EMILIA MARTENSSON "ANA"

Emilia Mårtensson moved to London in 2000 to study at Trinity College of Music. In 2010 she joined Kairos 4tet as vocalist and lyricist and was a key factor in helping the group win Best Jazz Act at the 2011 MOBO Awards. In 2012 she released the duo album And So It Goes... with pianist Barry Green, and was described by The Observer as The New Face of British Jazz. “Mårtensson invests every sound with a skimming, rapturous lightness and clarity.” (Jon Fordham, The Guardian) Pianist Barry Green has played with a wide-range of British jazz stars including Don Weller, Bobby Wellins, Christine Tobin, Ian Shaw, Dave Green and others, and is a regular member of groups led by Ingrid Laubrock and Larry Bartley. He leads a quartet featuring Mark Hanslip, Oli Hayhurst and Tim Giles, which plays his own compositions, and he co-leads the quartet Babelfish, with singer Brigitte Berha. “A cerebral swinger with a liking for unexpected harmonic turns.” (The Independent} Sam Lasserson is a London-based bassist who is part of New York drummer Jeff Williams’ powerhouse UK quintet, and has played with Bobby Wellins, Anita Wardell, Martin Speake, Frode Kjekstadt and others, “Lasserson... exhibit[s] a hard-driving resourcefulness ... to rival some of the world’s best-known post- bop practitioners.” (The Guardian Online) Brazilian percussionist Adriano Adewale moved to London in 2000. He has performed with his own bands Sambura and the Adriano Adewale Group, which released an acclaimed debut album, Sementes in 2008, and has played with Latin jazz legends including Airto Moreira, Flora Purm and Seu Jorge. EMILIA MARTENSSON
 

JOHANNA GRAHAM QUARTET "DON'T LET ME BE LONELY"

Recently signed by the 33 Jazz label, the Johanna Graham Quartet comprises the elegant and hugely accomplished guitar phrasing of Martin Bowie, an exciting and vital drumming talent in Damian Rodd, brilliant and sensitive double bass from Tim Greenhalgh and Johanna herself on vocals. The journey began in 2005 when Johanna discovered Martin as he was completing his jazz degree and the pair began to work together as a duo. In 2008 Johanna incorporated Tim Greenhalgh on bass, with Damian Rodd completing the quartet two years ago, forming a tight and enthusiastic team. The band are extremely popular in Cornwall having entertained audiences in the south west for many years, and with the release of their new album, they have been venturing further afield. Johanna's captivating stage presence and emotive style puts a fresh spin on jazz standards, with original compositions and modern classics arranged in her own unique way, and together the group produce a passionate and exciting sound. The quartet won the ‘This Is Cornwall Best Jazz Act’ in 2012, and were nominated for Best Jazz Act in the South West Music Awards.Johanna Graham is an emotive and accomplished singer and a dynamic performer. Originally training and working as an actress, her passion for jazz started with a love of old movies whilst growing up. Her Thespian background lends sincerity and a sense of drama to her live shows. Her sweet and mellow voice is Influenced by the likes of Ella Fitzgerald, Anita O’Day and Julie London, and her vocal interpretation makes every performance special and very personal.Martin Bowie is a Bachelor of the Arts in Contemporary World Jazz. An accomplished guitarist with roots in blues, funk and acid-jazz and over 20 years experience, his influences include Wes Montgomery, Joe Pass, Tal Farlow and George Benson. Martin has worked with artists including New Orleans jazz ambassador Lillian Boutte, trumpet player Damon Brown and saxophonist Raphael Ravenscroft, flamenco guitarist Esteban Antonio and Marty Wilson-Piper (guitarist in The Church and All About Eve).Tim Greenhalgh, At age 17 Tim discovered the music of Joni Mitchell and Jaco Pastorius, which inspired him to the fretless bass, During his 20’s he performed in a wide genre of music and worked extensively in both the festival and club scene. Tim has 25 years experience as a bassist, performing with renowned jazz artists including Damon Brown and Brandon Allen. He is strongly influenced by the work of John Taylor, Palle Danielsson, Dave Holland, Charlie Haden and Scott LaFaro.Damian Rodd is son of pianist Viv Rodd. His musical career started at 14. Whilst a member of trip hop band Lowpass, Damian toured with Lamb and Tricky, refuelling his love for electronic music and crossover styles. Since moving to Cornwall, Damian has set up a production studio (Big Milk) and teaches jazz to degree level. He produced the album 8am (named album of the week in the London Evening Standard) with his father and vocalist Kris Gayle. Damian’s influences include Vinnie Colaiuta, Buddy Rich, Tony Williams & Jojo Mayer.The Johanna Graham Quartet have performed at the Barbican International Jazz & Blues Festival, Birmingham International Jazz & Blues Festival, Bude Jazz Festival, Teignmouth Jazz Festival, St Ives Jazz Club, the Groucho Club, London, The National Trust, RNAS Culdrose - HMS Seahawk, the Headland Hotel, Newquay and the Daphne Du Maurier Festival as well as extensively across the South West of England. JOHANNA GRAHAM QUARTET
 

