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The LARRY FRANCO's _______________________________________________Musical Projects

LARRY FRANCO JAZZ SOCIETY < (official web) www.myspace.com/larryfrancojazzsociety - Philology W362

You’ll wonder why you find this CD in my catalogue… what it matters with the line Philology has been pursuing for almost twenty years. Well, exceptionally I decided to open up to Traditional Jazz with this band that I consider absolutely the best in Italy, the only one that knows how to celebrate the splendour and cheerfulness of Dixieland, enriching all with brilliant hints at modern jazz. An absolutely unusual decision which just magnifies the value of this CD (the fifth one by Larry Franco) where you will find hints at the style of Buddy De Franco, John Coltrane and obviously Louis Armstrong, in the magic fusion of new arrangements and respectfully mindful of old ones. A fusion sealed by an extraordinary voice which already showed its great value, and which revalues by this latest work the precious heritage of Italian Song. Nobody will regret after listening to what Larry has done in this CD, conceived and realized in dixie style. This work not only rescues a style and a repertoire usually considered quite “untouchable” as the respective jazzmen, but it’s meant to “make popular”, as Latin said, that style and repertoire, by bringing them closer to the feelings of a “modern audience” who is then led to a deeper knowledge. That’s how Larry will amaze you too, after amazing me, with a larger space in my label where he seems to follow the same route of Kurt Elling in Blue Note. If we try to synthetize his musical career during the five Philology Years, we absolutely have to underline how Larry sings and plays in English and Italian, in different styles, showing that to him Music is only one,great and universal; a long and fertile river which gets rich of manyaffluents before flowing into the Ocean of jazz. That’s how hard bop of Import Export quartet (W607) lives together with dixieland in this CD (W362), the swing of Dado Moroni, Ira Coleman and Jimmy Cobb Jazz Trio in Introducing (W718), the refined union of piano and voice in Two In One (W361), the impressive mainstream of Italian Jazz Ensemble(W730)… all in the name of quality and fun: unusual thing - think it over! We just needed him, LARRY FRANCO, “The Italian Crooner”, the new Jazz singer in our wonderful (and hugely artistic) country.

Paolo Piangiarelli (Philology Jazz records)

The Band :
LARRY FRANCO : piano, voice and megaphone
MICHAEL SUPNICK : trumpet
BEPI D'AMATO: clarinet
MICHELE CARRABBA : tenor sax
RENZO BAGORDA : banjo
ILARIO DE MARINIS : acoustic bass
ENZO LANZO : drums and washboard
guest :
GIACOMO DESIANTE : accordiaon

LARRY FRANCO QUARTET < (official web) - IMPORT-EXPORT project www.myspace.com/larryfrancoquartet - Philology W671

Stretch back, with your hands propped behind your head as though you are laid out on a magic carpet. You're about to ride backwards through time. This CD will drop you off in the 1930's, during the Swing Era. But wait! We are no longer in America. Instead we are somewhere in Europe. When the singing begins, I recognize we'are in Italy. It becomes apparent on the very first song, "I'm Beginning To See the Light". It's performed with great joie de vivre and an urgency that resonates in the voice of Larry Franco, who also plays piano. Franco scats happily along with Michele Carrabba's saxophone. Listen carefully, because this is the only time you will hear the melody of this Ellington composition. Once the Italian lyrics begin, the melody is no longer familiar to me. It has become a song called "Maramao Perchè Sei Morto?". I think the composer (Ellington) might have been surprised at how smoothly this transition works, moving from his standard song to an Italian composition by Panzeri and Consiglio. This first medley of songs establishes the premise of Franco's recording. It is aptly called "Import-Export", meaning they are importing American Jazz music and exporting Italian music. This gives both musical cultures the value they deserve by combining compositions. Franco gives a tender piano introduction and then "Besame Mucho" arrives. This Lating standard becomes a complementary medley with the italian composition "Estate" (which translates to "Summer"). Franco does an outstanding job singing this beautiful ballad. When Michele Carrabba takes his saxophone sole, he adds gusto and exuberance to the song. Carrabba is soulful and seductive! "They Say It's Wonderful" swings along at a brisk pace, just right for a jitterbug. Franco's piano solo is pristine and tasty. Once again, they combine songs, making a fluid medley that includes "La Più Bella del Mondo". We are whisked away on a cloud of drum licks and sweet, melodic drama. Franco sings without reservation on this number, letting all his emotions stand naked and center stage. Ellington's famous composition, "It Don't Mean a Thing If It Ain't Got That Swing" becomes an introduction for "In Cerca di Te" and feature Edy Olivieri on piano. He adds fullness to the track with delighful accompaniment and inventive inversions. "My Romance" swings like a perfectly primed pendulum, with Franco singing "Barba Capelli e Baffi", almost duplicating the phrasing and style of Tony Bennett. Switching the concept around, the next cut is an Italian compostition ("Parlami d'Amore Mariu") then moves smoothly into "I've Got You Under My Skin". It works! This time, the talented vocalist does an excellent job of singing Cole Porter's tune with tenderness and in English. You can hear traces of Sinatra's unique phrasing in this presentation. Franco uses Count Basie's signature sound in the last three piano chords. All in all, this is a delightful combination of musical cultures. I admire the high energy performance by these musicians. They play with great passion. On "Bye Bye Blackbird" (combined with "Roma Nun Fa La Stupida Stasera") Enzo Lanzo is dynamic on drums and Ilario De Marinis is solid on his double bass. I particularly enjoyed his rhythmic walking bass and solo on "Undecided". Mino Lacirignola adds zest to the Clifford Brown tribute song written by Benny Golson, "I Remember Clifford". Like "Taps" he starts out solo. Immediately, his beautiful tone snatches the listener's attention. This is a unique and creative production. It celebrates Jazz from one continent to another, blending cultures and resonating Italian passion. Bravo! DEE DEE McNEIL - CADENCE MAGAZINE - NEW YORK

