Al Kooper ← THE MATRIX of FABULOUS DISCOVERY ←

POWERED BY THE MOST SOPHISTICATED & SUBTLE RECOMMENDATION SOFTWARE EVER DEVISED → THE COLLECTIVE HUMAN MIND

Al Kooper's world is channelled to by matrix vectors IN from the following artists ⇊ and explorable & reactionable categories:

The Matrix is a concatenated system of vectored pathways in which artists can curate other artists in multiple aspects. It was developed in Brazil in order to provide worldwide access to Brazilian musicians by including them in a small world (~6 degrees) network in which ALL artists are in close reach of artists (and others) everywhere.

VECTORS OUT to RECOMMENDED OTHERS ⇶ 0

☀ VECTORS OUT are by THE MATRIX

Who I Am & Where I Live:

Name: Al Kooper
City: Somerville, Massachusetts
Country: United States

My Life

Biographical: A professional musician since his early teens, Al Kooper enjoyed his first real taste of pop music success during the nascent days of rock and roll as popular music. He joined The Royal Teens, who had a Top 5 hit with the tune "Short Shorts" in 1958 and a Top 30 hit a year later with "Believe Me." Kooper was hooked. "I was hanging around the fringes of the music business," he says of the period after he did his time with the Royal Teens.

"I was playing sessions on guitar. People would hire me because their only alternative was to hire these jazz players to play this teenage music. These guys were smoking cigars, emulating what kids would play. So, they would hire me to get that 'dumb, kid sound.' I assume that's why I was hired, because I really couldn't play anywhere near as well as those other guys."

As time went by, Kooper got better, got confident and got known. Producers called on him to lay down guitar parts for scads of teen records, "Certainly, a lot of them you've never heard of," he laughs. "It was a very educational part of my life," he continues. "I learned how to read and write music for the studio. I made friends with the players. They were all very nice to me with some exceptions. I didn't claim to be up to their musicianship, but it was a great university. The difference between the first time and the fifth time I was on a session was immense. The first time they should have thrown me out, but I was lucky!"

In addition to session work, he apprenticed as an audio engineer. He also teamed up with songwriters Bob Brass and Irwin Levine. This partnership yielded the chart topping smash, "This Diamond Ring," performed by Gary Lewis and the Playboys. It has now exceeded it's 4-millionth radio performance.

One of the friends he made during this time, producer Tom Wilson, invited Kooper to watch a Bob Dylan session. By the afternoon's end, Al had played the signature organ riff on Dylan's "Like A Rolling Stone," alongside blues guitarist Mike Bloomfield. His association and friendship with Bloomfield lasted until the guitarist's untimely death in 1981, spawning the million-selling Super Session album with Stephen Stills, as well as the highly regarded Live Adventures of Mike Bloomfield & Al Kooper. His relationship with Dylan has been ongoing for the last 30 years. Kooper has played with him on record and on stage, as well as having produced his "New Morning" album. The catchy organ part on Dylan's first chart-topping single led to many offers of session work. "I'd get tons of calls," Kooper muses. "Some of them, I didn't even want to do, but I didn't want to say no. So, I'd just charge them triple scale, thinking that would deter them. It didn't."

One offer he couldn't refuse was to join the Blues Project. Along with guitarist Danny Kalb, bassist Andy Kulberg, guitarist Steve Katz, and drummer Roy Blumenfeld, the Blues Project helped spearhead the 60's urban blues sound with critically hailed records and widely acclaimed live performances. "Two Trains Running" on Kooper's fiery live album, SOUL OF A MAN (currently out of print), illustrates just how remarkable the Blues Project can still sound live. That album also contains live takes of the Project chestnuts - " I Can't Keep From Cryin'' Sometimes," "Flute Thing" and "Violets Of Dawn."

After two and a half years and three records with the Blues Project, Kooper started hearing another sound in his head. It started with the blues, but added killer horn charts without losing the rock edge. That idea became the trend-setting Blood Sweat & Tears. The original horn section included Dick Halligan on trombone, Jerry Weiss and Randy Brecker on trumpets and Fred Lipsius on alto sax.

