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Funkiwala Records presents the third in the series of "Lokkhi Terra meets"albums, with the London fusionistas creating another unique sound-clash, this time with ex-Fela Kuti keyboardist and legendary UK Afro-beat ambassador Dele Sosimi, and members of his critically acclaimed Afro-beat Orchestra.

This particular collaboration has been bubbling away for a few years now, teasing audience expectations with a handful of sold out shows each year in between both bands busy schedules.
Featuring the two pianos of Kishon Khan and Dele Sosimi – Cuban percussionists/vocalists Geraldo De Armas (Yoruba Andabo), Oreste Noda (Ariwo), Javier Camilo (Ibrahim Ferrer) - a horn section led by Justin Thurgur (Bellowhead) featuring Yelfris Valdes (Sierra Maestra) and Graeme Flowers (Kyle Eastwood) to name a few – this is an All-star cast.

Kishon Khan's Lokkhi Terra have over a number of years now been quietly establishing themselves as one of London's more unusual heavyweight outfits, described as "Stunning Headliners… A majestic multi-cultural blend of sounds… effortlessly builds bridges between rolling Indian raga rhythms, Afro-Cuban grooves, Acid Jazz/funk and free flowing improvisation" (Timeout London). Included amongst the band members are London's top Cuban musicians, adding their infectious rich musical history to the city's melting pot.
When the band wanted to explore Cuban links with another of their favourite traditions, Afrobeat, who better to bring in then one of the Afrobeat originators – maestro Dele Sosimi – "Sosimi creates some of the most bewitching grooves in modern African music" E Jazz News.
Bringing together two Yoruba speaking musics - with different accents, from different sides of the Atlantic - Havana meets Lagos in London – A Cuban-Afrobeat-Experience. CUBAFROBEAT.

Previously unreleased recordings by various lineups drawn from Derek Bailey, Tristan Honsinger, Christine Jeffrey, Toshinori Kondo, Charlie Morrow, David Toop, Maarten Altena, Georgie Born, Lindsay Cooper, Steve Lacy, Radu Malfatti and Jamie Muir.

Journalists often make the brief history of Free Improvisation conform to the idea that the history of music is a nice straight line from past to present: Beethoven… Brahms… Boulez. Thus Derek Bailey, Evan Parker and John Stevens — together with Brötzmann and co across the Channel — were the trailblazing ‘first generation’, forging a wholly new language alongside contemporary avant-garde and free jazz. Figures like Toshinori Kondo and David Toop, willing as they were to incorporate snippets of all kinds of music, were the pesky ‘second generation’, happily cocking a snook at the ‘ideological purity’ of Bailey’s non-idiomatic improvisation.
‘Company 1981’ shows up the foolishness — the wrongness — of such storylines. Check the eclectic collection of guests Bailey invited to Company Weeks over the years. He had clear ideas about the music, but he was no ideological purist.

One of the founders of Fluxus, Charlie Morrow injects blasts of Cageian fun into half the recordings here, whether blurting military fanfares from his trumpet, or intoning far-flung scraps of speech. Cellist Tristan Honsinger and vocalist Christine Jeffrey join in the joyful glossolalia, while Bailey, Toop and Kondo contribute delicious, delicate, hooligan arabesques, by turns.
The remainder are performed by a different ensemble: Bailey, bassist Maarten Altena, former Henry Cow members Georgie Born and Lindsay Cooper on cello and bassoon, the insanely inventive Jamie Muir on percussion, and trombonist Radu Malfatti, showing his mastery of extended technique. Were that not enough, there’s the inimitable purity of Steve Lacy’s soprano ringing high and clear above the melee. Glorious!

There’s always been this idea that Free Improvisation is somehow Difficult Listening, but when the doors of perception are thrown open and prejudice cast aside, you realise that it’s not difficult at all. “Is it that easy?” chirps Morrow, at one point. Indeed it is.
Enjoy yourself.

It's 2020, it's virus season. For our first release on Kommerz Records we asked seven techno and house producers, we admire, to contribute six songs to listen to at home, rather than on the dance floor (as those are closed down up to this day). The result are six jazzy downtempo songs by DJ Piper of techno's most hyped live act Fjaak, Glenn Astro & Hodini, Cuthead, O-Wells aka Orson Wells, Manuel Fischer and Qnete. Holla @ our first compilation "Kommerz Season 1: Anti-Virus". "Kommerz Season" will be an ongoing compilation series, which we consider as one core of the label. We will use each season to showcase a new and unexpected take on beat making and instrumental music. "Kommerz Season" pays respect to the producers behind the music.

