Batanj Luthier via Matrix

Batanj Luthier

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Network Node

Name: Batanj Luthier
City/Place: Salvador, Bahia
Country: Brazil

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from this node by: Matrix

Life & Work

Bio: Fábio Batanj nasceu em Salvador-BA e começou a trabalhar no conserto e construção de instrumentos musicais no início dos anos 90, com 17 anos.

Seu primeiro instrumento construído foi a guitarra baiana. Sempre respeitando o projeto original e tradicional do instrumento proveniente dos seus inventores, apoia e divulga a guitarra baiana como patrimônio histórico e cultural baiano e brasileiro assim como a maneira peculiar de tocar o instrumento que originou a escola trieletrizada.

Desenvolveu técnicas construtivas contribuindo para o avanço e modernização do instrumento e introduziu com eficiência a alavanca tremolo sem a necessidade da trava, e micro-afinação como uma opção de vibrado para o instrumento.

Atualmente, recebe encomendas de várias partes do Brasil e do exterior. a exemplo da Europa, Japão, Estados Unidos e Canadá, e constrói instrumentos para parceiros como: Júlio Caldas, Morotó Slim, Marcos Moletta (Moraes Moreira), Roberto Barreto (Baiana System), banda Natiruts, Almir Côrtes, Terry King (USA), dentre outros.

Há alguns anos vem desenvolvendo uma pesquisa direcionada à construção de captadores autorais dedicados à guitarra baiana.

ENGLISH

Fábio Batanj was born in Salvador-Bahia and began working on the repair and construction of musical instruments in the early 90's, at the age of 17.

His first-built instrument was the Guitarra Baiana. Always respecting the original and traditional design of the instrument, as coming from its inventors, Fabio supports and divulges the Guitarra Baiana in its Bahian and Brazilian historical and cultural heritage as well as the peculiar way of playing the instrument which gave origin to the trieletrizada school.

Fabio developed constructive techniques contributing to the advancement and modernization of the instrument, and efficiently introduced the tremolo lever without the need of locking and micro-tuning as a vibrating option for the instrument.

Currently Fabio receives orders from various parts of Brazil and abroad, including Europe, Japan, the United States and Canada, and he builds instruments for partners such as: Júlio Caldas, Morotó Slim, Marcos Moletta (Moraes Moreira), Roberto Barreto (Baiana System), band Natiruts, Almir Côrtes, Terry King (USA), and others.

For some years now, he has been developing research aimed at the construction of guitar pickups dedicated to the Guitarra Baiana.

Contact Information

Email: [email protected]
Telephone: +55 (71) 9 9964-7983

Media | Markets

▶ Instagram: batanj_luthier
▶ YouTube Channel: http://www.youtube.com/@Batanj

Clips (more may be added)

4:58
BATANJ LUTHIERIA
By Batanj Luthier

21 views
0:29:20
PRS STYLE GUITAR by Batanj Luthier (English Subtitles)
By Batanj Luthier

44 views

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What's Been Happening?

A category was added to Batanj Luthier:

Brasil, Brazil
- Jun 4
A category was added to Batanj Luthier:

Bahia
- Jun 4
A category was added to Batanj Luthier:

Salvador
- Jun 4
A category was added to Batanj Luthier:

Guitarra Baiana
- Jun 4
A category was added to Batanj Luthier:

Luthier
- Jun 4
A video was posted re Batanj Luthier:

BATANJ LUTHIERIA
BATANJ LUTHIERIA
- Jun 4
A video was posted re Batanj Luthier:

PRS STYLE GUITAR by Batanj Luthier (English Subtitles)
- Jun 4
Batanj Luthier is matrixed!
- Jun 4

Batanj Luthier

Connections Out

Human creativity is everywhere. From Brazil it's all being connected in a manner allowing one to move from any creator to any other creator in just a few steps. Artificial Intelligence & algorithms not necessary. Real intelligence, yes.

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Via Matrix, artists like Raymundo Sodré (who was crushed under Brazil's dictatorship) can inspire around the world. Sodré's (and Jorge Portugual's) A MASSA is a Brazilian anthem exhorting the powerless to stand up to the powerful.

A Massa (do povo carente) / The Masses (of people in need)

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THE MATRIX IS THE MOTHER SHIP (it carries people to culture; per above, it carries culture too)

THE MATRIX IS CULTURAL DIFFUSION ON A PLANETARY SCALE (Bahia is Ground Zero)

THE MATRIX IS THE INTEGRATED GLOBAL CREATIVE ECONOMY (matrixed economist, Dr. Darius Mans, presents the Africare Award to Luiz Inácio Lula da Silva — Brazil's current president — in 2012)

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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; recorded "Purple Rain", "Around the World in a Day", "Parade", and "Sign o' the Times"; now director of the Berklee Music Perception and Cognition Laboratory)

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Dear Sparrow, Many thanks for this – I am touched! — Julian Lloyd Webber (most highly renowned cellist in the United Kingdom; brother of composer Andrew Lloyd Webber (Evita, Jesus Christ Superstar, Cats...)

