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  • Béla Fleck

    VIA THE INTEGRATED GLOBAL
    CREATIVE ECONOMY

    inspired by
    THE GRAPEVINE TELEGRAPH
    of Pre-Civil War African-Americans

    promulgated by
    The Brazilian Ministry of Culture

    fomented by
    The Bahian Secretary of Culture

    fomented by
    The Palmares Foundation
    for the promotion of Afro-Brazilian Culture

    fomented by
    The National Foundation of Indigenous Peoples

    I CURATE

Network Node

  • Name: Béla Fleck
  • City/Place: Nashville, Tennessee
  • Country: United States

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: Béla was born on July 10,1958 and raised in New York City. While watching The Beverly Hillbillies as a young boy, the bluegrass sounds of Flatt & Scruggs flowed out of the TV set and into his young brain. Earl Scruggs’s banjo style hooked Béla’s interest immediately. “It was like sparks going off in my head,” he later said.

    The banjo didn’t become a full time passion until ’73, when his grandfather coincidentally bought him one. That week, Béla entered New York City’s, High School of Music and Art. He began studies on the French horn but was soon demoted to the chorus, due to his lack of musical aptitude. Since the banjo wasn’t an offered elective at Music and Art, Béla sought lessons through outside sources: Erik Darling, Marc Horowitz, and Tony Trischka stepped up and filled the job.

    During this period, Béla played in his first bands: Brownstone Holler and Wicker’s Creek. Living in NYC, Béla was exposed to a wide variety of musical experiences. One of the most impressive was a concert by Return to Forever, featuring Chick Corea and Stanley Clarke. This concert encouraged further experimenting with rock and jazz on the banjo, signs of things to come.In 1976, he started his professional career, playing with Boston-based Tasty Licks.

    In 1979, he moved to the bluegrass heartland, Lexington, KY, where he co-founded Spectrum with Jimmy Gaudreau, Glen Lawson, and Mark Schatz.

    In 1981, Béla was invited to join the progressive bluegrass band New Grass Revival, lead by Sam Bush on mandolin, fiddle and vocals. With the addition of Pat Flynn on guitar and NGR veteran John Cowan on bass and vocals, New Grass Revival took bluegrass music to new heights, exciting audiences and critics alike. Through the course of five albums, they charted new territory with their blend of bluegrass, rock and country music. The relentless national and international touring by NGR exposed Béla’s banjo playing to the bluegrass/acoustic music world.

    During the eight and a half years Béla spent with NGR, he continued to record a series of solo albums for Rounder, including the ground breaking 1988 album Drive. He also collaborated with Sam Bush, Jerry Douglas, Edgar Meyer and Mark O’Connor in an acoustic super-group called Strength in Numbers. Their MCA release, The Telluride Session is considered an evolutionary statement by the acoustic music community.

    Now living in Nashville, TN, he found himself invited to record on albums by Garth Brooks, Dolly Parton, Randy Travis, The Oak Ridge Boys, The Gatlin Brothers, and many others.

    In 1988, for the PBS Lonesome Pine Series, Béla put several musical sounds together with his banjo, a string quartet, his Macintosh computer and an experimental, jazz-based combo. Howard Levy and Victor Lemonte Wooten signed on for the concert, but the group still lacked a drummer. The search was on for an unusual drummer/percussionist. Victor suggested his brother Roy Wooten, later to become known as FutureMan. Roy was developing the “Drumitar” (drum / guitar), then in its infancy. A MIDI trigger device, the Drumitar allowed FutureMan to play the drums with his fingers triggering various sampled sounds. The first rehearsal was hampered by a strong thunderstorm that knocked the electricity out for hours. The four continued on with an acoustic rehearsal and the last slot on the TV show became the first performance of Béla Fleck and the Flecktones.

    Next came the self-titled CD, which Béla financed himself. The recordingattracted the attention of the folks at Warner Bros. Records. Dubbed a “blu-bop” mix of jazz and bluegrass, the Grammy-nominated album became a commercial and critical success.

    The Flecktones’ second recording Flight of the Cosmic Hippo followed suit and hit #1 on the Billboard Jazz Chart.

    Howard Levy toured and recorded with the Flecktones till the end of 1992. After several years as a trio and touring with special guests, saxophonist Jeff Coffin joined the ‘Tones. Famed for a non-stop touring schedule, from 2001 onward, the Flecktones performed for more than 500,000 people per year.

    (In 1996, Béla revisited the forward-leaning bluegrass sound of Drive, to record Bluegrass Sessions. He added Earl Scruggs, Vassar Clements and John Hartford to the original Drive lineup of Tony Rice, Sam Bush, Jerry Douglas, Stuart Duncan, and Mark Schatz).

