Originally from Peoria, IL, David Moss began his musical journey playing cello and singing in various formats from a very young age. After recieving a degree in cello performance from the University of Illinois (Urbana-Champaign), he moved to Austin, TX in 2007 where he immediately formed with the trio The Blue Hit. There, David attended the Kerrville Folk Festival, and before long was playing guitar and writing songs. By the summer 2011 he was a finalist in the prestigious New Folk competition and went on to become a winner. On his album "Bag of Bones" which was released in 2010, David has a gruff voice as a result of a Granuloma on his vocal chords. In November 2012, however he underwent surgery and has rejoined with the voice his old and original timbre. He is currently living in Brooklyn, NY where he performs at many different listening rooms in the northeast and continues to play cello and compose with The Blue Hit as well as groups such as the Satellite Ballet, Moishe Circus, The Broken Stares, and many others. Look forward to his new Album to be released in 2014.
Sheri Miller was born in Long Island, New York, in an extremely musical and creative home. Her mother was an opera singer and classical pianist, while her uncle was a recording engineer and musician. Sheri began taking classical piano lessons at age seven, but even then rebelled by composing her own original songs, rather than practicing her classical pieces. She began teaching herself guitar and piano, composing dozens of songs by age ten, and singing along with Ella Fitzgerald, Etta James, Billie Holiday, The Beatles and The Beach Boys. While Sheri was singing in local Philly blues bands, writing songs secretly in her bedroom, and getting a degree in English and Poetry at U Penn, an incredible coincidence happened to Sheri. She began dreaming of a Casio Keyboard over many months, to help her write songs in her bedroom, instead of walking 20 minutes downtown to the jazz piano practice room. One dreamy Sunday morning, after an especially vivid keyboard dream, Sheri took an alternate scenic path to the library, instead of her usual straight path. She passed a 1-day church sale. To her amazement, she saw and bought the exact same buzzing Casio keyboard she had dreamt of the night before, for $20. This “gentle” push and “tiny miracle” naturally opened and gently nudged Sheri to composing songs on her new keyboard everyday, awakening her artistry. She says “Since then I believe coincidences are just visible lines in our destiny.” Sheri further polished her artistry and songwriting voice in New York. During the evenings, Sheri was hard at work, paying her musical dues, working incessantly as a solo musician in the big city; fearlessly singing her heart out, banging on her electric sunburst 1969 Guild guitar. She played 4-hour covers gigs in bars and hotels, sometimes 5 nights a week. In the daytime, Sheri played keyboards and sang in a rock band for babies, as a music teacher. In between these hours, when not working hard to pay her rent as a musician, Sheri passionately wrote pages of lyrics and poetry on guitar and piano, dozens of songs. Upon releasing her critically-acclaimed debut EP “Mantra,” Sheri was named one of Music Connection’s “Hot 100 Unsigned Artists,” and was played on radio stations KCRW, WXPN, KEAO, WAXQ among others. “Mantra” featured 2 underground hits, “Right Here, Right Now,” and “All He Has To Do,” that Sheri began selling sheet music for, as brides requested it to be covered at their wedding ceremonies. Sheri was then asked to join a 4-part vocal harmony group in Nashville, The Delilahs, which soon signed to Sony Music. Sheri began co-writing with legendary songwriters and artists J.D. Souther (The Eagles), Al Anderson (NRBQ), Jill Sobule, Shawn Mullins, Marcus Hummon (Dixie Chicks), Tony Scalzo (Fastball) and Kim Richey, as well as other Grammy-Award winning songwriters. Upon leaving the group, Sheri soon released her critically-acclaimed EP “Winning Hand,” produced, mixed and engineered by Kevin Killen (U2, Peter Gabriel), that featured musicians Will Lee on bass, Charley Drayton on drums and Gerry Leonard on guitars. On the dovetail of "Winning Hand" Sheri was given another wonderful opportunity. She recorded a new song, “ I Could Love You Still,” produced by Will Lee. It featured Steve Cropper on electric guitar, Paul Shaffer on B3 organ, Will on bass, Shawn Pelton on drums, Tabitha Fair and Will on harmonies, and was mixed by Frank Filipetti. Sheri released this highly anticipated song in 2012, and released the “I Could Love You Still” music video in 2013. She was featured as a guest on PBS show, “One On One With Steve Adubato,” and released 3 original holiday songs in 2013. Sheri is in pre-production to record her next record in 2014.
