Sam-One is a Blues Guitarist from the San Francisco Bay Area. Born in
Memphis, Tenn. July 10th, 1951. He began playing the guitar at the age
of eight years old. He also is a vocalist, songwriter, composer and
producer. Sam-One broke into the Southern Soul Market in 2009. With the
release of his CD titled ( You Ain't Right ). "Let's Make Love Tonight "
made it in the top twenty. Southern Soul RnB Songs of 2010. Puts
Sam-One up there among the best. " You Ain't Right " the title track. Is
a favorite among Southern Soul DJ's. His unique style is what made
Sam-One stand out as a respected artist of today. Listen to the way he
hit those Blues Licks that make you sit up and take notice. Sam-One is
destined to be one of the premier Blues Artist around. Although he only
has one CD on the market Sam-One is a seasoned musician who has played
with the best and held his own. There is more to come from Sam-One who
is currently becoming a household name in the music industry. His skills
as an arranger is evident on his CD. The way he put together his CD the
man knows his business. Sam-One is an artist you need to follow. To
purchase his CD go to CD Baby.com. you will not be disappointed. SAM-ONE
Americana, roots music, rough-around-the-edges folk. Canadian
songwriter Lynne Hanson prefers “porch music with a little red dirt.”
Hanson songs are like a favorite pair of jeans. They're rough around
the edges, faded and worn through in spots, with a bit of
honestly-acquired dirt ground into the seams. And they're expressed in
a rich voice coupled with accomplished guitar playing that demands
repeated listening. Hanson grew up in Ottawa Canada, and starting playing guitar when she
was 14, learning on a hand-me-down from an older brother. She released
her award-winning debut album – Things I Miss – in 2006, and with tales
to tell, two more albums quickly followed – Eleven Months (2008) and
Once the Sun Goes Down (2010). Each new release garnered critical
praise, earning Hanson a Canadian Folk Music Award nomination in 2009,
an invitation to the Kerrville Folk Festival as a New Folk Finalist, and
a year later the prestigious Colleen Peterson Songwriting Award handed
out annually by the Ontario Arts Council.Then … silence: A four-year hiatus from recording. It was time to kick
dirt over the tracks on the trail. Lynne took some time to take
control of her personal life and with it, a new approach to song
writing. Her fourth studio album slated for release in Fall 2014 –
River of Sand – is the creative output of that very personal journey. On River Of Sand she’s been fortunate to work with Juno-winning
songstress Lynn Miles as producer. “The songs on this record are honest
and fearless” say Miles, and the search for truth that’s always guided
Hanson’s work takes a turn to the raw. LYNNE HANSON
Koko Jones, the master percussionist and band-leader, makes her
international debut in 2011. Koko brings a ton of experience to her new
band. This talented percussionist has played and recorded with great
artists such as Whitney Houston, The Isley Brothers, Carlos Santana,
Reggie Workman, Louie Vega and Luisito Quintero. Leading a talented
rhythm section and accompanied by 4 beautiful
vocalists, Koko blazes a fresh trail through lush territories of soul,
jazz and Latin music. Musically Koko has studied in a wide range of
educational settings. From her days as a student at UMASS/Amherst where
she studied with Jazz legends Max Roach and Archie Shepp to her days in
New York City studying at the famed Jazzmobile and Tanawa Drum &
Dance. Koko has certainly developed a strong musical upbringing. KOKO JONES
Dividing time between Philly and NYC, Laura Cheadle Family Blues band''s
award winning blues is gaining national and international attention.
Keeping it in the family is their forte with accomplished musician James
"Papa" Cheadle on the keyboards, his son, "Jimmy Lee" Cheadle on lead
guitar and the beautiful star of the show: singer-songwriter: Laura
Cheadle on vocals and rhythm guitar. Not just a thoughtful
singer-songwriter, and not just a soulful funk diva, BLUES musician
Laura Cheadle offers audiences a lively performance filled with upbeat
introspection. James "Papa Cheadle" has played and recorded with Don
Cornell, DJ Jazzy Jeff, The Four Aces, Grover Washington Jr. and The
Soul Survivors,Jaco Pastorius and Peter Erskine to name a few and is
certainly his offsprings main inspiration.Laura Cheadle Family Blues Band have many accomplishments under their
belt opening for: The Jonas Brothers, Sister Hazel, Spin Doctors, Ryan
Cabrera, Kasim Sulton, Terrence Simien, Garland Jeffreys, John
Oates/Hall and Oates, Average White Band, Clarence Clemons III for Bruce
Springsteens After Party and Constantine Maraoulis of American Idol.
