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JAZZ SINGER-SONGWRITER ORI DAGAN TAKES ON THE DIGITAL ZEITGEIST ON HIS FOURTH STUDIO ALBUM CLICK RIGHT HERE
Is life online in the 21st century a blessing or a curse? One could make a case either way, but if you’re Toronto-based vocalist and songwriter Ori Dagan (@oridaganjazz), one thing is certain: there’s a great material to be mined for a lyric, something Dagan always delivers with a wry and agile sense of swing. Click Right Here, praised by John Devenish of JAZZ.FM91 as “fun, provocative, fancy-free and spirited,” and by journalist and author Jeanne Beker as “the perfect balance between modernity and nostalgia,” is Dagan’s first album of original material. It offers a joyful escape from, and timely reflection upon, a world spinning out of control. Themes include online dating, social media, technological troubles, and the quest for freedom and equality in a divided world.
Dagan’s right-hand man on Click Right Here, his fourth studio effort, is a guitarist and musical director Nathan Hiltz, whose crackling arrangements and brilliant solos bring the songs to life. Hiltz fronts a versatile eight-piece band comprised of some of Canada’s finest: pianist Attila Fias, bassist Alex Bellegarde, drummer Ben Wittman, tenor saxophonist Colleen Allen, alto saxophonist Alison Young, trombonist William Carn, and trumpeter Andrew McAnsh. They are featured to brilliant effect on the potent band vehicle “21st-Century Blues.” In addition to being Dagan’s first recording with horns, Click Right Here also includes his first male duet, a romp of a minor-key tune called “Going That Counts,” featuring Toronto rising-star vocalist Donovan Locke. Rapper Erik Flow cowrote the blistering opener “Viruses,” built around a prominent omitted expletive that lends the song a distinct rhythmic hiccup.
Five-time JUNO Award winner and three-time GRAMMY nominee Jane Bunnett, of Spirits of Havana fame, contributes scintillating flute on “Hashtag World” and soprano sax on “Viruses.” Four-time JUNO winner Simone Denny (Love Inc.) appears on a bonus cover: a relaxed and incisive interpretation of The Buggles’ 1979 smash hit “Video Killed the Radio Star,” the definitive earworm of earliest MTV. Rebecca Hennessy serves as guest arranger on the Buggles cover as well as an updated take on Dagan’s 2012 single “Googleable,” replete with virtuosic scat breaks and arch references (“Google Apps are the best, skeptics eventually clue in / who might have guessed, other than Marshall McLuhan”). The album was recorded by GRAMMY-nominated engineer Jeremy Darby at Canterbury Music Company and co-produced by Macedonian multi-instrumentalist, composer, arranger, and producer Davor Jordanovski.
Dagan’s previous recordings, S’Cat Got My Tongue (2009) and Less Than Three <3 (2012), solidified his forward-thinking artistic voice. In 2017, with the support of over 200 crowdfunding contributors, he created the visual album Nathaniel: A Tribute to Nat King Cole, a first of its kind in the jazz genre — a collection of 12 music videos that won critical acclaim and recognition at film festivals worldwide, as well as an official showcase at SXSW.
Dagan’s rich bass-baritone is unmistakable; his irreverent songcraft speaks to the lineage of Nat Cole novelty numbers and the impeccably swinging humor of the late Bob Dorough and Dave Frishberg. His scat singing has the natural, fluid, bop-inflected feel of the best in that idiom. Click Right Here, his most ambitious project to date, is sure to take him to new destinations, onstage and online.
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François Marius and Bérénice creates a tender acoustic pop confession with “Billie Jean”
François Marius’ latest release, “Billie Jean (Acoustic Version),” cuts to the quick and lets raw emotion take over. What you get, ultimately, is a personal pop experience that feels closer to a secret than to either a spoken-word show or a performance. The initial soft strum of an acoustic guitar creates a mood that is soft, sweet, and quietly interesting. It’s a full-throated, backbones-out piece, and every note is screaming its potential. It’s simple but riveting, and it proves that sometimes less is more.
François Marius and Bérénice’s voices sound right together, their voicings intermingle so naturally that they seem accidental or spontaneous, harmonies that emerge from nowhere. The way they speak to one another is very, I mean, they really love each other. That even makes the track seem like a conversation about feelings.
The two artists are clearly close. Romance and Eros are not just ideas, and they inhabit every note that lingers and every minuscule shift in tonality. The harmonies soar effortlessly over the acoustic foundation, a blend of sweetness and strength. It’s a sign of strength and also of a willingness to be hurt.
“Billie Jean (Acoustic Version)” is stripped of any fancy production or theatrical effects, it wins you over with its frankness and forthrightness. Sandy François Marius’s impersonation is fresh and real, endowed with depth and softness thanks to Bérénice’s presence, which definitely makes everything more perfect. This acoustic performance serves as a stark reminder of the elements that do connect people: the singer, his guitar, and a story from the heart.
Connect with François Marius on Spotify || Instagram || Facebook || Youtube || Twitter || Soundcloud
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RoHaNa and Morpheus von Dobenhausen paint love in shadows and light “WHEN A BOY LOVES A WOMEN”
RoHaNa feat. Morpheus von Dobenhausen, in this new release, “When a Boy Loves a Woman,” This track, recorded in winter, has a hint of gothic style that blends emotional restraint with atmospheric elegance. The track is all about RoHaNa’s emotional singing, which fits perfectly with the carefully crafted production. Her voice shows desire, weakness, and dedication without being too loud, letting each note ring out. The result is a sound that affects people on a personal and universal level. There is a sense of innocence that permeates, capturing the delicate nature of love in its purest form.
Morpheus von Dobenhausen is a guest singer who deepens the track’s emotional journey. Their voices work together to make a conversation of feelings that is both clear and mysterious. The song doesn’t go too fast, so the listener can feel the mood and atmosphere as they go through its subtle changes.
“When a Boy Loves a Woman” is unique because it strikes the perfect balance between modern pop and gothic restraint. The result is a soundscape that is both creepy and easy to listen to. It is a moving story about love and devotion, told with grace and quiet strength.
With this first release, RoHaNa confidently joins the scene, thanks to XanadumusiX’s never-ending creative drive, even when things get hard in the winter. This release not only introduces a new artist with significant potential but also showcases a bold artistic direction in which emotion, atmosphere, and story come together to make a lasting impression.
Connect with Morpheus von Dobenhausen on Spotify || Instagram || Facebook || Youtube || Tiktok
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