arrangers: []
catalog: OCRA-0077
categories:
- Game
category: Game
classification: Arrangement
composers: []
covers:
- full: https://media.vgm.io/albums/38/123283/123283-924fdfabb15a.png
  medium: https://medium-media.vgm.io/albums/38/123283/123283-924fdfabb15a.png
  name: Front
  thumb: https://thumb-media.vgm.io/albums/38/123283/123283-924fdfabb15a.png
- full: https://media.vgm.io/albums/38/123283/123283-621a1f8a46f9.png
  medium: https://medium-media.vgm.io/albums/38/123283/123283-621a1f8a46f9.png
  name: Back
  thumb: https://thumb-media.vgm.io/albums/38/123283/123283-621a1f8a46f9.png
discs:
- disc_length: '56:06'
  name: Disc 1
  tracks:
  - names:
      English: Combo Breaker (Killer Instinct)
    track_length: '8:27'
  - names:
      English: Brushwork (Mario Paint)
    track_length: '3:53'
  - names:
      English: Red Soul (Super Metroid)
    track_length: '5:28'
  - names:
      English: Gigantrious Koopalooza (Super Mario World)
    track_length: '6:05'
  - names:
      English: Hylian Serene (Legend of Zelda - A Link to the Past)
    track_length: '5:00'
  - names:
      English: 22nd Century (Digital Boy) [Mega Man X]
    track_length: '4:47'
  - names:
      English: Chico del Futuro (Dragon Ball Z Super Butouden 2)
    track_length: '6:13'
  - names:
      English: Quiet Rider (F-Zero)
    track_length: '5:37'
  - names:
      English: The Distant Night (Final Fantasy VI)
    track_length: '5:05'
  - names:
      English: Live Mega, Live Más (Live A Live)
    track_length: '5:31'
link: album/123283
lyricists: []
media_format: Digital
meta:
  added_date: 2022-09-23T08:46
  edited_date: 2022-11-06T15:23
  fetched_date: 2026-01-11T20:02
  ttl: 86400
  visitors: 2274
name: 'Mode Seven: A Jazz Tribute to the SNES'
names:
  en: 'Mode Seven: A Jazz Tribute to the SNES'
  ja: 'Mode Seven: A Jazz Tribute to the SNES'
  ja-latn: 'Mode Seven: A Jazz Tribute to the SNES'
notes: 'Mode Seven: A Jazz Tribute to the SNES

  Comments from album director Dylan Wiest (Wiesty) and ReMixers

  Album freely available at https://mode7.ocremix.org

  For many gamers, the SNES marked a golden age of video games and the soundtracks
  that accompanied them. For the first time, technology was available that was capable
  of producing games with vivid art, complex and captivating storylines, and music
  that could truly establish the atmosphere required to complete a fully engaging
  experience for gamers. Game developers were finally able to produce epic masterpieces
  on Game Paks that truly represented their artistic vision, as opposed to relying
  on the imagination of gamers to fill in the gaps left by the technology of previous
  generation consoles.

  Though the SNES served as a launching pad for the level of immersiveness video games
  would go on to provide over the next 30 years, it was also the pinnacle of the 16-bit
  era, providing gamers with one last glimpse of how far technology had come before
  game developers would go back to the drawing board to start from scratch in the
  3D era of graphics. The SNES''s relatively minimal, sprite-heavy graphics showed
  how vivid and imaginative artists could be with fairly primitive technology, and
  it has always amazed me how well SNES-era graphics have aged when compared with
  their 3D successors. Likewise, the SNES''s SPC700 audio engine, which could only
  handle 8 distinct voices at any given time and up to 64kb of audio data, required
  composers to be extremely thoughtful in the choices they made. The phrase "limitation
  breeds creativity", is profoundly apt when it comes to the artists who brought us
  the masterpieces of the 16-bit era, which have gone on to inspire a sort of renaissance
  in recent years with the explosive popularity of 16-bit style games such as Shovel
  Knight or Octopath Traveler, as well as the world of chiptunes and music trackers.

