'Soul' Bands // p 6 of 7

Ruth Brown

Ruth Alston Brown (née Weston, January 12, 1928 – November 17, 2006) was an American singer-songwriter and actress, sometimes known as the "Queen of R&B". She was noted for bringing a pop music style to R&B music in a series of hit songs for Atlantic Records in the 1950s, such as "So Long", "Teardrops from My Eyes" and "(Mama) He Treats Your Daughter Mean". For these contributions, Atlantic became known as "the house that Ruth built" (alluding to the popular nickname for the old Yankee Stadium). Brown was a 1993 inductee into the Rock and Roll Hall of Fame.

Following a resurgence that began in the mid-1970s and peaked in the 1980s, Brown used her influence to press for musicians' rights regarding royalties and contracts; these efforts led to the founding of the Rhythm and Blues Foundation. Her performances in the Broadway musical Black and Blue earned Brown a Tony Award, and the original cast recording won a Grammy Award. Brown was a recipient of the Grammy Lifetime Achievement Award in 2016. In 2017, Brown was inducted into National Rhythm & Blues Hall of Fame. She is also the aunt to legendary hip hop MC Rakim.

Early life

Born in Portsmouth, Virginia, Brown was the eldest of seven siblings. She attended I. C. Norcom High School, which was then legally segregated. Brown's father was a dockhand. He also directed the local church choir at Emmanuel African Methodist Episcopal Church, but the young Ruth showed more interest in singing at USO shows and nightclubs, rebelling against her father. She was inspired by Sarah Vaughan, Billie Holiday, and Dinah Washington.

In 1945, aged 17, Brown ran away from her home in Portsmouth along with the trumpeter Jimmy Brown, whom she soon married, to sing in bars and clubs. She then spent a month with Lucky Millinder's orchestra.

Early Career

Ruth Brown performs at the Mambo Club in Wichita, Kansas, 1957
Blanche Calloway, Cab Calloway's sister, also a bandleader, arranged a gig for Brown at the Crystal Caverns, a nightclub in Washington, D.C., and soon became her manager. Willis Conover, the future Voice of America disc jockey, caught her act with Duke Ellington and recommended her to Atlantic Records bosses Ahmet Ertegun and Herb Abramson. Brown was unable to audition as planned because of a car crash, which resulted in a nine-month stay in the hospital. She signed with Atlantic Records from her hospital bed.

In 1948, Ertegun and Abramson drove from New York City to Washington, D.C., to hear Brown sing. Her repertoire was mostly popular ballads, but Ertegun convinced her to switch to rhythm and blues.

In her first audition, in 1949, she sang "So Long", which became a hit. This was followed by "Teardrops from My Eyes" in 1950. Written by Rudy Toombs, it was the first upbeat major hit for Brown. Recorded for Atlantic Records in New York City in September 1950 and released in October, it was Billboard's R&B number one for 11 weeks. The hit earned her the nickname "Miss Rhythm", and within a few months, she became the acknowledged queen of R&B.

She followed up this hit with "I'll Wait for You" (1951), "I Know" (1951), "5-10-15 Hours" (1953), "(Mama) He Treats Your Daughter Mean" (1953), "Oh What a Dream" (1954), "Mambo Baby" (1954), and "Don't Deceive Me" (1960), some of which were credited to Ruth Brown and the Rhythm Makers. Between 1949 and 1955, her records stayed on the R&B chart for a total of 149 weeks; she would go on to score 21 Top 10 hits altogether, including five that landed at number one. Brown ranked No. 1 on The Billboard 1954 Disk Jockey Poll for Favorite R&B Artists.

Brown played many racially segregated dances in the southern states, where she toured extensively and was immensely popular. She claimed that a writer had once summed up her popularity by saying, "In the South Ruth Brown is better known than Coca-Cola."

Brown performed at the famed tenth Cavalcade of Jazz concert held at Wrigley Field in Los Angeles which was produced by Leon Hefflin, Sr. on June 20, 1954. She performed along with The Flairs, Count Basie and his Orchestra, Lamp Lighters, Louis Jordan and His Tympany Five, Christine Kittrell, and Perez Prado and his Orchestra.

Her first pop hit came with "Lucky Lips", a song written by Jerry Leiber and Mike Stoller and recorded in 1957. The single reached number 6 on the R&B chart and number 25 on the U.S. pop chart. The 1958 follow-up was "This Little Girl's Gone Rockin'", written by Bobby Darin and Mann Curtis. It reached number 7 on the R&B chart and number 24 on the pop chart.

She had further hits with "I Don't Know" in 1959 and "Don't Deceive Me" in 1960, which were more successful on the R&B chart than on the pop chart. During the 1960s, Brown faded from public view and lived as a housewife and mother.

