Your Requests

Laila Biali - Your RequestsCD / digital Laila Biali vocals, piano, Fender Rhodes George Koller acoustic bass Larnell Lewis drums (1, 2, 4, 5, 7, 8, 10) Kurt Elling guest vocals (4) Emilie-Claire Barlow guest vocals (5) Caity Gyorgy guest vocals (7) Anat Cohen clarinet (3) “Your Requests”, Laila Biali’s third album on ACT, shows a very different side of the craft of the Canadian pianist/vocalist from its predecessors. Both her self-titled debut album, which won the Canadian Juno Award for Best Vocal Jazz album in 2019, and also its successor, “Out of Dust” (nominated for the award in 2021), showcased above all the range, the depth and the sheer quality of the pianist/vocalist/ bandleader’s songwriting. Now, however, for the first time in 10 years, the Toronto-based artist and her band return to jazz standards with a new twist on songs from the Great American Songbook including classics by Gershwin, Rodgers and Hammerstein, Rodgers and Hart, and Jerome Kern. For “Your Requests”, she has also assembled a magnificent roster of guests – not just the vocalists Kurt Elling plus fellow JUNO winners Emilie-Claire Barlow and Caity Gyorgy, but stunning instrumentalists as well: clarinettist Anat Cohen, harmonica master Grégoire Maret, Brazilian percussionist Maninho Costa, and Hammond B3 organist Sam Yahel (who made two classic albums, “Yaya3” and “Elastic”, with Joshua Redman in 2002). Biali’s regular collaborators form the core band: drummers Larnell Lewis (Snarky Puppy) and Ben Wittman along with bassist George Koller and saxophonist Kelly Jefferson. One of Biali’s greatest strengths is how cleverly she is able to connect with audiences. Indeed, quite how well she does that is one of the backstories of the shift back to classic jazz material on “Your Requests”: The album was inspired by Biali’s delight in fulfilling the song requests from her fans. When she asked her social media followers what tunes they’d like to hear her cover, more than 150 songs were submitted. Her aim with these reimaginings of the classic songs which she has chosen from the fans' suggestions is to create something personal and unique, with the hope that listeners will experience familiar songs in a new way. “It's always a delicate balance preserving key elements of the original versions of these classic songs while moving them into new territory,” Biali says. “I liken the arranging process to a 'renovation'. The foun-dation - the lyrics and melody - must remain intact, but there's lots of room for play.” And play she does. Biali puts her stamp on these songs without letting the musical reworking run amok, trading an expected swing feel for a more hard-driving straight-eighth groove and reharmonizing more typical chord progressions with thoughtful boldness. “Where the renovation analogy falls short is that my ultima-te goal is not to improve that which arguably can't be improved – these songs are, after all, classics for a reason.” Right from the first track, a smart and energetic take on Dixon & Henderson’s “Bye Bye Blackbird”, Biali’s arranging ethos and piano chops are in full force while Jefferson and Lewis trade blistering solos over Koller’s anchoring bass ostinato. A haunting rendition of “Blame It on My Youth” moves the ensemble, which includes Wittman’s creative and layered percussion, from punchy odd meters to a soulful flowing landscape enhanced wonderfully by B3 master Sam Yahel. Emilie-Claire Barlow joins Biali for a vocal duet on an exhilirating rendition of Rodgers and Hammerstein’s “My Favourite Things”. Scat sensation Caity Gyorgy charms on a lilting delivery of “Pennies from Heaven”, while Kurt Elling lends his bold and brilliant voice to “My Funny Valentine”. Together in perfect harmony, Biali and Elling guide the well-known love song into a contemporary context. Biali says of making this recording with Elling: “It was the fulfillment of a dream! I've been a fan for decades.” She describes their version of “My Funny Valentine” as “faithful and fearless – very much in the spirit of jazz.” “But Not For Me” is re-imagined as a samba and showcases clarinettist Anat Cohen’s virtuosity, expertly supported by Biali’s exuberant arrangement as the two musicians playfully dialogue atop the bubbling rhythms of Brazilian percussionist Maninho Costa and drummer Ben Wittman. The final guest appearance on the album belongs to harmonica master Grégoire Maret. Here, Antoñio Carlos Jobim’s “Corcovado (Quiet Nights of Quiet Stars)” provides the perfect canvas for a lush delivery of the iconic bossa nova. The final track is a searing and cleverly reharmonized arrangement of Jerome Kern’s “All the Things You Are”. US journalist Dan Bilawsky of Allaboutjazz has written of Laila Biali: “She often expresses more in a single breath than others do in an entire album.” “Your Requests” is set to prove him right...again. Credits: All songs arranged by Laila Biali Primary Tracking Engineer: Julian Decorte Primary Vocal Tracking Engineer: Ben Wittman Mix Engineer: John ‘Beetle’ Bailey, The Drive Shed Mastering Engineer: João Carvalho, assisted by Bryan Lowe Co-produced by Ben Wittman & Laila Biali

