Critically-acclaimed Italian vocalist Irene Serra (Wynton Marsalis, Norma Winstone, US3) and guitarist LucaBoscagin (Jason Rebello, Cinematic Orchestra, Jim Mullen) announce the upcoming release of their new album “The Great British Songbook” preceded by four singles.

Album release date: Friday 29th November 2024. Pre order by clicking here

1st Single release date “Give Me The Night” : Friday 6th September 2024

2nd Single release date “There Must Be an Angel : Friday 4th October 2024

3rd Single release date “Eleanor Rigby” : Friday 1st November 2024

4th single release date “Every Little Thing She Does Is Magic” : Friday 29th November 2024

Album preview launch will take place on Saturday 2nd November Cafe Posk, London.

Brought together by their passion for British pop music, Irene and Luca have handpicked some of the most loved songs by famous British singer and/or songwriters of the last 70 years and created fresh-sounding, unique arrangements.

From The Beatles to Sting, Massive Attack and Imogen Heap, this album is a celebration of the most defining songs of the British music scene reimagined through their signature soulful sound.

“The Great British Songbook” is their defiant and passionate love letter to the brilliance of British music (which was one of the main reasons they both moved to London from Italy) in the face of Brexit and its aftermath.

“…sublime vocals…” - JAZZ FM

"...Irene Serra has a strong stage presence and a compelling vocal tone, which she uses to great effect…."  - JAZZWISE

“…Serra’s voice is graceful and sensual…” - ALL ABOUT JAZZ

“...Serra’s singing is superb, perhaps at its most effective when she sounds bruised and vulnerable...” - Kind of Jazz

Irene Serra

Irene Serra is a critically-acclaimed Italian Jazz vocalist and composer based in London. She is known for her varied and eclectic repertoire, masterfully performing straight ahead jazz standards, blues, Brazilian music and her own original compositions.

Irene has performed in world-class venues in and around the UK, including at the premiere of the Abyssinian Mass at the Barbican (with Wynton Marsalis and the Lincoln Center Jazz Orchestra), Southbank Centre, Ronnie Scott’s, Pizza Express Jazz Club, Union Chapel and  King’s Place.

Her poised performances have already earned her much critical acclaim: her original project, ISQ, was a ‘Time Out Critics Choice’ in 2015 and she was longlisted for “Best Jazz Vocalist” at the 2022 Parliamentary Jazz Awards. She was also a finalist at the Shure Montreux Jazz Competition in 2009. Irene is currently working on her 5th album of original music with her project, ISQ and is also set to release her first album of Jazz standards in 2025.

Luca Boscagin

Guitarist Luca Boscagin grew up heavily influenced by Rock & Jazz, and as a musician has an equally wide range of guises to play with. He moved to London in 2009, driven by a passion for the British music scene where he recorded at major studios such as Abbey Road and Real World.

The Great British Songbook

 Line up

Irene Serra – vocals

Luca Boscagin – guitar

Tracklist

1. Give Me the Night (Rod Temperton) 
2. Jesus He Knows Me (Tony Banks, Phil Collins, Mike Rutherford)
3. There Must Be an Angel (Playing With My Heart) (Annie Lennox, David A. Stewart)
4. Eleanor Rigby (John Lennon, Paul McCartney)
5. Off the Wall (Rod Temperton)
6. Teardrop (Robert Del Naja, Elizabeth Fraser, Grantley Marshall, Andrew Vowles)

7.  Wonderwall (Noel Gallagher)

8.  Night Fever (Barry Gibb, Robin Gibb, Maurice Gibb)

9.  Hide and Seek (Imogen Heap)

10. Every Little Thing She Does Is Magic (Sting)

Follow Irene Serra on:

www.ireneserra.com      

www.instagram.com/ireneserramusic   

www.youtube.com/ireneserramusic

www.facebook.com/ireneserramusic   

www.twitter.com/ireneserramusic

RESONANCE RECORDS PRESENTS PREVIOUSLY UNHEARD LIVE RECORDINGS BY UNSUNG GUITAR GREAT EMILY REMLER

Cookin’ at the Queens, documenting Las Vegas gigs in 1984 and 1988, to be released as 3-LP set on RSD Black Friday, November 29 and as 2-CD set on Friday, December 6