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Sade

Helen Folasade Adu CBE (Yoruba: Fọláṣadé Adú [fɔ̄láʃādé ādú]; born January 16, 1959), known professionally as Sade Adu or simply Sade (/ʃɑːˈdeɪ/ shah-DAY), is a Nigerian-British singer, songwriter, and actress, known as the lead singer of her eponymous band.

Born in Ibadan, Nigeria, but brought up in Essex, England, Sade gained modest recognition as a fashion designer and part-time model, prior to joining the band Pride in the early 1980s. After gaining attention as a performer, she formed the band Sade, and secured a recording contract with Epic Records in 1983. The band then released the album Diamond Life a year later, which became one of the best-selling albums of the era, and the best-selling debut ever by a British female vocalist. It also gained widespread critical acclaim and is included in the reference book 1001 Albums You Must Hear Before You Die. In July 1985, Sade was among the performers at the Live Aid charity concert at Wembley Stadium. In late 1985, they released Promise, which was also a resounding critical and commercial success, topping the UK Albums Chart and becoming the band's first album to debut atop the Billboard 200. It later earned quadruple platinum certification in the U.S., and reached platinum across Europe. It also earned the group the Grammy Award for Best New Artist in 1986. Their following two releases, 1988's Stronger Than Pride and 1992's Love Deluxe, were also critically and commercially successful; however, the band would go on hiatus after the birth of Sade's child, while the singer experienced widespread media coverage during the period for unsubstantiated claims of mental health and addiction issues.

After a spell of eight years without an album, which came after Sade appeared in the film Absolute Beginners (1986), the band reunited in 1999, and released Lovers Rock in 2000. The album departed from the jazz-inspired inflections of their previous work, featuring mellower sounds and pop compositions, and was critically praised, earning the group the Grammy Award for Best Pop Vocal Album. The band would then undergo another term of hiatus, not producing music for another ten years until the release of Soldier of Love. The album was another commercial success, although critical reception remained divided, but won the group the Grammy Award for Best R&B Performance by a Duo or Group with Vocals. Following the album's release, the band entered a third period of hiatus, and have only released two new songs (2018's "Flower of the Universe" for the soundtrack of Disney's A Wrinkle in Time and "The Big Unknown", part of the soundtrack for Steve McQueen's film Widows) to date.

Sade is widely considered a musical influence, and her contributions to music have made her a global figure in popular culture for over two decades. She has been credited as one of the most successful British female artists in history. Her services to music were also recognised with an award of the Officer of the Order of the British Empire chivalry honour in 2002, and later the rank of the Commander of the same order in 2017.

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Scone Cash Players

The Scone Cash Players are on a mission...

The Scone Cash Players arrive with force and fury. It is a mission to bring the purist, most soulful, dynamic and funky organ music to the people of the world. During a breakout performance at the Funky Sole Weekender in Los Angeles alongside Lee Fields & The Expressions, Breakestra, The Monophonics and Jungle Fire they were propelled on to the international scene. Incredible tours followed to Brazil, New York City, California, Midwest US as well as hometown shows in Miami. The Scone Cash Players are eager for more. There was an unforgettable performance at the Miami Downtown Jazz Fest. Brooklyn Vegan choose to premier "Blast Furnace! LP" and "Scone Cold Christmas 7" Single and Video. Scone Cash Players were chosen in the top ten Funk 45's by Flea Market Funk, as well as "Top Vinyl LP and 7" single by Nostalgia King of the year.

Adam Scone draws from his vast experience working with soul legends The Sugarman Three, Lee Fields, Naomi Shelton & Sharon Jones. He has also backed up Jazz and Boogaloo legends Lou Donaldson, Melvin Sparks and Ben Dixon. Over the years he has appeared on over 50 recordings. It is this unique experience that fuels the hard driving soul psychedelia that is certain to make any audience jump up and get into it.

Where is the bass player? That is Scone playing the bass with the deepest pocket around. The tradition of organ low end is of paramount importance in this band. The left foot mixed with left hand bass truly are the nastiest and funkiest sound in town. Adam Scone is steeped in the organ bass tradition of fellow players and mentors Dr. Lonnie Smith, Dr. Jack McDuff, Big John Patton and Jimmy Smith.

Scone learned the ropes traveling the world with various Daptone recording artists. He has brought the organ business at the worlds top music festivals including Bonnaroo, Glastonbury, North Sea Jazz Festival, Montreux Jazz Festival, Umbria Jazz Festival, Nice Jazz Festival, New Orleans Jazz and Heritage Festival & the Monterey Jazz Festival. He has also brought the business in many seedy lounges all across the US, Europe, South and Central America, Africa and the Middle East. Scone has manipulated the plastic keys and thrown Leslie switches at iconic NYC venues such as The Village Vanguard, The Blue Note, The Apollo Theater, The Bowery Ballroom and many others. In addition, you can see and hear him playing organ in the recently released Daptone Records concert film “Living on Soul!” Do you want to do the Boogaloo? Enjoy the Scone Cash Players.

