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  • Branford Marsalis

    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: Branford Marsalis
  • City/Place: Durham, North Carolina
  • Country: United States
  • Hometown: New Orleans

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: JAZZ

    From his initial recognition as a young jazz lion, he has expanded his vision as an instrumentalist, composer, bandleader and educator, crossing stylistic boundaries while maintaining an unwavering creative integrity. In the process, he has become an avatar of contemporary artistic excellence.

    The Branford Marsalis Quartet, first formed in 1986, remains Branford’s primary means of expression. In its virtually uninterrupted three-plus decades of existence, the Quartet has established a rare breadth of stylistic range and a continuity of personnel. The Secret Between the Shadow and the Soul, recorded in Melbourne, Australia in the midst of an international tour in the Spring of 2018, contains the mix of challenging original and classic compositions, and the range of moods from the tender to the explosive, that has defined the group. With its focus on melodic strength and extrasensory interaction, the album confirms that the Branford Marsalis Quartet remains a paragon of uncompromising jazz excellence.

    While the Quartet thrives, Branford continues to expand his status as a musical collaborator that dates back to his early experiences as a sideman with Clark Terry, Art Blakey and his brother Wynton Marsalis and extends through encounters with Dizzy Gillespie, Miles Davis, Sonny Rollins, Herbie Hancock and Harry Connick, Jr.

    As always, Branford also remains eager to join in musical ventures with artists in other musical realms. His relationship with Sting, which began with the pop icon’s first solo album The Dream of the Blue Turtles in 1985, was resumed when Branford contributed solos to Sting’s collaboration with reggae star Shaggy, 44/876. And Branford’s status among Deadheads, dating back to 1990 as the ultimate guest artist with the Grateful Dead, moved the spinoff band Dead and Co. to break precedent for the first time and announce Branford as a guest artist at the band’s August 26, 2018 concert in Arrington, Virginia.

    Classical music also continues to play a growing role in Branford’s musical life. Sally Beamish reconceived her composition “Under the Wing of the Rock” to feature him after hearing Branford interpret another of her works, and Gabriel Prokofiev wrote “The Saxophone Concerto” for Branford on a joint commission from the Naples Philharmonic and the Detroit Symphony. Branford and the Ural Philharmonic performed and recorded the Prokofiev piece during August 2018 in Yekaterinburg, Russia. Branford has performed these and other works by Copland, Debussy, Glazunov, Ibert, Mahler, Milhaud, Rorem, Vaughan Williams and Villa-Lobos with leading orchestras in the United States and Europe, and served as Creative Director for the Cincinnati Symphony’s Ascent Series in 2012-13.

    The roll of Branford’s contributions to the Broadway stage expanded in 2018 when he scored acclaimed director Kenny Leon’s revival of “Children of a Lesser God.” His previous efforts included music for the revival of “Fences,” which garnered him a Drama Desk Award and a Tony nomination, “The Mountaintop” starring Angela Bassett and Samuel L. Jackson, and the revival of “A Raisin in the Sun.”

    All of these achievements have been supplemented by Branford’s efforts beyond the realms of performance and composition. After directing Columbia Record’s jazz program, he founded the Marsalis Music label in 2002. He has held workshops on campuses around the world, while establishing extended teaching relationships with Michigan State, San Francisco State and North Carolina Central Universities. After the devastation wrought by Hurricane Katrina, Branford joined his friend Harry Connick, Jr. and New Orleans Area Habitat for Humanity in the creation of the Musicians’ Village, a community in New Orleans’ Upper Ninth Ward that provides homes to displaced families of musicians and other local residents. The Ellis Marsalis Center for Music, honoring Branford’s father and Connick’s teacher, provides state-of-the-art performance, instruction and recording spaces at the heart of the Village. For these and other efforts, Branford received an Honorary Doctorate of Letters from Tulane University in 2017, adding to a series of awards including three Grammys and his citation (together with his father and brothers) as a Jazz Master by the National Endowment for the Arts.

    Branford continues to spread the message of his music around the world, including Russia, where he appeared in St. Petersburg’s host-city celebration of International Jazz Day 2018, and China, where he headlined Shanghai’s JZ Jazz Festival the following September. Regardless of context or location, Branford Marsalis remains steadfast in his quest for musical excellence.

