#A.R.T Wilson

[trevlad-sounds]

Bermuda Spiral

Tegu–2×7 00:00 Drapizdat, Reather Weport–Pattern #5 04:50 Noyce–Bare 07:54 Shakali–Juoluat 10:46 Wave Temples–Blue Bermuda 17:33 Azu Tiwaline–Terremer 20:43 Cartas de Japón–Toay 25:55 Union Jack–Water Drums 31:25 Baka Forest People Of South East Cameroon–Liquindi 2 39:56 Kilchhofer–Skimo 40:49 Yatha Bhuta Jazz Combo–Thats How I Feel 45:39 Sara Berts–Mayflies 48:48 another fine day–ammonite spiral 52:42 A.R.T Wilson–Rebecca’s Theme (Water) 1:00:02 Danny Scott Lane–Eleven 1:04:07 2muchachos–Thaw 1:07:10

[mixamorphosis]

There is a bit of a back story to this Winter Chill mix, which developed into a series that grew arms and legs. This initial mix came about off the back of a comment that I made on my personal Facebook page (when I had one), where I said something along the lines of wanting to do a purely ambient mix, something I had not done before. I'd been picking up the odd ambient record, or there were tracks I was enjoying on compilations, or b-sides of records and within artist albums, but it wasn't a genre I'd spent a lot of time in at this point. Andy Pye, the man behind Balearic Social, posted a reply on my post suggesting that if I did one, he would like to do a second part and that he'd air the mixes on his Balearic Social radio show. We agreed the mixes should be entirely beat free and I set about digging through my collection. A short time later, Matthew Foord suggested he'd also love to join in and do the same, and before we knew another seven people followed. 

So, a series of weekly ambient mixes was born during the Winter of 2015 in to 2016. Towards the end of the winter series, someone suggested we carry it on and do seasonal mixes throughout the year and at the end of the year I suggested doing a Back To Mine type run, and that also grew into a year long series. At the time I thought it was great, I enjoyed being a part of something and really put a lot of effort into things, especially when posting everyone's mixes to the blog, making sure the artwork was consistent, that tracklists were accurate (they often were not), sourcing links to the tracks like I do with my own mixes and writing a little about those who were taking part, plugging their own projects and socials etc. It's time consuming. I don't think any of that really mattered to the majority that were taking part, but to me it mattered. I think most were just excited at being on Purple Radio, which I think was the station the B.S show was hosted on. Gradually, over the course of the year, my involvement / input was sidelined by one or two people who seemed to just assume control of things and I just felt a bit disappointed come the end of it. I'm not sure disappointed is the right word, I'm not sure what is, but considering how it started and the time and effort I'd put in, I did feel quite flat about it and I think it added to me feeling like I shouldn't really engage on Facebook, or involve myself in projects with lots of other people in the music world; it's rarely straight forward or easy in my experience.

Anyway, that's a bit of the back story. I'm only going to be posting my own mixes on here. If you want to find the other contributions, perhaps have a look for them via Soundcloud, Mixcloud or Hearthis. If you can find them, the Faction mix was a particular favourite, as are a lot of his mixes, and worth hunting down.

The image, should you be interest, is of Bennachie. A range of hills in the Garioch area of Aberdeenshire, Scotland.

Tracklist

01. Floating Points - Elaenia - (Pluto) 02. Cass. - Emotioncode - (Emotional Response) 03. youAND:THEMACHINES - Desire - (Ornaments) 04. Dave Harrington ft. Tamara - Things Behind The Sun - (Other People) 05. Drvg Cvltvre - Moment 03 - (New York Haunted) 06. Joan Bibiloni - Val, I Vuw Ya - (Music From Memory) 07. Gigi Masin - Tharros - (The Bear On The Moon Records) 08. Karamika - Ton 9 - (ESP Institute) 09. Luke Wyatt - Time For Thick (Not Waving Remix) - (Emotional Response) 10. Chrome Canyon - Light - (Throne Of Blood) 11. Vangelis - Love Them From Blade Runner - (Off World / East West) 12. Gigi Masin - Consequences Of Goodbyes - (The Bear On The Moon Records) 13. Commodity Place - Clouds Inside Me - (Pocket Panther Records) 14. Vermont - Sharav - (Kompakt) 15. Proton Kinoun - Peripheral System - (Omnitropic) 16. 55 Cancri e - Belsebubs Tårar (del 1) - (Music For Dreams) 17. A.R.T. Wilson - Sarah's Theme (Air) - (Growing Bin Records) 18. Jonny Nash - A Shallow Space - (Melody As Truth) 19. Secret Circuit - Easter Island Electric Brain - (Emotional Response) 20. ambientsketchbook - A New Star - (Self Released) 21. Gunnar Haslam - Discouraged - (Mister Saturday Night Records) 22. Suzanne Kraft - Renee Sleeping - (Melody As Truth) 23. Hatchback - Horizon - (Be With Records) 24. Kettenkarussell - Drift - (Giegling)

