{"key":"32834","name":"Caravan Palace","bio":"Paris, France (2005 \u2013 present)It all started with a double bass player, a guitarist and a violinist; all highly talented musicians who are really into swing, Django addicts who enjoy tinkering with electro. Their project swayed a singer, a clarinettist, a trombonist who doubles up on percussion and a guitarist who also acts as DJ. With their \u201cZazou\u201d look (inspired by Parisian paleo-punks from the 1940s), they serve up festive, frantic music, an improbable futuristic and melodious Charleston fit for the dance floor. Caravan Palace is to swing what the Gotan Project is to tango.It so often starts out like that: a gang of mates who\u2019ve kicked around together for the past ten years and who each get into music off their own bat. In this case, it was Hugues on the violin, Arnaud on guitar and Carlos on the double bass. A shared craze for manouche jazz (gypsy-style jazz), played in its natural setting, bars. Relatively serious composition, with a Zeitgeist twist: DIY electro, house, dub and hip-hop.What triggered it all was an order placed by a film production company: a soundtrack for silent porn films dating from the beginning of the 20th century! They trotted out all their talents. Our three heroes played the end result to some friendly listeners, the feedback persuaded them to drop their individual projects and come up with a repertory of their own. Because there was no question for them of reworking Django or giving swing a face-lift! If they were going to forge their own path, it had to be something completely fresh.This was back in 2005: it would take them an entire year. At which point they met Lo\u00efc Barrouk, manager of the Caf\u00e9 de la Danse, who was really keen on the project. He got them into the studio (recording with session musicians), and then got them some gigs. For that, they needed some reliable fellow travellers, so they surfed MySpace. Two months later, the troops had been mustered: Chapi (clarinet), Toustou (who plays trombone and beat synthing), Aur\u00e9lien (alternating as guitarist and DJ) and, last but not least, petulant vocalist Colotis Zo\u00e9, every bit as sweet\u2019n\u2019saucy as her signature song \u201cJolie coquine\u201d! Among the three pioneers, Hugues, the crazy one, has revealed a talent for frenzied scat, Arnaud and Carlos double up their instruments thanks to programming. All together, they composed a new repertory. The Caravan took off.Caravan Palace\u2019s secret is a supersonic buzz on the Internet (free promo) and a year on the road with hard-hitting concerts, even before they released their record. A prime example was their performance at the 2007 Django Reinhardt Jazz Festival, in Samois, where they wowed an audience who had never heard of them. Veterans from the classic manouche jazz scene were left speechless. The excellent Caravan Palace musicians, who are of course \u201cgadjos\u201d (non-gypsies), have breathed fresh air into the timeless swing scene without coming across as preachers. As well as listeners with curious ears, the Caravan also has its own following, a horde of fans totally into the electro vibe, who turn up at each of their concerts. Caravan Palace\u2019s reputation has rippled beyond the frontiers too, with Europe eager to check them out.The album has at last been set for release in October 2008, on the Wagram label. With Caravan Palace, the future of swing looks set to swing.","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/32834_h_0.jpg","feeRange":"please contact"}

{"key":"171930","name":"Swingrowers","bio":"Swingrowers (pronounced \u201cSwing-Growers\u201d) are an Electro swing band formed by Roberto Costa a.k.a. \u201cPisk\u201d, Loredana Grimaudo and Alessia Costagliola from Palermo in Sicily, signed to the record label Freshly Squeezed music. Their first album 'Pronounced Swing Grow'ers' was released by Freshly Squeezed music in 2012. Since then they have released numerous EP's which have featured collaborations with Dj Pony Montana, The Gypsy Hill, the Lost Fingers and Caro Emerald. Since then playing multiple live shows in the UK, notabley the festival Boomtown in 2015 and being featured in BBC Music Website.","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/171930_h_0.jpg","feeRange":"please contact"}