Kooper left Blood Sweat and Tears in 1968 after just one album, CHILD IS FATHER TO THE MAN, taking a job with the Columbia Records A&R department. Here he began recording albums; first with Mike Bloomfield (the top-ten SUPER SESSION), then Shuggie Otis, and his own solo debut, I STAND ALONE. He continued to do session work, adding his keyboards to records by The Rolling Stones (Al played on "You Can't Always Get What You Want"), Jimi Hendrix ("Long Hot Summer Nights"), The Who ("Rael"), and innumerable others. He also scored the Hal Ashby film The Landlord in 1970.

In 1972, Kooper moved to Atlanta, attracted by the music he heard there. He discovered Lynyrd Skynyrd at a favorite hangout. Forming his own label (Sounds of the South) to put out their records, he produced their first three albums, which included the massive hits "Sweet Home Alabama," "Saturday Night Special," and "Free Bird." In 1974 he sold Sounds of the South to MCA Records and moved to Los Angeles.

Around this time, Kooper literally began collecting his thoughts. In 1977, his autobiography, Backstage Passes, was published. A beefed-up version of this critically-hailed tome, covered Kooper's career from 1958 - 1997. Retitled "Backstage Passes & Backstabbing' Bastards," it debuted in the fall of 1998 and then mysteriously went out of print in 2002. The third time's the charm. In March of 2008, it was republished for AGAIN, and reaching myriad readers it had missed before. Rolling Stone dubbed it "Vonnegut-esque!"

Taking up residency in England in 1979, Kooper continued producing, adding David Essex & Eddie & The Hot Rods to his burgeoning productions list. He played on and arranged three tracks on George Harrison's SOMEWHERE IN ENGLAND album, performing with the remaining Beatles, Harrison, Paul McCartney and Ringo Starr on the No. 1 single "All Those Years Ago." His return to the US in 1980 marked the beginning of a busy year for Kooper. He produced a record with country rocker Joe Ely, a native of his new home of Austin, Texas. He returned to LA the next year and toured with Dylan and the reunited Blues Project, additionally releasing a new album (Championship Wrestling) after a six-year recording hiatus.

He next took on the job of West Coast Director of A&R for PolyGram Records, where he was instrumental in signing Richard Thompson. He also met producer/director Michael Mann, who was riding high on the success of Miami Vice. Mann hired Kooper to score his Crime Story TV series. Kooper wrote original music and chose source music for each episode from his vast record collection, giving the show it's 60's noir feel. He also did music for the Emmy Award-winning miniseries, The Drug Wars as well as producing some of the soundtrack for the John Waters film "Cry Baby."

In the latter part of the 80's, Kooper took a vacation from the music business. "I just took a break," Al explains. "I considered myself semiretired. I stopped looking for work." While he stopped looking, the Beastie Boys sampled Al's song "Flute Thing" on their ILL COMMUNICATIONS album and sold 5 million copies. Many hip-hop producers sample Kooper's catalogue and in a survey in Hip Hop Magazine, Kooper was noted as the only artist sampled by all of the top producers polled. Recently, Jay-Z sampled some Kooper on the song "Soon You'll Understand" from his multi-platinum Dynasty album. The Robert Redford film "Sneakers" opened with the Kooper-Bloomfield composition and performance of "Really" from Super Session, and was later reprised in the film. Pharcyde and Alchemist joined the rapping throngs who sample Kooper.

So you see, the music never took a break from Al Kooper. The summer of 1991 found him playing keyboards & guitar as a member of Joe Walsh's Ordinary Average Guy tour. During the fall, he took on musical director chores for Ray Charles 50th Anniversary cable TV special. In 1992, he became music director for the strangest band of all. Backstage Passes (his autobiography) qualified him as a member of the Rock Bottom Remainders, a loosely affiliated rock band made up of authors including Dave Barry, Stephen King, Dave Marsh, Amy Tan, Barbara Kingsolver, Matt Groening and perhaps ten other writers. Their touring adventures became grist for their own book, 1995's hysterical Mid-life Confidential, published by Viking/Penguin, now a remainder, itself. "It was hilarious and wonderful," he laughs. "They are terrific people. It was great to meet them and I've become close friends with many of them. We ended up putting on a very entertaining show. I think it was a nice change of pace for them, too. They got the chance to meet and get to know each other. We had the only rock and roll tour bus TV that had the McNeil Lehrer Report tuned in!"

