Bio:
Airto Moreira has made his home in the United States for decades, but Brazil has never left his hands. His first recording was the iconic Quarteto Novo, in a group including Hermeto Pascoal.
In the U.S. Airto met Joe Zawinul, who introduced him to Miles Davis, with whom Airto would play and record with over the next couple of years.
From Miles, Airto moved onto Weather Report with Joe Zawinul, Wayne Shorter, and Miroslav Vitous, going on from there to join Chick Corea's Return to Forever as drummer, recording on the albums Return to Forever and Light as a Feather.
Airto has played and recorded with Cannonball Adderley, Lee Morgan, Paul Desmond, Wayne Shorter, Dave Holland, Jack DeJohnette, John McLaughlin, Keith Jarrett, Al Di Meola, Zakir Hussain, and George Duke, among others.
He's composed for film and television, including for the scores for Apocalypse Now and Last Tango in Paris, and he played at the re-opening of the Library of Alexandria, Egypt.
Airto lectured for three years at UCLA.
He's married to singer Flora Purim.
Português:
Airto Moreira fez dos Estados Unidos sua casa por décadas, mas o Brasil nunca deixou suas mãos. Sua primeira gravação foi o icônico Quarteto Novo, em um grupo que incluía Hermeto Pascoal.
Nos EUA, Airto conheceu Joe Zawinul, que o apresentou a Miles Davis, com quem Airto tocaria e gravaria nos próximos anos.
De Miles, Airto passou para o Weather Report com Joe Zawinul, Wayne Shorter e Miroslav Vitous, seguindo para se juntar ao Return to Forever de Chick Corea como baterista, gravando nos álbuns Return to Forever e Light as a Feather.
Airto tocou e gravou com Cannonball Adderley, Lee Morgan, Paul Desmond, Wayne Shorter, Dave Holland, Jack DeJohnette, John McLaughlin, Keith Jarrett, Al Di Meola, Zakir Hussain e George Duke, entre outros.
Ele compôs para cinema e televisão, incluindo as trilhas sonoras de Apocalypse Now e O Último Tango em Paris, e tocou na reabertura da Biblioteca de Alexandria, no Egito.
Production, Recordings and Public Relations
Airflow Productions, Inc.
12400 Ventura Blvd # 179
Studio City, CA 91604 USA
Phone: +1 818 506-8030
Fax: +1 818 506-8026
E-mail: [email protected]
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).