Gene Krupa, Lionel Hampton, Teddy Wilson - The Complete 1955 Session

Styles: Vibraphone And Piano Jazz
Year: 1955
File: MP3@320K/s
Time: 56:54
Size: 130,4 MB
Art:

(8:21)  1. Avalon
(6:32)  2. Just You, Just Me
(7:41)  3. Blues for Benny
(8:51)  4. I Got Rhythm
(5:56)  5. Moonglow
(7:13)  6. Airmail Special
(5:14)  7. The Man I Love
(7:03)  8. Body and Soul

This CD release contains the one and only quartet session by Gene Krupa, Lionel Hampton and Teddy Wilson without Benny Goodman, presented here in its entirety and for the first time ever on CD. With the sole addition of bassist Red Callender, the three stars swing from start to finish on this horn-less session that was originally issued in divided form onto an LP (Clef MGC681) and a difficult to find British 45 rpm EP (titled 'Strollin' Along' SEB 10086). http://www.freshsoundrecords.com/gene-krupa-lionel-hampton-teddy-wilson-albums/6057-the-complete-1955-sessions.html

Personnel:  Gene Krupa (d), Linel Hampton (vib), Teddy Wilson (p), Red Callender (b)

The Complete 1955 Session

---

Janet Klein & Her Parlor Boys - It's the Girl

Styles: Vocal, Jazz, Retro Swing
Year: 2015
File: MP3@320K/s
Time: 64:05
Size: 149,2 MB
Art: Front

(2:39)  1. Sing to Me
(2:39)  2. Doin' the Uptown Lowdown
(3:23)  3. In a Little Garden
(3:09)  4. It's the Girl
(5:43)  5. Close Your Eyes
(3:39)  6. Old Man of the Mountain
(3:20)  7. East St. Louis Toodle-Oo
(3:38)  8. I Double Dare You
(2:45)  9. I'm Gonna Meet My Sweetie Now
(1:44) 10. Let's Don't and Say We Did
(3:25) 11. Look What You've Done to Me
(5:30) 12. Willow Weep for Me
(3:55) 13. You Learn About Love Everyday
(4:17) 14. Left Bank Medley: Bad Boys of Belleville / La Route Bleu
(2:40) 15. Shiny Shoes
(2:49) 16. The World Is Waiting for the Sunrise
(3:00) 17. Music Makes Me
(5:40) 18. Moonglow

The long awaited 8th CD by Janet Klein & Her Parlor Boys is OUT! Entitled “It’s the Girl!” the disc is jam packed with delicious delights. All the sensational titillation and panache of pre-code era music-making is here in this ensemble’s latest 2015 tour de force. Well worth the wait (last release “Whoopee Hey Hey!” 2010), this is surely the band’s most ambitious project to date. With band arrangements that certainly would have delighted Hal Roach, the group is at the top of its game. Eleven of the eighteen songs are culled from old films, including Wheeler and Woolsey comedies, and Vitaphone Vaudeville performance shorts. With top-notch ensemble musicianship on par with a studio orchestra of the 1930s, the group here has added original newly composed sections that seamlessly interweave with the old to make a final product even more thrilling than the original. Two transcending examples to note are the effervescent mid-sections of “I Double Dare You” and the dark sexy tango interlude in “Close Your Eyes”. Rare archeological treasures abound on Janet’s CDs and this latest is no exception. In the hands of these early jazz hunters, better known song selections like “Moonglow” and “Willow Weep for Me”, shine like new as the band has gone the extra mile to unearth little known and rarely performed verse sections. Leaving no stone unturned, Janet and the band bring to life hot jazz, tin pan alley and ballads from early twentieth century radio, film, dance halls, nightclubs, Vaudeville and even conjure some cartoon music of the time.

