Bio:
Estudia la carrera clásica de saxofón en el Conservatorio de Barcelona con el profesor Adolfo Ventas y paralelamente obtiene el título de Grado Superior el Taller de Musics de Barcelona.
Forma parte de la Big Band del Taller de músicos, con la que actúa en varios festivales europeos.
Colabora con la Big Band de Bellaterra, la Big Band de John Dubuclet, la Big Band Jazz Terrassa, el supercombo deEladio Reinon-Tete Montoliu, Orquesta de Radio Televisión Española, acompaña a Manhattan Transfer y Steve Wonder etc.
Trabaja en varios proyectos con la Orquesta del Teatre Lliure.
Durante un año colaboró con el grupo de teatro "Els Comediants" con quien actuó en festivales de ciudades como Nueva York, Santiago de Chile, París, Venecia .
. Toca en la mayoría de los festivales del país (Barcelona, Terrassa, San Sebastián, Madrid etc.
Ha trabajado con músicos de gran renombre como Slide Hampton, Tete Montoliu, Frank Foster, Gary Smulyan, Dick Oatts, Bebo Valdes, Ralf Lalama, Nicholas Payton , Teddy Edwars, Frank Wess, Jessy Davis, Dennis Rowland, J. María Farras, Perico Sambeat, Lluís Vidal, Randy Brecker, Carmen Lundy, David Mengual, David Xirgu, Mike P. Mossman, John Mosca, Bart Van Lier, David Allen , Bobby Shew, Judy Niemack, Lew Tabak, Toni Belenguer, Juan Monne, Xavier Figuerola, Carme Canela, Jo Krause, Joan Diaz, Albert Bover, David Gomez, Giulia Valle, Ze Eduardo, Ignacio Terraza, Ray Ferrer, Jon Robles, Marti Sierra, Alfonso Carrascosa, Geni Barry, Elisbet Cepillo, Benet Palet, Dave Mitchell...
Trabaja de forma estable en la Big Band de Terrassa, la Barcelona Jazz Orquestra, en la BAB de Alfonso Carrascosa, la Fumanchú Jazz Servents, el Lluis Coloma septeto, el supercombo de Dani Alonso, el multijazz cuarteto de Pablo Bombardo.
Tambien esta muy interesado en la música de los años veinte y treinta (Bix Beiderbecke, Louis Armstrong, Sydney Bechet, Adrian Rollins etc.).
Actualmente es profesor del Taller de Musics y de la Escuela Municipal de Música de San Andreu .
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).