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This is super impressive work ! Congratulations ! Thanks for including me :))) — Clarice Assad (pianist, composer with works performed by Yo Yo Ma and orchestras around the world)

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Thanks, this is a brilliant idea!! — Alicia Svigals (world's premier klezmer violinist; founding member of The Klezmatics)

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Thank you for your note below and we appreciate you including Kamasi in the matrix, Sparrow. — Banch Abegaze (manager, Kamasi Washington)

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This Matrix was built by an ex-royalty "rescuer" (Aretha Franklin, Barbra Streisand, Gilberto Gil, Astrud Gilberto, Mongo Santamaria, Jim Hall, Led Zeppelin, Bob Marley and many others) so that deep Brazilian culture, much of it otherwise impossible to find if one is not right there where it is made, might also (via an alternative to major media) be discoverable from all around the world. To do this it integrates this immensity into a system whereby ALL CULTURE EVERYWHERE — from small villages in Africa to Grammy-winning artists in Los Angeles — writers, filmmakers, painters... — can be found from anywhere on the planet.

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The Matrix uncoils from the Recôncavo of Bahia, Brazil, final port-of-call for more enslaved human beings than any other such throughout all of human history and from where some of the most physically and spiritually uplifting music ever made (samba and its precursor chula, per the Saturno Brothers above) evolved...

Simon Singh Physics

WHAT IS THE RECÔNCAVO? The peninsula upon which Salvador is situated is like the thumb of an open and grasping hand, what is normally thought of as the Recôncavo then being defined by the curved index finger. This way of definition developed when agricultural products were brought to Salvador by boat, sometimes making their way first down the Paraguaçu river after having been carried overland from the sertão (backlands) to Cachoeira, the river debouching into the Bay of All Saints at Maragogipe. The city of Bahia (as it was usually called then) was crouched on the bay, comprised of a commercial district much smaller in area than today (landfill has increased it greatly), the area around the upper section of the elevator, and what is now called Pelourinho.

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Much of the remainder of the peninsula was given to sugarcane plantations, and dotted within the Atlantic rainforest were countless quilombos (Afro-Brazilian villages founded during the age of slavery); both are attested to today in commonly used city names. The neighborhood of Garcia was once Fazenda Garcia (fazenda being a farm or plantation), and this denomination is still used today to distinguish one end of Garcia (fim-de-linha) from the other (the Campo Grande end). Neighborhoods Engenho Velho de Federação and Engenho Velho de Brotas are so called for the old mills (engenhos velhos) which pressed the caldo (juice, so to speak) from the cane so laboriously hacked out of the fields. The neighborhood of Cabula is named for an nkisi (deity) of candomblé angola (the first candomblé -- a West African religious belief system -- to arrive in Bahia)...whose rhythms comprise the basis for samba, meaning that the rhythms to which so many in the world inexpertly swayed as Stan Getz's saxophone soared and João and Astrud Gilberto sensuously intoned -- this paragon of suave Brazilian sophistication -- was born in the rough senzalas (slavequarters) of Bahia. Ironically enough, the barefoot senzala version was/is far more sophisticated than the sophisticated version.

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But times have changed, and Cabula is now a crowded, non-descript middle-to-working class Salvador city neighborhood (plenty of candomblé around though), and Engenhos Velhos de Federação and Brotas are swarming working class neighborhoods (ditto the candomblé); the senzala samba, the samba chula and samba-de-roda have disappeared. A simplified version -- Bahian pagode -- is heard everywhere in Salvador, but the real-deal stuff has died out here in the big city. It remains, however, a potent force on the remainder of its native ground, the Recôncavo proper, where it is danced to upon pounded earth, under moonlight broken by banana, palm and mango leaves, lifting the souls of its participants almost like something religious, which it was, and gods aside, is (again, per the Saturno brothers in the clip above).

Terell Stafford Composer

Connect to anybody in here. You appear on their page. Anybody in here connects to you, they appear on your page...

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...plugged into a superpower: the small world phenomenon.

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By the same mathematics positioning some 8 billion human beings within some 6 or so steps of each other, people in the Matrix tend to within close, accessible steps of everybody else inside the Matrix.

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And by extension, to within discoverable reach of everybody everywhere on the planet.

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A little bit about how the math works:

EM PORTUGUÊS / IN ENGLISH

BUT WHY BRAZIL???

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"The time has come for these bronzed people to show their worth..."

(Music by Assis Valente. Clip by Betão Aguiar. The Matrix was built in Salvador's Centro Histórico above, incorporating these marvelous people.)

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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.

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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.

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Brazil 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 — the hand drum in the opening scene above — was almost certainly brought to Brazil by these people).

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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.

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Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof.

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Nowhere else but here. Brazil itself is a matrix.

'mātriks / "source" / from "mater", Latin for "mother"
A real mother for ya!

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