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  • Recommendations In(7)
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  • Why a "Matrix"?
  • @ Ground Zero
  • El Aleph
  • If You Can't Stand the Heat
  • From Harlem to Bahia

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Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach everybody in the global creative economy in just a few steps It doesn't mean that everybody will be reached by everybody. It does mean that everybody can  be reached by everybody.


Appear below by recommending Anat Cohen:

  • 5 Brazilian Music
  • 5 Choro
  • 5 Clarinet
  • 5 Israel
  • 5 Jazz
  • 5 New York City
  • 5 Tel Aviv

What's Up

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  • Anat Cohen
    Oded Lev-Ari → Piano has been recommended via Anat Cohen.
    • Apr 9
  • Anat Cohen
    Oded Lev-Ari → New York City has been recommended via Anat Cohen.
    • Apr 9
  • Anat Cohen
    Oded Lev-Ari → Music Producer has been recommended via Anat Cohen.
    • Apr 9
  • Anat Cohen
    Oded Lev-Ari → Composer has been recommended via Anat Cohen.
    • Apr 9
  • Anat Cohen
    Oded Lev-Ari → Arranger has been recommended via Anat Cohen.
    • Apr 9
  • Anat Cohen
    Gabriel Grossi → Samba has been recommended via Anat Cohen.
    • June 29, 2021
  • Anat Cohen
    Gabriel Grossi → Rio de Janeiro has been recommended via Anat Cohen.
    • June 29, 2021
  • Anat Cohen
    Gabriel Grossi → MPB has been recommended via Anat Cohen.
    • June 29, 2021
  • Anat Cohen
    Gabriel Grossi → Harmonica has been recommended via Anat Cohen.
    • June 29, 2021
  • Anat Cohen
    Gabriel Grossi → Forró has been recommended via Anat Cohen.
    • June 29, 2021
  • Anat Cohen
    Gabriel Grossi → Composer has been recommended via Anat Cohen.
    • June 29, 2021
  • Anat Cohen
    Gabriel Grossi → Choro has been recommended via Anat Cohen.
    • June 29, 2021
  • Anat Cohen
    Gabriel Grossi → Brazilian Jazz has been recommended via Anat Cohen.
    • June 29, 2021
  • Anat Cohen
    Gabriel Grossi → Brazil has been recommended via Anat Cohen.
    • June 29, 2021
  • Anat Cohen
    Francisco Mela → Percussion has been recommended via Anat Cohen.
    • March 21, 2021
  • Anat Cohen
    Francisco Mela → New York City has been recommended via Anat Cohen.
    • March 21, 2021
  • Anat Cohen
    Francisco Mela → Jazz has been recommended via Anat Cohen.
    • March 21, 2021
  • Anat Cohen
    Francisco Mela → Drums has been recommended via Anat Cohen.
    • March 21, 2021
  • Anat Cohen
    Francisco Mela → Cuba has been recommended via Anat Cohen.
    • March 21, 2021
  • Anat Cohen
    Francisco Mela → Composer has been recommended via Anat Cohen.
    • March 21, 2021
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Why a "Matrix"?

 

I was explaining the ideas behind this nascent network to (João) Teoria (trumpet player above) over cervejas at Xique Xique (a bar named for a town in Bahia) in the Salvador neighborhood of Barris...

 

And João said (in Portuguese), repeating what I'd just told him, with one addition: "A matrix where musicians can recommend other musicians, and you can move from one to another..."

 

A matrix! That was it! The ORIGINAL meaning of matrix is "source", from "mater", Latin for "mother". So the term would help congeal the concept in the minds of people the network was being introduced to, while giving us a motto: "We're a real mother for ya!" (you know, Johnny "Guitar" Watson?)

 

The original idea was that musicians would recommend musicians, the network thus formed being "small world" (commonly called "six degrees of separation"). In the real world, the number of degrees of separation in such a network can vary, but while a given network might have billions of nodes (people, for example), the average number of steps between any two nodes will usually be minuscule.

 

Thus somebody unaware of the magnificent music of Bahia, Brazil will be able to conceivably move from almost any musician in this matrix to Bahia in just a few steps...

 

By the same logic that might move one from Bahia or anywhere else to any musician anywhere.

 

And there's no reason to limit this system to musicians. To the contrary, while there are algorithms written to recommend music (which, although they are limited, can be useful), there are no algorithms capable of recommending journalism, novels & short stories, painting, dance, film, chefery...

