Laila Biali - Your Requests

Styles: Vocal And Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 44:47
Size: 108,0 MB
Art: Front

(4:18) 1. Bye Bye Blackbird
(5:29) 2. Blame It On My Youth
(2:57) 3. But Not for Me
(4:51) 4. My Funny Valentine
(4:28) 5. My Favorite Things
(4:28) 6. Corcovado (Quiet Nights of Quiet Stars)
(5:30) 7. Pennies from Heaven
(5:18) 8. Autumn Leaves
(3:24) 9. The Nearness of You
(3:59) 10. All the Things You Are

While the jazz pipeline produces plenty of artists who pay no mind to an audience's interests, those types figures with tunnel vision, in many if not most ways rarely reach their full potential. Instead, it's the musicians who make it a point to communicate who tend to forge the strongest bonds with those on the receiving end. Laila Biali is one such figure. This JUNO-winning gem of a vocalist, pianist, arranger and songwriter always manages to connect.

Biali has a keen awareness that the act of making music does not or should not exist in a vacuum, and that those who create are often best fueled by people who'll be hearing their creations. Her success, be it through covers or finely-crafted originals, has always been linked to the understanding of a need for receptive ears, and that fact is magnified with this listener-friendly project.

Focusing on standards for the first time in a decade, Biali plays right to her people. Having specifically asked social media followers for some requests, they obliged with more than 150 entries. Eager to honor their wishes, Biali went through the list and picked ten classics, put her inimitable arranging stamp on all of them, and then hit the studio. Working with an ace band including saxophonist Kelly Jefferson, bassist George Koller, drummers Larnell Lewis and Ben Wittman, and percussionist Maninho Costa, she found the perfect balance points in both honoring and personalizing the material.

Opening with a take on "Bye Bye Blackbird" that vacillates between straight time in seven and a driving 4/4 swing, all while showcasing the vocal melody's malleable place in time and spotlighting Jefferson's tenor and Lewis' handiwork, it's immediately obvious that this is not your basic standards session. Add to that an evocative take on "Blame It On My Youth" with textural enhancements from organist Sam Yahel and it's clear that stylistic variety within the greater whole is another early selling point for the program.

As Biali moves toward the center of the album she welcomes a variety of high-profile guests into her music. Not surprisingly, each and every one of them brings their own brand of magic to bear on her artful arrangements. Anat Cohen's clarinet makes a winning appearance on an effervescent, Brazilian-bound take on "But Not For Me." Gregoire Maret's harmonica obbligato and soloing helps to accentuate the gentle charms of "Corcovado (Quiet Nights of Quiet Stars)." And three singers of note each make an appearance alongside the leader: Kurt Elling takes notable melodic liberties during an emotionally on-point rendition of "My Funny Valentine"; Emilie-Claire Barlow meshes beautifully with Biali for an energized "My Favorite Things"; and breakout vocal sensation Caity Gyorgy drops by for a gliding "Pennies from Heaven" buoyed by a "Poinciana"-esque groove.

Leaving those visitors behind for the back end of the set, Biali continues to dazzle while sharing space with some core collaborators. The wonderful marriage between her pure-toned pipes and piano work is key at the outset of a stirring "Autumn Leaves," which later spotlights Jefferson's fiery soprano. Biali engages in a winning pas de deux with Koller on an absorbing "The Nearness of You." And then, throwing a real curveball as a closer, she gives her voice a rest and offers the keys her full attention for a smartly-shaped instrumental take on "All the Things You Are." An outing that's both in tune with Laila Biali's fanbase and musical mindset,Your Requests is a real gift to one and all. By Dan Bilawsky
https://www.allaboutjazz.com/your-requests-laila-biali-act-music

Personnel: Laila Biali: piano and vocals; Kelly Jefferson: tenor saxophone, soprano saxophones; George Koller: bass; Larnell Lewis: drums; Ben Wittman: drums, percussion; Maninho Costa: percussion; Sam Yahel: Hammond B3 (2); Anat Cohen: clarinet (3); Kurt Elling: vocals (4); Emilie-Claire Barlow: vocals (5); Grégoire Maret: harmonica (6); Caity Gyorgy: vocals (7).

Your Requests

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Emilie-Claire Barlow - Spark Bird

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 35:56
Size: 83,0 MB
Art: Front

(4:11) 1. Over The Rainbow
(4:02) 2. Fais Comme L'oiseau
(4:35) 3. Skylark
(4:55) 4. Bird Of Beauty
(5:13) 5. O
(4:29) 6. Where Will I Be?
(4:06) 7. Little Jazz Bird
(4:22) 8. Pájaros De Barro

Two-time Juno Award winner Emilie-Claire Barlow is about to release Spark Bird, her first full recording in five years.

