with Mike Patton, Jesse Harris with Star Rover, Sofia Rei, Marc Ribot w/ Ikue Mori – (live score to Jennifer Reeves’ “Shadows Choose Their Horrors” and other shorts), John Medeski, Trevor Dunn, Kenny Wollesen and Will Shore, Cyro Baptista & Joey Baron
Sun September 29th, 2013
Minimum Age: 18+
Doors Open: 6:30PM
Show Time: 7:30PM
Event Ticket: $30
Day of Show: $35
Presented as part of the ZORN@60 Celebration
SONG PROJECT: 3 vocalists write lyrics and sing songs from John Zorn’s albums Naked City, Masada, Dreamers, Filmworks and more.
MIKE PATTON – VOICE
JESSE HARRIS – GUITAR, VOICE
SOFIA REI – VOICE
MARC RIBOT – GUITAR
JOHN MEDESKI – PIANO
TREVOR DUNN – BASS
KENNY WOLLESEN – VIBES
CYRO BAPTISTA – PERCUSSION
JOEY BARON – DRUMS
This is a general admission, standing event.
John Zorn’s The Song Project
Drawing upon his experience in classical, jazz, rock, hardcore punk, klezmer, film, cartoon, popular, world and improvised music, John Zorn has created a controversial and influential body of work that often defies academic categories. He has earned great respect within his own community and beyond by going his own way without compromise, developing a large network of supporters world wide, often in unexpected places. Born in 1953 and raised in New York City, Zorn has been a central figure in the Downtown Scene since 1975, incorporating a wide variety of creative musicians into various compositional formats. He is an indefatigable worker and highly prolific: he has composed 6 string quartets, vocal music, chamber music, operas, symphonic and dance works, has released over 100 cds under his own name, has led and written music for dozens of bands (Naked City, The Dreamers, Moonchild, Painkiller), scored over 50 films, and written over 600 tunes for his popular Masada project. His work is diverse and remarkably eclectic and draws inspiration from Art, Literature, Film, Theatre, Philosophy, Alchemy and Mysticism as well as Music.
In addition to his composing, recording and performing Zorn is a firm believer in community and a tireless champion of experimental music, film, art, poetry and theatre, organizing festivals, recordings and concerts, and helping to establish venues and opportunities for performance. He founded the Tzadik label in 1995 (which has released over 700 recordings of new and adventurous music); runs the East Village performance space The Stone (which has presented over 5000 concerts and 60 musical workshops since 2005) and has edited and published six volumes of musician’s writings under the title ARCANA. Honors include the Cultural Achievement Award from the National Foundation for Jewish Culture and the William Schuman Prize for composition from Columbia University. He was inducted into the Long Island Hall of Fame by Lou Reed in 2010 and is a MacArthur Fellow.
Michael Allan Patton (born January 27, 1968, in Eureka, California) is an American singer, songwriter, composer, multi-instrumentalist, and video game voice actor, best known as the lead singer of the rock band Faith No More from 1988 to 1998, which recently reunited in 2009 and will be touring Europe this summer. He has also handled lead vocals and composed music for Mr. Bungle, Tomahawk, Lovage, Fantômas, The Dillinger Escape Plan, Moonchild Trio and Peeping Tom. (via last.fm)
Jesse Harris with Star Rover
Originally from New York City, Jesse Harris is a singer, songwriter, guitarist and producer of artists from all over the world. He has been making records since the mid 90s, when he started in the group Once Blue on EMI Records. It was his first experience writing for another singer, lead vocalist, Rebecca Martin. Combining folk, jazz and pop, the group defined a direction for Harris and was also notable for featuring the guitarist Kurt Rosenwinkel.
As a solo artist since then Jesse has released 12 albums, including many with his former backing band The Ferdinandos and one all-instrumental recording (Cosmo). His forthcoming album, No Wrong No Right (to be released 2/10/15 on Dangerbird Records) finds him with backing group Star Rover and many special guests, including Julian Lage, CJ Camerieri, Mauro Refosco, Margaret Glaspy, Larry Goldings, and Sofia Rei (See the full press release below).