First Remler Release in 34 Years! Deluxe package includes liner notes by acclaimed author Bill Milkowski, plus recollections from esteemed guitarists Russell Malone, Mike Stern, Rodney Jones and Dave Stryker along with Remler advocates Mimi Fox, Jocelyn Gould, Amanda Monaco

Resonance Records proudly presents the first release in 34 years from the unsung jazz guitar great who tragically died on May 4, 1990 at the age of 32. Culled from a previously unreleased collection of performances that were broadcast on KNPR Las Vegas in 1984 and 1988 as part of Alan Grant’s weekly radio program, “4 Queens Jazz Night from Las Vegas,” Cookin’ at the Queens captures Remler in quartet performances with pianist Cocho Arbe, bassist Carson Smith and drummer Tom Montgomery (1984) and trio performances with bassist Carson Smith and drummer John Pisci (1988).

Taped live at the 4 Queens Hotel and Casino in the old part of the Vegas strip (where Resonance’s 2016 release, Live at the 4 Queens from Shirley Horn, was originally recorded), these stunning performances by Remler reveal her abiding love of her personal guitar hero Wes Montgomery and other influential players like Pat Martino and George Benson. Taken as a whole, they represent some of Emily’s most scintillating, swinging, exploratory, unrestrained and inspired playing ever.

Whether it’s burning on an uptempo bebop number like Tadd Dameron’s “Hot House” or tackling modal classics like Miles Davis’ “So What” and John Coltrane’s “Impressions,” delving into a deep blues feeling, as on Bobby Timmons’ “Moanin’” and Montgomery’s “D-Natural Blues,” settling into a sublime ballad like “Polka Dots and Moonbeams” or basking in a bossa nova like Jobim’s “How Insensitive,” Remler’s sheer mastery of her instrument is readily apparent on these superb live tracks, recorded during separate engagements in the French Quarter Room of the 4 Queens Hotel in Las Vegas. They capture Remler in the joyful act of swinging in unencumbered fashion and stand as a testament to her greatness as a jazz guitarist.

Order here

“Anyone who's ever heard Emily play can immediately tell how much Wes Montgomery was part of her life,” noted bassist Eddie Gomez, who appeared on Remler’s 1983 album Transitions and 1985’s Catwalk, both alongside drummer Bob Moses. “She really had that sound of Wes’s and that feel together. She really had a great feel for the music and for that sound and that style. Other guitarists might’ve tried to play more like different guitarists, but she really got ahold of Wes. She really had that feel and that way of spacing chords and playing octaves together. If you closed your eyes, you’d think you were listening to Wes Montgomery. It was really impressive.”

Added Moses, “She out-swung most guitar players. She definitely had the feel, the groove and the soulfulness. She could do the standards and Wes Montgomery-ish stuff, but she had her own thing. And above all, she had that swing.”

Dave Stryker, who had met Remler in the early ‘80s, noted the impact she had back then. “Emily was such a good player, I think she helped inspire other musicians who came along later who might think, ‘Oh, wait, here’s another female musician that is out there doing it and dealing with this music.’ She was just one of the cats and she just happened to be a woman who played her ass off.”

Disciple Sheryl Bailey was lucky enough to have taken a guitar lesson with Remler as a developing young player. “The lesson was unbelievable, one of the best lessons ever,” she recalled. “She was a great teacher. She knew exactly what I needed and was clear about communicating it. I use everything she taught me every day. I teach it to all my students. As a player, she’s swinging, soulful, all about the melody, gorgeous tone, incredible technique, incredible control over the mechanics of the instrument. And she was a great educator.”

Added renowned jazz detective Zev Feldman, who along with Bill Milkowski co-produced this Resonance Records release, “As time goes by, some artists’ legacies get even more interesting and become more important, and I think Emily Remler is such a significant artist. She needs to be talked about and discussed more. She was a trailblazer and I hope these recordings are going to contribute to and validate her story and her importance.”

Released in cooperation with the Emily Remler Estate, the limited-edition 180-gram 3-LP set, mastered for vinyl from the original tape reels in the UNLV archives by Bernie Grundman, will be released on RSD Black Friday, November 29. A deluxe 2-CD set and digital download edition will be made available the following Friday on December 6.