The multiple Juno Award winner’s 13th studio album was conceived during the dark days of the pandemic, when she questioned whether she would ever even want to make another record. But during that time, a daily visit from a yellow-winged cacique that is native to the southern Pacific coast of Mexico eventually inspired her to dedicate an entire album of songs to birds of all shapes and varieties.

So far, we've been treated to four singles from Spark Bird, with the album to be released on March 31. She joined us to talk about the process of finding her new muse and making the new record.
https://soundcloud.com/jazzfm91/interview-emilie-claire-barlow-2023

Spark Bird

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Amanda Tosoff - Earth Voices

Styles: Piano Jazz
File: MP3@320K/s
Time: 45:50
Size: 105,5 MB
Art: Front

(5:04) 1. A Dream Within a Dream
(5:25) 2. Sonnet 49
(5:20) 3. Here and Heaven
(5:27) 4. Birdwings
(6:14) 5. Oh, Life
(6:26) 6. The Fiddle and the Drum
(5:59) 7. To a Stranger
(5:51) 8. Finis

Building off the lure of language planted in Amanda Tosoff's Juno-nominated Words (Empress Music Group, 2016), this sixth album from the Toronto-based composer and pianist waves poetic in wondrous fashion. Pairing different guest vocalists and collections of musicians with personalized takes on Parnassian beauty of varied sorts, Tosoff cements the bonds between earthly voices and heavenly sounds with a questioning spirit.

The list of subjects and styles, both in words and music, varies widely on this playlist. But this is no slapdash selection thrown together at will. Reason provides a place of purpose for everything in the mix. "A Dream Within a Dream," featuring vocalist Emilie-Claire Barlow and marrying Tosoff's music with Edgar Allan Poe's work, deals in doubt and uncertainty with both bright-eyed, upbeat accents and open engagement. "Sonnet 49," showcasing Robin Dann's voice, serves as an expansion on Luciana Souza's exploration of Pablo Neruda's emotional arc(s) with gliding grace and chamber-esque adorments. "Here and Heaven," adding weight and personality with strings, grooving like a pendulum swings, and featuring some ear-catching harmonizing from singers Michelle Willis and Alex Samaras , calls to mind the under-appreciated original part of a decade-old collaboration between Stuart Duncan, Edgar Meyer, Aoife O'Donovan and Chris Thile. And Tosoff's musical investigation of Rumi's "Birdwings," with Samaras' absorbing Kurt Elling-meets Theo Bleckmann interpretation, tackles topics tied clearly to today loss, moving forward, finding solid footing with both sensitivity and strength.

While each of the aforementioned pieces arrives from different angles, their themes almost seem to be working in sympathy, building toward "Oh, Life." Vocalist Laila Biali, offering aching beauty with some help from Samaras, takes on the work of Mike Ross (of Soul Pepper Theatre) and, with Tosoff's sensitive structural refinements surrounding her, creates a meditation on existence and departure. Lydia Persaud's spellbinding delivery of Joni Mitchell's constantly relevant "The Fiddle and the Drum" follows, playing to its own clear truths, and Felicity WIlliams' strings-supported look at Walt Whitman's "To a Stranger" and Barlow's mighty and melodious handling of Marjorie Pickthall's poetry prove wholly complementary to the cross-threaded notions that Tosoff adopts.Despite the dizzying array of influences that inform Earth Voices, there's remarkable consistency and clarity across this program. Tosoff never seems far from home, regardless of reach, and her vision for how to shape these poems and pieces (through her writing and playing), what each represents, and who to tap to bring each one to life, proves profound. Whether taken as a broad glance at authentic existence, a clear address on a compatibility of art forms or a survey of some of Canada's most notable vocal and instrumental talent(s), Earth Voices earns high marks.~ Dan Bilawsky https://www.allaboutjazz.com/earth-voices-amanda-tosoff-empress-music-group

Personnel: Amanda Tosoff: piano; Kelly Jefferson: saxophone, tenor; Allison Au: saxophone, alto; Aline Homzy: violin; Beth Silver: cello; Jeremy Potts: violin; Laurence Schaufele: viola; Alex Goodman: guitar; Jon Maharaj: bass; Morgan Childs: drums; Emilie-Claire Barlow: voice / vocals; Robin Dann: voice / vocals; Michelle Willis: voice / vocals; Laila Biali: voice / vocals; Lydia Persaud: voice / vocals; Felicity WIlliams: voice / vocals; Alex Samaras : voice / vocals.