The next ten years have included the Bob Dylan 30th Anniversary Tribute at Madison Square Garden, where he reprised his classic organ parts for John Mellencamp's versions of "Like a Rolling Stone" and "Leopard Skin Pillbox Hat." Al also joined Dylan in England in the summer of '96 at the Prince's Trust concert in Hyde Park. Kooper also played organ for the Sunday morning Gospel set at Woodstock II. Ironically, he was asked to appear at the original Woodstock, but blew it off. "I played at Central Park that weekend for two dollars a ticket in protest of their comparative high ticket prices," he laughs. "One of my great career moves, turning down the original Woodstock."

Kooper had been a dozen years between albums when fate came calling: "The MusicMasters label asked if I would record an instrumental album for them," he says. "I'd had a concept for an instrumental album in my head for about ten years, and I didn't know when the right time to do it was. So, here I really had nothing to lose. I decided to take them up on their offer. Had it not been for MusicMasters, there probably would still be no Al Kooper album." 1993's result of this synergy, REKOOPERATION (now out of print!?!), came out with coast to coast raves from even usually staid critics. The personnel from that CD made up Kooper's band The Rekooperators. Boasting late-night stalwarts Anton Fig on drums and Jimmy Vivino on guitar, they were joined by Al's boyhood chum Harvey Brooks on bass and the Uptown Horns. Their appearance on Al's 1995 double-live album, SOUL OF A MAN, was one of the highlights of that album. Reprising "Downtime" & "I Wanna Little Girl" from REKOOPERATION, they also churn out blistering versions of Adrian Belew's "Heartbeat", "Albert's Shuffle' & "Season Of The Witch" from SUPER SESSION, and a killer medley of songs from Al's solo albums to mention but a few."

Kooper was still far from semiretirement in 1996. He co- produced the critically-acclaimed FOR THE LOVE OF HARRY: EVERYBODY SINGS NILSSON. This tribute to the late singer-songwriter and longtime Kooper pal, Harry Nilsson, is a strictly charity effort with all profits earmarked for The Coalition To Stop Gun Violence. Appearing alongside Al are Randy Newman, Brian Wilson, Ringo Starr, Jimmy Webb, Aimee Mann & Marc Cohn to name but a few of the 23 artists who appear at their own expense on the album. He hosted the 1995 TEC Awards (The audio industry's Oscars) in New York City, bringing the crowd to it's feet with a chilling, solo performance of "I Love You More Than You'll Ever Know.

Al continued his influential forays into his fifth decade in the music business. He scores the occasional film and works almost daily in his home studio. He relocated to Boston in the fall of '97 to teach at the Berklee School Of Music. Concurrently, Five Towns College in Long Island bestowed an honorary Doctorate of Music on Kooper in May of '97, to start him off at Berklee as Dr. Kooper. In the fall of 2001, Berklee bestowed their own doctorate on Kooper, in a ceremony also honoring jazz great Elvin Jones.

With DJ offers, concerts and lecture appearances, Al is "finally getting to do a whole bunch of things I always wanted to do, but never actually got around to." In addition to his New York-based group, The Rekooperators, Al assembled an amazing Boston-based band of Berklee professors dubbed The Funky Faculty. While originally performing in the New England area, they began stretching their performing boundaries to include New York, Detroit, Chicago, a highly acclaimed appearance at the Notodden Blues Festival in Norway during the summer of 2001 and a sold-out tour of Japan in 2003. The floodgates opened and the Faculty has toured Italy, Spain, Denmark, The Czech Republic and is currently lining up new countries to concertize.