    CLASSICAL

    Growing up in the rich environment of New Orleans as the oldest son of pianist and educator Ellis Marsalis, Branford was drawn to music along with siblings Wynton, Delfeayo and Jason. His first instrument, the clarinet, gave way to the alto and then the tenor and soprano saxophones when the teenage Branford began working in local bands. A growing fascination with jazz as he entered college gave him the basic tools to obtain his first major jobs, with trumpet legend Clark Terry and alongside Wynton in Art Blakey’s legendary Jazz Messengers. When the brothers left to form the Wynton Marsalis Quintet, the world of uncompromising acoustic jazz was invigorated. Branford formed his own quartet in 1986 and, with a few minor interruptions in the early years, has sustained the unit as his primary means of expression. Known for the telepathic communication among its uncommonly consistent personnel, its deep book of original music replete with expressive melodies and provocative forms, and an unrivaled spirit in both live and recorded performances, the Branford Marsalis Quartet has long been recognized as the standard to which other ensembles of its kind must be measured.

    Branford has not confined his music to the quartet context however. Classical music inhabits a growing portion of Branford’s musical universe. A frequent soloist with classical ensembles, Branford has become increasingly sought after as a featured soloist with such acclaimed orchestras as the Chicago, Detroit, Düsseldorf, and North Carolina Symphonies and the Boston Pops, with a growing repertoire that includes compositions by Debussy, Glazunov, Ibert, Mahler, Milhaud, Rorem and Vaughn Williams.

    Under the direction of conductor Gil Jardim, Branford Marsalis and members of the Philharmonia Brasileira toured the United States in the fall of 2008, performing works by Brazilian composer Heitor Villa-Lobos, arranged for solo saxophone and orchestra. This project commemorated the 50th Anniversary of the revered Brazilian composer’s death.

    Making his first appearance with the New York Philharmonic in the summer of 2010, Marsalis was again invited to join them as soloist in their 2010‐2011 concert series where he unequivocally demonstrated his versatility and prowess, bringing “a gracious poise and supple tone… and an insouciant swagger” (New York Times) to the repertoire.

    In 2013, Branford served as Creative Director for the Ascent Series of the Cincinnati Symphony Orchestra which included two week-long residencies as well as a number of concerts with the CSO.

    Once again partnering with an esteemed ensemble for a tour of the United States, Branford joined the highly celebrated Chamber Orchestra of Philadelphia in Marsalis “Well-Tempered” on a 20-city US tour in the fall of 2014, performing Baroque masterpieces by Albinoni, Bach, Handel, Vivaldi and others.

    Raising the bar yet again, Branford took on the challenging Saxophone Concerto by composer John Adams, performing the piece with the Tokyo Metropolitan Symphony Orchestra, conducted by Maestro Edwin Outwater, in October 2015.

    To begin 2016, Branford traveled to Germany for a concert with the prestigious Bayerische Staatsoper at the National Theatre in Munich performing an array of selections including Ter Velduis’ Tallahatchie Concerto.

    He then returned to Asia twice in the spring of 2016, first for his debut collaboration with the City Chamber Orchestra of Hong Kong, followed by a trip to Kuala Lumpur where he performed two concerts with the Malaysian Philharmonic Orchestra at the Petronas Twin Towers.

    The fall of 2016 saw Branford returning to his home state of Louisiana where he was invited to be a guest soloist with the Baton Rouge Symphony Orchestra, presenting works by John Williams and Heitor Villa Lobos.

    Broadway has also welcomed Branford’s contributions. His initial effort, original music for a revival of August Wilson’s Fences, garnered a Drama Desk Award for Outstanding Music in a Play and a Tony nomination for Best Original Score Written for the Theater. Branford also provided music for The Mountaintop, starring Samuel L. Jackson and Angela Bassett, and served as musical curator for the 2014 revival of A Raisin in the Sun. Branford’s screen credits include the original music for Mo’ Better Blues and acting roles in School Daze and Throw Momma from the Train.

    Branford formed the Marsalis Music label in 2002, and under his direction it has documented his own music, talented new stars such as Miguel Zenón, and un-heralded older masters including one of Branford’s teachers, the late Alvin Batiste. Branford has also shared his knowledge as an educator, forming extended teaching relationships at Michigan State, San Francisco State and North Carolina Central Universities and conducting workshops at sites throughout the United States and the world.

