Bio:
Multi-instrumentalist, composer and trumpet master, Nicholas Payton is one of the most important artists working and recording today. A virtuoso before he was out of high school, his talent and skills have earned him praise and accolades and ensured his place in musical history. Spanning a multitude of musical genres, Payton has composed and arranged, performed and recorded with his own groups in many settings, including solo, duo, trio, quartet, quintet, sextet, 21-piece big band, as well as his 2012 full orchestral work The Black American Symphony.
Payton is the president of his own successful independent label Paytone Records. The latest project is the Afro-Caribbean Mixtape where he seamlessly merges contemporary music, African rhythms, and the voices of historical figures with a performance and execution that is unmatched. Payton notes, “It is often said that New Orleans is the northernmost region of the Caribbean. Africa is the source of all rhythms. The Afro-Caribbean Mixtape is a study of how those rhythms were dispersed by way of the Middle Passage throughout Cuba, Haiti, and Puerto Rico, then funneled through the mouthpiece of New Orleans to North America and the rest of the world.”
Payton was born into a musical family in New Orleans, Louisiana. He showed talent for music at a very early age. He received his first trumpet at age 4 and by age 9 was sitting in with local bands including the Young Tuxedo Brass Band. By the age of 12, he was a member of the All-Star Brass Band that performed and toured extensively. As he developed and studied, Nicholas successfully learned how to play several instruments. In addition to being an accomplished trumpeter, Nicholas plays piano, bass, drums, tuba, trombone, clarinet and saxophone, et al. During his high school years, Payton attended the New Orleans Center for Creative Arts to study with Clyde Kerr Jr. and after graduation attended the University of New Orleans where he studied with Harold Battiste and Ellis Marsalis, among others.
When he was barely in his 20s, Nicholas made his major-label recording debut as a band leader on Verve Records. Since then, he has recorded a multitude of albums, as well as performed world-wide with his own groups and as a special guest. At age 25, Nicholas won a Grammy Award for his collaboration with Doc Cheatham.
Payton has toured the world with Ray Brown, Elvin Jones and lists significant collaborations including Trey Anastasio, Ray Charles, Daniel Lanois, Dr. John, Stanley Jordan, Elvin Jones, Roy Haynes, Joe Henderson, Zigaboo Modeliste, Marcus Roberts, Jill Scott, Clark Terry, Allen Toussaint, Chucho Valdes, Dr. Michael White, Nancy Wilson, and many more. He recently produced a brilliant Tribute to Ella Fitzgerald for the gifted singer Jane Monheit. He is credited on over 140 recordings as a composer, arranger, special guest or sideman.
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).