Learn how to put a song on itunes at ReverbNation.com

WOIMA COLLECTIVE "FROU FROU ROKKO"

Woima Collective follow up their first album with their Frou Frou Rokko LP, and delve even further into the African rhythms that inspire them. Building on the ground work that Woima Collective's debut LP Tezeta laid down, this collection of tracks goes even deeper to exploring the interlocking cross­rhythms that abound on the African continent. That's not just a figure of speech: many of the songs were composed while band leader Johannes Schleiermacher traveled Africa over three months last year. Passing through Morocco, Mali, and Senegal, Johannes discovered many new grooves and dance moves on his journey, which have all played their part in the developing Woima sound. The title Frou Frou Rokko comes from Johannes' Bamako base, a friendly community house. "The people are very hospitable, and because I came as a musician, I had a very good connection with them. Then when I played with them, it just got better. They were really happy when I adapted to their style, and they loved it when I caught some phrases of theirs!" Johannes explored new rhythms as he went, using them as inspiration to create his own grooves. "For me, the groove's the most important thing," he insists. "Melodies are always pushing the tracks forward, but the groove is what gets you in the mood! The music in Mali often has no climax, it can go on for a very long time, repeating yet it doesn't get boring. It's a different approach to what we might be used to in Europe. I think you can hear those longer, more hypnotic influences on this record." Some of the tracks are dedicated to specific events, like the song that Johannes wrote while he was dosed­up on Malaria medicine, or Brain Clear Heart, about the incurable romantic he met on the border to Senegal, who dreamt of all cultures around the world playing music together. The line­up is almost exactly the same as the previous album, with a couple of extra guests for good measure. Also the band had some time to play around with the new material before recording at Berlin's Lovelight facility ­ a luxury they weren't afforded on the first LP. Combine this extra testing time with the fact that the band have settled into their own skin, and the result is a lot more open, with longer solos and improvised passages. Upfront, yet stretched out, Woima Collective have put another twist on their modern day african­influenced ensemble, and dive even further into their own sound. WOIMA COLLECTIVE
 

MICHAEL ZIGON "WIPE THE PAST FROM YOUR EYES"

Michael Zigon is an L.A based Musician who incorporates Blues,Funk.R&B,Bluegrass,Folk and Psychedelic Rock in to his sound. When asked about his eclectic style of music Michael had this to say. "I never listened to one type of music. I was always jumping from style to style. I remember when I was eleven or twelve I went in to my local record store with my mom. I asked the store keeper for a Blink 182 CD and after he got it for me I asked him for a Grateful Dead album. I remember the shop keeper just laughed saying "ok Blink 182 and Grateful Dead I've never sold those together". " but thats what I love about music you can make it anything you want it to be and it is impossible to be wrong because there is no right way to do it". As you can see Michael approaches his music in a way that nobody gets left out. there is something for everyone. MICHAEL ZIGON

Free music player widget at ReverbNation.com

JOE TAYLOR "BLOSSOM AVENUE"

The Debut EP from Joe Taylor.Joe has the spent the last few years studying at the prestigious Leeds College of music, performing in bands and session work, and developing his own sound as a solo artist. Joe Taylor's EP draws on his influences of soul, blues and pop. Hailing from Yorkshire, Joe grew up listening to artists such as Curtis Mayfield, The Temptations and Ray Charles. Heavily involved with all areas of the production on this EP, he has crafted a distinctive and personal sound, launching him as a credible and contemporary soul artist. Joe Taylor & Xerxes – Producer Xerxes – Mixing Engineer
Adam Taylor - Drums
Joshua Pamplin - Bass (Blossom Avenue) Thomas Orrell - Bass (Losing You Was Everything) Luke Ledger – Baritone & Tenor Saxophone James Duckworth – Trumpet Joe Taylor, Matt Glover & Thomas Battye – Brass Arrangement (Blossom Avenue) Emily Lynn – Backing Vocals  
 

GOOD DICTION "THE QUEEN'S ENGLISH"

Local husband and wife folk blues duo Good Diction is a great example of the kind of group that reaffirms my commitment to independent music and provides an ever welcome source of inspiration.The key to the blues (or any style really) is authenticity. Frontman Peter Bodurtha’s lyrics have strong mythical and literary qualities to them. At the same time, songs like If I Were a British Man or I Just Want to Talk display an earnest sense of wit and cleverness that make their stories personal.Much like Meg White (and I mean that in the best way possible), Percussionist Julie Bodurtha’s minimalist approach adds a certain amount innocence and playfulness to the music that really ropes the listener in and highlights the nuances.  As the lengthy stomp-fest 1789 W Broadway Ave Blues demonstrates, all of the intangibles are present and Good Diction successfully accomplishes what all good blues bands must do: trick you into not realizing your hearing the blues. Wholehearted showmanship goes a long way and the overall effect is the temporary illusion of experiencing something new, vai raw, undiscovered, and—most importantly—real. GOOD DICTION
 