[tocafitas]

Synth de ninar

Músicas instrumentais tranquilas pra relaxar e dormir. Têm até duas clássicas clássicas, uma abrindo cada lado… E tudo feito com sintetizadores analógicos. E é aí que vem a maluquice. Ao mesmo tempo que têm faixas muito relaxantes (vide a sequência de “La Petite Fille de la Mer” e “Lullaby for Heidi”), também tem uma atmosfera de retrofuturismo que às vezes lembra videogame antigo e às vezes é…

[artsyfartsypaige]

Guess who saw the A.R.T production of Gatsby the other night?!?!?! It was truly an amazing show (I legit cried during it) and I would love to bring up some of the highlights. In a few scenes, my only thought was “the tumblr is gonna love this”. It was a phone free show so I don’t have photos of the stage or actors but I’m happy with discuss.

1) The stage was made of metal car parts, glittery string curtain and two black marble staircases. It was kinda split between Gatsby’s world and the Valley of Ashes.

2) The actor for Nick, Ben Levi Ross, was probably the funniest actor in the show. He had great line delivery. He was also super short and literally everyone towered over him.

3) on everyone’s costumes, there was a coating of dirt/rust at the bottom. It was such a cool little detail.

4) Nick has a small panic attack when fireworks go off at the party and this is how him and Gatsby meet. They sit together on the bottom of the stairs and it legit felt like a rom com meet cute.

5) yes, Nick makes out with McKee. He spends every party scene from that point on flirting with some guy or making out with a member of the ensemble.

6) I’m not totally sure if Gatsby is still a bootlegger in this version but they show him killing a man so he’s definitely involved in some sketchy business.

7) Wolfsheim signs a song called “Look like heaven but feel like hell” which was my favorite. It’s him explaining Gatsby’s fake origins to Nick. Gatsby gets to do a full dance number and quick change into his pink suit.

8) They added some backstory to Myrtle and Wilson that they lost a daughter in the Spanish flu. It was a sad but sweet detail as to why they’re the way they are.

9) In the tea party scene, Nick pushes Gatsby back onto stage after he runs out in a panic.

10) Gatsby doesn’t die in the pool, Wilson shoots him on the staircase.

11) Gatsby’s father is indigenous which is LOVED! I’ve always imagined Gatsby to be indigenous and so seeing that others had the interpretation was amazing.

12) overall beautiful music. A lot of raw emotion and a wide range. Wolfsheim’s song and “The Damage you do” by Tom and Daisy were my favorites.

Let me know if have any questions about anything!!! I really want to discuss the show!! Here’s the book I brought signed by the cast!!!

[songsofherlilacvibe]

A.r.t Wilson - Rebecca’s Theme (Water)

A.r.t Wilson - Rebecca’s Theme (Water)

[funkqs]

Rebecca's Theme (Water) | A.R.T. Wilson

[classicalmusicdaily]