  After the OC Jazz Collective''s in-depth exploration of Chrono Trigger in 2016,
  I knew that the console which provided us with one of the most memorable gaming
  experiences of all time deserved its own treatment by the collective. After all,
  many series of equal stature to Chrono Trigger such as The Legend of Zelda, Final
  Fantasy, Mario, and Metroid, all released some of their most popular titles on this
  console which would go on to define their respective genres. While the initial groundwork
  for Mode Seven: A Jazz Tribute to the SNES began way back in late 2016, multiple
  circumstances including relocating across the country, personnel changes, the loss
  of my father (who bought me my SNES in 1996!), and a global pandemic delayed the
  release until 2022. While Chronology will always hold a special place in my heart,
  I think that the OCJC has upped their game to a whole new level for Mode Seven.
  The "dream team" assembled for Chronology has grown in size, and new arrangers,
  musicians, and a representation of SNES titles both beloved and overlooked have
  all come together to create a fitting follow up to our first release in 2016.

  Capturing a style of music such as jazz that requires such close interaction between
  musicians is no easy task when the musicians are seperated by multiple continents,
  recording their parts one at a time. However, with the level of musicality and meticulous
  attention to detail this ensemble brings, I hope that Mode Seven: A Jazz Tribute
  to the SNES will be as memorable as the console which inspired it.

  - Dylan Wiest (Wiesty)

  -----------------------------------------------------------------------------------------------

  1. Wiesty, The OC Jazz Collective - "Combo Breaker"

  Source: Killer Instinct - "The Instinct"

  Original Composer: Robin Beanland

  Dylan Wiest (Wiesty) - arrangement, drums, Fender Rhodes

  Anthony Lofton - tenor saxophone

  J Damashii - trumpet

  Markus B. (Nostalvania) - piano, synths

  Doug Perry (DrumUltimA) - vibraphone

  Alejandro Espinosa - guitar, bass

  Wiesty: Killer Instinct was one of my favorite games growing up, with its enormously
  varied soundtrack and cutting-edge graphics. I knew that any SNES album would not
  be complete without a track from this game, which I feel is a very underappreciated
  OST. My main concept with this track was to arrange it in a neo-soul/Robert Glasper-esque
  style, with a heavy emphasis on modern harmonies and breakbeat drumming. The track
  is essentially divided into two halves, with Alejandro and Markus shredding some
  solos on guitar and synths, respectively, in the first half. The beginning of the
  track comes to a bit of a pause, featuring Ale''s excellent work on bass, before
  the entire track begins to build to the end, with Doug, Alejandro, Markus, and Anthony
  all soloing overtop of each other creating a cacophony of solos until the end of
  the piece. This section, as well as the intro, were difficult to coordinate, as
  you never truly know how the musicians are going to interact with each other in
  a non-live situation, but everyone''s musicality and virtuosity really shines through.

  2. Fratto, Wiesty, The OC Jazz Collective - "Brushwork"

  Sources: Mario Paint - "Title", "Creative Exercise"; Super Mario Bros. (Super Mario
  All-Stars) - "Overworld BGM" (cameo)

  Original Composers: Hirokazu Tanaka, Ryoji Yoshitomi, Kazumi Totaka, Koji Kondo

  Brian Fratto (Fratto) - arrangement, trombone, bass trombone

  Dylan Wiest (Wiesty) - arrangement, drums

  Joe Zieja (XPRTNovice) - alto saxophone, baritone saxophone

  Anthony Lofton - tenor saxophone

  Jorik Bergman (Bowlerhat) - flute

  J Damashii - trumpet

  John Stacy (JohnStacy) - trumpet

  Andy Pearce (AndyP) - guitar

  Markus B. (Nostalvania) - piano

  Alejandro Espinosa - bass

  Fratto: After choosing this track, Dylan and I were talking about how much it reminded
  us of Neal Hefti''s "Cute", which is a great chart, and that idea got me started.
  The muted intro takes the "Title" theme and gives it the "Cute" treatment. After
  that, it moves to the "Creative Exercise" theme and a couple great solos from Jorik
  and Andy. Each wind section gets a soli starting with the bones, then Dylan gives
  us muted trumpets, and ending with the saxes. Big ol'' shout section, then it tones
  down a bit for the ending. I''ve really gotten to enjoy writing with Dylan and I
  finally got to arrange my VGM big band chart.

  Wiesty: This is a track I''ve always wanted to arrange, given how much it reminded
  me of Neal Hefti''s "Cute". I was super-happy that Brian picked it as a tune, and
  was impressed with his overall orchestration and direction for the track. I offered
  to step in to do a bit of rhythm arrangement, as well as writing a trumpet soli
  for the tune which both Jordan and John pulled off with ease. As one of our only
  big band tracks on the album, it required a great deal of coordination to pull together,
  but the final product was well worth the effort.