^{Source sconecashplayers.com}

Sean Hayes

Sean Patrick Hayes (born August 27, 1969) is an American singer-songwriter.

Hayes was born in New York City, and raised in Greensboro, North Carolina. He began playing traditional American and Irish music with a band called the Boys of Bluehill. He traveled the south, from the Black Mountain Music festival (LEAF Festival) in the Blue Ridge Mountains down to Charleston, South Carolina and eventually found his way to San Francisco, where he lived for two decades before moving to Sonoma County, California.

In his twenty year career as a musician, Hayes has won acclaim from fans and critics alike and had his music featured in a variety of television shows, films, and commercials. Hayes' song "Rattlesnake Charm" was re-mixed by DJ Mark Farina, and also appears on the Stéphane Pompougnac compilation Hôtel Costes, Vol. 8. His song "3 A.M." is featured on the soundtrack for the television show Kyle XY, and his song "A Thousand Tiny Pieces", was covered by The Be Good Tanyas and the group Blame Sally, and has appeared on the television show Brothers & Sisters. The song is also referenced in the Moth Radio Hour story as told by theoretical cosmologist Janna Levin. The HBO show Bored to Death featured his song "Fucked Me Right Up" on its second episode as well as on the soundtrack for the first season. This song was also featured in the German film, Resturlaub. His song "Turnaroundturnmeon" is part of Big Change: songs for FINCA, an album curated by Natalie Portman to benefit the anti-poverty organization FINCA. Hayes was also featured singing the duet "Ballantines" with Aimee Mann, released on her album Smilers. Hayes' song "Lucky Man" was used in the season four trailer for the show Rectify on the Sundance Channel.

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Solomon Burke

olomon Burke (born James Solomon McDonald, March 21, 1940 – October 10, 2010) was an American preacher and singer who shaped the sound of rhythm and blues as one of the founding fathers of soul music in the 1960s. He has been called "a key transitional figure bridging R&B and soul", and was known for his "prodigious output".

He had a string of hits including "Cry to Me", "If You Need Me", "Got to Get You Off My Mind", "Down in the Valley" and "Everybody Needs Somebody to Love". Burke was referred to honorifically as "King Solomon", the "King of Rock 'n' Soul", "Bishop of Soul" and the "Muhammad Ali of soul". Due to his minimal chart success in comparison to other soul music greats such as James Brown, Wilson Pickett and Otis Redding, Burke has been described as the genre's "most unfairly overlooked singer" of its golden age. Atlantic Records executive Jerry Wexler once referred to Burke as "the greatest male soul singer of all time".

Burke's most famous recordings, which spanned five years in the early 1960s, bridged the gap between mainstream R&B and grittier R&B. Burke was "a singer whose smooth, powerful articulation and mingling of sacred and profane themes helped define soul music in the early 1960s." He drew from his roots—gospel, jazz, country, and blues—as well as developing his own style at a time when R&B, and rock were both still in their infancy. Described as both "Rabelaisian" and also as a "spiritual enigma," "perhaps more than any other artist, the ample figure of Solomon Burke symbolized the ways that spirituality and commerce, ecstasy and entertainment, sex and salvation, individualism and brotherhood, could blend in the world of 1960s soul music."

During the 55 years that he performed professionally, Burke released 38 studio albums on at least 17 record labels and had 35 singles that charted in the US, including 26 singles that made the Billboard R&B charts. In 2001, Burke was inducted into the Rock and Roll Hall of Fame as a performer. His album Don't Give Up on Me won the Grammy Award for Best Contemporary Blues Album at the 45th Grammy Awards in 2003. By 2005 Burke was credited with selling 17 million albums. Rolling Stone ranked Burke as no. 89 on its 2008 list of "100 Greatest Singers of All Time".

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Son Little

hat is the new magic of music? If you trace the path of a plan back to its beginnings, what do you find? Is it a tree, growing from seed with deep roots planted in fertile soil, branches arcing out in all directions? Or a spark in the dark, an electrical charge? Is it a waterway, with swirling currents raging to create a river? Or is it a snowflake, falling from on high and dropping down to earth with a singular splash?

For Son Little, the genesis of a musical idea — the magic — remains largely a mystery. But his kinetic ability to summon that energy all the same, to command it, hold onto it, and set it in motion, is the stuff of alchemy.

