Salvador Bahia Brazil Matrix

The Matrix Online Network is a platform conceived & built in Salvador da Bahia, Brazil and upon which people & entities across the creative economic universe can 1) present in variegated detail what it is they do, 2) recommend others, and 3) be recommended by others. Integrated by recommendations and governed by the metamathematical magic of the small world phenomenon (popularly called "6 degrees of separation"), matrix pages tend to discoverable proximity to all other matrix pages, no matter how widely separated in location, society, and degree of fame. From Quincy Jones to celestial samba in the favelas of Rio de Janeiro to you, all is closer than we imagine.

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  • (Bahia)
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  • From Brazil with love →
  • @ Ground Zero
  • El Aleph
  • If You Can't Stand the Heat
  • Harlem to Bahia to the Planet
  • Why a "Matrix"?

From Brazil with love →

@ Ground Zero

 

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

 

 

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

 

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

 

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

 

El Aleph

 

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

 

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

 

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

 

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

 

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

 

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

 

All is more connected than we know.

 

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

 

If You Can't Stand the Heat

 

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

 

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

 

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

 

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

 

But strictured & bound as it has been and is, Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of — or perhaps because of — the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

 

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

 

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

 

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

 

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

 

Welcome to the kitchen!

 

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

 

Harlem to Bahia to the Planet



Why a "Matrix"?

 

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

 

Like this (but in Portuguese): "It's kind of like Facebook if it didn't spy on you, but reversed... more about who you don't know than who you do know. And who doesn't know you but would be glad if they did. It's kind of like old Myspace Music but instead of having "friends" it has a list on your page of people you recommend. Not just musicians but writers, painters, filmmakers, dancers, chefs... anybody in the creative economy. It has a list of people who recommend you, or through whom you are recommended. It deals with arts which aren't recommendable by algorithm but need human intelligence behind recommendations. And the people who are recommended can recommend, creating a network of recommendations wherein by the small world phenomenon most people in the creative economy are within several steps of everybody else in the creative economy, no matter where they are in the world. Like a chessboard which could have millions of squares, but you can get from any given square to any other in no more than six steps..."

 

And João said (in Portuguese): "A matrix where you can move from one artist to another..."

 

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

 

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

 

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

 

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

 

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

 

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

 

  • Branford Marsalis
    I RECOMMEND

CURATION

  • from this node by: Matrix+

This is the Universe of

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

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
    261 views
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YOU RECOMMEND

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


Appear below by recommending Branford Marsalis:

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  • 4 Composer
  • 4 Film Scores
  • 4 Jazz
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  • 4 Saxophone
  • 4 Theater Composer

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