Albums
Wadada Leo Smith – Ten Freedom Summers
The voice of a committed artist—the only one worth considering—has always been one of protest against the ennui of the established order. Sometimes this voice is quiet, almost silent; at other times it is strident…
“The Music of Wadada Leo Smith has always been a voice of commitment. In fact he could be said not to have played music so much as preached about the condition of the African-American in his basal metabolic relationship with Black Africa in White America, but in an atomic sense he has also concerned himself with his relationship with God”
Feature by Raul da Gama
The voice of a committed artist—the only one worth considering—has always been one of protest against the ennui of the established order. Sometimes this voice is quiet, almost silent; at other times it is strident. Sometimes it speaks to the conscious mind—inside that right side of the brain which is given to logic—and at other times it speaks to the beating and the fibrillating soul, where it stirs the emotions into a powerful vortex. But when that voice speaks to both heart and mind; to both body and soul it does so usually out of a sense of spirituality that is driven by a much higher force; that force being God, who speaks as if through his instrument, the musician. Charles Mingus, one of the mightiest committed artists of his and probably all-time always attributed the making of his art to channelling the voice of God’s own Jazz. In the voice of composer and trumpeter Wadada Leo Smith it is altogether possible to discern much of the same, for although his lungs and lips fill the mouthpiece and bell of his burnished horn, the creative impetus of his breath almost surely is born of his spiritual self; his music is made from a fire on a mountain and it flows as if it were a mystical river defining the ancient topography melody, harmony and rhythm. Yet, while it is a music of notes heard before, through Leo Smith’s spirit they shoot forth like altogether newly divined stellar objects given birth in space and time; singular notes and lines that meld fourths and eights, sixteenths and thirty-twos—spare and splendid in their isolation or glorious in the multiplicity of their various ensembles as they sing out from the promptings of the trumpeter’s heart and soul.
The Music of Wadada Leo Smith has always been a voice of commitment. In fact he could be said not to have played music so much as preached about the condition of the African-American in his basal metabolic relationship with Black Africa in White America, but in an atomic sense he has also concerned himself with his relationship with God. This is why the nuances of his music met where the idioms of jazz and blues before that and gospel in between all collided within the vortex of his heart mind and powerful lungs. But on Ten Freedom Summers there is urgency to it all. The energy on the four discs that make up the record causes the music tremor and shake like an earth-shattering quake and roar like an unbridled tsunami. This energy forces the whole body to reach to the music and to have the senses aroused from any possible numbness that can occur from the ritualistic beating of Pheeroan alLaff’s and Susie Ibarra’s drums. This comes in epic, thundering kicks at the bass drum and shattering swishes of a myriad cymbals whether the drummers play together or separately. Their monumental acts are supported by the mighty pizzicato of John Lindberg’s bass, which may also be played with humble contemplation, con arco. Together with these harmonic rhythmists, Anthony Davis manipulates as much as he plays his grand piano. In Davis’ hands this colossal keyboard is an instrument of many kinds: melodic, of course, but also rhythmic. Like an African-American with Cuban “tumbao” his left hand is loaded with thunder. The piano is also transmogrified into a giant lute, perhaps; a drum, an enormous violin employing monumental glissandi, extraordinary runs and arpeggios and harmony of a myriad of hues.
Wadada Leo Smith
Yet there are many moments of quietude as well. Ten Freedom Summers is a journey that is contemplative too for it is an epic journey that traverses the rise of African-Americanism, from out of the residual dust of Gorée and that tragic journey across oceanic currents. As it draws its vigorous energy from Max Roach’s classic 1960 release, We Insist: Freedom Now Suite, the moments of contemplative harmonics featuring the Southwest Chamber Music and its stellar violinist, Shalini Vijayan, Wadada Leo Smith’s music also finds a spiritual union with the many souls that were raised up in Duke Ellington’s Sacred Concerts featuring, among others the soaring voice of Mahalia Jackson. Here Leo Smith has also superbly melded the voices of the chamber music ensemble and spliced these with his own trumpet, Davis’ piano and especially, the gorgeous, aching con arco passages of Lindberg’s great bass violin.
