Bio:
Guilherme nasceu no Rio de Janeiro em 1969 e, quando criança, tinha interesse na música rock da época (Led Zeppelin e outros).
O contato com o jazz o levou a Hermeto Pascoal, Naná Vasconcelos e outros gigantes brasileiros que trabalhavam em suas próprias interpretações do gênero, e em 1985 Guilherme começou estudos sérios de música baseados em percussão, primeiro no Rio e depois em São Paulo, concentrando-se em estilos profundamente tradicionais como jongo, congada e tambor de crioula. Ele começou a misturar as "linguagens" da percussão e da bateria em um estilo que chamou de "percuteria" (bateria é "bateria" em português), e passou a experimentar com percussão eletrônica, técnicas de gravação, etc.
A partir disso, Guilherme abriu seu próprio estúdio de gravação, produzindo as gravações de diversos artistas brasileiros de primeira linha, incluindo o mais recente álbum da diva / ícone brasileira Elza Soares: Mulher do Fim do Mundo.
English:
Guilherme was born in Rio de Janeiro in 1969 and as a kid was interested in the rock music of record at that time (Led Zeppelin et al).
Contact with jazz took him to Hermeto Pascoal, Naná Vasconcelos and other giant Brazilians working in their own takes on the genre, and in 1985 Guilherme began serious music studies based in percussion, first in Rio and then in São Paulo, concentrating on deeply traditional styles like jongo, congada and tambor de crioula. He began to mix the "languages" of percussion and kit drums in a style he called "percuteria" (kit drums are "bateria" in Portuguese), and moved into experimenting with electronic percussion, recording techniques, etc.
Out of this Guilherme opened his own recording studio, producing the recordings of a number of top-flight Brazilians, including the latest recording by Brazilian diva/icon Elza Soares: Mulher do Fim do Mundo (Woman from the End of the World).
Contact Information
Management/Booking:
Produção Executiva
Cris Rangel (Lyra Records) [email protected]
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).