Anna Goryachova was born in Leningrad (Saint-Petersburg). In 2008 she graduated with distinction from the Vocals Faculty of the Rimsky-Korsakov St Petersburg State Conservatory (class of Tamara Novichenko and subsequently class of Galina Kiseleva). From 2009 to 2011 she trained under Renata Scotto and Anna Vandi at the Accademia Nazionale di Santa Cecilia (Rome) and also under Romualdo Savastano at the A.R.T. Musica academy (Rome). From 2008 to 2011 Anna was a soloist at the Mikhailovsky Theatre and the St Petersburg Chamber Opera. In 2010 she was nominated for Russia’s Golden Mask National Theatre Award for her performance of the role of Donna Elvira in the opera Don Giovanni staged by Yuri Alexandrov. In 2011 under the direction of Alberto Zedda she made her debut at the Vlaamse Opera (Flemish Opera) in Antwerp as the Marchesa Melibea (Il viaggio a Reims, Mariame Clément’s production). From 2012 to 2017 Anna was a soloist at the Opernhaus Zürich, where she performed the roles of Adalgisa (Bob Wilson’s production of Norma), Rosina (Rossini’s Il barbiere di Siviglia), Polina (The Queen of Spades), Magdalena (Die Meistersinger von Nürnberg), Zerlina (Don Giovanni), Eustazio (Handel’s Rinaldo), Zelim (Vivaldi’s La verità in cimento), Masha (Eötvös’ Three Sisters), Marchesa Melibea and so many others. She has collaborated with such conductors as Teodor Currentzis, Nello Santi, Fabio Luisi, Alain Altinoglu, Enrique Mazzola, Riccardo Frizza, Ottavio Dantone, Stefano Montanari and Daniele Rustioni among others. Took part in the world premiere of Christian Jost’s opera Rote Laterne (2015). In 2012 Anna sang the role of Alcina (Orlando paladino) at the Théâtre du Châtelet in Paris and made her debut at the Rossini Festival in Pesaro (Italy) as Edoardo (Matilde di Shabran) staged by Mario Martone and conducted by Michele Mariotti. In 2020 at the Grand Théâtre de Genève she sang the roles of Angelina (La Cenerentola) and Sesto (La clemenza di Tito, staged by Milo Rau) in addition to making her debut at the Vienna State Opera in the role of Olga (Dmitri Tcherniakov’s production of Eugene Onegin); in Vienna she subsequently performed the roles of Angelina and Carmen. In 2022 as Angelina she made her debut at the Mariinsky Theatre (St.Petersburg). In the 2020–21 season Anna received Valencia’s “Best Mezzo-Soprano of the Season” award for the role of Angelina in La Cenerentola, staged by Laurent Pelly at the Palau de les Arts Reina Sofía. We all know that this has been a pretty tough time for the socio-political environment, which affected also the arts in a considerable way, and it was so beautiful to see you and your Ukrainian colleague hugging each other during the standing ovation. What do you think about this matter, about the way theaters, but also the society, took actions towards the Russian artists? Honestly, during these 3 months I have never found any change of attitude from my colleagues, nor from the theaters. The political conflict should not affect the cultural environment. Indeed, you all seemed such an united team on stage and behind it! Was it your first Carmen in the amazing production of Calixto Bieito, which such a passionate stage parter as Vittorio Grigòlo, for his debut at Don José? There was such an amazing energy coming from the stage towards us, in the audience! Thank you so much, I already sung in this production in Madrid in 2017. It’s a very intense staging. And I was very much touched to see the standing ovations in Wiener Staatsoper every evening. I never met Vittorio before and we really enjoyed playing and singing together. It was a perfect artistic match, I think! I adore Vittorio! He is not only an incredibly talented artist, but he is also a very nice person offstage. And his role debut was sensational! reposted from https://opera-charm.com/

[thesunlounge]

Reviews 290: Wilson Tanner

Back in 2016, Andrew Wilson and John Tanner joined together for 69 on Growing Bin, which for me is a something of a masterpiece. Across the album, the duo married bucolic guitars, meditative woodwinds, and sunset electronics to gorgeous effect, resulting in a sonic experience of deep serenity and new age mastery. So when Efficient Space released the newest Wilson Tanner experience II, it was a sincere surprise discovering how abstract, strange, and challenging everything was this time around. Mostly gone are the lush and organic textures of that last album, with the focus now on modular electronics and experimental ecosystems of aquatic looping, alien minimalism, and vaporous prog ambiance. Everything here swims through layers of shadowy delirium and the entire experience is informed by the album’s unconventional recording process, which saw Wilson and Tanner loading a 1950’s riverboat called “These Days” with an array of weather proof electronics. Leaving behind terrestrial foundations and resting above the mysterious underwater universe, the duo perhaps lost sight of who or where they were, lapsing into some forgotten ancestral remembrance of a time lost at sea…of the primal experience of surrendering to the totalities of the ocean world. And to combat the onset madness and intense feelings of isolation, Wilson and Tanner turned to these mystifying electroacoustic sea shanties...these strange expanses of subaquatic drone that sound as if they were constructed by beings who’ve only ever known only the motions of the waves, the smell of a salt breeze, the sun’s blaze, and a sparkling canopy of stars.

