Kevin Scott Joiner

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  • Kevin Scott Joiner

    This show was on May 3rd, 2018 | 6 people watched
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  • Kevin Scott Joiner

    This show was on Apr 26th, 2018 | 4 people watched
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Though raised largely in the Tampa Bay area, vocalist/guitarist Kevin Joiner was born in England, where his American G.I. father sang and played guitar in several popular country and western groups (usually as the only “Yank” in the band). It was in some of his father’s stateside musical outfits that Kevin got his start as a singer, being pulled... more


Though raised largely in the Tampa Bay area, vocalist/guitarist Kevin Joiner was born in England, where his American G.I. father sang and played guitar in several popular country and western groups (usually as the only “Yank” in the band). It was in some of his father’s stateside musical outfits that Kevin got his start as a singer, being pulled on-stage to belt out Elvis or The Oak Ridge Boys while barely out of kindergarten. His Deep South heritage steeped him in Appalachian folk, Gospel, and 50s rock traditions, but his sisters provided plenty of more modern influences in the form of classic rock and contemporary pop. The blues crept in around the time he started playing guitar in his late teens, and he cut his teeth in and around Tampa’s Latin-district of Ybor City, jamming with much older and more seasoned players in clubs like Bo Diddley’s Blues Ship Café. After several months of this informal but crucial tutoring, he found himself regularly invited up to help close out the evening with a final song.

Frontman stints in several rock and pop bands honed his live performance skills, but it was solo nights at pubs and cafés across the South and Midwest that had the greatest impact on his approach to songcraft. It was in a hometown pub that he was first exposed to Irish music, a love that truly blossomed among the traditional open sessions of South Bend, Indiana. Soon, he was playing and recording with professional Celtic music acts—something that would make his Scottish and Irish ancestors proud. This led to a deeper exploration of folk and roots music, and how it all connected to modern forms. Along the way, there have been live and in studio collaborations with international jazz players, musical theater troupes, electro and other synth-based artists, and work in many other soundscapes, all of which Kevin adds to the sonic alloy that is the Hidden Chambers.


Through the studied blending of diverse genres, Kevin Scott Joiner and the Hidden Chambers present a fresh and novel take on the classic Americana singer-songwriter style. As multicultural as the music it makes, the band consciously incorporates elements from musical traditions the world over, while taking its pop-sensibility cues from hard-to-pin-down yet unmistakable artists such as Paul Simon, Sting, Van Morrison, and Nick Drake. There’s plenty of classic folk, country, rock, and R&B in the mix, as well as a healthy portion of jazz, particularly from its Latin-American branches. But there are also touches of classical, Irish, klezmer, Caribbean, zydeco, and more—all played with a reverence for the cultural forges out of which such music formed, but with no sense of boundaries as to how the sound might evolve. And the gravity that pulls it all together is Kevin Scott Joiner’s abundant catalogue of lyrically-focused compositions—songs seeded in the fertile ground of roots music and developed with an ear toward the continuing exploration of today’s artists.

Formed in the fall of 2017 and featuring mandolinist Leo Cardozo, bassist Kevin Leazenby, percussionist Max Medina, and keyboardist/woodwind player John Wiseman, Kevin Scott Joiner and the Hidden Chambers began playing at clubs and events in and around South Bend, IN. Recording began soon after, with an EP release and expansion into regional and national markets planned for spring 2018.


Leo Cardozo

Leonardo “Leo” Cardozo hails from Venezuela, where he taught mandolin, guitar, Venezuelan cuatro, and ukulele as a professor at the National University of the Armed Forces. In addition to being an integral music teacher for the system of orchestras in his country, he sat as First Mandolin for the National Especial Orchestra of Venezuela. He has received numerous awards, including two from the International Festival of Pulse and Plectrum Music in A Coruña, Spain, and has won first place in Venezuela’s International Jazz Festival three consecutive times. His studio work is broad, including 5 albums of his own work, and appearances as a special guest on more than 10 albums for well-known Venezuelan artists.

His musical development began as a mandolin player at the Vicente Emilio Sojo Conservatory of Venezuela. Continuing his education in Brazil, he studied at both the Conservatory of Popular Music in Curitaba and the Conservatory of Jazz Music and Composition in Sao Paulo, as well as in Spain at Alahurin de la Torre in Malaga. Having performed extensively throughout these countries, he now brings his fiery playing and wealth of musical knowledge to the United States of America.

Kevin Leazenby

Kevin Leazenby’s life in music started on upright bass in his public elementary school’s orchestra program. He picked up the electric bass in high school, and soon began developing his studio musician skills, which resulted in him putting several projects under his belt. For the many years, Kevin L. was the regular bassist for singer-songwriter Venitia Sekema, as well as part of the rhythm section for jazz pianist Jim Pickley’s trio. But after Sekema’s recent retirement and the untimely passing of Pickley, Kevin L. began looking for other opportunities to play and record, and reached out to some former bandmates. Among these was Kevin Joiner, for whom Kevin L. sat in on several shows with The Kevin joiner Expedition in the mid-2000s. Joiner mentioned a new project he was putting together, and after a promising practice session that included keyboardist/woodwind player John Wiseman, the seed of what would become the Hidden Chambers was formed.

In addition to the Hidden Chambers, Kevin L. currently plays with the Indiana University South Bend Jazz Ensemble. He’s also performed with R&B legends The Platters, contemporary jazz artist Kris Brownlee, urban/spanish guitar fusionist Bryan Lubeck, and long-time Midwest dance band The Whistle Pigs, just to name a few.

Max Medina

Maximiliano “Max” Medina grew up among mountains and rivers in the middle of Patagonia. Since his earliest years, he has been invested in the music shaped by the multiple cultures rooted in the Andes mountain range. After attending college in Chile, Max moved to the U.S. for graduate studies—a decision that brought many new musical opportunities with it, especially the chance to explore the vast Afro-Caribbean and jazz traditions thriving in New York City.

Max has been a visiting professor of mathematics at Stanford University and the University of Notre Dame. His passion for mathematical research is a constant source of inspiration for the rhythmic proposals he develops and presents in drums and other percussion instruments.

John Wiseman

John Wiseman started as a saxophone player with a focus on jazz and classical performance at Indiana University. He added flute and clarinet after college, working in various music genres including jazz, classical, popular, and theatre, as well as playing and arranging for various horn sections. John has performed with or been a member of The Round Barn Theatre, The Whistle Pigs, Robert Henry Orchestra, Truth In Jazz, The Swinging Crawdads, and many more.

Over the last several years, John has developed a passion for Celtic music and other folk music traditions. With an emphasis on wooden flute/whistles and piano accompaniment, as well as a love for researching the music, history, and cultures of these traditions, he strives to create more informed and authentic performances.


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