    As for other public stages, Branford spent a period touring with Sting, collaborated with the Grateful Dead and Bruce Hornsby, served as Musical Director of The Tonight Show Starring Jay Leno and hosted National Public Radio’s widely syndicated Jazz Set. The range and quality of these diverse activities established Branford as a familiar presence beyond the worlds of jazz and classical music, while his efforts to help heal and rebuild New Orleans in the wake of Hurricane Katrina mark him as an artist with an uncommonly effective social vision. Together with Harry Connick, Jr. and New Orleans Habitat for Humanity, Branford conceived and helped to realize The Musicians’ Village, a community in the Upper Ninth Ward that provides homes to the displaced families of musicians and other local residents. At the heart of The Musicians’ Village stands the Ellis Marsalis Center for Music, a community center dedicated to preserving the rich New Orleans musical legacy containing state-of-the art spaces for performance, instruction and recording.

    Some might gauge Branford Marsalis’s success by his numerous awards, including three Grammys and (together with his father and brothers) his citation as a Jazz Master by the National Endowment for the Arts. To Branford, however, these are only way stations along what continues to be one of the most fascinating and rewarding journeys in the world of music.

Contact Information

  • Management/Booking: Management
    Wilkins Management
    323 Broadway
    Cambridge, MA 02139
    [email protected]
    Tel: 617-354-2736

    Bookings
    Opus 3 Artists
    470 Park Avenue South
    9th Floor N.
    New York, NY 10016
    www.opus3artists.com
    Tel: 212-584-7576
    Attn: Matthew Oberstein

    European Bookings
    Music Works International
    34 Gould Street
    Suite 207
    Reading, MA 01867
    musicworksinternational.com
    Tel: +01 781-300-7580
    Attn: Katherine McVicker

Media | Markets

  • ▶ Website: http://www.branfordmarsalis.com
  • ▶ YouTube Channel: http://www.youtube.com/marsalismusic
  • ▶ YouTube Music: http://music.youtube.com/channel/UCPS0b7e1e4kBGmlfot0fzdw
  • ▶ Spotify: http://open.spotify.com/album/21Jrn9lGRwkXZyFz2bJjaf
  • ▶ Spotify 2: http://open.spotify.com/album/3na9FnPyBfh9MA9sR5uDEb
  • ▶ Spotify 3: http://open.spotify.com/album/0p9pjx1LrmYBb70ns5lMGz
  • ▶ Spotify 4: http://open.spotify.com/album/0J7dyT7mFs7BJGmuU1x2rB
  • ▶ Spotify 5: http://open.spotify.com/album/6iTAitvVN0eI0XxWOCcYZE
  • ▶ Spotify 6: http://open.spotify.com/album/4pllcxwviwv0UuKlCSLorB

Clips (more may be added)

  • Cianna
    By Branford Marsalis
    421 views
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Branford Marsalis Curated
pathways in

  • 5 Classical Music
  • 5 Composer
  • 5 Film Scores
  • 5 Jazz
  • 5 New Orleans
  • 5 Saxophone
  • 5 Theater Composer

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

ENGLISH (pra Portuguese →)

 


João had something priceless to offer the world.
But he was impossible for the world to find.
✅—João do Boi

✅—Pardal/Sparrow
Royalty work in NYC for
Aretha Franklin, Gilberto Gil
Mongo Santamaria, Airto Moreira
Astrud Gilberto, Barbra Streisand
Led Zeppelin, Philip Glass
Carlinhos Brown, Richie Havens
Jim Hall, Cat Stevens (Yusuf Islam)
Ray Barretto, Wah Wah Watson
The Cadillacs, The Flamingos...
I've been screamed at by Aretha Franklin,
and harangued by Allen Klein over
royalties for the estate of Sam Cooke.
I built this matrix beginning with João do Boi.
Please link to, tell others about, join us!
[email protected]
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per the bottom of this section) & 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



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.

 

 

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.

