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  • Ben Williams

    THE INTEGRATED GLOBAL
    CREATIVE ECONOMY

    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/pathways out

Network Node

  • Name: Ben Williams
  • City/Place: New York City
  • Country: United States
  • Hometown: Washington, D.C.

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: As an energetic six year old, Ben Williams was as curious as a cat. Ben’s mother worked for Congressman John Conyers (an avid jazz lover) on Capitol Hill, so when she took the youngster into the office on his school break, a watchful eye was in order. One afternoon, while rambling around Conyers’ large, leather appointed office, Ben discovered a huge object that instantly captured his imagination. The shiny upright bass was like nothing the kid had ever seen. He tapped on it. He popped a string. He climbed up on it. “What is this thing?” he wondered.

    Twenty years later, Ben Williams is still surprised at that chance meeting. “Its low frequency attracted me,” Williams recalls, “the way the instrument felt when I touched it. Then later, just the feeling of playing a groove. When you play a bass the whole instrument vibrates. It almost feels like the spirit of another human being. It’s like dancing with somebody and being in full contact with them. And the sound of the instrument appealed to me. It’s warm and deep and it resonated with me.”

    On the eve of his first CD, State of Art, Ben Williams is one of the most sought after bassists in the world, his resume a who’s who of jazz wisdom: Wynton Marsalis, Herbie Hancock, Pat Metheny, Terence Blanchard, Christian McBride Big Band, Nicholas Payton, Paquito D’Rivera, Cyrus Chestnut, Benny Golson, George Duke, Eric Reed, Dee Dee Bridgewater, Roy Hargrove, and Mulgrew Miller, to name a few.

    Ben’s warm, woody tone, flowing groove, melodic phrasing, and storytelling approach has found favor among musicians, but also a larger audience. A bandleader, musical educator, composer, and electric and acoustic bassist, Ben was the winner of the 2009 Thelonious Monk Institute International Jazz Competition, a prestigious and important award that has propelled many a promising career. Working with New York’s finest jazz musicians even before graduating from Juilliard, Williams showcased his band, Sound Effect, at The Jazz Gallery in New York, receiving an enthusiastic New York Times review. Writer Nate Chinen stated “Williams took several long solos in his first set at The Jazz Gallery . . . and each one felt more like an entitlement than an indulgence.” Williams has recorded and performed regularly as a member of bands led by saxophonist Marcus Strickland, pianist Jacky Terrasson, and vibraphonist Stefon Harris. He’s led his own groups at Dizzy’s Club Coca-Cola, Harlem Stage, Rubin Museum of Art, Tribeca PAC in New York City, and SPAC in Saratoga Springs, NY. State of Art signals Williams’ emergence as a prominent voice in the greater jazz community.

    Growing up in an artistic family of musicians, visual artists, and rappers, young Ben Williams didn’t plan on being a bassist and bandleader. He wanted to be a rock star. His heroes were Prince and Michael Jackson, not Duke Ellington and Charles Mingus. Once again, a chance meeting altered his future.

    “I’d been playing piano by ear, but I wanted to play guitar,” Williams recalls. “My middle school offered a strings class where figured I could learn guitar. Then I got there and it was all violins and cellos - no guitars. So I choose the coolest instrument I saw, the bass. It just looked right.”

    Williams was a natural. He excelled on both bass and piano, and once enrolled at the Duke Ellington High School of the Arts, he became a star student, performing in jazz band, gospel choir, and orchestra, as well as extracurricular gigs. Williams graduated with honors and a Best in Instrumental Music Award. He garnered scholarships from the Fish Middleton Scholarship Competition of the East Coast Jazz Festival, the International Society of Bassist’s Competition, the Steans Music Institute, the Duke Ellington Jazz Society, the International Association for Jazz Education (IAJE) and DC Public Schools City-Wide Annual Piano Competition. Williams received his Bachelor’s in Music Education at Michigan State University in 2007, and his Master’s in Music from the Juilliard School in 2009.

    “In high school I dedicated myself to the bass and to jazz,” Williams says. “I knew this could be a profession, and if I could do what I love for a living -- man, what is better than that? You always feel like a student playing jazz, there is so much to learn. There’s never a point where you think you’ve arrived. I am trying to get better every day. Even Roy Haynes, when you see him play you get a sense that he is still trying to find new things.”

