mobley, along with Byrd and Watkins) are present, with the addition of local trumpeter Joe Gordon as a guest on two tracks. The half-dozen songs mix an improvised blues ("Doug's Blues"), a favorite from the swing era ("Crazy Rhythm"), a ballad feature for Byrd and Mobley ("Everything Happens to Me"), plus a pair of potent hard bop pieces contributed by the tenor saxophonist. The second session, recorded at engineer Stephen Fassett's Beacon Hill home, features two local musicians (pianist Ray Santisis and drummer Jimmy Zitano) joining Byrd and Watkins; it was first released as Byrd Blows on Beacon Hill. This set is heavily ballad-oriented, with the exception of the surprising choice of Joe Sullivan's "Little Rock Getaway." Byrd sits out both "People Will Say We're in Love" and "What's New." The final of the three sessions in this two-CD set marks the bassist's debut release (Watkins at Large), and it proves to be the most interesting. Hank Mobley, Kenny Burrell, Duke Jordan, and Art Taylor are on hand, with the music including a piece written for a 1953 movie soundtrack (Dmitri Tomkin's "Return to Paradise"), Thad Jones' pulsating "More of the Same," as well as originals contributed by both Burrell and Jordan. These three enjoyable but often overlooked studio dates from the early days of hard bop make this reissue well worth purchasing.

-01. "Doug's Blues" - Traditional - 12:09
-02. "El Sino" - Greenlea - 10:05
-03. "Crazy Rhythm" - Caesar, Kahn, Meyer - 7:37
-04. "Everything Happens to Me" - Adair, Dennis - 5:47
-05. "Hank's Other Tune (aka The Late Show)" - Mobley - 7:31
-06. "Hank's Tune" - Mobley - 7:44
-07. "Little Rock Getaway" - Sullivan - 7:05
-08. "Polka Dots and Moonbeams" - Burke, VanHeusen - 7:21
-09. "If I Love Again" - Murray, Oakland - 4:41
-10. "Stella by Starlight" - Washington, Young - 3:41
-01. "Return to Paradise" - Tiomkin - 12:50
-02. "Phinupi" - Burrell - 9:23
-03. "Phil T. McNasty's Blues" - Traditional - 4:56
-04. "More on the Same" - Jones - 10:04
-05. "Panonica" - Jordan - 3:51
-06. "People Will Say We're in Love" - Hammerstein, Rodgers - 3:39
-07. "What's New" - Burke, Haggart - 5:00

Donald Byrd, Joe Gordon (trumpet); Hank Mobley (tenor saxophone); Horace Silver, Ray Santisi, Duke Jordan (piano); Kenny Burrell (guitar); Doug Watkins (bass); Art Blakey, Art Taylor, Jim Zitano (drums).


Wiseblood - PTTM (Pedal to the Metal) (1991)

Wiseblood - PTTM (Pedal to the Metal) (1991)
rock | EP | eac-flac-cue-log-cover | 200MB
Wiseblood is an electronic noise-rock band formed by Clint Ruin (aka J. G. Thirlwell) and Roli Mosimann. In Ruin's words, Wiseblood is "violent macho American [music] made by non-Americans." The material tends toward the realm of the darkest and most sexual Foetus songs, with Mosimann's Swans lineage showing in the slow, crushing pacing of many tracks. Thematically, Wiseblood's lyrics center around the misanthropic exertion of power, typically via murder, sex or assault. Wiseblood existed on-and-off from the mid 1980s through early 1990s.
Ol’ Jim Foetus/J.G. Thirlwell strikes again, this time as Clint Ruin with former Swan Roli Mosimann for another Wiseblood effort, which finds them fusing blustery noir swing with enough sleaze to maintain an underside edge. PTTM opens with the jitterbug pummel of “Pedal To The Metal” (which could be construed as a title track-check the abbreviation), whose jazzy broadness gets exponentially magnified by the scat seaminess of the closing track, “Grease Nipples.” In between are the hip-hoppish wrenching rant of “Stop Trying To Tie Me” and the standout 9:50 “Hey Bop A Ree Bop”-a seething, creeping blues crawl where Ruin’s voice stretches from growl to screech, augmented by Dan Hovey’s eerie guitar, evoking an oppressive atmosphere Hazel Motes would feel at home in.

-1. "Pedal to the Metal" - Mosimann, Ruin - 4:47
-2. "Stop Trying to Tie Me" - Mosimann, Ruin - 5:50
-3. "Hey Bop a Ree Bop" - Mosimann, Ruin - 9:50
-4. "Grease Nipples" - Mosimann, Ruin - 4:30

03 April, 2012


Ketil Bjornstad - Before The Light (2001)

Ketil Bjornstad - Before The Light (2001)
jazz, soundtrack | 1cd | eac-flac-cue-log-cover | 370MB
Described by producer Shu-Fang Wang as "an imaginary soundtrack originally composed for a film story set in Taipei," Before the Light gives the music of ECM recording artist Ketil Bjørnstad a cinematic twist. For this album, the pianist has written a handful of romantic melodies and atmospheric moods. The former are presented in different arrangements scattered throughout the album; the latter often include guitar soundscapes and programmed rhythm tracks. Bjørnstad is accompanied by guitarist Eivind Aarset, viola player Nora Taksdal, and keyboardist Kjetil Bjerkestrand. Each one of these short pieces (none over six minutes) makes a melodic statement that could be qualified as being quintessential ECM. The reappearance of themes at different moments ("Before the Light," "Taipei Nights," "Cookie's Face") reinforces the impression of following a movie, but the settings show enough diversity to make the process something more than...a process. For example, the title track's melody is first stated with the full quartet as the album-opener, Aarset playing a David Torn-like electric guitar (soaring, yet angular). It comes back as soft viola and piano solos in number two and number three. The samples and loops evoke urban life in very clichéd ways (the film's plot involved a taxi driver) and surely are not this music's best feature. Listen instead to the beautiful "Shimmering," a duet between piano and electric guitar. A good album of film music (imaginary or not), Before the Light presents Bjørnstad's less-jazzy side.