Resonance Records is a multi-GRAMMY® Award-winning label (most recently for John Coltrane’s Offering: Live at Temple University for "Best Album Notes") that prides itself in creating beautifully designed, informative packaging to accompany previously unreleased recordings by the jazz icons who grace Resonance's catalog. Headquartered in Beverly Hills, CA, Resonance Records is a division of Rising Jazz Stars, Inc. a California 501(c) (3) non-profit corporation created to discover the next jazz stars and advance the cause of jazz. Current Resonance Artists include Tawanda, Eddie Daniels, Tamir Hendelman, Christian Howes and Donald Vega. www.ResonanceRecords.org

KIM CYPHER TO RELEASE NEW ALBUM – ‘CATCHING MOMENTS’ NOVEMBER 22nd 2024

“One of the UK's most exciting saxophonists, vocalists, & composers” -All About Jazz

British jazz saxophonist, vocalist, composer and band leader Kim Cypher releases her third album Catching Moments on November 22nd 2024. The album is a continuation of Kim’s ‘Brighter Tomorrow’, a collaborative project started during COVID lockdowns to showcase all those who work in the arts, and demonstrate their unbending passion, drive, resilience and dedication to their craft.

Kim is one of the UK’s most beloved jazz musicians. As a figurehead of independent arts in Britain, her work extends to furthering the reach of grassroots musicians by means of collaboration and independent concert promotion, working with the Women In Jazz Media collective, and her weekly radio show ‘The Big Jazz Hullabaloo’ hosted by Kim and her husband Mike every week on Jazz Bites Radio. Her charity single releases have seen thousands of pounds raised across multiple campaigns, simultaneously drawing attention to some of the most talented players residing in the UK and abroad.

“Accessible and classy music with a very wide appeal” - London Jazz News

The rich tones of Kim’s signature tenor saxophone playing offers nods to both of her mentors; the legendary jazz saxophonists Andy Sheppard and Pee Wee Ellis. The album covers a lot of genre-ground, from bossa to swing, and is already receiving attention from Jazzwise, Jazz FM, and BBC Radio 3, and she recently sold out her second Ronnie Scott’s concert.

“A bright, passionate performing light on the UK Jazz scene” – Jazz In Europe

The album is a showcase for an all-star cast of global musicians including guitarist Antonio Forcione, double bass player Raph Mizraki, percussionist Karl Vanden Bossche, drummer Mike Cypher, and special guest performers including pianist and vocalist Liane Carroll, saxophonist and vocalist Ray Gelato, and trombone player Ashley Slater. With Kim’s sublime production and tasteful arrangement giving space to each instrument, the musicians playfully syncopate and solo through this offering diverse in genre and tempo.

The twelve tracks on the album, including ten originals, are inspired by world and personal events of the past few years and focuses around catching precious moments in life. Kim and her band showcased many of these songs and more at her recent Ronnie Scott’s date.

“Always innovative and surprising” – Jazz Views

Pre order here

 For Kim Cypher website click here

Tryptique will be released worldwide on Friday, November 15th 2024 on ZSAN Records.

Buy/stream here

Tryptique is three kindred spirits with one compelling musical vision that balances the resonance of history with the here-and-now of improvisation. Their music ranges from Baroque to bop to the blues and beyond, with a particular flair for the work of several wonderful Canadian composers.

Tryptique is chamber music with a jazz soul. It is a conversation between award winning musicians and close friends Fern Lindzon (piano), Colleen Allen (flute, saxophones) and George Koller (bass). It is about exploration, taking chances, and following refined musical intuition to create a unique sound entirely Tryptique’s own.

Tryptique derives its name from the visual art world (triptych) meaning either three works intended to be shown together, or a single work of art divided into three. The three works together form a whole which is greater than the sum of its parts.

Colleen: Fern, George, and I have been friends and colleagues for many years. In fact, our paths have crossed for my entire music career. During the pandemic, or The Grand Pause, as George called it, we were fortunate to be able to play weekly—socially distanced of course. During those sessions we amassed an incredibly diverse repertoire. Our communications are deep, flow easily and cover diverse topics, so not surprisingly, the musical language follows suit. This recording represents our diverse musical landscape through connected, conversational playing.

***Fern:***Tryptique, it's how we finish each other's phrases. It's about trust, beauty and exploration. Of sound, tonality, and form. it's about going on a journey together. Listening, reacting, and being immersed in a whole that's greater than the sum of our three parts.

