Bio:
Arturo Sandoval reaches beyond the scope of mere effort. His struggles while in Cuba and since his defection have given him more energy and strength, urging him to accomplish and surpass his childhood dreams.
Filled with a virtuoso capability, he desires nothing more than to share his gift with others who feel the same intense adoration for music as he does.
One frequently speaks of Arturo Sandoval’s virtuoso technical ability or his specialty in high notes, but he who has seen him on the piano, lyrically improvising a ballad, or has had the opportunity to enjoy the diversity of his music, through his compositions from the most straight ahead jazz, Latin jazz or classical, knows that Arturo Sandoval is a prominent musician, and one recognizes that Arturo is one of the most brilliant, multifaceted and renowned musicians of our time.
Lessons/Workshops:
Arturo Sandoval has had the pleasure of conducting Master Classes and Clinics from high school level to professionals, and from the very intimate to thousands of people.
The 60-minute programs are varied and tailored to the institution’s needs. They may be as specific as trumpet techniques, as general as music composition for jazz, Latin jazz, contemporary jazz, and classical, or as broad as the life of a touring musician.
He discusses each of these three points using the following breakdown/sections:
In the first part he discusses the love of music in general. He touches on the enthusiasm, passion and discipline needed as a musicians and creative person. Not only this, but the dedication to music as a whole.
In the second part he concentrates more on the human aspect of being a musician. He touches on the relationships you build, being grateful for the opportunities you are given and goes into a bit of history on how he became a musician. He talks about the challenges he has faced in his career, and how he has overcome them. Furthermore, how to keep motivated and inspired and how to motivate others in the process.
Third, he moves into the more technical aspects of playing not only the trumpet, but brass instruments collectively. He discusses sound quality, breathing, mouth & facial positioning, endurance and intention. Along with improvisation and composition.
Lastly, if there are any questions, he is always open to conversation / Q&A. Many times he talks about how to establish recording deals, relationships with managers and other industry professionals, amongst other things.
Many institutions invite Arturo with his touring band, while others rather he work with his touring band as well as their local band (either separate or in combination), and others prefer having Arturo alone. Either way, it is always with a very hands-on approach, as he interacts directly with the group with up-to-the-minute suggestions, commentary and guidance.
Sandoval was awarded the National Academy of Recording Arts and Sciences (NARAS) Foundation Awards for Music Education for the most extensive educational program in the entire music industry.
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).