“The magic is this well I can draw from; you can’t necessarily see it, you just have to believe that it’s there,” he says. “If you believe, then you can reach your hand down in there and get it wet. But if you don’t feel like it’s there, it won’t be.”

Son Little, the singer and songwriter born Aaron Livingston, is the easygoing musical alchemist of our time. He is a conjurer, and much like those of his heroes Stevie Wonder and Jimi Hendrix, his songs are deconstructions of the diaspora of American R & B. Deftly he weaves different eras of the sound — blues, soul, gospel, rock and roll — through his own unique vision, never forced, always smooth, each note a tributary on the flowing river of rhythm and blues. The currents empty into an estuary, and into this well water Son dips his bucket — trusting innately in the magic’s existence. And now, with his second full-length album, New Magic, he has delivered a profound statement, a cohesive creation that captures the diverse spirit of American music in a fresh and modern way.

On the heels of his 2015 self-titled debut and the 5-song EP, Songs I Forgot, that came before it, Son Little found his reach steadily growing. His song “Lay Down” had been played over seven million times on Spotify, he had toured the world with artists as diverse as Leon Bridges, Kelis, Mumford & Sons, and Shakey Graves in addition to his own headlining runs, and also became a Grammy Award winning producer, earning a 2016 Best Roots Performance award for his work on Mavis Staples’s “See That My Grave Is Kept Clean.” But in the midst of all this success, so too did he find that the window for writing new songs was shrinking. Where his previous releases had been culled from various eras and scattered sessions early in his career, he now craved an opportunity to sit and write a new album in a distinct, unified direction, one that would establish his place in the world of black music. The only problems were: when, and how?

^{Source SonLittle.com}

Stevie Wonder

Dubbed “Little Stevie Wonder” by Motown’s Berry Gordy, he was signed to the label when he was only 12 years old and was just 13 when the live recording “Fingertips (Part 2)” hit no. 1 pop and R&B. Playing harmonica, drums and keyboards, as well as singing, the boy who had been blind from infancy proved aptly named. While still a teenager--dropping the “Little” from his stage name--he earned seven top 10 pop singles, including “For Once In My Life,” “My Cherie Amour,” “Yester-Me, Yester-You, Yesterday,” “Uptight (Everything’s Alright)” and “I Was Made To Love Her.”

By age 20, he was self-sufficient in the studio, writing, playing every instrument and serving as his own producer, including for such hits as “Signed, Sealed, Delivered I’m Yours” and “If You Really Love Me.” He broadened his vision from pure pop to the socially conscious. He began exploring exotic musical ideas incorporating gospel, rock, jazz, reggae, and African and Latin American rhythms, and pioneered the use of synthesizers. Turning 21 in 1971, Stevie holed up in a New York studio and refused to sign with Motown until he was given autonomy to record as he please. Motown agreed and the groundbreaking Music Of My Mind was released followed the next year. Later that year came Talking Book, which boasted the no. 1 pop and R&B hits “Superstition” and “You Are The Sunshine Of My Life.” Innervisions, featuring the Top 10 hit “Higher Ground,” “Don’t You Worry ’Bout A Thing” and the epic “Living For The City,” was a landmark LP that became the his first of three consecutive Grammy® Albums of the Year.

While the record was riding high, Wonder was in a near-fatal accident. He recovered to record another deeply felt album, Fulfillingness’ First Finale, in 1974, that featured the no. 1 pop “You Haven’t Done Nothin’” (with the Jackson 5 on background vocals) and no. 1 R&B “Boogie On Reggae Woman.”

Songs In The Key Of Life was an instant no. 1 album, the first by an American artist to debut at the top spot, where it remained for an incredible 14 weeks. It was highlighted by the no. 1 pop and R&B hits “I Wish” and “Sir Duke.” By the late seventies, Wonder was also leading the way in New Age instrumental music with the soundtrack album Journey Through The Secret Life Of Plants, which featured the ballad hit “Send One Your Love.” He won 15 Grammys in just four years.

^{Source facebook.com/StevieWonder}

Taj Mahal

Henry St. Claire Fredericks Jr. (born May 17, 1942), better known by his stage name Taj Mahal, is an American blues musician, singer-songwriter, multi-instrumentalist, actor, and film composer. He plays the guitar, piano, banjo, harmonica, and many other instruments, often incorporating elements of world music into his work. Mahal has done much to reshape the definition and scope of blues music over the course of his more than 50-year career by fusing it with nontraditional forms, including sounds from the Caribbean, Africa, India, Hawaii, and the South Pacific.