 

PORTUGUÊS (to English →)

 


João tinha algo inestimável a oferecer ao mundo.
Mas ele era impossível pro mundo encontrar.
✅—João do Boi

✅—Pardal/Sparrow
Trabalho de royalties para
Aretha Franklin, Gilberto Gil
Mongo Santamaria, Airto Moreira
Astrud Gilberto, Barbra Streisand
Led Zeppelin, Philip Glass
Carlinhos Brown, Richie Havens
Jim Hall, Cat Stevens (Yusuf Islam)
Ray Barretto, Wah Wah Watson
The Cadillacs, The Flamingos...
Fui gritado por Aretha Franklin,
e arengado por Allen Klein sobre
royalties para o patrimônio de Sam Cooke.
Eu construi este matrix a partir de João do Boi.
Por favor, faça um link para, conte aos outros, junte-se a nós!
[email protected]
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme o final desta seção) 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.

"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 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


A 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.

 

 

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.

 

  • Melanie Charles Brooklyn, NY
  • Geovanna Costa Violão, Guitar
  • Banning Eyre Radio Presenter
  • Alexandre Vieira Salvador
  • Jonga Cunha Record Producer
  • Roy Ayers New York City
  • Jaimie Branch Brooklyn, NY
  • Samuca do Acordeon Brazil
  • Caroline Keane Educator
  • Daniel Jobim Samba
  • Nublu Turkish Music
  • Amy K. Bormet Washington, D.C.
  • Bob Bernotas Liner Notes
  • Anat Cohen Clarinet
  • Imanuel Marcus War Correspondent
  • Shuya Okino Music Venue Owner
  • Leigh Alexander Video Game Story Designer
  • Garth Cartwright London
  • Sammy Britt Delta State University Faculty
  • Adam O'Farrill Multi-Cultural
  • Vincent Herring Flute
  • Tonho Matéria Samba
  • Cláudia Leitão Faculdade da UECE, State University of Ceará Faculty
  • Chubby Carrier Accordion
  • Emmet Cohen Composer
  • Madhuri Vijay Novelist
  • Gui Duvignau Brazilian Jazz
  • Saileog Ní Cheannabháin Viola
  • Adriene Cruz Textile Artist
  • Tim Hittle Animator
  • Lalah Hathaway Soul
  • Marília Sodré Brasil, Brazil
  • Ammar Kalia London
  • Larisa Wiegant Graphic Design
  • Papa Mali Guitar
  • Michael Doucet Cajun Music
  • Tony Trischka Author
  • Ivan Lins MPB
  • Tommaso Zillio YouTuber
  • Béla Fleck Americana
  • Michel Camilo Music Director
  • Lucian Ban Transylvania
  • Shabaka Hutchings Jazz
  • Dudu Reis Brasil, Brazil
  • Leo Nocentelli New Orleans
  • Neo Muyanga Piano
  • Ben Street New York City
  • Cainã Cavalcante Composer
  • Lula Moreira Samba de Coco
  • Carlos Lyra Rio de Janeiro
  • Edgar Meyer Bluegrass
  • Marcus J. Moore DJ
  • Bobby Vega Bass
  • Elisa Goritzki Flute
  • Dorian Concept Record Producer
  • Jeff Spitzer-Resnick Attorney
  • Steve Abbott Festival Promoter
  • Archie Shepp Poet
  • Peter Slevin Northwestern University Faculty
  • Milton Primo Samba
  • Shirazee New York City
  • Derrick Adams Installation Artist
  • Lucas Santtana São Paulo
  • Bhi Bhiman Singer-Songwriter
  • Ricardo Bacelar Fortaleza
  • Clint Mansell Multi-Instrumentalist
  • Zakir Hussain Indian Classical Music
  • Zebrinha Coreógrafo, Choreographer
  • Vijay Iyer Harvard University Faculty
  • Tatiana Campêlo Salvador
  • Ibrahim Maalouf Trumpet
  • Cassie Kinoshi Composer
  • Anne Gisleson New Orleans