 

...a vast chasm that this network — or as Teoria put it, "matrix" — is capable of filling.

 

@ Ground Zero

 

Have you, dear friend, ever noticed how different places scattered across the face of the globe seem almost to exist in different universes? As if they were permeated throughout with something akin to 19th century luminiferous aether, unique, determined by that place's history? It's like a trick of the mind's light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there, one must be led to the inevitable conclusion that one is in a place unique to history, and to the present*.

 

 

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."Música: Assis Valente of Santo Amaro, Bahia. Vídeo: Betão Aguiar.

 

*More enslaved human beings entered the Bay of All Saints and the Recôncavo than any other final port-of-call throughout all of mankind's history.

 

These people and their descendants created some of the most uplifting music ever made, the foundation of Brazil's national art. We wanted their music to be accessible to the world (it's not even accessible here in Brazil) so we created a platform by which everybody's creativity is mutually accessible, including theirs.

 

El Aleph

 

The network was built in an obscure record shop (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

 

...inspired in (the kabbalah-inspired fiction of) Borges' (short story) El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone.

 

It "works" by virtue of the "small-world" phenomenon...the same responsible for the fact that most of us 7 billion or so beings are within 6 or fewer degrees of each other.

 

It was described (to some degree) and can be accessed via this article in British journal The Guardian (which named our radio of matrixed artists as one of ten best in the world):

 

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

 

With David Dye for U.S. National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

 

All is more connected than we know.

 

Per the "spirit" above, our logo is a cortador de cana, a cane-cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specialized in. The Brazilian "aleph" doesn't hum... it dances and sings.

 

If You Can't Stand the Heat

 

Image above is from the base of the cross in front of the church of São Francisco do Paraguaçu in the Bahian Recôncavo

 

Sprawled across broad equatorial latitudes, stoked and steamed and sensual in the widest sense of the word, limned in cadenced song, Brazil is a conundrum wrapped in a smile inside an irony...

 

It is not a European nation. It is not a North American nation. It is not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn. Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin. It was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — was almost certainly brought to Brazil by these people). Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David. Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof. Nowhere else but here.

 

Oligarchy, plutocracy, dictatorships and massive corruption — elements of these are still strongly entrenched — have defined, delineated, and limited Brazil.

 

But strictured & bound as it has been and is, 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.

 

"Onde tem miséria, tem música!"* - Raymundo Sodré

 

And it's not just music. And it's not just Brazil.

 

Welcome to the kitchen!

 

* "Where there is misery, there is music!" Remarked during a conversation arcing from Bahia to Haiti and Cuba to New Orleans and the south side of Chicago and Harlem to the villages of Ireland and the gypsy camps and shtetls of Eastern Europe...

 

From Harlem to Bahia



  • Anat Cohen
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Anat Cohen
  • City/Place: New York City
  • Country: United States

Life & Work

  • Bio: Ever charismatic, prolific and inspired, Grammy-nominated clarinetist-saxophonist Anat Cohen has won hearts and minds the world over with her expressive virtuosity and delightful stage presence. The New York Times writes, “Ms. Cohen on the clarinet was a revelation. Using the clarinet’s upper register, she could evoke infectious joy. In the lower register, her playing could conjure a deep, soulful melancholy. On up-tempo numbers, her improvisations weren’t just bebop fast; they had a clarity and deep intelligence that is really quite rare. She made it look effortless, even as she was playing the most technically difficult of all the reed instruments… she took my breath away.”

    Anat has been declared Clarinetist of the Year by the Jazz Journalists Association every year since 2007 and has also been named the top clarinetist in both the readers and critics polls in DownBeat for multiple years running. That’s not to mention years of being named Rising Star in the soprano and tenor saxophone categories in DownBeat, as well as Jazz Artist of the Year. In 2009, ASCAP awarded Anat a Wall of Fame prize for composition and musicianship, among other honors. As The Chicago Tribune has said about Anat, “The lyric beauty of her tone, easy fluidity of her technique and extroverted manner of her delivery make this music accessible to all.”

    Since 2005, Anat’s series of releases via her Anzic Records label have seen the clarinetist-saxophonist range from infectious swingers to lilting balladry, from small groups to larger ensembles and back again, exploring a universe of music along the way. Anat’s most recent release came in March 2018 as a debut duo recording with the acclaimed pianist Fred Hersch - Live in Healdsburg of which Nate Chinen (WBGO) proclaimed “a beautiful document of mutual exchange, rooted in melody but alert to every possibility.”

