Kenny Wesley

Kenny Wesley’s “Won’t Let It Go” flipped wigs all over the planet when it was performed by dance contestant David Matz on the hit show, So You Think You Can Dance? in 2012. The show didn’t actually credit Wesley’s as the dynamic voice on the song, and the Internets went nuts over this miscarriage of justice, inquiring about his identity online and on the show’s website.

This kind of response is typical for the performer, a bespectacled, self-coined “soulful nerd” from Jacksonville, North Carolina, who currently calls Washington, D.C. his home. The recipient of numerous nominations and prizes (like the D.C.-based Wammies and Montreux Jazz Festival’s international vocal competition), Kenny Wesley is a singer on the cusp of even bigger things, already supported by musician friends like Ledisi and Kindred the Family Soul.

RELATED: INTRODUCING BRENDA NICOLE MOORER [NEW MUSIC]

At Wesley’s website, a testimonial from Grammy-winning singer-songwriter Gordon Chambers describes Wesley’s voice this way: “[His] tenor is Hathaway deep, Luther warm and in terms of color… golden.” Wesley’s latest song/video, “The Window,” is energetic pop R&B with a wonderful truism at its core—leave your past and present burdens outside your door and “look out the window.” Press play and fall in soulful-nerd love with this week’s INTRODUCING pick, Kenny Wesley.


Read more at EBONY http://www.ebony.com/video/entertainment-culture/introducing-kenny-wesley-new-music-342#ixzz34UoZiDj5

Follow us: @EbonyMag on Twitter | EbonyMag on Facebook - Sun Singleton | EBONY

*Over the course of the month of June, one term you’ll hear repeatedly is “Black Music Month.”

Since 1979, we have celebrated and appreciated the artists, musicians and executives who create what has alternately been called “Black music,” “race records,” rhythm and blues and scores of other titles, many of them inappropriate and others seemingly just right for the emotions conveyed through the music. The music and those who make it will be commemorated in many ways throughout the month, but one very unique idea was created by Kayenecha Daugherty of Gypsy Soul Entertainment and that idea presented itself in the form of Aural Advocacy.

Aural Advocacy is a month-long celebration of Indie artists who put their blood, sweat and tears into the music they love as a way to introduce or get visitors reacquainted with a talented crop of artists that aren’t always standing in the spotlight. The project was born out almost out of necessity for Ms. Daugherty, who since taking a job with the D.C. chapter of the Recording Academy, hasn’t had the time to continue with the Ear Candy series she began a few years back to showcase talent in the Mid-Atlantic area. As many of us can attest, the calendar flips forward at a much faster rate these days and time always seemed to get in the way of getting the idea out of her head and into reality, but this year Ms. Daugherty was able to get it done.

kenny wesley
Kenny Wesley

She assembled a team, shared her vision and then the work began; they entered into war room like debates about what artists should be included, which direction to go artistically and finally how to make it all happen logistically. The result launched Saturday at http://auraladvocacy.tumblr.com/ with the spotlight centered on the “Soulful Nerd,” Kenny Wesley, and will continue to unveil a new artist each day until the calendar flips again.

As with every project, meeting the scheduling needs of the artists and those involved is never easy, especially when photo shoots are involved, but Broady Brown of Gypsy Soul was instrumental in pulling it all together. Brown, along with remaining team members Mansa Johnson, Leo Wilson, Diamond Dixon, Tiffany Means and Marshall Sims brought the vision to fruition with keen eyes and creativity that will continue in the Gypsy Soul tradition of showcasing not only great talent, but familiarizing music lovers with great people. That quality is important to Ms. Daugherty; part of her mission was to involve artists and musicians who worked as hard on who they are, as the music they create, that’s not always a marriage musicians make, so it was of supreme importance to make the public aware of thirty who do.

“Black Music Month is about celebrating the creators of all forms of music; artists and producers who remove the box and make music, but happen to be of African-American descent,” is how Ms. Daugherty explains what Black Music Month means to her, but it’s also about supporting those who aren’t part of the machine of the mainstream, those who put their everything into crafting music from their hearts and souls. The true purpose of Aural Advocacy is raising the awareness level of music lovers and encouraging them to become more familiar with the brands the website will present throughout the month.

Thank you Kayenecha Daugherty for taking the necessary steps to ensure you kept a platform for good music and great people.

Stay in tune with Gypsy Soul Entertainment’s Aural Advocacy celebration of “Black Music Month” at http://auraladvocacy.tumblr.com/.
- Al-Lateef Farmer | EURWeb

It makes sense that an artist whom is the self-proclaim “soulful nerd” has more to say than the amount of time on a song. The dramatic timing of the piano on “Won’t Let It Go” places full attention on each lyric Kenny Wesley croons.

Producer: Noah Lifschey
Album: The Real Thing

Read more: http://singersroom.com/content/2013-06-11/Kenny-Wesley-Wont-Let-It-Go/#ixzz2gvWS9PQ1 - Adeniyi Omisore | Singersroom

Kenny Wesley probably isn't a name you're familiar with, unless you're a die-hard “So You Think You Can Dance” fan. (We forgive you.) However, with his debut album The Real Thing, Wesley has immediately established himself as a serious -and seriously fun- artist who's looking to bring funk back.

Welsey influences are undeniable – half the tracks on this album sound like great 70s funk, in the vein of Parliament or the Jacksons, with a heaping helping of current-day synthesizers on top. Wesley shines on these tracks, such as Real Thing and Taffy, with some down-and-dirty fuzz guitar riffs and hot drumming that make head-bobbing a virtual necessity.


Wesley doesn't contain himself to just the 70s, however. Classic 80s synth sounds make their way into tracks as well, including the so-old-it's-new-again classic Orchestra Hit sample.

Vocally, he runs the gamut of 70s-90s funk and soul, with layered harmonies that bring to mind the 90s R&B scene. At times, the album practically sounds like a collaboration between George C. Clinton and Boyz II Men – and it succeeds admirably. Wesley has a brilliant voice, equally suited for crooning on ballads or croaking out the funk, without a hint of autotuning even when he gets a bit 'diva'.

Throughout, the production by Stereo Lif is absolutely impeccable. I don't know where Wesley got his equipment or studio time, but he's got a full array of synthesizers and a full crew of background singers doing call-and-response in classic 70s style. For a private album, as yet unsigned by a major distributor, it's amazingly well-crafted and polished throughout.

Wesley also knows composition, with some really nice mixtures of synth and voice harmonies, like in the 30-second lead in to Missin U. When he's really rolling, Wesley creates a blend of R&B both old and new that manages to sound both classic and fresh at once.

This is a top-flight album, one that desperately deserves to find a distributor and a wider audience. I usually like to include some criticisms around this point, but in truth, I just cannot find much fault with this album. Unless you simply cannot abide any soul on your iPod, Kenny Wesley has a sound that's infectious for virtually anyone.

Wesley has some major talent, and I can't wait to hear what he comes up with next. This album hints at bigger things in the future, and I can only hope he has the chance to build on what he's created here.

http://www.kennywesley.com
- Jason Blalock | 'Round Magazine

Mild. Awkward. Ear-piercing. Some call him a paradox: The soulful nerd with the huge voice. His name is Kenny Wesley. ”My mom said I came out the womb screaming, and I’ve been screaming every since!” he jests. The North Carolina born, D.C.-based artist has a voice that can shatter glass, lilt with the tenderness of a soul crooner, sing a Mexican lullaby, or bust out the stank.

With an acclaimed EP, multiple collaborations, seven compilation features, and a slew of high-profile performances under his belt, Kenny has firmly placed his stamp on the burgeoning modern music movement. His songs have been featured on radio, TV (Fox’s “So You Think You Can Dance”, ABC’s “The View”) and film. Known for his impressive vocal range and high-octane live shows where he humorously showcases his killer band and his love for other cultures (he speaks 5 languages), Kenny has shared the stage with various artists including Alice Smith, Eric Roberson, Vikter Duplaix, Leela James and has performed at coveted venues including The Kennedy Center, Blues Alley, The Blue Note, and The Apollo Cafe. Highly respected by industry peers such as Ledisi, Miro Sorvino, and Kindred the Family Soul, Kenny has successfully emerged with a distinct sound all his own.

