Bio:
Vanessa Moreno began her musical studies at the age of 15,on the guitar, and since then she has been building a considerable trajectory as an interpreter and composer, with a career already full of experiences in different musical aspects, being recognized as one of revelations of Brazilian music.
She was part of the vocal quartet Karallargá, participating in several festivals around Brazil and recording the CD “Karallargá por Natureza”.
For 4 years she was part of the group “Saraivada”, of Chico Saraiva (Visa Award 2009), alongside percussionist Ari Colares, interpreting his songs and also participating in the recording of the renowned program “Ensaio”, presented by Fernando Faro on TV Cultura.
Vanessa participated in several recordings and shows with Brazilian music artists such as Gilberto Gil, Roberto Menescal, Rosa Passos, Fabiana Cozza, Chico Pinheiro, Sergio Santos, Swami Jr., Arismar do Espírito Santo, Filó Machado, Zé Pitoco, Nailor Proveta, Mônica Salmaso, Maria Gadu, Tó Brandileone, Criolo, Dani Black, Alexandre Ribeiro, Marcelo Pretto, Toninho Ferragutti, Ellen Oléria, and others.
With double bassist Fi Maróstica, she developed a duo work with two albums released: Vem Ver (2013) and Cores Vivas - Canções by Gilberto Gil (2016), performing in significant cultural spaces and jazz festivals in São Paulo and Europe, including Ibirapuera Auditorium (SP), Sala São Paulo (SP), Ilhabela in Jazz (SP), Viva Brasil Festival (Amsterdam), B.Leza (Lisbon) and Jamboree (Barcelona). Both albums were released in Japanese versions.
Vanessa has a bachelor's degree in Popular Singing from Souza Lima & Berklee College and develops some works as an educator, giving workshops on popular singing in festivals throughout Brazil, in addition to being part of the teaching staff of Ibirapuera Auditorium School whose artistic and pedagogical director is the musician and Nailor Proveta arranger.
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).