George: I simply love the vibes with Colleen and Fern. In the Tryptique trio we create chamber jazz with full use of space, allowing for free exploration while working within forms. Our repertoire is unlimited in scope with diverse styles and genres, and we often put the spotlight on Canadian composers in our live performances. It is playful and textural, sometimes referencing counterpoint and simultaneous interplay that one might hear in contemporary classical, Dixieland or third-stream jazz.

Track Listing

Wondering (Doug Wilde) 5:07

Canarios (Fern Lindzon) 4:02

Retrato em Branco e Preto

(Antonio Carlos Jobim, Chico Buarque) 7:10

Satin Doll (Duke Ellington, Billy Strayhorn) 6:40

Eucalyptus (Steven MacKinnon) 6:21

Compassion Blues (George Koller) 5:47

Themes (Freddie Stone) 5:24

Do Look (Fern Lindzon) 6:20

Zeynebim (Karl Berger, trad. Turkish) 4:28

A Flower for Amadeus (Moe Koffman) 4:40

Après un Rêve (Gabriel Fauré) 6:41

News for Bob (George Koller) 4:43

Information shared by Ernesto Cervini at Orange Grove Publicity

Acclaimed vocalist Sara Serpa explores her own story of migration, family, birth, loss, music and home on her breathtaking, autobiographical new album. Encounters and Collisions, out November 15, 2024 on Biophilia Records features saxophonist Ingrid Laubrock, cellist Erik Friedlander and pianist Angelica Sanchez

“Serpa possesses a preternatural cool, injecting weightless sophistication and melodic grace into everything she touches.” – Peter Margasak, Chicago Reader

“Sara Serpa is a vocalist wielding an instrument as favorably unadorned and pure as any in jazz... literally, she sounds as if she must sing whenever she speaks.” – Phil DiPietro, All About Jazz

Order here

The voice of Sara Serpa possesses an innate intimacy, so subtle and graceful as to feel like a whispered confession no matter the lyric, or whether there’s a lyric at all. Writing about Night Birds, Serpa’s 2023 duo album with her husband, guitarist André Matos, Nate Chinen said that the music, “feels like a peek inside a private conversation; the depth of their musical interplay, an extension of their personal bond, has the sense of something irreplaceable and precious.”

Despite that, Serpa has long avoided writing her own lyrics because, she says, “they're so personal and show so much about you.” With her breathtaking new album, Encounters and Collisions, she changes course, embracing the art of intimate revelation with the most autobiographical music of her career. The album, due out November 15, 2024 via Biophilia features Serpa’s longtime collaborators Ingrid Laubrock on saxophone and Erik Friedlander on cello, joined by pianist Angelica Sanchez.

The themes that Serpa explores as the story of Encounters and Collisions unfolds will undoubtedly resonate with many of her listeners – compelling tales of migration, home, family, motherhood, loss and art. Not only does the singer reveal her experiences and emotions through her poetic, impressionistic lyrics, but she relates her personal history explicitly through an accompanying set of short narrations, as well as a collection of hand drawn comic strip-style illustrations that will be available for purchase in person or via the Biophilia website.

“The lyrics are an exercise in discovering how can I simplify the ideas and still make them somehow poetic or beautiful,” Serpa explains. “I wanted them to be not just plain text, but also reflect a very specific mood, emotion and feeling.”

Serpa didn’t originally set out to create such an autobiographical work. Her original intention was to adapt another writer’s work along the lines of her acclaimed 2021 album and multimedia performance Intimate Strangers, a collaboration with the Nigerian writer and critic Emmanuel Iduma. The new project proved frustrating, however, and she discovered during the process that the ideas that she was responding to in other authors’ work were the ones that reflected her own journey. The focus immediately shifted.

“The elements of the story that I connected with were things like migration, being in a new country, dealing with languages, missing home, losing some kind of identity and having to build a new one,” she relates.

“Then throughout that process, becoming a mother with all the victories and losses that accompany that process. I realized that maybe I was writing about myself rather than someone else, and it started to make sense that I would write about my story.”

Encounters and Collisions charts the almost two decades since Serpa moved from her native Lisbon, Portugal to the United States to attend Berklee College of Music. Originally intending to stay for a year and then move home, she’s since established a home and a family in New York while garnering acclaim as one of the most captivating and inventive vocalists in modern jazz.