Career

Mahal moved to Santa Monica, California, in 1964 and formed Rising Sons with fellow blues rock musicians Ry Cooder and Jessie Lee Kincaid, landing a record deal with Columbia Records soon after. Jesse Ed Davis, a Kiowa native from Oklahoma, joined Taj Mahal and played guitar and piano on Mahal's first four albums. The group was one of the first interracial bands of the period, which may have hampered their commercial viability. However, Rising Sons bassist Gary Marker later recalled the band's members had come to a creative impasse and were unable to reconcile their musical and personal differences even with the guidance of veteran producer Terry Melcher. They recorded enough songs for a full-length album, but only released a single and the band soon broke up. Legacy Records did release The Rising Sons Featuring Taj Mahal and Ry Cooder in 1992 with material from that period. During this time Mahal was also working with other musicians like Howlin' Wolf, Buddy Guy, Lightnin' Hopkins, and Muddy Waters.

Mahal stayed with Columbia for his solo career, releasing the self-titled Taj Mahal and The Natch'l Blues in 1968. His track "Statesboro Blues" was featured on side 2 of the very successful Columbia/CBS sampler album, The Rock Machine Turns You On, giving a huge early impetus to his career. Giant Step/De Old Folks at Home with session musician Jesse Ed Davis followed in 1969. During this time he and Cooder worked with the Rolling Stones, with whom he has performed at various times throughout his career. In 1968, he performed in the film The Rolling Stones Rock and Roll Circus. He recorded a total of twelve albums for Columbia from the late 1960s into the 1970s. His work of the 1970s was especially important, in that his releases began incorporating West Indian and Caribbean music, jazz and reggae into the mix. In 1972, he acted in and wrote the film score for the movie Sounder, which starred Cicely Tyson. He reprised his role and returned as composer in the sequel, Part 2, Sounder.

In 1976 Mahal left Columbia and signed with Warner Bros. Records, recording three albums for them. One of these was another film score for 1977's Brothers; the album shares the same name. After his time with Warner Bros., he struggled to find another record contract, this being the era of heavy metal and disco music.

Stalled in his career, he decided to move to Kauai, Hawaii in 1981 and soon formed the Hula Blues Band. Originally just a group of guys getting together for fishing and a good time, the band soon began performing regularly and touring. He maintained a low public profile in Hawaii throughout most of the 1980s before recording Taj in 1988 for Gramavision. This started a comeback of sorts for him, recording both for Gramavision and Hannibal Records during this time.

In the 1990s Mahal became deeply involved in supporting the nonprofit Music Maker Relief Foundation. As of 2019, he was still on the Foundation's advisory board.

In the 1990s he was on the Private Music label, releasing albums full of blues, pop, R&B and rock. He did collaborative works both with Eric Clapton and Etta James.

In 1995 he recorded a record fusing traditional American blues with Indian stringed instruments, Mumtaz Mahal, accompanied by Vishwa Mohan Bhatt on Mohan veena and N. Ravikiran on chitravina, a fretless lute.

In 1998, in collaboration with renowned songwriter David Forman, producer Rick Chertoff and musicians Cyndi Lauper, Willie Nile, Joan Osborne, Rob Hyman, Garth Hudson and Levon Helm of the Band, and the Chieftains, he performed on the Americana album Largo based on the music of Antonín Dvořák.

In 1997 he won Best Contemporary Blues Album for Señor Blues at the Grammy Awards, followed by another Grammy for Shoutin' in Key in 2000. He performed the theme song to the children's television show Peep and the Big Wide World, which began broadcast in 2004.

In 2002, Mahal appeared on the Red Hot Organization's compilation album Red Hot and Riot in tribute to Nigerian afrobeat musician Fela Kuti. The Paul Heck produced album was widely acclaimed, and all proceeds from the record were donated to AIDS charities.

Taj Mahal contributed to Olmecha Supreme's 2006 album 'hedfoneresonance'. The Wellington-based group led by Mahal's son Imon Starr (Ahmen Mahal) also featured Deva Mahal on vocals.

Mahal partnered up with Keb' Mo' to release a joint album TajMo on May 5, 2017. The album has some guest appearances by Bonnie Raitt, Joe Walsh, Sheila E., and Lizz Wright, and has six original compositions and five covers, from artists and bands like John Mayer and The Who.

In 2013, Mahal appeared in the documentary film on Byrds founding member Gene Clark, 'The Byrd Who Flew Alone', produced by Four Suns Productions. Clark and Mahal had been friends for many years.

In June 2017, Mahal appeared in the award-winning documentary film The American Epic Sessions, directed by Bernard MacMahon, recording Charley Patton's "High Water Everywhere" on the first electrical sound recording system from the 1920s. Mahal appeared throughout the accompanying documentary series American Epic, commenting on the 1920s rural recording artists who had a profound influence on American music and on him personally.