In 2001, SONY-Legacy released Al's box set RARE & WELL DONE . This two CD set contains one CD of Al's most popular tracks remastered in 24-bit digital under Al's supervision for the first time. Chestnuts such as "I Love You More Than Youâ€™ll Ever Know," "Flute Thing," "Season Of The Witch," "Albert's Shuffle," and "Bury My Body," sound better than they ever have before on disc. The second CD is a collection of eighteen unreleased tracks recorded by Kooper from 1964 to the present, plus Al's first solo single from 1965, long out of print, "New York's My Home." A fact-filled 28 page full-color booklet is enclosed with all recording details, insightful liner notes by longtime rock critic Jaan Uhelszki, rare photos from the SONY archives, and testimonials from Kooper fans as diverse as Tom Petty, Pete Townshend, Steve Winwood, Gene Simmons, Gary Burton, Billy Gibbons, Andy Partridge and George Winston. A long-lost unreleased Fillmore East concert by Al & Mike Bloomfield from 1968 was an early 2003 SONY-Legacy release as well as a remastered SUPER SESSION CD with 4 bonus tracks!

In 2005, Steve Vai's Favorite Nations label released Al's first solo album since 1975's ACT LIKE NOTHING'S WRONG. Dubbed "Black Coffee," It was filled with new Kooper songs and bizarre arrangements of cover tunes. Critically acclaimed as no other Kooper solo album, it garnered the Memphis Blues Award for Comeback Album Of The Year.

In 2007, Kooper was inducted into the Rock n Roll Walk of Fame in Hollywood on Sunset Boulevard. Later in the year he was named as recipient of the Les Paul Award for his life's work and was presented with the award in New York City by Les Paul, himself.

In 2008, Al celebrated his 50th year in the music business. In October he was inducted into the Musicians Hall of Fame and released the follow up to BLACK COFFEE, the long-awaited WHITE CHOCOLATE. "I think it's better than BLACK COFFEE and that was no easy task!" Kooper laughed. The two songs co-authored by legendary lyricist Gerry Goffin certainly help the cause. Al has added yet another sidetrip; a three piece band that just plays the rockabilly music he grew up listening to.

In recent years, Al has been working on a variety of personal projects and enjoying the company of his trusty pooch. If you search for Al Kooper in Google, you will come up with almost 2 million results, including his work with Dylan, Hendrix, The Stones, Blood Sweat and Tears, Lynyrd Skynyrd and endless other connections. He is known as the Zelig or Forrest Gump of Rock, as he showed up in key moments in 50-plus years of rock music.

Al is happy to announce that sometime in June he will take his podcast "New Music for Old People" to radio station WVVY in Martha's Vineyard. Additionally, for the convenience of everyone not in Martha's Vineyard, there will also be a weekly podcast on the web. Details to follow as it all comes together.

The Matrix is 100% algorithm free. It is built on H.I. (human intelligence) rather than A.I. Absolutely zero FB/Cambridge Analytical-style espionage.

If You Can't Stand the Heat

Brazil is not a European nation. It's not a North American nation. It's not an East Asian nation. It straddles -- jungle and desert and dense urban centers -- both the equator and the Tropic of Capricorn. It absorbed over ten times the number of African slaves taken to the United States of America, and much of its aboriginal population was absorbed into the general population-at-large. Its people have lived under oligarchy, plutocracy, dictatorships and massive corruption, with elements of these still strongly entrenched today.

But!

Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of -- or perhaps because of -- the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

THE MATRIX BEGAN IN BAHIA, GROUND ZERO FOR BRAZIL'S SUN-CARONA-VIBRANT CULTURE

⇒ ...rooted in a region called the Recôncavo, analogous in Brazil to the Mississippi Delta in the United States.

IT REACHES FROM BRAZIL TO CUBA TO BROOKLYN TO BERLIN TO TOKYO TO TIMBUKTU

⇒ To wherever people want to take it...

IT IS THE NEXT-STEP EVOLUTION OF A SPECIALTY RECORD SHOP

⇒ ...opened in Salvador to showcase magisterial musicians almost completely unknown to the world...many of them living in poverty or close to it and unable to avail themselves of traditional (and costly) means of publicizing. With David Dye of World Café below, for broadcast on U.S. National Public Radio.

