Mark Telesca is an American Songwriter / Singer / Guitarist and Bassist. He studied music at Florida Atlantic University and currently lives in West Palm Beach, Florida.
His “HOOK” oriented songwriting style and storytelling lyrics along with his expressive style of bass playing and powerful lead vocal is capturing the attention of music lovers everywhere.Mark has released his first solo studio CD titled “Heavy Breathing” in January of 2015. It is currently on steady rotation on SIRIUSXM RADIO (Bluesville). The CD is receiving rave reviews and reached the #5 spot on "Blues Power Radio's Top 30" Blues Albums. He has had three singles off the Heavy Breathing CD that has charted on Blues 411 Baker's Dozen of Blues. "If You Got Enough Jack" has reached #5 " Cross the Dog" has reached #2 and "I Don't Need Your Lovin' Anymore" has reached #1 !!!

2020 release. Some artists need smoke and mirrors. All Jeremiah Johnson needs are songs. In the age of manufactured pop, the acclaimed St. Louis bandleader is a beacon of time-honored songcraft, writing on acoustic guitar, digging deep for raw lyrics and insisting on studio production that bottles the sweat of his shows. The approach might sound old-school, but on Heavens To Betsy, the result is some of the most vital music of the new decade.

Marcia Ball's strong western Louisiana, eastern Texas roots run strongly through So Many Rivers, and she has increased the range she covers. Solid in the foundation of her piano playing and phrasing, she is rooted rock-solid to the rhythms by the drumming of Tom Fillman and the bass of both Don Bennett and Yoggie Musgrove. There is also the production work of Stephen Bruton, who also added his otherworldly guitar work to the mix. Marcia Ball's voice has only gotten finer with the passage of time, and the collaborations with Irma Thomas and Tracy Nelson have also added a lot of potency to her voice and handling of a song. She has assembled a crack group of musicians here that gives her freedom to take those chances that make So Many Rivers stand out from the crowd…

"Blues With A Mood" documents the continuing musical journey of Muddy Water’s son, Big Bill Morganfield. Indeed, he contributes yet another solid disk to keeping the blues flame burning bright. Bill heads to Nashville Tennessee to record this, his 5th record. Produced by Colin Linden, this 11 tune jewel is sure to please music lovers worldwide. Big Bill says, “ I wanted to put together a set of tunes with heavy grooves and deep moods which stay close to the musical genre of Howlin’ Wolf, John Lee Hooker, Muddy Waters, Jr. Parker , Robert Johnson and several other of my musical hero’s.” Bob Margolin, Steve Guyger and Brian Bisesi are Bill’s special guest. Augie Myers and Eddie Taylor Jr. , Mookie Brill, Chuck Cotton, Doc Malone and Jim Horn provide world class support to Big Bill’s, “Blues With A Mood”.

Recorded during a month in Louisiana and sounding it, Tab Benoit's sixth album is a swampy example of the best of that state's music. Rocking, bluesy, and filled with soul, guitarist/vocalist Benoit keeps his sound stripped down to just a three-piece, giving his voice and greasy guitar plenty of room to maneuver. From obscure Professor Longhair second-line tunes ("Her Mind Is Gone") to a cover from zydeco king Boozoo Chavis ("Dog Hill") to a version of Otis Redding's "These Arms of Mine" that makes it seem like a lost New Orleans classic, Benoit traverses a lot of territory over this hour of music. Like his influences, Benoit never overdoes his approach, preferring to keep the focus on his gritty voice, lean guitar, and stark accompaniment of his backing duo. This is music caught between rootsy rock, funk, R&B, and blues, but far from sounding schizoid, it revels in its multiple inspirations. Benoit is in wonderful voice and spirits throughout, sounding loose yet in control regardless of what style he's playing. His guitar solos are taut and succinct, capturing the essence of the atmosphere without reverting to needless showboating. This is music from the heart, played with class, subtlety, and a reverence for its past squeezed into every spirited groove.

No ordinary artist. No ordinary covers album. From the day he conceived the project to the moment he counted off the first song in the studio, Walter Trout had a bolder plan for Survivor Blues. "I'm riding in my car sometimes," says the US blues titan. "I've got a blues station on – and here's another band doing Got My Mojo Workin'. And there's a little voice in me that says, 'Does the world need another version of that song?' So I came up with an idea. I didn't want to do Stormy Monday or Messin' With The Kid. I didn't want to do the blues greatest hits. I wanted to do old, obscure songs that have hardly been covered. And that's how Survivor Blues started…" Returning with a covers album represents an eye-opening curveball from a bluesman whose original songcraft has never been more acclaimed. Even now, the critical wildfire from 2017's all-star release, We're All In This Together, shows no sign of burning out, leading Trout across the planet to auspicious sell-out venues and scoring a head-spinning haul of statuettes.

