lunes, 25 de julio de 2016



‘Agartha’ is the fourth studio album by Finnish group, ODDARRANG and their second for Edition Records. 

Taking its name from the legendary world that is said to reside
in the Earth's core, ‘Agartha’ is raw, full of life and profound;
beautiful, elevating and primal.

OUT 23rd SEPT 2016

Finnish quintet Oddarrang has established itself as a band with an undeniably unique sound – blending monumental riffs and dynamic builds with heart-wrenching, anthemic melodies that soar over a compelling and absorbing rhythmical drive. ‘Agartha’ pushes that emotion and potency to new levels with earworm melodies you’re sure you’ve heard before and driving rhythms sent pulsing through your veins.

Brave in conception and epic in execution, this music wells from the same melancholic Nordic spring that feeds the likes of Sigur Rós & Supersilent, adding the folky, post-rock influences of Mogwai and the electronic sound sculptures of Boards of Canada.

As Olavi explains: ‘Agartha has taken on a new energy for us. The writing and recording process was so rewarding and inspiring for us all. We’re very happy with the new music. For the band, the music is special, it’s part of all of us and brings together our own personal tastes and vision for the music. Now, we can’t wait for ou fans and new fans to hear it’.

Clocking in just shy of 40 minutes, the five-track album ‘Agartha’ takes its name from the legendary world that is said to reside in the Earth's core. With a unique blend of cello and trombone, soaring vocals and electronic soundscapes fusing with the magma intensity of guitar, bass and drums, this is music that achieves profound beauty: elevating and primal.

18th NOV 2016
(Double bill with Slowly Rolling Camera)

Steve Cohn New Release “ANSPRUCHSVOLL” (2016) + Dissident Arts Festival Appearance (JAZZ PROMO SERVICES)

Pianist Steve Cohn
New Unseen Rain Release
Plus Appearance At
The Dissident Arts Festival
Saturday, August 13, 2016 10:00pm
@ El Taller Latino Americano 
@Artspace PS109   
215 East 99 Street
New York NY 10029  
(212) 665-9460 

The New York Free Quartet presents
Steve Cohn’s
“Abstract Meets the Fundamental”
Steve Cohn-piano, shakuhachi, trombone, percussion; Michael Moss-saxophones, bass clarinet, flute; Larry Roland-upright bass; Chuck Fertal-drumset

About Steve Cohn

Music, art and poetry surge through the spirit of pianist & Shakuhachi innovator Steven Louis Cohn. Creatively he is unchained with a distinct virtuosity that has evolved over time. The unrestricted aspect of his improvisation has not confined him artistically. His talent has been admired and recognized by conventional outlets as well. Steve has conducted master classes at the Paris National Conservatory and has had his compositions commissioned for performance with the Wantanbe Dance Company in Japan. Cohn has been awarded performance grants from the NJ Council of the Arts, performed at ‘Ottawa Jazz Festival (’88 & 2000), Fiesta International USSR. Cohesively, Steve has worked with a number of well-renown musicians: Reggie Workman, Jason Hwang, William Parker Tom Varner, Fred Hopkins, Karl Berger, Oliver Lake, Barry Altschul; Bob Stewart. His invitation to be a part of the Movement meets Musician’s in Amsterdam infused dance and live painting with his music. Cohn’s journey is filled with intrigue and discovery as we chart his professional experience.

A San Francisco native, Steve began playing piano at the age of 8, while uncovering that he had a natural gift, he only became more serious about his craft as a teenager. Influenced by musicians such as Santana, Simon Garfunkel, The Supremes, Led Zeppelin & Howling Wolf Steve’s appreciation for a spectrum of music was imprinted from the start. Cohn’s early musical career began with a spontaneous introduction to the blues in high school. His concentration on creative expression was further piqued by Cohn’s arrival at UCLA in ‘71. The campus ethno-music program and multinational population ignited Steve’s fascination with world instruments. It ultimately led to his study of the Shakuhachi flute during his early undergraduate years. Cohn spent two years in Japan immersing himself in the culture. He later returned to the states and began studying classical piano & 20th century music at San Francisco State University with Pulitzer Prize winner, Wayne Peterson. Here, he further cultivated his affinity for Jazz. Cohn’s brilliance gave way to collaborations with the likes of Sonny Simmons & Eddie Henderson.