    Like many self-aware jazz musicians, Ben Williams has myriad influences, from “Wayne Shorter, Stevie Wonder and Duke Ellington” to “hip-hop and gospel, Little Dragon, Billy Joel, Marvin Gaye.” And like his colleagues in the new guard of jazz, Williams is constantly looking ahead, seeking the music’s potential and his place in it.

    “I’ve worked with Stefon Harris’ Blackout for the past few years,” Williams cites. “He has definitely been a huge influence in my concept of playing music. We have a similar viewpoint to music and jazz. He’s very much about addressing modern times and not rehashing old material. To really interpret what is happening right now, a lot of jazz musicians are into hip-hop and R&B, but they don’t put that into their music. We keep up with the times and we’re not afraid to put that into our music.”

    To other musician’s music Williams brings his great natural skill and determination to explore, to expand boundaries while sustaining tradition. State of Art is a mature statement stamped with his voice, the next step in Ben Williams’ evolution.

    “I wanted to make an album that regular nine-to-five people could enjoy,” Williams says; “and to make a deep artistic statement as well. I like music that grooves, and I make sure that my music feels good.

    “I always bring a certain energy to whatever the musical situation is,” the soft-spoken musician adds. “I try to be a team player and be supportive, but also, I try to add my voice to the situation. It’s a fine balance between putting your stamp on things and being supportive. I’ve found that balance pretty well. The diversity of my musical upbringing has allowed me to be comfortable in many different musical situations. I don’t try to sound like anyone else, I just try to be honest musically and bring a youthful spirit.”

Contact Information

  • Management/Booking: management/booking
    Bennie Barnes
    [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://benwmsonbass.bandcamp.com/
  • ▶ Twitter: benwmsonbass
  • ▶ Instagram: benwmsonbass
  • ▶ Website: http://benwilliamsmusic.net
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCwtBrQcl3jwU4-nbgNDAb9Q
  • ▶ YouTube Music: http://music.youtube.com/channel/UCOG7NqWM_qfrHKElo-OrFwA
  • ▶ Spotify: http://open.spotify.com/album/6G9X62c1jgY5oZKhk5RoKQ
  • ▶ Spotify 2: http://open.spotify.com/album/37nh35Sg2gHwHJX1bAv6i4

Clips (more may be added)

  • Ben Williams - I AM A MAN preview, live @Blue Note NYC
    By Ben Williams
    393 views
  • Ben Williams Plays this Classic Standard
    By Ben Williams
    270 views
  • Ben Williams & Sound Effect at Dizzy's
    By Ben Williams
    400 views
  • Ben Williams, NPR Tiny Desk Concert
    By Ben Williams
    339 views
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Ben Williams Curated
pathways in

  • 5 Bass
  • 5 Composer
  • 5 Jazz
  • 5 New York City

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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

WHO IS INSIDE THIS GLOBAL MATRIX?

Explore above for a complete list of artists and other members of the creative economy.


WHY BRAZIL?

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.

 

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.

 

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).

 

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 a scintillatingly unprecedented fourth. Pandeirista on the roof.

 

Nowhere else but here. Brazil itself is a matrix.

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find...
✅—Pardal/Sparrow
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per "RESPLENDENT BAHIA..." below) & the great sertão (the backlands of Brazil's nordeste) — make artists across Brazil — and around the world — discoverable as they never were before.

HOW: Integrate them into a vast matrixed ecosystem together with musicians, writers, filmmakers, painters, choreographers, fashion designers, educators, chefs et al from all over the planet (are you in this ecosystem?) such that these artists all tend to be connected to each other via short, discoverable, accessible pathways. Q.E.D.

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


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

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

...the endeavor motivated in the first instance by the fact that 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...

Thus something new under the tropical sun: Open curation beginning with Brazilian musicians recommending other Brazilian musicians and moving on around the globe...

Where by the seemingly magical mathematics of the small world phenomenon, and in the same way that most human beings are within some six or so steps of most others, all in the matrix tend to proximity to all 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.

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

"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


RESPLENDENT BAHIA...

