Bio:
GAVIN MARWICK is a fiddle player and composer from Edinburgh. As a performer he has played at hundreds of festivals, concerts, theatres and dances across the UK, Europe, North America, Asia, Australia and Africa.
Bands he plays/ has played/ recorded with include JOURNEYMAN (focusing on his original material); Iron Horse; Cantrip; Burach; a successful fiddle duo with Jonny Hardie which released the albums Up in the Air and The Blue Lamp; CEILIDH MINOGUE; The ROUNDHOUSE CEILIDH BAND (formerly The Marwicks, formerly The Amazing Spootiskerry Ceilidh Band); the YIDDISH SONG PROJECT and, of course, BELLEVUE RENDEZVOUS.
As a session musician he has performed/ recorded with The Unusual Suspects, Session A9, Wolfstone, Arz Nevez (BRZ), Malinky, Leo McCann, Old Blind Dogs, Annie Grace Band, Jimi Shandrix Experience, Stevie Lawrence, RSNO, and Sogdiana (UZB) amongst others.
He is a prolific and enthusiastic composer of tunes and has been greatly inspired by musicians and cultures he has met on his travels. As well as recording some of these tunes with his own projects, some of them have been recorded by other musicians like Marie Fielding, Old Blind Dogs, Dochas, Liz Docherty and Give Way.
He has written for TV, radio and theatre: with the Traverse in Edinburgh his work includes the music for Outlying Islands, Heritage and Faith Healer. He has also worked with NTS in Gobbo and the Watchmaker, with Licketyspit in their production of MOLLY WHUPPIE and with Dogstar in THE TAILOR OF INVERNESS. With Bob Turner he has been writing and recording the soundtracks for Art Ecosses’s ‘Around Scotland’ series of DVD’s.
He is very active in the ceilidh scene and also teaching and educational work (Falkirk Fiddle Workshop, Feis Rois, ALP, Newcastle University). In his spare time he likes playing the fiddle and composing.
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Creators in the Matrix mathematically gravitate to close proximity to all other creators in the Matrix, no matter how far away in location, fame or society. This mathematical gravity is called "the small world phenomenon".
It's not which pill you take, it's which pathways you take. Pathways originating in the sprawling cultural matrix of Brazil: Indigenous, African, Sephardic and then Ashkenazic, European, Asian... Matrix Ground Zero is the Recôncavo, contouring the Bay of All Saints, earthly center of gravity for the disembarkation of enslaved human beings — and the sublimity they created — presided over by the ineffable Black Rome of Brazil: Salvador da Bahia.
("Black Rome" is an appellation per Caetano Veloso, son of the Recôncavo, via Mãe Aninha of Ilê Axé Opô Afonjá.)
"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
I built the Matrix below (I'm below left, with David Dye & Kim Junod for U.S. National Public Radio) 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. 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).