    Still releasing albums and touring, the Flecktones have garnered a strong and faithful following among jazz and new acoustic fans. They have shared the stage with the Dave Mathews Band, Sting, Bonnie Raitt and the Grateful Dead, among many others, made several appearances on The Tonight Show, both the Johnny Carson and the Jay Leno days, as well as Arsenio Hall, and Conan O’Brian. Béla also appeared on Saturday Night Live and The Late Show with David Letterman. The Flecktones went on tour with Dave Matthews Band in 1996 and 1997, and Fleck is featured on several tracks on DMB’s 1998 album Before These Crowded Streets.

    In 2003, Béla Fleck and the Flecktones simultaneously released the landmark three-disc Little Worlds with a highlights disc entitled Ten From LittleWorlds.

    In 2006 the band released The Hidden Land, which won the Grammy for BestContemporary Jazz Album in 2007. In 2008, the band’s holiday album Jingle All The Way was released, and took home the Grammy for Best Pop Instrumental Album in 2009.

    Béla went to Africa in 2006 to film and record Throw Down Your Heart, a sprawling project that included an award-winning documentary and two Grammy winning albums, Throw Down Your Heart, Tales from the Acoustic Planet Vol. 3 (2010), and Throw Down Your Heart – The Africa Sessions, Vol. 2 (2011). Both earned Grammys for Best Contemporary World Music Album.

    The journey explored the African roots of the banjo and featured collaborations with incredible African musicians. It led to extensive tours in North America and Europe with Oumou Sangare, Toumani Diabate, Bassekou Kouyate and N’Goni Ba, among many others.

    Any world-class musician born with the names Béla (for Bartok), Anton (for Weburn) and Léos (for Janacek) would seem destined to play classical music.

    Already a powerfully creative force in bluegrass, jazz, pop, rock and world music, Béla made the classical connection with Perpetual Motion, his critically acclaimed 2001 Sony Classical recording that went on to win a pair of Grammys, including Best Classical Crossover Album, in the 44th annual Grammy Awards.

    Collaborating and co-producing Perpetual Motion was his longtime friend andcolleague, Edgar Meyer, an acclaimed composer and bassist whose virtuosity defies labels. Béla and Edgar co-wrote and performed a double concerto for banjo and bass, which they debuted with the Nashville Symphony Orchestra in 2003. They also co-wrote The Melody of Rhythm with world renowned tabla virtuoso Zakir Hussain, a triple concerto for banjo, bass and tabla. They recorded it with the Detroit Symphony Orchestra, and played trio and concerto shows around the world.

    2008 found Bela recording The Enchantment, a duet record with his hero, Chick Corea. This album won a Latin Grammy and has led to a fruitful ongoing duo tour, and recently a double live album, Two (2015).

    In 2011, through a commission with the Nashville Symphony Orchestra, Béla wrote and premiered his first stand-alone banjo concerto, The Impostor, accompanied by the documentary film, How to Write a Banjo Concerto. This work, along with his new quintet for banjo and string quartet, Night Flight Over Water, was released on the prestigious Deutche Gramophone label. Dedicated to Earl Scruggs, who attended the Nashville premiere, Fleck has performed the concerto worldwide over 40 times. In 2016, Fleck premiered The Juno Concerto with the Canton Symphony Orchestra, with a third banjo concerto planned for 2018.

    In 2013, he joined forces with his wife, clawhammer banjoist and singer Abigail Washburn for a very banjo-centric recording and touring project. The impetus was the birth of their son Juno. Along with the obvious musical chemistry, this family band would keep their family together – on tour. Their debut album Béla Fleck and Abigail Washburn took home the 2016 Grammy for Best Folk album.

    In recent years he’s found himself bouncing between various intriguing touring situations, such as duos with Chick Corea, Chris Thile and Abigail Washburn, in a trio with Zakir Hussain and Edgar Meyer, performing his concertos with symphonies, concerts with the Brooklyn Rider string quartet, performances with African artists such as Oumou Sangare and Toumani Diabate, in jazz collaboration with The Marcus Roberts Trio, rare solo concerts and doing bluegrass with his old friends. And after nearly 30 years, the Flecktones are still performing together.

    The recipient of multiple Grammy Awards and nominations going back to 1998, Béla Flecks’ total Grammy count is 15 Grammys won, with 30 nominations. He has been nominated in more categories than any instrumentalist in Grammy history.

