Bio:
With an unparalleled style of rhythmic expression, drummer Willie Jones III is one of the world's leading jazz drummers. In addition to honoring his monumental influences - the late greats Philly Joe Jones, Art Blakey and Billy Higgins - Jones' bold articulation and constantly innovative sense of swing are results of his life-long musical experience.
Born in Los Angeles, California on June 8, 1968, Jones' earliest exposure to music was through his father, Willie Jones II, an accomplished and notable jazz pianist, who offered guidance and inspiration to his gifted son. Dedicated to the further development of his skills, the younger Jones spent the next few years working diligently with acclaimed drummers and music instructors and began performing with distinguished musicians by the time he was in his teens. He completed his academic training after receiving a full scholarship to the California Institute of the Arts where he studied under the tutelage of the legendary Albert "Tootie" Heath.
Before he was a semifinalist in the 1992 Thelonious Monk Jazz Drum Competition, Jones co-founded jazz band Black Note. Influenced by the rich soulful energy of the West Coast bop movement, Black Note's hard-swing sound propelled them to first place in the prestigious John Coltrane Young Artist Competition in 1991. Jones contributed his skillfulness as both musician and producer on all four Black Note recordings: 43rd & Degnan and L.A. Underground (World Stage Records), Jungle Music (Columbia) and Nothin' But the Swing (Impulse!). By 1994, the band had toured Europe and across the U.S. and was the opening act for Wynton Marsalis.
Near the end of 1994, while Jones was reaching for a higher level of drumming dexterity, he gained the privilege of playing sideman to the renowned vibist Milt Jackson, where Jones learned the importance of pacing and sensitivity. Meanwhile, his musical career continued to unfold. From 1995 through 1998, he was a member of Arturo Sandoval's band and is featured on Sandoval's GRAMMY® award winning release Hot House (N2K). Subsequently, Jones recorded with Horace Silver on Jazz Has a Sense of Humor (Impulse!).
From 1998-2005, Jones was a member of Roy Hargrove's Quintet and is featured on Roy Hargrove's CD releases on Verve: Moment To Moment, Hard Groove, Nothing Serious and RH Factor's Distractions. Jones can be heard on a host of recordings including Kurt Elling's GRAMMY® nominated Night Moves (Concord) and Eric Reed's Here (Max Jazz). Jones has worked with Sonny Rollins, Ernestine Anderson, Bobby Hutcherson, Wynton Marsalis, Cedar Walton, Frank Wess, the Dizzy Gillespie All-Star Big Band, Houston Person, Billy Childs, Eric Reed, Ryan Kisor, Eric Alexander, Bill Charlap, Michael Brecker, Herbie Hancock and Hank Jones. In 2000, Jones' released his debut CD, Vol 1...Straight Swingin' on his own label, WJ3 Records.
He continued to reveal his proficiency as a composer as well as a producer on Vol II...Don't Knock The Swing (2002); Volume III (2007); WE 2 (2008), a trombone and piano recording featuring Wycliffe Gordon and Eric Reed...
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).