Bio:
Composer, arranger, entrepreneur, professor, social media content strategist, lecturer, recording artist, conductor...
Chris Boardman is the director of the Media Writing and Production Program at the University of Miami Frost School of Music and teaches Film Scoring and Advanced Music Editing. Beginning his career in the film, television and recording industries in 1974, Boardman has consistently worked at the top echelon of the entertainment industry receiving an Academy Award nomination for "The Color Purple", 6 Emmy Awards, 13 Emmy nominations, ASCAP and BMI awards and multiple platinum records for work with such iconic artists as Quincy Jones, David Foster, Steven Spielberg, Julie Andrews, Shirley MacLaine, Barbara Streisand, Marvin Hamlisch and Josh Groban.
Well known in Hollywood circles and one of a handful of musicians who can literally write anything, Boardman’s credits span both industry and genre. Whether it be conducting David Foster’s "World Children’s Day" for television, composing the '70s inspired score for Mel Gibson’s "Payback", arranging period dance music for "Swing Kids" and "Meet Joe Black", orchestrating "Chaplin" for Broadway or releasing and producing solo recordings as an artist, Boardman embraces these challenges with characteristic integrity and passion, making him one of the most uniquely versatile and highly respected musicians in the industry. He attended Weber State University and continued on to California State University Northridge, working simultaneously in Los Angeles recording studios.
Always looking for new challenges, Boardman is the founder of a successful social media content strategy consulting business and is at the forefront of the fast moving online media space.
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).