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CURATION
from this page:
by Matrix
Network Node
Name:
Clarice Assad
City/Place:
New York City
Country:
United States
Life & Work
Bio:
Born in Rio de Janiero, Clarice Assad has lived in Brazil, France and the United States. She is fluent in Portuguese, French and English, and sings in all three languages, as well as Spanish and Italian. One of the most widely performed Brazilian concert music composers of her generation, she is the recipient of numerous honors and awards, including an Aaron Copland Award, several ASCAP awards in composition, a Morton Gould Young Composer Award, the Van Lier Fellowship, the Franklin Honor Society Award, the Samuel Ostrowsky Humanities Award, the New Music Alive Partnership program by the League of American Orchestras, and a McKnight Visiting Composer Award. Clarice Assad holds a Bachelor of Music degree from the Roosevelt University in Chicago, Illinois, and a Master of Music degree from The University of Michigan School of Music, where she studied with Michael Daugherty, Susan Botti and Evan Chambers.
Quotes, Notes & Etc.
A prolific Grammy nominated composer with over 70 works to her credit, Clarice Assad’s numerous commissions include works for Carnegie Hall, the Chamber Music Society of Lincoln Center, Orquestra Sinfônica de São Paulo, Chicago Sinfonietta, San Jose Chamber Orchestra, the Boston Youth Orchestra, General Electric, Sybarite5, Metropolis ensemble, the Bravo! Vail Music Festival, Queen Reef Music Festival and the La Jolla Music Festival, to name a few. Her work Danças Nativas was nominated for a Latin Grammy for best contemporary composition in 2009. Her compositions have been recorded by some of the most prominent names in the classical music, including percussionist Dame Evelyn Glennie, cellist Yo-Yo Ma, violinist Nadja Salerno-Sonnenberg, and oboist Liang Wang.
Assad’s music has been performed by internationally acclaimed orchestras, including the Philadelphia Orchestra, Tokyo Symphony, Queensland Symphony, and the Orquestra Sinfônica de São Paulo. Ms. Assad has served as a composer-in-residence for the Albany Symphony, the Cabrillo Festival of Contemporary Music, New Century Chamber Orchestra, and the Boston Landmarks Orchestra. Her works are published in France (Editions Lemoine), Germany (Trekel), Criadores do Brasil (Brazil) and by Virtual Artists Collective Publishing, (VACP) a publishing company co-founded with poet and philosopher Steve Schroeder. Ms. Assad is currently writing the soundtrack to Devoti Tutti, a documentary by Bernadette Wegenstein, while composing the music for a ballet by award-winning choreographer Shannon Alvis.
As a performer, Clarice has shared the stage with such artists as Bobby McFerrin, Anat Cohen, Nadia Sirota, Paquito D’Rivera, Tom Harrell, Marilyn Mazur and Mike Marshall, among other outstanding musicians. She has performed at internationally renowned venues and festivals including The Netherlands’ Concertgebow, New York’s Carnegie Hall, Belgium’s Le Palais des Beaux-Arts, New York’s Metropolitan Museum of Art, Le Casino de Paris, Jazz at Lincoln Center and the Caramoor International Jazz Festival.
A popular recording artist, Ms. Assad has released seven solo albums and appeared on or had her works performed on another 30. Her music is represented on Cedille Records, SONY Masterworks, Nonesuch, Adventure Music, Edge, Telarc, NSS Music, GHA, and CHANDOS.
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Sprawled across broad equatorial latitudes, stoked, steamed and sensual in the broadest sense of the word, limned in prosody and cadenced melody::: bewitching (and bewitched) Bahia, Brazil is where the magic (mathematical and otherwise) and enchantment upon which this matrix is based, begins.
MATRIX
Conceived in conversation with Raymundo Sodré (now 75 years old ~ man of, and for, the trod-upon folk of the Brazilian backlands ~ career smashed under Brazil's dictatorship) during a discourse ranging from the quilombos and senzalas of Cachoeira and Santo Amaro to the wards of New Orleans to the South Side of Chicago ... to the sidewalks of Harlem to the villages of Ireland to the Roma camps of France and Belgium ... to the Vienna of Beethoven to the shtetls of Eastern Europe... wherein Sodré opined for the ages something now inscribed on the wall of Plato's cave: "Where there's misery, there's music!"
A matrix wherein it's not which pill you take, it's what pathways you take, pathways originating in the sprawling cultural matrix of Terra Brasilis: Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian... Matrix Ground Zero being the Recôncavo, contouring the Bay of All Saints, Earth's absolute center of gravity for the disembarkation of enslaved human beings (and for the sublimity these people created), the bay presided over by Brazil's inffable Black Rome: Salvador da Bahia.
("Black Rome" is an appellation per Caetano Veloso, son of the Recôncavo, via Mãe Aninha of Ilê Axé Opô Afonjá.)
I built the Matrix in the place below (I'm below left, with David Dye & Kim Junod for U.S. National Public Radio) among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter; designed by Walter Mariano of the Federal University of the Recôncavo of Bahia).
The Matrix is a small world network in which creators may recommend other creators and be recommended by other creators. And where, like stars coalescing into a galaxy, creators in the Matrix mathematically gravitate to proximity to all other creators in the Matrix, no matter how far apart in location, fame or society. This gravity is called "the small world phenomenon".
While the Matrix's utilization of small world gravity is unprecedented (position everybody in the creative universe within discoverable range of everybody else in the creative universe), small world networks are all around us, even inside us: our brains contain small world networks. Humanity itself is a small world network, wherein over 8 billion human beings average 6 or fewer steps between any two given people, anywhere. Those steps are seldom all transitable though. In the Matrix they are. In a small world great things are possible.
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).