"Kommerz Season 1: Anti-Virus" was a spontaneous idea (as we didn't expect any of this Corona madness). Since we knew many techno and house producers share our love for instrumental hip-hop and downtempo music (while being stuck at home, too) we started to ask around friends and friends of friends. The tracks contributed by this deluxe cast speak for themselves. on our label's very first release.

Being aware this record features an all male and all white line-up we acknowledge our responsibility as a record label to work towards diversity in music. Our future discography can be held proof for that. Right now we're working on "Kommerz Season 2" featuring a diverse, 100% womxn line-up. Additionally, we're donating 10% of our benefits from "Season 1" to "No Shade", a Berlin-based collective running club nights and DJ training programs for female, non-binary and trans DJs with a strong focus on racial diversity.

This is Dorothy Ashby's debut album, originally released in 1957 by the Regent label. Recognized as the woman who gave the harp a Jazz Voice, here Ashby is at the head of a highly distinctive combo featuring Frank Wess on flute, Eddie Jones or Wendell Marshall on bass and master Ed Thigpen on drums. The Jazz Harpist is an unprecedented mix of evocative classic sounds and jazz soul, awarded by Allmusic as her first and best album, period!

Sealed original copies of the Horace Tapscott's 'The Tapscott Sessions' solo piano series, released on Nimbus West Records ‎from 1982 to 1984. Horace Tapscott has been one of the top "unknown" jazz pianists in the Los Angeles area since the 1960s, recording far too few sessions which has led to him being continually overlooked by jazz fans from outside L.A. During 1982-84 he recorded seven solo piano albums for the tiny Nimbus label, playing unaccompanied solos, his improvisations consist of deeply emotional exploration of his music. Tapscott has always had a strikingly original sound that, despite occasional hints at other pianists, is quite distinctive, falling between advanced hard bop and the avant-garde. Totally Essential.




Jazz, with its many iterations and forms, has always been a music on the move - its own changes and evolutions mirroring a flux in the perception of what is and was. This is all too evident when addressing its avant-garde realisations, particularly those rising across the 1960s and 70s - free and spiritual - musics which were both of their moment and beyond them - of a specific people, culture, social reality, philosophy, and political position, while transcending each. These radical sounds have rarely received the wide understanding, recognition, and appreciation in their own time. Thankfully, we have have hindsight. Historical Avant-garde jazz, springing from African American communities and taking seed in every corner of the globe, is increasingly celebrated for the seminal music is was and remains, but there’s still plenty of work to be done, especially when addressing the long standing rift in the United States which favours the east coast over the west.

When it came to playing soul jazz with organ combos, jamming bebop with a quartet, caressing ballads or coming up with fresh approaches to Latin jazz and spirituals, the versatile Grant Green was at the top of his field. Among his many recordings, his most vital and adventurous remains Idle Moments. With such inspiring sidemen as Joe Henderson, Bobby Hutcherson and Duke Pearson, Green is heard at the absolute apex of his creativity throughout this stunning set.

He builds up statements like a masterful speaker, sounds both passionate and thoughtful at every tempo, and never runs out of brilliant and personal ideas to express. Every phrase leads to the next one yet all of his solos are spontaneous. While the other musicians are inspired and in top form, Idle Moments is particularly notable as the height of Grant Green’s musical genius!

A new ship of fools sails on Bolombia lands! These strange people seem to celebrate the whole jazz universe and african idioms, but they've never been in Africa. The great continent, more than physical, is a mental place of encounter and psychedelic skids. Neurotic and schizoid sorcerers, a furious wind drags them towards the total effervescence of the groove: an unprecedented cauldron of dangerous substances, hybrid styles and influences mixed with secret recipe. Their music is an explosive bubble of expressions, a feverish, impulsive and unstoppable ritual. A cosmic attitude, such as Heliocentrics or Embryo, marries the majestic and floating sounds of synths and psych organs, acidified by toxic dub sparks and deadly funk forays. A crazy horn section travels without maps from Sun-Ra and Ethiopian echoes, hard-bop reminiscenses, to sudden and virulent Balkanisms, making this soup an indecipherable combination of flavors.