Earth Voices

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Emilie-Claire Barlow - The Beat Goes On

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 54:38
Size: 126,4 MB
Art: Front

(4:14) 1. Raindrops Keep Falling On My Head
(3:37) 2. Sunshine Superman
(5:13) 3. Breaking Up Is Hard To Do
(4:41) 4. Don't Think Twice, It's Alright
(4:40) 5. He Thinks I Still Care
(4:22) 6. The Beat Goes On / Soul Bossanova
(5:21) 7. These Boots Were Made For Walkin'
(3:30) 8. Until It's Time For You To Go
(2:59) 9. Little Boat (O Barquinho)
(3:54) 10. Comme Je Crie, Comme Je Chante
(3:48) 11. Will You (Still) Love Me Tomorro
(4:46) 12. Yester-Me, Yester-You, Yesterday
(3:28) 13. T'es Pas Un Autre

With “The Beat Goes On” Toronto-based jazz singer Emilie-Claire Barlow has done what a few wise singers are doing these days, namely looking to more recent eras and songwriters for fresh material rather than the overdone American Songbook. This time out, Barlow has focused her considerable talents and jazz sensibilities on the 60s. The opening track sets the tone for the album as Kelly Jefferson provides nuanced sax fills on a swingy 6/8 version of Bacharach's Raindrops Keep Falling on My Head. Barlow has written all the arrangements herself and the stripped down instrumentation that predominates fits her light, pretty voice like a Pucci print dress. We feel transported to a Yorkville coffeehouse as just bass and congas (Ross MacIntyre and Davide Direnzo) accompany These Boots Were Made for Walkin'. Very groovy. Iconic sounds of the 60s bubble up in the woodwinds on Soul Bossa Nova as it's mashed up with the classic Sonny & Cher title track.

An exploration of the 60s wouldn't be complete without a journey to that hotbed of musical innovation, Rio de Janiero, and the cover of O Barquinho (My Little Boat) featuring Reg Schwager’s nylon string guitar skills perfectly evokes a carefree Brazilian day. Barlow’s specialty is bossa nova (do yourself a favour and find her version of O Pato on YouTube) so when she surprisingly imposes that style on Dylan’s Don’t Think Twice, It’s Alright it actually works. https://www.thewholenote.com/index.php/booksrecords2/jazzaimprovised/7643-the-beat-goes-on-emilie-claire-barlow

The Beat Goes On

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Emilie-Claire Barlow - Haven't We Met?

Bitrate: MP3@320K/s
Time: 48:49
Size: 111.8 MB
Styles: Jazz vocals
Year: 2009
Art: Front

[3:58] 1. All I Do Is Dream Of You
[3:49] 2. C'est Merveilleux
[3:04] 3. You're Driving Me Crazy!
[4:23] 4. Comin' Home Baby
[3:03] 5. Haven't We Met
[5:01] 6. I'm Glad There Is You
[2:54] 7. Chez Moi
[5:02] 8. Is You Is Or Is You Ain't My Baby
[4:01] 9. Jardin D'hiver
[2:49] 10. La Vem A Baiana
[3:06] 11. Will You Still Be Mine
[4:08] 12. You Make Me Feel So Young
[3:25] 13. You Must Believe In Spring

This is a set of beautifully arranged songs, exquisitely performed by Barlow. She's hardly a household name in the US, but in an ocean of mediocre sound-alike female jazz vocalists, she is a stand-out interpreter of lyrics, and an impeccable musician. This album includes some beautiful old pieces from "the Great American Songbook" that are rarely heard today, and also introduces American ears to some lovely French and French Canadian songs. ~J.T.Moran

Haven't We Met mc
Haven't We Met zippy

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Emilie-Claire Barlow - Lumieres D'Hiver

Size: 121,2 MB
Time: 51:47
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Pop Vocals, Xmas
Art: Front

01. Combien De Noel (3:42)
02. Janvier (4:13)
03. I'll Be Home For Christmas (4:01)
04. Hey Santa (4:00)
05. The Christmas Waltz (French Version) (3:41)
06. Le Dernier Noel (3:47)
07. Lumieres D'Hiver (3:51)
08. Please Come Home For Christmas (2:17)
09. River (3:43)
10. Marie-Noel (3:24)
11. Chanson Pour Une Nuit D'Hiver (4:21)
12. As-Tu Vu Le Pere Noel (3:33)
13. Noel Blanc (3:55)
14. My Dear Acquaintance (3:12)

Emilie-Claire Barlow is an award winning and critically acclaimed Canadian jazz singer, arranger, record producer and voice actress. A two time Juno Award winner and six-time? nominee, she has released 11 self-produced albums on her own label, ?Empress Music Group.

