What's Up?
There is a rising meteor in the musical firmament, a man of the sort of talent we can only associate with greatness. His name is Steve Sandberg. He has gathered together a band whose members are themselves leaders in their field. I, personally, become awestruck when listening to Steve Sandberg. His keyboard artistry and creative gifts are treasures awaiting the world’s recognition.
— Seymour Bernstein
Alaya is a breathtaking composite of world music, jazz, and classical expressions. In other words, it’s Sandberg’s whole musical existence merging into a single stream. In these eight tracks, he delivers unto us an exultant music that’s incredibly personal and precise in its direction, yet universal in its language and ability to connect.
— Dan Bilawsky, All About Jazz
Many thanks to you and gang for a brilliant concert last Sunday! It was a huge success! We have been fortunate to have hosted excellent musicians in our series; but I have to say, Sunday’s concert was by far my favorite.
— Sam Holt, Artist Coordinator, Sundays@Three music series, Albemarle, NC
Life & Work
Bio:
Three-time Emmy-nominated composer/pianist Steve Sandberg plays original music that masterfully blends classical, global music traditions, and jazz with the excitement of virtuosic improvisation.
Steve was lead composer and musical director for Nickelodeon’s landmark children’s programs “Dora the Explorer” and “Go, Diego, Go!” His scoring and songwriting are informed by a lifetime of immersion in the music of many cultures
He began playing the piano at the age of four (and is a current student of the legendary pianist and teacher Seymour Bernstein). While studying music at Yale, and African Art History with Robert Farris Thompson, he heard Felipe Luciano’s Latin Roots radio program, and it changed his life. Deeply drawn to these rhythms, Steve moved back to New York after graduating to immerse himself in the world of jazz and Afro-Caribbean music. His mentor was multi-instrumentalist Mario Rivera, a member of the Dizzie Gillespie, Tito Puente, and George Coleman ensembles. Steve was pianist, composer and arranger for Rivera’s “Salsa Refugee” group, and also performed with Celia Cruz, Tito Puente, and Ruben Blades. A highlight of this period was an appearance in Rio and São Paolo in a duo with vocalist Bebel Gilberto.
Steve has toured with David Byrne (“Rei Momo”) as keyboardist and vocalist, and was musical director for Lincoln Center’s summer Brazilfest series. He has conducted and arranged for Broadway (Chronicle of a Death Foretold) and for many regional and off-Broadway theatres, including the New York Shakespeare Festival.
In 2017, Steve founded the Steve Sandberg Quartet, featuring the violinist Zach Brock (critically acclaimed as “the pre-eminent improvising violinist of his generation”), bassist Michael O’Brien, and drummer Mauricio Zottarelli. Their first CD, “Alaya,” was released on ArtistShare. Dan Bilawsky of All About Jazz called this CD “… a breathtaking composite of world music, jazz, and classical expressions … personal and precise in its direction, yet universal in its language and ability to connect.” The quartet has performed at Birdland, the DiMenna Center, Sidedoor Jazz, the Allentown Symphony Jazz Upstairs series and many other venues.
Throughout the pandemic, Steve stayed active, livestreaming regularly from Brooklyn’s Soapbox Gallery, in collaboration with many New York musicians including Zach Brock, Rudy Royston, Boris Koslov, Ed Cherry, Vitor Goncalves, Jay Hoggard, Jay Rodriguez, and Vinicius Gomes.
In August of 2021, Steve and Zach performed a duo concert at New York’s Bargemusic series and in October, 2022, gave a series of concerts and taught several masterclasses in Egypt, sponsored by the American University of Cairo and the U.S. Embassy.
Recently, Steve played at the Yale Jazz Festival with his trio, where he was the guest at a Masters Tea and was interviewed on his musical career. Recent performances also include his Brazilian Project at Jazzforum in Tarrytown and regular trio concerts at the Deerhead Inn, the oldest jazz club in North America.
Steve maintains an active teaching studio in NYC, where he teaches students of all ages and levels, in person and online. He has also presented masterclasses on Improvisation for Classically Trained Musicians via the Global Music Foundation and at the New School.
In 2019, Steve was commissioned by Kelly Hall-Tompkins’ Music Kitchen project, which presents classical music at New York City homeless shelters, to write an original song for tenor and string quartet. The song, setting lyrics by former Music Kitchen clients to music, was at Carnegie Hall’s Zankel Hall in April, 2022.
Lessons/Workshops:
In addition to performing and composing, I teach piano and composition students of all levels and interests. Currently, I am teaching on zoom/facetime. My innovative approach is individually tailored to each student’s learning style, needs and goals. For more info please visit:
The Steve Sandberg Quartet plays original classical world music and features Zach Brock, Michael O'Brien and Mauricio Zottarelli. Steve's compositions reference Ravel, Bartok, Bach, and Chopin along with African, Cuban, Balkan, and Brazilian rhythms.