But history is not merely made with this record of epic proportions; historicity is employed in Leo Smith’s referencing of events that turned the tide of the relationship between the African-American and the White man from the days of slavery right through Dr. Martin Luther’s great march on Washington; It also references August’s Wilson’s “Pittsburgh Cycle,” a series of ten plays, one set in every decade of the 20th century, from 1900 to 1990. In the innards of the music, where the thunderous events Brown v Board of Education rattle like proverbial skeletons in the cupboard of the American constitution Leo Smith’s trumpet complains mightily, crying out against the pathetic forms of racism that came from segregation. These and other incidents provoke the most majestic and elementally sorrowful music, which in turn is played by the violin of Shalini Vijayan, especially in the sequence entitled “Lyndon B. Johnson’s Great Society And The Civil Rights Act Of 1964”.The authoritative intervention of Lindberg’s “papal” bull increases the dramatic energy of the music from its wailing to its echoes of authoritarianism.
However, to avoid the episodic device that is as corrupt as structure of a television soap opera, Smith has focussed his music on three aspects of societal history: The first became “Defining Moments in America”; the second took a deep and spiritual look at “What is Democracy” and finally there was the decadency of the “Ten Freedom Summers”. Here is where the quick and the dead of history and music collide; where the guts and glory of Wadada Leo Smith’s music lies. No longer is it a cursorily constructed musical edifice. There is phenomenal detail in his musical architecture. The Dred Scott incident of 1857, when Scott, a slave, unsuccessfully sued for freedom from the wife of his late master is dealt with all the dramaturgy of a Sophoclean epic. The hidden musical swing mimics the sadness of the to-ing and fro-ing of Scott as he fights mightily to break the bonds between him and his family and Irene Sandford the wife of the late Dr. Emerson to establish his own citizenship on America. But he failed and they tragedy is captured in cathartic terms by Leo Smith and his ensemble.
Rolling down history Leo Smith uses the extraordinary small quartet with akLaff on percussion, to drum up the near murderous situation of Rosa Parks, while the trumpeter wails mightily. This is immediately followed by “Black Church,” where the holly-rolling would heal the hurt and the unjustly treated, and where they would write and compose hymns to sing on the street when they took their protests outside. Wadada Leo Smith is at his finest here as he raises the temperature of his horn by altering his embouchure recall the elemental ache of the physically and emotionally broken bodies. Leo Smith’s plaintive voice crowns the martyrdom of the African American freedom fighter, Medgar Evers. His depiction of Evers’ life is altogether less strident than Abbey Lincoln’s Max Roaches were on We Insist: Freedom Now Suite but the force of his spiritual efforts surely rival those of Max Roach and his ensemble of 1960.
Yet this record would have been just another recorded document—like Gil Scott-Heron to The Last Poets and to many others through time—that avers pouring scorn on and ultimately living in the past like angry Uncle Toms, who have de-clawed and de boned and live as if they were in a hospice. On the contrary, Wadada Leo Smith examines the “Freedom Summers” as he calls to mind the question of the real meaning of Democracy—far from the political platitude that it has become at the hands of global hegemony. Here Leo Smith raises the human sacrifice of 9-11 and its impossible sacrifice to Freedom. It is in this incident that the magic of the music comes full circle. No longer does it remain an African-American document, but an American document that is spoken, albeit in the idiom of jazz and blues, but with the indulgence in the meters of European church music melded into the music of the herdsmen of the African Savannah, Leo Smith turns his modern epic into an monumental musical examination into the matter of respect and love and joy for all of humanity, African-American idioms melt into Human Rights, affecting also the Native American and those men and women who are bound and gagged in societies where the great American Ideals of Freedom and Democracy might spread; this when human rights are dealt with justly and equally when more men and women are inspired by the colossal cry for freedom and dignity of Wadada Leo Smith and the two ensembles who sing with him on these epic recordings.
Tracks: CD 1: Dred Scott, 1857; Malik Al Shabazz And The People Of The Shahada; Emmett Till: Defiant, Fearless; Thurgood Marshall And Brown Vs. Board Of Education: A Dream Of Equal Education, 1954; John F. Kennedy’s New Frontier And The Space Age, 1960. CD 2: Rosa Parks And The Montgomery Bus Boycott, 381 Days; Black Church; Freedom Summer: Voter Registration, Acts Of Compassion And Empowerment, 1964; Lyndon B. Johnson’s Great Society And The Civil Rights Act Of 1964. CD 3: The Freedom Riders Ride; Medgar Evers: A Love-Voice Of A Thousand Years’ Journey For Liberty And Justice; The D.C. Wall: A War Memorial For All Times; Buzzsaw: The Myth Of A Free Press; The Little Rock Nine: A Force For Desegregation In Education, 1957. CD 4: America, Pts. 1, 2 & 3; September 11th, 2001: A Memorial; Fannie Lou Hamer And The Mississippi Freedom Democratic Party, 1964; Democracy; Martin Luther King, Jr.: Memphis, The Prophecy.