 When asked to explain his approach to music Cohn remarks, “We don’t plan the music you don’t have to contrive it stands on its own without having to say anything. With my music I know the theory but I start on an unconscious level.” Yearning to expand his musical direction and innovate, Cohn threw away his musical map and plunged totally into improvisational music. He moved to New York City in ‘82 which gave way to performance highlights in New York’s Miller Theater for the New Works October Series. He has also performed at The Newport JVC Festival, Sweet Basil, The Great American Music Hall; Greenwich Village Jazz Festival. The heights of Steve’s improvisation soared as he taught himself how to extend the margins of traditional Shakuhachi playing. That same impulsive element is at the origin of his art work. A packet of felt “Pentel” pens given to him by his mother sparked his desire to paint and sketch. 

His earliest drawings began with an abstract interpretation of tarot cards. Today, Steve has numerous oil pastels, ink, charcoal, and watercolor pieces in his gallery. Each one is filled with the variation, complexity and theoretical elements that trace his music. Some have compared Cohn’s sound to the sense of floating in space while watching meteors zoom by. The musical landscape in New York became saturated by the end of the 90’s and began to stifle Cohn’s ingenuity. Steve travelled to Europe where he ended up performing primarily in Paris with 2 trios under his leadership. The first one featured Bass Player Stefan Kereki. The other trio with Bass Player J.J. Avenel & on drums John Betsch. His European tour further included a 2008 Amsterdam and Leiden Holland festival/ work-shops and 2010-Prague Shakuhachi Festival. Steve has toured in Chicago 3 times from 2008-2011 working closely in concert venues and recording session with artist Jimmy Bennington, Guillermo Gregorio, Jeff Marx, Dushon Mosely among others. 

Most recently in 2012 thru 2015 Cohn collaborated with producer Doc Holiday in Norfolk Virginia and Nashville Tennessee for the release of “Electric Jazz Opus" in studio recording, "Please Leave a Message" and soon to be released "Spokenash".  Collectively, Steve’s untethered passion to stretch the musical landscape remains. His adventures in the arena of abstract continue. He is still innovating classical and jazz standards with novel interpretation. Cohn uncovers new levels of improvisation that cast intrigue. That is the magic of his legacy. 

New CD

He definitely has bop in his bones, ...... just a joy to behold, while deep thought and ruminations permeate. Music form background and foreground moving back and forth in focus.  - George W. Harris - Jazz Weekly

.....remarkable and highly unique CD. - Jan van Leersum  -

 .....frequently playful without succumbing to quirk,  The impulse to emote stems from his lyricism, but he’s also capable of tough note clusters and assorted advanced ideas. - Joseph Neff -

.....moving, and magical. There's Mary Lou W, Bud Powell, Ursula Oppens, and Steve Cohn!
- Anthony Martin - Light Artist

You can tell from the artsy angle on hand here that he’s just the right cat to give master classes in Paris where the abstruse is hardly angular.  This is a fast ball down the middle for the Sunday afternoon arts council music gang.
- CHRIS SPECTOR, Editor and Publisher

a "total music" that is an emblem of what is the world of sounds today.  
- By Vittorio Lo Conte

Steve Cohn - solo piano 
(Unseenrain Records UR9983) Street Date: May 6, 2016

ANSPRUCHSVOLL – An exquisite recording of solo piano improvisations,  alternately rhapsodic, pointillistic, reflective, gregarious, yet always Cohn. The hidden marriage of jazz and new music is always lurking beneath Steve's flowing pianism.

At every turn, Cohn surprises and exceeds expectations. Puns and wisps of ideas run through everything. Stutterstep syncopation becomes a uniting factor in a broad range of perspectives... Steve Cohn makes a place for himself among his contemporaries with this recording. He sits very comfortably next to Matthew Shipp or Ethan Iverson of The Bad Plus. Brad Fasnacht, freelance writer in Chicago, former contributing editor, New York Press

Ever innovative, pianist Steve Cohn has developed a unique style of improvisation over the course of his career which has taken him across styles of jazz as well as around the world. With over 25 recordings in his name, Steve has played with the likes of Eddie Henderson, Sonny Simmons, Reggie Workman, Barry Altschul, Oliver Lake, Fred Hopkins, Bruce Ditmas, Denis Charles, William Parker, Bob Stewart, Frank Lowe ,Karl Berger, Steve Lacy among many others. He has performed his own works at venues such as New York City’s Miller Theatre, the Newport JVC Festival, the Great American Music Hall, World Shakuhachi Festivals and other festivals and tours in Europe, Estonia, Japan, Canada, Mexico and the USA.