To support the immersive adventure, together with cartoonist, Thom Foolery, the group built and painted a full-scale cartoon set, ala 1920’s Felix the Cat and early Disney’s Little Alice silent cartoons. The set was constructed as an interactive space for Janet’s black and white clad band to mug and frolic for imaginative CD packaging photos and a music video: YouTube - “Sing To Me”. The original inspiration of live action actors mixing it up in a cartoon environment is drawn from Max Fleischer’s office antics with animated characters Koko the Clown, Bosko and Betty Boop leaping off the animation cells and the little living girl - Alice walking into 2 dimensional black and white 1920’s cartoonland in Disney’s earliest achievements. The tune “Old Man of the Mountain” sung by band member John Reynolds is originally from a Cab Calloway/Betty Boop cartoon, a live action mash up fantasy of that same title. For the photos, Janet designed two costumes for herself; one made to resemble a 1920s Max Sennett bathing beauty checkered and rolled stocking get-up and another satin ensemble ala 1930’s Ruby Keeler tapdance outfit that includes two handmade charming, unique and kooky hats, with parts hunted down from the last standing millinery supply house in LA. Janet & Her Parlor Boys (produced by Robert Loveless) have never sounded so good. The sweet and melodic tunes’ rich tapestry has an immediate sound quality that draws the listener into the inspired performances. As a whole this CD emotes the love the musicians feel for this genre and a playful authentic charm that will appeal to a modern ear.

Janet has been performing early music since 1996 and released her first CD in 1998 - “Come Into My Parlor”. She and the band currently live and perform around Los Angeles and have played in many old music halls and theatres in the US and around the world. The CD includes two original songs by Ian Whitcomb; an English Yiddish novelty number written about Janet plus the fanciful instrumental “Left Bank Medley” featuring the amazing accordion playing of Josh Kaufman from Petrovich Blasting Co. Recently (2014-5) Janet’s voice was featured in the Cartoon Network’s “Adventure Time” and “Over the Garden Wall”. She has a hit song (200,000+ views) on YouTube from her most recent characterization as the lovelorn school teacher (Miss Langtree) for forest animals in the exquisitely beautiful cartoon “Over The Garden Wall” Her song “Langtree’s Lament” can be seen and heard - see below “Videos and Clips” https://store.cdbaby.com/cd/janetkleinherparlorboys1

Personnel:  Janet Klein – Vocal & Ukulele;  Benny Brydern –Violin;  Corey Gemme – Cornet, T-Bone & Percussion;  Marquis Howell – Stand Up Bass;  Josh Kaufman – Accordion;  Dan Levinson – Clarinet, C-Melody Sax & Tenor Sax;  Geoff Nudell – Alto Sax, Bass Clarinet & Clarinet;  John Reynolds – National Steel Tricone Guitar, Banjo, Vocals;  Jonathan Stout – Drums;  Ian Whitcomb – Vocal;  Randy Woltz – Piano, Celeste & Vibraphone

It's the Girl

---

Jack Teagarden & His Orchestra - Stars Fell On Alabama 1931-1940

Styles: Trombone Jazz, Swing
Year: 1940
File: MP3@320K/s
Time: 66:05
Size: 154,4 MB
Art: Front

(2:45)  1. I Gotta Right To Sing The Blues
(2:58)  2. My Melancholy Baby
(2:44)  3. Wolverine Blues
(3:14)  4. Beale Street Blues
(3:14)  5. Somewhere A Voice Is Calling
(3:10)  6. If I Could Be With You (One Hour Tonight)
(3:03)  7. Muddy River Blues
(2:48)  8. Aunt Hagar's Blues
(2:48)  9. Swingin' On The Teagarden Gate
(2:31) 10. It's A Hundred To One (I'm In Love)
(3:24) 11. Peg O' My Heart
(2:56) 12. United We Swing
(3:17) 13. The Blues
(3:03) 14. Stars Fell On Alabama
(3:08) 15. Junk Man
(2:40) 16. The Sheik Of Araby
(3:12) 17. You Rascal, You
(3:06) 18. China Boy
(3:14) 19. Chances Are
(3:06) 20. Tiger Rag
(3:01) 21. Rockin' Chair
(2:33) 22. I Swung The Election

Giants of Jazz, the Italian reissue label which uses both legal and semi-legal tapes sometimes releases recordings that are on the dodgy side, and other times offers listeners a solid view into the development of a particular artist. These 22 sides by Jack Teagarden, collected between the years 1931 and 1947, offer a very intimate view of the great trombonist and vocalist at the height of his power as both a bandleader and as a sideman. From the early New Orleans material such as "I Gotta Right to Sing the Blues," and "Melancholy Baby" right on through the title cut and the stellar blues shouting of "Tiger Rag" and Hoagy Carmichael's "Rocking Chair." This may not be a definitive Teagarden statement there are a number of them but it's more than an idea or a taste. It's a solid collection (sound varies given the period) that offers a very solid view of the particular genius of Teagarden. ~ Thom Jurek http://www.allmusic.com/album/stars-fell-on-alabama-1931-1940-mw0000434939

