Bio:
Born on September 17th, 1963 in Santa Cruz, CA, Jeff Ballard’s musical inspiration and drive was sparked by listening to musical legends ranging from Count Basie, Ella Fitzgerald, and Antonio Carlos Jobim, to The Beatles, Led Zeppelin and Jimi Hendrix. His exposure to multiple genres of music and the types of playing required for each enabled him to develop his foundation and understanding of music and planted the seeds from which his own varied approach to playing grew.
Ballard began playing drums at the age of 14 and while attending community college, began the journey of being a musician, playing in college ensembles and gigs around Santa Cruz and the Northern California region. While making the rounds as a working drummer, he delved deep into the modern jazz catalogue soaking up the language of classic innovative jazz groups. Listening to Miles Davis, John Coltrane, and Ornette Coleman, added to his own toolkit with the sonic palettes created by the drum legends who played in these groups: Tony Williams, Elvin Jones, and Billy Higgins.
At the age of 25, Ballard began an educational journey no college could match. He went on the road for eight months annually from 1988 to 1990 with Ray Charles, backing one of music’s biggest stars, perfecting his time feels and tempos from playing with Charles nightly on the bandstand for three years.
In 1990 Ballard moved to New York and jumped into the transformative scene that was developing there at the time. He began collaborating with Kurt Rosenwinkel, Brad Mehldau, Mark Turner, Joshua Redman, and Ben Allison, among others who were mixing jazz tradition with their own influences, ranging from Middle Eastern rhythms to electronica and modern hip hop.
Ballard’s past and present recording sessions and touring associates read like a who’s who of jazz. To name a select few: Chick Corea, Pat Metheny, Joshua Redman, Kurt Rosenwinkel, and Brad Mehldau. His present work continues with the Brad Mehldau Trio, as co-leader of collective group FLY (featuring Mark Turner, Ballard, and Larry Grenadier) and with his own groups The Jeff Ballard Trio and Jeff Ballard Fairgrounds. In 2014 The Jeff Ballard Trio with Lionel Loueke and Miguel Zenon released their debut album, Time's Tales, on Sony/OKeh Records. On January 25th, 2019 the group, Jeff Ballard Fairgrounds, will release their debut album entitled Fairgrounds on Edition Records. This album presents music recorded and selected from a tour in March 2015. The music is filled with wide-open improvisations and originals touching on the blues, rock and roll, electronica, and RB. It can have the funkiest grooves or a meditative minimalistic space, or it can go all the way over and outside to the unexpected world of free jazz, thus confirming Ballard as one of the most stylistically diverse drummers on the scene.
Contact Information
Management/Booking:
BOOKING
TEMA MUSIC
Enrico Lubatti: +39 347 5744516
Angel Mas: +34 615 989387
E: [email protected]
LABEL
EDITION RECORDS
Record Label: Dave Stapleton
E: [email protected]
Public Relations: Mike Gavin
E: [email protected]
T: +44 (0)7714 239758
www.editionrecords.com
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Salvador is our base. If you plan to visit Bahia, there are some things you should probably know and you should first visit:
Conceived under a Spiritus Mundi ranging from the quilombos and senzalas of Cachoeira and Santo Amaro to Havana and the provinces of Cuba to the wards of New Orleans to the South Side of Chicago to the sidewalks of Harlem to the townships of South Africa to the villages of Ireland to the Roma camps of France and Belgium to the Vienna of Beethoven to the shtetls of Eastern Europe...*
*...in conversation with Raymundo Sodré, who summed up the irony in this sequence by opining for the ages: "Where there's misery, there's music!" Thus A Massa, anthem for the trod-upon folk of Brazil, which blasted from every radio between the Amazon and Brazil's industrial south until Sodré was silenced, threatened with death and forced into exile...
And thus a platform whereupon all creators tend to accessible proximity to all other creators, irrespective of degree of fame, location, or the censor.
Matrix Ground Zero is the Recôncavo, bewitching and bewitched, contouring the resplendent Bay of All Saints (end of clip below, before credits), absolute center of terrestrial gravity for the disembarkation of enslaved human beings (and for the sublimity these people created), the bay presided over by Brazil's ineffable Black Rome (seat of the Integrated Global Creative Economy* and where Bule Bule is seated below, around the corner from where we built this matrix as an extension of our record shop).
("Black Rome" is an appellation per Caetano, via Mãe Aninha of Ilê Axé Opô Afonjá.)
*Darius Mans holds a Ph.D. in Economics from MIT, and lives between Washington D.C. and Salvador da Bahia.
Between 2000 and 2004 he served as the World Bank’s Country Director for Mozambique and Angola. In that capacity, Darius led a team which generated $150 million in annual lending to Mozambique, including support for public private partnerships in infrastructure which catalyzed over $1 billion in private investment.
Darius was an economist with the Board of Governors of the Federal Reserve System, where he worked closely with the U.S. Treasury and the IMF to establish a framework to avoid debt repudiation and to restructure private commercial debt in Brazil and Chile.
He taught Economics at the University of Maryland and was a consultant to KPMG on infrastructure projects in Latin America.
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).
EX TERRA BRASILIS
The Small World Phenomenon
Susan Rogers
Alicia Svigals
Julian Lloyd Webber
Clarice Assad
Sodré
Betão Aguiar
Bule Bule
Caetano Veloso
Darius Mans
Sparrow/Pardal Roberts
RÁDIO MATRIX