Pittsburgh International Jazz Festival

Singer, songwriter, and producer Eric Roberson (affectionately known as “Erro” by friends and fans) continues to break boundaries in an industry predominantly influenced by major record labels, manufactured sounds, and mainstream radio. His countless achievements as an independent artist has established him as a leader in which he has been able to reach levels of great success once never imaginable by an unsigned artist. Eric has truly created a path of success of his own to follow. An outstanding storyteller, Eric’s music is relatable, allowing him to form personal connections with each of his listeners. His music is influenced by elements of music styles varying from Soul, Rhythm & Blues, House, Hip-Hop, Jazz, Rock and more, inhibiting him from being confined or limited to any one genre of music. His music is personal, poetic, positive and progressive. It is classic music presented in an untraditional fashion. All of these factors, paired with a humble, inspiring, and inviting spirit, has earned Eric the love and respect of each of his fans one by one, cultivating a fan base that has shown an unbelievable level of support throughout the years. Eric Roberson began his career as a performing artist by singing in church and acting in his high school productions. In 1990, he won a scholarship to Howard University in Washington, DC where he graduated with a degree in Music Theatre. While a attending Howard, Eric was signed to Warner Brothers and released his first single "The Moon" in 1994 which charted on Billboards Top 100 R&B/Hip Hop Chart. Eric later entered into a songwriting deal with EMI Publishing where he would write for and work with a number of notable artists including DJ Jazzy Jeff, Osulande, Jill Scott, Musiq Soulchild, Carl Thomas, Vivian Green, 112, Will Smith and countless others. Although being a songwriter for other artists was (and continues) to be one of Eric’s passions, he still had aspirations to share his personal message with the world, a message that only he could deliver. After experiencing the ups and downs of being signed to a major label, and with the help of two supportive and loving parents, Eric began performing and selling his own music. In 2001, he established his record label B.L.U.E. Erro Soul where he released his first independent project The Esoteric Movement. Subsequently, Eric has gone on to release 7 other independent projects on his label: The Vault 1.0, The Vault Vol. 1.5, The Appetizer, Erro Live: Vol. DC, Left, and Music Fan First, and his latest project Mister Nice Guy? (2011). What once began as a hobby has now become an affluent business which has gone on to sell over 80,000 CD’s independently, thousands of digital downloads, and allowed Eric to tour all over, nationally and internationally, and in front of crowds of up to thousands. “Erro” has earned the great respect and admiration of his peers and fans. Recognized for his undeniable talents, he became the first independent artist to be nominated for a BET Award in 2007 and was the recipient of the Underground Artist of the Year BETJ Virtual Award with Rahsaan Patterson in 2008. Released in late summer 2009, his album Music Fan First debuted in the top 10 on the ITunes R&B/Soul Charts. The album went on to entering into the top 100 Billboard Hot R&B/Hip-Hop Songs chart for the song “Borrow You”, the Top 100 R&B/Hip-Hop Albums chart for the album itself. In both 2010 and 2011, Eric Roberson received Grammy Award nominations in the category of Best Urban/Alternative Performance for the songs “A Tale of Two” and “Still” respectively, an amazing accomplishment for an independent artist. Eric has gained a reputation for delivering dynamic live performances, which continues to spread all over the world. His ability entertain by bringing life to his songs on stage and creating songs on the spot using words provided by the crowd (freestyle) has been known to convert strangers to family, and turn those who have lost faith in the authenticity of music into believers again. Eric Roberson continues to blaze through the industry under his own terms and in his own unique fashion always keeping one step ahead. His name continues to become as well known as some of his major mainstream counterparts as he bridges the gap between the majors and independent music. His originality, electric live performances, impressive freestyles, genuine humility, and his ability to connect with people through his music, has earned him the respect, appreciation, strong following and the support of fans all over the world. Version 7 ( a mix of version 2-4) Eric Roberson is an R&B artist from Rahway, New Jersey, USA. He is sometimes referred to simply as Erro. Born and raised in a musical family in Rahway, New Jersey, some of Roberson’s earliest memories were of his father singing and playing guitar. Eric was singing even as a child, and began performing in earnest as a teenager. He attended Howard University on a Musical Theatre scholarship and performed frequently on campus, while also landing a recording contract with Warner Brothers, for which he recording the R&B hit “The Moon” in 1994. Roberson recorded an album for that label, which remained unreleased. He