Stars Fell On Alabama 1931-1940

---

Brother Jack McDuff - To Seek A New Home

Styles: Piano Jazz
Year: 1970
File: MP3@320K/s
Time: 33:15
Size: 76,7 MB
Art: Front

( 6:42)  1. Yellow Wednesday
( 4:50)  2. Come And Carry Me Home
( 5:31)  3. Mystic John
( 6:01)  4. Hunk O' Funk
(10:09)  5. Seven Keys For Seven Doors

A great little album that has McDuff soloing on Hammond, over larger funkier arrangements very much in the manner of his sublime Moon Rapping set, also recorded for Blue Note. Arrangements are by JJ Jackson and Jerry Long and McDuff will blow your mind as he navigates the mix of time changes, theme changes, and rhythm changes over the course of the long tracks on the set. Includes the sublime sample cut "Hunk O Funk", plus "Mystic John", "Seven Keys For Seven Doors", and "Yellow Wednesday". (Liberty/UA pressing. Cover has some wear & aging. Label has some marker.) © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/3114/Jack-McDuff:To-Seek-A-New-Home

Personnel:  Brother Jack McDuff - organ, piano;  Martin Drover, Terry Noonan, Bud Parks – trumpet;  John Bennett, Adrian Drover – trombone;  David Statham, Willie Watson - french horn;  Norman Leppard, Dick Morrissey, Jack Whitford, Dave Willis – reeds;  Typhena Partridge – harp;  J.J. Jackson - piano, percussion;  Chris Parren - electric piano;  Terry Smith – guitar;  Peter Chapman, Larry Steele - electric bass;  Trevor Armstrong, Phil Leaford – drums;  Debrah Long, Jerry Long - vocals

To Seek A New Home

---

Taylor Eigsti Trio - Taylor's Dream

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 58:18
Size: 133,7 MB
Art: Front

(5:25)  1. Ever So Easy
(5:25)  2. Tokyo Blues
(4:57)  3. Bolivia
(5:05)  4. Not Knowing
(3:57)  5. Goodbye Pork Pie Head
(6:48)  6. Meditation
(3:11)  7. Cheryl
(5:57)  8. A Bientot
(5:09)  9. Rolyat's Jam
(6:21) 10. In Your Own Sweet Way
(5:59) 11. Quiet Now

Menlo Park's Taylor Eigsti is the latest in a line of young hotshot pianists who know the jazz book well. They can quote line and verse from Horace Silver, Charles Mingus, Charlie Parker, Billy Taylor, and Dave Brubeck and play the music by rote, adding small touches of personality along the way. Eigsti is one of these kids, with one important distinction: His treatment of material from the fake book is not littered with small individual flourishes he reads these works through his individuality and his truly amazing melodic sensibilities. Eigsti, along with his band featuring John Shifflet on bass and Jason Lewis on drums, takes material from all these sources, adds a Jobim tune, Cedar Walton's challenging "Bolivia," and a couple of originals, and burns the joint down lyrically of course. There is no false academic flash in Eigsti's playing listen to him tear up the changes in Silver's "Tokyo Blues" it's all heart and an unbelievably adept sense of timing. It's true that he plays a hell of a lot of notes, almost as many as Oscar Peterson, but not on every tune and not in every solo. This is youth feeling its oats. On "Bolivia," he plays the mode against the blues mood and makes the drummer double time him, turning the Latin rhythm into a sweat fest. Other standouts include his read of "Goodbye Pork Pie Hat," in which he actually adds something emotionally to the piece; his intervals come off like lightning, and his solo against Shifflet's bass is a complex harmonic journey of skeletal chords and triplets played in slow motion. Elsewhere, Jobim's "Meditation" is a study in shade and subtle colors. Timbral shifts occur seamlessly and often; the melody is played off against itself as if Eigsti was searching for Jobim's thoughts and feelings when he wrote the tune. But it's Eigsti's strength as a composer that really sets him apart from the crowd. Like Brad Mehldau, his sense of harmony is rich, warm, and chock-full of shapes and tones, and he exercises it without restraint on "Not Knowing," a blues-based ballad that is reminiscent of Bill Evans both in composition and playing style. The large chords are graced by a whispering right hand that slides down the keyboard to the next set of changes. One can only hope that a stateside label decides to sign this kid and put out his records over here. This is an auspicious a debut album as you are likely to find anywhere. ~ Thom Jurek http://www.allmusic.com/album/taylors-dream-mw0000002680

