|
 |
| |
Dana Edelman writes songs that you somehow think you’ve heard before. When you realize you haven’t, you get caught off-guard and immediately turn toward the source of the sound. His song style is hard to pin down, yet it’s familiar at the same time. You might think it’s a blend of many of the great American musical dialects that have influenced many fine songwriters. A little folk, rock, soul, and blues with a touch of jazz…all somehow rolled into a sound that is completely his own, “modern roots music” perhaps. His songs are easy to listen to, yet there’s nothing boring about them. There are undeniable hooks, infectious rhythms, catchy melodies. But reach deeper and you’ll find a more profound human story. Such is the essence of a Dana Edelman song. They are written on many levels. Pick a frequency and tune in. Listen again and hear something else. It’s a journey in American music.
Dana started performing on the New England circuit in the late 90’s and received much support from local roots radio stations. He relocated to New York in 2001 and was signed to Segue Records, an independent label that dissolved just before his Segue-produced CD “Mile 23” was to be released. Such is the familiar story of an artist in our modern times. Undeterred, he bought Protools and began composing for advertising and film while continuing to write and perform. At about this time (between 2006 and 2007), his dream drummer showed up in the form of the great Victor Jones. Victor, enthused about his songwriting and performing chops, hooked Dana up with Grammy-winning record producer Joshua Paul Thompson (Alicia Keys, George Benson). The pair hit it off, agreed to collaborate, and with the help of Associate Producer and engineer Gene Lennon (Aretha Franklin, Stanley Jordan) worked through 2009 to bring forth this fine new album. Blue Roses is a musical coming of age; the work of a highly accomplished songwriter, singer, guitar player, arranger and producer. Put on a pair of headphones and get lost for a while…enjoy the journey.
|
| |
| |
| |
|