  • Robert Everest Multi-Cultural
  • Virgínia Rodrigues MPB
  • Antonio García Jazz
  • Amilton Godoy Piano
  • Oleg Fateev Accordion
  • Owen Williams Developer
  • John Patitucci Composer
  • Fred Dantas Ethnomusicologist
  • Imani Winds Chamber Music
  • Ivan Lins Brazil
  • Yilian Cañizares Lausanne, Switzerland
  • Romero Lubambo Jazz
  • Arturo Sandoval Piano
  • Luiz Antônio Simas Samba
  • Eddie Palmieri Composer
  • Samba de Nicinha Samba de Roda
  • Zé Katimba Brazil
  • Yasushi Nakamura Composer
  • Adriano Giffoni Brazilian Jazz
  • Jim Beard Piano
  • Judy Bady Gospel
  • Marc Johnson Bossa Nova
  • Anthony Hervey Trumpet Instruction
  • Casa da Mãe MPB
  • Hendrik Meurkens Brazilian Music
  • Dale Barlow Flute
  • Yazhi Guo 郭雅志 Boston, Massachusetts
  • Leon Bridges Record Producer
  • Bebel Gilberto Singer-Songwriter
  • Jura Margulis Musik und Kunst Privatuniversität der Stadt Wien Faculty
  • Flor Jorge Singer-Songwriter
  • Natalia Contesse Chilean Folk Music
  • Mestre Barachinha Nazaré da Mata
  • Gregory Tardy Saxophone
  • Pallett Iran
  • Billy Strings Songwriter
  • Adam Rogers Classical Guitar
  • Jamberê Cerqueira Tuba
  • Menelaw Sete Pintor/Painter
  • Zisl Slepovitch Yiddish Culture
  • Gavin Marwick Scotland
  • Heriberto Araujo China
  • Gerald Clayton Blue Note Records
  • Darius Mans Washington, D.C.
  • Marília Sodré Chula
  • Dee Spencer Singer
  • Hercules Gomes São Paulo
  • Avner Dorman Gettysburg College Faculty
  • Stephen Kurczy Writer
  • Oscar Bolão Percussion
  • Cécile Fromont Art Historian
  • Donna Leon Writer
  • Itiberê Zwarg Composer
  • Adriano Giffoni Bass Instruction, Master Classes
  • Dom Flemons Folk & Traditional
  • Jim Beard Keyboards
  • Alex Cuadros Journalist
  • Ivan Lins Rio de Janeiro
  • Adenor Gondim Bahia
  • Guilherme Kastrup Drums
  • Fernando César Educator
  • David Castillo Pierce College Faculty
  • Celsinho Silva Samba
  • Thiago Trad Berimbau
  • Milton Primo Bahia
  • Amit Chatterjee Composer
  • Wayne Escoffery Jazz
  • Tito Jackson R&B
  • Michael Kiwanuka London
  • Robi Botos Ropeadope
  • Guillermo Klein Composer
  • Ilya Kaminsky Translator
  • Reza Filsoofi Nashville, Tennessee
  • Júlio Lemos Choro
  • Tatiana Campêlo Brazil
  • Turíbio Santos Composer
  • Ênio Bernardes Brasil, Brazil
  • Les Filles de Illighadad Niger
  • Dan Weiss Composer
  • Nelson Sargento Brazil
  • Danilo Pérez Composer
  • Marcos Suzano Brazil
  • Rose Aféfé Artista de Instalação, Installation Artist
  • Adriana L. Dutra Director
  • Cathal McNaughton Ireland
  • David Bragger Guitar
  • Dave Eggers Painter
  • Roberto Martins Produtor Cultural, Cultural Producer
  • Dermot Hussey Musicologist
  • Adam O'Farrill Brooklyn, NY
  • Marco Pereira Brazil
  • Bejun Mehta Berlin
  • Cassie Kinoshi Theater Composer
  • Bill Frisell Jazz
  • Isaias Rabelo Piano
  • Bejun Mehta New York City
  • Doca 1 Creative Economy Hub
  • James Martins Bahia
  • Taylor Eigsti Composer
  • Hilary Hahn Classical Music
  • Greg Spero Jazz
  • Shannon Sims Rio de Janeiro
  • Craig Ross Multi-Instrumentalist
  • Larry McCray Keeping the Blues Alive Records
  • Pururu Mão no Couro Compositor, Songwriter
  • Johnathan Blake Composer
  • Gian Correa Guitar
  • Béco Dranoff Brazilian Music
