Bio:
When Kamasi Washington released his tour de force LP, The Epic, in 2015, it instantly set him on a path as our generation’s torchbearer for progressive, improvisational music that would open the door for young audiences to experience music unlike anything they had heard before.
The 172-minute odyssey featuring his 10-piece band, The Next Step, was littered with elements of hip-hop, classical and R&B music, all major influences on the young saxophonist and bandleader, who exceeds any notions of what “jazz” music is. Released to critical acclaim, The Epic won numerous “best of” awards, including the inaugural American Music Prize and the Gilles Peterson Worldwide album of the year.
Washington followed that work with collaborations with other influential artists such as Kendrick Lamar, John Legend, Run the Jewels, Ibeyi and the creation of “Harmony of Difference,” a standalone multimedia installation during the prestigious 2017 Biennial at the Whitney Museum of American Art in New York City.
His mass appeal continues to grow drawing vibrant, multi-ethnic and multi-generational crowds with tour stops at the world’s most prominent festivals such as Coachella, Glastonbury, Fuji Rock, Bonnaroo and Primavera.
Quando Kamasi Washington lançou seu tour de force LP, The Epic, em 2015, ele instantaneamente o colocou no caminho como o portador da tocha de nossa geração para música progressiva e improvisada que abriria as portas para o público jovem experimentar música diferente de tudo o que já tinha ouvido antes.
A odisseia de 172 minutos com sua banda de 10 integrantes, The Next Step, foi repleta de elementos de hip-hop, música clássica e R&B, todas as principais influências do jovem saxofonista e líder de banda, que excede qualquer noção do que seja música “jazz”. é. Lançado com aclamação da crítica, The Epic ganhou vários prêmios “best of”, incluindo o inaugural American Music Prize e o álbum do ano de Gilles Peterson Worldwide.
Washington seguiu esse trabalho com colaborações com outros artistas influentes como Kendrick Lamar, John Legend, Run the Jewels, Ibeyi e a criação de “Harmony of Difference”, uma instalação multimídia autônoma durante a prestigiosa Bienal de 2017 no Whitney Museum of American Art em Cidade de Nova York.
Seu apelo de massa continua a crescer atraindo multidões vibrantes, multiétnicas e multigeracionais com paradas de turnê nos festivais mais importantes do mundo, como Coachella, Glastonbury, Fuji Rock, Bonnaroo e Primavera.
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).