This is Jack Wilson's debut album as a bandleader, originally released in 1963 for Atlantic label, featuring a young Roy Ayers on vibraphone, bassist Al McKibbons and drummer Nick Martinis. Jack Wilson was a fine and often underrated pianist and composer who played with many great names such as Gene Ammons, Jacki Mclean, Esther Phillips, Lou Rawls, Johnny Griffin, Ertha Kitt, Lambert Hendricks & Ross, Antonio Carlos Jobim... This is a lively studio session opening up with a beautiful rendition of Jobim's classic "Corcovado" and followed by WIlson's five originals. A great debut album full of warm, sophisticated and yet highly dynamic Jazz vibes.

The incredible sonic beauty of the Sphincter Ensemble results from musical spontaneity, a random jam session undertaken by a loose group of friends in the unlikely setting of the
Harrovian Club in Barnes, west London, on 2 January 1972. The sumptuous free jazz/prog rock/avant-classical fusion features top session players at their peak, with Trevor Morais’
funky drumming loosely tied to Quatermass bassist John Gustafson’s rough melodic lines, embellished by Anne Odell’s far-out synths, Martyn Ford’s French horn and arrangements by Elton John’s orchestrator, Paul Buckmaster. This hugely enjoyable rarity is appearing on vinyl here for the very first time—a thing of wonder for all discerning prog fans.

Lancaster had initially cut his musical teeth with the avant-garde on New York’s Lower East Side in the 1960s (famously on sessions with pianist Dave Burrell and drummer Sunny Murray) and in Paris during the ‘70s after an appearance at the Actuel festival but, throughout his career, his path was built around community engagement, positivity and “the Philly jazz sound, Germantown style.” He became an ambassador for the music of the City Of Brotherly Love, starting his own Dogtown label, helping launch the Philly Jazz imprint and campaigning tirelessly to improve the circumstances of the city’s street musicians. Lancaster’s sessions for Black Fire were planned following a gig at Caverns Jazz Club in Washington DC. “Jimmy Gray of Black Fire and I originally met during the ‘riotous blisters’ of the late Sixties there,” explained Lancaster. “We became the best of friends.” Backed by a band of Philly musicians including percussionist Keno Speller and Baba Robert Crowder (drummer for Olatunji and Art Blakey), the album also featured the Drummers From Ibadan led by Tunde Kuboye, another influential figure dedicated to community jazz with whom Lancaster had bonded while teaching in Lagos. The result was a free-flowing set of spirituality and positivity, built around full band groove workouts, solo pieces and heavy African roots. “We had big fun documenting this music,” remembered Lancaster. The message of the album remains as relevant today as ever, “I dedicate this album to all African Americans in the USA. To the youth, I ask ‘What does it profit a man to gain the whole world and lose his soul?’”

Ma Rainey’s Black Bottom is the official soundtrack to the 2020 Netflix original film of the same name about “Mother of the Blues” Ma Rainey. The album features score music by critically-acclaimed saxophonist, instrumentalist, composer, bandleader and educator Branford Marsalis, as well as newly-recorded covers of both popular Ma Rainey tracks and blues and jazz standards from the era. The multi-GRAMMY Award® winner brings over four decades of experience across stylistic boundaries to the project, imbuing the film with an authentic 1920s Chicago soundscape. The film was directed by George C. Wolfe and stars Viola Davis and Chadwick Boseman. It is lauded by critics and moviegoers alike, and it is expected that Ma Rainey’s Black Bottom will be a favorite at many 2021 award ceremonies. Ma Rainey’s Black Bottom is available to watch on Netflix now.

