In the beginning...

Anderson Edwards is a multi-instrumentalist whose beginnings started in 1964 with the piano.  Later on, in grammar school, he was introduced to the clarinet, cello, upright/electric bass and drums as well as the choir at church.  His influences are varied, having learned gospel music in church, classical music in school and surrounded by relatives with different musical tastes.  As a result, he's always been comfortable in any arena of music since his early years.

Recitals being mandatory with his musical teachers, he learned how to handle public appearances at an early age.  His first recital was at the age of 5.  The first concert that he attended was classical pianist, Andre Watts at Orchestra Hall in Chicago.  He started grammar school at Horace Mann public school.  From second grade to eighth, he attended the University of Chicago Laboratory school where he continued his classical training.  His first recording was on cello at the Midwestern Music and Arts camp at University of Kansas in Lawrence, Kansas.

At Whitney M. Young Jr. Magnet High School, he was member of many organizations including the choir, orchestra, jazz/concert and marching bands. His theatrical debut was as the "Tin man" in the school production of THE WIZ and he also portrayed a juvenile delinquent in the training film for the Chicago Police department.  He graduated in June of '79

At Southern University in Baton Rouge, La, under the direction of Alvin Baptiste, he recorded with the Jazz band for the school's centennial celebration.  In the Marching band under the direction of Dr.  Issac Greggs, Anderson had the opportunity to be in the Rose Bowl Parade in '79 as well as performing at half time for the New Orleans Saints.  Upon returning to Chicago, he attended Chicago State University where he was a member of the Jazz Band.  While attending CSU, Anderson performed in school productions of the DARK OF THE MOON and GODSPELL.  It was at this time that he began as a working musician in the church starting at New Alpha Progressive Missionary Baptist Church.  Later, he became the organist/choir director before moving onto other churches in different denominations.  He finished his formal education at Columbia College where under the direction of Bill Russo he performed in theatrical productions of the PAYOFF, I'D RATHER BE RIGHT and the ANCHORMAN.  He also was member of the jazz band, which performed with a number of jazz artists including Clark Terry and Wynton Marsalis.  Anderson received a certificate in Sound Engineering in '83 and a B.A. in Music Performance in '86

Anderson began working at a number of different companies including Carl Fischer Music Publishing Company while he developed his music clients in the local music scene.  It was here paying dues that he began putting his knowledge to work.  Anderson continued working as a pianist/organist in the church while he was the keyboardist with Terry Thompson and the Images of Life band around '83.  At this point he was developing his Jazz and R&B repetoire.  His first road trip was working for Bobby Hutton in Minneapolis.  In '86 Anderson met Fran Allen and joined the Voices of Ressurection, a community gospel choir, that later recorded an album called IN THE BEGINNING.  Later Fran began working with Anderson as his manager and negotiated work for a number of different types of clientele from Soul/R&B artist such as Otis Clay, Barbara Acklin and Willie Clayton to commercials for the Illinois Bureau of Tourism and Sunkist to name a few.  Soon after this Anderson became a member of the Midnight Sun Band.  Up to this point Anderson was establishing himself as a free-lance musician.  It was with this band that he gained his understanding of the difference between being a free-lance and a group member.  During this time he worked at a number of theater houses such as ETA and Black Ensemble Theater and the Goodman Theater.  He was also held positions as a music instructor with the Chicago Park District, a staff pianist at Columbia College and a substitute teacher with the Chicago Board of Education and a full-time instructor at the Chicago Academy of the Arts.

In June of '91 Anderson was called to sub for the keyboardist with Koko Taylor on a European tour.  This month tour hit every major European festival like Montreaux, and took him to Spain, France, Switzerland, Finland and Amsterdam.  Around this time Anderson appeared on the Oprah Winfrey Show on a segment discussing "Adult Children of Divorced Parents."He was also an extra in Oprah's TV production of "There Are No Children Here."  In '94 Anderson was called to work permanently with Koko Taylor.  This was his first long-term introduction to the Blues as a working musician.  Working with Koko gave him a historical and practical understanding of the connection of musical styles.  Koko's itinerary ushered in the transition not only between local and national work, but international as well.  Koko also did a TV segment on BET called "BET on Jazz" with Ramsey Lewis.  This type of exposure introduced him to a number of national artists from Huey Lewis and the News to Jimmy Page and Robert Plant.  From Robert Cray and Buddy Guy to Keb Mo'.  Around this time Anderson composed and scored the music for film director Katherine Nero entitled Wedding Bell Blues. 