In 2003 he received the Grammy Award for Song Of The Year for Norah Jones’ breakout hit “Don’t Know Why,” from her debut album, Come Away With Me, which has sold over 20 million copies worldwide. Four other Harris compositions appear on it, “Shoot The Moon,” “One Flight Down,” “I’ve Got To See You Again,” and “The Long Day Is Over,” and he plays guitar throughout. Since then, Jones and Harris have collaborated many times. She duets with him on “What Makes You” from his album The Secret Sun and sings harmonies on several others,Crooked Lines, While The Music Lasts and Watching The Sky. He appears as guitarist on almost all of her albums, contributing songwriting to The Fall, and produced her version of his song “World Of Trouble” for the Ethan Hawke film The Hottest State. That soundtrack features not only Harris’ score, but new versions of his songs by Willie Nelson, Emmylou Harris, Cat Power, Feist, The Black Keys, M. Ward, Brad Mehldau, Bright Eyes (on whose album “I’m Wide Awake It’s Morning” Jesse also appears as guitarist), and others. Recently Harris and Jones appeared together in the Amy Poehler/Paul Rudd comedy They Came Together, performing his song “It Was The Last Thing On Your Mind,” also produced by Harris.
Other artists who have covered his material include Smokey Robinson, Sasha Dobson (whose album Modern Romance he co-produced with Richard Julian), George Benson, Pat Metheny, and Solomon Burke, on whose album Like A Fire Harris also plays guitar and sings backing vocals. Songwriting collaborations have included Madeleine Peyroux, Lizz Wright, Melody Gardot, Maria Gadu, and Vinicius Cantuaria.
Recently Jesse joined John Zorn’s The Song Project, along with Mike Patton and Sofia Rei, writing lyrics for various Zorn compositions and singing them at festivals worldwide with an all-star band that features Marc Ribot on guitar, John Medeski on keyboards, and Zorn conducting. A limited edition of vinyl 45s has just been released on Tzadik Records (tzadik.com).
Veteran singer, songwriter and musician Jesse Harris has just announced the release of new album No Wrong No Right, out Feb. 10 on Dangerbird Records.
The Grammy-winning Harris had his breakthrough in 2003, having written Norah Jones’ first and biggest hit “Don’t Know Why.” He subsequently has had a vibrant solo career of his own, along the way writing for and collaborating with renowned artists such as Bright Eyes, Cat Power, Feist, M. Ward, Melody Gardot, Mike Patton, John Zorn, Solomon Burke, Willie Nelson and Emmylou Harris.
On No Wrong No Right—Harris’ 13th solo album—he drew inspiration from Neil Young’s approach on After the Goldrush. “Some of that record was done with Crazy Horse, and it’s a rock record,” Harris explains, “but then you also have these hushed acoustic folk songs, and it keeps shifting back and forth between the two distinct moods. I always loved the way that worked, so I started there, but with No Wrong No Right, I also added a third element.”
The three elements Harris speaks of are an inspired set of full-band tunes recorded with guitarist Will Graefe and drummer Jeremy Gustin of experimental duo Star Rover; a more subdued, acoustic-anchored series of duets with guitar virtuoso Julian Lage; and a trio of evocative instrumental tracks.
The album initially grew out of Harris’ discovery of Star Rover and the friendship and musical chemistry that developed between them last winter. “I fell in love with their band,” Harris says. “I was sort of a groupie, checking out their gigs all the time. One day they invited me over to their loft to play, and it felt great from the first song. Which inspired me to write a bunch more songs.
“Will and Jeremy, musically, are adventurous and free, and at the same time completely supportive of the song. They love to work out arrangements, but they play with a lot of looseness and expression. It’s so hard to find that perfect combination—either people don’t want to rehearse, and just play all over the songs, or they’re too rehearsed and there’s no spontaneity. As a singer and songwriter, I feel like they support the music, but at the same time completely challenge it.”