  3. Nostalvania, The OC Jazz Collective - "Red Soul"

  Source: Super Metroid - "Brinstar - Red Soil Wetland Area"

  Original Composer: Kenji Yamamoto

  Markus B. (Nostalvania) - arrangement, electric piano

  Anthony Lofton - tenor saxophone

  J Damashii - trumpet

  Brian Fratto (Fratto) - trombone

  Doug Perry (DrumUltimA) - vibraphone

  Alejandro Espinosa - bass

  Dylan Wiest (Wiesty) - drums

  Nostalvania: For my interpretation of "Red Soil", I decided to go for a more funky,
  upbeat style, in contrast to the rather dark, eerie mood of the source tune and
  probably most of its remixes.

  Actually, the origins of this arrangement go back to an old electronic remix I did
  years ago, where I took some of the reharm ideas from. Furthermore, I also got some
  inspiration from the Jazz Crusaders. Since there is a good amount of repetition,
  I tried to keep things interesting by adding more instruments and countermelodies
  as the track progresses. This is actually the first arrangement for which I wrote
  a trombone part! That''s why it was practically unplayable [insert sad trombone
  sound here]. But after transposing it down an octave or so, it was fine. After the
  theme, there is a solo section, which harmonically almost only consists of II-V
  progressions. I did this because I like to reharmonize music, and also to prevent
  the track from getting too repetitive. Shoutout to Anthony (tenor sax), Doug (vibraphone),
  and Ale (bass) for the great solos! And, also, I found out that it''s possible to
  play the melody over the chords from the solo part, which was very convenient, because
  that way I was able to maintain the momentum and drive which came from said section.
  The last part (outro/vamp) is like a return to the classic "Red Soil" mood. It gradually
  builds up and intensifies until the end, greatly supported by Dylan with some excellent
  drum soloing.

  4. Bowlerhat, The OC Jazz Collective - "Gigantrious Koopalooza"

  Source: Super Mario World - "Sub Castle BGM"

  Original Composer: Koji Kondo

  Jorik Bergman (Bowlerhat) - arrangement, fute

  Joe Zieja (XPRTNovice) - alto saxophone, baritone saxophone

  Anthony Lofton - tenor saxophone

  John Stacy (JohnStacy) - trumpet

  Brian Fratto (Fratto) - trombone

  Markus B. (Nostalvania) - piano

  Alejandro Espinosa - guitar, bass

  Dylan Wiest (Wiesty) - drums

  Bowlerhat: When I first arranged "Gigantrious Koopalooza" a few years ago, the piece
  was fully in medium swing time. Back then, Dylan had already suggested changing
  it to 12/8 to mix it up, but I had cluelessly rejected the idea. Then, after the
  SNES project had meandered for a bit and I came back to redo the arrangement, about
  1.5 years ago by now, I decided to try out his idea and switch up the 4/4 medium
  swing with a 12/8 Latin groove. Best. Idea. Ever. The piece starts slow and retrospective,
  dramatically introducing the main motive of the arrangement. Then, after the intro,
  the 12/8 groove gets introduced and the piece truly starts. It''s a party, hehe.

  One of the biggest challenges for me personally when arranging video game music
  is dealing with the melody. When I compose original compositions, I never reuse
  melodies, I always develop them and introduce new motives and mix it up. It''d be
  silly to just repeat the same old melody for 5 minutes. But with arrangements like
  this, where there''s a set theme which is so beloved by many, I somehow have to
  stay true to the original while still also having some kind of melodic development
  happening throughout the piece. What I tried to do in this arrangement is having
  the original main melody happen at the very end, as the big climax of the piece
  and only "alluding" to the main melody before that. So I tried many different ways
  to play the theme without actually playing it. That way, when the main melody finally
  hits after the flute solo and the big epic drum riff, it feels like even more of
  a resolution. It''s a dynamic climax, a rhythmic climax, and now also a melodic
  climax. Of course, since it''s mandatory to modulate at the climax of a piece, I
  modulated from F minor to the slightly brighter C minor.