{"key":"16296","name":"Caro Emerald","bio":"Caro Emerald (real name: Caroline Esmeralda van der Leeuw, born 26 April 1981 in Amsterdam, The Netherlands) is a Dutch singer. She studied as a jazz vocalist at the Amsterdam conservatory of music and earned her degree in 2005.Having gained experience as one of the six singers in close-harmony group Les Elles, and as a vocalist in the Philharmonic Funk Foundation, Emerald first gained public recognition for her debut solo single Back It Up, which was officially released by Grandmono Records on July 6, 2009.Her first album, Deleted Scenes From The Cutting Room Floor was released on January 29, 2010. The album features a mix of ballroom jazz, tangos and mambo\u2019s in a contemporary production. Deleted Scenes From The Cutting Room Floor has been the best selling album in The Netherlands for over 29 consecutive weeks, beating the previous record of 26 weeks set by Michael Jacksons album Thriller. In December 2009 her second single A Night Like This was released and reached the #1 position in the dutch charts. Her latest (May 2010) release is That Man.After the succes in The Netherlands Back it Up has been released in Italy, France, Switzerland, Belgium and many more countries are to follow. www.caroemerald.comIn May 2007 Caro Emerald got a phonecall from Dutch producers Jan van Wieringen and David Schreurs. With another producer, they'd written a song for a Japanese pop act with the acclaimed songwriter Vince Degiorgio (Atomic Kitten, A-Teens, N'Synch, Love Inc. a.o.). But their demo singer couldn't make it. They needed something quickly, and that's how Caro got to record the demo of \"Back It Up\".Caro liked the song so much that she added it to her live repertoire. A year later she got the chance to perform \"Back It Up\" on local TV station AT5 in Amsterdam. It caught on right away: viewers just wouldn't stop calling and e-mailing about that lovely girl with her catchy song. Caro and a friend produced a no budget video which ended up on Youtube, and again, the response was overwhelming. People literally begged her to sell the song on iTunes.But with only one song on the repertoire, Caro and her team decided to focus on a full album first. Inspired by films and music from the 40's and 50's they started working on new songs and ideas. Fall 2008, David flew over to Toronto to write with Degiorgio, and returned with 7 great tracks and a clear direction for the album. A few months later, Vince came to Amsterdam to finish the album. The result: an exciting and hugely accessible record, featuring ballroom jazz, cinematic tangoes, groovin' jazz tracks and infectious mambo's that sound like they were recorded in 1951 in Hollywood's most famous recording studios. But the smoking beats, catchy songs and inventive production tell it's actually 2009 that Caro Emerald is putting her name on the map.","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/16296_h_0.jpg","feeRange":"30,000 - 50,000"}

{"key":"230824","name":"Harry Connick Jr.","bio":"Joseph Harry Fowler Connick Jr. is an American singer, composer, actor, and television host. He has sold over 28 million albums worldwide. Connick is ranked among the top 60 best-selling male artists in the United States by the Recording Industry Association of America, with 16 million in certified sales. He has had seven top 20 US albums, and ten number-one US jazz albums, earning more number-one albums than any other artist in US jazz chart history. Connick\"s best-selling album in the United States is his Christmas album When My Heart Finds Christmas (1993). His highest-charting album is his release Only You (2004), which reached No. 5 in the US and No. 6 in Britain. He has won three Grammy Awards and two Emmy Awards. He played Grace Adler\u00e2\u20ac\u2122s husband, Leo Markus, on the NBC sitcom Will & Grace from 2002 to 2006. Connick began his acting career as a tail gunner in the World War II film Memphis Belle (1990). He played a serial killer in Copycat (1995), before being cast as a fighter pilot in the blockbuster Independence Day (1996). Connick\"s first role as a leading man was in Hope Floats (1998) with Sandra Bullock. His first thriller film since Copycat came in the film Basic (2003) with John Travolta. Additionally, he played a violent ex-husband in Bug, before two romantic comedies, P.S. I Love You (2007), and the leading man in New in Town (2009) with Ren\u00c3\u00a9e Zellweger. In 2011, he appeared in the family film Dolphin Tale as Dr. Clay Haskett and in its 2014 sequel.","featuredImage":"https:\/\/lh4.googleusercontent.com\/-0lj8y1jiSTk\/AAAAAAAAAAI\/AAAAAAAAAEg\/U2llIbtQ3ZM\/s0-c-k-no-ns\/photo.jpg","feeRange":"500,000 - 1,000,000"}