The duos with Lage—“I Probably Won’t See You For A While,” “Don’t Let Me Pass By” and John Zorn co-write “Kafiristan”—are sparse and disarmingly intimate, offering a refreshing contrast to the record’s more fleshed-out tracks. Harris raves about the musical abilities of Lage, who also plays in duos with Wilco’s Nels Cline and Chris Eldridge of The Punch Brothers. “Julian is a remarkable young musician,” Harris says. “He’s a jazz guitarist, but he’s equally interested in songcraft and experimental music. Playing with him is always exciting—he’s extremely sensitive, and has such a beautiful tone. I really wanted to capture our duo on this record.”
The album’s three instrumentals—also backed by Star Rover—continue Harris’ tradition of including a few sans-vocals tracks on every release. The aptly named “Staring Contest” features a loping, repetitive and extremely hummable guitar figure. “Pandora’s Box” is a dreamy meditation on the modern rabbit hole of social media, and “Miyazaki” is a tribute to the legendary Japanese anime director.
No Wrong No Right also features a mysterious and gorgeously wintery rendition of Rodgers & Hart standard “Where or When” bolstered by the organ playing of Larry Goldings (James Taylor, Madeleine Peyroux, Maceo Parker). Other notable guests on the record include CJ Camerieri (Paul Simon, Bon Iver, yMusic) on horns and horn arrangements; Margaret Glaspy on vocals; frequent Harris collaborator Mauro Refosco (Red Hot Chili Peppers, Atoms for Peace) on percussion, marimba and electronics; and Sofia Rei—who also performs with Harris in the John Zorn-led Song Project—on vocals.
“Star Rover, the Brooklyn twosome of guitarist Will Graefe and drummer Jeremy Gustin, specializes in an alluring sort of pastoral punk that suggests a collaboration between Deerhoof and John Fahey.“- Time Out New York
Star Rover will be releasing a collaborative album with Grammy Award winning songwriter Jesse Harris on Dangerbird Records on February 10th. Lately, they’ve been busy collaborating with Petra Haden, Sam Amidon, Lars Horntveth (Jaga Jazzist), Larkin Grimm, Sam Owens (Celestial Shore), Lazar Davis (Cuddle Magic). They also recently recorded with Brazilian singer Tiago Iorc, and you can hear one of those songs, “Dia Especial”, right here.
For their debut album as Star Rover, guitarist Will Graefe (Landlady, Jesse Harris, Larkin Grimm) and drummer Jeremy Gustin (Delicate Steve, Marc Ribot, Albert Hammond, Jr.) began with the music of John Fahey and ended up in their own corner of a skewed, over-driven, weird America. Western Winds, Bitter Christians is available now from FYO Records.
Star Rover’s original compositions use John Fahey’s guitar playing as a launching point for interstellar explorations. Those 6 strings, kick, snare, tom, and cymbals separate and recombine, lead and accompany, and alternately push and pull the time with incredible variety. Rhythmic drive comes as often from Will Graefe’s guitar as it does from the drum set; Jeremy Gustin’s languid drumming is full of song-like melodies; and a casually precise blend of kick drum and low guitar strings provides ample bass-register harmonic grounding.
Sofía Rei is considered one of the most passionate, charismatic and inventive vocalists on the current New York music scene. Originally from Buenos Aires, Argentina, her own music is grounded in traditional South American rhythms such as chacarera, zamba and vidala from Argentina, Afro-Peruvian festejo and lando, Afro-Uruguayan candombe, Colombian cumbia and bullerengue and other genres that merge involving jazz harmonies, electronic sounds and rich improvisations. Singing in Spanish, English or Portuguese, Sofia’s voice brings more than the depth and fullness of a riveting voice, tying together diverse influences in a program full of rhythmic complexity, and a melodic purity that haunts even as it uplifts. Her ensemble produces a range of textures as diverse as the cultural roots of its members, an international cast that includes some of the most exciting young talent from North and South America.