Free Electronic Press Kits from ReverbNation.com

FIFE & DROM "INTRODUCING FIFE & DROM"

The birth of our band stemmed in a very organic and unplanned manner. In late 2010, Mark and I expressed a desire to perform the classic blues catalogs we had been immersing ourselves in.  As we listened to the works of the greats like Muddy Waters, Son House, Howlin' Wolf and Freddie King, we noticed a singular thread... complete unabashed release of emotion.  These artists performed with utmost confidence but at the same time a balance of ego.  The music was the motor.  No gimmicks, no guise, just pure passion and punch.  It was our desire to play music of this spirited intensity within the community of close friends and talented musicians that led to the inception of Blues on Tues.  Blues on Tues became a monthly series hosted on Tuesday nights at the Parkside Lounge in Manhattan. Our aim was to set up an environment in which there was no pressure, no perfection, and no pretense.  We chose a differing charity each month and all proceeds from the tip jar were donated. The result was beyond our expectations. Not only did we build a unique connection and energy onstage, but the reaction from our audiences was shocking. The blues have the innate ability to move people of all kinds and all musical preferences.  It was a wonderful way to give back to our community and bond with our peers.  As Blues on Tues progressed, we realized that our desires had evolved to focus on writing original blues music. FIFE & DROM
 

DJANGO A LA CREOLE "LIVE"

In late-August, 2005, powerful Hurricane Katrina compromised an inadequate U.S. Federal levy system leaving 80% of the city of New Orleans under water. Among the over four-thousand displaced musicians was clarinetist Evan Christopher, a California native who first moved to the Crescent City in 1994. With little more than his clarinet and a suitcase full of clothes, Christopher chose Paris, France for his exile at the invitation of the City of Paris. During this artist residency, funded by an American program called French-American Cultural Exchange, he worked diligently to raise awareness about the musical culture of New Orleans through concerts and masterclasses. He also formed his own groups, the JazzTraditions PROJECT and Django à la Créole.For Django à la Créole, the idea was simple enough: Spice up the Hot Club texture pioneered by Django Reinhardt by emphasizing hallmarks of New Orleans Jazz including blues, rhythms of the monde Créole, and collective improvisation. The project debuted in August 2007 with performances in Great Britain and a small international jazz festival in Haugesund, Norway. As early as February 2007, Christopher began commuting back to the United States to work with touring New Orleans groups but in December, just prior to his move back to New Orleans, he made this recording. The quartet released the CD in New Orleans during the 25th anniversary of the famous French Quarter Festival.Christopher and his colleagues took their primary inspiration for Django à la Créole in the legendary guitarist’s collaborations with American musicians, which included New Orleans clarinetists on several occasions. In 1934, Django performed and recorded with the New Orleans Créole clarinetist Frank “Big Boy” Goudie who had moved to Paris in the mid-20′s. However, the most significant precedent for the fusion of New Orleans clarinet with the Gypsy Swing style was a loosely organized recording session in 1939 with Duke Ellington sidemen Rex Stewart and clarinetist Barney Bigard. When one hears Bigard’s fluid lines and distinctly New Orleans sound artfully juxtaposed with Django’s angular, virtuosic flights, it hardly seems coincidental that just a few months later, Django used violinist Stéphane Grapelli’s departure as the perfect opportunity to use clarinetist Hubert Rostaing in the role of the Hot Club’s lead instrument. Rostaing’s style was, of course, heavily influenced by Benny Goodman and Artie Shaw, but on several recordings his warm, woody tone in the low register, rhythmic flexibility, and contrapuntal interaction with Django is more evocative of players such as Bigard or Omer Simeon. DJANGO A LA CREOLE
 

ANDREW HADRO "FOR US,THE LIVING"

Andrew Hadro was not born into an especially musically inclined family. Nor does he remember why or when he decided to pursue music. He has however, dedicated his life to music and spent thousands of hours honing his abilities, working to expand and push forward instrumental performance.After being born in Mexico City, being shuffled early on in life to Brazil, and stopping for a few years on the east coast, Hadro’s family eventually settled in the Chicago area. He initially began his studies on flute and soon found his way to the baritone saxophone which would become the primary focus of his musical studies as an adult. Hadro was fortunate to attend the prestigious New Trier High School and perform with several Downbeat award winning ensembles during his tenure as part of the school’s innovative music department. After high school he made the blind leap to New York City and attended the New School for Jazz and Contemporary music. Named Salutatorian in 2007, he left soon after to tour and record with several of the New School Jazz program’s founding faculty members. Mr. Hadro has performed around the world with the Duke Ellington Orchestra, James Moody, the Bjorkestra, Tony Malaby, Chico Hamilton, and Junior Mance, among many others. He is active in the New York music scene and involved in several projects including performances with his own band, the Andrew Hadro Quartet, and currently tours with Junior Mance’s quintet. He is on faculty at the Litchfield Jazz Camp and maintains an active private lesson studio through the Lucy Moses School. He is currently the curator of JazzBariSax.com, a website dedicated to the baritone saxophone. ANDREW HADRO