Personnel:  Piano – Taylor Eigsti;  Bass – John Shifflett;  Drums – Jason Lewis

Taylor's Dream

---

Sam Paglia - Killer Chachacha

Size: 129,7 MB
Time: 54:55
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz Funk, Hammond Organ
Art: Front

01. Black Loop (2:47)
02. Organsm (3:27)
03. Introduction (0:20)
04. Return Of Lo Bianco (5:39)
05. Room 26 (2:55)
06. Suspence (0:53)
07. Bullitt (3:11)
08. Barely Bossa (0:44)
09. Killer Cha Cha Cha (4:20)
10. Beloved (3:54)
11. Stripper Girl (4:01)
12. Theme From The Liquidator (4:01)
13. Good News From Mars (3:12)
14. Gran Lusso (1:20)
15. Bbq (4:22)
16. Hip Club (2:40)
17. Chitlins Circuit (3:43)
18. Sanford & Son (3:17)

Composer, lyricist, organist Hammond, singer, pianist and keyboardist (specializing almost exclusively in vintage keyboards such as Fender Rhodes, Wurlitzer, Clavinet and Moog piano), designer and writer. In 1996 he founded the Sam Paglia Trio, and as a tool he chooses the Hammond organ. In 1998 he released the Irma Records B-movie heroes bolognese label, his first record of original pieces as a fictional soundtrack of an imaginary film. It is the first case of an Italian disco dedicated to the film of genres of the police in which coexist with the influences of Italian masters of composition for film such as Umiliani, Piccioni, Trovajoli and Jimmy Smith and Quincy Jones jazz from afroamerican. Along with Irma Records in 2000 comes Nightclubtropez, a disco with influences of bossanova and soul jazz dedicated to dance music of Italian nights between the sixties and seventies with songs sung Continental 70 and Naitropè Clebtrope '. The album gets great reviews and boasts great distribution and sales mostly overseas: Japan, Australia, USA, Russia, England, Germany and Austria. In 2003, Cinedelic recorded the third album Killer cha cha cha, more on the soul jazz and funk side. Here are four covers for Bullitt and Room 26 (Lalo Schifrin, taken from the Bullitt 1968 film), Theme from The Liquidator (always from Schifrin from The Liquidator 1966) and Sanford & son theme by Quincy Jones The 1972 homonymous TV series. The first three discs have the covers designed by Sam himself. The pieces of these appear on dozens of dozens of compilations and its name is linked to the so-called lounge movement in Italy, which is part of the duo of the Montefiori Brothers (Montefiori Cocktail). In April 2000 Sam's trio meets in a unique and unrepeatable evening Piero Umiliani to play together the master's successes brought to the fore by the lounge movement, classics such as Gassman Blues (from the usual unknowns) and "Mah na mah na" (Song made popular by the Muppet show and originally written for Sweden's Hell and Paradise movie). For recording, it intensifies that of live and composing music for jingle advertising, television documentaries and film and shorts of author. In addition to playing all over Italy, the Trio plays in festivals and venues in Austria, Spain, Croatia, Bosnia, England, Switzerland. The following albums are The rare Sam Paglia (Flipper / Hip Cub records) of 2005, Electric Happiness (Deja vu ') of 2009, The Last Organ Party (Flipper / Hip Club records) in 2012. Since 2003 he has started collaborating with the director Milanese Max Croci for which he will perform several short films and documentary music. Since 2005 he has been working as a composer for the Flipper Music publishing company specializing in television and cinema sound. ~Google translation

Killer Chachacha

---

Carol Welsman - For You

Size: 106,0 MB
Time: 45:00
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Skylark (3:04)
02. The Shadow Of Your Smile (1:58)
03. Smile (2:17)
04. Les Feuilles Mortes (2:33)
05. Besame Mucho (3:19)
06. Bewitched (3:50)
07. It Had To Be You (1:21)
08. My Foolish Heart (3:09)
09. Les Parapluies De Cherbourg (2:23)
10. Corcovado (3:41)
11. My Funny Valentine (2:37)
12. Close To You (2:07)
13. Garota De Ipanema (3:03)
14. Ti Guardero Nel Cuor (2:03)
15. Les Moulins De Mon Coeur (4:34)
16. Someone To Watch Over Me (2:50)