Sofia Rei official site
Marc Ribot w/ Ikue Mori – (live score to Jennifer Reeves’ “Shadows Choose Their Horrors” and other shorts)
Marc Ribot, who the New York Times describes as “a deceptively articulate artist who uses inarticulateness as an expressive device,” has released over 20 albums under his own name over a 30-year career, exploring everything from the pioneering jazz of Albert Ayler to the Cuban son of Arsenio Rodríguez. His latest solo release, Silent Movies (Pi Recording 2010) has been described as a “down-in-mouth-near master piece” by the Village Voice and has landed on several Best of 2010 lists including the LA Times and critical praise across the board. 2013 saw the release of “Your Turn” (Northern Spy), the sophomore effort from Ribot’s post-rock/noise trio Ceramic Dog, and 2014 saw the monumental release: “Marc Ribot Trio Live at the Village Vanguard” (Pi Recordings), documenting Marc’s first headline and the return of Henry Grimes at the historical venue in 2012 already included on Best of 2014 lists including Downbeat Magazine and NPR’s 50 Favorites.
Rolling Stone points out that “Guitarist Marc Ribot helped Tom Waits refine a new, weird Americana on 1985’s Rain Dogs, and since then he’s become the go-to guitar guy for all kinds of roots-music adventurers: Robert Plant and Alison Krauss, Elvis Costello, John Mellencamp.” Additional recording credits include Neko Case, Diana Krall, Elton John/Leon Russell’s The Union, Solomon Burke, John Lurie’s Lounge Lizards, Marianne Faithful, Joe Henry, Allen Toussaint, Medeski Martin & Wood, Caetono Veloso, Susana Baca, Allen Ginsburg, Madeline Peyroux, Nora Jones, Jolie Holland, Akiko Yano, The Black Keys, and many others. Marc works regularly with Grammy® award winning producer T Bone Burnett and NY composer John Zorn. He has also composed and performed on numerous film scores such as “Walk The Line” (Mangold), “The Kids Are All Right,” and “The Departed” (Scorcese).
“…he can sit down with just his guitar and simultaneously confound you with technique, beauty, and surprise.” – John Garratt and Will Layman, PopMatters Picks: The Best Music of 2010 for the album “Silent Movies”
Marc Ribot official site
Marc Ribot on Facebook
Marc Ribot on Twitter
Marc Ribot on Vimeo
Marc Ribot on Soundcloud
SHADOWS CHOOSE THEIR HORRORS
2005, 16mm to Digital Beta, 31 minutes
Directed and Edited by Jennifer Reeves
Live score by Marc Ribot
Written by Jennifer Reeves with Winsome Brown
Starring Winsome Brown, Tanya Selvaratnam and Ariane Anthony
Shadows Choose Their Horrors is the dark and melodic diary of a necromancer living on the edge between the mortal world and the realm of lost souls. Sinister forces surround Madame G (Winsome Brown) as she tries to bond with her favorite undead. Using magic and ritual to give them new life and pleasures, Madame G is shocked by the devastating outcome. This camp and experimental reworking of early silent horror was inspired by both the un-staged Aaron Copland ballet Grohg, and the film that stirred the young Copland to write his ballet, Nosferatu.
Shadows Choose Their Horrors was originally created for a live performance of Grohg by the American Symphony Orchestra at Bard Music Festival, with Leon Botstein conducting.