PRE-BRAZIL — IN NEW YORK CITY — WE "RESCUED" UNPAID ROYALTIES FOR PERFORMERS & COMPOSERS INCLUDING:

⇒ Aretha Franklin, Barbra Streisand, Led Zeppelin, Philip Glass, Mongo Santamaria, Airto Moreira, Gilberto Gil, Astrud Gilberto, Jim Hall, Taj Mahal, Robb Royer of Bread, Speedo & the Cadillacs, and many more! With Speedo's (Earl Carroll) amazing story (kid singing on the streetcorners of Harlem to doo-wop fame to working as a beloved school janitor) I learned (as Quincy Jones had figured out decades before) that greatness and fame are completely independent. The wave repeated here in Brazil with Raimundo Sodré, who went from zero to national fame and back to zero.

HENCE THE (so far world's only) SMALL WORLD CURATION NETWORK...

⇒ A wave of Exu's cyberwand opening pathways allowing ANY ARTIST — FAMOUS OR NOT — in ANY FIELD — in ANY PLACE in the world — to potentially be reached by ANYBODY from ANYWHERE (Exu -- eh-SHOO -- is the Afro-Brazilian deity responsible for opening pathways).

BY WHAT WIZARDRY?

⇒ We've all heard of six degrees of separation, more properly called a small world network. Within six or so steps we can move through a chain of people knowing other people to just about anybody on the planet.

SIMPLY CHANGE "KNOW" TO "RECOMMEND"

⇒ In exactly the same way — although the number of steps might vary — we can move through chains of ARTISTS CURATING ARTISTS to to just about any artist on the planet.

LIKE THIS...

⇒ From Quincy Jones we access one of his protégés, stellar young Cuban pianist Alfredo Rodriguez. From Alfredo Rodriguez we access a fabulous multinstrumentalist Alfredo plays with, Munir Hossn. Two more steps and we've reached the above-mentioned Raimundo Sodré, formerly virtually unreachable in Bahia...

Raimundo Sodré & His Music from Northeastern Brazil

Dengo

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Sina de Cantador - Raimundo Sodré (6,551 plays)
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Magnetismo - Raimundo Sodré (6,234 plays)
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Sacando a Cana - Raimundo Sodré (5,881 plays)
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Mêrêrê - Raimundo Sodré (5,404 plays)
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A Massa - Raimundo Sodré (4,959 plays)
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Jardim do Amor - Raimundo Sodré (4,632 plays)
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Debaixo do Céu - Raimundo Sodré (4,113 plays)
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Desejo de Amar - Raimundo Sodré (3,824 plays)
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Oração pra Yá Oxum - Raimundo Sodré (3,703 plays)
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Yá África - Raimundo Sodré (3,474 plays)
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Meu Rio, Cadê o Papel - Raimundo Sodré (3,149 plays)
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Casa de Trois - Raimundo Sodré (2,869 plays)
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Mulher é Laço que Prende o Coração do Va... (2,532 plays)

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DICTATED SILENCE

⇒ Sodré's meteoric major-label career was crushed by the Brazilian dictatorship years ago and he was forced to flee Brazil under threat of death...into a 19 year exile. He became almost impossible to find and hear, even after returning to Brazil.

MUSIC FALLS LIKE RAIN

⇒ But now lines of everbranching interlinked recommendations rise from Bahia to form a (small world) network rounding the planet like the arboreal canopy of a vast Amazonian rainforest. When the dictatorship ground Sodré into the dust, they unwittingly planted a seed.

IS THE MATRIX AN ALTERNATE REALITY?

⇒ Only if your reality has been defined by corporate mass media. The original meaning of "matrix" is "source", from "mater", Latin for "mother". We're real mothers for ya!

DOES THE MATRIX WATCH YOU?

⇒ Zero surreptitious tracking, data mining and data brokerage per Cambridge Analytica, Facebook, et al.