The Band :
LARRY FRANCO : piano and voice
MICHELE CARRABBA : tenor sax
ILARIO DE MARINIS : acoustic bass
ENZO LANZO : drums

Also with some guests :
MIKE PRICE (trumpet) U.S.A. - Japan
YASEK MANZANO (trumpet) - Cuba
BOB MONTGOMERY (trumpet) - U.S.A.
ALLEN HERMANN (trombone) - U.S.A.
ANDY GRAVISH (trumpet) - U.S.A.
MICHAEL SUPNICK (trombone) - U.S.A.

Performing world-wide, Mr. Franco has taken his quartet asa far as the Melbourne Jazz Festival, Hong Kong, India, Turkey, Ethiopia, Japan, Cuba, Morocco, Tunisia, Greece, Rumania, Indonesia, and the U.S.A, after many years performancing extensively in Europe and Africa, a variety of audiences have found Larry Franco's style of jazz piano and vocal accompanied by a super rhythm section and the
great tenor sax of Michele Carrabba to be not only entertaining, but stimulating and exciting in the true jazz sense! (Mike Price)

TRIBUTE TO NAT KING COLE - DRUMLESS TRIO >> video on You Tube << www.myspace.com/larryfrancomusic

A tribute to the great "crooner" e pianist with "drumless" trio

REPERTORY :
NAT KING COLE REPERTROY WITH SOME ITALIAN SONGS
It was inevitable that Larry Franco's passion for Nat King Cole should end up sooner or later with Larry creating a CD. Having known Larry for several years, this CD is a compilation of a work made with genuine enthusiasm, with a love for the celebrity and his music. It seems to be unusual "out-of-date" repertory proposed by a performer younger than forty. However times change and peoples taste too. Here then is Nat King Cole, his confidential style with much swing, and warm voice. His piano playing became an object of cult, not only for people who are passionately fond of Nat (who never forgot him) but above all, for the most generous number of music consumers. Even singers like the Canadian Diana Krall, realized that and dedicated her first "Impulse" CD to him. Now let's makes it clear : Larry Franco doesn't want to emulate Nat King Cole or imitate him. The great music masters of the world, (and bviously, Cole is among them) are inimitable. His tribute is an homage to his style, an evocation of particular atmospheres which are everlasting just because they are able to survive their creators. After these words, allow yourselves to be transported by listening through the stages of a fascinating and irresistible repertoire among the classics like "Route 66", "Straighten Up And Fly Right", "It's Only A Paper Moon" and "Sweet Lorraine", next to which you will find some tasty tidbit like "The Christmas Song" by Mel Tormè, an homage to another great singer recently passed away, "Nat King Cole", one of the portraits dedicated to the great ones of Jazz by Mario Pogliotti and "Capuccina" that is an American version of "Permettete Signorina" by Pallavicini-Massara, found in a rare recording from Capitol Records and rearranged by Larry Franco. Larry's soft and refined voice will take you, with taste and without jolts, on a journey well supported by a very good rhythm section, where he is also the pianist, along wih Guido Di Leone on guitar, Ilario De Marinis on double-bass and Massimo Manzi (from Senigallia) with his strong drumming, and in two songs with the "Dixinitaly Jazz Band" that relit the love for traditional jazz in the Puglia region. There is also the presence of some guest stars like Franco Cerri who gives more swing to the classic "Stompin' At The Savoy" sharing the solo with "Di Leone" or Fabrizio Bosso whose trumpet colors "Embraceable You" with Clifford Brown highlights. You will enjoy it because Larry Franco is not "one who tries to sing as Nat King Cole" but "one who plays and sings Nat King Cole's songs" and he can do it well.