Jennifer Reeves (b. 1971, Sri Lanka) is a New York-based filmmaker working primarily on 16mm film. Reeves was named one of the “Best 50 Filmmakers Under 50” in the film journal Cinema Scope in the spring of 2012. Her films have shown extensively, from the Berlin, New York, Vancouver, London, Sundance, and Hong Kong Film Festivals to many Microcinemas in the US and Canada, the Robert Flaherty Seminar, and the Museum of Modern Art. Full multiple-screening retrospectives of her work have been held in recent years at Era New Horizons Film Festival in Wroclaw, Poland, Kino Arsenal in Berlin, Anthology Film Archives in New York, and San Francisco Cinematheque. Her most recent film COLOR NEUTRAL premiered at the New York Film Festival in October 2014.
Reeves has made experimental films since 1990. She does her own writing, cinematography, editing, and sound design. Her subjective and personal films push the boundaries of film through optical-printing and direct-on-film techniques. Reeves has consistently explored themes of memory, mental health and recovery, feminism and sexuality, landscape, wildlife, and politics from many different angles.
Since 2003 Reeves has collaborated with some of the finest composer/ musicians today, including Anthony Burr, Skúli Sverrisson, Elliott Sharp, Zeena Parkins, Marc Ribot, Erik Hoversten, Pitt Reeves, Hilmar Jensson, and Dave Cerf. As the daughter of a trumpeter, gravitating toward film and music collaborations was quite natural for Reeves. Her most ambitious film and music performance, the feature-length double-projection WHEN IT WAS BLUE (2008), premiered at Toronto International Film Festival with live music by composer/collaborator Skúli Sverrisson.
Reeves has also made a number of experimental narratives, most notably her highly acclaimed feature THE TIME WE KILLED. The Village Voice Film Critic’s poll (2005) honored THE TIME WE KILLED with votes from six film critics for categories including: Best Film, Best Cinematography, and Best Performance.
Reeves also teaches animation part-time at The Cooper Union.
Jennifer Reeves official site
Keyboard master John Medeski thrives on the unpredictable, a trait that has kept his work with the trailblazing trio Medeski Martin & Wood (MMW) fresh and surprising for more than twenty years. With A Different Time, his first solo piano project, Medeski once again takes his sound in a completely unexpected direction – unexpected even to him.
“I had a more eclectic record in mind,” Medeski says. “I wanted to put out something that would be more representative of what my live solo concerts are like.”
Instead, A Different Time (out April 9 – the first release on Sony Classical’s newly-revived OKeh Records imprint) is a far more introspective, meditative collection than fans of MMW’s lively, groove-driven music might expect. Consisting mostly of Medeski’s own compositions and improvisations, with a familiar spiritual and a Willie Nelson song added into the mix, the album presents a different side of Medeski’s prodigious artistry, one which he was initially reluctant to display.
“In all honesty, it was a little scary to put this out because it’s so meditative and contemplative,” Medeski admits. “I know it’s not what anybody’s expecting, but it’s a side of me that exists. It’s really raw and open, stripped of all hipness. But it’s made me a little less afraid to just drop into the moment and play what’s coming to me as opposed to something that I know will work, something that I know is cool, something that I know will have a certain effect. The whole point is to get lost in the music.”
Not just a first for Medeski, A Different Time also marks the return of the historic OKeh label, once home for such jazz pioneers as Louis Armstrong, Duke Ellington, King Oliver, and Sidney Bechet. Sony Classical has revived the label as an outlet for new jazz releases by artists like Medeski, Bill Frisell, David Sanborn, and Bob James, among others to be announced. “At this point,” Medeski says, “after everything that’s gone on in the music business, it’s exciting that Sony has come around to releasing new creative music again. I like the energy of being part of something new.”
While he’s become better known for a more buoyant, organ-centric approach that melds free-wheeling jazz with jam band eclecticism, Medeski says that sitting alone at a piano feels natural, returning him to his earliest experiences at the keyboard. “I grew up playing piano my whole life,” he says, “so it feels like home to me.” He began playing more solo concerts in recent years, and decided it was time to document that aspect of his playing.
