Danilo Pérez
This Brazilian cultural matrix positions Danilo Pérez globally...
Curation
CURATION
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from this page:
by Matrix
The Integrated Global Creative Economy
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Name:
Danilo Pérez
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City/Place:
Boston
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Country:
United States
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Hometown:
Panama
Current News
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What's Up?
“There is nothing small about Danilo Perez’s ambitions. The pianist wants nothing less than to create a Panamanian style of jazz composition.”
- JazzTimes
“Danilo Perez is a man with some serious jazz cred. The Panamanian pianist got his start playing with Dizzy Gillespie, and continued with Wayne Shorter. As a composer and bandleader himself, he’s practically peerless.”
- NPR
“Effortlessly hip"
- Guardian (UK)
Life & Work
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Bio:
As a solo artist and as a collaborator with jazz giants from Dizzy Gillespie to Wayne Shorter, for over three decades Grammy® Award Winning Panamanian Pianist-Composer Danilo Pérez has been lauded as one of the most creative forces in contemporary music. With Jazz as the anchoring foundation, Pérez’s Global Jazz music is a blend of Panamanian roots, Latin American folk music, West African rhythms, European impressionism – promoting music as a borderless and multidimensional bridge between all people.
Born in Panama in 1965, Pérez started his musical studies when he was three years old with his father, a bandleader and singer. By age 10, he was studying the European classical piano repertoire at the National Conservatory in Panama. After receiving his bachelor’s degree in electronics in Panama, he studied jazz composition at the prestigious Berklee College of Music. While still a student, he performed with Jon Hendricks, Terence Blanchard, Slide Hampton, Claudio Roditi and Paquito D’Rivera. Quickly established as a young master, he soon toured and/or recorded with artists such as Dizzy Gillespie United Nations Orchestra from 1989-1992, Jack DeJohnette, Steve Lacy, Lee Konitz, Charlie Haden, Michael Brecker, Joe Lovano, Tito Puente, Wynton Marsalis, Tom Harrell, Gary Burton, and Roy Haynes.
In 1993, Pérez turned his focus to his own ensembles and recording projects, releasing several albums as a leader, earning Grammy® and Latin Grammy® nominations for Central Avenue (1998), Motherland (2000), Across The Crystal Sea (2008), and Providencia (2010). In 1996, he was signed by producer Tommy Lipuma to join the Impulse label and recorded Panamonk, a tribute to Thelonious Monk which according to DownBeat magazine is one of the most important piano albums in the history of jazz. Pérez’s album Central Avenue, featured mejoranera music (a style of Panamanian folklore singing) and was chosen as one of the 10 best recordings across genres by TIME Magazine in 1998. A collaboration between Pérez and the prolific composer and arranger Claus Ogerman, 2008’s Across The Crystal Sea was praised by The Guardian as, “So ultra-smooth it achieves something like a state of grace.” Ogerman said, “This is a record I wanted to make before I leave the planet.” Pérez made his Mack Avenue Records debut in 2010 with the release of Providencia. The album was nominated for a 2011 Grammy® Award in the category of Best Instrumental Jazz Album.
Pérez joined the Wayne Shorter Quartet in 2010 with John Patitucci and Brian Blade. This latest iteration from Shorter has been known as a unique and predominant force in improvisational music both at their historic live performances and on several recordings. In 2018 Blue Note records released the highly anticipated EMANON from the Wayne Shorter Quartet which won a Grammy® in the category of Best Jazz Instrumental album in 2019.
For several years Pérez has also been touring with his trio – featuring Ben Street and Adam Cruz – and with Children of the Light, a collaboration with fellow Wayne Shorter Quartet members John Patitucci and Brian Blade. Mack Avenue released the Children of the Light album in 2015 to great critical acclaim. Pérez’s current touring project, the Global Messengers, spreads the idea that music can serve as a natural remedy to unfortunate situations, providing an uplifting message, connection, and common ground. The ensemble features musicians from diverse cultural backgrounds, coming together to build community through music.
As a composer, Pérez has been commissioned by The Lincoln Center, Chicago Jazz Festival, and Imani Winds Quintet, among others. His octet for members of the Simón Bolívar Symphony Orchestra of Venezuela was commissioned by Carnegie Hall. In 2014, the Banff Centre commissioned Pérez to write a piano quintet for the Cecilia String Quartet titled "Camino de Cruces" and he also composed the music for the Museum of Biodiversity in Panama, designed by renowned architect Frank Gehry. In 2015, Pérez premiered another two new compositions: “Expeditions – Panamania 2015” was premiered at the Panamerican games in Toronto and his “Detroit World Suite – La Leyenda de Bayano” was premiered at the Detroit Jazz Festival. Pérez returns to the Detroit Jazz Festival in Fall 2019 for the world premiere of a new piece written for his Global Messengers ensemble and co-commissioned by the Detroit Jazz Festival, London Jazz Festival, National Forum of Music Wroclaw, and Koerner Hall at Royal Academy of Music Toronto.
