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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 Cassie Kinoshi:

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  • Cassie Kinoshi
    A video was posted re Cassie Kinoshi:
    SEED Ensemble - Interplanetary Migration (Hyundai Mercury Prize 2019)
    SEED Ensemble perform Interplanetary Migration live at the Hyundai Mercury Prize 2019.
    • August 20, 2020
  • Cassie Kinoshi
    A video was posted re Cassie Kinoshi:
    Women in Jazz: Cassie Kinoshi of SEED Ensemble
    The Jazz Cafe team had a chat last Summer with Mercury prize nominee Cassie Kinoshi of SEED Ensemble, about being a female in a heavily-dominated male jazz scene.
    • August 20, 2020
  • Cassie Kinoshi
    A video was posted re Cassie Kinoshi:
    SEED Ensemble - The Dream Keeper (feat. Cherise Adams-Burnett) | Live at Kings Place
    Cassie Kinoshi and her ensemble launched Driftglass at Kings Place in Feb 2019 with an unforgettable concert combining jazz with inner-city London-, West African- and Caribbean-influenced grooves. Band-leader and composer Kinoshi is making huge waves in t...
    • August 20, 2020
  • Cassie Kinoshi
    A category was added to Cassie Kinoshi:
    Theater Composer
    • August 20, 2020
  • Cassie Kinoshi
    A category was added to Cassie Kinoshi:
    Jazz
    • August 20, 2020
  • Cassie Kinoshi
    A category was added to Cassie Kinoshi:
    Bandleader
    • August 20, 2020
  • Cassie Kinoshi
    A category was added to Cassie Kinoshi:
    London
    • August 20, 2020
  • Cassie Kinoshi
    A category was added to Cassie Kinoshi:
    Composer
    • August 20, 2020
  • Cassie Kinoshi
    A category was added to Cassie Kinoshi:
    Saxophone
    • August 20, 2020
  • Cassie Kinoshi
    Cassie Kinoshi is matrixed!
    • August 20, 2020
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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..."

 

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.

 

@ 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...

 

It 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...

 

From Harlem to Bahia



  • Cassie Kinoshi
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Cassie Kinoshi
  • City/Place: London
  • Country: United Kingdom

Life & Work

  • Bio: Cassie Kinoshi (b. 1993) is a Mercury Award nominated and Ivors Academy Award winning (formerly know as BASCA, British Composer Award) London-based composer, arranger and alto-saxophonist. She is currently working in theatre, film, contemporary dance and both the jazz and classical performance worlds.

    Cassie is best known for her work with her large ensemble SEED alongside bands KOKOROKO and NÉRIJA. She was Mercury Musical Developments’ and Musical Theatre Network’s Cameron Mackintosh Resident Composer Scheme recipient at Dundee Rep Theatre from 2018-19 and was a part of the London Symphony Orchestra Panufnik Scheme 2018-19.

Contact Information

  • Management/Booking: Management: Steve Abbott ([email protected])

    Bookings (SEED Ensemble): Sinan Ors ([email protected])

Media | Markets

  • ▶ Twitter: CassieKinoshi
  • ▶ Instagram: cassiekinoshi
  • ▶ Website: http://www.cassiekinoshi.com
  • ▶ YouTube Channel: http://www.youtube.com/user/TeaAndSpongeCake

More

  • Quotes, Notes & Etc. Theatre composition credits: Top Girls (National Theatre), The Little Prince adpated by Inua Ellams (Stratford Circus Arts Centre), All The Shit I Can’t Say To My Dad (This Is Black, Bunker Theatre), Teleportation (This is Black, Bunker Theatre), Blue Beneath My Skin (This Is Black, Bunker Theatre), SuperBlackMan (Battersea Arts Centre), Pagans (Old Vic Theatre, Old Vic 12), Exceptional Mercy (Old Vic Theatre, Old Vic 12), Hy Brasil (Old Vic Theatre, Old Vic 12) Feather by Feather (Old Vic Workrooms), Bobsleigh Team (Old Vic Workrooms)