The album was recorded at Waterfront Studios, producer Henry Hirsch’s recording studio built within a 19th-century church in New York’s scenic Hudson Valley. For his solo debut, Medeski wanted to aim for a sound quality that approached his personal “Holy Grail,” the recordings that classical pianist Arthur Rubinstein made for RCA Records. Hirsch shared his admiration for those sessions, so Medeski spent several days recording on Waterfront’s nine-foot Steinway piano.
But Hirsch also encouraged Medeski to try the studio’s other piano, a 1924 Gaveau – a French piano made in a pre-modern style, akin to Chopin’s preferred model, the Pleyel. The instrument, as it turned out, was a revelation and made a profound impact on the music that came to be A Different Time.
“The Gaveau required a very delicate, controlled touch,” Medeski explains. “It is much harder to get a good sound out of it than it is on a regular piano. You have to use a lot of control; touch makes a huge difference and when you play delicately you can get a lot of nuance and really make this instrument sing. I tried a lot of things that had never worked for me before, and when I went back and listened to all of the recordings, that stuff stuck out as the most unique.”
The entirety of A Different Time was recorded on the Gaveau, with minimal electronics in order to capture the instrument’s full dynamic range. The sessions were undertaken late at night, when outside noise was at a minimum and a more crepuscular mood settled over the church. As Medeski writes in his liner notes, he hopes that listeners approach the album in the same atmosphere, at a time “when social responsibilities are over, when the political questions of the day have been dealt with, when all gossip has come to an end, when all needs and wants have been put to momentary rest, when all plans have been made, when you are tired of words, and you are ready to yield to the sounds of these simple contemplations for the Gaveau.”
The album begins with the title track, a stark “spontaneous composition” improvised by Medeski at the Gaveau. The name has several connotations, evoking that night-time ambience but also harkening back to a time when records occupied a listener’s full attention, before the multifarious distractions of the modern world. “There was a time when people used to sit down and listen to music, when it wasn’t just the soundtrack to your life,” Medeski says. “I remember sitting in a room with a group of people, experiencing music together, at a time when we as human beings really got lost in the sound.”
A Different Time offers a sustained opportunity to become lost in Medeski’s deeply personal sound, presenting an intensely focused experience of keen emotional virtuosity. The selection ranges from the tender Willie Nelson ballad “I’m Falling in Love Again,” a piece which Medeski has long wanted to record and which finally found its best expression through the Gaveau; to “His Eye Is On the Sparrow,” a traditional spiritual that Medeski approaches with a lush reverence.
“Ran” is another tune for which Medeski has long sought the proper context, the album’s sole through-composed piece. The wistful “Otis,” which closes the album, was originally recorded on Notes From the Underground, MMW’s 1992 debut album. The sing-song “Waiting at the Gate” dates back even further, to a musical Medeski wrote in his teens. “It’s just a little tune that I wrote when I was a kid and never played for anybody,” Medeski laughs. “Ever.”
The heart-breakingly gorgeous “Luz Marina” was written for Mama Kia, the founder of an orphanage in Peru who passed away in 2010. Luz Marina was the name of her first adopted child, who died at a tender age. Medeski sought to depict Mama Kia’s inspirational and generous spirit through the piece. The final two pieces are both improvisations: “Graveyard Fields,” which shares the deceptively morbid name of a bucolic area in North Carolina, and the darkly tinged “Lacrima,” more aptly named for the Italian word for “tear.”
The fact that he didn’t try out the Gaveau until he thought he’d already gotten a full album in the can took a considerable amount of pressure off of Medeski’s shoulders, opening him up to the more naked, vulnerable sound of the album.