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Tedeschi Trucks Band

Go back to December 31, 2008 when guitarist Derek Trucks and his wife, singer/guitarist Susan Tedeschi, were preparing to ring in the New Year. Married since 1999, these two soulmates, equally steeped in the musical roots of blues, jazz, and gospel, had finally decided the time was right to set aside their successful solo careers and commit to a new band melding their vision and talent. It wasn’t the first time they had collaborated; they had shared a stage countless times and traded album guest appearances, all while starting a family together. But on that night, hitting the stage together with members of the Derek Trucks Band and a guest horn section they heard the future.

"The 12-piece outfit puts out a big band sound that still rings intimate, shaking listeners to their emotional core." – Rolling Stone

Two years later, the couple debuted Tedeschi Trucks Band. The nation’s economy was heading into recession. The popular music landscape was filled with technological theatrics and auto-tuned singers. And here were Tedeschi and Trucks along with their (then) 8-member band, loading up two tour buses and hitting the road with a sound that defied conventional genre boundaries or traditional labels; a gypsy caravan on the rock-and-roll highway. To call it ambitious was an understatement.

During their five-year rise, the group toured incessantly, raising their profile and being handpicked to play with the likes of Eric Clapton, Bob Dylan, and Santana.

In pursuit of their ideal sound driven by world class musicianship, Tedeschi and Trucks put together a musical collaborative like no other, flying in the face of any practical or economic considerations. There have been evolutionary changes to the band along the way, but the freight-train force of veteran drummers J.J. Johnson and Tyler Greenwell were there from the start, along with two brilliant Trucks Band veterans to amplify the rhythm section: Kofi Burbridge with his prodigious talent on keys and flute, and Mike Mattison, with his dynamic vocals and songwriting skills. A 3-piece horn section brought on for studio work proved indispensable to the group’s sound and became a permanent addition – now composed of Kebbi Williams’ intergalactic saxophone, Ephraim Owens on trumpet and Elizabeth Lea on trombone. Industry-renowned bassist Tim Lefebvre (David Bowie, Elvis Costello, Sting) joined in 2013, and two years later a third incredible voice, Alecia Chakour, was added to the background vocals provided by Mark Rivers and Mattison; each more than capable of delivering a stirring turn as a lead vocalist.

On the road for upwards of 200 days a year, the TTB family has grown strong, bonding over backyard BBQs and long bus rides, all the while developing a growing repertoire of original material and paying homage to an extensive canon of influences ranging from Sly & the Family Stone, Miles Davis and George Jones to Joe Cocker, Nina Simone, and even Indian sarod master Ali Akbar Khan. Embracing improvisation over convention, and set lists rarely repeated, the collective is adept at exploring almost any musical territory. The genuine respect within its ranks is evident on stage. Trucks’ masterful guitar skills and Tedeschi’s soaring vocals and bluesy guitar shine but don’t overpower the breadth of talent, happily yielding the spotlight as needed in service of what the song deserves.

"I saw them live and it was mind blowing. [Derek] has taken the guitar, specifically slide guitar, somewhere it has never been. His phrasing both with and without slide is uniquely his and just odd and jarring and exciting to listen to. [Susan] is an earnest blues player as well and her voice is astounding. The band was mind-blowing. They take a form that is arguably tired and turn it inside out with originality and musicianship and make it totally their own." – Marc Maron

Trucks and Tedeschi’s uncompromising vision has paid off. Now 12-members strong, and with a catalog of five albums and nearly a decade of steady touring in the U.S. and abroad, Tedeschi Trucks Band carries a distinguished reputation earned from both audiences and critics as one of the premier live bands in the world. Sold-out multi-night runs at venerable venues like the Beacon Theatre, Ryman Auditorium and Red Rocks Amphitheater are a testament to the can’t-miss concert experience fans have come to anticipate. The band’s own “Wheels of Soul” tour has become a sought-after summer experience from promoters across the country, bringing TTB’s unique stew of upbeat rock and soul together on stage with a slew of guests, sit ins, and supporting bands that have included the late Sharon Jones, Los Lobos and most recently The Wood Brothers and Hot Tuna. 2018 will also mark the sixth year for the TTB-curated Sunshine Music Festival, hosted each January in their home state of Florida.

"Epic is an overused word, but if one contemporary rock band were to rightfully wear it, the Tedeschi Trucks Band might be the ones." - Santa Barbara Independent

TTB’s most recent CD/film release, Live From The Fox Oakland (2017) was nominated for a Grammy and follows a quartet of critically-hailed and commercially successful albums, including the Grammy-winning debut, Revelator (2011) and Let Me Get By (2016), called “one of the great records of the year” by the Associated Press. The film documents the progress the band has made since its inception, while also showcasing its endless potential to bring out the best in each other every night in any musical direction they choose. It’s clear that the leaders have no intention of slowing down now. As Trucks remarked to Mark Maron on his WTF podcast featured in the film, “I haven’t found this band’s ceiling yet.” For Tedeschi Trucks Band, there may not be one.

