Bio:
Chano Domínguez is one of the most celebrated of jazz pianists and composers. His singular work is defined by his flamenco origins.
In more than 40 years of his career, he has dazzled all kinds of audiences, including other musicians spanning both worlds of jazz and flamenco.
His interpretive talents are highly sought after for his authentic integration of both jazz and flamenco traditions, working with an extensive range of colleagues such as Paco de Lucía, Enrique Morente, Jorge Pardo, Carles Benavent, Martirio, Wynton Marsalis, Paquito d’Rivera, Jack DeJohnette, Herbie Hancock, Jerry Gonzalez, Gonzalo Rubalcaba, Michel Camino, Chucho Valdés, Joe Lovano, and George Mraz, among others.
Chano has achieved an unusual integration between the rhythms and languages of jazz and flamenco, creating a unique style that places him among the top musicians practicing this artform. Internationally acclaimed, he has influenced and changed the history of flamenco-jazz.
His music has been played by many different ensembles and orchestras such as the Lincoln Center Jazz Orchestra, WDR Cologne Big Band, Orquesta Nacional de España, Orquesta Nacional de Latvia, Orquesta de Cámara del Vallés, and the Orquesta Nacional de Costa Rica.
In 2016 he’s been nominated for his fourth Grammy, this one a Latin Grammy for his latest release «Bendito». This recording features Chano as producer, composer and pianist with his preferred ‘cantaor’ (flamenco singer) Blas Cordoba aka «El Kejio».
Chano is also a seasoned educator, available for master classes, workshops and residencies. He has previously taught at Taller de Músics in Barcelona, The Music Conservatory of Bogotá, the Julliard School in New York and at the School of Music at the University of Washington, among others.
Chano is currently living in New York, where Sunnyside Records has just released his new piano solo album Over the Rainbow.
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).