Although Carol Welsman has moved to the Los Angeles area, she is best known in her native Canada. While frequently identified with smooth jazz, she has also recorded vintage standards and can swing in straight-ahead jazz settings, too. Her father was a big jazz fan with a large record collection, introducing his daughter to jazz. Not only did she hear his records, but from the age of 12 she often accompanied him to concerts, developing a love for the singing of Peggy Lee, Frank Sinatra, and Mel Tormé. Welsman played guitar from the age of ten, accompanying her singing of bossa novas and folk music. She began to perform jazz more in her late teens. Welsman attended the Berklee College of Music during 1980-1981 and studied voice in France with Christiane Legrand. She started the Welcar Music label in Toronto, recording her debut CD, Lucky to Be Me, in 1995. She performed throughout Canada and also worked as a jazz vocal professor at the University of Toronto. During 2004-2005 she toured in Japan, Italy, and Brazil in addition to Canada and worked a bit in Los Angeles as a singer/pianist, but Carol Welsman has yet to become well known in the U.S. despite being a household name in Canada. ~ Scott Yanow

For You

---

George Freeman - 90 Going On Amazing

Size: 148,1 MB
Time: 63:48
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Summer Wind (5:57)
02. That's It (5:57)
03. Hit It (3:37)
04. Trees (5:02)
05. Steppin' With George (6:07)
06. Bruz, George, Chico & Von (4:42)
07. That's All (6:38)
08. Contaminated (6:09)
09. You Are Mine All Mine (5:04)
10. Mike's Tempo (7:20)
11. The Bottom (7:10)

George Freeman has long been a homebody. Early on he made his mark on stage and/or in the studio with the best of the best saxophone lodestars Lester Young and Charlie Parker, to mention just two as they came through his hometown, Chicago. Touring did eventually figure into his career he hit the road with soulful heavies Gene Ammons and Shirley Scott in the '50s but he essentially gave up the travelling life about six decades ago. Since that time he's become a fixture in the Windy City, a Midwestern musical treasure acknowledged throughout the region yet seldom saluted as he should be elsewhere. Now, that recognition will hopefully come his way. Freeman made a decent blip on the national radar with All In The Family (Southport Records, 2015), co-leading that session with his better-known nephew Chico Freeman; he attained nonagenarian status back in April of 2017; and this long-shelved date, recorded in 2005, is now hitting the marketplace.

The thing that's most striking about this record, and perhaps most important when it comes to discussing George Freeman's sonic identity, is tone. He presents every idea with a bright and rounded sound, direct as can possibly be. His power of sustain is pure perfection, as single notes hang over the harmonies below with just the slightest taper, and his repetitive, one-note flutters come off like a beautiful gathering of lightning bugs, not a buzzing swarm of bees. His ideas almost seem to run second to his sound, and that's just fine. With a sound like that, who would want to draw focus away?

Originals dominate here, with only three covers showing up on the playlist, and most of the material is fairly easygoing in nature. Numbers like "That's It," "Steppin' With George," and "Contaminated" speak to the blues-soaked world in which Freeman has always thrived; "Trees" and "That's All" offer opportunities to bask in the glow of the guitarist's ballad playing; "Bruz, George, Chico & Von" speaks to blood, giving pianist Vince Willis a chance to step to the microphone and add laudatory vocals honoring Freeman's musical family; and "Mike's Tempo" brings sunny and slinky qualities to the fore. In every case, Freeman sits in the driver's seat and Willis is right there to give him what he needs. There's a no-frills quality behind what bassist Jack Zara and drummer Kevin Patrick bring to the table—their contributions are fairly bland, to be honest but they're not the ones who need to carry the date. Those two sidemen get through without fanfare, leaving the spotlight right on the leader.

