Bio:
By age 28, trumpeter and singer Benny Benack III has proven to be a rare talent: not only a fiery trumpet player with a stirring command of the postbop trumpet vernacular in the vein of Kenny Dorham and Blue Mitchell, but also a singer with a sly, mature, naturally expressive delivery in the post-Sinatra mold, performing standards and his own astute songs with a thrilling sense of showmanship. His superb intonation and bracing virtuosity enable him to handle astounding feats of originally composed vocalese (complex solos with written lyrics). And he’s a highly capable pianist as well.
Benny performs widely as a frontman for Postmodern Jukebox, the vintage music collective famed for canny old-school covers of modern pop. In early 2020, he released A Lot of Livin’ to Do, the follow-up to his well-received 2017 debut album, One of a Kind. This sophomore effort, richly varied in mood and brimming with bop inflection, features bassist extraordinaire Christian McBride and drummer/producer Ulysses Owens, Jr., as well as the radiant Takeshi Ohbayashi on piano and Rhodes.
Benny’s been showcased in international headliner tours at Jazz at Lincoln Center Shanghai, JALC’s “NY Jazz All-Stars” (Mexico) and extensively all over Asia and Europe. He has headlined domestic tours around the U.S. including the Vail Jazz Party, Mid-Atlantic Jazz Festival, Pittsburgh JazzLive International, the Vancouver Jazz Festival and the Summer Solstice Jazz Festival in East Lansing, MI, to name a few. Benny's been featured at Birdland, Mezzrow, Bemelmans Bar at the Carlyle and other leading New York venues. Alongside his work as a leader, he has played in the house band for NBC’s “Maya & Marty,” and appeared as a trumpet soloist across genres with the Christian McBride Big Band, Diplo/Major Lazer, Ann Hampton Callaway, Melissa Errico, Josh Groban, Ben Folds, fashion icon Isaac Mizrahi and more.
Benny was a 2014 finalist in the Thelonious Monk International Jazz Trumpet Competition, and winner of the 2011 Carmine Caruso International Trumpet Competition. He is highly sought after as a clinician and educator, leading workshops for Jazz at Lincoln Center’s Jazz for Young People program, as well as the New York Youth Symphony’s Education department. In 2020 he will lead a panel at the annual Jazz Congress on Audience Engagement, together with Christian McBride, Marilyn Maye and Veronica Swift.
Third in a generational line of Pittsburgh jazz notables, Benny follows in the footsteps of his trumpeter/bandleader grandfather, Benny Benack, Sr. (1921-86), and his father Benny Benack, Jr., a saxophonist/clarinetist who gave the young Benny his first professional experience. Benny, Sr. hailed from a Pittsburgh lineage that also produced Roy Eldridge, Earl Hines, Art Blakey, Billy Strayhorn and so many more. He recorded the Pittsburgh Pirates’ 1960 theme song “Beat ’Em Bucs” and toured with Tommy Dorsey and Raymond Scott, among others. Benny III returns to Pittsburgh often to perform, saluting his family forebears and the jazz heritage as a whole, nonetheless staking his bold and highly individual artistic claim.
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).