Various Artists - Fantastische FrauenCD / digital Julia Hülsmann & Rebekka Bakken, Anna Gréta, Solveig Slettahjell, Céline Bonacina, Ida Sand, Cæcilie Norby, Viktoria Tolstoy, Johanna Summer, Rigmor Gustafsson, Terri Lyne Carrington, Rita Marcotulli, Nesrine, Youn Sun Nah, Janne Mark, Kadri Voorand, Laila Biali Music is feminine. And it always has been, whether in Italian, German and French. Viva la musica. Die Musik. La musique. And in jazz? During the 20th century female musicians lives were lived in the shadows. Lil Hardin, for example, wrote compositions like “Struttin‘ With Some Barbecue”, and yet while her husband Louis Armstrong was becoming famous, she was hardly noticed at all. She was, as she described it later, “standing at the bottom of the ladder holding it and watching him climb.” Since then, however, things have moved on. Progress may be slow, but things are definitely changing. In jazz, today the female element has gone way beyond just the “girl singer with a band”. It is not only quite normal for a woman to be playing electric guitar, bass, drums or trumpet, we now have musicians such as Terri Lyne Carrington serving as important role models. “Fantastische Frauen” presents a selection of the strong female voices who have either forged their careers in partnership with ACT, or at least been with the label for part of their journey. Some came to the label at the beginning of their careers; others were already more established: Berlin-based pianist/composer Julia Hülsmann released three albums for ACT in the early 2000s, showing a refined sensitivity for language and a flawless instinct for setting poetry to music. “Same Girl” is her arrangement of the Randy Newman song, with Norwegian singer Rebekka Bakken as a kindred spirit on the album “Scattering Poems”.  Scandinavian singers have always been a major presence on ACT, including some stalwarts who have been with the label for several years: Viktoria Tolstoy, from Sweden, has eight albums to her name on ACT, of which “Shining On You” was the first. It features compositions by probably the most important Swedish jazz musician of the last 20 years, pianist Esbjörn Svensson. Icelandic pianist/singer Anna Gréta is a new member of the ACT family. “Nightjar in the Northern Sky” is simple, direct and con-cise. Solveig Slettahjell (Norway), Ida Sand (Sweden, both singer and pianist), Cæcilie Norby (Denmark) and Rigmor Gustafsson (Sweden) are important and well-established figures on the scene, and are all much more than “mere” singers: they have been writing and arranging their own music for many years, and also penning the lyrics and leading their own bands.  Janne Mark from Denmark occupies a very special place: she has found her own fascinating path between folk music, church hymns and jazz. Kadri Voorand from Estonia is also much more than just a singer. Alongside her mind-boggling vocal skills and her clever use of effects devices, the fact of quite how good a pianist she is – and also lyricist and composer – runs the risk of being overlooked. “I’m Not in Love” is both charming and unsett-ling, with just the right mixture of each. Youn Sun Nah, from South Korea, brought her love of French chanson and jazz to Europe, and has made some terrific recordings: “Momento Magico” with guitarist Ulf Wakenius stuns with its virtuosity, leaving the listener breathless. Nesrine creates magical worlds of sound with no boundaries: Cello and voice with Arabic roots and Mediterranean soul. Canadian vocalist/pianist Laila Biali combines everything which is good about singer-songwriting. Céline Bonacina takes on an unusual role; there are still not many well-known female baritone saxophonists, and even fewer who lead their own interesting bands. This Frenchwoman absolutely does her own thing... ...something which can also be said about pianist Johanna Summer. She chose Robert Schumann’s “Kinderszenen” (scenes from childhood) and “Album für die Jugend” (album for the young) as the starting point for free improvisations. Her album has had a major impact.  