^{Source TedeschiTrucksBand.com}

The Black Crowes

The Black Crowes are an American rock band formed in Marietta, Georgia, in 1984. Their discography includes eight studio albums, four live albums and several charting singles. The band was signed to Def American Recordings in 1989 by producer George Drakoulias and released their debut album, Shake Your Money Maker, the following year. Their follow-up, The Southern Harmony and Musical Companion, reached the top of the Billboard 200 in 1992. The albums Amorica (1994), Three Snakes and One Charm (1996), By Your Side (1999), and Lions (2001) followed, with each showing moderate popularity but failing to capture the chart successes of the band's first two albums. After a hiatus from 2002 to 2005, the band regrouped and toured for several years before releasing Warpaint in 2008, which reached number 5 on the Billboard chart.

Following the release of their greatest hits/acoustic double album Croweology in August 2010, the band started a 20th anniversary tour that was followed by a second hiatus. After touring in 2013, the band announced another breakup in 2015, reforming in late 2019 to announce a 2020 tour in support of the 30th anniversary of Shake Your Money Maker. By this point the band had none of its original line-up left except for Chris and Rich Robinson, the only two constant members of the band over its entire history.

The Black Crowes have sold more than 30 million albums, and are listed at number 92 on VH1's 100 Greatest Artists of Hard Rock. They were labeled by Melody Maker as "The Most Rock 'n' Roll Rock 'n' Roll Band in the World" and the readers of Rolling Stone voted them 'Best New American Band' in 1990.

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The Flying Stars of Brooklyn, NY

Aaron Frazer of Durand Jones & The Indications. Aaron’s super sweet, silvery falsetto was featured on “Is It Any Wonder?” on The Indications’ debut LP, but Aaron steps out here with some lowdown gospel soul with some help from friends including Eli Paperboy Reed.

^{Source bandcamp.com}

The Lewis Express

Primarily based in Leeds, The Lewis Express is comprised of many of the musicians that have graced previous ATA releases: George Cooper, Piano (Abstract Orchestra) Neil Innes, Bass (The Sorcerers, The Magnificent Tape Band, Tony Burkill), Sam Hobbs, Drums (Dread Supreme, Tony Burkill, Matthew Bourne) and Pete Williams, Percussion (The Sorcerers, The Magnificent Tape Band, Tony Burkill). Recorded over an intense two-day session by the band of the same name, “The Lewis Express” is a nod to the classic soul jazz recordings of The Young Holt Trio / Young Holt Unlimited and Ramsey Lewis, from who this group take their name. But, delivered with a distinctly European feel. As with many of the classic Ramsey Lewis cuts this album was recorded live, capturing the rich inter-relationship between the players and leaving in some of that chunky room noise, lending the album a sound that’s as thick as a steak and raw as a carrot.

Kicking off the album is Love Can Turn A Man, a slow burner introducing you to the piano of George Cooper as he works over a rock solid backbeat from drummer Sam Hobbs. The addition of a rising brass line conjures up memories of love lost, or indeed love never found.

If Love Can’t Turn A Man shows the band in their most introspective of moods then Cancao De Momento sees them at the other end of the spectrum, the swinging end. This is a latin-tinged stormer with a driving piano line and one of the toughest rhythm section workouts on the whole album. Add to this Pete Williams’ punctuating percussion and you are looking at a track squarely aimed at the dancefloor. Brother Move On is probably the most recognizable as being in the soul jazz vein, with nods to such classics as Ramsey Lewis’ The ‘In’ Crowd and Soulful Strut by Young Holt Unlimited, particularly the latter. Moving into Hawkshaw Philly (their nod to session music legend and leader of The Mohawks, Alan Hawkshaw) the band create what sounds like a rare library cut and something diggers would give their back teeth for. Pinned to the floor by Neil Innes’ heavy work on the double bass and Chris Dawkins’ guitar there is some fantastic slow stabbing piano. The overall feel is something funky but slightly sinister. ATA Records has a solid history of putting out releases with a cinematic feel and Theme From The Watcher is a nod to this, conjuring up the sort of imagery that coincides with the black and white spy thrillers of the 1960s. Last Man In The Chain Gang has a very strong Ramsey Lewis feel and offers some of the most powerful piano playing of the whole album. The final track, Straight Seven Strut, is the only vocal track of the album. The staccato swing and French words lend it some of the qualities of 60s yé-yé music but with a far jazzier backbone, spiced with percussive handclaps.