Kenny’s currently knee-deep in a ground-breaking album project with L.A.-based producer and musical kindred Noah Lifschey, whose signature cutting-edge sounds are a staple in the TV and music world, ranging from The Oscars and America’s Best Dance Crew to the MTV Movie and Music Awards, and various record labels.
- SUPERCUTS

Like butter…just like smooth, soulful rich butter. T’is the best way we can describe the silky dulcet tones of North Carolina born, Washington D.C-based artist Kenny Wesley a.k.a. The Soulful Nerd. From his critically acclaimed debut album titled The Real Thing to his numerous media features, most notably on Fox’s season nine of So You Think You Can Dance, Wesley along with producer and collaborator Noah Lifschey, have somehow achieve the great feat of successfully capturing the sounds of contemporary soul music. We were oh-so-lucky enough to have a chat with the “Nerd” himself to ask him all the important tough questions he’ll ever face in his career…

AUX: Where does the ‘Soul’ and the ‘Nerd’ come from and how did they amalgamate in Kenny Wesley?

KEN: I always felt that I was not your average guy. I’ve always kind of had interests and hobbies no one else was really into. While my acquaintances were at sports practice I was at piano lessons or at choir rehearsals at church. While they were partying, I was talking to myself in French and Spanish trying desperately to learn because I had no one to practice with. So, after a few years of being an artist, I realized that I was experiencing the same kind of oddballness in the music world. I fit in, but I didn’t. I was soulful, but I wasn’t (that only). So, instead of having to constantly explain that to people who I was for the rest of my career, I decided to brand myself in a way that explains it in a succinct way. In other words, I’m not your average soul singer…

AUX: Who are some of the more significant musical influences in your development as an artist and why?

KEN: Dionne Warwick: she inspired me to take voice lessons. The stuff she could do with her voice was astonishing to me, and I wanted to understand how she did it – on a technical level. My Grandma and my Great Aunt Daisy: they always encourage me to keep playing piano and singing and would bring me new sheet music everytime we met up and sang around the piano in harmony (they are still my biggest cheerleaders). Luther Vandross: his recordings inspired me to be sophisticated and intelligent as a singer – that less is more. Whitney: she’s probably my favorite singer of all time. Her voice practically could do anything: loud, soft, high, love, gentle, intense…magic. She inspired me to be great and to make it seem effortless. All of my music teachers… So many other major ones, but not enough time or space to put them all down and explain… Really tough question. Thanks… :) .

AUX: Who are some of the brilliant talents you have had the pleasure of working/collaborating thus far?

KEN: Wayna, Kid Koala, Butterscotch, Matthew Shell + Trey Eley, GreenTea, Maya Azucena, Teisha Marie, Wes Felton, Christie Dashiell, Debórah Bond + Third Logic, Eric Roberson, Conya Doss, Anthony David, Frédéric Yonnet, Maysa, Gordon Chambers, Angela Johnson, M!DAS, Meg Elizabeth, et al…

AUX: How does it feel when you’re on stage performing?

KEN: Electric.

AUX: What does the rest of 2013 hold for Kenny Wesley?

KEN: A promo tour for the album (US, Europe, Japan), some interesting visuals for the album, TV appearances, an interesting album I’m working on with an artist overseas, a self-help comic book, maybe another solo release (I’m always writing and recording)…

To hear more of The Soulful Nerd click on his links below. - AUX Music Group

Singer and entertainer Kenny Wesley is hot on the promo trail for his upcoming LPThe Real Thing. A blend of funk, soul and pop, Wesley’s music cannot be categorized into one genre. His sound extends across the board.

At the tender age of nine, the North Carolina native began taking piano lessons and started writing his own songs. Dubbed the soulful nerd, Wesley continued with his passion through high school and as pre-med college student, Wesley decided to follow his heart and pursue a career in music.

4UMF had the opportunity to sit down for an in-depth interview with Wesley who opened up about his love for music, how it relates to other arts for him, how he got started in music, upcoming projects, tour dates and more. Wesley also imparts some sage advice for up and coming artists looking to perfect their craft.

Take a listen below for the full 4UMF interview with Wesley to learn more about this one of a kind artist:

Wesley’s upcoming pop, funk and soul The Real Thing album is released on May 15th. For a limited time only, The Real Thing is on sale for pre-order for the low, low, LOW price of $1.07! Head over to KennyWesleybandcamp.com to reserve your copy today!

For more info on Kenny Wesley, his eclectic sound or upcoming tour dates, head over to his website at KennyWesley.com! - 4UMF News

He may be ready for his introduction to the world but singer Kenny Wesley has been making waves in the music industry for quite some time now. Dubbed the “soulful nerd with a huge voice,” the North Carolina native seemed destined for stardom since birth: “My mom said I came out the womb screaming, and I’ve been screaming every since!”

Known for his impressive vocal range, Wesley has shared the stage with various artists including Alice Smith, Eric Roberson, Vikter Duplaix, Leela James and has performed at premiere venues such as The Kennedy Center, Blues Alley, The Blue Note and The Apollo Cafe.

Wesley’s debut album The Real Thing continues to garner recognition and acclaim as it continues to climb up the charts. This full-length project has the funk and soul of the 70's with a modern and contemporary edge. Hollywood is even taking notice of Wesley; one of his tunes was recently featured on Fox’s “So You Think You Can Dance” hit television show.

Fans of funk, R&B, pop or soul will thoroughly enjoy Wesley’ The Real Thing! Be sure to pre-order your copy now at a discounted rate of $1.07 here. Also check him out on MTV.

For more info on the talented performer, check out his website at www.KennyWesley.com… - 4UMF News

For someone just now releasing his full-length debut, Carolina native and DC resident Kenny Wesley has already tasted a good deal of success: his songs have appeared on such TV shows as So You Think You Can Dance, along with The View.

Proficient in five languages (as well as five octaves!), Wesley is one self-proclaimed nerd who can pimp-slap your ears with a nasty funk.

The track, “Real Thing,” starts out pretty bass-intensive to say the least. About 30 seconds in, the vocals and bass line really start to jibe. 50 seconds in, there’s this glorious pop explosion. Dang, I wish I could sing the word “thang” like Mr. Wesley. About 2:40 in, things get really funk-da-fied.

“Feels Good” has a vicious funk guitar riff, something like John Frusciante would bang out in the glory days of the Chili Peppers.

Pre-sales available for a limited time at a discounted rate of $1.07. Offer ends 5/8/13.
Pre-sale link: http://kennywesley.bandcamp.com/

“The Window” has a chiller vibe. But that in no way prevents Wesley’s voice from launching trans-galactic. Best prepare yourself for the track’s ending.

“Closer” is, with the exception of a few lyrics, an uplifting piece. And the vocals can get soulful, especially when Wesley calls out the lyrics: “And one day!”

“Woman” has some bass riffs that flat out snap.

“Tangled” starts out pretty subdued and pleasant, with its mention of the sun “shining bright on a perfect day.” The speaker then announces: “It’s time that I share the news.” And then, at 00:48, from beyond one’s imagination comes this vocal burst:

“I wanna tangle wit’ you!” I also humbly recommend the medley of sound at precisely: 01:52. You’ll hear what I mean.

“Sophisticated” has something really strange and groovy occur at 00:31. I know I’m being ridiculously specific here, but that’s just the deal with this album: sounds just switch out of nowhere, like a Barry Sanders highlight run.

“So Sublime” has a fine hyper-energetic instrumental score. Wesley sings “sublime” in a way that transcends any meaning to be found in a dictionary.

About 2 minutes into “Won’t Let It Go” there’s this engaging, tragic-sounding interlude.

I’m not exactly sure about the meaning behind Wesley’s album title, but, with his keen pop-funk sensibility and platinum-caliber voice, he could certainly apply “The Real Thing” to his own talents.

http://kennywesley.bandcamp.com/
http://www.kennywesley.com/

Wesley’s first single, “The Window,” was licensed to the Rock Band Network in December 2012:
http://www.youtube.com/watch?v=BBf0KumGdoc - Ray Cavanaugh | Skope Mag

For someone just now releasing his full-length debut, Carolina native and DC resident Kenny Wesley has already tasted a good deal of success: his songs have appeared on such TV shows as So You Think You Can Dance, along with The View.

Proficient in five languages (as well as five octaves!), Wesley is one self-proclaimed nerd who can pimp-slap your ears with a nasty funk.

The track, “Real Thing,” starts out pretty bass-intensive to say the least. About 30 seconds in, the vocals and bass line really start to jibe. 50 seconds in, there’s this glorious pop explosion. Dang, I wish I could sing the word “thang” like Mr. Wesley. About 2:40 in, things get really funk-da-fied.