Muddy Springs Road, originally released in 1995 on Watermelon Records, was the album in which Omar Kent Dykes finally started putting everything together, opening up his sound with additional players, including harmonica ace Gary Primich and session drummer George Rains, while at the same time reining in his vocal excesses and writing solid, autobiographical songs like the two that lead off this album, "Muddy Springs Road" and "Black Bottom." Both songs draw on Dykes' childhood impressions growing up in McComb, MS, and both give off an ominous, swampy glow that gains emotional nuance from Dykes' gruff, raspy vocals, which sound at times like Wolfman Jack fronting a blues band – which isn't a bad thing at all.

Kenny Wayne Shepherd's How I Go not only serves as a strong reminder of the chops that caused Guitar World to place him right behind B.B. King and Eric Clapton on their list of blues guitarists, but it's the strongest indication yet of his gifted songwriting talent. The album pairs Kenny's deeply soulful and impassioned takes on classic material like Bessie Smith's "Backwater Blues," Albert King's "Oh, Pretty Woman" and The Beatles "Yer Blues" alongside the strongest writing and co-writing of his career thus far.

Sena Ehrhardt is unquestionably one of the freshest and most dynamic young voices on the blues scene today. Once the lights come on, her commanding stage presence and gritty, soulful vocals capture the audience, belying her youthful, demure appearance.The buzz about Sena is poised to go nationwide as word is getting out about her incendiary performances at clubs and festivals across the upper Midwest. On her brilliant debut recording, "Leave The Light On," her songs are fresh and incisive, delivered in a style that moves effortlessly from sultry to declarative to passionately forceful.

Guitarist, singer, and harmonica ace Robin Rogers' life was full of hard knocks and sad turns, along with a few delightful coincidences, and she earned the right to sing the blues the tough, old-fashioned way, but sadly, she lived for only a short time after gaining her widest recognition as a solo artist.

Dana Fuchs is a throwback to another time: the late '60s and early '70s, when blues-based shouters like Janis Joplin and Robert Plant (in a somewhat different style) were capturing the attention of a generation. Her debt to Joplin is unapologetic – she starred in the off-Broadway musical Love, Janis – and at times maybe a bit too slavish. That's not to say that she brings no other elements to her interpretation of blues and soul-rock styles, only that there are moments on Love to Beg when one might be forgiven for wondering why one would listen to Fuchs when Joplin recordings are still so easily available.

With this new album the New York City blues inventor is back in force to celebrate his career of 30 years. 15 magnificent titles: tender and bestial Popa, full of rage and love, electricity and emotion. A must have for all his fans!

It shouldn't have taken Johnson a full decade to find his way back into a studio, but such are the injustices of the record business. The wait was worth it, though - backed by his touring trio of the timeframe, Johnson mixes blues and soul, originals (a heartfelt "Black & White Wall" and the soaring ballad "My Ring") and covers (his takes on McKinley Mitchell's "End of a Rainbow" and Wilson Pickett's "Engine Number 9" hit home), in decidedly solid contemporary form.

On Blues Is a Feeling, the late guitarist-vocalist Jesse Thomas delivers straightforward, rural-sounding blues in an intimate, drumless session from 1992 with pianist Jodie Christian and second guitarist John Primer. Thomas was 81 years old at the time of this recording, just three years before his death. And though his voice sounds somewhat frail here-and probably would’ve been overwhelmed by the sound of drums-Primer and Christian provide light, elegant accompaniment that puts Thomas’ soft yet expressive vocals in the foreground. And Thomas proves to be a humorous storyteller on tunes like “Married Woman Blues,” “She Throwed Me Clothes Outdoor” and “Santa Claus.”

It's been said that you don't seek out the blues – it seeks out you. For guitar virtuoso Albert Cummings, no words could ring more true. Freshly signed to Provogue Records, a division of Mascot Label Group, Cummings joins the elite ranks of such guitar virtuosos as Joe Bonamassa, Walter Trout and Eric Gales.