She is known for her inspired re-imaginings and affectionate treatment of both classic pop and jazz songs, delivered with a relaxed, polished demeanor, charming humour, and a voice of unforgettable beauty. Her performing career spans over 20 years in venues ranging from Toronto’s storied Montreal Bistro, Tokyo’s Cotton Club and more recently concerts with symphony orchestras at Toronto’s Massey Hall and Montreal’s Maison Symphonique. She has performed at the Montreal Jazz Festival on seven occasions including a 2015 performance on the Main Stage with 50,000 people attending.

Ms. Barlow has led bands featuring the finest musicians in Canada. Her work as a band leader and producer has been recognized with a Juno Award nomination for “Producer of Year” for her recording “Clear Day” featuring the Metropole Orkest— notable for being only the 2nd Jazz recording nominated in this category. Ms. Barlow is also one of a very small group of women to be honoured with a “Producer of the Year” nomination.

Ms. Barlow’s all francophone recording “Seule ce soir” won a Juno and Felix Award in 2013 representing a remarkable achievement in Canadian bilingualism.

Lumieres D'Hiver

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Emilie-Claire Barlow - The Very Thought Of You

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 60:06
Size: 139,4 MB
Art: Front

(6:38)  1. The Very Thought Of You
(3:45)  2. Almost Like Being In Love
(3:35)  3. O Pato (The Duck)
(4:46)  4. Les Yeux Ouverts (Dream A Little Dream Of Me)
(4:25)  5. Pennies From Heaven
(5:22)  6. What A Little Moonlight Can Do
(5:00)  7. Surrey With The Fringe On Top
(5:59)  8. My Time Of Day / I've Never Been In Love Before
(3:51)  9. C'est Si Bon
(2:54) 10. De Conversa Em Conversa
(5:25) 11. The Boy Next Door
(5:28) 12. So Many Stars
(2:53) 13. You're Getting To Be A Habit With Me

Named after the 1934 Ray Noble-penned standard made famous by Bing Crosby, The Very Thought of You is the sixth studio album from Canadian jazz vocalist Emilie-Claire Barlow. Released in 2007, it features silky-smooth renditions of Nat King Cole's "Almost Like Being in Love," Billie Holiday 's "What a Little Moonlight Can Do," and Mama Cass' "Dream a Little Dream of Me" alongside interpretations of hits from various musicals including Guys and Dolls, Oklahoma!, and Pennies from Heaven. ~ Jon O’Brien http://www.allmusic.com/album/the-very-thought-of-you-mw0000821545

Personnel: Emilie-Claire Barlow - vocal, shaker, triangle;  Reg Schwager (guitar); Drew Jurecka, Kathryn Sugden, Rebecca VanDerPost, Lenny Solomon (violin); Claudio Vena (viola); Wendy Solomon, Alex Grant (cello); Bill McBirnie (flute); Kelly Jefferson, Mike Murley (tenor saxophone); Kevin Turcotte (flugelhorn); Nancy Celeste Walker (piano); Alan Hetherington (pandeiro, rainsticks, surdo, wood block, caxixi, percussion, bells).

The Very Thought Of You

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Emilie-Claire Barlow - So Many Stars

Styles: Vocal Jazz
Year: 2014
File: MP3@320K/s
Time: 62:55
Size: 152,9 MB
Art: Front

(6:13)  1. Gentle Rain
(5:29)  2. Like A Lover
(4:12)  3. Bem Bom
(7:18)  4. La Belle Vame Sans Regret
(4:46)  5. So Danço Samba
(8:45)  6. Jobim Medley
(5:31)  7. De Flor Em Flor
(5:14)  8. Retrato Em Branco E Preto
(4:01)  9. Jardin d' Hiver
(2:54) 10. De Conversa Em Conversa
(2:59) 11. Little Boat (O Barquinho)
(5:29) 12. So Many Stars