{"key":"17212","name":"Movits!","bio":"Swedish fusion between Jazz and Hip Hop\u201cDjango guitar, windy street swing; music for both art directors and your mom\u201d is how MOVITS! describe their sound. Well-known in Sweden but unheard of elsewhere, they fold together elements of 1930s big band swing, roma swing and rhythm & blues, then drop hiphop vocals on top for some serious energetic firepower. -Aurgasm","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/17212_h_0.jpg","feeRange":"please contact"}

{"key":"36299","name":"Big Bad Voodoo Daddy","bio":"Big Bad Voodoo Daddy is a contemporary swing band from Southern California. Their notable singles include \"Go Daddy-O\" and \"You and Me and the Bottle Makes Three Tonight\". The band went from a regular Wednesday night gig at the Derby in Hollywood, playing for a few hundred people, to playing the Super Bowl XXXIII half-time show in 1999.The band was originally formed in 1989 by leader Scott Morris. He and Kurt Sodergren are the two \"original\" members, with the rest of the band joining later on. The band concentrated on the swing of the 1940s and '50s, playing clubs and lounges in their early years.The band launched two CDs, Big Bad Voodoo Daddy and Watchu' Want for Christmas? under their own label (Big Bad Records) before getting their big break when their songs \"You & Me & The Bottle Makes Three Tonight (Baby)\" and \"Go Daddy-O\" were featured in the 1996 comedy Swingers.From there they were signed by Capitol Records. With Capitol the band released Americana Deluxe (also known as a second Big Bad Voodoo Daddy) and This Beautiful Life. The band has continued their tours, performances and album releases Save My Soul, Live, and Everything You Want For Christmas, with one high point being their appearance at the 1999 Super Bowl half-time show.Over the last few years, Big Bad Voodoo Daddy has experienced great success playing on the Pops programs of American Symphony Orchestras and regular US tours.Most recently, BBVD released a tribute album titled How Big Can You Get?: The Music of Cab Calloway. As part of the live concerts promoting this recent album, the band continues to perform new material, including the track \"5-10-15 Times I Love You\" which frontman Scotty Morris says will be recorded as part of a new album in early 2011.Band Members:* Scott Morris \"Scotty\" (vocals and guitar) - core member* Kurt Sodergren (drums and percussion) - core member* Dirk Shumaker (string bass) - core member* Andrew Rowley \"Andy\" (baritone saxophone) - core member* Glen Marehevka \"The Kid\" (trumpet) - core member* Karl Hunter (saxophone and clarinet) - core member* Joshua Levy \"Josh\" (piano) - core member* Tony Bonsera (lead trumpet)* Alex Henderson (trombone) (also part of The Brian Setzer Orchestra)** Ron Blake (former lead trumpet) left Big Bad Voodoo Daddy to go on tour with Green Day.","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/36299_h_0.jpg","feeRange":"30,000 - 50,000"}

{"key":"63573","name":"Swing Republic","bio":"Electro swing projekt with old jazz and a positive vibe. Fito Bolai is the president of Swing Republic. His music is inspired by various cultures. Fito combines the spirituality and emotional expressions from the past with the electronic technology of the future. His music reflects the open-mindedness of hippie culture and hypnotic rhythms of industry. Fito Bolai has a globalized and worldly mindset. \"Emotional Technology\" is one of the leading principles in Fito \u0301s approach to the musical landscapes and cities of Swing Republic. In the city Techville the machines live with beautiful manipulation and physical rhythm. In Emotia the sound and shades from the past live in the shape of legendary jazz artists, old movies and with complexity in emotional communication. Ethnico City is home of percussion and many other instruments. They live in beautiful disharmony and mutual inspiration. Fito throw giant parties where inhabitants from the cities get together and mix with each other in a relaxed - yet intense atmosphere. Fito is the collector of new styles and fusions; like a gardener in a fascinating oasis of music and visuals.","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/63573_h_0.jpg","feeRange":"please contact"}