“Feels Good” has a vicious funk guitar riff, something like John Frusciante would bang out in the glory days of the Chili Peppers.

Pre-sales available for a limited time at a discounted rate of $1.07. Offer ends 5/8/13.
Pre-sale link: http://kennywesley.bandcamp.com/

“The Window” has a chiller vibe. But that in no way prevents Wesley’s voice from launching trans-galactic. Best prepare yourself for the track’s ending.

“Closer” is, with the exception of a few lyrics, an uplifting piece. And the vocals can get soulful, especially when Wesley calls out the lyrics: “And one day!”

“Woman” has some bass riffs that flat out snap.

“Tangled” starts out pretty subdued and pleasant, with its mention of the sun “shining bright on a perfect day.” The speaker then announces: “It’s time that I share the news.” And then, at 00:48, from beyond one’s imagination comes this vocal burst:

“I wanna tangle wit’ you!” I also humbly recommend the medley of sound at precisely: 01:52. You’ll hear what I mean.

“Sophisticated” has something really strange and groovy occur at 00:31. I know I’m being ridiculously specific here, but that’s just the deal with this album: sounds just switch out of nowhere, like a Barry Sanders highlight run.

“So Sublime” has a fine hyper-energetic instrumental score. Wesley sings “sublime” in a way that transcends any meaning to be found in a dictionary.

About 2 minutes into “Won’t Let It Go” there’s this engaging, tragic-sounding interlude.

I’m not exactly sure about the meaning behind Wesley’s album title, but, with his keen pop-funk sensibility and platinum-caliber voice, he could certainly apply “The Real Thing” to his own talents.

http://kennywesley.bandcamp.com/
http://www.kennywesley.com/

Wesley’s first single, “The Window,” was licensed to the Rock Band Network in December 2012:
http://www.youtube.com/watch?v=BBf0KumGdoc - Ray Cavanaugh | Skope Mag

I created this Spotlight Sound section to shine the light on some artists that are brought to my attention, and sadly I haven’t had the chance to spend time working on it. But now that I’m done with classes for the summer, I want to make sure I keep my promise and showcase the artists that I had promised to showcase. And for any artists out there (or even designers and filmmakers) that want to be on my blog, remember you can always contact me at askmethink25@hotmail.com or on Twitter @thinksoul25.

Whew, so now that I got that information off my chest, let’s dive into some great music from a soulful nerd named Kenny Wesley. I’m referring to him as a “soulful nerd” becomes that is the name that I saw on his Twitter (I ran across one of his Tweets) and he does have the characteristics of a nerd; exceptional ability to succeed.

Singer, songwriter, and pianist Kenny Wesley can sing + write songs in fluently in three languages and he has a beautiful four-octave range. This soulful crooner has the ability to capture audiences with his soulful sounds, and his songs have even been featured on “So You Think You Can Dance,” “The View,” “Music Choice” and a wide variety of other media outlets. So you see, he’s already got quite the buzz going for himself.

When I listen to his music I’m immediately taken back to the days of oldschool R&B. He sings with such a pure conviction that is undeniably soulful, and his music has the ability to be timeless. And his roots form Jacksonville, North Carolina attribute to the slight southern characteristic you hear in a few of his tracks.

My fellow neo-soul lovers that are fans of Kindred, Eric Roberson, Phonte (The Foreign Exchange,) N’Dambi, and Leela James will surely love Kenny Wesley; he’s shared the stage with the aforementioned artists and so many more, including Gordon Chambers.

When I was reading his bio and saw the name Gordon Chambers, I was quite impressed. The grammy award-winning singer/songwriter/producer had great words to say about Kenny and his musical prowess.

He said, “Kenny’s tenor is Hathaway deep, Luther warm and, in terms of color, could only be described as golden. Truly an anointing moment whenever he and a microphone cross paths.” Wow, such high praise from a legendary singer/songwriter/producer.

What more is there to say? This soulful nerd has received quite the acclaim and I’m proud to share his music with my beloved readers. He is currently working on his forthcoming project The Real Thing and his hits “Won’t Let It Go” (featured on SYTYCD) and “The Window” can be heard today!

And if you want to get in contact with Kenny Wesley, then show him some love on his Facebook and Twitter.
- Jasmine McGee | ThinkSoul25

Kenny WesleyPublished January 18, 2012 at 9:46 am

Not only can he sing in three languages, he can sing well! Kenny Wesley is a talented musician based in DC who has played all over the world, even for numerous presidents and foreign dignitaries. We chatted a bit about his music and his goals for 2012. Make sure to head over and vote for Kenny for the chance to perform at a Maurice’s Branded showcase during SXSW & a shot to record a music video! You can vote at least once per day through January 23. http://mauricesmusic.sonicbids.com/BandDetails.aspx?b=30521

Arin: What got you into music?
Kenny: I always wanted to be a singer. But, it wasn’t until I started going to live concerts while in college and reading books about the music industry that I realized that it was a realistic goal. A lot of people (even my parents at one point in time) think that being an artist is a pipe dream – a shot in the dark. However, if you perfect your gift, read up all you can on the industry, and get out of the house and meet people something is bound to happen for you after a while.

A: How long has it taken you to be able to sing in three languages?
K: A lifetime! Just kidding! In elementary school, we sang in French all the time in those basic French classes. It took about a year or two to learn to read Spanish texts without an English accent (and when you can read in a language, you can sing in it). So, it doesn’t take as long as you’d think.

A: What language would you want to speak and sing in next?
K: Portuguese or Chinese.

A: What are your goals for 2012?
K: To get a manager; to tour overseas; to chart on Billboard; for one of my videos to play on MTV, BET and/or VH1; to collaborate with a high-profile; to get a Grammy nomination!

A: Who are your musical inspirations?
K: My family, Kurt Elling, Sly Stone, David Foster, Rachelle Ferrell, George Duke, Burt Bacharach.

A: Are there any charities you support?
K: American Red Cross, Salvation Army, random homeless folks on the street…

A: What was your most memorable concert?
K: Luther Vandross – Valentines Day, Constitution Hall, Washington, D.C.

A: If you could play any venue what would it be?
K: Prince Royal Albert Hall – London, UK.

A: If you could have music on any TV show what would it be?
K: Phineas and Ferb or American Idol.

A: How do you use social networks to talk to fans?
K: I use social media to share concert dates, cool music (from other artists), funny videos, or even my political opinions. It’s cool to be able to be able to talk to thousands of people all at once – and it puts zero strain on my voice!

- Arin Segal | A Teen View

IVA Radio Plays Interview with Jazz Crooner Kenny Wesley 05/13 by IVA Radio Network | Blog Talk Radio.
. - Dr. Ande | IVA Radio Network

Who The Hell Is Kenny Wesley and (and why the hell is he covering Michael Jackson’s “Rock With You”?)

I must admit, when I got sent this email by Popdose grand poobah Jeff Giles, I wasn’t sure if I wanted to listen. I can count on one hand the MJ covers that I’ve legitimately liked. But curiosity got the best of me and I watched the video, and came away totally impressed.

Wesley got the lightness of Michael’s delivery down pat, and the music is as breezy as the vocal, with a bit more jazz flavor than the original. I particularly dig the falsetto goodness towards the song’s end.

I hope to hear more from Kenny Wesley soon!
- Blerd | PopBlerd

Briefly describe your musical story. When did you first become involved with music? Your strong voice implies that you discovered your talent for singing at an early age.

I can’t remember a time in my life when I wasn’t singing, to be honest. My mom said I was in diapers when I first started singing words and melodies. Once she noticed my ability (I sang all-day around the house non-stop…lol), she taught me some fundamentals she’d learned in her school chorus (breathing, phrasing, etc). I started writing poetry in 1st or 2nd grade and that morphed into
songwriting when I began piano lessons at age 8. I was in the band (played euphonium) and was the drum major of the marching band. I joined some chorales in college, took private lessons, and studied a few different vocal methods on CD in my free time. I was obsessed with
technique back then…it definitely has paid off. I starting working on demos in college and once I graduated, I slowly started putting together my first EP I released in 2008.

2) On your website you mention that you take pride in your individuality. Please explain the influence that this personal characteristic has on your music.