Contact Information

  • Management/Booking: Artist Management
    David Bendett, Artists, Inc.
    (310) 278-5657
    [email protected]

    Booking
    Béla Fleck, Béla Fleck & The Flecktones, Béla Fleck & Abigail Washburn, Chick Corea & Béla Fleck, Béla Fleck & Marcus Roberts Trio
    Jamie Ziefert
    Ted Kurland Agency
    (617) 254-0007
    [email protected]

    Classical
    Rob Berretta
    Opus 3 Artists
    (212) 584-7513
    [email protected]

    Samantha Cortez
    (212) 584-7571
    [email protected]

    Edgar Meyer, Béla Fleck, and Zakir Hussain
    Dean Schultz
    IMG Artists
    (212) 994-3500
    (212) 994-3550 fax
    Press

    Carla Parisi
    Kid Logic Media
    (973) 563-8204
    [email protected]
    Production

    Richard Battaglia
    (615) 9693877
    [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://store.belafleck.com/collections/cds
  • ▶ Buy My Vinyl: http://store.belafleck.com/collections/vinyl
  • ▶ Buy My Merch: http://store.belafleck.com/collections/apparel
  • ▶ Twitter: belafleckbanjo
  • ▶ Instagram: belafleckbanjo
  • ▶ Website: http://www.belafleck.com
  • ▶ YouTube Channel: http://www.youtube.com/user/belafleckbanjo
  • ▶ YouTube Music: http://music.youtube.com/channel/UCMGaDk8IP3a8q0Gq1tBXjDg
  • ▶ Spotify: http://open.spotify.com/album/58VJzBF0hLb6ylVHdn1XB0
  • ▶ Spotify 2: http://open.spotify.com/album/4rH9VV4BP2CU8otrd3uXQQ
  • ▶ Spotify 3: http://open.spotify.com/album/5AjD7hY9hMWVC5ZWGerBv4
  • ▶ Spotify 4: http://open.spotify.com/album/3iIBAbZkNYkvyEXdRe6pIZ
  • ▶ Spotify 5: http://open.spotify.com/album/0KclPgeyUzBKU4pic1to9z
  • ▶ Spotify 6: http://open.spotify.com/album/34rQGJXHlECil6fZUIHm7q

Clips (more may be added)

  • 0:10:01
    Bela Fleck and The Flecktones & Casey Driessen - Big Country - Chicago Bluegrass and Blues Festival
    By Béla Fleck
    241 views
  • NPR Music Tiny Desk Concert
    By Béla Fleck
    441 views
Previous
Next

Béla Fleck Curated

  • 2 Americana
  • 2 Banjo
  • 2 Bluegrass
  • 2 Multi-Cultural
  • 2 Songwriter

What's Been Happening?

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View More
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  • English (Portuguese →)
  • (← Inglês) Português

English (Portuguese →)

 

Pathways from Brazil

THROUGH THE INTEGRATED GLOBAL CREATIVE ECONOMY

(all is closer than we imagine)

"I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
✅—Susan Rogers
Personal recording engineer: Prince, Paisley Park
Director: Music Perception & Cognition Laboratory, Berklee College of Music
Author: This Is What It Sounds Like: What the Music You Love Says About You

 

The matrix was created in Salvador's Centro Histórico, where Bule Bule below, among magisterial colleagues for whom this matrix was originally built, sings "Chegou a hora dessa gente bronzeada mostrar seu valor... The time has come for these bronzed people to show their worth..."

Created because in common with most cultures around our planet, the preponderance of Brazil's vast cultural treasure has been impossible to find from outside of circumscribed regions, including Brazil itself...

Music & lyrics (Brasil Pandeiro) by Assis Valente of Santo Amaro, Bahia, Brazil. Video by Betão Aguiar of Salvador.

Thus something new under the tropical sun: A means by which those above, those below, and EVERYBODY ELSE in the creative economy can be divulged EVERYWHERE.

Quincy Jones can curate Gilberto Gil, for example. And Gil can curate, writers, dancers, filmmakers, painters, record producers, set designers...Luê Soares of Belém do Pará behind the mic above. You get to Quincy, you can get to Luê. Direct line.

And by the mathematics of the small world phenomenon, everybody in the matrix will tend to proximity to everybody else, in the same way that most human beings are within some six or so steps of most others.

The difference being that in the matrix, these steps are along pathways that can be travelled. The creative world becomes a neighborhood. Quincy Jones is right up the street and Branford Marsalis around the corner. And the most far-flung genius you've never heard of is just a few doors down. Maybe even in Brazil. Laroyê!
"Matrixado!"