In '97 Anderson was referred by the Goodman theater (where he worked as audition pianist for the Gospel at Colonus in '86) to the Northlight Theater in Skokie, Illinois to be the musical director for their production of THUNDER KNOCKING ON THE DOOR.  A play written by Keith Glover with music by Keb Mo (who Anderson had met previously opening up for Koko Taylor).  After reviewing his resume he was hired as the musical director/bassist/keyboardist.  Soon after this production began, revisions were needed and Keb Mo's schedule wouldn't allow him to participate, so Anderson was asked to present some compositions for the revision of the show.  Upon acceptance of the songs, Anderson was asked to stay on with the show and become the co-composer as well.  At this point, in between productions, Anderson was called by one of his clients, to do a club job at Gary's in Nagoya, Japan.  After working at Gary's,  Thunder moved to the Guthrie Theater in Minneapolis, the Arena Theater in Washington, DC and the Cincinnati Playhouse, all receiving rave reviews.  In '99 Anderson won the Helen Hayes Award for best musical direction of a resident play for Thunder.  He was asked  back the next year to be a presenter at the 2000 Awards Ceremony.  Thunder was picked up by a group of NY producers led by Mitchell Maxwell with the intent to prepare for Broadway.  Zhane Mark (co-creator of  Bring in da' Noise, Bring in da' Funk) was brought in from NY as musical director.  The show continued at the Old Globe Theater in San Diego, CA and the Geva Theater in Rochester, NY.  At the Great Lakes Theater Festival (in Cleveland, OH), George Caldwell (previously, the conductor for the show) became the musical director and Thunder moved on to the Stamford Theater in Connecticut.  The producer closed down the show two weeks prior to its' off-Boradway opening at the Minetta Lane Theater.

At the top of 2002 a new group of producers, led by Ted Tulchin, picked up the show and opened Thunder at the Minetta Lane Theater on June 20 for a 2 month run.  During the run, one of the promotional appearances was on the ABC show THE VIEW where Marva Hicks (one of the stars of the show) along with the pitband (with Anderson on bass) performed MOVIN' ON one of his compositions from the show.

Over the next 8 years he performed solo and with numerous American and Japanese singers and musicians.  He recorded with Japanese artist Tyler on her compilation album entitled HIPSTYLER.  He also appeared in an American Express industrial for Japan entitled LIFE WITH AMERICAN EXPRESS as well as the 2005 MTV Japan Awards behind Mariah Carey.

 In the winter of '05 he returned to Chicago and has been working freelance with a number of artists and organizations.  The Black Ensemble Theater is where he's spent most of '06 & '07 in one of Jackie Taylor's award winning productions of "The Nina Simone Story", "Don't Make Me Over", the Dionne Warwick Story, "Don't Shed a Tear" the Billie Holiday Story and David Barr's "Memphis Stew" the story of Stax Records.   

In August of '07 he performed keyboards in Canada, Japan and bass in Spain with Koko Taylor.  He played bass on SOULFUL SOUNDS, the latest CD by Gospel Legends Geraldine and Donald Gay.  In November he was the piano/conductor as well as completed his acting debut in ELLA (The Ella Fitzgerald stroy) at the Northlight Theater in Skokie, Il.  The show moved to the Dallas Theater Center  and ran til the end of February '08.  Subsequently, he was the bassist in the Goodman Theater's production of AIN'T MISBEHAVIN', as well as being the Music Supervisor for the Fleetwood-Jordain Theater's production of NINA SIMONE-Between the keys.  In the fall of '08 he breifly appeared in the movie THE EXPRESS (The story of Ernie Davis) performing behind Alligator Records recording artist Lonnie Brooks.   He recently had the pleasure of working with Janiva Magness (also with Alligator Records) as well as Guitarist James Armstrong.

Because of his background there's no telling what '10 has in store for this instrumentalist. STAY TUNED!!!