I think my taste in music reflects that aspect of my personality. I enjoy some pop, but rarely listen to it. I listen to practically all other genres. I think it opens your mind up to multiple possibilities as a musician and as a songwriter. It’s like I subconsciously don’t want to recreate what someone else has already done, so my brain is always trying to conjure up crazy stuff that comes at you from left field – whether vocally, lyrically or melodically.

3) From where or whom do you draw your inspiration? Your bio states that you are a fan of Sly Stone and Larry Graham. What other artists do you admire, and please give few reasons why you look up to them.

Whitney Houston is one of my favorite singers of all time. Primarily because her voice was so freakin’ versatile. It was powerful, gentle and agile. Very tough combination to develop. So, it enabled her to
sing practically any style of music. Al Jarreau is a big hero of mine too. He, in my opinion, created an entire new genre of music when he transitioned into more mainstream soul music with his killer jazz chops (I guess it’d be what we call soul/jazz today). Versatility and
uniqueness are the things I really hold in high esteem as far as artistry is concerned and those two artists epitomize that to me.

4) You are multilingual and your bio mentions that you believe language and music are much more connected than many would think.Please explain this connection and its importance to you.

My brain processes both the same way. When I sing or play an instrument, I visualize the tones and pick the ones that will work best within the given context or key. When I speak (whether a foreign language or my native tongue), I visualize what I want to say and link the words together as best and as clearly as possible. Both skills
require the composition of phrases (one with tones/theory and the other with vocabulary/grammar). The more well studied you are, the
more sophisticated your communication will be.

5) What kind of feeling(s) does performing give to you? Are you comfortable in front of a live audience? What is your most memorable performance?

I feel alive, open and invigorated. The rush of emotions and adrenaline you get is pretty wacky. I love performing in front of a live audience. A performance at the Kennedy Center last summer was my most memorable performance. They were incredibly attentive and gave
us a few standing ovations. It was pretty cool.

6) Describe how you have evolved as an artist over the years? What milestones in your life do you consider most monumental when it comes to your career?

I didn’t really have an idea of who I was as an artist when I began. I’d put on whatever, sing whatever, talk about whatever. It was fun, but it confused my audience. Now, I’m clea - Dani Felt/Tessa Heron | Creative Spotlights

Are you next?! Appear in Notion Music's "YOU ARE NEXT" international promotional campaign!

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- NOTION MUSIC

Kenny Wesley is a breath of fresh air in the music world. Its time that music lovers are taken to new heights in this industry and Kenny’s vocal talent is providing a wonderful ride.

- Paina B Music Marketing

How many musical artists today can sing and song write in three languages — fluently, have four-octave ranges, are expert pianists, and dedicate their lives to serving the world through music? He sings with the tenderness of a soul crooner, and in the same breath, with the grit and stamina of a rock star. Kenny Wesley is the young new face of pop and urban music.

Originally from Jacksonville, North Carolina, Kenny is part of a rich music heritage. “My mother and almost all of her side of the family are incredible musicians, so it seemed natural for me to be a musician.” He was barely a toddler when he started singing and by age 9 he had already created his first compositions for voice and piano.

His love for music and other cultures has taken him around the world where he has performed before presidents, dignitaries, heads of state, and high-profile celebrities. He has shared the stage with several national recording artists such as Stephanie Mills, Anthony David, Kindred, Eric Roberson, Sy Smith, N’Dambi, Yolanda Adams, Tamia, Zo! & Phonte (The Foreign Exchange), Vikter Duplaix, Mike Phillips, Gordon Chambers, Maya Azucena and Leela James.

His songs have been featured on a number of media outlets and projects such as: ABC’s “The View”, WHUR, Music Choice, Good Morning Arizona!, WBFF FOX45 Baltimore, soulbounce.com, The Contemporary Songbook 3 (Soulunsigned), The Soul Prototype (Kebomusic), and Beautiful Weirdo (GreenTea).

Check out Kenny Wesley’s latest video performing Michael Jackson’s “Rock With You” ft. Trey Elev on Flute
- Paina B Music Marketing

Kenny Wesley’s new single, “The Window”, doesn’t show much promise. There are prominent pounding drums, and guitars dance up and down. However, it’s boring from the get-go: the hook lacks punch, the bridge is unappealing, and his voice lacks emotional power. Wesley claims that he “wanted to take music with the ‘70s funk feel of Graham Central Station, Sly & The Family Stone, and Stevie Wonder but rock it with a modern feel of bigger drums and slamming vibe to keep it from just sounding retro and old.” The drums are big but they are also lifeless and dull, and the bass has little presence. The song doesn’t have much in the way of funk and it has none of the creativity and unpredictability of Stevie Wonder or Sly, let alone the fun and cheekiness. Wesley may be trying to update an old sound, but he should work harder on locating its musical spirit. In his eagerness to fast forward to the present, he left the groove behind.

- Elias Leight | Popmatters.com

Kenny Wesley recently wowed us with his impressive remake of Michael Jackson's "Rock With You," and he's striking while the iron is hot with the release of a new song. "The Window" is the lead single from his upcoming as-yet-untitled EP, expected to drop in early 2012. Wesley teamed up with producer Noah Lifschey to create this tasty bit of contemporary soul ear candy. Kenny turns in another amazing vocal performance on a song that sounds totally different from anything I've heard him on before. I appreciate artists who can switch their tried-and-true style up and still release good music such as this.

- Butta | Soulbounce.com

INTRODUCING A NEW ‘FUNK’ ARTIST!

Kenny Wesley is currently launching his debut single,”The Window”, produced by LA Film/TV composer Noah Lifschey. “The Window” is the leading single on their yet-to-be titled contemporary concept LP that will be released early 2012. The sound is soul with a hint of funk in it; funky good-grooving music.

Kenny has already been making waves in the music scene and after listening to his fresh sounding track we can see why…

“Kenny’s tenor is Hathaway deep, Luther warm and, in terms of color, could only be described as golden. Truly an anointing moment whenever he and a microphone cross paths” – Grammy award-winning Singer/Songwriter, Gordon Chambers.

- Sarah Popledge | Popledge

Soul Spotlight on Kenny Wesley May 3rd, 2011 | By admin
I first became familiar with Kenny Wesly last year and was immediately drawn to his sound. I remember sitting in the back of the room and I could feel his energy and passion even though I was far away. From the moment I met him I told him “I’ve got my eye on you” – and I do. Kenny is an emerging indie singer and his talent extends beyond his four-octave range. I sat down for a few moments to catch up with Kenny before he opened for the incomprable Stephanie Mills. I wasn’t able to attend the show but I heard Kenny was amazing and so was Ms. Mills!

CS: What inspired you to begin a career in the music industry?

Kenny: I started working on demos when he was in college at Howard University and I started looking for some producers who could take my demos and help me to make a sound palatable for the radio. I didn’t really know anyone at the time and I was basically throwing rocks in the dark, looking on the internet, trying to find out who were the producers in the city who were willing to work with underground, unknown, independent talent. It took a long time for me to begin putting out professional quality demo records. The first producer I worked with was not even from the United States, and we still work together to this day. His name is Jimmy Sam. I found out about him from a flyer I saw on a window at a Latin bookstore. I called him up and we met, his music was incredible and we began working.

CS: How long have you been singing?

Kenny: At a professional level for 11 years. Working and recording for 5 or 6 years.

CS: Not only are you a singer and songwriter but you are also completing your Master’s Degree. What are you studying and how do you plan to use your degree?

Kenny: I am getting a Master’s degree in Spanish and the concentration is interpretation and translation. I have been working as an interpreter and translator for the past 8 or 9 years. That is my other passion that I really enjoy. I have worked full-time and freelance for some time now and I plan to continue working in this capacity. I also plan to incorporate this in to the creative aspect of my life, I have written some songs in Spanish and French and I will be releasing more tracks in foreign languages – dabbling into world music a lot more as well.

CS: How many languages do you speak?

Kenny: I can speak Spanish and French fluently; German and Hatian-Creole conversationally and I can read proficiently in all of those languages.

CS: Some say you a reminiscent of Luther and Rashaan Patterson but how do you define your style of music?

I still don’t know how to answer this question. It’s hard to define your music when using other people’s names in the definition. My influences are classical and gospel music. I grew up and I am still very much into the church and classical music because that is what I studied formally in school. I didn’t have the luxury of learning Jazz early on; I started to learn that when I was in college on my own. Classical and Gospel are the foundation and then from there I would inject jazz. So that is the theoretical stylistic foundation to my sound. Vocally, singers in all of those genres would be influences. Ironically, none of the people I am compared to did I study or listen to growing up except Luther Vandross. I love, love Luther Vandross. I listened to him a lot including Dionne Warwick, Whitney Houston, Mariah Carey, Shirley Cesar, James Cleveland, and Celine Dion.

