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“The voice belongs to Joy Mover. To follow her in song is to exercise the mind. Sometimes easy and fluid, sometimes intricate and challenging, her voice is always… beautiful. She is very different; provocative, thoughtful, interesting.”
~ Ira Sullivan, Jazz Legend

“Unlike many artists of today, Joy Mover has a distinctive, quickly recognizable style. Within three notes you will recognize the distinct voice and spirit of Joy Mover. Hers is a voice to be reckoned with. On her new release, she has managed to create something new while still giving a healthy nod to the musical heritage of the past.”
Vinnie Zummo, Producer/Guitarist

“Take a dash of pop, add a little jazz, and stir in some Latin beats and you have the music style of Joy Mover.”
~ David Bowling, Blog Critics

Featured Reviews

Joy Mover off to fine, sweet start on debut CD

By Bill Copeland MUSIC NEWS on August 9, 2012
Copyright © 2012 Bill Copeland Music News.

Pop jazz chanteuse Joy Mover has released her upbeat, self-titled, debut CD. This disc offers a lot to discerning listeners who prefer their music to be full of numerous influences and tastes. Opening track “Have You Ever Loved?” is a lively mix of Latin rhythms and percussion with show tune energy and exuberance. Co-written with musician John Paul, “Have You Ever Loved” is full of bright, sprightly moments. A lively flute melody flies through the tune like a bird in flight, fluidly moving and chirping prettily. Mover’s voice rests comfortably in a niche between jazz and pop, rangy, trained, experienced but with the flexibility to move into fun pop territory with credibility.

“Maria’s Song” finds Mover singing mellifluously over a synthesized melody, peppy percussion, and adept acoustic guitar to arrive at a whispery glory. Her voice remains easeful, light, and soft while she navigates it through the twisty grooves and skillful instrumentation.
Latin rhythms in the percussion and strumming inform the flavor of “If I Could Tell You.” Mover’s voice kisses the sonic structure like a warm summer breeze against skin. She’s altered her timbre into something even gentler than her first two numbers on this disc. She asserts her lyrics forward as a whispery beauty of soulful tenderness. She simply caresses the ears with this one, especially when she sustains her more susurrant notes.

“Midnight Oil” finds Mover’s lilting voice making its way over a jittery pop piano line. She belts out a high flying, freewheeling pop vocal that gives off a sense of flying high over the music and over the world. Lively and celebratory, this tune has a generous exuberance in its trumpet melody.

“Only The Wind” has a danceable beat and chorus, rhythmic guitar spikes, and frisky keyboards. From there, Mover injects her light, jousting voice, giving a special lift with each verse. Her playful voice moves in and out of the song, teasing the listener who can’t wait for it to come back in. The peppy instrumentation beneath her are another pleasant flight of musical fancy, especially the electric guitar phrase.

“Nature Boy” begins with seductive sax and enticing percussion. Mover’s voice, sultry here, brings its own allure, moving as sensuously around the beat as the sax. This song would work wonderfully as the soundtrack for a love scene, especially between two people who are particularly into each other.

Mover turns up her more amicable tone and timbre for “Home Sweet Home.” Her chorus work is nicely supple, as if her voice becomes a thicker version of the pleasant airy one we’ve heard up until this point. Mover switches gears for jazzy vocal number “Till There Was You.” Here, her sax players gives her a run for her money. Both voice and horns are tender yet possessing that extra touch of oomph in their timbres, something substantial in their assertive unfurling.

“Corcovado” finds Mover’s laser smooth sustains going mano-a-mano with nimble Spanish guitars. And the winner of this duel is undeniably the listener. Gentle, flavorful notes are picked with the right amount of accents and tenderness while Mover’s vocal line reaches smoothly over the soundscapes of the song. The contrast makes each loom larger in their possibilities.

The timeless, sexy pop song “Fever” benefits from Mover’s fresh, jazzy interpretation. She breezes through the rhythmic twists with a cool, easy going style that makes it sound easy. Yet, the inherent challenge in interpreting something done many times over forces Mover to find new expression for these verses. She certainly succeeds at bringing her own sultriness and style to putting this torch song across.

Mover closes out her debut album with a gentle unwinding “Dream A Little Dream Of Me.” Her guitarist John Paul presses out a bit of an edgy eloquence with his classy phrasing. Yet, it is Mover, who sings this as if she was born to sing among the finest jazz musicians, that becomes the fine focal point. She has a way of being at the regal top of song without pretentiousness. She finesses this one with special delicacy as she moves her voice over its sprightly piano tinkling. There is an immediacy in her voice that gives a live performance vibe. She makes the listener feel as if he’s her special guest whom she has dedicated the song to.

