We’re thrilled to be featured in the world’s leading jazz publication.

Check out the full story, “Clay Ross: Maracatu Odyssey” by Eric Fine. Just click the photo.

READ THE FULL STORY

]]> http://clayross.com/2010/01/down-beat-magazine-feature/feed/ 0 http://clayross.com/2009/11/jazz-times-review-2/ http://clayross.com/2009/11/jazz-times-review-2/#comments Sat, 21 Nov 2009 07:49:07 +0000 clay http://clayross.com/?p=847 The Matuto Album got a stellar review in the latest Jazz Times Magazine. We feel honored to be featured in one of the top music journals in the country!

CLAY ROSS
Matuto (Ropeadope)
A hotshot Telecaster picker from South Carolina, Clay Ross immersed himself in Brazilian street beats as a member of Cyro Baptista’s Beat The Donkey.  The two elements – countrified licks and insinuating samba grooves – merge in weird and wonderful ways on this unorthodox and delightful debut. The bluegrass-meets-Brazil formula works best on “Recife”, “Zydeco Mondo” and “Church Street Blues”.  He also delivers a raw-voiced rendition of Blind Willie Johnson’s “John The Revelator,” accompanied only by Baptista’s berimbau – until the batucada percussion ensemble kicks in.

We are also featured in All About Jazz.  One of NYC’s leading jazz publications.

Festival Músicas do Mundo – Sines, Portugal

I just played in one of the most unforgettable concerts of my life, with some of the most incredible musicians I know, in one of the most beautiful places I’ve ever been, for one of the most open and enthusiastic audiences I’ve ever seen.

It wasn’t perfect and it wasn’t all planned, but it was glorious, cathartic, and couldn’t have been more real.

These tough times have affected a lot of people.  For a big group like ours, this has meant less opportunities to perform together.  Luckily, our one show of the summer was completely revitalizing.

It was wonderful to be reminded that there is simply nothing in this world like “Beat the Donkey;”  Cyro is crazy in the most beautiful way, and together we can lift 5,000+ people into a sonic whirlwind of heavy metal – noise – funk – forro – freak out!

We developed the “hillbilly” cue for some chicken pickin’;  Nicolas brought the house down on a bass heavy tap box;  Ze took the metal growl to a new level (sources report that the sound-man of a scandinavian thrash band literally cried);  Gilo made King Crimson his bitch;  Brian was grooving so hard he levitated over the keys (he also played the entire show with a chicken on his head); Cyro had the world on the string of his Berimbau and lead us from heaven to hell, and back again.

To end our first encore we lead the audience to repeat a simple melody and walked off stage.  They keep this melody alive for over 20 minutes.  They demanded that we return for one last song.

[Show as slideshow]

Thank you Sines for making it certain that we have much more music to play!  We will see you again soon.

My experiences sharing American Music abroad have been some of the most rewarding interactions of my life. I have participated in four government sponsored tours in the last four years. All of them have been thrilling experiences, but this most recent residency in Recife, Brazil was particularly significant to my musical expression and growth as an educator.

Northeastern Brazilian music has been an important influence for me in recent years. Since discovering Forro, Maracatu, Coco, and other styles I have noticed many striking similarities to North American Roots Musics. Having the opportunity to share this discovery and passion with young students in Recife was truly profound. We quickly realized that most of these students have had little exposure to “blues,“ “second line,“ or `jazz“ styles. But, with our previous knowledge of Brazilian music it was easy to create bridges between our cultures.

In one of the most inspiring instances we had a 20 piece frevo band playing a second line blues (complete with drum breaks and horn arrangments) in less than an hour. It was incredible! By demonstrating suble variations on their native rhythms, we were able to expose these students to a completely new and foreign style. I believe this musical connection can help broaden a young student`s horizons by allowing them to see the world as a smaller, more accessable place.

We try to approach our workshops as exchanges, not only sharing our music but hoping to learn something new as well. During this program we were treated to student performances of Frevo, Ciranda, Maracatu, and more. In each instance we would listen intently, gain new insights, and participate. I feel that our attentiveness and interest in these musical offerings made students much more receptive to our own. After quick demonstrations we easily had every student in the room singing, dancing, and learning about “blues,“ “call and response,“ “improvisation,“ and other important aspects of North American Roots Music. I felt that the students connected with these experiences and walked away with new references for the people of The United States.

In our classroom and concert performances I felt the synergy. I know that we were connecting with our audiences. The feedback we recieved assured me that the resulting positive impressions were mutual. Jose Carlos, a student at Em Cena Arte e Cidadania told his teacher “after this workshop I know that my future is music.“ This is a flattering example of how profound these encounters can be for helping young people shape a vision for the future. It really is an honor to participate in such important work.

In my travels abroad I`ve encountered various stereotypes of American people and the U.S. affect on global culture. I truly believe that our cultural exchange made a positive impact on young minds and their perceptions of North American People. By bringing our music into their backyards, not to impose, but to share and exchange, we created a positive experience that these people will own for the rest of their lives. Now when these students think of Americans, instead of a stranger a zillion miles away in the television screen, they can think of the passionate living people who shared music in their classroom. They can think of how we laughed together, moved together, and sang together. They can think of this positive experience forever, wether or not they ever meet another American.

Our public performances reached a wide range of ages and social groups in Recife. Livraria Cultura, Diario De Pernambuco, and the Garanhuns Jazz Festival all had very different audiences and in each case the public responded with enthusiasm. They were exposed to a wide range of American Roots Music including Jazz, Bluegrass, and Blues stylized in a unique way that incorporated various rhythms from the Northeast of Brazil. In each case the audience was engaged and excited. Brazil has a supremely musical culture and our interactive performances really seemed to resonate with the people. These audiences experienced how much fun American Roots Music can be and how much our cultures have in common.

This program has been a highlight of my life in music. It has helped me to sharpen my teaching skills and given me many ideas for the future. I`ve been reassured in my belief that this is one of the most important jobs in the world. Through our culture we are sharing the very best of American values. Freedom, Liberty, and Justice resonate throughout American music. I know that through this program we have won hearts and minds in Recife. I very humbly hope to continue this work wherever needed and whenever possible. I truly believe that we can make the world a better place, one performance at a time.

My most sincere gratitute to all those who made this program possible. Kate Bentley, Edvaldo Amorim, Joanna Ferreira, Giovanni Papaleo, Sergio Boi, Edward Perez, Richie Barshay, Rob Curto, and Claudio Santana. Also to Diario De Pernambuco Projeto Vitrine, Livraria Cultura, Escola de Referencia em Ensino Medio Cicero Dias, Professor Jordao Emereciano, ONG Em Cena – Arte and Cidadania, Auditorio do Senai, Ginasio Pernambucano School, and Fabio!

Onward and Upward!

Clay Ross

http://www.youtube.com/watch?v=9JFgC3Ub10E

Tony is so relaxed and consistent. That crosspicking is a serious challenge and Tony doesn’t break a sweat. Anyway, enought geeking out on Tony.

I had another great show at the 55BAR. I’m very excited about the new material. Singing and songwriting is really helping me to grow in different directions. Hopefully I can finish 2 CDs before the new year.

Thanks for checking in with me.

Best,

Clay