CS: You have a new video out for “Cloudin’ Up My View” what was your inspiration for writing that song?

Kenny: I went through a really rough time during my middle years of college while discovering myself. I was very shy and passive and I let people walk all over me. At some point when you grow up you get tired of getting mistreated and really being misunderstood. That was my song of liberation and walking away from unhealthy relationships and coming into my own as a person and as an artist.

CS: I know you are still early in your career but what do you feel is your greatest accomplishment to date?

Kenny: It is a really simple answer. Whenever, I was able to earn enough money from a show to take care of my band and not pay out of my pocket. When I first started performing the ticket prices were low because we were trying to fill up the place that I would end up going in the whole and I had do go into my own bank account. So whenever, I got to the point that I didn’t have to do that I felt really good about the progress I made.

CS: What’s next for you?

Kenny: I am always writing and collaborating with other artists. I am planning on releasing a new album by the end of the year. I am just saving and waiting for all of the resources to come together.

CS: What do - Chasing Soul

When you possess a four-octave range like Washington, DC-based singer/songwriter Kenny Wesley does, it's pretty much guaranteed that you can sing anything and sing it well with relative ease. So when I ran into him this past weekend and he told me that he remade Michael Jackson's "Rock With You," I didn't hesitate to tell him to send it to me quick, fast, and in a hurry because I knew that it would be an aural treat. It goes without saying that I love it when I'm right. Produced by Matthew Shell and Trey Eley (who is also featured on flute), this rendition turns Michael's beloved hit into an upbeat jazzy number, and even MJ purists will have to give it up to Kenny for his stellar vocal performance. Wesley hits both the honey-coated warm notes and soaring highs with the same aplomb. I've heard this brother sing live on numerous occasions -- he's shared stages with Stephanie Mills, The Foreign Exchange, and Deborah Bond to name a few -- and he never disappoints. His "Rock With You" is no exception, and you especially won't be disappointed with the free download.


- Butta | Soulbounce.com

Watch Kenny Wesley 'Rock' Out In The Studio
Butta | 10/19/2011 at 5:30 PM |

With the exception of a couple of dissenting opinions, the overall reception for Kenny Wesley's cover of Michael Jackson's "Rock With You" was a warm one. Most (myself included) agreed that he slam dunked his version, coloring outside the lines but still remaining true to the original. Now we get to see Wesley in action bringing this song to life in the music video for "Rock With You." There's nothing fancy here and no glitter suits or mimicry of the original video, but there is Kenny recording his vocals while Trey Eley accompanies him on flute during their studio session with Matthew Shell aka MTS behind the boards. You won't find any studio trickery or Auto-Tune here, folks. This is 100% singing at its finest. Watch and take notes.

- Butta | Soulbounce.com

October 19, 2011 ·
SoulTrain.com caught up with D.C.-based singer Kenny Wesley as he prepares for his upcoming concert, a tribute show for the late Luther Vandross that he will headline in November at the famous Blues Alley in Washington, D.C.
“He had such a sophisticated approach to arranging and singing,” Kenny says of the late crooner. “Every instrument part, every vocal inflection had purpose. Studying [Luther] exposed me to the technicality involved in soul music. With him the music went way beyond the emotional realm; it became almost scientific, and he knew all the right formulas.”

And Kenny has studied his share of timeless legends in soul music. He ranks Rachelle Ferrell at the top of his list of favorites, and just this month, released a single covering music’s all-time favorite star, Michael Jackson. Not everyone can redo an MJ classic like “Rock With You” and sound better than the gloved legend himself, but Kenny does just that with his recent single release of the popular cover. Showcasing his four-plus octave range and melodic jazzy soul leanings, Kenny gives a glimpse of what he has on the horizon as he prepares to release a yet unnamed new body of work.

In this week’s Sound Check, we ask him a few questions to get a glimpse into his process—understanding who he would most like to work with and why working with the eclectic bad boy Wes Felton was one of his best collaborations.

SoulTrain.com: Kenny, you are a rising star who has been amassing acclaim as you perform music that can be defined as both jazz and soul. How do you define your style?

Kenny Wesley: I would call it soulful, funky, and improvisational.

SoulTrain.com: Well you’ve taken that soulful funk all over the country it seems. You’ve performed at some pretty incredible venues, including the Kennedy Center. Is there a venue that you wish most to perform at?

Kenny Wesley: Most definitely. Prince Royal Albert Hall in London, UK.

SoulTrain.com: I’m sure they would love you in the UK. Next month, you are headlining at Blues Alley, the renowned music venue in Washington, D.C. next month as you give a tribute show to the late Luther Vandross. How has Luther influenced your music and your desire to make music a career?

Kenny Wesley: Since I started musically on the classical and gospel side of things, I immediately connected with the duality that existed in his music between the innate and the refined. His music inspired me to forge ahead.

SoulTrain.com: His influence on your music is evident to me, but why do you think people should be on the look out for you?

Kenny Wesley: They should be on the look out because I love music and I think I’m pretty decent at it.

SoulTrain.com: I would say that you’re more than pretty decent. You’ve been working with a number of artists over the years as a songwriter, background support singer, co-producer, and duet partner—what is one of your most memorable collaborations?

Kenny Wesley: I really enjoyed working with Wes Felton. He is such an intelligent artist. That being said, he has so many different approaches at his disposal which enable him to pull what he needs from each artist he works with. He’s not afraid to try anything creatively, so you had better be prepared to step up to the plate too if you’re going to work with him.

SoulTrain.com: Well, you certainly bring many skills to the table. You are a linguist and skilled in speaking different languages, particularly Spanish. You can be heard on backing vocals on Maimouna Youssef’s latest CD The Blooming. Has this inspired you to cross into international music or creating a Spanish-speaking CD?

Kenny Wesley: I definitely plan on releasing Spanish and French language recordings. I have a few I haven’t released yet. I incorporate those languages into my live shows all the time. Just recently, I performed some standards in German for students at Howard University.

SoulTrain.com: Wow! With such a rich and diverse background, who are some of the indie artists on the scene now that you find inspiring and models for your own career?

Kenny Wesley: There are so many. The first that come to mind are Deborah Bond, Eric Roberson, Gordon Chambers, Maya Azucena, and Angela Johnson. They’ve been doing it for so long and have been doing it well. Not only are they pioneers, they are great spirits.

SoulTrain.com: Well, with that said, let’s switch gears. This year, Soul Train celebrates its 40th anniversary. Is there a favorite Soul Train memory that you have as you watched the show growing up?

Kenny Wesley: I remember seeing an archival clip of Aretha Franklin at the piano with Smokey Robinson singing a live duet version of “Ooh, Baby, Baby”. It doesn’t get much better than that.

SoulTrain.com: You’re right. Classic soul. When can we expect the new album from you?

Kenny Wesley: Expect something grittier than my early recordings. I’m trying different things in the studio that I, up to this - Khadijah Z. Ali-Coleman | Soultrain.com

DC Singer Kenny Wesley Teams with LA Producer Noah Lifschey for Inspiring Debut Soul Jam ‘The Window’
October 22, 2011 *Soul music lovers in the nation’s capital know the name Kenny Wesley as a passionate purveyor of ballads who has opened shows for the likes of Stephanie Mills, Carl Thomas and Anthony David. But he’s taking a turn for the funkier on his official launch single “The Window,” a collaboration with L.A.-based Noah Lifschey, widely respected within the industry as a prolific producer of sizzling music for TV shows such as “America’s Best Dance Crew” and the MTV Movie and Music Awards programs.

“The Window” weds a thumpin’ groove to a self-affirming message that Wesley rocks with a righteous and uplifting vengeance. The song represents a sonic revolution as part throwback and homage, part contemporary slam jam.

“R&B is so overproduced and pre-manufactured now,” Wesley states. “It’s missing the grit that it used to have. Noah and I are trying to bring it back yet keep it relevant.” Lifschey affirms, “I’ve always wanted to take music with the `70s funk feel of Graham Central Station, Sly & The Family Stone and Stevie Wonder but rock it with a modern feel of bigger drums and slamming vibe to keep it from just sounding retro and old.”