...is a hot cauldron of rhythms and musical styles, but one particular style here is so utterly essential, so utterly fundamental not only to Bahian music specifically but to Brazilian music in general — occupying a place here analogous to that of the blues in the United States — that it deserves singling out. It is derived from (or some say brother to) the cabila rhythm of candomblé angola… …and it is called…

Samba Chula / Samba de Roda

Mother of Samba… daughter of destiny carried to Bahia by Bantus ensconced within the holds of negreiros entering the great Bahia de Todos os Santos (the term referring both to a dance and to the style of music which evolved to accompany that dance; the official orthography of “Bahia” — in the sense of “bay” — has since been changed to “Baía”)… evolved on the sugarcane plantations of the Recôncavo (that fertile area around the bay, the concave shape of which gave rise to the region’s name) — in the vicinity of towns like Cachoeira and Santo Amaro, Santiago do Iguape and Acupe. This proto-samba has unfortunately fallen into the wayside of hard to find and hear…

There’s a lot of spectacle in Bahia…

Carnival with its trio elétricos — sound-trucks with musicians on top — looking like interstellar semi-trailers back from the future…shows of MPB (música popular brasileira) in Salvador’s Teatro Castro Alves (biggest stage in South America!) with full production value, the audience seated (as always in modern theaters) like Easter Island statues…

…glamour, glitz, money, power and press agents…

And then there’s where it all came from…the far side of the bay, a land of subsistence farmers and fishermen, many of the older people unable to read or write…their sambas the precursor to all this, without which none of the above would exist, their melodies — when not created by themselves — the inventions of people like them but now forgotten (as most of these people will be within a couple of generations or so of their passing), their rhythms a constant state of inconstancy and flux, played in a manner unlike (most) any group of musicians north of the Tropic of Cancer…making the metronome-like sledgehammering of the Hit Parade of the past several decades almost wincefully painful to listen to after one’s ears have become accustomed to evershifting rhythms played like the aurora borealis looks…

So there’s the spectacle, and there’s the spectacular, and more often than not the latter is found far afield from the former, among the poor folk in the villages and the backlands, the humble and the honest, people who can say more (like an old delta bluesman playing a beat-up guitar on a sagging back porch) with a pandeiro (Brazilian tambourine) and a chula (a shouted/sung “folksong”) than most with whatever technology and support money can buy. The heart of this matter, is out there. If you ask me anyway.

Above, the incomparable João do Boi, chuleiro, recently deceased.

 

 

PORTUGUÊS (to English →)

 

QUEM ESTÁ DENTRO DESTE MATRIX?

Explore acima para uma lista completa de artistas e outros membros da economia criativa global.


POR QUE BRASIL?

O Brasil não é uma nação européia. Não é uma nação norte-americana. Não é uma nação do leste asiático. Compreende — selva e deserto e centros urbanos densos — tanto o equador quanto o Trópico de Capricórnio.

 

O Brasil absorveu mais de dez vezes o número de africanos escravizados levados para os Estados Unidos da América, e é um repositório de divindades africanas (e sua música) agora em grande parte esquecido em suas terras de origem.

 

O Brasil era um refúgio (de certa forma) para os sefarditas que fugiam de uma Inquisição que os seguia através do Atlântico (aquele símbolo não oficial da música nacional brasileira — o pandeiro — foi quase certamente trazido ao Brasil por esse povo).

 

Através das savanas ressequidas do interior do culturalmente fecundo nordeste, onde o mago Hermeto Pascoal nasceu na Lagoa da Canoa e cresceu em Olho d'Águia, uma grande parte da população aborígine do Brasil foi absorvida por uma cultura caboclo/quilombola pontuada pela Estrela de Davi.

 

Três culturas — de três continentes — correndo por suas vidas, sua confluência formando uma quarta cintilante e sem precedentes. Pandeirista no telhado.

 

Em nenhum outro lugar a não ser aqui. Brasil é um matrix mesmo.

 


✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar...
✅—Pardal/Sparrow
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme "RESPLANDECENTE BAHIA..." abaixo) e do grande sertão — tornar artistas através do Brasil — e ao redor do mundo — descobriveis como nunca foram antes.

COMO: Integrá-los num vasto ecosistema matrixado, juntos com músicos, escritores, cineastas, pintores, coreógrafos, designers de moda, educadores, chefs e outros de todos os lugares (você está neste ecosistema?) de modo que todos esses artistas tendem a estar ligados entre si por caminhos curtos, descobriveis e acessíveis. Q.E.D.

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


O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule no clipe, entre colegas da primeira geração no matrix, canta "Chegou a hora dessa gente bronzeada mostrar seu valor..."

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

...o empreendimento motivado na primeira instância pelo fato de que 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 fora de regiões circunscritas, incluindo o próprio Brasil.

Assim, algo novo sob o sol tropical: Curadoria aberta começando com músicos brasileiros recomendando outros músicos brasileiros e avançando ao redor do globo...