For Italian pianist Rita Marcotulli, the power of melody is the driving force – her album with the accordionist Luciano Biondini has a dreamlike quality. Today US-American Terri Lyne Carrington is one of the leading figures on the drum set and has played with all of the greats of jazz. She shared the stage with Wayne Shorter, composer of the classic “Witch Hunt” when she was still in her twenties. “Fantastische Frauen” is a very apt title for this album because music is female and so, increasingly, is jazz. The fact that this is now recognised and appreciated has been a major step forward. At some point in the future it will only ever be about the music, irrespective of whether it has been created or performed by male, female or diverse artists. And that will be the next big step forward.Credits: Curated by Siggi Loch Mastered by Klaus Scheuermann

Various Artists - Christmas in the Spirit of JazzCD / digitalJust as there are a multitude of different ways to celebrate Christmas, there is also a vast and appetising array of Christmas music. And whereas Nils Landgren's "Christmas With My Friends" series has been an integral part of the run-up to the holiday season for the past 15 years, it is far from being all that ACT has to offer: a host of other artists from the label have created their own distinctive Christmas sounds. These range from the quiet contemplations of pianist Bugge Wesseltoft or the hymn-inspired "Nordic Christmas" from saxophonist Tore Brunborg, to music from Cana-dian singer Laila Biali or “a touch of class” (The Observer) from Echoes of Swing... and even the coruscating and youth-ful energy of the Jazzrausch Bigband. All these and many more are to be found on "Christmas in the Spirit of Jazz". This is the ACT Christmas soundtrack for 2021. Tracks from all eight of the "Christmas With My Friends" albums are the thread running through this Christmas com-pilation. Nils Landgren sets the celebrations in motion with "Coming' Home for Christmas", the album opener. In the course of the album’s eighteen tracks, we hear a roster of other soloists: Jessica Pilnäs, Johan Norberg and Jonas Knut-son bring seasonal joy to Leroy Anderson’s swinging classic "Sleigh Ride"; Sharon Dyall with her blues-infused voice jingles us through the lively "Just Another Christmas Song"; Ida Sand and Jeanette Köhn sing John Rutter’s "Angel's Carol" in a gently-paced duet. As German magazine Stern has remarked of "Christmas With My Friends”, this is music which "sparkles like the starry sky of a Nordic winter night". We cross the border from Sweden into Norway for another Christmas classic: Bugge Wesseltoft recorded one of the best-selling Christmas albums in Norway with his piano solo CD "It's Snowing On My Piano": the plaintive sounds of Wes-seltoft playing "In Dulce Jubilo" have an irresistible simplicity and directness. And then on to Denmark for Janne Mark: she sings about "Vinter", a delightful hymn which brings light and warmth to Scandinavia's season of darkness. Christmas with the Jazzrausch Bigband is lively and sassy. Sometimes loud, sometimes quiet, the stylish sound of this big band has been superbly caught: "Fröhliche Weihnacht überall" (Merry Christmas everywhere) takes us a long way from the quieter and more contemplative vibe to be heard elsewhere on "Christmas in the Spirit of Jazz". Echoes of Swing with Rebecca Kilgore treat us to a superb "Winter Wonderland": it’s swinging and American - but with a knowing, five-four smile.A song which was not originally written with Christmas in mind, but which has nonetheless found its way into the canon is "A Child is Born" by Thad Jones: Laila Biali's version of it is released here on CD for the first time. Another which has also become a Christmas evergreen is Leonard Cohen's "Hallelujah". Polish violinist Adam Bałdych interprets it here. And with "Happy Xmas, War is Over" from 1971, we hear Iiro Rantala paying homage to John Lennon. His solo piano interpretation is virtuosic yet has depth, and the song’s message of peace could not be more topical or important than it is today. Caecilie Norby and Lars Danielsson have made a new recording of "Have Yourself a Merry Little Christmas" especially for "Christmas in the Spirit of Jazz". We hear just the duo of voice and bass, the mood carefree yet festive. "Christmas Song" is heard in a calmly uplifting version from Viktoria Tolstoy, with Ida Sand, Ulf Wakenius and Nils Landgren. And finally Mr. Redhorn brings "Christmas in the Spirit of Jazz" to an atmospheric conclusion on solo trombone: "Der Mond ist aufgegangen" (the moon is risen) is from his recently released solo album "Nature Boy". Landgren’s trombone sound echoes weightlessly through space and time: the final mood is one of contemplation and peace.