✅—Founding Member Darius Mans
Economist, PhD, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
President of Brazil


The matrix is the ultimate evolution of a pathway which began in New York City decades ago per the "rescue" of unpaid royalties for Aretha Franklin, Barbra Streisand, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Led Zeppelin, Philip Glass, Clement "Coxsone" Dodd of Kingston's Studio One (Bob Marley's producer), and others. A long and winding road that led inexorably to the necessity of a truly open arts universe, for there is more in Heaven and Earth...

"Many thanks for this - I am  touched!"
✅—Julian Lloyd Webber

That most fabled cellist in the United Kingdom (and Brazilian music fan)

"I'm truly thankful... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Blue Note recording artist)

"Thanks, this is a brilliant idea!!"
✅—Alicia Svigals
Founder of The Klezmatics

"This is super impressive work ! Congratulations ! Thanks for including me :)))"
✅—Clarice Assad
Compositions recorded by Yo Yo Ma and played by orchestras around the world

"Thank you"
(Banch Abegaze, manager)
✅—Kamasi Washington

Tap people, tap categories, tap curations... The matrix is a maze of tunnels within King Solomon's creative mines.

(← Inglês) Português

 

Caminhos do Brasil

ATRAVÉS DA ECONOMIA CRIATIVA GLOBAL INTEGRADA

(tudo está mais perto do que imaginamos)

"Fico muitíssimo feliz em receber seu e-mail! Obrigada por me incluir neste matrix maravilhoso."
✅—Susan Rogers
Engenheiro de gravação pessoal para Prince: Paisley Park
Diretora: Laboratório de Percepção e Cognição Musical, Berklee College of Music
Autora: This Is What It Sounds Like: What the Music You Love Says About You

 

O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule abaixo, entre colegas magisteriais para quem este matrix foi originalmente construído, canta "Chegou a hora dessa gente bronzeada mostrar seu valor..."

Criado porque em comum com a maioria das culturas ao redor do nosso planeta, a preponderância do vasto tesouro cultural do Brasil tem sido impossível de encontrar de fora de regiões circunscritas, incluido o próprio Brasil...

Música & letras (Brasil Pandeiro) por Assis Valente de Santo Amaro, Bahia. Vídeo por Betão Aguiar de Salvador.

Assim algo novo sob o sol tropical: Um meio pelo qual os acima, os abaixo e TODOS OS OUTROS na economia criativa podem ser divulgados em TODOS OS LUGARES.

Quincy Jones pode indicar Gilberto Gil, por exemplo. Gil pode indicar escritores, dançarinos, cineastas, pintores, produtores de discos...Luê Soares de Belém do Pará atrás do microfone acima. Você chega em Quincy, pode chegar em Luê. Linha direta.

E pela matemática do fenômeno de mundo pequeno, todos no matrix tenderão a se aproximar de todos, da mesma forma que a maioria dos seres humanos estão dentro de cerca de seis passos da maioria dos outros.

Com a diferença que no matrix, estes passos estão ao longo de caminhos que podem ser percorridos. O mundo criativo se torna uma vizinhança. Quincy Jones está lá em cima e Branford Marsalis está ao virar da esquina. E o gênio distante que você nunca ouviu falar tá lá embaixo. Talvez até no Brasil. Laroyê!
"Matrixado!"

✅—Membro Fundador Darius Mans
Economista, doutorado, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
Presidente do Brasil


O matrix é a evolução definitiva de um caminho que começou em Nova York há décadas atrás pelo "resgate" dos direitos autorais não pagos para Aretha Franklin, Barbra Streisand, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Led Zeppelin, Philip Glass, Clement "Coxsone" Dodd do Studio One de Kingston (o produtor de Bob Marley), e outros. Um longo e sinuoso caminho que levou inexoravelmente à necessidade de um universo de artes verdadeiramente abertom pois há mais no Céu e na Terra...

"Muito obrigado por isso - estou tocado!"
✅—Julian Lloyd Webber
Estamos tocados também Sr. Webber!
Merecidamente o violoncelista mais lendário do Reino Unido (e fã da música brasileira)

"Estou realmente agradecido... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Artista da Blue Note)

"Obrigada, esta é uma ideia brilhante!!"
✅—Alicia Svigals
Fundadora do The Klezmatics

"Este é um trabalho super impressionante! Parabéns! Obrigada por me incluir :)))"
✅—Clarice Assad
Composições gravadas por Yo Yo Ma e tocadas por orquestras ao redor do mundo

"Thank you"
(Banch Abegaze, empresário)
✅—Kamasi Washington

Toque em pessoas, toque em categorias, toque em curadoria... O matrix é um labirinto de túneis dentro das minas criativas do Rei Salomão.

