Bio:
María Grand is a saxophonist, composer, educator, and vocalist. She moved to New York City in 2011. She has since become an important member of the city’s creative music scene, performing extensively in projects led by or including musicians such as Nicole Mitchell, Vijay Iyer, Craig Taborn, Mary Halvorson, Jen Shyu, Aaron Parks, Fay Victor, Joel Ross, etc.
María writes and performs her original compositions with her ensemble, DiaTribe; her debut EP “TetraWind” was picked as “one of the 2017’s best debuts” by the NYC Jazz Record and her full-length album Magdalena was praised by major publications such as the New York Times, Downbeat, JazzTimes, Billboard, JazzIz, and others. The New York Times calls her “an engrossing young tenor saxophonist with a zesty attack and a solid tonal range”, while Vijay Iyer says she is “a fantastic young saxophonist, virtuosic, conceptually daring, with a lush tone, a powerful vision, and a deepening emotional resonance.”
She is a recipient of the 2017 Jazz Gallery Residency Commission, the 2018 Roulette Jerome Foundation Commission, and the 2019 Roulette Residency. She was Best New Artist for the 2018 Extended Jazz Times Critics Poll; she was also nominated for the Jazz Journalist’s Association Up-And-Coming Musician of the Year 2018 and named the 2018 Newcomer Musician for the El Intruso 11th Annual Internation Critics Poll. As an activist in the performing arts, María is a founding member of anti-discrimination group, the We Have Voice Collective. María performs regularly with her own ensemble; she is also a member of Joel Ross’ Parables, has toured with Antoine Roney, as well as with RAJAS, led by Carnatic musician Rajna Swaminathan, and joined Mary Halvorson’s Code Girl in 2019.
She has toured Europe, the United States, and South America, playing in venues and festivals such as Dizzy's Club, the Jazz Gallery and the Stone in New York City, AngraJazz in Azores Islands, the Kimmel Center in Philadelphia, Roulette in Brooklyn, Porgy and Bess (Austria), Bird's Eyes (CH), MassMoca in New Hampshire, JazzJantar Festival in Poland, Le Guess Who Festival in Utrecht (Netherlands), etc...
Quotes, Notes & Etc.
María Grand's debut "Magdalena" was named #6 best Jazz Album of 2018 by Billboard; she was named Best New Artist of 2018 by the JazzTimes Readers Poll, #4 Artist to Watch in 2019 by JazzIz Magazine, was chosen one of the Promoter Picks Artists to Watch for 2019 by JazzFuel.com, was nominated for Best Up-And-Coming Musician of 2018 by the Jazz Journalists Association Awards, and was elected Best Newcomer Musician by the 11th Annual Critics Poll of El Intruso!
"..the way Grand has grown as a singer in balance with her skills on the reeds is unparalleled”
- Downbeat Magazine
"On Magdalena, Ms. Grand unspools a constant flow of ideas, serene and deftly paced..."
- The New York Times
"There’s a sense of interior mystery in Magdalena, the full-length debut of María Grand. The 26-year-old Swiss native uses her tenor saxophone like a truth-illuminating candle, her haunting lines exploring every crevice of her equally somber and arresting compositions. No matter how rapt the improvisations, an itch of unknowing pervades the search."
- JazzTimes
She plays with a rare combination of warmth and conviction, and has just released Magdalena, an angular, stripped-down album. {..}With song titles like “Isis”, “Maria” and “Magdalena”, this project is a tribute to powerful women, and should be compulsory listening for inside the jazz world and out.
- The Economist
Her full-length leader debut, Magdalena, was released on Biophilia Records in 2018. Featuring her dauntless ensemble Diatribe and tackling subjects ranging from mythology to family relationships, the album positioned Grand as an improviser of piercing insight and a composer of vast ambition.
- JazzIz
“Luckily, most jazz fans were savvy enough to hear the genius of the 26-year-old’s new direction in modern bop with the excellent Magdalena. Backed by her core rhythm section of bassist Rashaan Carter and drummer Jeremy Dutton (with guest turns from guitarist Mary Halvorson and pianists David Bryant and Fabian Almazan), Magdalena presents a more confident, assured performer and composer than who first emerged on her self-released 2017 debut EP, Tetrawind. She exhibits tremendous growth as both a singer and a reedist.”
- Billboard
"On “TetraWind,” an EP released this year, Ms. Grand, 25, unfurls a teetering logic. She conjoins the spiky rhythms of Rashaan Carter’s bass with tilting sheets of harmony, built by her tenor saxophone, David Bryant’s keyboard and Roman Filiu’s alto saxophone. As an improviser, the Swiss-Argentine Ms. Grand is both measured and frank, often venturing into gentle provocation."
- The New York Times, Giovanni Russonello
"..a dynamic, Colemanesque solo from saxophonist María Grand.."
- the Chicago Tribune, Howard Reich
"Tenorist María Grand takes center with an expressive and stimulating soliloquy.."
- All About Jazz, Hrayr Attarian
"...Grand's tenor riding the whip as the team galloped to the finish line..."
- Jazz Weekly, George W. Harris
"A Revelation!"
- Jazz Magazine
"The two "finds" of the [Newport Jazz] festival for me were coincidentally both women: Maria Grand, tenor player with Steve Coleman, and Kris Davis, pianist with Eric Revis' group. Grand navigated the always tricky Coleman music with a big, broad sound and tremendous melodic acuity."
- Pat Donaher, Visionsong
"Une réplique déroutante [...] émanant de la saxophoniste María Grand, une sorte de "ténor en mi bémol" (ainsi qualifiait-on celui de Warne Marsh qui tendait à sonner comme un alto et pourrait-on qualifier aujourd'hui celui de Mark Turner) improvisant dans le sillage du leader dans un esprit de continuité déconcertant."
- Jazz Magazine, Frank Bergerot
"[María Grand] is an excellent, exploratory saxophonist you should all know. I first encountered her at a Steve Coleman and the Five Elements show in NYC last year. As you're aware, that is not exactly an easy gig to get. She contributes to Steve's 'Synovial Joints' album, if you want to hear her in that context. [...] Grand's pieces are full of wild twists, turns and time signatures, yet hang together in a compelling way. This is stuff for adventurous listeners. There's excellent interplay between Grand and alto saxophonist Román Filiú.
- Anil Prasad, found of innerviews.org
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).