As the lead-off single of a yet-to-be-titled contemporary soul concept album, “The Window” has an intriguing point of origin. “It began as a 40-second piece of music – a partial verse and a chorus – I wrote for a contestant on ‘So You Think You Can Dance,’” multi-instrumentalist Lifschey confesses.

“The song got a lot of great write-in feedback from viewers wanting to know what it was and where they could get it. Because I’d already been working with Kenny since June, I completed the music with live guitars, keys and custom programmed drums, then invited him to help me finish the lyrics. I’m a big fan of Seal who’s known for his lyrics being a bit vague. Generally speaking, ‘The Window’ is about being in the moment instead of allowing yourself to get caught up in a train wreck of thoughts that stifle you.” Wesley, who contributed to the lyrics and arrangement of the melody, adds, “It’s about taking an introspective look at one’s self and being honest and unpretentious with the people around you – something there isn’t enough of in the music business today.”

For a guy whose early vocal influences were Burt Bacharach-produced Dionne Warwick and the late, great Luther Vandross, Kenny Wesley is embracing the edgier sound quite nicely.

“I guess I’m going all the way back to my original vocal roots,” Wesley concludes with a chuckle. “My mom always said I came out the womb screaming!”

“The Window” is available on - itunes – CD Baby – Amazon.com and many other retail outlets.

www.kennywesley.com / Twitter: @kennywesley / Facebook: kennywesleymusic

- Lee Bailey | EURWeb

Special to The Washington Examiner

Soul singer and songwriter Angela Johnson has begun to recognize her place in the musical scheme of things.
"I've played some very amazing places like Baltimore's African-American Festival, Rams Head Live and Blues Alley many years ago," she said. "I'm glad to be a part of such history, but I'm out to make my own history as well."

Sunday night she is one step closer to her goal with a return appearance at Blues Alley. She will be singing and performing on acoustic piano accompanied by her bass player, Trevor Allen, and drummer Leslie Cleveland. She will also be using local backup singers Deborah Bond and Kenny Wesley. She calls them all "fantastic singers and artists in their own right."

Onstage
Angela Johnson
Where: Blues Alley Jazz Supper Club, 1073 Wisconsin Ave. NW
When: 8 and 10 p.m. Sunday
Info: $25; bluesalley.com

Most of her tunes will come from her own catalog of music, which consists of the recently released solo albums "They Don't Know" and its intimate follow-up "Got to Let It Go," both recorded on the Purpose label. Johnson teases she will also perform a few covers by Teena Marie and Stevie Wonder, one of which is "All I Do."

"This is the kind of music that lasts forever, and this is the kind I want to make -- music that will live long past my years on this Earth," she continued. "These [songs] make me feel the soul music; the expression that touches every corner of your soul, the kind we need to continue to exist on this Earth."

Years later, as a frontwoman for the rock band Cooly's Hot Box, which began at the State University of New York at Purchase, she recorded on the Polygram and Virgin labels before deciding to make a go of it on her own, a decision she has never regretted, as it brought her to Russell Johnson, her manager and husband.

Angela Johnson says she will start her Blues Alley set in a mellow mood at the keyboard with her vocalists, drawing the audience in, she says, "rather than hitting them with something loud" at the show's beginning.

"I love interacting with the crowd, and my artists will each have their own moment to shine," she said.

Read more at the Washington Examiner: http://washingtonexaminer.com/entertainment/music/2011/05/angela-johnson-sooths-soul-blues-alley-tonight#ixzz1N6RaTM6z - Marie Gullard

CONCERT REVIEW: Stephanie Mills and Kenny Wesley, April 30, 2011

Stephanie Mills returned to The Birchmere for a triumphant show on April 30. With over 35 years in the business, Ms. Mills knows how to take an audience on a journey. Stephanie took the stage with her hit “Something In The Way You Make Me Feel.” The crowd roared approval as soon as she appeared in a glowing white satin gown, after beginning the song off-stage. The voice, as strong and evocative as ever, filled the capacity hall with joy.

Ms. Mills promised to sing all her songs during the show, and she did an amazing job of it , performing 14 songs in about and hour and a half. She covered every part of her career, performing both the hit singles “(You’re Puttin’) a Rush on Me” and a rousing “Sweet Sensation,” and album favorites like “Starlight,” “Jesse” and "Secret Lady."

Of course, one of the highlights was the full blown drama of “Feel The Fire,” where the three male background singers (Sylvester, Rusty and Richard) had an opportunity to really show why they got the job. Those voices were sheer power and supported Ms. Mills magically. The primo 4 piece band continued playing as she exited the stage for a costume change.

Displaying energy that would baffle performers half her age, which she proudly claims as 54, Ms. Mills returned in a cobalt blue mini dress with her first single, "Whatcha Gonna Do with My Lovin'". She used the hit “Keep Away Girls” as a background to introduce the members of her band which sounded twice as large in the hall. She was the only woman allowed on this stage!

After a sensuous “I Feel Good All Over,” Stephanie reached back to her 1984 LP for what she called her favorite song to sing, the Kenny Loggins’ penned “Give It Half a Chance.” She sang the song with conviction and passion. Then the party kicked off with a rocking version of “Never Knew Love Like This.” She jumped for joy as her guys sang “Never…Never.” She moved from one side of the stage to the other, sharing this outpouring of love with her audience, and wound up dancing on a table before it was over. This was followed by a funky “Put Your Body In It,” which she definitely did, working the stage like a club dance floor. Those were the moves of someone a generation younger!

The emotional highlight of the show was her final number, the modern classic “Home” from the Wiz. In a tour-de-force performance, Stephanie updated the ad-libs in the closing to include her friends Michael Jackson (who told her Don’t Stop ‘Til You Get Enough), Barry White and James Brown to name a few. It was a fitting end to an emotionally packed and first-class performance from a true professional – a show biz legend.

The show was opened by DC based singer songwriter Kenny Wesley who is making a name for himself as one of the most promising independent artists on the scene today. Possessing a resonant and versatile voice, Wesley accompanied himself on keys performing two of his original compositions, “I’m Sorry” and “Clouding Up My View”. He dazzled the audience with his tone and range, sliding into low notes skipping into highs. Remarkably, he has a gift of scat with an uncommon musicality.

Kenny Wesley
He introduced his family members (who had traveled from North Carolina for the occasion) and gave his grandmother, who he credited with teaching him to sing, an early Mother’s Day bouquet of roses and then sang a modern and stirring version of “Amazing Grace.”

Kenny had some remarkable comments to share about the power and durability of soul music which proves he really gets it. He wisely chose to honor the legacy of one of his influences, Luther Vandross by performing a medley of three of his recordings, “Going In Circles,” “Superstar” and “Creepin’.” Kenny was able to really show what he’s capable of by pulling off these songs for an audience of classic soul fans. Then to cap it, he closed with a classy version of “Walk On By.”

This young man has quite a future ahead of him. My words of advice to him: Dream Big!
- Michael Lewis | Soulmusic.com

Kenny Wesley is originally from Jacksonville, North Carolina. His mother was a musician, as was most of her side of the family. Naturally, Kenny fell right into music at a young age and by the time he was a toddler he was already singing. By the age of nine, he was composing for the piano and voice.
Performing all around the world for numerous heads of state, presidents, dignitaries and celebrities, Kenny is on the move. He has shared the stage in prominent jazz clubs with such notables as Maya Azucenc, Jeane Carne and Jimmy Sommers. Kenny has also been on The View, African Rhythms, WHUR Radio and Music Choice.
Kenny’s voice takes a listener on a journey of soaring high notes and plunging low tones. His warm voice permeates your ears and makes you want to listen to every note. Stay tuned for his up and coming album release, “All in a Week" later this year.
You can purchase his music at CD Baby, ITunes, Snocap and Amazon.com (link provided).
- Dana Wright

....Phil's label makes another appearance here, showcased by the third in his series of releases featuring the best material recorded and released by the next generation of Soul singers out there. Phil is invaluable to myself, as, the amount of music sent here can at times leave this listener a little 'beat weary'. Phil and his team give me the nudge I need from time to time, to return to albums which I have skipped over, without paying the due attention which I ought to give to these great people. Comes from being a one man band I guess? On this album there are 16 'ear picked' songs from Soul Unsigned, which are always of the highest standard. It's why I regularly review these releases here. I loved the Reneda track here, which I remember listening to earlier this year. Missed me then, but hits home right now. Picking the ripest fruit, from a dish that is full of the ripe stuff, is not an easy task, however, Nate White really did make me reach for the volume dial, as did the Kenny Wesley song 'Serenity'. 'Dance My Love With You' by Ebony Evans was another killer song as were Me'Na's lovely 'Deja View' and the Neo-Jazz Project, Mamayo, Papik and, the wonderfully named, Marshall Badger's lovely 'He Did It All For You'. I can imagine the Jones Girls giving this song the full on Philadelphia International treatment. A very nice set of songs (as always), from a great label, represented by Phil Driver (who is a very nice bloke, all told!). - Toby Walker | Soulwalking

The album "The Contemporary Soul Songbook Volume 3" contains sixteen tracks. A nice thing about these volumes is that you might be introduced to artists you have never heard of before. Sixteen tracks mean sixteen new names and faces which always arouses one's interest.