Wilson Tanner - II (Efficient Space, 2019) We open on “My Gull” and it’s pianos washing back and forth amidst oceanic clouds of ambiance, with subtle psychosonic fx kissing the mix. The keys lock into a simple chord refrain, though the patterns are sparsely embellished with dancing melodic filigree. Seagulls circle overhead, filtering synths glow in the background, and sometimes the piano melodies recede, leaving behind vacuous stretches of swelling ambiance. And towards the end, after one of these immerse stretches of synthesis cuts away, we are left with nothing but the calming sounds of a life by the sea, with boats bumping gently against wooden docks beneath grey clouds and patchwork sunlight. There are further synthetic piano meditations in “Loch & Key,” as a simplistic riff bounces on echowaves. Airy synthesizers trace colorful curlicues over the flowing piano spells and deep in the background, cloudform melodies are smothered yet beautiful, evoking ghost choirs and mermaid reveries. The mix is awash in seaside field recordings, all soft clatters and watery drips, and there are these guttural sounds that flow in at times, which are indistinguishable as electronic or organic. My best guess is that John Tanner’s clarinet is flowing through some modular chain, but whatever the source, the evocation is of some strange sea creature croaking towards the sky. By the end of the track, muted melodies dance in counterpoint to the pianos, creating a pop-tinged passage of minimalist magic, one that is eventually overlaid by strange sliding melodies and soft currents of feedback that progressively evolve into robotic fusion weirdness, resulting in a strange moment of sci-fi solo flamboyance at odds with the otherwise bucolic ambiance.

Mellotron flutes add touches of Aegean melancholy to “Perishable” while an acoustic guitar wanders through funereal desert atmospheres…like a spaghetti western deconstructed into wandering dreamfolk. Vibrato electronics arc overhead and haunted melodies are shrouded in spectral haze until we arrive at an ambient prog interlude, wherein sampled woodwinds sing mournfully over strange pulsations, resulting in a gaseous dance through layers of springtide sadness. The guitar returns, still shambolic and worn out, but now leaning towards Flamenco exoticisms while the flute continually ascends, at some point working itself into a radiant church hymn. The centerpiece of II is the epic “Killcord pts I-III,” which is centered on this mind-melting sequence…like a cyborg tuba caught in maniacal loop while constantly transforming into a mutant gurgle. Synths scream across the void and pull the soul into darkness before giving way to strange percussive bubble formations, with atonal musique concrète sonics working against the sequential hypnotics. The mix is alight with movement and sees liquids oscillating and muted trumpets blaring while crystalline idiophones play triumphant themes beneath layers of electronic dust. Imagine some strange approximation of Berlin school music submerged within an aquatic dreamworld, with hyperspeed pulsations causing time itself to skip and synthesizers weaving themes of alien majesty. The ecstatic energy surrounding Wilson and Tanner is palpable and it’s easy to imagine the pair locked into some sort shamanic ritual playing out  on primitive electronics, with spells cast in the form of mutant marimba lines, acidic slides, mechanical loops, and sub-bass rumbles.

The B-side opens with “Idle” and its bells smearing into metallic distortion. Cyborg chirps flutter and gong-like swells of bass ambiance hover like stormclouds until abstracted rave electronics start firing through the mix, with big bubbles of acid and subsonic synth motions locking into drunken repetitions. Black hole vapors flow all around and horror film feedback  floats across the spectrum while sizzling snare hits transform into radiophonic weirdness. Squelching synths establish a sort of daydream groove alongside futuristic tom tom experimentations and ethereal melodies swim over heard…sometimes evoking a beautiful prog elegy while at other times devolving into sheets of dissonance. And as the track progresses, oscillations flutter on a sea breeze, mechanized chirps are joined by birdsong, and the massive clouds of bass ambiance recede momentarily, only to fade back in like some viscous body of shadow. Next is “All Hands Bury the Dead,” which features lullaby melodies and new age sonics mutating through an LSD haze, with notes curling in on themselves and spontaneously vaporizing. Water laps gently beneath the ambient waveforms and as we drift along in a state of meditative clam, it all begins evoking for me the music of Hiroshi Yoshimura and Satoshi Ashikawa…like a visage from a window of an unremarkable yet still beautiful afternoon where clouds drift lazily overhead and blue waves crash to shore. Eventually, choppy tremolo electronics move into the stereo field and disturb this pictaresque serenity and once the environmental keyboard melodies finally drift away, blurry synthesizers merge with the sounds of flowing water. 