Mats Gustafsson - Flute, baritone sax, live electronics, Johan Berthling - Electric bass, Andreas Werliin - Drums with Goran Kajfes - Quartertone trumpet, Mats Aleklint - Trombone, sousaphone, horn arrangements. Fire! tracking new paths and reaching new levels of excellence, still honoring their 12 year old vow of presenting a fresh approach to improvised music. Their debut album, You Liked Me Five Minutes Ago, was released in 2009 to wide international acclaim. "The basic strategy of pairing the expressive energy of free jazz with a sturdy sense of groove has yielded something potent and self-contained" (New York Times). Between this and Defeat there's been five albums, including collaborations with Jim O'Rourke (Unreleased?, 2011) and Oren Ambarchi (In The Mouth A Hand, 2012). No two Fire! records sound the same, but with Defeat they have taken their biggest leap so far, with Gustafsson giving the flute a prominent place in the sound image, a surprising and most successful move, his both expressive and ornamental approach given ample room to breathe, especially on the two long tracks bookending the album. In places more subdued than on previous efforts, but with the distinctive bass figures and hypnotic mood fully intact. There are some lively stretches with guests Goran Kajfes and Mats Aleklint, bringing to mind their big band offshoot Fire! Orchestra, albeit on a smaller scale. For over 20 years we have made a habit of releasing music that is beyond easy classification, in later years typified by Hedvig Mollestad, Elephant9 and Krokofant, but cemented by Fire! and their exploratory curiosity and deep love of music in general. We, and many others, have tried to compare the trio to other groups, but listening to Defeat we realize how futile this is. Given the above there's no doubt there are many influences at play, but the resulting brew is in a class by itself.

"On March 2, 1991 Serge Gainsbourg bowed out and left France orphaned by one of the most important singer-songwriters of French song. Thirty years later, his songs are still with us, proof of their quality. Indeed, beyond the many successes that have marked a career spanning more than thirty years, Gainsbourg's repertoire is abundantly rich. Always at the forefront of innovation, he has been able to adapt his delicate and classical writing with the most modern musical styles: jazz, reggae, funk ... without ever losing his eloquence or his soul. This 2LP Set sends us back and shows how Serge Gainsbourg was an emblematic and major figure.Reviews L’Echo, London Macadam,
ADS - L’Echo, London Macadam"

mex is a non-profit-organization for intermedia and experimental music projects, located in Dortmund, Germany. Since 1992 more than 650 musicians and media artists from around the world presented their subtle, noisy, improvised or conceptual works. mex’s traditional venue for those projects of concerts in combination with performance, video and intermedia, is the mexKeller at the Künstlerhaus with it’s special acoustic and atmosphere. Jens Brand began inviting artists and later Maija Julius went on until Achim Zepezauer took over in 2015. mex is a member of Medienwerk NRW. Kindly supported by: Department of cultural affairs of the City of Dortmund, Pro Jazz e.V. and Künstlerhaus Dortmund.

The artists featured on this sampler were guests within the curation of Achim Zepezauer and performed live for the mex audience between 2013 & 2019. Due to global pandemic conditions mex was unable to host any concerts in 2020 and therefore decided to release this special compilation in cooperation with the label Ana Ott.

Brainstory is back with a pairing of tunes that the world's top sommelier couldn't hold a candle to. This gorgeous two-sider features the two vocal songs from their otherwise instrumental forthcoming EP, Ripe. On Side A, Seasons showcase Brainstory's sunny California soul and mixes in a touch of Roy Ayers east coast energy. The result is an infectious and uplifting tune penned at the beginning of quarantine with the hope of finding a brightside in the trouble the world is facing. Sibe B, Bye Bye, is another stone cold B side ballad from the group that gave us Dead End. The Darling Dears of Rialto have recorded what is sure to become another staple in sweet soul sets around the globe. But, in true Brainstory fashion this tune is uniquely theirs. Elements of psych, hip hop and jazz distance it from their soul-loving peers.

We were playing the track ‘Common Ground’ out and it was getting the dance floor hot! It was an instrumental at the time and Renato Paris was in the dance (a singer that EVM has been working with, plays keys with Moses Boyd and is one of Gilles Peterson's one to watch) he came up and asked, “What's This?” grabbed the mic, peak time and layed down this dope freestyle vocal, it was a jaw drop kinda moment for us all! That was it, we had to make it happen! So we linked up Renato and Duke and it became the lead track on the EP. An infectious song that literally drips in soul and future R&B, and just fits perfectly over the strings on this killer broken beat track! It’s one that will stick in your head and make you play it twice!

The whole EP is nothing short of quality. From the sultry jazzy Bruk vibes of '2017 Heat Wave' to the monstrous club track ‘ Nighthawks’ an up front stomper with live drums and a bassline that'll make you shiver inside that funky top line.

‘Got My 606 Back’ has been getting rinsed by the Summer dance Forever crew’s KC The Funkaholic and was well received by dancers worldwide when it was used for an SDF promo earlier in the year. We’ve since had many of them asking when this is coming out! This one is a real body mover, sweat towel advised!