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  • Alicia Keys Record Producer
  • Bobby Sanabria Bandleader
  • James Andrews Trumpet
  • Beeple Graphic Designer
  • Ben Monder New York City
  • Tshepiso Ledwaba Clarinet
  • Fabian Almazan Jazz
  • Jonathon Grasse Gamelan
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  • Liron Meyuhas Composer
  • Barney McAll Australia
  • Marcela Valdes Latino Culture
  • Raelis Vasquez Afro-Latinx Art
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  • Colson Whitehead Essayist
  • Wynton Marsalis New Orleans
  • As Ganhadeiras de Itapuã Salvador
  • Samba de Nicinha Maculelê
  • Will Holshouser Jazz
  • Luciano Matos DJ
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  • Natan Drubi Brasil, Brazil
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  • Morgan Page House
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  • Timothy Jones Contemporary Classical Music
  • Yunior Terry Jazz
  • James Carter Saxophone
  • Şener Özmen Photographer
  • Jon Batiste Jazz
  • Myron Walden Piccolo
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  • John McEuen Writer
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  • Glória Bomfim Samba de Roda
  • Siobhán Peoples Irish Traditional Music
  • Tab Benoit Louisiana
  • Nicholas Gill Writer
  • Eric Roberson Berklee Faculty
  • Manolo Badrena Composer
  • Bodek Janke Drums
  • Mohamed Diab Filmmaker
  • Eric Roberson R&B
  • Andrew Gilbert Berkeley, California
  • Bill Frisell Jazz
  • Estação Primeira de Mangueira Brasil, Brazil
  • Cláudio Badega Bahia
  • Ethan Iverson Music Critic
  • Glória Bomfim Samba
  • Evgeny Kissin Writer
  • Tomo Fujita Songwriter
  • Sunna Gunnlaugs Composer
  • Peter Evans Composer
  • Zé Luíz Nascimento Percussion
  • Lazzo Matumbi Reggae
  • Gilsons MPB
  • Philip Sherburne Essayist
  • Alberto Pitta Artista Plástico, Artist
  • Andrew Gilbert Writer
  • Amit Chatterjee Multi-Cultural
  • Elif Şafak Writer
  • Vânia Oliveira Candomblé
  • Thiago Espírito Santo Compositor, Composer
  • Rose Aféfé Brasil, Brazil
  • Anouar Brahem Jazz
  • Kalani Pe'a Hawaii
  • Jussara Silveira Samba
  • Della Mae Americana
  • Alfredo Rodriguez New York City
  • Ahmad Sarmast Afghan Music
  • Paulo César Pinheiro Samba
  • Elodie Bouny Lisbon, Portugual
  • David Simon Television Writer
  • Giba Gonçalves Brazil
  • María Grand R&B
  • John Francis Flynn Singer-Songwriter
  • Jeff 'Tain' Watts Jazz
  • Cassie Kinoshi Bandleader
  • Stephen Kurczy Journalist
  • Gregory Porter Singer
  • As Ganhadeiras de Itapuã Folk & Traditional
  • Immanuel Wilkins NYU Faculty
  • Lynn Nottage Pulitzer Prize
  • Timothy Jones Witchita State University Faculty
  • Cara Stacey Umrhubhe, Uhadi, Makhoyane
  • Rick Beato Author
  • Alberto Pitta Brasil, Brazil
  • Alex Hargreaves Fiddle
  • Lívia Mattos Salvador
  • George Cables New York City
  • Gavin Marwick Scotland
  • Nahre Sol YouTuber
  • Igor Osypov Composer
  • Jeff Ballard Drums
  • Muhsinah Soul
  • Gord Sheard Ethnomusicologist
  • Derrick Adams Performance Artist
  • Jonny Geller Public Speaker
  • Joel Guzmán Tex-Mex
  • Chris McQueen Guitar
  • Edgar Meyer Jazz
  • Fidelis Melo Jornalista, Journalist
  • Dadi Carvalho MPB
  • Jeff Ballard New York City
  • Ryan Keberle Trombone
  • Michael Garnice New York City
  • Liam Farrell 'Dr L' DJ
  • Adriano Souza Piano
  • Keb' Mo' Singer-Songwriter
  • Pretinho da Serrinha Cavaquinho
  • Martyn DJ
  • Marcus Rediker University of Pittsburgh Faculty
  • Tarus Mateen Bass
  • Eliane Elias Brazilian Jazz
  • Diego Figueiredo Jazz Brasileiro, Brazilian Jazz
  • Gearóid Ó hAllmhuráin County Clare
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