Toronto's Emilie-Claire Barlow is a Juno Award-winning singer with a warm, lithe vocal style and a knack for tackling urbane jazz standards. Born in Toronto in 1976, Barlow grew up in a musical family. Her father is jazz drummer Brian Barlow, who has also recorded as Brian Leonard and is best known for his work with the Boss Brass (a Canadian big band led by trombonist Rob McConnell). Not surprisingly, the drummer instilled an appreciation of jazz in his daughter and encouraged her to sing and to study several instruments, including piano, violin, cello, and clarinet. By the time she was seven, Emilie-Claire Barlow was singing for television and radio commercials. She went on to become quite active on Toronto's jazz scene, and in 1997 she and her father formed the Barlow Group an acoustic-oriented octet whose soloists have included trombonist Russ Little and saxman John Johnson. She co-produced her first album, Emilie-Claire Barlow Sings, with her father in 1998 before recording Tribute (also co-produced with Brian Barlow) in 2000. Both albums were released independently in Canada on the Rhythm Tracks label, and both garnered Juno Award nominations for Vocal Jazz Album of the Year. A third Rhythm Tracks album, Happy Feet, appeared in 2003. Barlow then founded her own Empress Music Group and delivered a handful of well-received albums, including 2005's Like a Lover, 2006's holiday-themed Winter Wonderland, and 2007's The Very Thought of You, for which she earned her third Juno Award nomination. 

The following year, she won Female Vocalist of the Year at Canada's National Jazz Awards. Two more Juno Award-nominated albums followed with 2009's Haven't We Met and 2010's The Beat Goes On. In 2011, Barlow delivered Seule Ce Soir, her ninth studio recording and first sung entirely in French. Much lauded, the album earned the singer her first Juno Award win for Vocal Jazz Album of the Year, as well as an ADISQ Award for Album of the Year Jazz Interpretation. A concert album, Live in Tokyo, followed in 2014. In 2015 she returned with Clear Day, which featured backing from the Dutch Metropole Orkest. The album showcased jazz reworkings of modern pop, rock, and folk standards, including songs by David Bowie, Joni Mitchell, Van Morrison, and others. It won the Juno Award for Vocal Jazz Album of the Year. ~ Alex Henderson http://www.allmusic.com/artist/emilie-claire-barlow-mn0001839872/biography

So Many Stars

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Emilie-Claire Barlow - 2 albums: Happy Feet / Like A Lover

Album: Happy Feet
Bitrate: MP3@320K/s
Time: 68:33
Size: 156.9 MB
Styles: Jazz vocals
Year: 2003
Art: Front

[6:08] 1. Gentle Rain
[7:36] 2. Freddie Freeloader
[4:08] 3. Bem Bom
[5:25] 4. I'll Be Around
[6:37] 5. Joy Spring
[7:43] 6. Bye Bye Blackbird
[4:12] 7. I'm Old Fashioned
[5:24] 8. Paper Moon
[5:59] 9. Stompin' At The Savoy
[5:19] 10. Smoke Gets In Your Eyes
[7:49] 11. Broadway
[2:06] 12. Zabumba No Mar

Because Emilie-Claire Barlow is a female jazz singer from Canada, some American jazz enthusiasts have inevitably compared her to Canada's most famous jazz export: Diana Krall. But truth be told, Barlow doesn't sound anything like Krall. While Krall's performances have a sultry, dusky, very nocturnal quality, Barlow's singing has favored a youthful, girlish sweetness. That isn't to say that Barlow's bop-oriented work is unswinging -- in fact, she has no problem tackling complex arrangements, high-speed scat singing, and vocalese. Besides, Barlow is from Toronto, not western Canada (where Krall grew up). Barlow has spent her entire life in Toronto, where she was born on June 6, 1976. Her father is jazz drummer Brian Barlow, who has also gone by Brian Leonard and is best-known for his work with the Boss Brass (a Canadian big band led by trombonist Rob McConnell). Not surprisingly, the drummer instilled an appreciation of jazz in his daughter and encouraged her to sing. Brian Barlow also encouraged her to study several instruments, including piano, violin, cello, and clarinet. By the time she was seven, Emilie-Claire Barlow was singing for television and radio commercials. She went on to become quite active on Toronto's jazz scene, and in 1997, Emilie-Claire Barlow and her father formed the Barlow Group -- an acoustic-oriented octet whose soloists have included trombonist Russ Little and saxman John Johnson. The singer co-produced her first album, Emilie-Claire Barlow Sings, with her father in 1998 before recording Tribute (also co-produced with Brian Barlow) in 2000 (when she turned 24). Both albums were released independently in Canada on the Rhythm Tracks label. ~ bio by Alex Henderson

Happy Feet

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Album: Like A Lover
Bitrate: MP3@320K/s
Time: 50:15
Size: 115.0 MB
Styles: Jazz vocals
Year: 2005
Art: Front