Ben Rabb is a New York based singer/songwriter, whose soulful lyrics and authentic approach to performance make him a refreshing, unique standout in an industry where realism often takes a backseat to the bells and whistles of pop production. “Pulling from my midwest roots, travels and the place I now call home, New York City, my music is a combination of where I’m from, what I’m going through and the people I’m inspired by. I grew up listening to songwriters like James Taylor, Joni Mitchell and Otis Redding, and felt the power of their music and words. They had a voice that inspired me to find my own truth, connect and share with people through music.” Ben regularly performs in New York City and all throughout the Northeast. He has also toured the Midwest and Texas. He recently started working on his first professionally produced album with Boston based producer Mike Davidson at Plaid Dog Recording.
As a performing artist, Susan Ruth released two critically acclaimed albums, How To Say Goodbye and Surfacing to Breathe (which features many of Peter Gabriel’s key band mates) following her debut album, Horse of a Different Color EP. Her fourth independent studio album, All I Ever Wanted Was Everything, released July 15th, 2014 Co-produced by Susan Ruth and Jim Kimball, the new album includes 13 original songs written or co-written by Susan. The album was created at Hot Closet Studios in Nashville, Tennessee. Although Nashville is famous for its country roots and All I Ever Wanted Was Everything features many of Reba McIntyre’s key band mates, including Kimball (guitars/mando), Jeff King (lead guitar), Spady Brannon (bass), Tommy Harden (drums), as well as other exceptional Nashville session players, including Jason Webb (piano/keys), Jim Hoke, Tania Hancheroff (bgvs) and a handful of other talents, it is primarily a AAA/Pop format and has been getting comparisons to Colbie Caillat and Annie Lennox. Chris Gehringer of Sterling Sound in New York mastered the project. This is Susan Ruth’s first studio album in a decade (Surfacing to Breathe Aug 2004). This is Susan Ruth’s first studio album in a decade, as she has spent the past eight years in Nashville, TN writing for and with other artists. She's had chart success on several acts, including: #13 Eurodisc - "What If" - Ali Isabella #1 Eurodisc Belgium - "What If" - Ali Isabella "A Little Love This Christmas" - Ali Isabella debuted at #6 FMQB Top Ten – “Shine” - Erdem Kinay – Turkey O’Shea - One + One - debuted at #3 on the ARIA Country Charts and the top 30 on the all genre chart in 2013Remind Me
Hailed by a class of 2nd graders as “wreely nice and kind” and “the coolest man on erth,” Arizona native Taylor Morris enjoys blurring the line between being a violinist and a fiddler. After studying classical violin at Arizona State University with Dr. Katie McLin, he spent four years touring the world as one of five fiddlers with “Barrage,” a Canadian-based, world music violin troupe. His travels, both with Barrage and personally, have led to performances in 47 states and 13 countries with musicians from a multitude of backgrounds. Off of the stage, Taylor is a passionate advocate for arts education. In addition to serving as the Artistic Director of the Gilbert Town Fiddlers, a high school fiddle troupe in Gilbert, Arizona, Taylor regularly works with students and educators around the country to explore the violin’s unique relevance to a variety of genres.