These South Jersey Natives and current Philadelphia residents have
toured nationally and internationally everywhere from the East
Coast/West Coast to London. The Cheadle's have appeared on 6ABC's "Tuned
In" as the very first viewers choice, The "NBC 10" Show, the National
reality show 'Next Great Family Band" on NBC/Cosi TV. Laura Cheadle was
named a "Super Woman" in South Jersey Magazine for her active Charity
Work. A very recent accomplishment: Laura Cheadle Family Blues Band
just recently won "Best Indie Jazz/Blues Band of The Year" 2014 at Tri
State Indie Music Awards sponsored by WXPN. LAURA CHEADLE
I formerly played with Candye Kane, Earl Thomas, Freddie Brooks, &
Thomas Yearsley of the Paladins and I have been running my own band
since 1999. My usual outfit is a 4-piece (guitar, bass, & drums with
either piano or harmonica), but I also put together intimate acoustic
duos and large 6- or 8-piece bands. It has always been by goal to
provide a traditional, but high-energy electric blues show.Check out this insane show that Aki Kumar is putting on! I'm so
grateful to be a part of the opening act backing up Alabama Mike with
Kid Andersen! Then we get to watch & hear Kim Wilson with Chicago
heavyweights Billy Flynn and Barrelhouse Chuck, backed by Larry Taylor
(Canned Heat, Tom Waits, John Mayall) on bass and Richard Innes
(Fabulous Thunderbirds, Bacon Fat) on drums.This music was recorded, engineered, and mastered by Kid Andersen at
Greaseland in San Jose, California in September & October of 2014.
KYLE JESTER
Raised in Pine Bluff, Arkansas (home to blues legends Big Bill Broonzy
and Cedell Davis), Dave Sadler began playing guitar at the age of
twelve. Coming from a musical household, that includes a distant
relationship to Johnny Cash, a grandfather who was an amateur minstrel
singer, and a mother who was a piano teacher - it is no small surprise
that Dave continued the musical journey.
Growing up on the edge of the Delta, blues inspired music surrounded
Sadler. Where a typical kid might have been found listening to the
latest top 40 rock hit, Dave, a self-taught musician who plays by ear,
would often be found locked away in his room listening to the likes of
B.B. King and Elmore James, trying to emulate their playing styles.
Also heavily influenced by modern players such as Eric Clapton, Robert
Cray, Stevie Ray Vaughn and others, Dave's playing style is a blend of
blues, rock, jazz and funk, utilizing both electric and acoustic
guitars.
"I have always had a passion for blues, blues/rock and jazz. These
genres seem to influence most everything I play, compose and record",
Dave says.
Dave Sadler is affiliated with BMI as a songwriter/composer publishing
and recording for the independent label, BluezArt Records. DAVE SADLER
Going your own way means living with without the certainty of safe
choices, until you get where you’ve been going. It’s been a long and
crooked road, but with her transformative new release, I’m Changing,
Lisa Mills has gotten there.Mills’ 2010 album, Tempered in Fire, won her an enviable degree of
success: Growing fan bases on both sides of the Atlantic Ocean, and
critical acclaim from observers in the United States and the United
Kingdom. Graham Rhodes, writing for U.K. music site Blues in the
Northwest, described her as “a full-throated female Otis Redding, with
some Muscle Shoals soul and Nashville country touches for good measure.”
A Nashville Blues Society review praised her “unique vocal ability to
make one feel the good times and bad times in every song,” comparing her
to Lucinda Williams.The next step was obvious: Give ‘em more of the same. Take a safe
half-step forward. Put out some fresh songs, and stick to the proven
recipe. But Mills decided that the way to advance was to take a step
back and reconsider the past. Specifically, to melt down her 2005 album,
I’m Changing, and recast it as a more pure expression of her artistic
desires and capabilities.
Was this a crazy thing to do? Two facts suggest that it was not.
Firstly, her fans backed an ambitious Kickstarter drive for the project,
pledging more than $30,000. Secondly, Mills put the project in the
hands of groundbreaking producer Trina Shoemaker. Shoemaker is the first
woman to win the Grammy Award for album engineering; in fact, she’s
shared in three for her work on albums by Sheryl Crow and Steven Curtis
Chapman. She’s worked on albums or singles by Beth Nielsen Chapman, the
Dixie Chicks, Andrew Duhon, Dylan LeBlanc, the Indigo Girls and other
artists of note.The results, on the re-recorded, re-engineered, reconsidered I’m Changing, are explosive.Mills is a Mississippi native who resides in Mobile, Alabama. The
Gulf Coast is a region where Southern musical influences that easily can
be taken for granted come together in ways that can’t. Yes, Mills often
sings the blues – but to call her a blues singer would be to miss the
point entirely. Her blues influences aren’t always the ones would
expect, including a healthy measure of country blues, a sadly neglected
genre. She can sing straight-up gospel, as she does in daringly a
cappella fashion on “Tell Me.” She has toured with Big Brother & The
Holding Company, singing the songs of one of rock’s most revered female
vocalists, and her understanding of Janis Joplin’s gifts is far more
insightful than the superficial norm. Just listen to the fragile balance
of vulnerability and indomitability she brings to “Better Than This.”The project was a major undertaking that brought back together almost