  • Sahba Aminikia San Francisco
  • Marc Cary Jazz
  • Yilian Cañizares Ecole de Jazz et de Musique Actuelle Faculty
  • Brian Lynch Composer
  • Tshepiso Ledwaba Steinway Piano Technician
  • Aaron Diehl Jazz
  • Nego Álvaro Rio de Janeiro
  • Plínio Fernandes Choro
  • Samuca do Acordeon Tango
  • James Brandon Lewis Composer
  • Tommy Orange Short Stories
  • Elodie Bouny Composer
  • Jorge Glem Cuatro
  • The Weeknd R&B
  • James Carter Composer
  • Rumaan Alam Literary Critic
  • Miroslav Tadić Guitar
  • Asanda Mqiki Jazz
  • J. Pierre Illustrator
  • Paulo Dáfilin Guitar
  • Anthony Hervey New York City
  • Amit Chatterjee Guitar
  • Monarco Cavaquinho
  • Tomo Fujita Jazz
  • Bongo Joe Records Café
  • Guga Stroeter Samba
  • Aloísio Menezes Bahia
  • Aaron Parks Ropeadope
  • Casa Preta Local de Música ao Vivo, Live Music Venue
  • Harish Raghavan Brooklyn, NY
  • Derron Ellies Steel Pans
  • Jeff Preiss Filmmaker
  • Mazz Swift Violin
  • Guillermo Klein Argentina
  • Rachael Price Americana
  • Don Moyer Graphic Design
  • Dom Flemons Chicago
  • Michelle Mercer Writer
  • David Bruce YouTuber
  • Andra Day Jazz
  • Manolo Badrena Puerto Rico
  • Roosevelt Collier Songwriter
  • André Vasconcellos Jazz Brasileiro, Brazilian Jazz
  • Laércio de Freitas MPB
  • Carlos Paiva Bahia
  • Andrew Finn Magill Forró
  • Anna Mieke Singer-Songwriter
  • Siba Veloso Maracatu
  • Saileog Ní Cheannabháin Irish Traditional Music
  • Jon Batiste Classical Music
  • Glória Bomfim Bahia
  • Donald Harrison Berklee College of Music Faculty
  • Ronaldo do Bandolim Rio de Janeiro
  • Aperio Chamber Music
  • Keita Ogawa Brooklyn, NY
  • Marc Johnson Record Producer
  • Ivan Bastos Brasil, Brazil
  • David Sánchez Jazz
  • Issac Delgado Composer
  • H.L. Thompson Apparel & Fashion
  • Pasquale Grasso Italy
  • Richie Stearns Composer
  • Scotty Barnhart Composer
  • Ron Carter Educator
  • Papa Grows Funk New Orleans
  • Willy Schwarz Theater Composer
  • Jamie Dupuis Singer
  • Alisa Weilerstein Contemporary Classical Music
  • Bob Lanzetti Educator
  • David Greely Louisiana
  • Zisl Slepovitch Singer
  • Karsh Kale कर्ष काळे Indian Classical Music
  • Orrin Evans Record Label Owner
  • Sergio Krakowski Pandeiro Instruction
  • Chano Domínguez Composer
  • Bombino Singer-Songwriter
  • Guiga de Ogum Samba
  • Eric Harland Composer
  • Leo Nocentelli Songwriter
  • Amy K. Bormet Jazz
  • Warren Wolf Vibraphone
  • George Porter Jr. New Orleans
  • Etan Thomas Motivational Speaker
  • Randy Lewis Writer
  • Joshua Abrams Chicago
  • Bruce Williams Juilliard Faculty
  • Cedric Watson Singer-Songwriter
  • Carlos Lyra Guitar
  • Ben Wendel Brooklyn, NY
  • Jakub Knera Poland
  • Jeffrey Boakye Journalist
  • Sahba Aminikia Contemporary Classical Music
  • João Luiz Guitar
  • Susan Rogers Cognitive Neuroscience
  • Kamasi Washington Multi-Cultural
  • Bill Pearis Journalist
  • Roy Nathanson Film Scores
  • Keita Ogawa Drums
  • Marcus J. Moore Brooklyn, NY
  • David Greely Cajun Fiddle
  • Cara Stacey North-West University Faculty
  • Onisajé Brasil, Brazil
  • Pretinho da Serrinha Percussion
  • Dale Farmer Screenwriter
  • Wadada Leo Smith Jazz
  • Rebeca Tárique Música Afro-Baiana, Afro-Bahian Music