WISEWATER is quickly establishing itself as a fresh voice in the country pop scene, earning praise from the likes of Ricky Skaggs, Mary Gauthier, Rosanne Cash, and others. The trio combines lyrical honesty and clarity with infectious melodies, tight harmonies, instrumental virtuosity, and a deep sense of groove. They are three young, upbeat, worldly southerners seeking to balance their love of old-school country and roots music with their enthusiasm for modern sounds and stylistic cross-pollination. Members Kate Lee, Forrest O’Connor, and Jimmy Shirey are currently in the thick of writing material for their debut album, due to be recorded in early 2015. When they aren’t writing, they’re performing – in summer 2014 alone, they’ve toured across the country, hitting venues such as The Grand Ole Opry, The Station Inn (Nashville, TN), and Joe’s Pub (New York, NY). They’ve also shared the stage with Ricky Skaggs, Emmylou Harris, Mary Gauthier, Bill Lloyd (of Foster & Lloyd), Mark Volman (of The Turtles), and many others. The seeds of their collaboration were sown at an unlikely place: Harvard University. O’Connor, the son of legendary country fiddler Mark O’Connor, grew up in Nashville and from early on was exposed to some of the best in the business, including Dolly Parton, Vince Gill, Marty Stuart, and Alison Krauss. But after spending his high school years in Montana, he opted for the academic route, packing his bags for Cambridge, Massachusetts and meeting a like-minded classmate in Shirey, a transplant from Virginia. “Jim and I hit it off the day we met,” says O’Connor. “He had hair down to his ass, I had hair down to my shoulders, and it goes without saying that, in that environment, we kind of stood out.” O’Connor and Shirey were both motivated students, but they enjoyed themselves the most when they were performing as a duo together – O’Connor on mandolin, Shirey on guitar – at local venues, including the esteemed Club Passim. “I was amazed at how good a lyricist Jim was at such a young age,” recalls O’Connor. “He was only 18 or 19, but he was like a walking encyclopedia of country music. It really inspired me to start writing myself.” After graduating, O’Connor co-founded an Internet music startup called Concert Window, and Shirey returned home to teach music for a couple years. They co-wrote some songs long-distance, but it wasn’t until the fall of 2013 that the pieces of a bigger collaboration started falling into place. Nashville-based string arranger and producer Kris Wilkinson introduced O’Connor – then still living in Boston – to Lee, for whom she had produced several demo tracks. Lee’s resume was formidable: at only 20 years old, she had already recorded several solo albums in her hometown of Rochester, NY, and she had sung and played fiddle behind Rod Stewart, Keith Urban, Brad Paisley, Vince Gill, Sugarland, and many other major entertainers as part of the CMA Awards and CMA Country Christmas shows. “I knew we had something special the day Kris brought us together,” says Lee. “Even though we were just sort of improvising harmonies to each other’s songs, our voices blended so well. I hadn’t really experienced anything like that before.” After meeting Lee, O’Connor decided to uproot his life as an entrepreneur in Boston to pursue music in Nashville. “Meeting Kate was definitely the tipping point,” O’Connor says of the decision. “It was one of the best things that ever happened to me.” In January 2014, O’Connor bought an old car and drove down to Nashville to start writing and arranging material with Lee, who was splitting time between finishing up her senior year at Belmont University and opening multiple tours for country giant Don Williams. In early March, O’Connor won the Tennessee State Mandolin Championship in Clarksville, TN, and two weeks later, Lee and he made their debut appearance under the name Wisewater at 3rd and Lindsley in Nashville. After touring for several months and self-producing a duo EP called The Demonstration, they asked Shirey to join them. “I was really excited to get that call,” says Shirey. “Forrest and Kate had established their own compelling sound, but in some ways it seemed like making Wisewater a trio was also consummating something Forrest and I had been trying to do ever since we first met. In retrospect, Kate was the missing piece. And really, there’s no two people I’d rather be in a band with than them.” The future is looking bright for Wisewater. Their song, “What Have I Been Saying?”, which was released on YouTube in March, has been lauded by some of Nashville’s top songwriters and producers, and they’ve been writing a great deal of material as a trio as well as with several Nashville mainstays, including Pat Alger and Bill Lloyd, for their first full-length album. Wisewater is rising up the ranks, and they should be generating lots of buzz in the year to come.