{"key":"22975","name":"Brian Setzer","bio":"Brian Setzer (born April 10, 1959 in New York) is an American guitarist, singer and songwriter.In the 1980s, Setzer fronted the popular rockabilly band, Stray Cats. Stray Cats caught America's attention with the 1982 album Built for Speed, which included the two Top Ten hits, Rock This Town (#9) and Stray Cat Strut (#3), as well as with the follow-up 1983 album Rant N Rave, which included the two successful singles (She's) Sexy + 17 (#5), and I Won't Stand In Your Way (#35).In the 1990s, Setzer led a comeback of sorts for swing music and big band music, when he formed Brian Setzer Orchestra. The band has released 5 albums to date and one live DVD. This group had one hit, Jump, Jive, and Wail around the same time songs like the Cherry Poppin' Daddies Zoot Suit Riot had been received favorably in mainstream America.Brian Setzer also recorded some solo albums during Stray Cats' break in the 1980s along with some in the 1990s. In 2001 he released an album titled Ignition with his band '68 Comeback Special. A new solo album titled Rockabilly Riot Vol. 1: A Tribute To Sun Records was released on July 26, 2005, in the United States.Massapequa","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/22975_h_0.jpg","feeRange":"please contact"}

{"key":"38","name":"The Manhattan Transfer","bio":"The Manhattan Transfer is the name of two incarnations of an American vocal group, with Tim Hauser being the only link between the two groups. The group\u2019s name comes from John Dos Passos\u2019 1925 novel Manhattan Transfer and reflects their New York origins.The first group, established in New York City in 1969, disbanded after producing a single album, Jukin\u2019 (1971). This article focuses on the second line-up which was set up in 1972 and is still together. It is famous for mixing jazz, big band, and popular music styles.It's been over thirty-five years since Tim Hauser, a former Madison Avenue marketing executive, paid his bills by driving a New York City cab while aspiring to form a harmony vocal quartet sui generis that could authentically embrace varied musical styles, and still create something wholly unique in the field of American popular song.Hauser had been in doo-wop groups, folk groups, and even in a short-lived quintet named The Manhattan Transfer, but as the sounds of jazz, R&B, pop, rock \u2018n\u2019 roll, salsa and swing poured out of brownstones, Hauser now dreamt of four-part harmonies without limits.On a spring evening in 1972, one of Hauser's taxi fares was an aspiring young singer named Laurel Mass\u00e9, who was familiar with the only album, Jukin', by Hauser\u2019s earlier Manhattan Transfer combo, and had seen them perform once. Realizing they shared the same musical vision, they agreed to meet again. Weeks later, another of Hauser\u2019s fares invited him to a party where he met Brooklyn native Janis Siegel. Although already in a group, Siegel agreed to help out on some demos and before long she became the third member of Hauser's nascent group. As Hauser, Mass\u00e9 and Siegel began rehearsing, Mass\u00e9\u2019s then-boyfriend, who was drumming in a Broadway pit band, introduced Hauser and Siegel to Alan Paul, who was co-starring in the original stage production of Grease, and the groundwork was laid for the rebirth of The Manhattan Transfer on October 1, 1972.In its formative years, the group began performing regularly throughout New York City at Trude Heller's, Mercer Arts Center, Max\u2019s Kansas City, Club 82, and other cutting-edge cabaret venues. By the end of 1974, they were the number one live attraction in New York City, prompting Newsweek to send a writer to their