  • Walter Pinheiro Saxophone
  • Chano Domínguez Spain
  • Menelaw Sete Escultor, Sculptor
  • Chris Acquavella Mandolin
  • André Brock Author
  • Evgeny Kissin Contemporary Classical Music
  • Júlio Lemos Brazil
  • Dan Tepfer Jazz
  • Sérgio Pererê Brazil
  • Cayenna Ponchione-Bailey Conductor
  • Little Simz Singer-Songwriter
  • Ari Hoenig Drum Instruction
  • Luciano Matos Produtor Musical, Music Producer
  • Fantastic Negrito Oakland, California
  • Ryuichi Sakamoto Japan
  • Soweto Kinch Radio Presenter
  • Esteban Sinisterra Paz Diseñador de Moda, Fashion Designer
  • Bill Laurance Piano
  • Wajahat Ali Public Speaker
  • Nelson Cerqueira Romancista, Novelist
  • Carlos Blanco Brasil, Brazil
  • Willie Jones III New York City
  • Gary Lutz Poet
  • Ricky (Dirty Red) Gordon Percussion
  • Diosmar Filho Escritor, Writer
  • Gui Duvignau Multi-Cultural
  • Wilson Simoninha Brazil
  • Neymar Dias Composer
  • TaRon Lockett Drums
  • Arifan Junior Portela
  • Ben Okri London
  • Fred P DJ
  • Ryuichi Sakamoto Multi-Cultural
  • Luciana Souza São Paulo
  • Jim Beard Composer
  • Barlavento Salvador
  • Djuena Tikuna Indigenous Brazilian Music
  • Leci Brandão Pandeiro
  • Adriano Souza Samba
  • Joey Baron Jazz
  • Justin Kauflin Jazz
  • Nathan Amaral Classical Music
  • James Andrews Funk
  • Richie Barshay Klezmer
  • Simon McKerrell Bagpipes
  • Kiko Horta Composer
  • Sam Wasson Cultural Historian
  • Harish Raghavan Educator
  • Concha Buika Spain
  • Gustavo Di Dalva Salvador
  • Jill Scott Actor
  • Dan Trueman Violin
  • Keita Ogawa Japan
  • Bill Summers Multi-Instrumentalist
  • Moses Boyd Composer
  • Alberto Pitta Serígrafo, Silkscreener
  • Alex Clark Digital Media Producer
  • Paul Mahern Audio Preservation
  • Vadinho França Bahia
  • Sérgio Pererê Minas Gerais
  • Horácio Reis Brasil, Brazil
  • Zeca Baleiro Escritor, Writer
  • Welson Tremura Composer
  • Carlinhos Brown Salvador
  • James Strauss Contemporary Classical Music
  • Aubrey Johnson Queens College Faculty
  • Philip Glass Composer
  • Custódio Castelo Castelo Branco
  • Tony Trischka Bluegrass
  • Avner Dorman Composer
  • Jaques Morelenbaum Rio de Janeiro
  • Mike Compton Old-Time Music
  • Margareth Menezes Salvador
  • Zakir Hussain Hindustani Classical Music
  • Jamael Dean Jazz
  • Bodek Janke World Music
  • Jeremy Danneman Jazz
  • Margareth Menezes Cantora-Compositora, Singer-Songwriter
  • Terrace Martin Ropeadope
  • Biréli Lagrène Jazz
  • Edu Lobo MPB
  • Utar Artun Piano
  • Nabihah Iqbal Guitar
  • Paolo Fresu Film Scores
  • Flying Lotus Electronic Music
  • Jovino Santos Neto Flute
  • Tank and the Bangas Soul
  • Philip Glass Piano
  • Leon Parker Drums
  • Mateus Aleluia Filho Candomblé
  • Tyler Hayes Tech Writer
  • Léo Rugero Film Scores
  • Jeffrey Boakye Radio Presenter
  • James Strauss Brazil
  • Aaron Parks Jazz
  • Musa Okwonga Writer
  • Pedrito Martinez Percussion
  • Victor Wooten Berklee College of Music Faculty
  • Mark Stryker Arts Critic
  • Sarah Jarosz Banjo
  • Alicia Svigals Jewish Music
  • Jimmy Greene Composer
  • Reuben Rogers Jazz
  • Loli Molina Buenos Aires
  • Toumani Diabaté Mali
  • Jocelyn Ramirez Author
  • Simon McKerrell Scottish Traditional Music
  • Jason Marsalis New Orleans
  • Maciel Salú Fiddle
