Talking Drums is a multi-media project by Sergio Krakowski that brakes new ground in the realm of solo percussion expression. After developing his own self-taught technique on the Pandeiro (Brazilian tambourine) he engaged himself in a successful international career, sharing the stage with the likes of Maria Bethânia, Gonzalo Rubalcaba, Tigran Hamasyan, Lenine, Chico César, David Linx, Chano Domínguez, Maria João, Mario Laginha, Yamandú Costa and countless others.
In September 2013, Sergio moved to New York and got involved in many musical projects, recorded on the album of David Binney, played with Cyro Baptista at the legendary experimental music headquarter, The Stone, and joined the Choro Aventuroso, Anat Cohen's Brazilian music band that performed in NYC's most prestigious stages such as the Lincoln Center and 54 Below, and outside NYC, at the Umbria Winter Jazz Festival.
Besides his musical career, Sergio plunged into the application of his knowledge acquired in a Computer Music PhD to allow percussion instruments to trigger videos, control effects and interact with the machine, creating real time dialogues between percussionist and computer. The project has been presented in a myriad of stages such as The Guggenheim Museum of Bilbao, The Stone (as guest of Cyro Baptista), Drom, (Le) Poisson Rouge (three times) and Circo Voador, in Rio de Janeiro.
One goal of that work is to use technology to actually make the drum speak. Behind this idea there is a strong artistic research on what is the limit between rhythm and spoken language that takes us to ancient times where, probably, the distance between these two things was smaller or nonexistent.
"Sergio Krakowski, the Percussion Explorer" - Jon Pareles, The New York Times
"Taking that most common of Brazilian instruments, the Pandeiro, he has transformed it into an astonishing rhythmic force. There are musicians who, in their time, don't just play the music of their day but innovate, creating new sounds and ideas. Sergio Krakowski is in that category." - Joe Nocera, The New York Times