subsequently returned to Howard University to complete his studies in Musical Theatre. After performing in a number of musicals and plays, he landed a songwriting deal through the EMI label, and went on to collaborate with a slew of Philly based artists such as Jill Scott, Musiq Soulchild, and most extensively, DJ Jazzy Jeff. As a member of Jeff’s A Touch Of Jazz production company, Roberson made contributions to Jeff’s debut album, The Magnificent in 2002. He continued songwriting work as well as releasing his own material through his Blue Erro Soul imprint. The desire for creative freedom led Roberson to shun major labels and work as an independent for his solo career, beginning with 2001’s The Esoteric Movement. Over the next half decade he violated virtually every tenet of conventional wisdom in fashioning one of the most successful independent recording careers. He’s released albums when he felt like it, and sometimes reworked and reissued them. He’s also sold his CDs principally through his concerts, small retail outlets and CD Baby, resulting in over 100,000 copies sold of his four critically acclaimed albums, The Esoteric Movement, The Vault, Vol 1, The Vault, Vol 1.5, and 2005’s The Appetizer. If there is a face to the independent soul music movement, it is probably Eric Roberson. The respect he receives from other artists has been driven by his uncompromising success as well as from the unselfishness he has shown in support of other up-and-coming singers and musicians. That peer love appears to only be exceeded by the near fanatical following he has among a surprisingly large fanbase, making him a sort of indie soul royalty. There is a quiet, and strong emerging force in music that is making its way back to the forefront. Soul music is trying to continue it re-emergence from the early millennium, when artists like Jill Scott, Musiq Soulchild, India Arie, D’Angelo, and Maxwell were common household names in the music scene. Though it seems that Hip Hop/R&B and commercial R&B has retaken the reigns away from soul music, it is heavily rising underneath the repetitive rhetoric heard on the radio waves. A language that once stood strong as the voice of love, unity, happiness, togetherness, and upliftment; looks to have lost its firm hold over the world of music as the soul’s voice to the ears of the world. Yet, if you look a little deeper, there is a new backbone of soul music… Though it may be silent and un-noticeable, it is daily reaffirming its place as the language of the soul. His body of work, the songs written and created, soul music has come back to the frontline of sound; and this brother is carrying the load. Eric Roberson is a Grammy Award nominated songwriter and the undisputed Prime Minister of Independent Soul that has been more than just a King of Independent Soul. He has been an Ambassador, Leader, Mentor, and has continually pave the road on how to be successful in the Independent Soul Music industry. For fifteen years, he has consistently produced eminent soul music, as well as been at the forefront of the Honest Music Movement. Eric Roberson the life of soul singing in Rahway, New Jersey; where Erro got his start, his hometown. Coming from a musically inclined family, Eric has been blessing the world vocally since the age of 5. With his father being a musician himself, it is the beginning of Eric Roberson musical exposure. After completion his matriculation through the New Jersey grammar school system, Eric Roberson received a full scholarship to Howard University. It is here, that Eric received his first recording deal from Warner Bros. in 1994, releasing the song “The Moon”, which broke the top 40 on the Billboard R&B Singles chart. Yet, Erro’s relationship with Warner Bros. ended soon after; so Eric Roberson went back to Howard University and finished his degree in 1997. From this point, determined to enter the music industry, Eric becomes the backbone of soul by writing his way back into music. The song written work for another artist was “So Long” for the group Phajja. Then, he began to bust through the music with writing/co-writing a conglomerate of work for well-known R&B and Neo Soul artists, some which you know very well, but were unaware of the pen behind the passion. Songwriting list includes: 112 - “Funny Feelings” Room 112 (1998) Will Downing - All the Man You Need (2000) Case - Open Letter (2001) Musiq Soulchild - “Merry Go Round”(2000), “Previous Cats”(2002) Vivian Green - “What Is Love”, “Emotional Rollercoaster”, “Complete” (2002) Wild Wild West Soundtrack - (1999) Carl Thomas - “Rebound” Eric Roberson also performed and co-wrote a duet with Jill Scott called “One Time” from the Down To Earth soundtrack. You can also find Eric Roberson working with DJ Jazzy Jeff with the song “Rock with You” and “For the Love of Da Game”, and vocal collaboration with Raheem DeVaughn and V. Other notable work to be considered is “I Have A Song” for the Prison Song soundtrack, and “Hold On”, written for Dwele on his Subject album. Eric Roberson has created six albums of his own: The Esoteric Movement, The Vault Vol. 1, The Vault Vol. 1.5, and The Appetizer,Left, and Music Fan First . He touches every aspect and facet of soul music, from the love-filled