Finishing up on ‘IFZ Shuffle’ a wicked little house shuffler that almost takes you back to the 90’s. It has this sweet piano breakdown that then introduces synths and congas until the groove kicks back in again. This track and the whole EP for that matter, works in a multitude of situations. It wont fail!

"Do you feel what I feel too?" Brijean Murphy floats the question at the start of Feelings, the full-length Ghostly International debut from Brijean, her collaborative project with Doug Stuart. Guided by a lush mix of charismatic keyboard chords, grooving bass lines, and radiant bongo-driven rhythms, the "Day Dreaming" lyric doubles as an invitation and a statement of intention. Brijean want you to move, physically, mentally, dimensionally; this is dance music for the mind, body, and soul. With Feelings, they've manifested a gentle collective space for respite, for self-reflection, for self-care, for uninhibited imagination and new possibilities. The album cultivates a specific vibe, a softness Murphy has come to call "romancing the psyche." Growing up in a family immersed in jazz, Latin and soul music, Murphy would become an accomplished DJ, session and live player in Oakland's diverse music scene and one of indie's most in-demand percussionists (Poolside, Toro Y Moi, U.S. Girls). In 2018, she began recording songs with multi-instrumentalist and producer Doug Stuart, who shares a background in jazz and pop in bands such as Bells Atlas, Meernaa, and Luke Temple. Following their first sessions, which resulted in the mini-album Walkie Talkie (released in 2019 on Native Cat Recordings), the duo continued freeform hangs in Oakland, inviting friends Chaz Bear, Tony Peppers, and Hamir Atwal. "We improvised on different feels for hours," says Murphy. "Nothing quite developed at first but we had seeds. We re-opened the sessions a couple months later, after returning from tours, and spent a month developing the songs in a little 400 square foot cottage." Aforementioned album opener "Day Dreaming" is a dynamic celebration of newness: the excitement in finding deeper understandings of yourself as you get to know someone, something, or somewhere new. "Wifi Beach" drops a pin in pure psych-pop exotica. With Atwal on drums, Stuart on bass, Peppers on keys, and Bear engineering, the group improvised the track's intro sequence based on the vision of a lavish 1970s pool party. Establishing the scene is a mid-frequency drum kit disco shuffle augmented by tight congas and timbale effect, as Murphy sings in spurts: "I want to be / Deep in love / I want to be / Say you love me too / I want to be / Honey." The stanzas cut between "reflective moments of wants and being overwhelmed by feelings of the present," she explains. "A lot of the `love songs' I write are to my psyche, self-reflections on how to encourage tender perspectives and make more time for the sweet stuff." Though there is a loose, dance-oriented motif throughout, the material gives way to somnolent turns. On "Ocean," Brijean's anodyne lyrics, reminiscent of Astrud Gilberto's airy croon, float atop a brushed drum pattern, sparkling rhodes lines, and pittering and softly funky woodblock bops. The opening line sets up the rest, "In this gentle space we lay" _ among the album's propensity for movement, tracks like "Ocean" stand out by leaning back for momentary sways of blissful introspection. Murphy calls the charming "Hey Boy" a "psychedelic guide _ the exploration of finding what feels good _ through sorrow, anxiety, apathy." This mentality applies to Feelings on the whole: in these nebulous and verdant worlds of hazy melodies, feathery hooks, and percussive details, the songs simply want us to feel alive. They radiate in wonderful abandon and with a sense of devotion to the self. RIYL: Stereolab, Astrud Gilberto, Air, Little Dragon, Broadcast, Khruangbin, Poolside.