Laila Biali - Out of DustCD / digital Laila Biali piano & vocals Glenn Patscha organ Rich Brown electric bass George Koller acoustic bass Larnell Lewis drums Ben Wittman drums &percussion Godwin Louis soprano sax John Ellis tenor sax & clarinets Mike “Maz” Maher trumpet Remy Le Boeuf alto sax & flutes Alan Ferber trombones Strings & background vocals The last few years have been a rollercoaster for Laila Biali. For nearly every major triumph—a highly acclaimed return to jazz, winning the JUNO Award for Vocal Jazz Album of the Year, touring the world—the singer-songwriter has faced a private debilitating crisis. In just a few short years, Biali lost a close friend, mourned a family member, and dealt with health chal-lenges of her own. It was a period of change and heartache—but it was also a season of great inspiration and hope. The result is Biali’s deeply personal new album, Out of Dust. “These new songs took shape as I processed my own feelings of doubt and loss,” Biali reveals. “I believe that nothing is wasted, that even life's greatest trials can produce something meaningful, if only to make us more empathetic to the struggles of those around us.” This hard-won optimism is apparent in the music. Instead of giving into the darkness, Out of the Dust finds Biali luxuriating in the light. Co-produced by Biali and her husband, Ben Wittman, the album is a celebration of life; warm and uplifting even as it confronts her recent challenges (and the current political clima-te!) head-on. The political is personal on the brassy album opener, “Revival.” Transforming global tumult into an inspiring call-to-arms, she sings with the clear-eyed confidence of a warrior, “Come on down / There’s a fire underground!” This fervor animates the entire album, even its quieter, more personal moments: “Wendy’s Song,” a piano ballad dedicated to the friend she lost, turns the details of a single life into a powerful epic; “Glass House,” which she co-wrote with her husband, frankly addresses the after-effects of a family member’s struggle with mental health issues; “Take the Day Off” bluntly acknowledges the reality of healing with Biali singing that it’s OK to “pull the sheets over your head” and “unwind” when you need to. Even “Take Me To The Alley,” the album’s sole cover, holds special meaning for Biali: she sang an ethereal version of the Gregory Porter song at her friend’s memorial. In addition to contributions from Biali’s husband, Out of the Dust features multiple GRAMMY nominees and winners inclu-ding vocalist Lisa Fisher, saxophonists John Ellis and Godwin Louis, drummer Larnell Lewis, and trombonist Alan Ferber, who composed all the horn arrangements. The album’s collaborative atmosphere led to “Au pays de Cocagne,” Biali’s first French co-write, which was created with francophone singer Sonia John-son. “There's a line from a song by the indie gospel group, Gungor, that has become like an anthem to me,” Biali says. “‘He makes beautiful things out of dust.’ That's where the title for the album comes from, and as a songwriter and musician, my ultimate intention and hope is to spread a little more love.” Credits: Tracking Engineers L. Stu Young & Luke Schindler (Revolution Recording Studios, Toronto) & Oliver Straus (Mission Sound Studios, New York City) Mixing Engineer Tim Abraham, assisted by Jonathon Unger Mastering Engineer João Carvalho, assisted by Bryan Lowe Produced by Ben Wittman & Laila Biali

Magic Moments 1167 minutes of pure listening pleasure: The eleventh edition of the popular Magic Moments offers a comprehensive insight into our latest ACT releases with newcomers, ACT stars and real insider tips at a special price. Among others with Michael Wollny, David Helbock, Vincent Peirani, Iiro Rantala, Joachim Kühn New Trio, Ida Sand, Lars Danielsson & Paolo Fresu and many more.Credits:Compilation by Siggi Loch Mastered by Klaus Scheuermann Manufacturer 