Ugo Sbisá

The Band :
LARRY FRANCO : piano and voice
GUIDO DI LEONE : guitar
ILARIO DE MARINIS : acoustic bass

LARRY FRANCO - TWO IN ONE - Philology W 361

A Cd with the best Italian pianists ... Concert with two pianists (2 grand pianos) + voice

REPERTORY :
Two songs: italian and international ones, togheter as one, "Two In One"
After his excellent Jazz Crooner Introducing L.F. (Philology W 718) recorded in New York with a worthy rhythm section (Dado Moroni, Ira Coleman, Jimmy Cobb), enthusiastically reviewed by the famous critic of Cadence, Bill Donaldson, our Jazz Singer signed another score with other 2 great CDs under my label, (Italian Jazz Ensemble W 730, Larry Franco Quartet, Import Export W 607). By this unusual and courageous work, he reached the utmost creativeness and meanings that’s hard to overcome. Though being a crooner who is supposed to be absolutely dependent on the swing of a rhythm section or of a big band, he wanted to play with outstanding piano-players, as the ones mentioned in the front cover, without giving up swinging hard. He then showed how he can sing in that superb artistic dimension. What I like to underline also is Larry’s ability to smartly adapt himself to the big stylistic differences of these supreme pianists who played with him with such respect and value that the CD can be heard as a real piece of art, both when he sings and play piano. The French have a word to synthesize this absolutely positive opinion: chapeau… I borrow it and make it stronger by using capital letters and an eloquent exclamation mark CHAPEAU!
Paolo Piangiarelli - Philology

Performers on CD :

LARRY FRANCO : voice
DADO MORONI : piano
FRANCO D'ANDREA : piano
RENATO SELLANI : pianO
EDDY OLIVIERI : piano
NICO MORELLI : piano
ANTONELLO VANNUCCHI : piano
GIORGIO CUSCITO : piano

LARRY FRANCO NEW YORK QUARTET

FROM CADENCE MAGAZINE - New York - March 2005

Larry Franco is a Jazz Singer ! who need no introduction ... at least not to his audiences in Italy, India, Abu Dhabi, Turkey, Morocco, Belgium, Ethiopia, Greece and Vermont, where he has performed. But for the general Jazz listening public he does. And so, Franco, who spent much of the years 1994 and 1995 in Los Angeles to perform in the style of Nat Cole, flew to New York in late 2003 to record 13 tracks that spotlight his talent as a crooner in the spirit of Tony Bennett. Indeed Franco's range, timbre, rhythmic pacing and phrasing are eerily reminiscent of Bennett's - eerily because Franco's voice is natural, not imitative, and it coincidentally alings with Bennett's style. Also, like Bennett, Franco has assembled a top-notch rhythm section that illuminates his singing. Fellow Italian Dado Moroni, in particular, absorbs the role of accompanist, Franco's "Ralph Sharon", as he understands the singer's range, keys, style and musical intents. Throughout the CD, Moroni sets up the occasions for Franco to sound good, whether it's Moroni sparkling introductions, as on "Our Love Is Here To Stay", or the sweep of his chords as he moves along the harmony filling out Franco's melodies, like his 3/4 sway on "Clouds." Of course, Ira Coleman and Jimmy Cobb know a thing or two about rhythm section dynamics as well. The results is a thoroughly satisfying, cohesively performed CD that adds Franco's name to the relatively short list of male Jazz singers, though Franco's Italian base makes him less accessible to the large U.S. Jazz market, even though at the same time his work from Italy serves as an effective locus for his worldwide recording and touring activities.
Franco instinctively knows how to build a song to its dramatic point, as for examples he sings "Laura" first as the description of a tangible entity with dynamic buildup, only to reveal her as a dream at the appropriate conclusion with all of the flair that he can muster. And then there's the controlled swing of the trio after Franco's first chorus, concisely stated and effective, before Franco sings the delayed second chorus in Italian. Indeed, the only hints of the fact that Italian is Franco's native language are some syntactical trip-ups, like "we started painted the town" or oddly omitting the "s" in was. Still, his voice hints at a sense of fun as he sings, as if he would enjoy himself wheter he were recording with the likes of Jimmy Cobb or alone on stage at a Jazz festival. And like the Jazz singers who immerse themselves in the music for the sake of the music itself, Franco frequently steps back just to enjoy the performance he has set up, allowing the rhythm section to shine, as he does on "Cherokee", which Moroni introduces by playing the bridge before Cobb follows with medium tempo swing. Once Franco completes the first chorus, the song turns into an instrumental tossing back and forth as Moroni, Coleman and Cobb trade fours, the instrumentalists actually consuming more time on the track than Franco. Introducing Larry Franco is a spirited debut CD for those who previously were unaware of Franco's voice and his contribution to the need for more male Jazz singers
BILL DONALDSON