Personnel: Golden Quartet/Quintet: Wadada Leo Smith: composer, trumpet; Anthony Davis: piano; John Lindberg: bass; Pheeroan akLaff: drums; Susie Ibarra: drums. Southwest Chamber Music: Jeff von der Schmidt: conductor; Alison Bjorkedal: harp; Jim Foschia: clarinet; Lorenz Gamma: violin; Peter Jacobson: cello; Larry Kaplan: flute; John Karlin: viola; Tom Peters: bass; Lynn Vartan: percussion; Shalini Vijayan: violin.
Wadada Leo Smith – Official Website: www.wadadaleosmith.com
Label: Cuneiform Records
Release date: May 2012
Feature article by: Raul da Gama
For Claudia Acuña, home has never been a fixed destination. It is something carried—in the body, in memory, in language, and in sound.
On Ave de Luz, the Chilean vocalist brings those fragments together with unusual clarity. After three decades in New York, Acuña no longer treats her roots as something to weave quietly into jazz. She places them at the center. Her striking declaration—“I’m coming in with my crown, my poncho, my everything”—captures the album’s spirit perfectly.
Raised in Concepción during Chile’s dictatorship years and later transformed by New York’s jazz scene, Acuña has spent much of her career moving between worlds. Ave de Luz feels like the moment when those worlds stop competing with one another.
A Specifically Chilean Jazz
Acuña has resisted the idea that “Latin jazz” can be reduced to a single vocabulary. Afro-Cuban and Brazilian traditions may dominate the popular understanding of the term, but Latin America contains countless rhythmic, folkloric and indigenous languages.
Her own metaphor is simple: noodles and spaghetti may look related, but they are not the same thing.
That idea shapes Ave de Luz. The album is not merely jazz with Chilean colour added to it. It is music whose identity emerges from cueca, Andean traditions, indigenous sonorities, poetry, migration and improvisation.
The trutruka, charango, zampoña, tormento and Chilean pandero become part of the album’s grammar. They interact with Manu Koch’s piano and keyboards, Carlos Henderson’s bass and Yayo Serka’s drums and percussion without sounding ornamental or exoticized.
Poetry, Memory and Resistance
“Chinga La Ka Chinga” captures one of the album’s most expansive ideas. Festive on the surface, the piece also acknowledges Afro-Chilean and northern Chilean currents, suggesting how celebration can carry history, resistance and cultural memory within its pulse.
Elsewhere, the music turns inward. “Piececitos de Niño,” inspired by Gabriela Mistral, brings poetry and childhood into the album’s emotional landscape, while “Rezo” feels almost elemental: voice, charango, atmosphere and silence shaping a meditation on nature, distance and belonging.
Acuña’s reading of Violeta Parra’s “La Jardinera” is equally significant. Its imagery of planting, tending and healing becomes an apt metaphor for tradition itself. Culture survives not by remaining untouched, but by being replanted. Acuña does precisely that.
The Wind From the South
“Viento del Sur” also carries special resonance, recalling the title of Acuña’s 2000 debut, Wind from the South. Then, the image suggested a Chilean artist arriving in the international jazz world. Here, the meaning has changed.
The south is no longer where she came from. It is something she continues to carry.
That idea finds its fullest expression in the title track. The “bird of light” becomes an image of migration without erasure—a figure moving forward while remaining connected to its place of origin. The metaphor fits Acuña herself.
Her longtime musical relationship with Koch, Henderson and Serka gives Ave de Luz much of its freedom. Years of trust let the ensemble move naturally between folk memory, jazz improvisation and contemporary textures without forcing boundaries between them.
Ave de Luz may be Claudia Acuña’s most complete artistic statement because it no longer asks her identities to compromise.
The crown is experience.
The poncho is memory.
Jazz is the road between them.
And Claudia Acuña travels that road carrying Chile fully into the light.