The first track to really grab your attention might be "Hell On My Hands" from Charlie Brown. The theme of this song might remind you of Luther Ingram's "If Loving You Is Wrong(I don't Wanna Be Right)". In a compelling bluesy soul song the temptations of life have been written down and sung.

The passion from Antoinette in "Indulgence" will make you love this song. Very convincing is The New Congress with the song "With Me". It begins somewhat like "Down By The River" from Buddy Miles and then changes into a more rocky song. Kenny Wesley has the groove in the kind of stepper's song "Serenity" from his 2008 EP "I'm Sorry". He has a pleasant voice to listen to and uses it to the fullest in this song. Saxophonist Eldon "T" Jones is strongly present on the sensual track "A Good Thing" from producer Brandon Woods. You can call it a laid back late night track with smooth voices from Tracey Harris and Ronnie Wright. Me'Na with "Deja View" also gives you that midnight feeling. A bit of a George Benson guitar style we hear in "He Did It All For You" a smooth jazz song from Marshall Badger. Seductive Souls featuring Aaron Washington with "Your Love" might seduce you to. Last but not least Papik plays the sweet mix of latin and samba "Rhythm Of Life".(TA)

Stand Out Tracks: Hell On My Hands, Indulgence, With Me, Serenity, A Good Thing, Love Surreal, He Did It For You,Your Love, Rhythm Of Life


- Richard de Jong | Save Our Soul

“Serenity” – Kenny Wesley
“He Did It All for You” – Marshall Badger
From The Contemporary Soul Songbook Vol. 3
Soul Unsigned Records (2010)
www.soulunsigned.com

Soul Unsigned Records is a UK-based label dedicated to supporting unsigned and independent soul, funk, and jazz artists from around the world. The label has a weekly radio show that airs on FM and Internet stations in the UK, US, Sweden, Spain, Italy, The Netherlands, Germany, Austria, Lithuania, Canada, and Brazil.

Soul Unsigned also provides exposure to promising new artists through its popular various artists compilations. The latest comp, The Contemporary Soul Songbook Vol. 3, features inspirational tracks by Kenny Wesley and Marshall Badger.

Wesley, an urban inspirational artist, delivers “Serenity.” It is an easy rolling piece with an ever-so-slight disco bass line that demonstrates the singer's conscious or subconscious emulation of Stevie Wonder in musical style and vocals. Wesley also assumes the role of Christ, reassuring his people to "stop worrying, the victory is already won."

Badger is an inspirational jazz musician, his deft guitar styles reaching back to Wes Montgomery. His “He Did It All for You” is smooth, calming and atmospheric. Silky female vocals remind the listener of how Christ “took your place” to save you, “even though you didn’t deserve it.” It's a bitter pill, but it goes down easy. - Bob Marovich | The Black Gospel Blog

The blues has the ability to unearth the essence of pure talent. The singer stands before his crowd completely stripped of augmentation; revealing potential gifts and flaws. From what I heard sitting in a dimly lit Blues Alley on a brisk January evening, gifts were all that Kenny Wesley, in all of his awkward charm, was delivering and there was not a not a flaw in sight.

It’s a treat that is all too infrequent; being able to watch an artist be completely transparent. True performers will always deliver a performance potent with raw emotion that’s evident in their facial expressions and movements, but Kenny gave only of himself and the true mastery of his voice while an intensely intrigued audience listened. There were no fireworks or fancy background dancers; only a singer with a microphone under warm stage lights, backup vocals and a four piece band. The rest of the synergy was created by pianist and music director, Marcus Young; bassist, Karlton 'Ice' Ross; guitarist, Jason 'JRok' Young; drummer and Shaun "Op" Michael. Background vocals were provided by Danielle Withers – Soprano, Carmela Daniel – Alto and Carlton Rucker - Baritone/Tenor.

Hailing from North Carolina and currently a Chocolate City native, Kenny’s lineage foreshadowed his destiny. Kenny’s enthusiasm for music makes it quite obvious that it would be quite improper for him to be doing anything but what he’s doing right now.

At Blues Alley on this past Monday night, Kenny’s voice demonstrated an authenticity that spoke for itself. The line-up included some of Kenny’s original songs and some old Jazz favorites. Of course Kenny gave songs such as “Favorite Things” and “Walk on By” justice, but the songs off of his upcoming LP and EP, such as “Sorry” and “Remember Us” also got well deserved previews.

Kenny’s four octave range and quirky accessibility held the audiences’ attention captive with its plunging low tones, soaring high notes and mastered control. The soft melodies provided by the band were struck a perfect balance so as not to overshadow Kenny’s crisp and unencumbered vocals. His songs took its listeners on a journey through love’s perils and triumphs; their breath hung on every note.

Adding to the mix was a duet with local DC artist, Kev.O; a song entitled “All an Illusion” with a sultry and smooth mix that conjures images of Kenny Lattimore and Eric Benet. To be young Black and gifted must be both a burden and a curse during a time when the world is in need of more no nonsense music.

It’s difficult to compare young singers of today to trailblazers of the past without implying that contemporary artists cannot stand on their own their two feet. But likening Kenny to legends such as Donny Hathaway and Stevie Wonder is almost inevitable, as he sounds like a combination of the two.

A young and promising musician, Kenny’s voice, music and lyrics are all a testament to the power of music to come full circle. Those who worry that music is dying a slow and methodical death by the hands of young producers and record companies that see nothing other than dollar signs, can rest assured that true musicianship is still a lauded gift despite how mistreated it may be. - Andrea McPherson | DC Urban Arts Examiner

Before launching into a favored composition by the legendary songwriting team of Burt Bacharach and Hal David, singer Kenny Wesley expresses gratitude for the small audience that has filled a part of the Hat Factory’s Current restaurant for the monthly installment of the Saturday Soul Social.

The jazz-influenced singer, co-headlining the show with fellow Washington-based singer Green Tea, scats his way through a short set, which includes classics such as “Walk on By” and “Creepin.’” The tenor also fits in an original composition, “I’m Still Here,” as well as a surprisingly effective soul-jazz take on “Amazing Grace” before rejoining a rapt audience of roughly three dozen people.

Current holds a few more than 80 patrons for the free, once-a-month Saturday Soul Social, so the relatively light attendance feels almost intentional. Wesley doesn’t seem to mind as he performs on a small stage. His energetic performance, aided primarily by guitar and drums, fully engages the crowd, which provides approving feedback during his brief set. After the show, the singer acknowledges how important ongoing events like the Saturday Soul Social are to his career.

“We are invisible to the mainstream,” he says. “So these types of events really give us a voice.”

Providing a voice for artists whose music is rarely heard on commercial radio was the primary reason why indie soul artist and Richmond native Jarrard Anthony started the Saturday Soul Social five months ago. The former manager of Current approached him to host regular acoustic shows, which would feature not only professional headliners but also an open mic segment.

“There’s really no regular opportunity to experience the indie soul music scene,” Anthony notes, “I think this is a great event to do that. It really does fill a void here. There was really nothing here for the singer-songwriter … especially for the soul genre.”

Anthony, who has released four studio albums over the years, is one of the more prominent acts who inhabit the so-called indie soul music scene. Once the music industry started experiencing slower sales a half-decade ago, many major labels began trimming their artist rosters. Partially because of that, as well as the access to distribution and international visibility that the Internet now provides to independents, a whole new scene of musical acts such as Eric Roberson, Choklate and the Foreign Exchange has sprouted nationally from the residue traces of the 1990s neo-soul movement.