Mover and her support players must be a real treat to hear at a jazz club live. They have so many nice touches going on simultaneously, dovetailing, or taking turns that you feel you’re listening to aural equivalent of a masterful fine artwork. Supporting Mover on her debut effort are the recognizable names of Ira Sullivan, Bob Mover, John Paul, Mike Levine, Richard Bravo, Lee Levin, Sammy Levine, Jamie Ousley, Billy Ross, Dan Warner, Javier Carrion, and Vinny Damaio.
Let’s hope Mover brings her music to a nearby jazz club soon. Let’s also hope she is soon back in a recording studio to cut another lively, lovely masterpiece of pop-jazz vocal work.


Monday, August 13, 2012
Joy Mover / Joy Mover 2012
Posted by Brent Black at 10:41 PM

I totally dig the cover art. Even a hard charging post bop critic like yours truly likes a little pop of color now and then and that is exactly what you get with the latest release the self titled debut from Joy Mover.

Mover’s a singer/songwriter whose penchant for jazz works far better than some of her contemporaries. Bottom line is I have heard more than a dozen of the singer/songwriter variety whose musical destiny will be happy hour at the local Marriott every Friday night. Mover is clearly not one of the run of the mill lounge lizards and to seal the deal she is joined by a first call band of talent that most singers will never have the opportunity to work with and herein lies the key to the success of this release. A group effort. The band is not an afterthought, they do not play around or behind Mover but instead play “with” her and that makes all the difference in the world. Another key to success is that good singers are a dime a dozen but a singer that is a rock solid lyricist simply raises their game not to mention their odds at success. Mover does both.

There are two tunes on this release that I immediately wondered if she could pull off. Mover takes “Nature Boy” is the jazz version of the sexy little black dress while doing an intoxicating samba riff on this classic. The other tune that gave me cause for concern was the standard “Fever” which Mover along with the help of this killer band is a reinvented swing tune breathing new life into a tune that for some has seen better days. Impressive. Joy Mover kicks things off with an original “Have You Ever Loved?” which is a bright and breezy samba number followed by “Maria’s Song” which has a wonderful Joni Mitchell vibe going on. The original rap which opens “Till There Was You” is not exactly in my wheelhouse but Mover pulls it off effortlessly to show a nice contemporary side that simply adds to the alluring ebb and flow of this release.

I have reviewed more than two dozen female singers with maybe a dozen that can double as a lyricist and while I have heard some dynamite talent, the vast majority are stale, tired and predictable which is everything Mover is not! Vibrant energy, great phrasing, that special gift of connectivity that can not be taught places this release in the upper echelon of vocal jazz release this year be they male or female. Pure entertainment.

For a debut release it is one of the more impressive vocal outings you may hear.
5 STARS – I gotta give it to her!

Tracks: Have You Ever Loved; Maria’s Song; If I Could Tell You; Midnight Oil; Only The Wind; Nature Boy; Home Sweet Home; Till There Was You; Corcovado; Fever; Dream A Little Dream Of Me.

Personnel: Joy Mover: vocals: Ira Sullivan: trumpet, tenor saxophone, alto flute; Bob Mover: tenor saxophone; John Paul: guitar, electric bass, synthesizers; Mike Levine: piano, synthesizers; Richard Bravo: percussion; Lee Levin: drums; Sammy Levine: drums; Jamie Ousley: upright bass; Billy Ross: flute; Dan Warner: guitar; Javier Carrion: electric bass; Vinny Damaio: drums.


Jazz Weekly

Marcus Goldhaber: Almost Love, Letizia
Gambi: Introducing…, Joy Mover: Joy Mover
November 15, 2012 by George W. Harris

Joy Mover mixes her own modern sounding compositions with a handful of cleverly arranged standards on this upbeat disc that includes a team of Mike Levine/p, John Paul/g, Lee Levin-Lee Levin/dr and Jamie Ousley/b. Her takes of chestnuts like “Nature Boy” and “Dream a Little Dream of Me” have a nostalgic sense to them without being maudlin. Her voice, clear in delivery with a hint of nasal charm, includes warm harmonies on “Maria’s Song” and “Only The Wind” that keep the music enjoyable. A haunting spaciousness is evident on a lovely piece “Midnight Oil” that will keep drawing you in as well. Enjoyable


Midwest Record

JOY MOVER: Hmm, Ira Sullivan (who shows up here) bounced you on his knee when you were a kid and your brother, Bob (who shows up here) works with Esparanza Spaulding. The chops list can go on and on but it’s better to listen to this jazz singer that’s been keeping it bottled up for way too long than blather this background stuff. A dazzling debut that mixes pop, originals and chestnuts into a stew where the old seasonings create a new flavor. She’s got so much energy and octane powering her that she should feel free to give up her day job any time she wants as she’s built a better mousetrap and the world will beat a path to her door. The real deal throughout.



Ross Barber – Electric Kiwi
Electric Kiwi

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