Freeman won't wow you with virtuosity, there's absolutely nothing forward-looking to be found here, and the final mix could've been a bit better. But none of that really matters in the grand scheme of this recording and this musician's history. 90 Going On Amazing a bit of a misnomer in a way, since Freeman was 78 when it was recorded is about a man's ability to tell a story with his guitar, plain and simple. It's hard not to appreciate what George Freeman has to offer in that respect. ~Dan Bilawsky

Personnel: George Freeman: guitar; Vince Willis: piano, vocals (6); Jack Zara: bass; Kevin Patrick: drums

90 Going On Amazing                 

---

Aina Friden - Up High

Size: 102,9 MB
Time: 44:06
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. High Wire (6:05)
02. Whisper Not (5:42)
03. Autumn In Rome (5:52)
04. That's All (5:04)
05. Autumn Serenade (4:14)
06. Moody's Mood (4:15)
07. Pennies From Heaven (4:26)
08. Moon S (4:52)
09. Too Romantic (3:32)

Personnel:
Aina Fridén: vocal
Ulf Johansson Werre: piano
Frode Kjekstad: guitar
Roger Williamsen: bass
Hermund Nygård: drums

After many years of fans asking for a CD, the moment has finally arrived: Aina Fridén ´s debut CD release – as a leader!

I have been playing with Aina for about 20 years now and we have played countless gigs together, from duo to big band. I have been lucky enough to follow her development through the years, into what she is today: a true jazz artist.

This recording came about as a result of a collaboration with the Swedish jazz pianist and jazz personality Ulf Johansson Werre. When I introduced my longtime friend Uffe (Ulf) to Aina for a quintet project, there was a musical explosion, right from the first bars of the rehersal!

So we booked a studio in connection with a small tour, went into the studio, and did it!

The project turned out to be a smash hit, both in concert and on CD, showing great interplay, blistering scats, and some serious jazz singing!

Aina Fridén grew up in a family of musicians; with all the great American singers on the record player every day; Sinatra, Ella, Anita, Bing, and Connie Francis, as well as all kinds of jazz, and classical composers. The American songbook came to be second nature to her. After some years as a freelance singer, she studied jazz at the University in Oslo, impressing everybody by singing difficult parts of horn arrangements, and other instrumental parts, with great accuracy and detail. Since then, she has developed her own style as a jazz singer, reflecting her background in American jazz, with artistic dives into the lyrical elements of European music. Her impressive musical ear is a keystone in the variations and scats you hear on this hard swinging recording.

With a natural feeling for the rhythm, groove, melody and swing of jazz, she stands out as a true individual, contemporary jazz artist.

Up High

---

Sylvie Boisel - Amour

Size: 100,3 MB
Time: 37:24
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. A Man And A Woman Un Homme Et Une Femme (3:42)
02. C'est Si Bon (1:57)
03. Comment Te Dire Adieu (2:37)
04. L.O.V.E (2:13)
05. Cry Me A River (4:52)
06. What Now My Love (2:34)
07. Don't Worry Be Happy (4:46)
08. Autumn Leaves (4:31)
09. As Time Goes By (3:13)
10. La Vie En Rose (3:19)
11. I Still Call Australia Home (French Version) (3:34)

After a successful international career on stage, fulfilling the desires of audiences around the world, Sylvie Boisel has launched her first album which is naturally named 'Amour' - Love.

Sylvie's Amour could only be experienced live on stage - with the release of her album, you can now immerse yourself in her 'Love' whenever your heart desires!

Sylvie has made this album of Jazz standards and classic French ballads with Australian Jazz musicians who share her passion:
Steve Iuliano - Backing Vocals
Monique Lysiak - Piano
Alex Compton - Double Bass
Toby Hall - Drums
Alan Davey - Trumpet and Trombone
Ian Cooper - Violin and Viola
Liz Neville - Cello
Retaw Boyce - Violin

"Sylvie Boisel's colorfully velvet songbird vocals envelope your senses and make you feel as if you're truly in Paris with the sun on your face, relishing in the scent of gardenias and espresso in the air. The classic songs that we all know and love are brought back to life through this beautiful woman and her extraordinary voice!" - Colleen Paige, Furocious Music, USA

"Sylvie's eloquent vocal prowess coupled with her delightful personality impress" - Bill Lawler, Band Co-ordinator, Moe Jazz Festival, Australia

"What an inspiration. Fabulous. Welcome to Australia." - Joan Rodda, Moe Jazz Festival, Australia

"A beautiful change to hear your enchanting voice blending with jazz music." - Mike Perkins, Jazz in the Pines, Australia

Amour

---