A mutant funk bassline anchors “Safe. Bird.”…as if a clavinet is jamming through an ambient seascape. Percolating woodwinds and bleeping satellites execute some enigmatic Morse code conversation and soft focus melodies are surrounded by ring modulating psychedelia, all while the bassline continues its sludgy groove. It’s like some mid 70’s Miles fusion experiment a or Magma zeuhl ceremonial, only reduced to just stoner bass riffing and space age oceans of shimmering detritus. And by the end of the track, the basslines are replaced by alien chirps, extra-terrestrial gurgles, and vibraphones dazzling the mind with cinematic leads and downer descents. The album closes on “Crossing the Bar” and its wavering oscillations breaking apart over the motions of water. Resonant vocalisms swell on one side of the mix while bleary-eyed layers swirl on the other…as if two different stretches of ambient music have been overlaid then panned hard. Clicking percussive textures crackle in the air and bass synths pitch-shift continuously, evoking the engine sounds of the riverboat “These Days” as it makes its way across the deep dark waters. Synthesizers blend seamlessly with aquatic field records and the mind loses all sense of where the natural end and the electronic begins, with the track mostly just letting throbbing machines hum beneath bodies of atonal new age mesmerism. At some point, a slow motion synth solo erupts over the mix…calling out to the stars, desperate and pleading…as the rest of the stereo field mutates into a fractal soundbath. And by the end, we are left with looping chimes, feedback sirens, flying birds, haunted drones, and the increasingly distant sounds of Wilson’s and Tanner’s boat as it sales further and further towards some unknowable horizon.

(images from my personal copy)

[trevlad-sounds]

Bermuda Spiral

Tegu-2x7 00:00 Drapizdat, Reather Weport-Pattern #5 04:50 Noyce-Bare 07:54 Shakali-Juoluat 10:46 Wave Temples-Blue Bermuda 17:33 Azu Tiwaline-Terremer 20:43 Cartas de Japón-Toay 25:55 Union Jack-Water Drums 31:25 Baka Forest People Of South East Cameroon-Liquindi 2 39:56 Kilchhofer-Skimo 40:49 Yatha Bhuta Jazz Combo-Thats How I Feel 45:39 Sara Berts-Mayflies 48:48 another fine day-ammonite spiral 52:42 A.R.T Wilson-Rebecca’s Theme (Water) 1:00:02 Danny Scott Lane-Eleven 1:04:07 2muchachos-Thaw 1:07:10

[mixamorphosis]

Different Strokes show number 5 saw me joined by The Starkiller. I really thought it was a long shot when I asked him to be a part of this show. Not only does he put out his own original material that takes in shades of disco, nu-disco, acid, techno and more, his reworks that he has put out over the years are genuinely on another level to most people that put out edits and remixes, and it's this quality that has brought him around 80,000 followers on Soundcloud alone... that is impressive numbers for that platform and someone that isn't "mainstream". So, I was genuinely over the moon to be sharing the stage with him; another [insert Wayne's World 'we're not worthy' gif] moment.

Both mixes are very eclectic, there's AOR, disco, italo, rock, electronica and let's go with the catch all term of (is it?) balearic. By this point, if you've listened to the other mixes that were part of this show, the premise of what I was aiming for was to have people not knowing what they were going to get from show to show, or even at times from track to track. The whole thing for me was that there is way too much good music out there that people don't hear because they gravitate towards one or two specific fields of music, and for me, the whole interest in "DJing" was about bringing new things to other people. I kind of felt this show captured this pretty well.

Anyway, onto the mixes...