He has conducted master classes (including the Paris National Conservatory) and has received grants from Arts International, Meet the Composer, and the New Jersey State Council on the Arts. Two of his recordings, SUFI DANCERS and ITTEKIMASU, received four star ratings in Downbeat Magazine and placed on the list of top ten releases in Cadence Magazine. THE BEGGAR AND THE ROBOT IN DIAMONDS was also chosen on the “Top Ten List” by Tracking Angle. His recordings, BRIDGE OVER THE X-STREAM, THE BLAIR RECORDINGS, WIRE, IRO IRO and many more have also received much acclaim.

“Cohn’s intricate counterpoint and drama-infused harmonies are equally efective on muscular jazz-hued sprints and pointillistic passages. There are few American pianists who have Cohn’s talents” Bill Shoemaker, Downbeat Magazine 

" Cohn's playing is hypnotic and remarkable throughout. He is a true original." — Robert Spencer, Cadence Magazine

AVAILABLE FROM: CDBaby, Itunes and Amazon and direct from Steve Cohn: write to

Media Contact

272 State Route 94 South #1, Warwick, NY 10990-3363
Ph: 845-986-1677 
Fax: 845-986-1699 
Cell / text: 917-755-8960
 Skype: jazzpromo 

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


BADBADBADNOTGOOD is the talented young quartet of Matthew Tavares on keys, Chester Hansen on bass, Alex Sowinski on drums & Leland Whitty on saxophone. They formed and became inseparable friends at Humber College's Music Performance program in 2011 and have been on a critically acclaimed, rule bending musical journey ever since. BBNG took the music world by storm with their 2014 LP, III, a brash yet refined record of angular jazz improvisations, lush ballads, kraut rock, & futuristic hip-hop tinged rhythms which led to a couple years of touring the world & collaborating with some of the best and brightest artists around the globe.

The boys are back with the new album IV, their most impressive and highly anticipated project yet. IV continues their forward thinking progression, sounding something like a jam session in space between Can, John Coltrane, Herbie Hancock's Headhunters, Weather Report, Arthur Russell & MF DOOM. 

With tracks like "Time Moves Slow" featuring haunting vocals from Sam Herring of Future Islands, the syncopated groove of "Lavender," a collaboration with Montreal based producer Kaytranada, the rumbling fusion build of "Confessions Pt. II" featuring Colin Stetson on the bass sax, "Love" which is highlighted with smokey left field raps from Mick Jenkins & the epic chords of "Speaking Gently," IV is an exploration in post-genre virtuosity. Out Summer 2016 on Innovative Leisure Records, BBNG prove yet again that the possibilities & discovery in their musical quest are infinite.

Released July 8, 2016 

Keys - Matthew Tavares 
Bass - Chester Hansen 
Drums - Alex Sowinski 
Saxophone - Leland Whitty

01. And That, Too. 04:31
02. Speaking Gently 04:07
03. Time Moves Slow (Feat. Sam Herring) 04:33
04. Confessions Pt II (Feat. Colin Stetson) 06:24
05. Lavender (Feat. Kaytranada) 03:20
06. Chompy's Paradise 03:51
07. IV 06:59
08. Hyssop of Love (Feat. Mick Jenkins) 03:15
09. Structure No. 3 04:08
10. In Your Eyes (Feat. Charlotte Day Wilson) 04:07
11. Cashmere 04:46

Perceptual Trio - En Vivo en El Cubo (2016)

1. En el borde (Cejas) 04:15
2. La pasión (Coello)  06:57
3. Bajo el Sol (Cejas) 06:58
4. Queridos viejos (Menarguez) 10:30
5. Contrareloj (Coello)  05:46

Grabado en vivo en el teatro "El Cubo" // Recorded Live at "El Cubo" theater. 

Hitalo Coello - Piano 
Leo Cejas - Contrabajo / Doublebass 
Matias Menarguez - Bateria / Drums 

Grabado en vivo por Cristian Dietz, mezclado por Matias Menarguez, Buenos Aires, Julio 2016.