Album Information
- Artist: Claudia Acuña
- Album: Ave de Luz: Chilean Jazz & Soul
- Label: Delfin Records
- Release date: July 10, 2026
- Genre: Jazz / Vocal Jazz / Chilean jazz
- Format: Digital/streaming
- Final digital release: 7 tracks, approximately 36 minutes
Tracklist
- Chinga La Ka Chinga – (Claudia Acuña, Coch, Hernandez & Serka) – 4:43
- Ave de Luz– (Mario Rojas) – 5:48
- Viento del Sur– (Claudia Acuña & Jason Lindner) – 6:01
- Rezo– (Claudia Acuña) – 3:49
- Piececitos de Niño– (Based on a poem of Gabriela Mistral / Music by Claudia Acuña) – 6:10
- Un Gorro de Lana– (Víctor Acosta) – 4:18
- La Jardinera– (Violeta Parra) – 6:01
Personnel
- Claudia Acuña – vocals, percussion/claps, tormento; producer
- Manu Koch – piano and keyboards (tracks 1, 2, 3, 5)
- Carlos Henderson – bass
- Yayo Serka – drums and percussion
- Pablo Vergara – piano (tracks 6, 8)
- Andrés Pollak – piano, organ; producer (track 7) | organ (track 1)
- Pablo Zárate – accordion, Chilean pandero (track 2)
- Fredy Torralba – traditional Chilean/Andean instruments including charango, trutruka and zampoña
- Paulina García – spoken word (track 6)
- Daniel Kelley-Acuña – vocals (track 6)
Production Credits
Produced by Claudia Acuña and Andrés Pollak. Most of the sessions were recorded at East Side Sound in New York in November 2025, with “Ave de Luz” recorded at TOC Música in Santiago in October 2025 and additional recording completed at Banduria Studio in Santiago. Andrés Pollak handled engineering on the principal New York sessions; Rafael Chaparro engineered the Santiago title-track session with Javier Lizana assisting. Marc Urselli mixed and mastered the project.
With La Malinche, Eva Cortés delivers one of the most ambitious recordings of her career—a project in which history, identity, migration and music converge around one of the most contested figures in the Americas.
Malintzin, also known as Doña Marina or La Malinche, has long been portrayed through conflicting narratives: interpreter, intermediary, mother of mestizaje, victim, survivor and, in later nationalist mythology, traitor. Cortés does not try to settle that debate. Instead, she uses Malintzin as a symbol of cultural transition, displacement and survival.
That choice makes particular sense for an artist whose own life has unfolded across borders. Born in Honduras (Central America), shaped culturally in Seville (Spain) and later immersed in New York’s jazz community, Cortés has always made music from the space between traditions. On La Malinche, that in-between space becomes the heart of the album.
A Music of Crossings
The album brings together flamenco, Latin jazz, contemporary jazz and Indigenous-inspired imagery without turning the result into a forced fusion.
Rather than attempting to recreate pre-Columbian Mexican music literally, Cortés evokes Indigenous memory through percussion, communal voices, repetition and themes of ancestry, earth and maize. Flamenco enters through Spanish guitar, vocal inflection and the expressive grit associated with cante. Jazz supplies the harmonic freedom and improvisational space that allow those elements to interact.
The musicians surrounding Cortés are crucial to that balance. Pianists Pepe Rivero, Jon Cowherd and Zaccai Curtis, bassists Christian McBride, Luques Curtis and Reinier Elizarde “Negrón,” and drummers Antonio Sánchez, Adam Cruz and Georvis Pico give the album both rhythmic strength and harmonic flexibility. Roman Filiú, Paco Heredia, Marvin Sewell, Bandolero and others expand the palette further. The result is music that never feels boxed into one category.
The Voice at the Center
Cortés’ singing remains the album’s most powerful instrument. Her phrasing can be loose and conversational, then suddenly sharpen into something more urgent and flamenco-inflected. She moves between reflection, mourning, protest and defiance without sacrificing musical control.
Most importantly, she refuses to define Malintzin through betrayal. Her interpretation focuses instead on endurance and complexity.
The opening “Abuelita Malinche” immediately makes that clear. By calling her “Abuelita,” Cortés transforms Malinche from a figure of accusation into an ancestral presence. The arrangement blends Latin-jazz movement with flamenco coloration, while her wordless vocal passages move naturally between scat and cante.
