Bio:
Grammy winning, musician extraordinaire, Terreon Gully is one of the most influential artists of his generation. Widely recognized for his creativity, versatility and authenticity, Terreon is in high demand. His innovative and distinct sound has inspired artists such as Dianne Reeves, Christian McBride, Stefon Harris as well as John Beasley’s Monk’estra to make him a member of their bands.
Terreon has mastered a variety of musical genres. He performs, tours and records extensively with a variety of artists. From jazz legends and modern masters to the hottest hip hop icons, Terreon has worked with the best: Kurt Elling, David Sanborn, Nicholas Payton, Kenny Barron, the Stones Project, Sting, Keyon Harrold, Queen Latifa, Yerba Buena, Charlie Hunter, Abbey Lincoln, Joe Locke, Marc Cary, Russell Gunn, Lizz Wright, Dee Dee Bridgewater, Maria Schneider Big Band, Jacky Terrasson, Eldar, Me’Shell NdegeOcello, Lauryn Hill, Pharoahe Monch, Mos Def, and Common as well as a host of other artists. In addition to live performances, Terreon is also known for his exceptional work in the studio, producing and recording for CDs, films, and commercials; including his first solo project “TANKTIFIED”.
Committed to education and inspiring other musicians, Terreon served as a Professor of Music at the University of Manitoba in Winnipeg, Canada and has given clinics and master classes all over the world; including, Australia, Canada, France, Germany and New Zealand.
Terreon’s passion for excellence led to his endorsements of the world’s finest equipment; he plays Yamaha drums, Sabian cymbals, Remo drumheads, Vic Firth drumsticks, LP percussion and Protection Racket cases.
Originally from East St. Louis, Illinois, Terreon refined his musical talent in New York City, after completing college at the University of Houston in Houston, Texas. Currently, Terreon makes Atlanta, Georgia, his home, where he continues to enhance and develop his craft.
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).