show at Reno Sweeney\u2019s in Greenwich Village to report on this growing phenomenon.In 1975 they cut their self-titled debut album, The Manhattan Transfer, with Atlantic Records, and landed their own highly experimental television show on CBS. They were particularly successful in Europe, where their next two albums, Coming Out and Pastiche, brought them a string of top 10 hits. A live album, The Manhattan Transfer Live, soon followed.Mass\u00e9 left the group in 1978 following a serious auto accident in December of that year. (She eventually went on to launch a successful solo career.) Auditions were held to find her replacement, and a young singer\/actress from Mt. Vernon, Washington responded to the call. The group was completely knocked out by her dazzling performance, and Cheryl Bentyne was immediately invited to join the group.Their next album, Extensions, earned them their first domestic pop hit, \"Twilight Zone\/Twilight Tone\", penned by Alan Paul and Jay Graydon. The album also featured \"Birdland\", the piece that has since become the foursome's signature tune. Jon Hendricks wrote the lyrics to Joe Zawinul's stirring jazz fusion instrumental, and Siegel arranged the vocals. The most played jazz record of 1980, \"Birdland\" won The Transfer their first Grammy award the following year (for Best Jazz Fusion Performance, Vocal or Instrumental), as well as the award for Best Arrangement for Voices, which Siegel took home.In 1982, The Manhattan Transfer made music history by becoming the first group to win Grammy Awards in both pop and jazz categories in the same year. \"Boy from New York City\", which broke into the top 10 on the pop charts, garnered them the award for Best Pop Performance by a Duo or Group with Vocal, and \"Until I Met You (Corner Pocket)\" earned them a Grammy for Best Jazz Performance, Duo or Group. Both of these appeared on the group's fifth studio album, Mecca for Moderns.The Best of The Manhattan Transfer was released for the holiday season in 1981 and contained the best of their hits from their early Atlantic Records years, 1975-1981. Naturally, the album went Gold.In 1983, they accepted another Grammy, for Best Jazz Vocal Performance, Duo or Group, for their rendition of the classic ode-to-the-road, \"Route 66\". The song appeared on the soundtrack to the Burt Reynolds film Sharky's Machine, and surfaced three years later on their Bop Doo-Wopp album. In 1984, prior to Bop's release, they repeated their previous year's Grammy win in the same category for the \"Why Not!\" cut from Bodies and Souls.However, it was 1985's Vocalese, produced by Hauser, that became known as the group's tour de force effort. Vocalese is the style of music that sets lyrics to previously recorded jazz instrumental pieces. Jon Hendricks, the recognized master of this art, composed all the lyrics for the album. Vocalese included some highly complex material that ably tested the quartet's capabilities - a challenge which they met magnificently. The album became a critically-acclaimed artistic triumph.Vocalese received 12 Grammy nominations - at the time making it second only to Michael Jackson's Thriller as the most nominated single album ever. The Transfer's opus won in two categories at the 1986 awards ceremony: Best Jazz Vocal Performance, Duo or Group, and Best Arrangement for Voices for Bentyne and Bobby McFerrin for \"Another Night In Tunisia\".The album also saw the group venturing out into the world of music video. The group made five videos to the album, which were available commercially and also shown on Cinemax. Also, when The Manhattan Transfer visited Japan during the Vocalese tour, a recording was made of the shows and the group's second live album, Live, was released in 1987. An accompanying video of the live show was available commercially as well.Then came Brasil, their 1987 recording, a ground-breaking re-contextualization of Brazilian music that pre-dated efforts by American artists such as David Byrne and Paul Simon. The group worked with some of today's most gifted songwriters, including Ivan Lins, Milton Nascimento, Djavan and Atlantic recording artist Gilberto Gil. The pieces were re-arranged, and then re-fitted with English lyrics which made them strikingly