  As a flute player, I almost never get solos. And, since I''m almost always conducting
  my own projects, I decided to use this rare opportunity of a virtual band recording
  to just give myself the solo, hehe. The timing was a bit unfortunate, since at the
  moment of recording I had just bought a new flute, which I wasn''t completely used
  to yet back then, but I think I still did a semi-nice job with the improvisation.
  I found the arrangement to be very fun to play, which in my opinion is the most
  important thing when arranging. If the band is having fun, the audience is most
  likely also having fun. So I hope that the rest of the band enjoyed themselves as
  well, haha. I''m very thankful Dylan gave me the opportunity to write for such a
  cool project, and it was a pleasure to share the virtual stage with people from
  all over the world. I''m already looking forward to the next one. :)

  5. Wiesty, The OC Jazz Collective - "Hylian Serene"

  Source: The Legend of Zelda: A Link to the Past - "Kakariko Village"

  Original Composer: Koji Kondo

  Dylan Wiest (Wiesty) - arrangement, drums

  Anthony Lofton - tenor saxophone

  Markus B. (Nostalvania) - piano

  Alejandro Espinosa - bass

  Wiesty: I wanted to arrange a tune for the album which featured a very basic arrangement
  of the source material, and more of a focus on the individual voice of each musician.
  Like most great jazz standards, the chord progressions and melodies are quite simple,
  allowing the musicians to take the song in directions nobody else has before. I
  knew "Kakariko Village" would be a great source for such a track, and, after jotting
  out a road map and working out some reharmonizations, I left it in the very capable
  hands of both Markus and Anthony, who crafted a gorgeous ballad full of feeling
  and nuance. Ale and I added our own touch for the second half of the tune to add
  a bit of energy, and I could not be happier with how this track came together given
  the minor directions I provided for everyone.

  6. Gregory Weaver, The OC Jazz Collective - "22nd Century (Digital Boy)"

  Source: Mega Man X - "Sigma Stage 2"

  Original Composer: Setsuo Yamamoto

  Gregory Weaver - arrangement, tenor saxophone

  Doug Perry (DrumUltimA) - vibraphone

  J Damashii - trumpet

  Markus B. (Nostalvania) - electric piano

  Alejandro Espinosa - bass

  Dylan Wiest (Wiesty) - drums

  Gregory: Mega Man X is one of my favorite games of all time. I grew up obsessing
  over the original Mega Man games on NES, and I clearly remember how, after my parents
  got the game for my brother and me, I''d wake up before breakfast on cold winter
  mornings to play it. I still enjoy revisiting it.

  The game''s music played a huge part in my love for it, so when I was presented
  with the opportunity to arrange for this tribute to the SNES, I immediately started
  dreaming up ideas around MMX''s OST. It''s wild to think about, but this project
  was my first foray into online collaboration. Wiesty and I first chatted about doing
  something for this album back in Oct. 2017—I legitimately bought my first mic for
  this work!

  My first ideas were to either arrange this piece or "Sigma Stage 1". I chose to
  do "Stage 1" first, but when things were on hold for this album, I ended up debuting
  that with my own band, The Hard Modes, and then arranged "Stage 2" for the OCJC
  when things started ramping up again.

  One of my favorite parts about the original tune is how the Capcom Sound Team arranged
  it to move between clearly defined sections that are infectious and exciting. They
  inspired me to try to capture that feeling in my own arrangement, particularly in
  the solo sections.

  The A sections are open—basically one chord for 16 bars over which the soloist can
  bend the harmony to their will. The harmony becomes more defined in the subsequent
  sections, but it''s the rhythmic build that leads the soloist between ideas, just
  as in the original. The band certainly delivered for this cut; the energy from section
  to section is intense—palpable!

  It''s fortunate that this group''s composition matches that of the Modes. We also
  have a great vibes player that I love to showcase, so I was psyched that I had the
  opportunity to feature Doug here. The best moment in this recording, to me, is when
  Doug enters his solo, sustaining the last chord of the form. The contrast of that
  huge breath of fresh air to the energy the sax solo ends with is perfectly and hauntingly
  disarming.

  In the game, after Zero sacrifices himself to allow X an opening to defeat Vile,
  and after a trying battle with a giant spider robot, X stands alone to continue
  his quest to defeat Sigma. Ultimately, I hope the listener gets the same intensity
  from this arrangement as they do when they experience that moment.

