A dynamic force in music, MASTA Edge of Soul—also known as Masta Edwards—has spent more than four decades refining a sound that defies genre yet commands attention. Raised in Queens, New York, and based in Los Angeles since the mid-1970s, he blends jazz, R&B, soul, funk, and classical phrasing into a cohesive and captivating style. Known for his broad vocal range and intuitive song choices, he brings not just voice, but vision to every performance. Beyond the stage, MASTA has worked with luminaries such as Norman Brown, Keb’ Mo’, Seal, and Thelma Houston, and mentored countless artists during his 22 years teaching at Musicians Institute. Whether fronting a band or guiding students in a classroom, his approach is rooted in truth, joy, and total commitment to the music.
Interview with MASTA Edge of Soul
Kaylene: How long have you been singing?
Masta: I’ve been singing for as long as I can remember. People ask if I started in church. I went to church some, but no—that’s not where it began. It’s just in me. As a kid, I’d listen to records and harmonize with them. That’s how it started.
Kaylene: What would you say was your first big break?
Masta: Waking up in the morning, opening my mouth, and realizing I could do it. That’s the break. As far as “making it,” I don’t really know what that means. For me, it’s you sitting here and telling me how much you enjoyed the show—that’s golden. That’s success. (Smiling) When I step on stage, I feel like I’ve already won—humbly. I want to make people happy, inspire them. It’s about choosing great songs. They don’t have to be R&B—it could be anything: Frank Zappa, Level 42. It just has to resonate.
Kaylene: You performed some classic jazz that night.
Masta: I did. But for me, it’s not about genre—it’s about the song.
“When I step on stage, I feel like I’ve already won—humbly. I want to inspire people, make them happy.” —MASTA
Kaylene: How do you choose your repertoire for a show?
Masta: You start with the hits, but then you dig into the artist’s catalog. Sometimes it’s that album cut that moves you. I choose music that feels right to me. I respect the original artists and do my best to interpret their work honestly. When I rehearse, I tell the band: “Just learn the record.” The record is the blueprint. If they get that foundation right, the universe fills in the rest.
Kaylene: Tell me about your band. Are they your regular touring group or local sidemen?
Masta: I mix it up. I’ve been doing double keyboards instead of guitar lately. Guitar players can be hit or miss, and I like the bigger sound from keys—especially when one handles strings or patches guitar sounds. It opens up the arrangement.
Kaylene: I noticed the string patches really filled out the mix.
Masta: Exactly. It gives the band more depth. And yes, Land Richards—my drummer—he sings, too!
Kaylene: Can you run through the lineup from the Catalina show?
Masta: Land Richards on drums, JIOVANI (JV) on bass, Mark Huvenberger on keys, and Stu Pearlman on upright bass. I’ve worked with all of them over the years. It’s about locking in vocally with the groove and being willing to give your all. That’s something I tell students.
I taught at Musicians Institute for 22 years. I always told my students: if you’ve only got 50%, then give 100% of that 50. That’s still 100%. It’s about showing up fully. I love music. I love the rhythm, the communication between instruments, and the audience connection—people waving their hands, smiling… I feed off that energy.
Kaylene: Your performance was unexpected. I met you at Bogie’s a few years ago. I had no idea what to expect, and you blew me away. What’s been the highlight of your career so far?
Masta: That’s a tough one. But here’s a memory: In 1973, I saw Earth, Wind & Fire for the first time—well, sort of. I was with a band called Fantasy. Vince McMahon, the wrestling promoter, and his partner George Ferguson rolled out the red carpet—limo, five-star hotel. They took us to Madison Square Garden to see Sly Stone, and EWF opened for them.
That was the night Verdine White levitated on stage. I didn’t actually see the show because I was backstage, starstruck by the who’s who around me. But that was a moment. And now I get to sing those songs with Larry. It’s full circle. I’ve got deep respect for what EWF stood for—what they wrote about, what they shared.
Teaching all those years at MI—students from all over the world—some could sing, some couldn’t. But I gave them all the same love. I told them, “Not everyone is going to make it.” I’m living proof of that. The big stage isn’t for everyone. But the music industry is vast. Maybe you’re not a performer—maybe you’re a writer, a promoter, a publicist. The key is how the music makes you feel.