[5:27] 1. Like A Lover
[6:44] 2. On The Sunny Side Of The Street
[4:51] 3. Someone To Watch Over Me
[5:12] 4. A Time For Love
[4:44] 5. So Danço Samba
[5:01] 6. The Things We Did Last Summer
[4:18] 7. (I've Got) Just About Everything I Need
[5:11] 8. Retrato Em Branco E Preto
[4:56] 9. Love Is Here To Stay
[3:47] 10. Blame It On My Youth

When one is analyzing jazz or jazz-influenced pop, it is important to know the difference between sweet and saccharine. Lester Young, Jo Stafford, Stan Getz, Chet Baker, Nat King Cole, the Ink Spots, and Glenn Miller were quite capable of sweetness; Kenny G, Najee, and Dave Koz, on the other hand, have often epitomized saccharine -- they are masters of artificial sweetness. So where does Emilie-Claire Barlow fit in? The Canadian jazz vocalist is definitely sweet -- very sweet -- but there isn't a trace of saccharine on Like a Lover. Barlow brings an enjoyably girlish charm to this self-produced bop CD, although she isn't a girl. Born in 1976, she was in her late twenties when Like a Lover came out in 2005 -- and for Barlow, girlish doesn't mean wimpy, thin-voiced, or unswinging. Barlow has an impressive vocal range, and she definitely swings -- she swings whether she is favoring high-speed exuberance on Bob Dorough's "(I've Got) Just About Everything I Need" or getting into ballad mode on "Blame It on My Youth" and George Gershwin's "Someone to Watch Over Me." She swings whether she is singing in English (her primary language) or detouring into Portuguese on Antonio Carlos Jobim's "So Danço Samba." If Like a Lover has any real weakness, it is the fact that Barlow is much too standards-minded; she picks too many warhorses that have been beaten to death over the years. That isn't to say that Barlow should avoid standards altogether -- only that she needs to find more great songs that haven't been recorded so often. The more Barlow broadens her repertoire, the more she will stand out in the crowded field of jazz singing. But while Like a Lover could have been more adventurous in its choice of material, it's still a likable and pleasing effort from the Toronto-born improviser. ~Alex Henderson

Like A Lover

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Emilie-Claire Barlow - Clear Day

Size: 153,4 MB
Time: 65:38
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals
Art: Front

01. Amundsen (Feat. Metropole Orkest) (0:59)
02. On A Clear Day (Feat. Metropole Orkest) (5:16)
03. Midnight Sun (Feat. Metropole Orkest) (3:55)
04. Because (Feat. Metropole Orkest) (4:51)
05. Fix You (Feat. Metropole Orkest) (5:39)
06. Unrequited (6:35)
07. Under Pressure (Feat. Metropole Orkest) (4:59)
08. Si J'etais Un Homme (Feat. Metropole Orkest) (4:58)
09. It's Just Talk (5:11)
10. Feelin' Groovy (4:26)
11. La Llorona (Feat. Metropole Orkest) (7:16)
12. I Don't Know Where I Stand (Feat. Metropole Orkest) (4:10)
13. Sweet Thing (3:22)
14. Mineiro De Coraçao (3:55)

Clear Day’ is made up of her versions of great tunes by groups and artists from the Beatles to Cold Play and David Bowie, to name a few. The songs were chosen for their verisimilitude to her own experiences over the past few years.

She describes the songs as the soundtrack to her life. The accompaniment of the Dutch-based Orkest Metropole magnifies the cinematic quality. “At the opening of ‘On a Clear Day’ you’ll hear these very dramatic cellos and this high pling pling pling of the piano and that’s basically representing the moment when I’m on the helicopter and I’m going to land on the ship.”

Bio:
Because Emilie-Claire Barlow is a female jazz singer from Canada, some American jazz enthusiasts have inevitably compared her to Canada's most famous jazz export: Diana Krall. But truth be told, Barlow doesn't sound anything like Krall. While Krall's performances have a sultry, dusky, very nocturnal quality, Barlow's singing has favored a youthful, girlish sweetness. That isn't to say that Barlow's bop-oriented work is unswinging -- in fact, she has no problem tackling complex arrangements, high-speed scat singing, and vocalese. Besides, Barlow is from Toronto, not western Canada (where Krall grew up). Barlow has spent her entire life in Toronto, where she was born on June 6, 1976. Her father is jazz drummer Brian Barlow, who has also gone by Brian Leonard and is best-known for his work with the Boss Brass (a Canadian big band led by trombonist Rob McConnell). Not surprisingly, the drummer instilled an appreciation of jazz in his daughter and encouraged her to sing. Brian Barlow also encouraged her to study several instruments, including piano, violin, cello, and clarinet. By the time she was seven, Emilie-Claire Barlow was singing for television and radio commercials. She went on to become quite active on Toronto's jazz scene, and in 1997, Emilie-Claire Barlow and her father formed the Barlow Group -- an acoustic-oriented octet whose soloists have included trombonist Russ Little and saxman John Johnson. The singer co-produced her first album, Emilie-Claire Barlow Sings, with her father in 1998 before recording Tribute (also co-produced with Brian Barlow) in 2000 (when she turned 24). Both albums were released independently in Canada on the Rhythm Tracks label. ~ Alex Henderson