all the musicians involved in the original 2005 recording sessions and
added John Milham on drums. The returning players included U.K. bassist
Ian Jennings; the plane ticket was worth it just for the blend of his
upright bass and Corky Hughes’ resonator slide work on “Wish I Was in
Heaven.”You can call Lisa Mills a blues singer, or a gospel singer, or a
torch singer or an R&B singer and not be wrong. But with Mills, none
of those labels are true in the way you expect. Listen to “I Don’t Want
To Be Happy,” when she sings: “Act a fool/ it’s all I ever do/ take
each like you make and believe it to be true/ and I kneel at the altar
in the church of the painful truth/ I don’t want to be happy/ I just
want to be with you.” Listen to the way the deceptively simple
arrangement surrounds the raw vocal like the setting of a jewel; hear
the way Shoemaker lets it breathe. Listen to the way Mills’ vocal on the
title track conveys tenderness and power at the same time. Listen to
the rhythm of “Shake It” the soft beats like stalking footfalls. Listen
to her deep-blues take on “Little Wing.” You’ve heard the song before,
but you’ve never felt it send shivers up and down your spine like this. LISA MILLS
After his mother gave him his first 4-string as a youngster, California
based veteran bass player Mitchell “Mitch” Coleman (a native of Cuba,
AL) spent most of his time practicing and evolving his technique,
eventually developing a unique style all his own. Even as a teen,
Coleman had been enthused and motivated by the artistry and skillfulness
of trumpeter Miles Davis and renowned bassists Marcus Miller, Stanley
Clarke, Mark Adams (founder of funk band Slave), Louis “Thunder Thumbs”
Johnson, and former Sly and the Family Stone alum and “Father of the
Thump” Larry Graham. But it was jazz-fusion virtuoso Jaco Pastorius who
influenced him the most. Jaco’s take-no-prisoners style inspired him to
remove all self-imposed limitations, while exploring the endless
possibilities his instrument presented. With such stellar role models to pull from, it’s no surprise that
Coleman’s love of funk, jazz and contemporary music continued to grow,
and he began to seriously hone his skills by performing live with local
groups while attending high school. He joined the United States Air
Force in 1985, and, after winning his first talent showcase for solo
performance, toured with the ‘Tops in Blue’ band. (He continues to work
closely with the ‘Air Force Showcase’ and the ‘Best of Talent’ show to
this day.) While stationed in Rome, NY, Coleman studied with local jazz
greats like Rick Montelbano (musical director for the late Lou Rawls),
and George Sessum (the Cabo Frio band). Ultimately settling in Los
Angeles in 1990, Coleman immersed himself in the city’s thriving music
scene, doing session work with other local musicians, while primarily
collaborating with producers Cario Johnson and Herman “Hollywood”
Dawkins. With the release of his first solo effort, “Soul Searching,” an
instrumental jazz/funk fusion collection that interweaves music inspired
by his much admired influences, Coleman has fulfilled a lifelong dream
of creating the music he hears in his heart and feels in his soul - and
sharing it with the world. The disc, independently released on Soul
Revelations Records, features some of L.A.’s funkiest players: his
long-time collaborator and “Soul Searching” co-producer, Hollywood
(pulling triple-duty on piano and vocals), Deron Johnson (formerly with
Miles Davis) is also on keyboards, Kayta Matsuno and Sean Fabian are on
guitar, Tim Anderson and Sal Avila are on saxophones, while industry
veterans and sisters, Pam and Joyce Vincent (formerly of Tony Orlando
and Dawn) and Jim Gilstrap (the “Good Times” TV show theme song singer)
perform background vocals along with newcomers Sean Thomas and Nodesha.
MITCHELL COLEMAN JR.
For years, our children have loved the poetry and stories of Shel
Silverstein, and my wife and I have been deeply moved by the "grownup"
messages that are delivered in ways that are equally meaningful to our
children. It occurred to me that the meter, spirit, and imagery (both
implied and brilliantly drawn) of these works were perfect foils for
musical inspiration. The first compositions were completed in the winter
of 2012-13, and I finished the last few in May of 2014. A few words
about each of the tunes (leadsheets of which will download for you in
PDF format):
Lester (The Wish-Waster) – Lester is a character who receives wishes
from a genie, and proceeds to use them to wish for more wishes, becoming
greedier and greedier but yet never actually accumulating anything. The
melodic fragments repeat and pile up on top of one another as the tune
rolls along, eventually ending with Lester’s dissonant demise, with
nothing to show for it. One of Lester Young’s favorite vehicles, “Oh,
Lady Be Good," provides a loose framework.
The Long-Haired Boy – This anti-bullying parable touches me deeply. The
song represents the boy’s long hair lifting him into the sky, and
helping him soar up and down amongst the clouds, finally bidding a
not-so-fond farewell to the townspeople who tormented him, and then
wanted him to be their friend once they discovered he can fly.
Ourchestra – Just a go-get-em, burnout-type tune. The poem is about
people playing a bunch of wild-sounding, body-part instruments, and the
crazy band they make up.
CHAD EBY QUARTET