The album begins with “Language,” in which the singer contends with the necessity of translating oneself into an adopted tongue. The idea becomes woven through the remainder of the album, at times explicitly – as in her story of becoming a mother, when a fellow Portuguese speaker at the hospital puts her at much-welcome ease – but also implicitly, as she sings her lyrics in English. Serpa is widely hailed for her gorgeous ability to sing wordlessly, often becoming an ethereal instrument within the various ensembles in which she plays. Encounters and Collisions is her most lyric-heavy project to date, and the English words reveal her gift for expressing herself in a language not wholly her own.

The frantic “Visa,” accompanied by a chaos of pointillist sounds, captures the overwhelming confusion and fear of navigating the bureaucracy of a foreign government. The oppressive piano chords of “Things Must Move Quickly” depict the more high-pressure tempo of life in the States as compared to Portugal. “Between Two Worlds” settles into the purgatory of acclimating oneself to a never completely comfortable new country while losing the connection to home: “Your roots vanishing like fog.”

“Labor” and “A Mother’s Heart” bristle with the tension and joy of motherhood, the former a frenzied, angular portrait of childbirth, the latter a stunning love letter from mother to son. The stark “The Phone Call” recalls the shocking, sudden death of Serpa’s father, a devastating loss that severed one of her remaining ties to her native Lisbon. “Music Makes Me Who I Am” revels in the art form, before concluding with the uncertain wisdom of “Two Cities, Many Homes.”

To create the multifarious elements of Encounters and Collisions Serpa drew upon her early training in visual arts, recent classes at the New School on Illustrated Journalism and Memoir, and her deeply felt personal experiences. With all of that, her initial presentation of the music on stage was nerve-wracking – until she began to feel the connection she achieved with audiences.

“The most humbling thing is discovering that suddenly it's not about me anymore,” she says. “It's about all of us, and how we humans share so many experiences.”

Sara Serpa

A native of Lisbon, Portugal, Sara Serpa is a singer, composer and improviser who explores the use of the voice as an instrument. Serpa has been working in the field of jazz, improvised and experimental music since moving to New York in 2008. Her ethereal music draws from a broad variety of inspirations including literature, film and visual arts as well as history and nature. As a leader, she has produced and released ten albums, the latest being Intimate Strangers (2021) and Recognition (2020). Serpa has been described by the New York Times as “a singer of silvery poise and cosmopolitan outlook,” and by JazzTimes as “a master of wordless landscapes.” She has collaborated with an extensive array of musicians including John Zorn, Nicole Mitchell, André Matos, Okkyung Lee, Guillermo Klein, Linda May Han Oh, Kris Davis, Dan Weiss, Matt Mitchell, Zeena Parkins, Mark Turner, David Virelles and Tyshawn Sorey, among many others. Serpa has been active in gender equity in music and is the co-founder (along with fellow musician Jen Shyu) of Mutual Mentorship for Musicians (M³), an organization created to empower and elevate women and non-binary musicians.

saraserpa.com

saraserpa.bandcamp.com

Information provided by Ann Braithwaite at Braithwaite and Katz PR.

Vocalist and songwriter Vanisha Gould heralds an ode to the power of imperfection with She’s Not Shiny, She’s Not Smooth, releasing November 8, 2024 via Cellar Music Group

To purchase click here

Every performer, whether a musician, orator, thespian, or athlete, knows the sensation: despite everything being pre-planned – from wardrobe and stage plot to the materials and the travel route – inevitably, there will be some unforeseen eventuality that threatens to derail the flawless facade of the performance. Simply put, if the devil is in the details, then the danger is in the design. While to some, this inability to control every element may be a stressor, to vocalist and songwriter **Vanisha Gould**the vivacity of every onstage moment is the execution of the craft despite, and even due to, the nature of unavoidable flaws. Armed with a fresh perspective and an indomitable ability to hit the song home regardless of circumstances, Vanisha presents She’s Not Shiny, She’s Not Smooth, an homage to the beauty that abides within and around the flaws in everyone’s perfect plans.