    Anat’s newest album as a band leader – Happy Song, released by Anzic in October 2017 – found her drawing on diverse musical loves, from Brazilian music to African grooves, from vintage swing to touching ballads. The new vehicle for these explorations is the Anat Cohen Tentet, a large format ensemble of ace New York musicians that made its debut at the Jazz Standard in Manhattan and the famed Newport Jazz Festival. Above all, Happy Song is another synergistic collaboration between Anat and co-producer/co-arranger Oded Lev-Ari, who is also her partner in Anzic as well as a kindred spirit since their high-school days in Israel. In many ways, Happy Song carries on from an initial highpoint of her discography, 2007’s sumptuous Noir, which saw Anat weave her various horns through the all-star Anzic Orchestra, arranged and conducted by Lev-Ari. Billboard magazine marveled over the “cinematic feel” of Noir, with The Washington Post praising Lev-Ari’s arrangements as “wonderfully textured and evocative.” The Tentet of Happy Song boasts a different sort of richness, one that’s full but also fleet and fizzing, with an open, jazzy energy. The beautiful arrangements are by both Anat and Lev-Ari, with the latter directing the band.

    Earlier in her especially fertile 2017, Anat continued her love affair with Brazilian sounds by releasing two albums simultaneously via Anzic: Outra Coisa: The Music of Moacir Santos (with 7-String guitarist Marcello Gonçalves) and Rosa Dos Ventos (with Trio Brasileiro: percussionist Alexandre Lora, 7-String guitarist Douglas Lora and mandolinist Dudu Maia). Both recordings were made in Rio de Janeiro and Brasilia and went on to receive Grammy Award nominations in Best World Music and Best Latin Jazz albums. All About Jazz praised both records at length, saying that together they made for “one brilliant bonanza of Brazilian music from one of the greatest clarinetists of our time… Cohen’s magnetism and musicality, married with the accents of Brazil and the skills of her accomplished colleagues, makes for something incredibly special on these dates. Add both of these albums to the glowing list of recordings in her discography.” The praise didn’t only come from the jazz world, with Brazilian Press saying: “Anat is an Israeli who seems like a Brazilian when she plays samba.”

    Anat was born in Tel Aviv, Israel, and raised into a musical family. She attended the Tel Aviv School for the Arts, the "Thelma Yellin" High School for the Arts and the Jaffa Music Conservatory. Anat began clarinet studies at age 12 and played jazz on clarinet for the first time in the Jaffa Conservatory’s Dixieland band. At 16, she joined the school’s big band and learned to play the tenor saxophone; it was this same year that Anat entered the prestigious Thelma Yellin school, where she majored in jazz. After graduation, she discharged her mandatory Israeli military service duty from 1993-95, playing tenor saxophone in the Israeli Air Force band.

    Through the World Scholarship Tour, Anat was able to attend the Berklee College of Music, where she not only honed her jazz chops but also expanded her musical horizons, developing a deep love and facility for various Latin music styles. During her Berklee years, Anat visited New York City during semester breaks, making a beeline for the West Village club Smalls to soak up a melting pot of jazz, contemporary grooves and world music in a scene that included such future collaborators as Jason Lindner, Omer Avital and Daniel Freedman. Moving to New York in 1999 after graduating from Berklee, Anat spent a decade touring with Sherrie Maricle’s all-woman big band, The Diva Jazz Orchestra; she also worked in such Brazilian groups as the Choro Ensemble and Duduka Da Fonseca’s Samba Jazz Quintet, along with performing the music of Louis Armstrong with David Ostwald’s “Gully Low Jazz Band.” Anat soon began to bend ears and turn heads; whether playing clarinet, soprano saxophone or tenor saxophone, she won over the most knowing of jazz sages: Nat Hentoff praised her “bursting sound and infectious beat,” Dan Morgenstern her “gutsy, swinging” style, Ira Gitler her “liquid dexterity and authentic feeling,” and Gary Giddins her musicality “that bristles with invention.”