Released July 23, 2016

Jameszoo - Fool (2016) NINJA TUNE


Described by the producer as "naive computer jazz", despite features from two bona fide legends - namely legendary jazz pianist and bandleader Steve Kuhn and Brazilian composer and arranger Arthur Verocai - it's a record that fits perfectly into the label’s expanding take on the modern evolution of jazz music, following outings by Kneebody & Daedelus, Thundercat and Kamasi Washington. Follow Jamezoo -

With Fool, the Netherlands’ Mitchel Van Dinther (aka Jameszoo) is challenging the programming of the everyday. “I tried to create something that is both tradition and me fooling around,” explains Van Dinther of his debut full-length effort. Fool is an amorphous 11-track affair that sees the producer dipping into a naïve, infantile consciousness. In true Brainfeeder-fashion, Fool is a narrative constructed through the shared ethos of experimentation in both the left-field jazz and electronic communities. Embracing the fragility of live instrumentation, Van Dinther connected with visionary mentors Steve Kuhn and Arthur Verocai, Brainfeeder’s go-to bassist Thundercat, and a talented cast of classical and jazz musicians to model the figurative Lincoln Logs which Van Dinther subsequently reconfigured.

To embrace this practice, it helps if one joins Van Dinther in this jovial, juvenile state of mind. He reinforces this with the continued use of serene music box tones, first during lead single “Flake”, later during “The Zoo” (a reimaging of Steve Kuhn’s “Pearlie’s Swine”, on which the pianist features), and in a more broken manner during the lead to “Toots”. Although produced by decades of talent, Van Dinther attacks these elements like a series of pots and pans laid in front of a flailing toddler. Each strike or series of accidental rolls reveals a new feeling. As this knowledge grows, so does the pace of exploration — often to unnerving ends. Lacking the standard elements of popular music, emotions are exposed more organically. “Toots”, for example, pushes toward a moment of despair and longing as the noise at its midpoint washes out into momentary oblivion.

Van Dinther’s intuitive ability to control emotions was honed during 15 years as avant-garde DJ, spinning jazz, prog, krautrock, and electronic elements into an array of beat oddities. Those hours spent behind the decks also provided Van Dinther with the aptitude to pull this album’s divergent elements together. From PC Music undertones (“Flake”) to the sounds of a cramped silverware cabinet (“Lose”), 8-bit Nintendo riffs (“Meat”) to the sounds of Star Trek teleportation and a wild bronco (“Crumble”), Van Dinther challenges himself to work nearly every texture available into the free jazz wanderings of the ensemble cast.

As best exemplified by the explosive shrill to closer “Teeth”, Fool is a recording targeted toward the aural masochists hooked into the Brainfeeder family. But just as Van Dinther clears and repacks dance floors with his dynamic live sets, simplistic elements (like the blues-y intro to “Soup”) outline the album as a means to keep even the casual listener cautiously engaged. Once enchanted, the chaotic saxophone ambiance at the tail-end of “Soup” is far more palatable.

Fool does have its stumbles and half-executed ideas. “Wrong” sounds like it was captured by a fly on the wall during a rather frenzied orchestral tuning session. And while “Nail (Skit)” does center on one of the album’s livelier melodies, its placement dramatically lessens the overall shift from “Crumble” to “Toots”. While the vast majority of the album serves its purpose as a re-education of sorts between Van Dither and the listener, these tracks drag with self-satisfying excess.

The very existence of Fool must be credited to the success of Brainfeeder mates Flying Lotus, Daedelus, and the Gaslamp Killer. Without their previous eclectic efforts and curation of a captivated base, its unlikely Van Dither would have been afforded the opportunity to go on this personal artistic journey with the aid of such stellar collaborators. Much the way they challenged Van Dinther, Fool forces all those that imbibe to be better listeners, continuing to infuse fresh blood into the Brainfeeder family.


domingo, 24 de julio de 2016

Whit Dickey / Kirk Knuffke - Fierce Silence (2016) CLEAN FEED RECORDS


Whit Dickey, Kirk Knuffke - Fierce Silence (2016)

If you tend to imagine the music of a new CD, before listening to it, by what you heard before coming from the musicians involved, “Fierce Silence” is going to astonish you. Few connections to the past works of Whit Dickey and Kirk Knuffke you’ll find in this beautiful recording. 

There’s more: if you understand the free jazz subgenre as fast and aggressive music, this is miles away from that approach. Why? Well, because the duo formed by the drummer and the cornetist play ballads here exclusively, very slow and meditative ballads, full of blank spaces, respirations and self-wonderings. 

The absolute contrary of what you know about Dickey with the David S. Ware Quartet and the Matthew Shipp Trio, and about Knuffke with Allison Miller’s Boom Tic Boom and the Matt Wilson Quartet. But be warned: this isn’t smooth jazz, ambient music to do something else. 

