Joy Mover off to fine, sweet start on debut CD

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.

www.joymover.com

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