Bio:
Concert accordionist Merima Ključo imbues a dizzying variety of music with playing that moves with its depth of understanding and experience.
With a background in contemporary music, she performs internationally as a recitalist and has been guest soloist with many orchestras, including the Scottish Chamber Orchestra, Holland Symphonia, the Netherlands Radio Philharmonic Orchestra and the Citymusic Cleveland. As soloist, she has participated in a number of renowned festivals, including the St. Magnus Festival (Scotland), the City of London Festival, the Gaudeamus Festival (Amsterdam), and the Gubaidulina Festival, which honored one of the greatest composers of our time, Sofia Gubaidulina, in celebration of her 75th birthday.
She was a member of the Checkpoint KBK with Iva Bittova and David Krakauer, and Serendipity 4 with singers Theodore Bikel and Shura Lipovsky, and pianist Tamara Brooks, and was a frequent guest of MusikFabrik, the Asko/Schönberg Ensemble and the Nederlands Blazers Ensemble.
Her performances have been broadcast by prominent networks around the globe such as BBC, PBS and PRI.
She contributed music to the films In the Land of Blood and Honey, written and directed by Angelina Jolie, with a score by the Oscar-winning composer Gabriel Yared, and Jack by Sergej Kreso, among others. She performed in the documentary films Journey 4 Artists, by Michele Noble, and Stories of Sevdah, by Robert Golden.
Opera and theatre companies with whom Ključo has performed include the National Jewish Theater, Bremer Theater, Nederlandse Kinder Theater, EastWest Theater Company and Zagreb Youth Theater.
She has collaborated with prize-winning theatre directors Daniel Landau, Derek Goldman, Haris Pašović and Edvin Liverić, among others.
Management/Booking:
Booking for USA & Canada
Bernstein Artists, Inc.
Sue Renée Bernstein, President [email protected]
John Gasper, Assistant [email protected]
282 Flatbush Avenue, Suite 101
Brooklyn, NY 11217, USA
+1 (718) 623-1214
www.bernsarts.com
Booking for Europe for project LUME
CultureWorks
Sabina Schebrak [email protected]
Albertgasse 13-15/R4, 1080
Vienna, Austria
+43-1-5223522
Mobile: +43-664-5132367
www.cultureworks.at
- Interpretation lessons
For professional musicians
(Suitable for all melodic and harmonic instruments)
- Improvisation lessons
For musicians at all levels, who are wishing to learn various improvisation techniques using the traditional and contemporary elements.
(Suitable for all melodic and harmonic instruments)
- Eastern European Tunes & Rhythms (including Klezmer and Sephardic music)
For musicians at all levels, beginners to professionals, wishing to learn about various Eastern European musical styles.
(Suitable for all melodic and harmonic instruments)
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).