Sometimes the story is just about the ordinary. No big bang, no big gig, no big promoter or writer hearing the band and telling the rest of the world. Sometimes the story is just about doing what you do and keeping at it. In the case of Mollie O'Brien and Rich Moore it means 30 years of marriage, two kids, numerous day jobs, and making music together and apart. They met in 1981 at the Denver Folklore Center on April Fool’s Day and married a few years later. At the time they were involved in their own bands and working solidly all over Colorado - Mollie was singing with Prosperity Jazz Band, a vintage swing band which featured local luminary Washboard Chaz among others; Rich was playing bass with the rock-steady blues band, The Late Show. Within a year Mollie joined The Late Show, and they attracted notice outside the bar band scene and began playing Colorado blues festivals and concerts. A few years of marriage and two daughters later, things began to change. O’Brien quit the blues band and Moore got a day job that he held until both of their daughters graduated from college. Now, here’s how things turned out. Grammy Award winner Mollie O'Brien became known to the rest of the world as a singer's singer when, in 1988, she and her brother Tim released the first of three critically-acclaimed albums for Sugar Hill Records (Take Me Back, Remember Me and Away Out On The Mountain). Eventually, Mollie recorded five equally well-received solo albums (Tell It True, Big Red Sun and Things I Gave Away for Sugar Hill Records, and I Never Move Too Soon and Everynight In The Week for Resounding Records). Additionally, she was a regular on the nationally-syndicated radio show, “A Prairie Home Companion” from 2001 through 2005. She's long been known as a singer who doesn't recognize a lot of musical boundaries, and audiences love her fluid ability to make herself at home in any genre while never sacrificing the essence of the song she tackles. O’Brien has primarily focused her efforts on the fading art of interpretation and the end result is a singer at the very top of her game who is not afraid to take risks both vocally and in the material she chooses. Husband Rich Moore has busied himself in the Colorado music scene for many years. While staying home with the kids when Mollie & Tim toured, he held a day job and continued to perform locally with a variety of Colorado favorites, including Pete Wernick and Celeste Krenz. Not only is Moore known to produce some of the funniest onstage running commentary, he's also a powerhouse guitar player who can keep up with O'Brien's twists and turns from blues to traditional folk to jazz to rock and roll. He creates a band with just his guitar and, as a result, theirs is an equal partnership. O’Brien and Moore’s first duet CD, a live recording titled 900 Baseline (Remington Road Records) was released in 2006. Their first studio project, Saints & Sinners (Remington Road Records), was released to nationwide acclaim in 2010. In January 2014 they'll release their followup, Love Runner (Remington Road Records). Both studio projects were produced by Lyons, CO ace arranger and bassist, Eric Thorin, who often joins them onstage for their live shows. All three CDs showcase their talent for unlocking the secrets to a diverse array of songs in authoritative yet very fun and unusual arrangements. For their latest release, Love Runner, they again enlisted their talented friends, Glenn Taylor (pedal steel), John Magnie (piano and accordion), Eric Moon (piano and organ) and Marc Dalio (drums). When one song called out for a musical saw, they were lucky enough to discover the wondrous Lesley Kernochan. Irish fiddler Jessie Burns put her lyrical stamp on a few folk songs. And, happily for O’Brien and Moore, their daughters Brigid and Lucy were able to make the date for the background vocal session. Love Runner features three songs written by Mollie and Rich - the rocking title track, the autobiographical 40’s swing-like “Went Back Home,” and a powerhouse turn at the traditional gospel song, “Don’t Let The Devil Ride.” Once again, they have unearthed some hidden gems: Tom Paxton’s newly-written “Central Square” is about first love; Robin and Linda Williams’s and Jerome Clark’s “Green Summertime” is a gorgeous paean to a small town world called home; Hal Cannon’s “Just Go” places the listener squarely in the front seat next to a woman leaving a ruinous relationship in the dust. O’Brien and Moore also put their stamp on the inimitable Dave Van Ronk’s “Sunday Street” and on Randy Newman’s eerie “Suzanne” - both songs normally sung from a male point of view but, when given Mollie’s gimlet-eyed take, become even more unique for their devil-may-care breeziness and swagger. The band assembled for these sessions (all old friends), are listeners and never let their parts overshadow the lyrics and guitar sounds. Minimal preproduction rehearsals made for fewer preconceptions and once they were all together playing live in the studio the band made bold leaps to create the mood Mollie, Rich and Eric wanted. There’s definitely a locked-in feeling you get with each track - something that can only happen live and only with such intuitive and responsive musicians. And as for Eric, sitting in the producer’s chair, he found that sometimes departing from the master plan can create unique outcomes for every take. Says Thorin, “Every time Mollie sings you'd better be recording. There are no scratch tracks. Rich is a favorite co-conspirator and sublime orchestrator on the guitar. They don't take themselves or anyone else too seriously or let anyone else ride that train. The studio banter is cutting, joyful and in the moment and they carry that to the stage with astonishing ease.” Most of the tracks on Love Runner have to do with the universal theme of home: leaving it and family behind; missing it; never wanting to go back; finding it in surprising places all over the world; wondering what kind of “home” awaits us in the life after this one. O’Brien and Moore let us know via their choice of material that they are not afraid to take risks. It’s almost as if they’re telling us that at this stage in their lives, they are at home with their musical selves - they can do whatever they want and they don’t care if the rest of the world agrees with them. To quote the one and only Cher, "In this business, it takes time to be really good." Mollie O'Brien and Rich Moore are proof that age is no obstacle to making timeless, original and inventive music.