melodic ballets, to the soulful upbeat songs that make you move. Outstanding ballets such as “Just A Dream”, “Def Ears”, and “Should We Try” show the songwriting ability of the artist, as well as the rhythmic creativity in the way the lyrics are arranged in the music. You can tell that lyrical content is something completely thought out, not just simple works with catchy hooks placed together. He is a storyteller, and this very evident in his work. Smooth, sultry songs like She Couldn’t Hear Me, Rebound, and When Love Calls show you the importance of the subject matter in his music. Precisely teaching you a life lesson musically; this is an exclusive rarity in an artist. Songs such as “Rain on My Parade”, and the critically acclaimed “The Moon”, shows some of the influence of other artists, and gives you that New Jack City R&B feel of the late 80’s and early 90’s. He can also make you move with up-tempo songs such as “What I Gotta Do”, “Change For Me”, “Painkiller”, and “Right Back To You”. A highly bestowed honor to Eric Roberson was his opportunity to work with Lenny Kravitz. Eric Roberson was 1 of 10 producers in the world, 1 of 2 producers chosen in the US, and the only soul music producer chosen to remix Lenny Kravitz single “Breathe”, done for Absolute Vodka promotion. Other collaborations of Eric Roberson include working with Marsha Ambrosius from Floetry on “N2U” on his The Appetizer LP, and “She Ought to Know” from the The Vault Vol. 1.5, and J. Rawls on the song “Pleasure Before Pain”. Eric Roberson gave his 7th release called Music Fan First, a divinely complete album with 17 records which exquisitely displays his love and appreciation for the process of creating music. With features from amazing artist such as Grammy Award nominated Wayna, Lalah Hathaway, and Slum Village. This album spans across many musical genres, but the foundation of soul can be heard throughout each song, and his classic style is elevated with amazing production by such producers as Brett “Bdubb” Baker, Dana Sorey, and UK producer Colin Emmanuel just to name a few. This is by far Eric Roberson’s most aggressive album, and truly can be considered one of the best soul albums of this decade. The voice of honest music has been quieted, but Eric Roberson magnifies that voice with Music Fan First. In his attempt create a masterpiece with a focus on the being a fan of the process of creating music, he has masterfully conceived an album that all Music Fans can embrace and enjoy eternally. You will be unable to find one record on this album that is not noteworthy; this is most complete soul album released this decade. For an artist who is so incredibly talented, he is extremely humble. Never taking anything for granted, he appreciated his fans by including all of their pictures in the 28 pages of his album cover. It is because of his great talent that Eric Roberson received his first Grammy nomination this year, as a 2010 Grammy nominee for his single “A Tale of Two” of off Music Fan First album. For more information about Eric Roberson, please check out his MySpace @www.myspace.com/ericroberson, or his website: www.ericrobersonsmusic.com

Orrin Evans is an American jazz pianist. Evans was born in Trenton, New Jersey and raised in Philadelphia. He attended Rutgers University, and then studied with Kenny Barron. He worked as a sideman for Bobby Watson, Ralph Peterson, Duane Eubanks, and Lenora Zenzalai-Helm, and released his debut as a leader in 1994. He signed with Criss Cross Jazz in 1997, recording prolifically with the label. He was awarded a 2010 Pew Fellowships in the Arts.

Growing up, Annie Brown Caldwell was often asked why she wasn’t singing lead more often on songs by her family’s group, Staples Jr. Singers. Her vocal power was never in doubt: Her brothers could belt with soulful, raspy wails, but when Annie channeled Mavis Staples in their rendition of “Somebody Save Me,” she shook the rafters. Politely, Caldwell would respond to the question with, “In due time.” That was Annie’s life in the 1970s. Now, with the 40 years-in-the-making release of her debut album as Annie & The Caldwells, she attributes her shift to center stage to Divine intervention. “The Lord showed me that he made me the head, not the tail,” she says. As their popularity grew, the siblings took up the name the Staples Jr. Singers, inspired by their frequent comparisons to the American gospel and R&B group The Staple Singers. When Annie was only 13, the Staples Jr. Singers (with her brothers A.R.C., Bobby, Cleveland, and Edward) self-funded their 1975 album When Do We Get Paid. The group managed to sell a few hundred copies. Mostly on the front lawn outside their house. That record found its way into crate-digging infamy, with original copies fetching up to $700 on Discogs. In 2022, Luaka Bop reissued When Do We Get Paid and requested a follow-up, which became 2024’s Searching. But that’s only half of Annie’s story. When Annie was in high school, the family band dropped the Staples name, performing instead as the Browns. After a performance at a church in West Point, Mississippi, roughly 20 miles south of Aberdeen, a young man named Willie Caldwell approached Annie’s youngest brother Ronnel to ask about the girl