Ich muss immer singen, auch wenn die anderen Leute zerspringen. 
Ene Mene Mink Mank, Pink Pank, Akadeia Eiaweia Weg.

Booking requests:
chris@stilvortalent.de
Management:
music@stilvortalent.de

OKeh short history: 

OKeh was founded by Otto K. E. Heinemann when he set up his own recording studio and gramophone record pressing plant in New York City in September 1918. Heinemann formed the name of the record label "OKeh", from his initials.  OKeh began by issuing popular songs, dance numbers, and vaudeville skits similar to the fare of other labels, but Heineman also wished to experiment with music for audiences neglected by the larger record companies. OKeh produced lines of recordings in German, Czech, Polish, Swedish, and Yiddish for the USA's immigrant communities. In 1920, Ralph Peer's recordings by African-American blues singer Mamie Smith were a surprise smash hit for Okeh. The company perceived the significant, little-tapped market for blues and jazz by African American artists. Louis Armstrong, Duke Ellington and Bix Beiderbecke are only a few names of jazz greats that have recorded for the label. By 1926 Columbia Records bought the label and kept it running into the 60's with jazz and R&B recordings. 

In 1994, Sony Music reactivated the OKeh label as a new-age Blues label. Okeh's first new signings included Keb' Mo, Popa Chubby, and Little Axe. By 2000, the Okeh label was again retired, but in 2013 it will see its re-launch as a jazz label once again.

L.Helvi is a Berlin based genre-fluid collaboration including the artists Earl Harvin, Maury Ruby and Leila Helvi Ritter - 
Ranging somewhere in between Ambient, Grunge ,  Wave and German Kraut .

Management:
American International Artists, Inc.
Cynthia B. Herbst, President
+1 (518) 686-0972
Cynthia@aiArtists.com

Much like songbird Edith Piaf, Madeleine Peyroux spent her teenage years busking the busy streets of Paris. Just like the ‘little sparrow’, Madeleine befriended the city’s street musicians and made its Latin quarter her first performing stage. Years later, Peyroux would cite iconic Piaf as an influence on her music and record a rendition of the classic La Vie En Rose, soulfully capturing the tune’s romanticism and melancholy.
 
Born in Athens, Georgia in 1974, Madeleine “grew up in a house filled with music” and from an early age “instinctively realised music’s soothing power” but it was her teenage years in the French capital that turned the childhood notion into an all-consuming vocation for life.

Young Madeleine moved to Paris with her mother in 1987 following her parents divorce. “To soothe me during the upheaval”, she recalls, “I was given a guitar and took to playing in the streets almost immediately.”

Thirty years after her formative busking days Peyroux is the proud curator of nine beguiling albums and an accomplished performer with sell out worldwide tours under her belt. Her atmospheric version of Serge Gainsborough’s La Javanaise was used in the soundtrack of Oscar Winner The Shape of Water and her countless accolades
include the coveted BBC International Artist Of The Year honour.
 
Madeleine’s thirst for creative exploration is unfading and her willingness to face creative challenges remains as solid now as it was three decades ago.

With endearing passion and great curiosity the unstoppable genre-defying virtuoso continues her search for the good and examines life with the treasured William Congreve belief that Music has charms to soothe the savage beast.
 
Madeleine might attribute her success to “mostly luck” but to the industry and loyal fans alike, it is the immense talent and utter dedication to her craft that shines through.
“Peyroux is a tremendous talent and almost a total intuitive” reflects Larry Klein, “she has the capacity to get the magic. When she sings and plays her guitar, great things happen.”

The multiple Grammy-winning catalog division of Sony Music Entertainment.

It was a dark summer night in Berlin 1992 and thunder was breaking the blackened sky apart, when a hooded figure put a bundle of cloth infront of the doorstep of the Oaxs', and as he rang the doorbell, a laughter could be heard, gently blowing through the streets as if whispered by the wind itself, and with a flash of light and some quite over-the-top sparkly effects the hooded figure vanished as if it had never set foot on the threshold of said housing. Yet, not being accustomed to time and place it had travelled to, it misjudged two crucial points: first, that the supposed threshold was actually a garbage dumb (in his defence: it was one of the livelier ones in town, like, medium garbagy) and the aforementioned doorbell was nothing other than a broken parking-ticket machine, and 2. that although there was actually a family answering to the name Oax residing there, they just so happened to be a clan of kindhearted, yet sly and funky racoons. When MotherOax awoke from her furry sleep, she picked up the little bundle and was surprised to find in there, a baby. Since she and FatherRacoonMcOax, second of his name, Lord of McOax-Motte and the surrounding garbage, had failed to provide children to the clan, they decided to raise it as their own, and teach it their sly, racoony way of living. Thus began the adventures of Bardy Oax. Or not. I don't really remember.

The Strypes are 4-piece rhythm and blues band hailing from Cavan, Ireland, formed in 2011 by Ross Farrelly (lead vocals/harmonica), Josh McClorey (lead guitar/vocals), Pete O'Hanlon (bass guitar/harmonica) and Evan Walsh (drums).

The group has spent the past 18 months launching their explosive R&B assault on the clubs and festivals of Ireland, the UK and Europe, viciously hammering out a no-nonsense blues repertoire drawing from the songbooks of Chuck Berry, Bo Diddley, Howlin' Wolf, Little Walter, Slim Harpo and more with the passion and venom of British blues groups such as Dr. Feelgood, The Yardbirds, The Rolling Stones and The Animals. 

Having already been met with critical acclaim from greats such as Jeff Beck and Paul Weller and been tipped by NME as the No. 1 new band to watch, it seems things can only get better for The Strypes.

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