Pérez, who served as Goodwill Ambassador to UNICEF, has received a variety of awards for his musical achievements, activism and social work efforts. He is a recipient of the United States Fellowship 2018, and the 2009 Smithsonian Legacy Award. He currently serves as UNESCO Artist for Peace, Cultural Ambassador to the Republic of Panama, Founder and Artistic Director of the Panama Jazz Festival, and the Berklee Global Jazz Institute in Boston’s Berklee College of Music.
More
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Quotes, Notes & Etc.
"… but there are still amazing musicians like Danilo Perez, who plays piano with Wayne Shorter's quartet. He is not afraid of anything."
- Herbie Hancock
Clips (more may be added)
There are certain countries, the names of which fire the popular imagination. Brazil is one of them; an amalgam of primitive and sophisticated, jungle and elegance, luscious jazz harmonics — there’s no other place like it in the world. And while Rio de Janeiro, or its fame anyway, tends toward the sophisticated end of the spectrum, Bahia bends toward the atavistic…
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 (and here; the Bahian Recôncavo was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind’s existence on this planet, and in the past it extended into what is now urban Salvador), one must be led to the inevitable conclusion that one is in a place unique to history, and to the present:
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 — 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.
That's where this Matrix begins:
Wolfram MathWorld
The idea is simple, powerful, and egalitarian: To propagate for them, the Matrix must propagate for all. Most in the world are within six degrees of us. The concept of a "small world" network (see Wolfram above) applies here, placing artists from the Recôncavo and the sertão, from Salvador... from Brooklyn, Berlin and Mombassa... musicians, writers, filmmakers... clicks (recommendations) away from their peers all over the planet.
This Integrated Global Creative Economy (we invented the concept) uncoils from Brazil's sprawling Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian cultural matrix... expanding like the canopy of a rainforest tree rooted in Bahia, branches spreading to embrace the entire world...
Recent Visitors Map
Great culture is great power.
And in a small world great things are possible.
Alicia Svigals
"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze (LOS ANGELES): manager, Kamasi Washington
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
"Very nice! Thank you for this. Warmest regards and wishing much success for the project! Matt"
—Son of Jimmy Garrison (bass for John Coltrane, Bill Evans...); plays with Herbie Hancock and other greats...
I opened the shop in Salvador, Bahia in 2005 in order to create an outlet to the wider world for magnificent Brazilian musicians.
David Dye & Kim Junod for NPR found us (above), and Kareem Abdul-Jabbar (he's a huge jazz fan), David Byrne, Oscar Castro-Neves... Spike Lee walked past the place while I was sitting on the stoop across the street drinking beer and listening to samba from the speaker in the window...
But we weren't exactly easy for the world-at-large to get to. So in order to extend the place's ethos I transformed the site associated with it into a network wherein Brazilian musicians I knew would recommend other Brazilian musicians, who would recommend others...
And as I anticipated, the chalky hand of God-as-mathematician intervened: In human society — per the small-world phenomenon — most of the billions of us on earth are within some 6 or fewer degrees of each other. Likewise, within a network of interlinked artists as I've described above, most of these artists will in the same manner be at most a handful of steps away from each other.
So then, all that's necessary to put the Brazilians within possible purview of the wide wide world is to include them among a wide wide range of artists around that world.
If, for example, Quincy Jones is inside the matrix, then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.
...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers...everywhere — do also. Artificial intelligence not required. Real intelligence, yes.
Years ago in NYC (I've lived here in Brazil for 32 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd (for his rights in Bob Marley compositions; Clement was Bob's first producer), Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein (managed The Beatles, The Rolling Stones, Ray Charles) called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).
But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great.
Greatness and fame are too often conflated. The former should be accessible independently of the latter.
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).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
Across the creative universe... For another list, reload page.
This list is random, and incomplete. Reload the page for another list.
For a complete list of everybody inside, tap TOTAL below:
TOTAL
Ex Terra Brasilis
Susan Rogers
Julian Lloyd Webber
Clarice Assad
Kamasi Washington
Randy Brecker
Matt Garrison
RÁDIO MATRIX