Part 1 - The Starkiller

Tracklist

01. Wishbone Ash - Time Was - (MCA) 02. Love Inks - Rock On - (Hell, Yes! Records) 03. Rachel Sweet - It's So Different Here (Stiff Records) 04. Shuggie Otis - Aht Uh Mi Hed - (Epic) 05. Elkin & Nelson - Carnavalito 1 - (CBS) 06. Supermax - Nightgroove (Long Version) - (Hansa) 07. Alan Parsons Project - Wouldn't Want To Be Like You (Rough Mix) - (Arista) 08. Telex - Victime de la Société - (Vogue) 09. Bob Chance - It's Broken - (Morrhythm Records) 10. Klaps - All the Way You Move (Dub Version) - (Cynetic Records) 11. New Jersey Connection - Love Don't Come Easy (Space Ranger Edit) - (Plimsoll) 12. Bibi Flash - Histoire d'1 Soir - (Clever) 13. Sandy Marton - People From Ibiza - (Ibiza Records) 14. Dur-Dur Band - Dooyo - (Awesome Tapes From Africa) 15. Bombers - Supermax - (West End Records) 16. Kabbala - Ashewo Ara - (Red Flame) 17. Queen Samantha - Take A Chance - (T.K. Disco) 18. Ole I'Dole - Space, Action, Sex og Blod - (Notabene Records) 19. The Cure - Why Can't I Be You (Young Edits Remix) - (Not On Label) 20. Blind Date - Your Heart Keeps Burning - (Ariola)

Linked Tracklist [HERE]

Download [HERE]

Part 2 - Me

Tracklist 

01. Javier Bergia - Himalaya - (Emotional Rescue) 02. Fϋxa - Cool Breeze - (Emotional Response) 03. Session Victim - See You When You Get There - (Delusions Of Grandeur) 04. Vision Of Panorama - Southern Breeze - (Aficionado Recordings) 05. Up, Bustle & Out - Silks, Perfumes & Gold - (Ninja Tune) 06. A.R.T Wilson - Sun Sign Cancer - (Growing Bin Records) 07. Akasha - Brown Sugar (PFM Cosmic Journey Mix) - (Wall Of Sound) 08. Tempelhof & Gigi Masin - Session One - (Throne Of Blood) 09. Kate Bush - Running Up The Hill (Heavy Disco Edit) - (Modern Artifacts) 10. Khruangbin - A Calf Born In Winter - (Late Night Tales) 11. Alexander Aultman - Today, One Year Ago - (Touched - Music For Macmillan Cancer Support) 12. Secret Circuit - Straightline - (Emotional Response) 13. Gunnar Haslam - Nameless - (L.I.E.S) 14. Jagwar Ma - The Throw (Sound Of The Universe Remix Part 1) - (Multi Culti) 15. Jagwar Ma - The Throw (Sound Of The Universe Remix Parts 2 & 3) - (Multi Culti) 16. Cosmo Vitelli - Irritable - (Throne Of Blood) 17. Jana Kirschner - Idu - (Double Drop) 18. Bill Evans - Peace Piece - (Milestone Records)

Linked tracklist [HERE]

Download [HERE]

[likeafantasy]

[adsmusiconstellations]

A.R.T. Wilson - Overworld (2014)

[hontokana]

2014 - A.r.t. Wilson - Overworld

[theretirementhome]

A.R.T. Wilson - Overworld

Buy it here.

[caramelcat]

Playlist: Summer Moments, Triple R FM, January 15, 2022

listen back on demand

Laraaji - All Pervading

Mystic Moods Orchestra - The Awakening

Phil Stroud - Australiana

Cults Percussion Ensemble - Baia

Glass Beams - Mirage

Gigi - Tew Ante Sew

Wau Wau Collectif - Mouhamodou Lo and his Children

Steven Cooper - Key West Afternoon VII

Curtis Mayfield - The Makings Of You

Eddie Kendricks - My People…Hold On

Knxwledge - jstowee

Madlib - Road of the Lonely Ones

Kae Tempest - More Pressure

Space Afrika - Preparing the Perfect Response

Gil Scott-Heron, Brian Jackson - Peace Go With You, Brother (As-Salaam-Alaikum)

Abiodun Oyewole - Harlem

Ron Everett - Glitter of the City (Song by Tahira)

Prince Far I & the Arabs - Long Life

Khan Jamal, Bill Lewis - The Waterfall

Bobby Hutcherson - Little B’s Poem

Celestial Being - Raise The Vibration

Haruomi Hosono, The Orb - Laughter Meditation (The Reality Of Impossible Orbjects)

A.R.T. Wilson - Past Life Regression

Sidney Poitier, Doris Belack -  Ere Sleep Comes Down To Soothe The Weary Eyes

William Parker - The Golden Light (Hymn)

Emily A. Sprague - Piano 1

Kuumba-Toudie Heath - Kamili