    Film & Advertising credits: "Rosencrantz & Guildenstern Are Dead”: Tour of the Old Vic (Old Vic Theatre/National Theatre)Undercurrent (London Short Film Festival Best Experimental Film Nominee 2018) ONES, On An Empty Stomach (ICA Best Experimental Short Film Award Nominee 2017)

    Dance composition credits: Balletboyz: Bradley 4:18 (Deluxe Series, Sadlers Wells)

    Awards and Nominations: Mercury Award Nominee 2019 (Driftglass, SEED Ensemble), Jazz FM UK Jazz Act of the Year Nominee 2020 (SEED Ensemble), Jazz FM Album of the Year Nominee 2020 (Driftglass, SEED Ensemble), Jazz FM Breakthrough Act of the Year Winner 2019, Gilles Peterson’s Worldwide FM Jazz Album of the Year Nominee 2019 (Driftglass, SEED Ensemble), Ivors Academy Award Winner 2018 (formerly known as British Composer Award, BASCA), Best Jazz Composition for Large Ensemble (Afronaut, SEED Ensemble), Parliamentary Jazz Award 2017 for Best Newcomer (Nérija), Jazz FM Breakthrough Act of the Year Nominee 2016 (Nérija), BBC Young Composer of the Year Nominee 2012

    Outside of theatre, Cassie has worked as a curator for the Royal Albert Hall's Elgar Room alongside Moses Boyd (Unstoppable Voices, 2018) as well as writing and arranging music for events such as Women of the World Festival 2017 (Royal Festival Hall). She also featured as a part of Soweto Kinch's BBC Four show Jazzology and is regularly invited as a radio and live panel guest to discuss politics, society and music. Cassie also works as an educator and workshop leader, her most recent work being at the EFG London Jazz Festival 2019 for Serious' Womxn Make Music performance at the Southbank Centre.

    Formed in early 2016, SEED Ensemble is a Mercury Award nominated ten-piece band led by alto saxophonist and composer Cassie Kinoshi.

    SEED Ensemble:

    Combining jazz with inner-city London, West African and Caribbean influenced groove, SEED Ensemble explores a blend of genres through original compositions and improvisation. Their debut release Driftglass (Jazz Re:freshed, 2019) features the track Afronaut (feat. XANA) which won the Ivors Academy Award 2018 (formerly known as BASCA, British Composer Award) for Jazz Composition for Large Ensemble.

    “…a wonderful reflection not simply of the best of London’s current improvisational music, but a strong perspective representing the city’s young Black creative class.”
    - Afropunk

    “Cassie Kinoshi is a striking instrumentalist, a musician able to reinterpret material on the fly, while injecting brave new elements in the process…a stunning work, full of daring musicality and spiritual depth.”
    - The Clash

    " A most fantastic and colourful approach to this piece. So very well done and I'm extremely proud of you all. Big thanks."
    - Greg Osby

    “…Driftglass is an untrammelled wrap-around delight.”
    - All About Jazz

    "The richness of the band’s melody, harmony and solo is something we can attest to and that got the crowd going. Band members cut across race and gender; and original compositions are inspired by the social issues of our times. So a night of music by the people for the people about the people? We like. "
    - www.sqwzl.com

Clips (more may be added)

  • 3:55
    SEED Ensemble - Interplanetary Migration (Hyundai Mercury Prize 2019)
    By Cassie Kinoshi
    143 views
  • 2:29
    Women in Jazz: Cassie Kinoshi of SEED Ensemble
    By Cassie Kinoshi
    159 views
  • 0:08:53
    SEED Ensemble - The Dream Keeper (feat. Cherise Adams-Burnett) | Live at Kings Place
    By Cassie Kinoshi
    169 views
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 'mātriks / "source" / from "mater", Latin for "mother"
We're a real mother for ya!

 

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