Bio:
Michael League is a bassist, guitarist, composer, arranger, producer, label owner, and bandleader based out of Brooklyn, New York.
As a military brat, he was born in southern California and grew up in both southern Alabama and northern Virginia. Michael attended the University of North Texas' jazz studies program for 4 years, then moved to nearby Dallas for another 3 years, where we worked with some of the most influential figures in modern gospel, R&B, and soul music, and was mentored by legendary keyboardist Bernard Wright (Miles Davis, Chaka Khan).
Performing, recording, and production credits include Grammy Award winners Roy Hargrove, Kirk Franklin, Tommy Sims, John Popper, Gordon Chambers, Walter Hawkins, and Patti Austin, as well as Musiq Soulchild, Chris Potter, Robert Glasper, Ari Hoenig, Adam Rogers, Lionel Loueke, Lucy Woodward, Justin Brown, Ambrose Akinmusire,Theo Bleckman, Lew Soloff, DJ Logic, Marco Benevento, John Ellis, Sam Barsh, Coco Lee, Marvin Sapp, Myron Butler & Levi, Bonerama, Ivan Neville, Keite Young, and Jason Marsalis among others.
Michael runs the instrumental music ensemble Snarky Puppy (named "Best Jazz Act" in the Dallas Observer Music Awards for 2008, 2009, and 2010), whose grass-roots approach to the changing music industry has met unprecedented success. Their most recent album, "groundUP," reached #3 on the US ITunes jazz charts and #14 on the Billboard jazz charts. His efforts as a bandleader and bassist earned him an interview in the Random House release "The New Face of Jazz" alongside the likes of Wynton Marsalis and Sonny Rollins.
Now in Brooklyn, Michael has his hands in dozens of pots. He plays regularly in over 20 New York-based groups, and spends the majority of his time doing string, horn, and full production for artists on both independent and major labels. In late 2011, he launched his own imprint, GroundUP Music, under Ropeadope Records.
Michael is passionately committed to music education and outreach, having given clinics at over 50 schools throughout the United States, Canada, and Europe. He also works closely with several non-profit organizations in the U.S.A. and holds an open-ended artist-in-residence position at Roanoke, Virginia's Jefferson Center for the Arts. He also holds a position as Visiting Faculty at the Institute of Contemporary Music Performance in London, England, and teaches private lessons at The New School in New York City.
After a decade of relentless touring and recording in all but complete obscurity, the Texas-bred/New York-based quasi-collective suddenly found itself held up by the press and public as one of the major figures in the jazz world. But as the category names for all three of the band’s Grammy® awards would indicate (Best R&B Performance in 2014, Best Contemporary Instrumental Album in 2016 and 2017), Snarky Puppy isn’t exactly a jazz band. It’s not a fusion band, and it’s definitely not a jam band. It’s probably best to take Nate Chinen of the New York Times’ advice, as stated in an online discussion about the group, to “take them for what they are, rather than judge them for what they’re not.”
Snarky Puppy is a collective of sorts with as many as 25 members in regular rotation. They each maintain busy schedules as sidemen (with such artists as Erykah Badu, Snoop Dogg, Kendrick Lamar, and D’Angelo), producers (for Kirk Franklin, David Crosby, and Salif Keïta), and solo artists (many of whom are on the band’s indy label, GroundUP Music). At its core, the band represents the convergence of both black and white American music culture with various accents from around the world. Japan, Argentina, Canada, the United Kingdom, and Puerto Rico all have representation in the group’s membership. But more than the cultural diversity of the individual players, the defining characteristic of Snarky Puppy’s music is the joy of performing together in the perpetual push to grow creatively.
The band was formed by bassist and primary composer Michael League in 2003, starting inconspicuously enough as a group of college friends at the University of North Texas’ Jazz Studies program. Three years later, a serendipitous intersection with the Dallas gospel and R&B community in Dallas transformed the music into something funkier, more direct, and more visceral. It was at this time that the group absorbed musicians like Robert “Sput” Searight (drums), Shaun Martin (keyboards), and Bobby Sparks (keyboards), and were heavily influenced by legendary keyboardist Bernard Wright (Miles Davis, Chaka Khan, Marcus Miller).
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).