in the band with that special voice. Caldwell had a family band background of his own as a guitar player and singer in a church group with his brothers. Before long, he and Annie were married. Caldwell asked for Annie to move to West Point with him, a decision that weighed heavily on her. “I didn’t wanna leave my brothers,” she says. “I didn’t wanna tell them that I was leaving to make my own family. We had a lot of fun. We did a lot of things that was joyful. The good days outweigh the bad ones.” Annie and Willie started a family right away, naming their firstborn Willie Caldwell Jr. The Caldwells eventually had a total of five children. The boys Willie Jr. and Abel both learned to play from their father. Annie says that Junior was five when he “started pecking at the drums” at rehearsals and at church. By age seven, he was playing alongside his father, while Annie and her daughters Anora and Deborah sang. When Abel was old enough to play drums, Willie Sr. taught Junior to play bass. A family band was taking shape. “Music really comes from both sides of the family,” Annie says. “I guess that’s why it is what it is now.” As the family was growing in the 1980s, Annie proved she was more than a devoted, church-going mother. She was also a canny businesswoman. Annie opened Caldwell Fashions, a clothing store on Main Street in West Point, specializing specifically in women’s clothing for Church Of God In Christ​​ convocations and anniversaries. When the small shop became successful, she purchased the larger retail space next door and expanded operations. Caldwell Fashions remains in that location to this day, with service hours adjusted to suit the band’s touring schedule. Appointments are encouraged. Following in the footsteps of her mother, Annie took her family band on the road, providing custom stage attire for her daughters. Annie & The Caldwells recorded two albums for the Memphis blues and soul label Ecko Records, 2013’s Answer Me and 2018’s We Made It. As Deborah Caldwell Moore grew into her role in the band, she began writing originals. Complications in her marriage inspired an R&B slow jam called “Rough Spot.” That personal perspective on heartache and forgiveness was further explored on “Wrong,” the lead single for the group’s Luaka Bop debut. “I thank God that they was into the music, just like we was,” Annie says. “A lot of times children go another way. They see the parents doing something and don’t want much to do with that.” Annie’s youngest daughter Anjessica was once that type of child. She says she resisted joining her siblings in the band until she was 15. She loved music, but wanted a life outside the family tradition. It took her older sister Deborah, who works in a hair salon and styles all the sisters, to offer an ultimatum: “Sing, or you can’t get your hair did.” Anjessica chose singing. “I’m stuck like tuck now,” she says, admitting that her love for the band continues to grow. The Caldwell Singers have been together for over 30 years now. Annie says they never limited their performances to strictly Pentecostal churches. She’s always willing to take their act wherever they’re welcomed. “God don’t have no denomination,” she says. That same belief encouraged them to sign with Luaka Bop and record their new album with Ahmed Abdullahi Gallab, aka Sinkane. Rather than bring the Caldwells to a studio, Gallab put the family on their home turf at the Message Center in West Point, where they perform every other Sunday. The Caldwells only rehearse once a year, if at all. Anjessica says that recording in the Message Center put everyone at ease to be themselves, laugh, and explore ideas. The Caldwell’s “I Know We’ll Make It”, with its “you dropped the bomb on me” Gap Band interpolation, is an old staple in their repertoire. Reworked as “I Made It,” Gallab gives the track an upbeat disco pulse, with bongos built to propel the hippest Brooklyn dance floor. Annie takes the lead on “Don’t You Hear Me Calling,” a wailing testimonial about her dear brother Theodis who needed a heart transplant in the 1980s. Told through Annie’s eyes as she watches her mother seek the lord’s mercy on her knees in a hotel bathroom, the seven-minute epic moves through tragedy and redemption with a genuinely moving grace. For the Caldwells and Browns, it’s proof of miracles engineered by God as Theodis’s transfer to a Birmingham, Alabama hospital and mother Brown’s prayers led to a white family in Tennessee donating their young daughter’s heart after her untimely death in a car crash. The transplant gave Theodis, a married father with children, a few more years with his family before he eventually passed from heart complications. Annie always trusted that God had a plan for the Caldwells. For her, the support from Luaka Bop for both the Staples Jr. Singers and The Caldwells is a blessing that has allowed the families to take their message to overseas festivals. But no matter where the success takes them from here, the lineage of musicians within the Browns and Caldwell families remains strong. The sons and grandchildren of Edward and R.C. Brown played on Searching, while Annie’s goddaughter Toni Arlanza Rivers and Deborah’s daughter Hikemia Moore sang backup on the Caldwells record.