  7. JohnStacy, The OC Jazz Collective - "Chico del Futuro"

  Source: Dragon Ball Z Super Butouden 2 - "Trunks'' Theme"

  Original Composer: Kenji Yamamoto

  John Stacy (JohnStacy) - arrangement, French horn, trumpet

  Joe Zieja (XPRTNovice) - alto saxophone, baritone saxophone

  Anthony Lofton - tenor saxophone

  Brian Fratto (Fratto) - trombone, bass trombone

  Andy Pearce (AndyP) - guitar

  Markus B. (Nostalvania) - piano

  Alejandro Espinosa - bass

  Doug Perry (DrumUltimA) - congas

  Dylan Wiest (Wiesty) - drums

  Wiesty: John''s arrangement of "Trunks'' Theme" was actually the first track submitted
  in full for the album following the completion of Chronology way back in 2016. When
  John submitted the track, I was unfamiliar with the source, but loved the idea of
  including some overlooked music from the SNES catalog as a means to truly round
  out the album. As one of the few true big band tracks on the album, John''s arrangement
  draws significant influence from Hank Levy''s "Pegasus" and beautifully weaves it
  with Yamamato''s work. The piece is written in 6/8 Latin, fluctuating between a
  3 and a 2 feel, and is written for a full jazz orchestra including bass trombone
  and French horn, which is featured heavily throughout. Though atypical in big band
  settings, the French horn adds superb texture to the overall sound of the big band,
  and was often used by composers such as Gil Evans who were searching for a distinct
  sound. The Latin feel briefly transitions into medium tempo swing with pocket to
  spare before the final iteration of the melody, which slowly fades out with some
  dissonant harmonies in the brass and woodwinds.

  8. Nostalvania, The OC Jazz Collective - "Quiet Rider"

  Source: F-Zero - "Silence"

  Original Composer: Yumiko Kanki

  Markus B. (Nostalvania) - arrangement, electric piano

  Anthony Lofton - tenor saxophone

  J Damashii - trumpet

  Doug Perry (DrumUltimA) - vibraphone

  Alejandro Espinosa - bass

  Dylan Wiest (Wiesty) - drums

  Nostalvania: For my first arrangement, I chose the tune "Silence" from F-Zero, one
  of the classic games that came with the launch of the SNES system, which (relevant
  to the album title) also used Mode 7 graphics.

  I think I picked "Silence" because it was already kinda jazzy/funky and had some
  interesting harmonic changes. So, the first thing I did was turn that e-piano pattern
  from the A-section into a bassline, supported by a very straight 4/4 drum beat,
  while the trumpet plays the melody in a more lyrical manner.

  "Silence" has that style shift where the second part changes to a funk-like groove.
  For my arrangement, I decided to use some good old swing for that part. The first
  time only is played by vibraphone, later joined by trumpet and tenor saxophone.
  After the theme, it''s time for some solos. Piano takes the first one, followed
  by an energetic, virtuoso vibraphone solo played by Doug, who really did a great
  job here! I also thought it would be cool to have a break section at the beginning
  of the vibes solo, as a transition before it changes to double-time swing. Afterwards,
  we have the A-section again, this time played in a more Latin/salsa style. Then
  back to swing, into an interlude, and finally the ending.

  9. Wiesty, The OC Jazz Collective - "The Distant Night"

  Sources: Final Fantasy VI - "Terra"; "Fanfare", "Techno de Chocobo" (cameo)

  Original Composer: Nobuo Uematsu

  Dylan Wiest (Wiesty) - arrangement, drums

  Joe Zieja (XPRTNovice) - alto saxophone

  Anthony Lofton - tenor saxophone

  J Damashii - trumpet

  Brian Fratto (Fratto) - trombone

  Markus B. (Nostalvania) - piano

  Alejandro Espinosa - bass

  Wiesty: For anyone familiar with jazz and the great recordings of the post-bop era,
  they will instantly recognize where the inspiration for this track came from. However,
  much of my source material for this tune actually came from a saxophone quartet
  I arranged for Joe way back in 2013 entitled "Variations de Chocobo", which featured
  the "Chocobo" theme superimposed over the chord changes to Oliver Nelson''s "Stolen
  Moments". That track never made its way onto OCR, but here we are years later, and
  I decided to run with that same idea, but with Terra''s theme instead. If you listen
  closely during the horn solo, you can still hear the "Chocobo" theme sneak in, a
  throwback to 2013. This tradition of composing new melodies overtop of old chord
  changes is one that runs deep in jazz, something known as a contrafact. I love this
  approach to arranging video game music as the possibilities are endless, and I''m
  always surprised with how seamlessly they seem to fit sometimes. The musicians on
  this track captured the mood I was going for perfectly, adding in some fantastic
  solos to top it off.