^{Source thelewisexpress.bandcamp.com}

The Olympians

In 2008 while Olympic athletes competed half a world away in Beijing, Toby Pazner (Lee Fields & The Expressions, El Michels Affair) and a group of some of New York City's most sought after musicians were locked in Pazner’s bedroom in Brooklyn with a Tascam 388 tape machine, recording what would be the first 45 by a group he would fatefully call The Olympians. Both this and a follow-up 45 would be released on now defunct Truth & Soul Records. However, it was not until a night years later while on tour with a band in the Greek Islands that Pazner’s true vision would come to him…

After playing the famous Acropolis in Athens and swimming in the Aegean Sea, Pazner dreamed he was visited by a toga-clad, curly-haired figure who told him to travel back across the great sea to his home and build a "Temple of Sound". In this temple he was to retell the great tales of Ancient Greece through the immortal language of music. When he awoke, he tried to dismiss the strange dream, but each night the the vision would return to him, and each night he would proclaim his duty more forcefully, until he could no longer deny the calling.

Panzer returned to New York City with a singular focus on completing an album he now saw as his destiny. He immediately commenced building his “Temple of Sound” from the floor up, acquiring the best microphones, tape machines and recording equipment he could lay his hands on. As a member of the Daptone Family, it was not difficult for him to call in favors from some of the world’s greatest musicians to help him bring his vision to life. For years they played alongside him as he relentlessly toiled toward his ends, crafting lush arrangements of strings, harp, vibes, guitar and a plethora of keyboards, all laced by blazing horns. Finally in the Spring of 2016, The Olympians was wholly manifested.

Pazner shared the the fruit of his long venture with long time friends and co-owners of Daptone Records Gabriel Roth and Neal Sugarman who jumped at the opportunity to release it. From the cascading harps which open the Sirens of Jupiter to the driving horn coda of Sagittarius By Moonlight, The Olympians deliver a new sound all of it’s own: an ancient dream of far away Greece painted out in lush cinematic arrangements over the tough rhythm sounds that have become synonymous with the Daptone Stable of Musicians.

Featuring the talents of Aaron Johnson (Antibalas), Dave Guy (Tonight Show Band, The Dap-Kings,) Leon Michels (The Arcs, Lee Fields, El Michels Affair,) Nicholas Movshon (The Arcs, Lee Fields, El Michels Affair,) Homer Steinweiss (The Dap-Kings, The Arcs), Michael Leonhart (Musical Director for Steely Dan), Neal Sugarman (The Dap-Kings, Sugarman 3), Evan Pazner (Lee Fields), and the maniacal wizardry of Toby Pazner.

^{Source daptonerecords.com}

The Roots

The Roots are an American hip hop band, formed in 1987 by Tariq "Black Thought" Trotter and Ahmir "Questlove" Thompson in Philadelphia, Pennsylvania, United States. The Roots currently serve as the house band on NBC's The Tonight Show Starring Jimmy Fallon, having served in the same role on Late Night with Jimmy Fallon from 2009–2014.

The Roots are known for a jazzy and eclectic approach to hip-hop featuring live musical instruments and the group's work has consistently been met with critical acclaim. ThoughtCo ranked the band #7 on its list of the 25 Best Hip-Hop Groups of All-Time, calling them "Hip-hop's first legitimate band." Although the band no longer tours extensively due to their Tonight Show obligations, their live shows are frequently regarded as the best in the genre.

In addition to the band's music, several members of the Roots are involved in side projects, including record production, acting, and regularly serving as guests on other musician's albums and live shows.

^{Source Wikipedia}

Tiana Major9 & Earthgang

Tiana Major9 & Earthgang Deliver Enchanting 'Collide' Performance at 2019 Billboard Women in Music

Tiana Major9 is one to watch in 2020, and she made that clear with a breathtaking performance at Billboard's 2019 Women in Music ceremony.

She was introduced by President of Motown Records Ethiopia Habtemariam, who remembered when Queen & Slim director Melina Matsoukas approached her, asking for an "incredible soundtrack" for the film. The soundtrack, and Major9's contribution, Habtemariam noted are "an accompaniment to a triggering and provoking film that allows you see us, love us, understand us."

Tiana Major9 and her collaborator Earthgang wrote "Collide" specifically for Queen & Slim, and the duo delivered a smooth, intimate performance of the tune. Their chemistry was flowing strong, holding hands and looking into each other's eyes as they sang the touching chorus. It was a beautiful representation of the "black love story" Habtemariam praised Queen & Slim for being.

by Rania Aniftos

^{Source billboard.com}