“Hij@s del Maíz” extends that idea of cultural mixture. Paco Heredia’s guitar, Pepe Rivero’s piano, Antonio Sánchez’s drums and the accordion create a sound that travels across regions rather than belonging to one. Maize becomes a symbol of Indigenous continuity, while the music reflects the constantly changing character of mestizaje itself.
From History to the Present
The album becomes even more powerful when it connects the past to contemporary realities.
“Letters to Heaven” and “Remember Me” introduce themes of Indigenous loss and the disappearance of women from both historical memory and present-day communities. “Sur Global” shifts toward resistance, combining rhythmic drive with a broader reflection on colonialism, migration and inequality.
Then “Spanish Harlem” brings the journey firmly into the present. Horns, flute, tumbao and call-and-response place Cortés within New York’s Latin-jazz tradition, completing a musical path that stretches from ancestral memory to the modern city.
A Major Statement
La Malinche is more than an album built around a historical figure. It is a meditation on who controls history, who gets remembered and how identity continues to change across generations and borders.
Cortés turns her own musical hybridity into the album’s central idea. Jazz, flamenco and Latin American traditions do not simply coexist here—they help tell the story.
The result is one of her strongest and most focused recordings to date: emotionally direct, musically sophisticated and deeply rooted in the ongoing conversation between memory and transformation. La Malinche is not about recovering a pure past. It is about reclaiming the right to reinterpret it.
Album Information
- Artist: Eva Cortés
- Album: La Malinche
- Label: Truth Revolution Records / TRRcollective
- Release: June 2026
- Official press release date: June 5, 2026
- TRRcollective Bandcamp release date: June 19, 2026
- Format: CD / Digital
- Number of tracks: 11
- Total running time: 51:53
- Genre: Jazz / Latin Jazz / Flamenco / Afro-Latin
- Recorded in: Madrid, Spain, and Little Falls, New Jersey, USA
Tracklist
- Abuelita Malinche — 4:35
- A Tribo do Vento — 5:46
- Soy el Aire — 5:31
- Light and Sorrow — 3:59
- Hij@s del Maíz — 4:24
- Letters to Heaven — 5:04
- Remember Me — 3:28
- Sur Global — 5:43
- No Me Limites — 4:33
- Indians of All Tribes — 3:53
- Spanish Harlem — 4:57
Personnel
- Eva Cortés — vocals, composer, lyricist, backing vocals
- Pepe Rivero — piano, keyboards, arrangements
- Jon Cowherd — piano
- Zaccai Curtis — piano, keyboards
- Christian McBride — bass
- Luques Curtis — bass
- Reinier Elizarde “Negrón” — bass
- Paco Heredia — Spanish guitar, guitar, arrangements
- Marvin Sewell — guitar
- Roman Filiú — saxophone, flute, backing vocals
- Bobby Martínez — saxophone
- Manuel Machado — trumpet
- Antonio Serrano — harmonica
- Javier Colina — accordion
- Bandolero — percussion
- Roland Guerrero — percussion
- Antonio Sánchez — drums
- Adam Cruz — drums
- Georvis Pico — drums, vocal solo, backing vocals
Production Credits
- Produced by: Eva Cortés, Roman Filiú and Pepe Rivero
- Label: Truth Revolution Records / TRRcollective
- Session One: Camaleón Music Studio, Madrid, Spain
- Recording Engineer, Madrid: Diego Román
- Session Two: Studio Mozart, Little Falls, New Jersey, USA
- Recording Engineer, New Jersey: Kostadin Kamcev
- Mixing: David Darlington
- Mastering: David Darlington
- Mixing and Mastering Studio: Bass Hit Studios, New York, NY
- Photography: Noah Shaye
The title Abriendo Puertas—“Opening Doors”—captures the spirit of guitarist Roni Ben-Hur’s latest recording with unusual precision. Recorded in Havana with an accomplished group of Cuban musicians, the album is built not around the novelty of a visiting jazz guitarist encountering Cuban music, but around something more meaningful: musicians listening closely enough to find a common language.
Ben-Hur has spent much of his career moving naturally between musical worlds. Born in Israel to a Tunisian family and shaped professionally by New York’s jazz community, his playing draws from bebop, Brazilian music, Mediterranean traditions and Latin rhythms without sounding like a collection of influences. His years with pianist and mentor Barry Harris helped establish the melodic clarity, swing and understated sophistication that remain central to his guitar style. On Abriendo Puertas, those qualities fit remarkably well within a Cuban setting.
