Bio:
Magary Lord gosta de dizer que antes de ser colocado em um berço, ele foi colocado em cima de um tambor.
Quando criança, no bairro do Engenho Velho de Federação, em Salvador, ele começou a tocar tambor aos oito anos de idade. Samba e suas variações...os ritmos do candomblé a partir dos quais o samba e os estilos musicais brasileiros relacionados se desenvolveram. A música do Recôncavo e do sertão...
Quando ficou mais velho, começou a aprender ritmos tocados na África, em Angola, Congo, Senegal...
E começou a compor músicas baseadas em todos esses ritmos, a cantar e a dançar.
Tudo isso levou Magary ao redor do mundo: Hamburgo, Munique, Zurique, Edimburgo, Cingapura, Goa, Austrália e Nova Zelândia, Nova York (em um famoso teatro off-Broadway)...
Suas músicas ganharam o "primeiro lugar" (Troféu Dodê e Osmar) nos carnavais de Salvador de 2008 e 2011.
A música brasileira é um poderoso elixir de várias etnias africanas, várias etnias indígenas, ancestrais sefarditas, mouros e portugueses... uma tapeçaria mágica capaz de transportar almas... Magary Lord junta esses fios encantados e fica no leme da tapeçaria, como um gênio-piloto, levando-nos a lugares que, de outra forma, jamais poderíamos conhecer.
ENGLISH
Magary Lord likes to say that before he was laid into a crib, he was laid upon a drum.
As a child in Salvador's neighborhood of Engenho Velho de Federação he began drumming at the age of eight. Samba and its variations...the rhythms of candomblé from which samba and related Brazilian styles of music developed. The music of the Recôncavo and sertão...
As he got older he began learning rhythms played in Africa, in Angola, Congo, Senegal...
And he began composing songs based in all these rhythms, and singing and dancing.
All this took Magary around the world: Hamburg, Munich, Zurich, Edinburg, Singapore, Goa, around Australia and New Zealand, New York City (in a famous off-Broadway theater)...
His songs won "first place" (Trofeu Dodê e Osmar) in Salvador's Carnivals of 2008 and 2011.
Brazil's music is a powerful elixir of various African ethnicities, various Indigenous ethnicities, Sephardic, Moorish and Portuguese ancestries...a magic tapestry capable of carrying souls... Magary Lord pulls these enchanted strands together and sits at the tapestry's helm, like a genie-as-pilot, carrying us to places we'd otherwise never be able to experience.
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).