relevant, distinctly American, and \"Transfer-esque\" - while still preserving their Brazilian flavor.Brasil became one of the group's greatest achievements to date, and one which they remain particularly proud of. It also became their first entire album to win the Grammy for Best Pop Performance by a Duo or Group with Vocal (1989).In 1991, The Manhattan Transfer moved to Columbia Records for a two-album stint. The first, The Offbeat of Avenues, was produced by Hauser and marked the first time the majority of songs where either written or co-written by Transfer members. They walked away with the Best Contemporary Jazz Performance Grammy in 1992 for \"Sassy\", a piece boasting lyrics by Siegel and Bentyne, and music by Siegel and Bill Bodine.In 1992, Rhino Records released a 2-CD set of the group's work over their 20-year career. The Manhattan Transfer Anthology: Down in Birdland is an excellent compilation of the group's work up to that time.In the winter of 1992, the gift that millions of Manhattan Transfer fans had eagerly awaited for finally arrived - The Christmas Album. Destined to be a holiday classic, this album was co-produced by Hauser and Johnny Mandel, who also did all the orchestrations. The group's soulful harmonies on such traditional favorites as \"The Christmas Song\" (with Tony Bennett) and \"Silent Night\", as well as the sweetly touching Lennon & McCartney classic \"Goodnight\", resound with sonic purity.In 1994, Rhino Records released The Very Best of The Manhattan Transfer. Why another \"Best of\"? Well, the Anthology package was a bit expensive for some, and the first Best of album came out thirteen years earlier and thus missed many hits such as \"Ray's Rockhouse\", \"Soul Food To Go\", \"Spice Of Life\", and \"Route 66\". Plus, the newer CD format allowed for a much longer album than Atlantic Records' 1981 collection.Also in 1994 the group released an album that was an enticing departure from anything they had done previously. The Manhattan Transfer Meets Tubby the Tuba, the group's first children's recording, was hailed by USA Today as a \"charming rendition\" of the 1945 Paul Tripp\/George Kleinsinger classic. Accompanied by the Naples Philharmonic, the group humanized instruments (such as Peepo the Piccolo and Captain Bugle) to deliver the story's important message: \"Be yourself, you can't be anybody else.\" Commented the Los Angeles Times of the project, \"One of the world's great jazz quartets turns a children's classic into a rediscovered treasure.\"Their 1995 studio album, Tonin', marked the triumphant return of The Manhattan Transfer - contemporary music's premiere vocal ensemble - to the Atlantic Records' fold. Tonin' finds Hauser, Siegel, Paul, and Bentyne embarking on a project as ambitious as any of their past work, while retaining a distinct sense of fun. \"'Tonin'' is a term associated with the vocal groups of the '50s and early '60s,\" notes Paul. \"It conjures up images of a few guys standing in a tiled bathroom or on a street corner, just belting it out in harmony - they're tonin'. This album consists of songs we grew up on, music that really sparked us as teenagers.\"The list of guest performers sitting in on the Tonin' sessions would spark any music fan, as it includes: Phil Collins, Bette Midler, Ben E. King, Ruth Brown, Felix Cavaliere of the Rascals, Frankie Valli, Smokey Robinson, Laura Nyro, Chaka Khan, B.B. King, and James Taylor.The Manhattan Transfer's third live album is called Man-Tora! Live in Tokyo. \"On the 1983 Bodies and Souls tour, the singers performed 22 dates in 11 major Japanese cities, including Tokyo, Osaka, Yokohama, Sapporo, and Hiroshima\u2026 The set contained here (released on Rhino Records in April 1996) was recorded by FM Tokyo radio on November 22 and 23 at Tokyo's Nakano Sun Plaza theater and later broadcast stateside on the Westwood One Startrack radio program. The MT's enthusiasm in their performance is inescapable, and the set list as diverse as their repertoire.