Laila Biali - Laila BialiCD / digital Laila Biali vocals, piano, keys George Koller bass Larnell Lewis drums (01, 02, 04, 08, 09, 11, 12) Ben Wittman drums (03, 05, 06, 07), percussion Ambrose Akinmusire trumpet (03, 05) Mike “Maz” Maher trumpet (02, 08, 09, 11) Sam Yahel organ (01, 02, 05, 06, 07, 08, 09, 12) Glenn Patscha organ (solo on 02), keys (12) Lisa Fischer vocals (01, 02, 05, 06, 07, 08) Jo Lawry vocals (all tracks except 09) Carlos Ricketts vocals (01, 02, 06, 07) “She is an exciting and unique talent and I admire her greatly” Sting Pop, jazz, Canada. To see how well these three go together, is not just a matter of looking back into the past. Canadian artists of our time such as Michael Bublé and Diana Krall have followed in the footsteps of legends such as Joni Mitchell. Whereas these genres of music have sometimes been seen as at loggerheads, in the land of the maple leaf they get along together just fine.Laila Biali, born in Vancouver, has her place in this tradition - and yet she is never just imitating anybody else. The singer-pianist has won several prizes, and not only in her native country. DOWNBEAT magazine included her music in its albums of the year. Spinner magazine admired her ability to bring traditional jazz and contemporary pop together naturally, and to create a compelling blend from them. Her sixth album – which is also her ACT debut, represents the culmination of everything she has done until now. “I have been in search of my artistic voice ever since my first album,” the classically trained pianist explains. “I have experimented with so many genres. Everything felt right to me, but it never really encompassed the totality of who I am. LAILA BIALI unites all the facets of me as an artist: pianist, singer. arranger, composer, a devotee of jazz and of other genres. With this album I feel I have truly arrived.” Biali gained her first experience on the big stage as a backing vocalist for Sting, which was also where she met several members of her band. She met her drummer - and future husband - Ben Wittman, however, on tour with Paula Cole. “Ben plays a unique mix of percussion and drums, she says. “His grooves are deep and rootsy - a perfect complement to the faster, funky grooves of Larnell Lewis." Like trumpeter Mike "Maz" Maher, Lewis is a member of the mega-successful fusion band Snarky Puppy, for whom nothing is musically off-limits.These three, together with top-flight people such as Lisa Fischer, long-time singer on Rolling-Stones tours, and multi-award-winning jazz trumpeter Ambrose Akinmusire, form a powerful backing band for Laila Biali's joyously colourful ACT debut. Sam Yahel, who was organist in the seminal Joshua Redman Elastic Band, completes the illustrious circle of guests on the album. The spirited “Got To Love” is the entry point into the album, with its funky handclaps and gutsy organ riffs, an ecstatic mood that Biali then tempers with the Latin-inflected "We Go". An intense cover version of Coldplay's "Yellow" is the first of three songs by others which the singer has added into the mix with her own compositions: "I have always enjoyed arranging songs," says Biali, who now lives with her family in Toronto. “At concerts we have often gone with the flow of what audiences want. Coldplay, Randy Newman and David Bowie were always our favourites.” Newman's "I Think It's Going To Rain Today" shows Biali's sensitive, introverted side. Alone at the piano she creates a real tingle factor, while "Let's Dance" is a remarkable, soulful Bowie cover.The cheerful, ear-wormish song “Wind” is based on a poem written by the singer decades ago. "I struggled with the lyrics for a long time, they never seemed to fit properly. I even asked Sting to help me! In the end it was some verses by the Persian mystic poet Rumi that enabled me to complete it."Laila Biali has her own concept of jazz, in which soul, indie-rock, blues and pop all have their place. The album LAILA BIALI is wonderfully catchy, but can’t be pigeon-holed into any of the standard mainstream radio formats. There is sophistication, but it eschews the seriousness of high culture. This ACT debut album sparkles with exuberant playfulness and beautifully crafted variety. And the singer’s own verdict: “This album feels like a homecoming.” Credits: Produced by Ben Wittman & Laila Biali Recorded at Revolution Recording (Toronto), Wittman Productions (Toronto), Mission Sound (Brooklyn), Vibramonk Studios (Brooklyn), Fantasy Studios (San Francisco) & Pod Noise Studio (New York City), March - October, 2016 Mixed by Tim Abraham Mastered by João Carvalho Photography by Rockie Nolan