  10. Alejandro Espinosa, The OC Jazz Collective - "Live Mega, Live Más"

  Source: Live A Live - "Megalomania"

  Original Composer: Yoko Shimomura

  Alejandro Espinosa - arrangement, guitar, bass

  Carlos Eiene (insaneintherainmusic) - tenor saxophone

  J Damashii - trumpet

  John Stacy (JohnStacy) - French horn

  Doug Perry (DrumUltimA) - vibraphone, bongos

  Markus B. (Nostalvania) - electric piano, clavinet

  Dylan Wiest (Wiesty) - drums

  Wiesty: Alejandro has been an amazing addition to the OCJC since he started working
  with us a few years ago. When he brought this source to the album as an idea, I
  had never even heard of the game, but the music was super hip and had a lot of potential.
  Low and behold, Alejandro had the foresight to arrange some great music from a relatively
  obscure game, which was actually just recently re-released on the Nintendo Switch,
  28 years after its Japan-only launch. Alejandro writes some very challenging music,
  and this arrangement was no exception, with the introductory vibes part requiring
  Doug to overdub his vibes, while also providing hand percussion to back up the drums.
  The drum part Alejandro envisioned required Nate Smith-esque energy, which took
  countless hours of work from Wiesty to capture. The horns did a fantastic job of
  playing with the energy and accuracy required for this tune, and Carlos Eiene (insaneintherainmusic)
  even graciously lent his skills, laying down a killer solo on this tune. We''re
  excited to continue working with Alejandro, and to see what challenging and inventive
  arrangements he will write for us in the future!'
organizations:
- &id001
  link: org/47
  names:
    en: OverClocked ReMix
    ja: OverClocked ReMix
    ja-latn: OverClocked ReMix
  role: publisher
performers: []
picture_full: https://media.vgm.io/albums/38/123283/123283-924fdfabb15a.png
picture_small: https://medium-media.vgm.io/albums/38/123283/123283-924fdfabb15a.png
picture_thumb: https://thumb-media.vgm.io/albums/38/123283/123283-924fdfabb15a.png
platforms:
- SNES (Super Famicom)
products:
- link: product/10335
  names:
    en: Killer Instinct
    ja: Killer Instinct
    ja-latn: Killer Instinct
- link: product/2128
  names:
    en: Mario Paint
    ja: マリオペイント
    ja-latn: Mario Paint
- link: product/11338
  names:
    en: Super Mario All-Stars
    ja: スーパーマリオコレクション
    ja-latn: Super Mario Collection
- link: product/268
  names:
    en: Super Metroid
    ja: スーパーメトロイド
    ja-latn: Super Metroid
- link: product/415
  names:
    en: Super Mario World
    ja: スーパーマリオワールド
    ja-latn: Super Mario World
- link: product/500
  names:
    en: 'The Legend of Zelda: A Link to the Past'
    ja: ゼルダの伝説 神々のトライフォース
    ja-latn: 'Zelda no Densetsu: Kamigami no Triforce'
- link: product/2081
  names:
    en: Mega Man X
    ja: ロックマンX
    ja-latn: Rockman X
- link: product/10432
  names:
    en: 'Dragon Ball Z: Super Butouden 2'
    ja: ドラゴンボールＺ 超武闘伝２
    ja-latn: 'Dragon Ball Z: Super Butouden 2'
- link: product/200
  names:
    en: F-ZERO
    ja: F-ZERO
    ja-latn: F-ZERO
- link: product/182
  names:
    en: FINAL FANTASY VI
    ja: ファイナルファンタジーVI
    ja-latn: FINAL FANTASY VI
- link: product/327
  names:
    en: LIVE A LIVE
    ja: ライブ・ア・ライブ
    ja-latn: LIVE A LIVE
publish_format: Doujin/Indie
publisher: *id001
related: []
release_date: '2022-11-07'
release_events: []
release_price:
  price: Free
reprints: []
stores:
- link: http://mode7.ocremix.org
  name: 'Mode Seven: A Jazz Tribute to the SNES | OC ReMix'
- link: http://open.spotify.com/album/06gUm86ZQzskmAF3YJfHQP
  name: Spotify
vgmdb_link: https://vgmdb.net/album/123283?perpage=99999
votes: 0
websites:
  Official:
  - link: https://mode7.ocremix.org
    name: 'Mode Seven: A Jazz Tribute to the SNES | OC ReMix'
  - link: https://soundcloud.com/ocremix/sets/mode-seven-a-jazz-tribute-to-the-snes
    name: SoundCloud
  - link: https://www.youtube.com/watch?v=pjzpj7be7gA
    name: YouTube trailer