    In 2009, Anat became the first Israeli to headline at the Village Vanguard, the setting for perhaps the most celebrated live recordings in jazz history; the occasion yielded the 2010 release Clarinetwork: Live at the Village Vanguard, which captured the leader paying tribute to Benny Goodman and leading a hard-swinging combo with all-stars Benny Green, Peter Washington and Lewis Nash. Calling Anat “one to watch,” NPR underscored the contemporary approach the group took to the Goodman book: “Cohen and company treat 1920s and ’30s material with a relatively free hand; when they get rolling in ‘Sweet Georgia Brown,’ her rhythm section echoes the thunder of John Coltrane’s quartet.”

    Anat has also recorded four acclaimed albums as part of the 3 Cohens Sextet with her brothers, saxophonist Yuval and trumpeter Avishai: 2003’s One, 2007’s Braid, 2011’s Family and 2013’s Tightrope (with the last three released by Anzic). The three siblings – with Anat the middle child to the elder Yuval and younger Avishai – graced the cover of the January 2012 issue of DownBeat, and among the international acclaim for the recent Tightrope had the Financial Times marveling over its “emotional sweep.” The album features the 3 Cohens improvising as an a cappella horn choir as well as teaming with such special guests as Fred Hersch and Christian McBride.

    Anat has collaborated regularly with one of her heroes, Cuban-American clarinetist-saxophonist Paquito D’Rivera, who introduced her onstage at Dizzy’s Club Coca-Cola in the Jazz at Lincoln Center complex as “one of the greatest players ever of the clarinet.” Having first appeared at the Newport Jazz Festival in 2007, she had the honor of being the music director for the Newport Jazz Festival Now 60! all-star band that toured the U.S. on the occasion of the festival’s 60th anniversary in 2014. In 2017, Anat played all the major European festivals as part of the all-star, all-female band called ARTEMIS alongside the likes of Renée Rosnes and Cécile McLorin Salvant. She has also toured in a duo with acclaimed pianist Fred Hersch, as well as with iconic Cuban singer Omara Portuondo.

    However easy Anat makes it seem onstage, the mastery of any great art is a long, elusive challenge, and she teaches the fine points of jazz and the music of Brazil to budding students across North America, including recent residencies at Stanford, Oberlin, Michigan State University, University of California-San Diego, the Centrum Choro Workshop and California Brazil Camp. About her experiences onstage, in the classroom or just engaging with her listeners, Anat says: “Any day when I get to share music with people – other musicians, an audience – feels like a celebration to me.”

    - Bradley Bambarger

Contact Information

  • Management/Booking: MANAGEMENT
    International Music Network
    Manager: Tom Korkidis
    Email: [email protected] / Tel: 978-283-2883
    www.imnworld.com

    WORLDWIDE BOOKING
    International Music Network
    Email: [email protected] / Tel: 978-283-2883
    www.imnworld.com

    PUBLICITY
    Red Cat Publicity
    Publicist: Jason Byrne
    Email: [email protected] / Tel: 646-259-2105

    LABEL INFO
    Anzic Records
    Email: [email protected]
    www.anzicstore.com

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.anatcohen.com/recordings
  • ▶ Twitter: Anat_Cohen
  • ▶ Instagram: anatcohenmusic
  • ▶ Website: http://www.anatcohen.com
  • ▶ YouTube Channel: http://www.youtube.com/user/AnatCohenMusic
  • ▶ YouTube Music: http://music.youtube.com/channel/UCY6f8on5_9-MOIcYxlL5R6A
  • ▶ Spotify: http://open.spotify.com/album/3vFHhwrL7YrFpHiJTeSSpK
  • ▶ Spotify 2: http://open.spotify.com/album/0uwJh6TPoaQjNQzsCgfCZD
  • ▶ Spotify 3: http://open.spotify.com/album/0DKN5cxAnZkWwGP9DWtP4b
  • ▶ Spotify 4: http://open.spotify.com/album/3B2q9VG5v8eWnBqrFK01pd
  • ▶ Spotify 5: http://open.spotify.com/album/15yfwIukY8pMWNfjxBtKEC
  • ▶ Spotify 6: http://open.spotify.com/album/4yiAzpN1ZWwVbJs6EeAxy2

More

  • Quotes, Notes & Etc. "Anat does what all authentic musicians do: She tells stories from her own experiences that are so deeply felt that they are very likely to connect listeners to their own dreams, desires and longings." — Nat Hentoff

Clips (more may be added)

  • Anat Cohen And Choro Aventuroso
    By Anat Cohen
    408 views
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