  • Questlove Record Producer
  • Ricky (Dirty Red) Gordon Zydeco
  • Little Simz London
  • Keita Ogawa Percussion
  • Thundercat Composer
  • Nelson Latif Brazilian Jazz
  • Thundercat Multi-Instrumentalist
  • César Orozco Violin
  • Walter Mariano Desenho, Design
  • Aubrey Johnson Contemporary Music
  • Ibrahim Maalouf Classical Music
  • DJ Sankofa Pimenta Africana, African Peppers
  • Maria Drell Salvador
  • Vik Sohonie Ostinato Records
  • Jeff Parker Guitar
  • Nublu Club
  • Nate Smith Jazz
  • Samuel Organ Composer
  • Nicolas Krassik Rio de Janeiro
  • Randy Lewis Music Critic
  • John Edwin Mason Writer
  • William Skeen Viola da Gamba
  • Peter Mulvey Folk & Traditional
  • VJ Gabiru DJ
  • Capinam Poeta, Poet
  • Geraldo Azevedo Guitar
  • Nêgah Santos Pandeiro
  • Frank Beacham Photographer
  • J. Velloso Bahia
  • Steve McKeever Hidden Beach Recordings
  • Thiago Amud Brazil
  • International Anthem Progressive Improvisational Music
  • Askia Davis Sr. Educational Consultant
  • Pharoah Sanders Composer
  • Nicholas Barber Film Critic
  • Riley Baugus Singer
  • Gregory Porter Jazz
  • Ricardo Bacelar Ceará
  • Sunna Gunnlaugs Composer
  • Richard Bona Africa
  • Babau Santana Brasil, Brazil
  • Imani Winds Contemporary Classical Music
  • Fabiana Cozza Phonoaudiologist
  • Cédric Villani Author
  • Toninho Horta Guitar
  • Babau Santana São Braz
  • Anthony Wilson Jazz
  • Júlio Caldas Compositor, Songwriter
  • Miles Mosley Television Scores
  • Brentano String Quartet Yale School of Music
  • Catherine Bent Choro
  • Moses Boyd London
  • Gilad Hekselman Brooklyn, NY
  • Hélio Delmiro Composer
  • Steve Cropper Guitar
  • Luizinho Assis Bahia
  • Lokua Kanza Paris
  • Vijith Assar Tech Writer
  • Nicholas Gill Food Writer
  • Ballaké Sissoko Bamako
  • 9th Wonder Hip-Hop
  • Bill Summers New Orleans
  • Mário Santana São Braz
  • Alex Conde Arranger
  • Turtle Island Quartet Contemporary Classical Music
  • Richard Galliano Musette
  • David Byrne Film Scores
  • Jessie Montgomery Violin
  • Becca Stevens Singer-Songwriter
  • Jubu Smith Guitar
  • Ronald Bruner Jr. Record Producer
  • Curtis Hasselbring Arranger
  • Bebê Kramer Samba
  • António Zambujo Lisbon
  • Walmir Lima Salvador
  • Nádia Taquary Artista de Instalação, Installation Artist
  • Duane Benjamin Trombone
  • Hugues Mbenda Congolese Cuisine
  • Sérgio Pererê Multi-Instrumentalist
  • Paddy Groenland Soul
  • Ron Carter Bass
  • Greg Kurstin Record Producer
  • Mika Mutti Salvador
  • Christone 'Kingfish' Ingram Guitar
  • Galactic New Orleans
  • Martin Fondse Multi-Cultural
  • Frank Negrão Bass
  • Gunter Axt Historiador, Historian
  • Ben Wolfe Juilliard Faculty
  • Kiko Horta Brazil
  • Tomoko Omura Brooklyn, NY
  • Jeff Preiss Director
  • Estação Primeira de Mangueira Rio de Janeiro
  • Chris Boardman Producer
  • Goran Krivokapić Montenegro
  • John Archibald Journalist
  • Tank and the Bangas New Orleans
  • Cláudio Jorge MPB
  • Julien Libeer Classical Music
  • Melissa Aldana Composer
  • Carl Allen Jazz Workshops
  • Sérgio Pererê Belo Horizonte
  • Márcia Short Salvador
  • Vik Sohonie Journalist

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

 

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