\" - from the liner notes by Curt Gathje.The Manhattan Transfer's next studio album was released in 1997. Swing has its emphasis in 1930s era swing music. The thirteen tracks contain some of the most classic songs of the 20th century. \"Sing Moten's Swing\", \"A-Tisket, A-Tasket\", and \"Java Jive\" were recorded with Asleep at the Wheel. \"Sing a Study in Brown\", \"Topsy\", and \"Clouds\" were recorded with The Rosenberg Trio. \"Clouds\" (adapted from \"Nuages\") also features Stephane Grappelli. Ricky Scaggs is featured on \"Skyliner\" and \"It's Good Enough to Keep (Air Mail Special)\". Mark O'Connor is featured on \"I Know Why (And So Do You)\", \"It's Good Enough to Keep\", and \"Choo Choo Ch' Boogie\". About half of the tracks feature lyrics by Jon Hendricks. Swing was produced by Hauser. It debuted at #1 on the Billboard Jazz Chart and stayed in the top spot for nine weeks, and on the chart for over a year.In October 2000, The Manhattan Transfer released The Spirit of St. Louis, a spirited interpretation of the music of one of the greatest musical figures of the 20th century, Louis Armstrong. Produced by Craig Street, The Spirit of St. Louis captures the vocal group at its best, with strong individual and group performances wrapped around evocative arrangements that are both a nostalgic pastiche from the 1920s to the 1950s, and a completely modern take on Armstrong. This is a loving homage to a unique voice in musical history.In 2003, Couldn't Be Hotter became The Manhattan Transfer's first album on the Telarc label, and their fourth live album. 1930s and '40s swing music with a jazz twist is what The Manhattan Transfer do best, and Couldn't Be Hotter features some of their best hits. The sixteen songs chosen for this special live recording convey the depth of the group's talent and variety of their music. Classic favorites such as \"Sing Moten's Swing\", \"Clouds\", and \"A-Tisket, A-Tasket\" recorded while on tour in Japan, capture the essence of The Manhattan Transfer, and their enthusiasm is evident in these performances. From boogie-woogie to bop to vocalese, Couldn't Be Hotter spotlights The Manhattan Transfer's dynamic, big band harmonies in a live setting.Since the early 1970s, The Manhattan Transfer have been pushing and redefining the boundaries of vocal music in the context of jazz, pop and numerous other styles. Along the way, the collective efforts of Hauser, Siegel, Paul and Bentyne have earned them a healthy collection of Grammy Awards and a loyal fan base that spans the entire globe. The latest chapter in the quartet's exploratory trajectory is Vibrate, their second album on the Telarc label, released on September 28, 2004. Throughout the album's eleven tracks, the group explores both the traditional and progressive sides of jazz, plus various shades of Latin, world and pop music, and showcases its unparalleled vocal tradition.After more than thirty-five years, The Manhattan Transfer have hardly slowed down. They have appeared at special functions such as The Essence Awards, the Goodwill Games, the Society of Singers Ella Awards honoring Tony Bennett, and a special Christmas performance for the Pope. They continue to tour, delighting audiences worldwide with their music. The members have also individually pursued solo and collaborative interests, but their focus invariably comes back to making beautiful music together.Grammy AwardsThe Manhattan Transfer have to date garnered 10 Grammy Awards; eight as a group, and two more individual awards for Siegel and Bentyne:Best Jazz Fusion Performance, Vocal or Instrumental (1981)\"Birdland\" (1980)\tBest Arrangement for Voices (1981)\"Birdland\" (1980) - Janis Siegel, arrangerBest Pop Performance by a Duo or Group with Vocal (1982)\"Boy from New York City\" (1981)Best Jazz Vocal Performance, Duo or Group (1982)\"Until I Met You (Corner Pocket)\" (1981)Best Jazz Vocal Performance, Duo or Group (1983)\"Route 66\" (1982)Best Jazz Vocal Performance, Duo or Group (1984)\"Why Not!\" (1983)Best Jazz Vocal Performance, Duo or Group (1986)Vocalese (1985)\tBest Vocal Arrangement for Two or More Voices (1986)\"Another Night in Tunisia\" (1985) - Bobby McFerrin & Cheryl Bentyne, arrangersBest Pop Performance by a Duo or Group with Vocal (1989)Brasil (1987)Best Contemporary Jazz Performance (1992)\"Sassy\" (1991)source: www.grammy.comOfficial website: http:\/\/www.manhattantransfer.net","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/38_h_0.jpg","feeRange":"please contact"}