The immersive quality of the assembled pieces demands your full attention. Only with an active and participative listening you can notice all the nuances and subtle elements. Forget the world for some time and give yourself a treat.

1. The Calling  5:38
2. Fierce Silence  3:26
3. Step Back  5:14
4. Stalker  3:57
5. Lodestar  4:31
6. Quarry  3:14
7. Bone  4:45
8. Legba's Dance  5:12
9. Leave It to the Wind  6:59
10. Ashes  3:14

Whit Dickey drums 
Kirk Knuffke  cornet


Stirrup - Cut (2016) CLEAN FEED RECORDS


Stirrup - Cut (2016)

Stirrup, the Chicago based Collaborative trio, continues to explore the interstitial space on this, their third commercial release.

Cellist (and in “Cut” also a guitar player) Fred Lonberg-Holm is one of the top references of the Chicago creative music scene, covering genres going from jazz to rock, to pop, to free improvisation and to experimental music. Stirrup is his new band and reflects Lonberg-Holm’s eclecticism in a particular way. After all, he met double bassist Nick Macri and drummer Charles Rumback in the psychedelic folk band, Horse’s Ha. 

The idea is to do in trio what they couldn’t in that context: to explore deep grooves, moody harmonies and extended structures. The accomplice of Ken Vandermark and Joe McPhee in several projects found in this rhythm section similar-oriented souls. Macri’s previous collaborations include Laetitia Sadier, from Stereolab, and the keyboardist / composer Hector Zazou as well as involvement with the indie pop-rock groups Heroic Doses and The Zincs. Rumback played with the chamber rock combo L’Altra and the singer Via Tania and other of his current dedications is the experimental psych band Leaf Bird. Curiously enough, he is the one here closest to the jazz tradition, and you notice that. With all this mixed and you have refreshing music, always with an element of surprise, combining pastoral melodies with heavy beats and noisy harmonics. Give it a try…

Fred Lonberg-Holm  cello, guitar 
Nick Macri  double bass 
Charles Rumback  drums

1. Sleep Comes To Everyone 5:09 
2. Rodney's Last Ride 7:09 
3. Six Minutes To Montrose 6:15 
4.Then Fall Fell 5:38 
5. Five Ruminations 5:31 
6. Who We Were 4:05 
7. You May Think 3:15 
8. Salt Lines 5:06 
9. Domi's Dream 6:06 
10. You 'n' Me 8:45


Charlie Hunter - Everybody Has a Plan Until They Get Punched in the Mouth (2016)

For Charlie Hunter’s new album, “Everybody Has a Plan Until They Get Punched in the Mouth,” the New York City-based guitarist had a very specific vision. “My idea for this record was a real improvising blues record and not a modern jazz record,” he says. “All the cues I take from this record are in my way of thinking from the blues more than anything else.”

Hunter wrote the material for the album over the course of three months last winter. He did something rare, too, in his 20-plus-year career, recording with a quartet. Joining Hunter on “Punched” are his longtime collaborator drummer Bobby Previte, trombonist Curtis Fowlkes and cornetist Kirk Knuffke.

For Hunter, who plays a seven-string guitar that simultaneously acts like a bass and standard guitar, a quartet provides a big challenge. “Because of the way my instrument works, I usually play in small groups. For me, a trio is a big group. And a quartet is unfathomably massive,” he says.

Since his 1993 debut, “Charlie Hunter Trio,” Hunter has been quite prolific, releasing close to twenty albums as a leader and more with other musicians. He’s also been an in-demand session player over the years, working with the likes of D’Angelo and Frank Ocean.

With “Punched,” which takes its title from a Mike Tyson quote, the music came easy. “Most musicians will tell you that music is not what we worry about,” he says. “It’s everything else that’s the problem.”

“Everybody Has a Plan Until They Get Punched in the Mouth” is out July 22 on GroundUP Music. 

1. Everybody Has A plan Until They Get Punched In The Mouth
2. (Looks Like) Somebody Got Ahead Of Schedule On Their Medication
3. Leave Him Lay
4. We Don't Want Nobody Nobody Sent
5. Big Bills Blues
6. Latin For Travelers
7. No Money, No Honey
8. Who Put You Behind The Wheel?
9. (Wish I Was) Already Paid And On My Way Home
10. The Guys. Get. Shirts.