A few of these artists enjoy a significant level of celebrity, having managed to secure some commercial radio airplay or music videos in rotation on broadcast outlets like VH1 Soul. But for the large majority, intimate events — playing to small, musically sophisticated audiences such as the Saturday Soul Social — represent their usual artistic outlet.

It’s a reality that artists like Anthony and Wesley begrudgingly embrace. “We are forced by the design of it, to become a part of the community, which is beautiful because art used to be like that,” Wesley explains.

The next Saturday Soul Social, scheduled for Dec. 4, will feature Jarrard himself as the headliner; buzz-worthy indie soul acts Alison Carney, Jon Bibbs and W. Ellington Felton are on tap for the first quarter of 2011. The 31-year-old Jarrard, who has enjoyed a sizable national presence in the past, will release his fifth studio album next year, in partnership with a major label imprint of Universal Records. Although he could have left his Richmond home years ago for a larger market, such as Atlanta, the singer and guitarist is committed to both growing and hyping the local indie-soul scene.

“Richmond is one of those places that you rep, no matter what,” he says. “I think Richmond needs to stop looking outside of itself and start working on elevating and nurturing the artists inside of it.” - Jerome Langston | Style Weekly

Review -

Sorry is an excellent midtempo ballad, a bit Stevie Wonder-esque and some fine keyboards. Serenity also is a very nice nice track and one that grows, and lays down a very catchy persistent groove. Both these tracks have the makings of being strong.

- Mike Ashley | Life and Soul Reviews and New Releases

It is usually a delight to listen to an album from Soul Unsigned Records, one of the few record labels flying the flag for the unsigned talent around the world. The focus of this particular series of albums from the label is to present a more soulful catalogue of songs, so you will not find any funky beats, house tinged tracks, or anything disco inspired. Instead you fill find more mid-tempo songs, sometimes jazzy, sometimes gentle and light, and at times - dare I say it - remarkable.

Admittedly I was not blown away by the all vocal talents on every song on The Contemporary Soul Songbook 3; however I was easily able to find something soulful on each track. Whilst soul can be found in many types of music, there are more jazz leanings on this album, either in the vocal style, bassline, or arrangements -- though I would not for a moment say this a jazz album; if anything those leanings made it even more enjoyable to listen to. "Can't Do Without You" by Nate White could easily sit on a smooth jazz chart, and there was something reminiscent of Sade's ‘Cherish The Day" about it, until the vocalists Razzberry and Inisha Clark started singing, and showed why the song deserved to be on this album. Just as jazzy, yet with completely different styles, were "Deja View" by Me'Na and "Love Surreal" by The Neo-Jazz Project.

Indeed I struggled to find just one standout track on this album, such was the strong and diverse quality of tracks. "No Fantasy" by Pvibez featuring Dee Freer was indeed a musical fantasy of different instruments layered against beautiful vocals, and the album closer, "Rhythm Of Life," delivered over 4 minutes of performed Brazilian delight performed by an Italian group. Yet still I was just as moved by the contemporary gospel track "Serenity" by Kenny Wesley, a groove and sound I am sure the Lord would approve of. Then I was seduced by the slow, sensual, jazz tinged "A Good Thing" by Brandon Woods featuring Eldon "T" Jones. And then there was a final contender in the shape of Charlie Brown, with his stirring vocals track "Hell On My Hands," a tale of the result of falling for the temptations of a woman. Each of these tracks is deserving of its own paragraph about what I liked about it, and how it is right that it is on this album.

Maybe I have finally figured out the type of album Phil Driver of Soul Unsigned Records is trying to produce, or maybe the choice of songs he had to choose from was larger this time around. Either way The Contemporary Soul Songbook 3 delivers what it promises on the packet, Soul Unsigned Records has produced another album that I can highly recommend. Upon listening to the last track on the album I felt truly satisfied that I had heard some of the best contemporary soul music out there.
- Ricardito | Soultracks

For my sins I've supplied the introductory sleeve note to this, the third in Soul Unsigned's Contemporary Soul Songbook series. The gist of my little homily is that though we can all clearly remember our soul entry point (mine was 1964 by the way) and dearly cherish the music that first won us over, genuine soul lovers will always seek fresh new sounds with the ability to affect their emotions and connect with their souls in the same way as it did at that first, magical dawning. Here we have 14 fresh new sounds courtesy of the Soul Unsigned label and each one has the potential to do both those things. How much they might play on your emotions and connect with your inner being will, I guess, depend on your receptivity and the particular soul sounds that might be your preference. If you like foot tapping, head nodders there's plenty here that will appeal – most notably French muso, Wadz's Leon Beal-vocalised 'We Can Make It' and the 2008 recorded 'Serenity' from Kenny Wesley. Like it a little more mid-tempo? Well, try ReNeda's sultry 'Rest Of My Life' or the laid-back 'No Fantasy' from Londoner, Pvibez. If you prefer the ballads then Me'Na's 'Deja View' and The Neo Jazz Project's 'Love Surreal' will fit the bill perfectly. Maybe you like your soul a little jazzier.... then go straight to Antoinette's 'Indulgence' or Brandon Woods' 'A Good Thing' (Eldon T Jones on vocals there). The gospel side of soul is represented by Marshal Badger's 'He Did It All For You', while Southern soul has great representative in the classic story-line song of 'Hell On My Hands' from Alabama's Charlie Brown. Fans of harmony groups will delight in New Congress' 'With Me' and if Latin rhythms do it for you then there's Seductive Souls' 'Your Love' and Papik's 'Rhythms Of Life'. Then we need to mention Nate White's bassy 'Can't Do Without You' and the organic soul of Mamayo's 'Waiting'. In short, something to appeal right across the soul spectrum.... but great music throughout, pity about those sleeve notes! - Bill Buckley | SOUL and JAZZ and FUNK

My love affair with soul music began in 1964. I was just about old enough to scrape into the now famous Cavern Club – a twenty minute bus ride away from the drab, austere post-war council estate where I grew up..

The music played in that dank, disinfectant flavoured basement provided a wonderful escape from all the drabness and the austerity. In those days the repertoire of the beat groups (they were never bands!) consisted chiefly of cover versions of obscure American songs.

One evening, one group, The Escorts, announced that their next song was to be their take on a tune called ‘It’s All Right’ by a group called the Impressions. They sang; I was mesmerised. (If you truly know soul, you’ll know what I mean).

If a second-hand version by four scruffy Scousers could be that good I just had to have the original by those exotic Impressions. I found it in NEMS Records Store (owned by Beatles’ manager Brian Epstein, by the way) and I played it to death..

Now, 45 years later, I still play it almost every week. I’ve even stipulated that it must be played at my funeral - not that I’m planning to have it just yet! The point of all this nostalgia is that, yes, we all vividly remember our soul entry point, but real soul lovers (like their passion) evolve and move on..

It’s clear I dearly love ‘It’s All Right’. But I equally adore Maxwell’s ‘Ascension’, Anthony Hamilton’s ‘Change Your World’ and thousands more..

When I fell in love with them they were all brand new and very different to ‘It’s All Right’, but with the same ability to affect your emotions and connect with your soul. And hitting on new music is part of the joy of a true soul fan’s odyssey..

Which, finally, brings us to Phil Driver and this compilation, the third in the Contemporary Soul Songbook series. The music here is all shining new and, believe me, there’s plenty here that will go onto my ever-evolving, life-enhancing playlist.

Stuff like Kenny Wesley’s ‘Serenity’ and Seductive Soul’s ‘Your Love’ have already had the same impact on me as ‘It’s All Right’ did all those years ago. There’s still a huge thrill to be had from hearing a new, quality cut for the first time, and thanks go to Soul Unsigned for allowing us to do just that.

Real soul people love and respect the past but delight in the new. There’s a lot to delight in here.

- Bill Buckley | SOUL and JAZZ and FUNK

Acclaimed Contemporary Jazz & Soul Singer-Songwriter Kenny Wesley has been featured on ABC's "The View" and has been compared to Luther Vandross, Donny Hathaway and Stevie Wonder by both music industry insiders and music critiques alike. His project, I'm Sorry, has garnered rave reviews from music critics in both the US and Europe (UK and Germany) and has been featured by Music Choice, WHUR FM, Clear Channel's Discovery! New and a host of other media outlets. His collaboration with DJ Speek Green and Kev.O, "All and Illusion", went to #1 on 3 different charts (jazz, soul & disco) His LP, All in a Week, is set for radio-release Winter 2010 .
- Fiona Bloom | Efficacy Video Series | Soultracks