A stunningly sweet singer with a uniquely expressive voice, Kat Edmonson’s music has a timeless sound. In a few short years, she has gone from singing in small rooms in her native Texas to concert halls and festivals around the world, playing dates with the likes of Gary Clark Jr., Lyle Lovett, Michael Kiwanuka and Chris Isaak. She’s made memorable turns on “Austin City Limits”, “A Prairie Home Companion” and had her songs featured on several television shows and commercials. Such exciting growth is not surprising or unexpected for Edmonson. Her 2009 debut, Take to the Sky, comprised creative interpretations of standards and pop hits while her brilliant 2012 follow-up, Way Down Low, was called “one of the greatest vocal albums I’ve ever heard” by The Boston Globe. The album, which featured both originals and covers in styles from pop and country to jazz and bossa nova, earned her universal critical acclaim, and the attention of Sony Music Masterworks, who will release her third album, The Big Picture.
The Big Picture builds upon her previous works, but offers even more of her writing (she wrote or co-wrote 11 of 12 songs on the album), and more still of Kat’s unique sound. With no formal vocal training, she instead learned her craft as a child by watching Fred Astaire and Gene Kelly musicals on the VCR, drawing inspiration for this album from old films and her favorite songwriters. The result is a delicious batch of pop perfection, with a dozen songs that are tight, polished and more upbeat than anything she’s done before. Edmonson draws from a wellspring of ‘50s and ‘60s pop, ‘70s AM radio, present-day pop-rock and movie soundtracks. The Big Picture is smart, sophisticated and fun and simultaneously classic and modern.
Asking bassist and songwriter Alissia Benveniste where she's from is a bit of a trick question. Half-Spanish and half-German; born in Switzerland but raised in Italy before her family relocated to London; educated in Boston and now living in New York; there's no border that can hold her back. But if you ask Alissia where she's going, that's a question with a much simpler answer: 'Back to the Funkture.' It's the title of her debut EP, but more than that, it's her mission statement.
“Alissia Benveniste is a funk newcomer with some serious skills and impressive co-signs” - Billboard
6 years ago, the classically trained young musician attended Berklee College of Music’s clinic program at the Umbria Jazz Festival as a vocalist. She quickly was awarded the highest scholarship the program had to offer, ultimately leading to her enrollment at the prestigious college.
During her second semester at Berklee, Alissia picked up the bass and immediately fell in love with the instrument. Already a diehard funk enthusiast, the bass felt natural and become the platform for her mission of bringing funk back to mainstream music.
While writing, recording and performing around the east coast, Alissia shot a live video of one of her songs “Let It Out”. The video was intended to be made just for fun, with the band having never rehearsed or played the song before. But people loved it and this video quickly racked up 1M+ views and spread like wildfire all over the internet.
The buzz from the performance led to international attention for Alissia - The Huffington Post called her "the future face of funk” and Revive Magazine (of the OkayPlayer community founded by Questlove) raved, "There are few names that come to mind when you think of female bassists who can bring the funk hard while singing and leading a band—Rhonda Smith, Esperanza Spalding, Nik West, Tal Wilkenfeld… We can surely add one more name to that list: Alissia Benveniste."
Aside from her project “Alissia & The Funketeers”, Alissia has caught the attention of many renowned artists for her bass playing such as Q-Tip, Louis Cato (Marcus Miller, George Duke), John Blackwel (Prince, D’Angelo) and more.
For her debut record, 'Back To The Funkture’, Alissia has gathered some of the funkiest heavy hitters to bring her vision to life. 'Back To The Funkture' conjures up images and sounds of a funky time machine that brings together both the genre's past with elements from the future: lots of heavy bass, blazing synths, breath-taking horn arrangements, funky guitars and much more. It falls right in line with Alissia’s mission to bring back the funk.