LTD. BLUE & PINK SWIRL VINYL

"Do you feel what I feel too?" Brijean Murphy floats the question at the start of Feelings, the full-length Ghostly International debut from Brijean, her collaborative project with Doug Stuart. Guided by a lush mix of charismatic keyboard chords, grooving bass lines, and radiant bongo-driven rhythms, the "Day Dreaming" lyric doubles as an invitation and a statement of intention. Brijean want you to move, physically, mentally, dimensionally; this is dance music for the mind, body, and soul. With Feelings, they've manifested a gentle collective space for respite, for self-reflection, for self-care, for uninhibited imagination and new possibilities. The album cultivates a specific vibe, a softness Murphy has come to call "romancing the psyche." Growing up in a family immersed in jazz, Latin and soul music, Murphy would become an accomplished DJ, session and live player in Oakland's diverse music scene and one of indie's most in-demand percussionists (Poolside, Toro Y Moi, U.S. Girls). In 2018, she began recording songs with multi-instrumentalist and producer Doug Stuart, who shares a background in jazz and pop in bands such as Bells Atlas, Meernaa, and Luke Temple. Following their first sessions, which resulted in the mini-album Walkie Talkie (released in 2019 on Native Cat Recordings), the duo continued freeform hangs in Oakland, inviting friends Chaz Bear, Tony Peppers, and Hamir Atwal. "We improvised on different feels for hours," says Murphy. "Nothing quite developed at first but we had seeds. We re-opened the sessions a couple months later, after returning from tours, and spent a month developing the songs in a little 400 square foot cottage." Aforementioned album opener "Day Dreaming" is a dynamic celebration of newness: the excitement in finding deeper understandings of yourself as you get to know someone, something, or somewhere new. "Wifi Beach" drops a pin in pure psych-pop exotica. With Atwal on drums, Stuart on bass, Peppers on keys, and Bear engineering, the group improvised the track's intro sequence based on the vision of a lavish 1970s pool party. Establishing the scene is a mid-frequency drum kit disco shuffle augmented by tight congas and timbale effect, as Murphy sings in spurts: "I want to be / Deep in love / I want to be / Say you love me too / I want to be / Honey." The stanzas cut between "reflective moments of wants and being overwhelmed by feelings of the present," she explains. "A lot of the `love songs' I write are to my psyche, self-reflections on how to encourage tender perspectives and make more time for the sweet stuff." Though there is a loose, dance-oriented motif throughout, the material gives way to somnolent turns. On "Ocean," Brijean's anodyne lyrics, reminiscent of Astrud Gilberto's airy croon, float atop a brushed drum pattern, sparkling rhodes lines, and pittering and softly funky woodblock bops. The opening line sets up the rest, "In this gentle space we lay" _ among the album's propensity for movement, tracks like "Ocean" stand out by leaning back for momentary sways of blissful introspection. Murphy calls the charming "Hey Boy" a "psychedelic guide _ the exploration of finding what feels good _ through sorrow, anxiety, apathy." This mentality applies to Feelings on the whole: in these nebulous and verdant worlds of hazy melodies, feathery hooks, and percussive details, the songs simply want us to feel alive. They radiate in wonderful abandon and with a sense of devotion to the self. RIYL: Stereolab, Astrud Gilberto, Air, Little Dragon, Broadcast, Khruangbin, Poolside.

Yellow Vinyl

Hawaii's legendary Latin superstar Rolando Sanchez & Salsa Hawaii's smash hit "ALOHA MAMBO" Vinyl 7" EP will be released worldwide after its debut in Japan. The jacket illustration by Tammy Yee invites you to a Latin Paradise in Honolulu as you groove to vibrant Latin beats, island-style.

Rolando Sanchez
Rolando Sanchez & Salsa Hawaii
Rolando Sanchez is an award-winning songwriter/producer of Hawaii's leading Latin Jazz, Latin Rock, Salsa percussionists, singer-songwriters, and the owner of RSC Music. Originally from Nicaragua, he began his career in the suburbs of San Francisco and moved to Hawaii in 1984.

He has shared the stage with many of the best of Latin musicians including Tito Puente, Pet & Sheila Escovedo, and regularly appears at BLUE NOTE HAWAII, a mecca of island jazz. In addition, he hosts a live radio show, "LA ONDA LATINA," every Sunday on KNDI-AM1270, featuring the hottest mix of Latin Music in the islands.

He is a leader in the Hawaii-Latino world that connects his hometown of Nicaragua in Central America, to New York, California and Hawaii with a Latin sound infused with island flavors.

‘We tend to do the free jazz sessions right at the end of long tours,’ Baldi says, ‘or after making other records, so it’s a nice break from the more
regimented song forms that the other bands have, or from playing the
same songs every night on tour.’
For Baldi & Gerycz, free jazz is a release - something to break apart stretches of familiar songwriting - and because of that, there’s a lot of joy in these recordings - see the raucous album closer ‘The Holy Retrievers (In Transit).’ Admittedly After Commodore Perry Service Plaza is a bittersweet collection, though - compiled from the final session Baldi & Gerycz recorded in person.
As such, it’s a cherished memory - it’s also kindling for creation - those original feelings inspire the duo to find novel ways to collaborate, even perform.