The Band:
LARRY FRANCO : voice
DADO MORONI : piano
IRA COLEMAN : acoustic bass
JIMMY COBB : drum

dal quotidiano di Taranto <<<

LARRY FRANCO & l'ITALIAN BIG BAND - Tribute to FRANK SINATRA

TRIBUTE to FRANK SINATRA with the Italian Big Band

REPERTORY : THE MOST FAMOUS FRANK SINATRA'S SONGS
Larry Franco is a Jazz Singer ! who need no introduction ... at least not to his audiences in Italy, India, Abu Dhabi, Turkey, Morocco, Belgium, Ethiopia, Greece and Vermont, where he has performed. But for the general Jazz listening public he does. And so, Franco, who spent much of the years 1994 and 1995 in Los Angeles to perform in the style of Nat Cole, flew to New York in late 2003 to record 13 tracks that spotlight his talent as a crooner in the spirit of Tony Bennett. Indeed Franco's range, timbre, rhythmic pacing and phrasing are eerily reminiscent of Bennett's - eerily because Franco's voice is natural, not imitative, and it coincidentally alings with Bennett's style. Also, like Bennett, Franco has assembled a top-notch rhythm section that illuminates his singing. Fellow Italian Dado Moroni, in particular, absorbs the role of accompanist, Franco's "Ralph Sharon", as he understands the singer's range, keys, style and musical intents. Throughout the CD, Moroni sets up the occasions for Franco to sound good, whether it's Moroni sparkling introductions, as on "Our Love Is Here To Stay", or the sweep of his chords as he moves along the harmony filling out Franco's melodies, like his 3/4 sway on "Clouds." Of course, Ira Coleman and Jimmy Cobb know a thing or two about rhythm section dynamics as well. The results is a thoroughly satisfying, cohesively performed CD that adds Franco's name to the relatively short list of male Jazz singers, though Franco's Italian base makes him less accessible to the large U.S. Jazz market, even though at the same time his work from Italy serves as an effective locus for his worldwide recording and touring activities. Franco instinctively knows how to build a song to its dramatic point, as for examples he sings "Laura" first as the description of a tangible entity with dynamic buildup, only to reveal her as a dream at the appropriate conclusion with all of the flair that he can muster. And then there's the controlled swing of the trio after Franco's first chorus, concisely stated and effective, before Franco sings the delayed second chorus in Italian. Indeed, the only hints of the fact that Italian is Franco's native language are some syntactical trip-ups, like "we started painted the town" or oddly omitting the "s" in was. Still, his voice hints at a sense of fun as he sings, as if he would enjoy himself wheter he were recording with the likes of Jimmy Cobb or alone on stage at a Jazz festival. And like the Jazz singers who immerse themselves in the music for the sake of the music itself, Franco frequently steps back just to enjoy the performance he has set up, allowing the rhythm section to shine, as he does on "Cherokee", which Moroni introduces by playing the bridge before Cobb follows with medium tempo swing. Once Franco completes the first chorus, the song turns into an instrumental tossing back and forth as Moroni, Coleman and Cobb trade fours, the instrumentalists actually consuming more time on the track than Franco. Introducing Larry Franco is a spirited debut CD for those who previously were unaware of Franco's voice and his contribution to the need for more male Jazz singers
BILL DONALDSON - CADENCE MAGAZINE NEW YORK 2004

the new review by JAZZMAN Magazine - Paris

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