Vanisha’s embracing of imperfection was not something that initially came naturally, but was a realization and perspective that came with experience. “All of these little things we do, that I do, to make sure everything goes smoothly – you can bet your bottom dollar that something will go wrong,” Vanisha expresses. “That perfect outfit I finally chose? I’ll sweat through it within ten minutes on the stage. That perfect makeup? It’s gone by the time I get off the subway to the gig.” Amidst the ever-present torrent of potential hangups that encompass daily life for a performer, Vanisha embodied the choice that every individual has to make: either be crippled by the entropy of one’s circumstances, or use the cracks in the wall as a new canvas for something remarkable. “This album was created when I realized I can’t be perfect,” she says. “And you know what? Dammit, I like that. What a relief to embrace that idea.”

The timing of Vanisha’s watershed realization could not have been more fortuitous. Shortly after she gained her newfound outlook, Vanisha was commissioned by The Jazz Gallery to compose a complete set of music. “BAM! My writer’s block was cured,” Vanisha says. “I fed off of that idea: imperfections and embracing them.”

It is from these circumstances – the ideation and the motivation – that She’s Not Shiny, She’s Not Smooth was born. The phrase that became the album’s title is also the first phrase heard on the album, further hammering home the central concept of Vanisha’s work. “It seems to me that true adulthood or maturity is accepting that you cannot and will never be perfect,” Vanisha says. “I will never be shiny. I will never be smooth.” Beyond the title track itself emphasizing this point directly, Vanisha further reinforces the concept on the piece “Demure”, but done in an almost tongue-in-cheek cute manner. The further layers of meaning behind “Demure” are, however, obstinate and emphatic. “I was raised in a society where being demure is cute. To shrink is cute. To not be demanding, to not ask for too much, to make yourself small in order to leave room for others to shine,” Vanisha says. “I’m not rude or disrespectful, but I’m also not a fool and I’m not invisible. I want there to be absolutely no misunderstanding: I am not demure; not anymore.” 

As the album continues, Vanisha explores the concept of embracing imperfection in varied manners and through universal themes. Whether speaking on empowerment, joy, or heartbreak, she admits, “I’m not trying to reinvent any wheel. The only wheel that’s been reinvented is my mindset of acceptance – acceptance of myself and the circumstances of life; riding the wave and making art out of it.” A salient example of Vanisha’s practice of ‘riding the wave’ can be heard in the track “Don’t Worry Bout Me”, which she composed after an off-putting stranger stole her phone. Instead of growing irate about circumstances she could not control, she chose to write about it and process through it. “In the moment I was livid, then – because I didn’t have a phone, I was bored,” she explains. “So I wrote that song. Thank you, weird dude.” Vanisha’s favorite song on the album is anthemic, with arguably the starkest message. Entitled “Get Out Of My Way”, the piece contains a clear-cut message. Unobscured by florid, metaphoric language, the composer wanted the piece to be a clapback against the selfish, unkind actions taken by those individuals with whom everyone is unfortunate to know in some form or fashion. 

One of the most powerful elements of Vanisha’s album is the contributions of her band. Jongkuk Kim, the band’s drummer and a powerhouse name in the New York jazz scene in his own right, is beloved by the bandleader for his emotive playing to the lyrics of her every song. “His sound is so tasteful and complementary to my voice,” Vanisha says. “My songs have a lot of lyrics and I want each word heard. He allows that for me and he never overpowers until the lyrics call for it.” Notably, she remarks that “I don’t use a drummer if Jongkuk is not available”, a further testament to his prowess. Pianist Chris McCarthy is described by Vanisha as her “right hand man”, and is credited with bringing every chord and line to life in a lush and vibrant way. “He can make anything sound like a masterpiece,” she says. Bassist John Sims is admired for his immovable sense of time, and eternal adherence to her vision and intent for every song. At the core, Vanisha values how intimately they know and respect her music. “They know me, and they show up and treat my music like I’d like them to treat my music,” she says. “I know my music with my eyes closed, upside down, in my sleep; they do too.”

With She’s Not Shiny, She’s Not Smooth, Vanisha Gould presents a musical philosophy and ultimatum, declaring the beauty of imperfection, and the artistry of dancing between the fractures in every fleeting moment. Vanisha summarizes it all aptly when she speaks to the heart of the recording itself. “The band knows I’m not shiny, and they know I’m not smooth. I think subconsciously that’s why it all works,” she says. “Because they’re not either, and we don’t try to be. We’re all just hangin’.”

*She’s Not Shiny, She’s Not Smooth *releases November 8, 2024, via Cellar Music Group.

Thank you to Lydia Liebman for sharing the press release