Clear Day

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Emilie-Claire Barlow - Live In Tokyo

Size: 120,5 MB
Time: 52:10
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Raindrops Keep Fallin' On My Head (4:36)
02. All I Do Is Dream Of You (4:15)
03. Águas De Março (Waters Of March) (5:26)
04. Surrey With The Fringe On Top (4:48)
05. (I've Got) Just About Everything I Need (4:16)
06. Sunshine Superman (4:00)
07. Like A Lover (4:42)
08. La Belle Dame Sans Regrets (4:23)
09. These Boots Are Made For Walkin' (5:30)
10. The Beat Goes On (5:37)
11. Blame It On My Youth (4:33)

Dubbed "Canada's incomparable vocal-jazz jewel," Emilie-Claire Barlow has thrilled fans from Tokyo to London (Ontario) with her exquisite recordings and effervescent live performances in the company of la crème de la crème of Toronto-area musicians.

Wherever she appears, Emilie-Claire endears herself to critics, peers and audiences alike with her polished yet relaxed demeanor, her charming humor, and a voice of unforgettable beauty.

Born in Toronto to parents who were both professional musicians, Emilie-Claire was encouraged to sing and study several instruments, including piano, cello, clarinet and violin. Emilie-Claire names Ella Fitzgerald, Tony Bennett and Stevie Wonder amongst her greatest musical influences.

Since 1998 Emilie-Claire has released nine discs. Known for her masterful interpretations of 1930s and ‘40s gems from the Great American Songbook, as well as a jazzy take on 1960s pop with the release of her 2010 CD The Beat Goes On, Emilie-Claire won a 2013 JUNO in the Vocal Jazz category for Seul ce soir (Alone Tonight). Her ninth album – the first one solely ‘en français’– contains new arrangements of songs she's recorded previously, and six completely new covers, including "Petit matin" by Sylvain Lelièvre, "Croissants de soleil" by Ginette Reno and "La belle dame sans regret" by Sting. Emilie-Claire says that an all-French album gave her “an opportunity to immerse myself a little deeper in the music and the [beauty of the] language…regardless of the language, the tone of many of these songs really reflected where I am in my life right now, so it seemed very natural” (CBC Music blog post).

ECB’s tenth album, “Live in Tokyo,” will be available this April. It was recorded at the elegant Cotton Club in the city’s Marunouchi business district.

Live In Tokyo

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Peter Appleyard - Sophisticated Ladies

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 46:12
Size: 106,6 MB
Art: Front

(3:35)  1. Peter Appleyard Feat. Emilie-Claire Barlow - After You've Gone
(3:33)  2. Peter Appleyard Feat. Elizabeth Shepherd - It's Only A Paper Moon
(4:09)  3. Peter Appleyard Feat. Jill Barber - Love For Sale
(6:32)  4. Peter Appleyard Feat. Jackie Richardson - Georgia On My Mind
(5:23)  5. Peter Appleyard Feat. Sophie Milman - If You Could See Me Now
(5:02)  6. Peter Appleyard Feat. Molly Johnson - Sophisticated Lady
(4:03)  7. Peter Appleyard Feat. Carol Welsman - Night And Day
(4:12)  8. Peter Appleyard Feat. Barbra Lica - Satin Doll
(5:30)  9. Peter Appleyard Feat. Carol McCartney - Mood Indigo
(4:10) 10. Peter Appleyard Feat. Diana Panton - Smile

Peter Appleyard seems to have a way with the ladies. The octogenarian vibraphonist brings his virile mallet work to bear while escorting a dozen lovely songbirds through some smartly arranged standards on this, his second release the span of a few months. Appleyard started off the year by looking toward the past, issuing a previously unreleased all-star jam session from 1974, but his gaze is firmly on the present throughout Sophisticated Ladies. He hobnobs with some of the finest vocalists operating north of the 49th parallel today and a sense of mutual respect for the music and one another comes through in the music. 

