Composer, multi-instrumentalist, Mike Savino hails from Long Island, NY. An unrelenting desire to pursue a career in music led him to relocate to New York City in 1999. While pursuing a B.F.A. at New School University's prestigious Jazz & Contemporary Music Program, Mike took the opportunity to study with Reggie Workman, Michael Moore, Francois Moutin, Sergio Brandao, Billy Hart, and Nicholas Walker. In a period of intense soul searching, the discovery of the great Brazilian composer Hermeto Pascoal and the teachings of French contrabass guru Francois Rabbath opened the door to the world of indigenious folk music.

Upon graduation in 2003, Savino began to explore the relationship between American folk and roots music and the folkloric traditions of Brazilian, West African, Indian, and Gypsy culture. Performing on contrabass, electric bass, 5-string banjo, soprano banjo, guitar, vocals and percussion, his highly developed unique musical approach has taken him to venues and festivals all over the world with Scott Kettner's Nation Beat, Kate Havnevik, Gina Gershon, and Ljova among many others.

I began my musical journey at a very young age. I started with pots, pans and tupperware.
I remember one of my report cards saying, "Michael is a bright boy, but often he disrupts the class by making noises."

Later on, thanks to my parents, I was given a saxophone which I enjoyed very much. Thanks to my public school music program and some inspiring teachers, I found something I really liked to do. I could play "Axel F" pretty well.

I remember the first time I really improvised. It was in 6th grade jazz band. My really cool teacher Mr. John Hangley started me on a baritone saxophone.I did the ol' ba-dum-dum-dum-dert at the end of a song. Everyone dug it.

When I was 13, a friend lent me his old bass guitar and instantly, I fell in love with it. The deep sound and the feel of the strings beneath my fingers answered questions I didn't know I had. I played tirelessly for years, playing rock, funk, heavy metal, whatever. I remember my first big gig like yesterday. The band was called "Final Judgement" we opened for a popular glam rock band. They let us borrow their wireless systems. We went nuts. The year was 1989. Kip Winger and the Nelson twins still had their respect.

I became obsessed with music in high school. I scammed Columbia House Record Club so many times under different alaises so I could check out Zeppelin, The Beatles, and Hendrix. I had 13 Iron Maiden posters hanging in my room. I soaked up everything I could. Jaco, Old blues records, Zappa, Primus, The Chili Peppers and the whole Grunge thing. Steve Harris is still unbelievable!

After high school I left for Penn State University. I thought I would be a pre-med major. That didn't quite work out. But, after 3 years, I did learn how to play the banjo and make my friends laugh with my little ditties. I also learned that I really liked jazz. And that I needed to leave and go play music. I quit.

I moved back to Long Island, NY and bought an acoustic bass. I bumped into Brian Kantor, a great drummer who introduced me to pianist Kenny MacKenzie and with him we formed the trio Zygomatic. Kenny, being ten years my elder, challenged me with his music and his level of playing. Together, perfoming a radical mix of jazz and funk with classical music, as well as instrumental versions of Toto and Bangles songs, we played well over 100 shows. For two years I worked two jobs, studied music, and gigged a few nights a week.

I got tired. I decided that I had to quit my jobs and focus full time on getting my music together. With the encouragement of my family and my teacher Sonny Dallas, I applied and was accepted to the Jazz and Contemporary Music program at New School University. Hello student loans. Sallie Mae sounds like a sweet little girl with pigtails but she is EVIL.

I moved to New York City and was reborn. I was floored by the energy and level of the musicians and determined to make my place among them. I began to understand the realities of being a professional musician. Thus began the woodshedding. I practiced 10 hours a day at some points, for almost 4 years. I got tendenitis, carpal tunnel syndrome, as well as my ass kicked a number of times. I ate a lot of peanut butter and jelly sandwiches. But it was worth it.

During these years I had the pleasure to study with some of the top musicians in the world like Reggie Workman, Jane Ira Bloom, Francois Moutin, Michael Moore, Richard Boukas, Billy Hart, Buster Williams, Mark Dresser, Nicholas Walker, and Sergio Brandão among many others. I fell in love with all kinds of music. I began to check out the great Brazilian composers Hermeto Pascoal and Egberto Gismonti. I discovered Francois Rabbath and his amazing approach to the double bass which in turn, led me to ethnic folk music.

In the spring of 2003, I received my BFA in Performance, and was cast out among the many trying to make a living in this great city of New York. I began to explore the relationship between American folk music and the folkloric traditions of Brazilian, West African, Indian, and Gypsy culture. I started a collaborative group with guitarist Sebastian Noelle called The Animal Channel to showcase our instrumental compositions inspired by music from around the world.

in 2005, I traveled to the Pernambuco state in Brazil along with my percussionist friend Scott Kettner and the rest of the band Nation Beat. Through grants from the Brazilian Department of Culture we were able to record our first record with the 100 year old Maracutu group, Nação Estrela Brilhante. This was an unprecedented collaboration between American musicians and this relatively unheard of Brazilian musical style, Maracatu. Since our return, The Nation Beat has released the debut album "Maracatuniversal", performed at venues and festivals all over the country as well as Artist in Residence Programs including University of Florida, Charleston College, Syracuse University, and Adelphi Academy.

In 2007 we returned as a group to perform at the highly esteemed Porto Musical festival as well as numerous concerts for the Carnaval season. We also had the opportunity to study with Donna Cila do Coco and record with rabeca guru Mestre Manoal Salustiano as well as some amazing repente musicians. This time I brought a 5-string banjo with me, an instrument which is a relatively unheard of in Brazilian music which in turn sparked the Banjo-Brasil Project. more info

Throughout my years in New York City I have performed, recorded or toured with, in no particular order:
Kate Havnevik, Gina Gershon, Leroy Powell, David Nictern, Mestre Salustiano, Cabruera, Scott Kettner, Monika Heidemann, Jason Lindner, Greta Panettieri, Emanuele Coluccia, Kaiku, Sanni Oraasma, Joe Magnarelli, Jorge Martins, Frank London, Kenny MacKenzie, Tony Moreno, Mathias Kunzli, Russ Lossing, Michael Attias, Janice Martin, Kyle Sanna, The Howling Makams, Take Toriyama, Ljova Zhurbin, James Apollo, Janice Martin Paganinimania, Sinem, Christopher Hoffman, Jay Vilnai's Vampire Suit, Tom Chess, John Hadfield, Eri Yamamoto, Shane Shanahan, Josiah Wolf, Matt Kilmer, Matt Darriau, Simon Lott, Matt Moran, Satoshi Takeshi, Skye Steele, Rob Curto, Victor Prieto, Vana Geirig, Jamey Haddad among many others.

2007 has brought me back full circle. I've dusted off the banjo and returned writing songs to make my friends laugh. My new project Savinoland is in the beginning stages, but is poised to set new trends in modern folk music. Keep you ears pointed this way . . .

Thanks for reading. It's fun-duh-mental.

Thanks to all who have accompanied me on this journey so far. It has been a wonderful ride and the story goes on . . .


Love,
Mike Savino

Remember: Savino loves you. he does.