Human creativity is everywhere. From Brazil it's all being connected in a manner allowing one to move from any creator to any other creator in just a few steps. Artificial Intelligence & algorithms not necessary. Real intelligence, yes.
THE MATRIX IS THE MOTHER SHIP (it carries people to culture; per above, it carries culture too)
THE MATRIX IS CULTURAL DIFFUSION ON A PLANETARY SCALE (Bahia is Ground Zero)
THE MATRIX IS THE INTEGRATED GLOBAL CREATIVE ECONOMY (matrixed economist, Dr. Darius Mans, presents the Africare Award to Luiz Inácio Lula da Silva — Brazil's current president — in 2012)
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; recorded "Purple Rain", "Around the World in a Day", "Parade", and "Sign o' the Times"; now director of the Berklee Music Perception and Cognition Laboratory)
Dear Sparrow, Many thanks for this – I am touched! — Julian Lloyd Webber (most highly renowned cellist in the United Kingdom; brother of composer Andrew Lloyd Webber (Evita, Jesus Christ Superstar, Cats...)
This is super impressive work ! Congratulations ! Thanks for including me :))) — Clarice Assad (pianist, composer with works performed by Yo Yo Ma and orchestras around the world)
This Matrix was built by an ex-royalty "rescuer" (Aretha Franklin, Barbra Streisand, Gilberto Gil, Astrud Gilberto, Mongo Santamaria, Jim Hall, Led Zeppelin, Bob Marley and many others) so that deep Brazilian culture, much of it otherwise impossible to find if one is not right there where it is made, might also (via an alternative to major media) be discoverable from all around the world. To do this it integrates this immensity into a system whereby ALL CULTURE EVERYWHERE — from small villages in Africa to Grammy-winning artists in Los Angeles — writers, filmmakers, painters... — can be found from anywhere on the planet.
The Matrix uncoils from the Recôncavo of Bahia, Brazil, final port-of-call for more enslaved human beings than any other such throughout all of human history and from where some of the most physically and spiritually uplifting music ever made (samba and its precursor chula, per the Saturno Brothers above) evolved...
WHAT IS THE RECÔNCAVO? The peninsula upon which Salvador is situated is like the thumb of an open and grasping hand, what is normally thought of as the Recôncavo then being defined by the curved index finger. This way of definition developed when agricultural products were brought to Salvador by boat, sometimes making their way first down the Paraguaçu river after having been carried overland from the sertão (backlands) to Cachoeira, the river debouching into the Bay of Saints at Maragogipe. The city of Bahia (as it was usually called then) was crouched on the bay, comprised of a commercial district much smaller in area than today (landfill has increased it greatly), the area around the upper section of the elevator, and what is now called Pelourinho.
Much of the remainder of the peninsula was given to sugarcane plantations, and dotted within the Atlantic rainforest were countless quilombos (Afro-Brazilian villages founded during the age of slavery); both are attested to today in commonly used city names. The neighborhood of Garcia was once Fazenda Garcia (fazenda being a farm or plantation), and this denomination is still used today to distinguish one end of Garcia (fim-de-linha) from the other (the Campo Grande end). Neighborhoods Engenho Velho de Federação and Engenho Velho de Brotas are so called for the old mills (engenhos velhos) which pressed the caldo (juice, so to speak) from the cane so laboriously hacked out of the fields. The neighborhood of Cabula is named for an nkisi (deity) of candomblé angola (the first candomblé -- a West African religious belief system -- to arrive in Bahia)...whose rhythms comprise the basis for samba, meaning that the rhythms to which so many in the world inexpertly swayed as Stan Getz's saxophone soared and João and Astrud Gilberto sensuously intoned -- this paragon of suave Brazilian sophistication -- was born in the rough senzalas (slavequarters) of Bahia. Ironically enough, the barefoot senzala version was/is far more sophisticated than the sophisticated version.
But times have changed, and Cabula is now a crowded, non-descript middle-to-working class Salvador city neighborhood (plenty of candomblé around though), and Engenhos Velhos de Federação and Brotas are swarming working class neighborhoods (ditto the candomblé); the senzala samba, the samba chula and samba-de-roda have disappeared. A simplified version -- Bahian pagode -- is heard everywhere in Salvador, but the real-deal stuff has died out here in the big city. It remains, however, a potent force on the remainder of its native ground, the Recôncavo proper, where it is danced to upon pounded earth, under moonlight broken by banana, palm and mango leaves, lifting the souls of its participants almost like something religious, which it was, and gods aside, is.
By the same mathematics positioning some 8 billion human beings within some 6 or so steps of each other, people in the Matrix tend to within close, accessible steps of everybody else inside the Matrix.
Brazil is not a European nation. It's not a North American nation. It's not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn.
Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin.
Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — the hand drum in the opening scene above — was almost certainly brought to Brazil by these people).
Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.