While astute jazz vocal fans are probably aware that bassist Charlie Haden beat Appleyard to the conceptual punch, releasing his own Sophisticated Ladies (Emarcy, 2011) a year ahead of Appleyard, the basic format and album title are the only thing that these two releases share. Haden's album mixed instrumental pieces and vocal numbers, favoring slow material containing string sweetening and came off as a mostly-manicured set of music with mellow appeal. Appleyard, on the other hand, shares the stage with a singer on every song, covering a wider range of emotions. The playlist has no surprises, but Rick Wilkins' arrangements have their fair share. Tempo changes, funk-to-swing shifts ("Love For Sale"), double-time adjustments, Brazilian-tinged turns and intimate introductions ("Smile") keep things interesting. Each singer brings something different to the table and Appleyard responds in kind by shaping his solos around the specific songs and singers. 

Emilie-Claire Barlow shows great range on the slow-to-fast "After You've Gone," Elizabeth Shepherd engages Appleyard in a scat-vibraphone solo trading session, Jackie Richardson's deeply resonant voice takes center stage on a soulful "Georgia On My Mind," Diana Panton turns the lights down low for "Smile" and Sophie Milman takes her time fleshing out the emotional ideals of "If You Could See Me Now." Molly Johnson, who interprets the title track with her smoky and dusky pipes, proves to be the only singer who seems ill-suited to her number. The female musicians on this album will probably get the lion's share of attention, but Appleyard has top billing for a reason. His vibraphone soloing enlivens and enhances the music. Guitarist Reg Schwager's comping is a key ingredient in the mix, as pianist John Sherwood takes the right tack on every tune, drummer Terry Clarke expertly navigates the through each number and bassist Neil Swainson keeps everything in check.  Appleyard may be 84 now, but his playing doesn't betray that fact. He's clearly young at heart and Sophisticated Ladies is the evidence that proves this case. ~ Dan Bilawsky   

http://www.allaboutjazz.com/php/article.php?id=42527#.UwelFoVZhls

Personnel: Peter Appleyard: vibraphone; John Sherwood: piano; Reg Schwager: guitar; Neil Swainson: bass; Terry Clarke: drums; Emilie-Claire Barlow: vocals (1); Elizabeth Shepherd: vocals (2); Jill Barber: vocals (3); Jackie Richardson: vocals (4); Sophie Milman: vocals (5); Molly Johnson: vocals (6); Carol Welsman: vocals (7), piano (7); Barbara Lica: vocals (8); Carol McCartney: vocals (9); Diana Panton: vocals (10).

Sophisticated Ladies

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Emilie-Claire Barlow - Winter Wonderland

Bitrate: 320K/s
Time: 40:38
Size: 93.0 MB
Styles: Holiday
Year: 2006
Art: Front

[4:18] 1. What Are You Doing New Year's Eve
[4:31] 2. Winter Wonderland
[4:27] 3. Sleigh Ride
[3:09] 4. Santa Baby
[5:24] 5. Christmas Time Is Here
[4:20] 6. Baby, It's Cold Outside (Featuring Marc Jordan)
[3:43] 7. Little Jack Frost
[3:58] 8. I've Got My Love To Keep Me Warm
[3:17] 9. Let It Snow! Let It Snow! Let It Snow!
[3:25] 10. Angels' Lullaby

EMILIE-CLAIRE BARLOW (vocalist) was born June 6, 1976 in Toronto, Ontario, Canada to parents who are, themselves, respected jazz artists. Her mother is vocalist/composer/arranger Judy Tate and her father is celebrated jazz percussionist Brian Barlow. When the energetic, witty, and exceedingly talented jazz vocalist entertained a capacity crowd at Toronto’s Living Arts Centre on February 17, 2004, she became one of the youngest artists to ever headline a “Sound of Toronto Jazz” Concert, although already a veteran contributor to the city’s vibrant music scene.

A few years ago, CBC (Canada Now) called her “the next best thing in jazz”, but Emilie-Claire Barlow is hardly a newcomer to the music scene. She started her career as a singer and voice actor at the age of seven, lending her voice to various television and radio jingles and voice-overs, an aspect of voice work that still plays a major role in her busy performing life. For five years, she attended the Etobicoke School of the Arts studying musical theatre and dance, later focusing her studies on music theory and arranging at Toronto’s Humber College. It was during that time that she put her first jazz quartet together and quickly established a key place for herself on the Toronto jazz landscape.

The self-managed Barlow has been called a “truly independent artist”, exercising creative control in all aspects of her endeavors – arranging, producing, even conducting as necessary, and releasing her recordings on her own label, Empress Music Group.

Winter Wonderland

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