“I was just playing music,” he says. It was just about dealing with the instrument and the room and making the music that felt good. I just got lost in the sound, and that’s really the ultimate goal anytime you sit down to play.”
read more at johnmedeski.com/
Trevor Dunn is currently playing in various projects under the direction of John Zorn (Nova Quartet, Dreamers, Electric Masada, Aleph Trio). The Nels Cline Singers, Curtis Hasselbring’s New Mellow Edwards, Melvins Lite, Endangered Blood, Tomahawk, The Darius Jones Quartet & Erik Friedlander’s Bonebridge. I still have plans for my own bands: trio-convulsant, PROOF Readers and MadLove; and I continue to write music for independent films, practice long tones, pine over Daisy Lowe and drink shitty beer in heavy metal saloons.
Kenny Wollesen and Will Shore
Kenny Wollesen (Bill Frisell, John Zorn, Tom Waits) and Will Shore (Tomboy, Shore) come together on two vibraphones to improvise and create wide-open original music. All 8 of their mallets swing real loose between freedom and precision: raucous polyrhythmic grooves and sharp dissonant lines lead into floating melodic rolls.
The duo’s unique sound comes from the mix of Kenny’s acoustic vibraphone with Will’s electric one, which is fitted with contact mics to create a timbre much like his solo production work (Shore).
Between Will’s manipulation of the vibes through pedals/electronics and Kenny’s vibrant and propulsive playing that you’ve heard on so many albums, the duo is sure to create an unpredictable noise and lively rhythmic interplay (though nothing else is certain).
Kenny Wollesen is a drummer, vibraphonist, percussionist and instrument builder based in New York City. He is the founder of the Wollesonic Laboratories and the mastermind behind Sonic Massages and the Himalayas marching band. He has worked with Bill Frisell, Norah Jones, Tom Waits, Ben Goldberg, Steven Bernstein, Jonas Mekas, Butch Morris, Ilhan Ersahin, Hal Wilner, John Medeski, JIm Hall and has been a vital member of John Zorn’s ensembles and projects for over 20 years.
Born in São Paulo, Brazil, Cyro Baptista arrived in the U.S. in 1980 with a scholarship to the Woodstock-based Creative Music Studio. During the ’70- and ’80’s, the Woodstock-based Creative Music Studio was considered the premier study center for contemporary creative music and is credited as the birthplace of world jazz – the improvisational and compositional expansion of the world’s musical traditions. Founded in 1971 by Karl Berger, Ingrid Sertso and Ornette Coleman, CMS brought together leading innovators in the jazz and world music communities. After his time at CMS, Cyro moved to New York City where he started his career on the streets of lower Manhattan. He has since emerged as one of the premier percussionists in the country. Coinciding with the rise in the public’s interest of world music, Cyro has recorded and toured with some of music’s most popular names. His mastery of Brazilian percussion and his numerous homemade instruments, have catapulted him into world renown. In short, if you’ve listened to the radio in the past 30 years, chances are you have heard Cyro’s caxixi, pandeiro or one of his (now famous) homemade instruments.
Cyro’s credits read like a “Who’s Who” of modern music. He has toured extensively with Yo-Yo Ma’s Brazil Project, Trey Anastasio’s Band (of Phish), John Zorn’s Electric Masada, Herbie Hancock’s Grammy award-winning “Gershwin’s World”, Sting and Paul Simon’s “Rhythm of the Saints”. Other artists Cyro Baptista has performed and recorded with include David Byrne, Kathleen Battle, Gato Barbieri, Dr. John, Brian Eno, Robert Palmer, Melissa Etheridge, Laurie Anderson, John Zorn, James Taylor, Carly Simon, Michael Tilson Thomas, Daniel Barenboin, Bobby McFerrin, Wynton Marsalis, Medeski Martin & Wood, Spyro Gyra, Jay-Z, Snoop Dogg, and Santana.
Drummer Joey Baron was born into a Jewish working class family in Richmond, Virginia.
He is largely self-taught by means of watching others play and listening to recordings, radio and television. His early influences ran the gamut from Ed Sullivan show guests, to “The Wild Wild West” television show theme to records by Art Blakey, Ray Charles, Booker T. & the M.G.’s, James Brown, The Beatles and Jimi Hendrix.
-via Drummer World