Bio:
Constantly challenging and redrawing boundaries, cellist Catherine Bent has never fit easily into any category. Classically trained on cello and piano, conservatory trained in jazz, and professionally experienced in countless genres, Catherine built a career on the margins while patiently uncovering her unique artistic voice.
In graduate school Catherine started playing choro, the infectious Brazilian hybrid of European dance music and African rhythms. Following the initial interest, she dove deep into the tradition and went on to spend many months in Rio de Janeiro—building her repertoire in jam sessions and alongside masters—and took the choro scene by storm with her virtuosity on the cello and fluency in the style.
Of infinite interest to Catherine is the relationship of phrase—music carried on the breath—and groove—music felt in the body—which she explores in her musical projects and international collaborations. In Macayú Trio, Quebra Tudo, Trio Caxangá and the duo Elis & Catherine, she and her colleagues mix elements of jazz and Latin music with dynamic ensemble interplay and tight arrangements. When the music calls for it, the playing is highly refined; at other times exploratory and free.
In her newest—and first solo—album release, she presents ten original compositions, each paying tribute to a distinct Brazilian musical tradition. While choro is at the heart of the album, you will hear samba, forró, frevo, maracatú and xote, all enriched by the unique sonority of Catherine's cello and through the prism of her imagination.
Besides her teaching at Berklee College of Music, in Ear Training, Harmony, Arranging, and Strings, Catherine teaches individual lessons, in person and by Zoom/Skype/Facetime. Catherine teaches foundational classical cello technique and extended techniques in diverse applications from classical repertoire to groove playing and improvisation.
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).