The key creative partner is pianist Alejandro Falcón, who contributes four of the seven compositions: the title track, “Gua’ One Blues Pal Bobby,” “Lo que es del César” and “El Teide.” Rather than treating Ben-Hur as a soloist placed in front of a Cuban rhythm section, Falcón helps create an ensemble language in which guitar and piano continuously exchange roles. Their compatibility is evident from the opening title track, where rhythmic momentum and lyrical improvisation develop patiently rather than through display.
“Gua’ One Blues Pal Bobby” pushes the conversation toward the blues while retaining a strong Cuban rhythmic identity. It is one of the album’s most spirited performances, illustrating how readily the vocabulary of jazz can coexist with the rhythmic imagination surrounding Ben-Hur in Havana. By the time the ensemble reaches “Lo que es del César” and “El Teide,” the distinction between guest and host has largely disappeared. What remains is a cohesive band responding to one another in real time.
The album’s romantic center comes through three classic Latin American songs. José Antonio Méndez’s “Mi Mejor Canción” brings the intimacy of the Cuban filin tradition into the program, while Osdalgia Lesmes appears on Isolina Carrillo’s “Dos Gardenias” and Armando Manzanero’s “Esta tarde vi llover.”
Lesmes brings warmth and emotional directness to both performances, and Ben-Hur proves once again what a sensitive accompanist he can be. His guitar surrounds the voice rather than competing with it, reflecting an approach he has developed through years of working with singers, including the late Brazilian vocalist Leny Andrade. Ben-Hur has spoken of the importance of leaving space for vocalists and allowing melody and lyric to remain at the center of an arrangement.
That same sense of space benefits the entire recording. Pedro Pablo Gutiérrez on acoustic bass, Ruy López-Nussa on drums and Octavio Rodríguez Rivera on percussion provide a foundation that is rhythmically rich without becoming overcrowded. Tenor saxophonist Emir Santa Cruz, featured on four tracks, adds another expressive voice and gives several performances a broader jazz-ensemble character.
Recorded at DBega Studios in Havana in November 2025, Abriendo Puertas is part of the Cuban Notes recording series co-produced by Ben-Hur and Dot Time Records founder Johanan “Jo” Bickhardt. Yet the album succeeds beyond the concept behind the series.
Its strength is ultimately found in the musicians themselves. Nobody appears interested in proving how effortlessly jazz and Cuban music can be combined. They simply play together until those distinctions become secondary.
For listeners who appreciate expressive jazz guitar, Cuban music and recordings where collaboration matters more than spectacle, Abriendo Puertas is easy to recommend. Warm, sophisticated and deeply conversational, it finds Roni Ben-Hur opening another musical door—and discovering an ensemble waiting on the other side.
Album Information
Artist: Roni Ben-Hur
Album: Abriendo Puertas
Label: Dot Time Records
Catalog: DT9192
Genre: Jazz / Latin Jazz
Release Date: June 26, 2026
Recorded: November 2025
Studio: DBega Studios, Havana, Cuba
Format: CD / Digital
Program: 7 tracks, approximately 49 minutes.
The project is part of Cuban Notes, co-produced by Johanan “Jo” Bickhardt and Roni Ben-Hur. It follows Alejandro Falcón’s Falcón in Blue as the second album in the series.
Tracklist
1. Abriendo Puertas – Alejandro Falcón – 8:12
2. Mi Mejor Canción – José Antonio Méndez – 6:32
3. Dos Gardenias – Isolina Carrillo – 5:23
4. Gua’ One Blues Pal Bobby – Alejandro Falcón – 9:23
5. Esta tarde vi llover – Armando Manzanero – 5:56
6. Lo que es del César – Alejandro Falcón – 6:17
7. El Teide – Alejandro Falcón – 7:49
Personnel Credits
Roni Ben-Hur — guitar
Alejandro Falcón — piano
Pedro Pablo Gutiérrez — acoustic bass
Ruy López-Nussa — drums
Octavio Rodríguez Rivera — percussion
Emir Santa Cruz — tenor saxophone, tracks 1, 4, 5 and 7
Osdalgia Lesmes — vocals, tracks 3 and 5
Production Credits
Executive Producer: Johanan “Jo” Bickhardt
Co-Producer: Roni Ben-Hur
Recorded at: DBega Studios, Havana
Recording date: November 2025
Sound Engineer: Carlos D’Bega
Label: Dot Time Records
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