Bio:
Based in Brooklyn New York, guitarist / composer Liberty Ellman has performed and or recorded with a host of stand out creative artists including: Joe Lovano, Myra Melford, Wadada Leo Smith, Butch Morris, Vijay Iyer, Steve Lehman, Greg Osby, Rudresh Mahanthappa, Nels Cline, Somi, Matana Roberts, Ledisi, JD Allen, Michele Rosewoman, Adam Rudolph, Josh Roseman, Barney McAll, Okkyung Lee, Steven Bernstein, Ben Goldberg and John Zorn. In 2014 Ellman worked with Jason Moran on Luanda Kinshasa, a video installation by visionary filmmaker Stan Douglas.
Mr. Ellman is perhaps best known for his long tenure in Henry Threadgill's groundbreaking ensemble, Zooid. The group has recorded several critically lauded albums. Their most recent recording "In For A Penny, In For A Pound" earned a Pulitzer prize for Mr. Threadgill. In addition to playing guitar, Mr. Ellman is credited as producer and mixing engineer on that recording. He has mixed and mastered many other recordings as well, including Gregory Porter's "Be Good," which was nominated for a Grammy.
Ellman has released 4 of his own critically acclaimed albums: Orthodoxy, Tactiles, Ophiuchus Butterfly, and 2015’s Radiate on Pi Recordings. His compositional style has been described as "At once highly controlled and recklessly inventive,” and the Wall Street Journal said: “Ellman, along with his peers, is helping to define post millennial jazz.” Voted #1 Rising Star Guitarist in the 2016 Downbeat Critics Poll, he was also honored in the 2015 Jazz Times expanded critics poll, as one of the four guitarists of the year alongside Bill Frisell, John Scofield and Julian Lage.
Liberty Ellman has also worked beyond the jazz world: hip hop artists Midnight Voices, and The Coup, dance producer DJ Joe Claussell, and worked on remixes of N'Dea Davenport, Chico Freeman, Ann Dyer, Ayo and others. He also made an appearance on the Grammy nominated Groove Collective record, People People Music Music.
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).