Bio:
George Porter Jr. is best known as the bassist for The Meters: Art Neville, Leo Nocentelli, and Joseph Zigaboo Modeliste. The group was formed in the mid '60s and came to be recognized as one of the progenitors of funk, then called R&B. The Meters disbanded in 1977, but reformed in 1989. Today the original group still plays the occasional reunions but the Funky Meters, of which Porter and Neville are still members, most prominently keeps the spirit alive.
Few bass players in the history of modern New Orleans music are as storied as George Porter Jr. During the course of a career spanning more then four decades, Porter has not only made a deep impression with his work in the Meters, but he's notched session work with artists as diverse as Paul McCartney, Jimmy Buffett, David Byrne, Patti LaBelle, Robbie Robertson, Tori Amos, Taj Mahal, Ryan Montbleau and live performances with Mickey Hart, Bill Kreutzmann, Warren Haynes, John Scofield, Steve Kimock, Eric Krasno (and including recent studio releases with Warren Haynes and Bill Kreutzmann) just to name a few.
Early in his career, Porter worked with seminal New Orleans artists like Allen Toussaint, Earl King, Lee Dorsey, and Johnny Adams, Irma Thomas, The Lastie Brothers — again to only name a few.
Porter is also the band leader of his own unique long term project the Runnin' Pardners, well respected not only as a quintessential New Orleans band, the touring band continues to receive accolades on the jam band and festival scene. He has assembled some seasoned and talented musicians to join him on this project. Familiar Pardners - Brint Anderson (guitar) and, Michael Lemmler (keyboards) and rising stars on the New Orleans music scene Khris Royal (saxophone) and Terrence Houston (drums). George Porter Jr. plans to keep a smile on his face." I feel like I am working towards something that will be remembered."
Porter has proven to be capable of the ultimate fusion of rock, funk and R&B, and has gained recognition as one of the industry's elite bass players. He continues to be not only an in demand performing artist but an accomplished studio musician and producer.
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).