Charlie Hunter - 7-string guitar
Curtis Fowlkes - trombone
Kirk Knuffke - cornet
Bobby Previte - drums

Recorded in Hudson, NY
All songs composed by Charlie Hunter (CHT Publishing (ASCAP))


Sarathy Korwar – Day To Day (2016) NINJA TUNE


The extraordinary debut album from percussionist, drummer and producer Sarathy Korwar – “Day To Day” – fuses traditional folk music of the Sidi community in India (combining East African, Sufi and Indian influences) with jazz and electronics. It’s a collaborative release by Ninja Tune with The Steve Reid Foundation – a charitable trust established by Brownswood / Gilles Peterson with the dual objective of helping musicians in crisis and also supporting emerging talent. Sarathy is an alumnus of the Foundation’s development program, mentored by Four Tet, Emanative, Floating Points, Koreless and Gilles Peterson – all trustees of the foundation. 

“Sarathy instantly caught my attention when he said he wanted to make an album that embraced both Indian folk music and jazz - two worlds that have had a big influence on me. His album succeeds in bringing these things together in an elegant way, but it’s his own style and ideas that come through the most in the music. Refreshingly different, this is a deep and powerful listening experience.” Four Tet 

The Steve Reid Foundation commemorates the life and legacy of legendary percussionist/drummer Steve Reid. It is fitting that Sarathy’s album follows the lineage and spirit of Reid who himself left New York and took on a spiritual pilgrimage through Africa in the mid-1960s. For three years he journeyed through West Africa, playing with people along the way, including Fela Kuti, Guy Warren and Randy Weston. The musical roots and routes of the Black Atlantic have been discussed and documented extensively, but Sarathy is highlighting a different dispersal of people in the other direction, from East Africa to India. The Sidis travelled to India from Africa as merchants, sailors, indentured servants and mercenaries from as far back as 628 AD and have settled in India ever since. 

Conceived on an extended trip to rural Gujarat, followed by sessions at Dawn Studios in Pune, Sarathy made field recordings of The Sidi Troupe of Ratanpur whose vocals and percussion form the backbone of “Day To Day”. The troupe features five drummers – their polyrhythms reflect their African heritage, in contrast to traditional Indian drummers who play in unison. Likewise, the Malunga bows (there are only 4 or 5 players in India) bear a striking resemblance to those found in Africa. 

“The record is about how we individually and collectively live from day to day. The everyday rituals and tasks that bind us together, it’s a celebration of the trivial and mundane,” explains Sarathy. The colourful handmade rag quilts that the Sidis make using everyday fabrics serve as a perfect metaphor for the record: “The Sidi women make these amazing collages of colour using everyday rags,” he says. “That’s how I see this album”. 

Born in the US, Sarathy Korwar grew up in Ahmedabad and Chennai in India. He began playing tabla aged 10 but was also drawn to the American music that he heard on the radio and that leaked through the doorway of his local jazz music shop, Ahmad Jamal and John Coltrane were early discoveries. At 17, Sarathy moved to Pune to study for a degree in Environmental Science, but instead dedicated his time to music: practicing tabla under the tutelage of Rajeev Devasthali, translating his skills to the Western drumkit and playing as a session musician. Finishing his studies, Sarathy began to think about pursuing a career in music and moved to London, where he trained as a classical tabla player under the guidance of Sanju Sahai and graduated with a MMus in Performance from SOAS (School of Oriental and African Studies) focusing on the adaptation of Indian classical rhythmic material to non-Indian percussion instruments. 

Working the angles in London’s jazz scene, Sarathy connected with Shabaka Hutchings (Sons of Kemet, The Comet is Coming), Cara Stacey (Kit Records) and played with clarinettist Arun Ghosh. He was, however, itching to create under his own name and he started researching and formulating the concept for “Day To Day” and planning a trip to India to record the Sidis. It was late in 2014 when Sarathy heard about the Steve Reid Foundation. He applied with a three-minute video explaining his vision for the record and was accepted onto the project to be mentored by the foundation’s patrons: Four Tet, Floating Points, Gilles Peterson, Koreless and Emanative (aka Nick Woodmansey who mixed the album). 

“’Day To Day’ is an exceptional debut by this multi-percussive artist fusing jazz, electronic and Indian harmonics.”  Gilles Peterson

Released July 8, 2016

1. Bhajan 04:43
2. Bismillah 08:05
3. Dreaming 04:35
4. Eyes Closed 03:30
5. Hail 03:49
6. Indefinite Leave To Remain 05:49
7. Karam 05:35
8. Lost Parade 01:12
9. Mawra (Transcendence) 04:58