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

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.

"Obrigada por me incluir neste matrix maravilhoso!"
✅—Susan Rogers
Engenheiro de gravação pessoal para Prince: Paisley Park Estúdio de Gravação
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

"Muito obrigado por isso - estou tocado!"
✅—Julian Lloyd 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


RESPLANDECENTE BAHIA...

...é um caldeirão quente de ritmos e estilos musicais, mas um estilo particular aqui é tão essencial, tão fundamental não só para a música baiana especificamente, mas para a música brasileira em geral - ocupando um lugar aqui análogo ao do blues nos Estados Unidos - que merece ser destacado. Ela deriva (ou alguns dizem irmão para) do ritmo cabila do candomblé angola... ...e é chamada de...

Samba Chula / Samba de Roda

Mãe do Samba... filha do destino carregada para a Bahia por Bantus ensconced dentro dos porões de negreiros entrando na grande Bahia de Todos os Santos (o termo refere-se tanto a uma dança quanto ao estilo de música que evoluiu para acompanhar essa dança; a ortografia oficial da "Bahia" - no sentido de "baía" - foi desde então alterada para "Baía")... evoluiu nas plantações de cana de açúcar do Recôncavo (aquela área fértil ao redor da baía, cuja forma côncava deu origem ao nome da região) - nas proximidades de cidades como Cachoeira e Santo Amaro, Santiago do Iguape e Acupe. Este proto-samba infelizmente caiu no caminho de difíceis de encontrar e ouvir...

Há muito espetáculo na Bahia...

Carnaval com seu trio elétrico - caminhões sonoros com músicos no topo - parecendo semi-reboques interestelares de volta do futuro...shows de MPB (música popular brasileira) no Teatro Castro Alves de Salvador (maior palco da América do Sul!) com total valor de produção, o público sentado (como sempre nos teatros modernos) como estátuas da Ilha de Páscoa...

...glamour, glitz, dinheiro, poder e publicitários...

E depois há de onde tudo isso veio... do outro lado da baía, uma terra de agricultores e pescadores de subsistência, muitos dos mais velhos incapazes de ler ou escrever... seus sambas precursores de tudo isso, sem os quais nenhuma das anteriores existiria, suas melodias - quando não criadas por eles mesmos - as invenções de pessoas como eles, mas agora esquecidas (pois a maioria dessas pessoas estará dentro de um par de gerações ou mais), seus ritmos um constante estado de inconstância e fluxo, tocados de uma forma diferente (a maioria) de qualquer grupo de músicos do norte do Trópico de Câncer... fazendo com que o martelo de forja do Hit Parade das últimas décadas seja quase que doloroso de ouvir depois que os ouvidos se acostumam a ritmos sempre mutáveis, tocados como a aurora boreal parece...

Portanto, há o espetáculo, e há o espetacular, e na maioria das vezes o último é encontrado longe do primeiro, entre o povo pobre das aldeias e do sertão, os humildes e os honestos, pessoas que podem dizer mais (como um velho bluesman delta tocando uma guitarra batida em um alpendre flácido) com um pandeiro (pandeiro brasileiro) e uma chula (um "folksong" gritado/cantado) do que a maioria com qualquer tecnologia e dinheiro de apoio que o dinheiro possa comprar. O coração deste assunto, está lá. Se você me perguntar de qualquer forma.

Acima, o incomparável João do Boi, chuleiro, recentemente falecido.

 

 

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  • Ray Angry Record Producer
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  • Brian Cross aka B+ Album Covers
  • JD Allen New York City
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  • Rowney Scott Compositor, Composer
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  • Elie Afif Bass
  • Mark Turner New York City
  • Ben Hazleton Composer
  • James Martin Singer-Songwriter
  • Adonis Rose Record Producer
  • Myron Walden Recorder
  • Flor Jorge MPB
  • Rachael Price Americana
  • Justin Kauflin Composer
  • Damion Reid Jazz
  • Marquis Hill Trumpet
  • Alex Hargreaves New School Faculty
  • Ricardo Markis Diretor Musical, Music Director
  • Felipe Guedes Multi-Instrumentalist
  • Jura Margulis Piano
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  • Roy Germano NYU Faculty
  • Victor Wooten Composer
  • Stephanie Soileau Short Stories
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  • Mestre Nelito Chula
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  • Arifan Junior Cavaquinho
  • Rhiannon Giddens Singer
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