Bio:
Barney McAll (born Melbourne, Australia, 1966) is a jazz pianist and composer. Barney moved to New York City from Australia in 1997 to join saxophonist Gary Bartz‘s band. As well as remaining to be a member of the Gary Bartz quartet, he also plays with the Josh Roseman Unit, Fred Wesley and the JB’s, Groove Collective, and Kurt Rosenwinkel‘s “Heartcore”.
He completed a Bachelor of Music at the Victorian College of the Arts in Melbourne, studying with pianists Paul Grabowsky, Tony Gould and Mike Nock and with guitarist Doug Devries.
Barney's ensembles include “M.O.D.A.S”, “Sylent Running”, “GRAFT” and his most recent ensemble ASIO (Australian Symbiotic Improvisers Orbit). He was awarded the Australia Council Fellowship in 2007 and worked as musical director for Australian vocalist Sia Furler from 2011-2012.
Barney is also the 2015 recipient of the Peggy Glanville-Hicks composer residency in Sydney, Australia.
He has recorded or performed internationally with many other musicians including Dewey Redman, Roy Ayers, Kenny Garrett, Maceo Parker, Jimmy Cobb, Eddie Henderson, Aloe Blacc, Peter Apfelbaum, Billy Harper, Daniel Merriweather and Vernel Fournier. At the ARIA Music Awards of 2015 McAll won Best Jazz Album for Mooroolbark.
Contact Information
Management/Booking:
BOOKING:
Extra Celestial Arts Management
424 Caton Ave
Brooklyn, New York
New York, 11218
TEL: (347) 683-0037 [email protected]
FILM MUSIC REPRESENTATION:
Extra Celestial Artist Management
424 Caton Ave Brooklyn
New York, 11218
TEL: (347) 683 0037 [email protected]
Discography:
Selected Discography
1996 – Exit (Jazzhead)
1998 – Widening Circles (Jazzhead)
2000 – Release the Day (Transparent Music/Jazzhead)
2005 – Mother of Dreams and Secrets (Jazzhead)
2009 – Flashbacks (Extracelestial Arts)
2011 – Blueprints (Jazzhead)
2011 – Recollections – Best Of (Jazzhead)
2012 – Graft (Jazzhead)
2013 – Swirl Cauldron Swirl (Extra Celestial Arts)
2013 – Solo Piano Live (Extra Celestial Arts)
2015 – Mooroolbark (ABC Jazz)
Works
1999 EMANCIPATE THE DISSONANCE!! with Slave Pianos (Lombard-Freid Fine Arts NYC)
2004 Two lives in flux – and vice versa Vilnius, Lithuania
2009 “Vanishing Point” collaboration with video artist Janet Biggs (Claire Oliver Gallery NYC)
2015 “The Unanswered Question” for UH Chorale Choir with Janet Biggs
2015 ZEPHYRIX for Monash Art Ensemble
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).