-01. "Before the Light No. 1" - Bjornstad - 4:01
-02. "Alai's Room" - Bjornstad - 3:54
-03. "Intimacy" - Bjornstad - 4:52
-04. "Taipei Nights No. 1" - Bjornstad - 3:54
-05. "Before the Light No. 2" - Bjornstad - 4:33
-06. "Cookie's Face No. 1" - Bjornstad - 4:09
-07. "Cake's Taxi Dreams" - Bjornstad - 3:40
-08. "Seeing Things" - Bjornstad - 5:43
-09. "Behind the Mask" - Bjornstad - 3:09
-10. "Taipei Nights No. 2" - Bjornstad - 3:58
-11. "Before the Light No. 3" - Bjornstad - 2:57
-12. "Cookie's Face No. 2" - Bjornstad - 2:57
-13. "Underground" - Bjornstad - 3:44
-14. "Neon" - Bjornstad - 2:42
-15. "Taipei Nights No. 3" - Bjornstad - 2:45
-16. "Shimmering" - Bjornstad - 5:00
-17. "Before the Light No. 4" - Bjornstad - 4:03

* Ketil Bjornstad - piano and syntesizers
* Nora Taksdal - viola
* Kjetil Bjerkestrand - syntesizers, samplers, percussion
* Elvind Aarset - guitars



Hampton Hawes - Sermon (1958)

Hampton Hawes - Sermon (1958)
jazz | 1cd | eac-flac-cue-log-cover | 230MB
This set was pianist Hampton Hawes' last before he started what would be five years in prison on drug charges. He had been arrested 11 days before and ironically chose to record a set of spirituals (plus a blues) as he awaited trial. Not released until 1987, the music (played with bassist Leroy Vinnegar and drummer Stan Levey) is full of intense emotion, strong melodies and a little more variety than one might expect. Hawes' treatments of such tunes as "Down By the Riverside," "Nobody Knows the Trouble I've Seen," "When the Roll Is Called Up Yonder" and "Joshua Fit De Battle of Jericho" are quite haunting.

-1. "Down by the Riverside" - Barnes, Traditional - 4:44
-2. "Just a Closer Walk With Thee" - Traditional - 5:02
-3. "Swing Low, Sweet Chariot" - Baez, Christian, Haggard, Traditional - 4:55
-4. "Nobody Knows the Trouble I'veSeen" - Traditional - 4:55
-5. "When the Roll Is Called up Yonder" - Black, Traditional - 4:32
-6. "Go Down Moses" - Traditional - 4:36
-7. "Joshua Fit the Battle of Jericho" - Traditional - 3:56
-8. "Blues N/C" - Hawes - 8:47

* Hampton Hawes - piano
* Leroy Vinnegar - bass
* Stan Levey - drums



Assif Tsahar - Jam (2003)

Assif Tsahar - Jam (2003)
jazz | 1cd | eac-flac-cue-log-cover | 235MB
Hopscotch 21
There used to be an unwritten edict in the out jazz world: that music as much fun as this is to listen to had no business in the avant-garde catalog. Jam is the result of the combined talent of sax great Assif Tsahar, drum ace Jim Black, and violin maestro Mat Maneri. Over nine sections and 52 minutes, rhythmic invention meets knotty harmonic elocution and microtonal interplay in a kind of South Park-meets-Art Ensemble zeitgeist. Humor, as well as innovation in musical communication, all become part of some weave that touches upon the past, burrows out from the present, and flies into the future. Deep listening and well-articulated sonic speech are all hallmarks of the union of three very different yet complementary personages who explore together the spaces of dynamic and rhythm as they let loose the questions surrounding the textural possibilities of their instruments, together and separately. This is a jam in that it feels loose and free and unencumbered by anything other than speaking directly and warmly, and as the result of wonderfully innovative discourse whose meaning will no doubt be revealed to the listener in the decades to come. But that doesn't mean there is anything concrete or difficult to listen to in this music. Its' grace and elegance move it around so often, and with so much wit and savvy, it almost feels composed. Wondrous stuff from a great label.

-1. "Jam, Pt. 1" - Black, Maneri, Tsahar - 6:39
-2. "Jam, Pt. 2" - Black, Maneri, Tsahar - 4:56
-3. "Jam, Pt. 3" - Black, Maneri, Tsahar - 7:02
-4. "Jam, Pt. 4" - Black, Maneri, Tsahar - 6:06
-5. "Jam, Pt. 5" - Black, Maneri, Tsahar - 4:24
-6. "Jam, Pt. 6" - Black, Maneri, Tsahar - 5:41
-7. "Jam, Pt. 7" - Black, Maneri, Tsahar - 3:33
-8. "Jam, Pt. 8" - Black, Maneri, Tsahar - 5:10
-9. "Jam, Pt. 9" - Black, Maneri, Tsahar - 8:10

* Assif Tsahar - tenor sax, bass clarinet
* Mat Maneri - electtric 5 string violin
* Jim Black - percussion



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